This charming late-Victorian cabinet card captures a little girl with a wonderfully coy, precocious expression—eyes turned to the side as if she’s sharing a private thought with the photographer. Her softly curled hair, the oversized bow, and the gentle studio lighting create that classic 1890s “storybook” portrait look. The pose feels spontaneous and intimate; displaying this adorable girl’s personality. The photographer is George Gardner Rockwood, one of New York City’s best-known portrait men of the era. Rockwood’s studio became a major name in celebrity and society photography, and surviving cabinet cards with his imprint are widely collected today. The New York Public Library’s Photographers’ Identities Catalog documents Rockwood operating a New York City studio/business in the period 1894–1902, specifically at 1440 Broadway (the same address printed on this mount). Rockwood’s career is also well summarized in reference sources that note his long life (1832–1911) and his enormous output of portraits over decades in the business. Rockwood was born in Troy, New York and graduated from college with a PhD, reportedly either from the University of Chicago, or Columbia University. At 21 years of age, he was a newspaper reporter for the Troy Daily Times and at age 23, he was managing editor of the Troy Daily Post. He began working as a photographer in St. Louis and in 1857 opened a studio with his brother Elihu in New York City. He has been credited with bringing CDV’s to America. His obituary in the Washington Post reports that Rockwood photographed more than 350,000 people. This photograph was taken in 1896. That date appears in the lower right corner of the cabinet card, under the studio’s address. Overall, this cabinet card presents beautifully, with a soft tonal range and good facial clarity. There is age wear to the mount, including edge/corner wear and scuffing, and what appears to be a small wrinkle near the bottom corners (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $85.00 at auction.
This vintage real photo postcard features a pretty teenage girl who is sitting on a window sill in front of an open window. A painted back drop can be seen in the background. The young lady is dressed in white and is wearing a very large hair bow. This photograph was taken by Pleschner’s Photo Studio located in Chicago, Illinois. SOLD
This cabinet card portrait features a well dressed man with a masterful wiry mustache and chin beard. He is wearing a watch on a chain as well as a very serious expression. This photograph was taken at the Raitt & Parsons studio, which was located in Durand, Wisconsin. The town of Durand is in western Wisconsin and was first settled in 1856 by 21 year-old Miles Durand Prindle.. The town was incorporated in 1887. Photographer, Thomas G Raitt (1847-1904) operated a studio with Mr Parsons between 1891 and 1892. He was a sole proprietor photographer between 1893 and 1904. After Thomas died, another Raitt continued to work as a photographer in Durand. The most likely suspect is Mazie Penelope Raitt (1880-1945) who was a daughter of Thomas and his assistant photographer. In 1905, she ran her own studio, which was likely her late father’s business. One can assume she succeeded her father after Thomas’s death. It appears that Mazie later joined forces with photographer Oscar Fryklund. The pair are listed as partners in the Historical Index of Wisconsin Photographers. An inscription on the reverse of this photograph indicates that the subject is “Uncle Let Briggs”. A preliminary investigation did not obtain confirmable biographical information about “Let Briggs”. There was a “Let Briggs” born in Michigan in 1875, but if the subject was this man, it would mean that he would have been in his mid twenties when he posed for this image. The man in this photograph is clearly significantly older than the mid twenties.
This cabinet card is available for purchase at my store, The History Peddler, for $24.00 .
This rare vintage real photo hand-painted postcard features British actress, theatrical manager, and producer Gladys Cooper (1888-1971). Cooper’s career spanned over seven decades and she acted on stage, film, and television. She was a popular “pin-up” model for British troops during World War I. In 1967, she was awarded the coveted title of Dame of the Order of the British Empire. Cooper was known for both her talent and her beauty. In fact, she was considered by many to be the most beautiful actress in England. This is a real photo postcard featuring Gladys together with her daughter Joan. The postcard was published in Britain by Rotary Photo, this card is catalogued B.172-2. The postcard features Gladys seated in a wicker chair, dressed in a light coat and striking wide-brimmed hat with bold black and white stripes. Her expression is calm and direct, gazing steadily at the camera. Joan leans into her mother’s embrace, wearing a light dress, her long curls framing her face, and looking tenderly toward the viewer. The intimate pose conveys both warmth and strength. Cooper’s bold autograph facsimile appears at the bottom right. The reverse of the postcard is divided back and has a message. The following is an approximate transcription. “Dear Friend, Thanks for card, pleased to hear you are enjoying yourself. Jones’ leg is better I hope you have gone for good. Weather has taken up & it won’t be very long before you are more like yourself. Yesterday was glorious, but today is dull & very damp. Remember me to your mother. With kindest regards to you both.”(SOLD)
Mary Pickford (1892-1979) was a Canadian-American actress and one of the most influential figures in early Hollywood. She was often referred to as “America’s Sweetheart”. She was a pioneer of silent film and a co-founder of the film industry as we know it today. Pickford’s career began in childhood when she performed in theater productions in Canada and the United States. By the early 1900s, she transitioned to film, working with director D.W. Griffith at Biograph Studios. Her delicate beauty and expressive acting quickly made her a fan favorite, setting her apart in an era when exaggerated stage-style performances dominated silent films. During the 1910s and 1920s, Pickford became one of the highest-paid and most beloved actresses in the world. Starring in films such as Rebecca of Sunnybrook Farm (1917), Daddy-Long-Legs (1919), and Pollyanna (1920), she was known for playing wholesome, spirited young women. Her curly hair and signature on-screen innocence became iconic, but she was also a savvy businesswoman who understood the power of her brand. Pickford was not only a star but also a trailblazer in the film industry. In 1919, she co-founded United Artists alongside Charlie Chaplin, Douglas Fairbanks (her then-husband), and director D.W. Griffith. This revolutionary move allowed filmmakers to control their own productions rather than rely on major studios, changing the industry forever. As the film industry transitioned to “talkies,” Pickford retired from acting in the early 1930s, though she continued to produce films. Her contributions earned her an honorary Academy Award in 1976 for her lasting impact on cinema. Mary Pickford’s influence extends beyond her films. She helped shape the star system, paved the way for women in Hollywood, and co-founded the Motion Picture Relief Fund to support struggling actors. She remains an enduring symbol of early Hollywood glamour and innovation. Mary Pickford was born into a working-class family in Toronto, Canada. Her father, John Charles Smith, was an alcoholic who struggled to provide for the family and died from a workplace accident when Mary was just six years old. Her mother, Charlotte Hennessey Smith, was left to raise Mary and her two younger siblings, Lottie and Jack, on her own. To support the family, Charlotte encouraged her children to enter acting, and Mary began performing in theater at a young age. She soon became the family’s primary breadwinner, and her siblings, Lottie Pickford and Jack Pickford, also pursued film careers. Pickford transitioned from theater to film in the early 1900s, quickly rising to fame with her expressive acting and wholesome on-screen persona. By the 1910s and 1920s, she was one of the most recognizable stars in the world, earning the nickname “Queen of the Movies.” She also helped establish the Academy of Motion Picture Arts and Sciences. Mary Pickford was married three times. Pickford’s first marriage was to silent film actor Owen Moore (1911-1920). Her second and most famous marriage was to fellow silent film actor, Douglas Fairbanks (1920-1936). Her third marriage was to actor Charles “Buddy” Rogers (1937-1979). After retiring from acting in the early 1930s, Pickford focused on producing films and philanthropy. She became more reclusive in her later years, struggling with alcoholism and health issues. Today, she is remembered as a pioneering force in cinema history. This original real photo postcard (RPPC) features the legendary Pickford in her role as Pollyanna from the 1920 United Artists film Pollyanna. The image is hand tinted. The postcard was published in the United Kingdom by Beagles & Company. The card was meant to promote the film. “Pollyanna” was a silent film released in 1920 and Pickford was it’s star. The film was based on the 1913 novel by Eleanor H. Porter, the story follows an optimistic young orphan named Pollyanna who is sent to live with her stern, crotchety Aunt Polly in a dour New England town. Pollyanna transforms the lives of the cynical townspeople by teaching them the “glad game”—a challenge to find something to be glad about in every situation, no matter how difficult. This was the first film released by United Artists, the independent studio Pickford co-founded with Charlie Chaplin, D.W. Griffith, and Douglas Fairbanks. Despite being 27 years old at the time, Pickford played the role of the 12-ye The film was a massive commercial hit, grossing over $1.1 million, which was an astronomical sum for the era. Her success in the role was so immense that she continued to play “little girl” characters for several more years. This postcard has an ornate border and is in excellent condition (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $38.00 at auction.
This is a striking late 19th century cabinet card photograph taken by Rugg, whose studio was located in Minneapolis, Minnesota. He proudly advertises himself on the reverse as “The Only Studio on the Ground Floor.” That bold imprint alone places this image firmly in the flourishing studio era of the 1880s–1890s. The photograph depicts a gentleman posed formally in full ceremonial fraternal regalia. He stands erect and composed, wearing a dramatic plumed helmet (shako-style) topped with a full feather plume. The helmet bears an insignia at the front, though not clearly legible enough to definitively assign to one organization. His uniform consists of a dark, double-breasted frock coat with two vertical rows of polished buttons, heavy fringed epaulettes at the shoulders, decorative braided sleeve ornamentation, and a wide ornamental belt plate at the waist. He wears white gloves and holds a ceremonial sword across his torso. A whistle or lanyard hangs from his chest, adding to the martial presentation. The overall uniform style strongly suggests affiliation with a late 19th century fraternal military-style organization. Most likely candidates include the Knights Templar (Masonic branch) or the Uniform Rank of the Knights of Pythias, both of which were extremely active in Minnesota during this period and are well known for elaborate plumed helmets and sword-bearing regalia. The gentleman’s prominent handlebar mustache and direct gaze give the portrait considerable presence. This is a classic example of Victorian fraternal pride and ceremonial pageantry. Based on mount style and studio imprint, the card likely dates to circa 1885–1895. This photo is an excellent piece of Minneapolis history and 19th century fraternal imagery. The photographer of this cabinet card image, was Arthur Rugg. Judging by other images by Rugg in my collection, Rugg was a talented photographer who had a propensity to take relatively close-up photographs. Turns out, he was also a scoundrel. Rugg received notice for being involved in a major lawsuit that had impact on the profession of photography. The American Journal of Photography (1890) reported that the Supreme Court of Minnesota handed down a decision against Rugg for selling a copy of Mrs. Ida E. Moore’s photograph “which was put on exhibition in improper places, much to the discredit of the lady”. He was ruled to have had no right to the picture which legally belonged to the sitter (Ms. Moore). She won her suit for damages of five thousand dollars although it is not clear if that was the actual amount awarded. Another photography journal of that time reported more specifics of the case. It seems that Rugg had given one of Ms. Moore’s pictures to a police detective named Clark, who showed the photos in a number of houses of ill repute in the Minneapolis and St. Paul area. The court ruled that although the negatives of the photograph belonged to Rugg, he could not print photographs from those negatives without permission from Ms Moore. Mr Rugg seems to have lacked some ethics in this instance. This cabinet card has gold gilded and scalloped edges. The card is in very good antique condition. The photograph retains strong clarity and contrast. There is mild corner wear consistent with age. There are no creases of tears. The decorative scalloped gilt edge remains intact. Studio imprint on reverse is bold and attractive (See Scans).
This real photo postcard is available for purchase at my store, The History Peddler, for $38.00 or best offer.
This vintage photograph features an attractive wedding couple. They are beautifully dressed.The bride is wearing a lovely hat and is holding a bouquet of flowers. The gentleman has a flower on his lapel. This wedding pair looks like they just walked off the set of Boardwalk Empire. The couple are identified as Ernest and Julia Grace. SOLD
This image is a striking late 19th-century cabinet card portrait of an elegantly dressed woman, photographed by George Frank E. Pearsall of Brooklyn, New York. The sitter wears a high-collared lace bodice with decorative brooch, puffed sleeves, and her hair styled in a neatly coiled Victorian updo — a classic example of refined 1880s–1890s portraiture. This cabinet card has ornate typography and a decorative backmark. Note the gold beveled edges of the mount. George Frank E. Pearsall was born in New York City. Orphaned at a young age, he and his brothers were raised by an aunt in Saratoga, New York. In 1852 he began learning photography under an uncle who operated a gallery. After his uncle departed for Australia and the business failed, Pearsall embarked on an eight-year adventure throughout Cuba, the West Indies, Venezuela, and other locations before returning to New York in 1862. Upon his return, Pearsall worked as a positionist for the celebrated New York photographer Benjamin Gurney, refining his skills in one of the leading studios of the era. By 1870 Pearsall opened his own Brooklyn studio, eventually relocating to 298 Fulton Street, where an 1880 advertisement claimed his establishment was the largest photographic studio in Brooklyn. He was also an innovator. In 1883 he developed “Pearsall’s Compact Camera,” a design housed within its own carrying case — a concept later imitated by major camera manufacturers through the 1920s. Pearsall gained national attention in the legal case Pearsall vs. Schenck (1876), widely discussed in the British Journal of Photography and reported by The New York Times. The case involved clients who refused to pay for portraits they claimed not to like. The photography community largely supported Pearsall, asserting that a photographer reproduces the subject as they are — and cannot “correct” nature as a painter might. Pearsall prevailed in court, establishing an important precedent for photographers’ rights. Here are additional historical notes: He was President of the Brooklyn Archery Club, Secretary and Treasurer of the National Archery Association (1881). His brother Alva Pearsall worked as a camera operator for Matthew Brady in 1871. Based on mount style, typography, and fashion, this cabinet card likely dates to the mid-to-late 1880s. In regard to condition. This photograph remains clear and well-contrasted with strong detail in the sitter’s features and attire. Light age toning is present, consistent with albumen prints of the period. The mount shows minor edge wear and minor corner wear. The reverse gilt design remains bright and legible. There are no creases or tears (see scans).
This real photo postcard is available for purchase at my store, The History Peddler, for $14.00 or best offer.
This charming hand-colored postcard captures a bustling Main Street in Huntington, Long Island, New York, as it appeared in 1906. The scene showcases a well-kept dirt road lined with turn-of-the-century storefronts, businesses, and utility poles stretching into the distance. Awnings shade the sidewalks, inviting pedestrians to browse the shops. The street is relatively quiet, with a few early automobiles and horse-drawn carriages, indicating a transition between old and new modes of transportation. One of the most notable features is the storefront signage. Among the visible signs, a general store, possibly a pharmacy or dry goods shop, prominently displays its name, though some letters may be difficult to make out due to age and hand-coloring. One of the signs includes the word “Horseshoe”. Due to the appearance of the building where the sign is hanging, it probably is the name of a restaurant or saloon. The sky is tinted with soft blues and whites, while the buildings are carefully colored to highlight their architectural details. The postcard artist has added warm earth tones to the road and sidewalks, making the scene feel vibrant and lifelike. The back of this undivided postcard (which means it predates the March 1, 1907, regulation that allowed messages on the back) has a classic early 20th-century layout, with space reserved solely for the address. The card bears a clear Huntington, N.Y. postmark dated 1906, with an additional receiving postmark from the destination city (Flushing, Long Island, N. Y.). Affixed is a green 1-cent Benjamin Franklin stamp, commonly used in this era. The publisher’s information printed in small text on the reverse. The publisher is the Rotograph Company (New York City). (SOLD)
Offered here is a charming and rather uncommon early 20th-century Belgian postcard featuring two young girls engaged in a delightful outdoor scene with their dog. The composition shows the girls seated together on one end of a rustic seesaw fashioned from a plank balanced atop a large cut tree trunk, while a curly-coated dog sits attentively on the opposite end. Both girls point toward the dog, which appears to be participating obediently in their playful balancing act. The dog strongly resembles a Standard Poodle. .The setting appears to be a painted studio backdrop of a pond with lily pads and pastoral greenery. In the lower left corner of the front is a triangular publisher’s logo reading B.N.K.. The card is numbered 32894/2. This publisher is not commonly encountered. B.N.K. is the initials for “Berlin-Neuroder Kunstanstalten”, a German publishing firm. This postcard originates from Belgium, as confirmed by the stamp and postmark. Along the center dividing line, two handwritten names appear, one clearly reading Emma. The second name Drukwerk” is not a personal name — it’s a Dutch (Flemish) word that means “printed matter.” That designation allows for a cheaper postal rate than required for regular correspondence. Based on the divided back format and the style of the Belgian stamp, this postcard likely dates to approximately 1905–1915. In regard to condition, the front of the card retains strong contrast and detail. There is light corner consistent with postal use. A small “X” marking is visible on the log in the foreground, likely added later and noted for accuracy sake. Overall, the postcard is in good vintage condition for its age.
This cabinet card is available for purchase at my store, The History Peddler, for $19.95 or best offer
THE CABINET CARD GALLERY 