THE CABINET CARD GALLERY

This is a striking antique panel-format cabinet card photograph of actress Linda Cannon, photographed by the celebrated Sarony studio at 37 Union Square, New York. This unusual elongated card measures approximately 8 x 4 inches and has attractive gold beveled edges around the card.The image shows Cannon posed full-length in an elaborate stage costume, with a feathered hat, ruffled bodice, lace-trimmed sleeves, layered skirt, and theatrical shoes. She stands in a graceful pose against a studio backdrop, giving the photograph the look of a stage or promotional portrait rather than an ordinary personal cabinet card. Linda Cannon appears to have been a lesser-documented stage or variety performer of the late 19th century. While detailed personal biographical information such as birth and death dates is not readily confirmed, period theatrical references do show a performer named Linda Cannon active during the 1890s. This portrait is especially appealing because it combines an identified actress, a dramatic costume, the famous Sarony New York studio imprint, and the scarce tall panel-card format. Napoleon Sarony was one of the most important American celebrity photographers of the 19th century, especially known for photographing actors, actresses, writers, and theatrical personalities. His Union Square studio became closely associated with the world of the stage, and Sarony portraits are widely collected today. This photograph is in good antique condition overall with strong image quality, rich tones, and excellent visual appeal.  SOLD

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The beautiful actress seen in these vintage real photo postcarda is named Ossi Oswalda (1897-1947). She was born in Germany and appeared predominately in silent films. She was a leading lady, popular comedienne,  dancer, and singer. Due to her popularity, she  was known as “the German Mary Pickford”. Ossi began her career as a ballerina and she danced in a chorus line for a theater in Berlin. She made her film debute in “Night of Horrors” (1916) and was noticed by actor/screenwriter Hanns Kraly, who introduced her to director Ernst Lubitsch. Oswalda’s early career began with appearances in several Lubitsch films. In 1921, she and her husband started a film production company that produced four films over four years, all starring Miss Oswalda. After 1925, she was under contract to UFA, a German film company. After the transition to “talkies”, Oswalda joined the ranks of actresses and actors, who’s career took a nose dive. She only acted in two sound films. Her final screen appearance was in “The Star of Valencia”. She then began acting on the stage. She appeared in operettas in Germany and Vienna. When the National Socialists took power in Germany, she emigrated to Prague with her “Jewish life partner”, Julius Aubenberg. In 1943, she wrote a story for a Czechoslovakian film. In summarizing Ossi’s career, the IMDb credits her with 51 film appearances,  producing 5 films, and 1 screen writing credit. It is reported that she frequently played child-like spoiled women. She appeared in drag in at least one film. Oswalda’s first marriage (1919-1925) was to a Hungarian baron. After her divorce, the actress began a highly publicized romantic relationship with Crown Prince Willhelm (1882-1951). Simultaneously, the actress Lily Damita, was having an affair with the Prince’s son. The royal family put a kibosh to both “inappropriate” relationships. In 1947, she died in Prague at age 48, bankrupt and suffering from multiple health problems. 

Image 1 : This German real photo postcard is published by Ross Verlag soemetime between 1919 and 1924. The photograph of Miss Oswalda was taken by Becker & Maass of Berlin. Note her pretty hat and fan. Hopefully, she wasn’t allergic to feathers. Oswalda was young when this photograph was taken. She was beautiful and no older than 27 years of age. 

 Image  2 : features Miss Oswalda in a very skimpy costume. Her feathered hat is quite showy . She has a wonderful smile and pretty eyes. This risque postcard was part of  a series (no. 1050/2) and published by Ross Verlag of Berlin, Germany. The logo of UFA, a German film company, appears on the lower right hand corner of the postcard. The reverse of the postcard reveals that that the photographer is Strobl J. Nandor of Budapest, Hungary. (SOLD)  

Image 3 is a German real photo postcard that was published by Ross Verlag. Miss Oswalda’s photo was taken by celebrity photographer Alex Binder.   (SOLD)

Image 4 captures Miss Oswalda looking amused. She is flashing a wonderful smile. This postcard was published by Ross Verlag of Berlin, Germany (no.474/2).   (SOLD)

Image 5 captures Miss Oswalda in a provocative pose. She is wearing a short skirt resulting in quite a leggy photo. Posing her with her hands on her hips was aimed at being suggestive. This risque postcard was published by Ross Verlag of Berlin, Germany (no.483/1). The photographer of this portrait of Oswalda was celebrity photographer Alex Binder.  (SOLD)

Image 6  is published by Ross Verlag as part of a series (No.483/2). Miss Oswalda’s photo was taken by celebrity photographer Alex Binder. (SOLD)

Image 7 captures Miss Oswalda lying in bed, or on a couch. Whatever she is lying on, it is rare to see a photo postcard from this era, showing a woman under the covers. Note the logo of the German film company, “UFA”,  in the lower right hand corner of the image. This postcard was published by Ross Verlag of Berlin, Germany (no.1734/2). (SOLD)

This evocative vintage studio portrait records a young Jewish boy on the occasion of his bar mitzvah. Formally dressed in a suit and tie, he wears a traditional tallit, or Jewish prayer shawl, with its striped borders and long fringed tzitzit clearly visible. Resting across his lap is his prayer book, likely a siddur, an important part of his preparation for and participation in the religious ceremony. The bar mitzvah boy sits in an ornate studio chair beside a small table, with one hand supporting his prayer book and the other resting thoughtfully against his cheek. His expression is serious and composed, although there is also a hint of youthful uncertainty in his face. That combination of solemnity and vulnerability makes this considerably more expressive than an ordinary ceremonial portrait. The mount is marked “Portrait by Randell, 57 Ave. B, N.Y.C.”. The New York Public Library’s Photographers’ Identities Catalog records Randell Studios at 57 Avenue B in 1935 and at 73 Avenue B from 1942 through 1948. This address information, together with the boy’s clothing, footwear, hairstyle and the photographic presentation, supports a date of approximately 1935. I was unable to locate reliable biographical information identifying the individual photographer behind the studio. Avenue B is an avenue in what is now called Alphabet City in Manhattan’s East Village. During the 1930s, this neighborhood was generally considered part of the Lower East Side and was home to a substantial Jewish immigrant community. Number 57 was located on Avenue B between East 4th and East 5th Streets, and a few blocks north of East Houston Street. In regard to measurements, the overall mounted photograph measures about 7 × 10 inches. The image itself, measures about  4⅝ × 6⅝ inches. SOLD

This vintage real photo postcard features American actress, Ethel Matthews (1870-1957). She appeared in films during the silent and early sound eras. Some of her notable films include “The Kid Brother” (1927), “The Cameraman” (1928), and “The Great Gabbo” (1929). She retired from acting in the early 1930s. There are seven portraits of Matthews in England’s National Portrait Gallery. This postcard was published by an obscure company, Angus Thomas Ltd.. The firm was located in London, England. The card is part of a series (No.95). Miss Matthews’s photograph was taken by the admired female celebrity photographer, Rita Martin. SOLD

This vintage real photo postcard features Marcelle Louys, a pretty stage performer at the Moulin Rouge. The venue is located in Paris, France. The cabaret opened in 1889 and is best known as the birth place of the can-can dance. The Moulin Rouge remains in business and is a popular tourist destination. This postcard was published by EPR as part of a series (no.215). Note the top right hand corner of this image. It is evident that a postage stamp formerly resided there. A postmark on this card shows that it was mailed in France in 1910.  SOLD

This original World War I real photo postcard (RPPC) captures a stark and graphic battlefield image titled “A Dead Boche.” The handwritten caption appears along the upper left of the card and uses the wartime slang “Boche,” a derogatory term widely used by French and Allied forces to refer to German soldiers during WWI. The photograph shows a fallen soldier lying in a grassy field, his body positioned on his back with his clothing disheveled from combat. The scene reflects the harsh realities of trench-era warfare and the type of propaganda imagery circulated among troops and civilians during the conflict. The postcard is printed in sepia tones typical of early 20th-century field photography. The image shows significant detail despite its age, including the soldier’s uniform, the surrounding rough terrain, and the rawness of the scene. This type of postcard was often produced privately or semi-officially by soldiers, correspondents, or small printers near the front lines. It is representative of the grim imagery that circulated during the Great War to convey the brutality of combat. The reverse side features a divided-back layout with no writing, stamp, or postal cancellation. The format suggests European production during the 1910s wartime period. SOLD

This striking carte de visite (CDV) from the Civil War era features a young boy dressed in what appears to be a theatrical or performance costume. He stands confidently beside a small round table covered with a patterned cloth. On the table rest three handbells—two upright and one resting on its side—suggesting that this boy may have been a musical performer, possibly part of a bell-ringing act or children’s concert troupe. The boy’s outfit is wonderfully detailed: he wears short dark trousers with knee-length stockings, a fitted white shirt trimmed with contrasting bands, a waist sash with tasseled fringe, and a broad-brimmed hat adorned with a ribbon and decorative element. His expression is serious—perhaps the proud composure of a child posing formally in costume for a professional portrait. The patterned studio flooring and plain backdrop are typical of 1860s studio photography, and the composition—carefully arranged with props—shows the artistry of a practiced photographer. On the back of the photo is the stamp and imprint of Lydston, Artist and Photographer, located at the corner of Wisconsin and Main Streets, Milwaukee, Wisconsin. This identifies the image as the work of E. H. Lydston, a known mid-19th century photographer active in Milwaukee during the 1860s. Lydston’s name appears in local directories between about 1863 and 1868, placing this CDV squarely in the Civil War tax-stamp period. An inscription written in period ink reads “Master Frank as the Bell Ringer.” The handwriting is somewhat ambiguous, but this likely identifies the sitter as Frank, photographed in costume for a performance or masquerade, perhaps portraying a “bell ringer.” Affixed to the back is a blue 2-cent U.S. Internal Revenue “Playing Cards” stamp, canceled by pen. The full printed title on the stamp reads “U.S. Inter. Rev. / Playing Cards / Two Cents.” From 1864 to 1866, the U.S. government required photographers to place revenue stamps on photographic materials (such as ambrotypes, tintypes, and cartes de visite) to help fund the Civil War. The amount of tax depended on the sale price of the photograph—two cents for photographs sold between 25 and 50 cents, which fits this example perfectly. The use of a Playing Cards stamp (rather than one specifically marked “Photograph”) was common when other types were in short supply. This type of stamp is collectible in its own right among philatelists and Civil War-era photo collectors.This cdv photograph dates back to circa 1865–1866, during the Civil War revenue tax period. (SOLD)

This original late 19th-century cabinet card photograph features a young child posed in an outdoor-themed studio backdrop. The child is dressed in an elaborate plaid dress with puffed sleeves, lace-trimmed cuffs, and a ruffled collar. Completing the outfit is a wide-brimmed white hat and high-button black boots. Most strikingly, the child holds an elegant parasol, a classic accessory in Victorian portraiture that adds both delicacy and charm to the composition. The child gazes directly into the camera with a solemn, slightly wistful expression—a hallmark of the era when long exposure times required subjects to remain still and unsmiling. The studio carpet and painted backdrop suggest an idealized park or lakeside setting, adding atmosphere to the portrait. The card mount bears the imprint of C. Durstewitz, 343 Central Ave., Jersey City Heights, N.J. The reverse is blank, which is consistent with cabinet cards produced in the late 1880s to early 1890s, when plainer card backs became fashionable. Although the child wears a dress and holds a parasol—signs we might instinctively associate with a girl—this is not certain. In the Victorian era, young boys were commonly dressed in skirts and dresses until “breeching” (usually around ages 4–7). The straight-across haircut and hat lean slightly toward boyhood styling, though it is difficult to be conclusive. The photographer, Christian Durstowitz, owned photo studios in both Hoboken (1886-1906) and Jersey City Heights (1894-1915). Both locations were in New Jersey. (SOLD)

This striking early-20th-century photographic postcard shows a glamorous young woman at the seaside with two wheeled bathing machines or beach dressing cabins behind her, including another woman standing in a dark bathing costume. It was produced by the German firm Neue Photographische Gesellschaft A.G. (NPG) of Steglitz and is marked “Oranotypie” and dated 1904, with series number 578/8. Oranotypie was NPG’s photographic postcard process. The front retains an original green French 5-centime Type Blanc stamp, and the card was addressed to Clermont-Ferrand, Puy-de-Dôme, France. SOLD

This charming Edwardian real-photo postcard features Miss Eva Stuart, an actress and stage performer, posed holding a small black Spitz-type dog, very likely a Pomeranian. Stuart is elegantly dressed in a crisp white blouse with a high decorative collar and dark necktie, while the little dog—with its pointed ears, dark coat and prominent ruff is quite cute. The photograph was made by the celebrated London studio Foulsham & Banfield.  Frank Foulsham and Arthur Clive Banfield operated one of London’s important theatrical portrait studios during the early decades of the 20th century, specializing in photographs of actresses, actors and other West End personalities. Their portraits are represented today in the collection of Britain’s National Portrait Gallery. This card was published by Rotary Photo(no.4880 D) as part of the Rotary Photographic Series. Interestingly, surviving Rotary catalog material records several different portraits of Eva Stuart under the same 4880 series, confirming that she was one of the theatrical personalities specifically marketed by Rotary to postcard collectors. Contemporary theatrical records also place a Miss Eva Stuart at London’s New Theatre in 1910, which fits very well with the style and probable date of this photograph. In addition, an actress of the same name later appeared in three Broadway productions between 1914 and 1915, although I can not confirm with certainty that the Broadway performer and this sitter were the same woman. SOLD