THE CABINET CARD GALLERY

This striking Edwardian theatrical postcard features Miss Lina Verdi, a British music-hall performer, posed in a playful and slightly risqué studio portrait. She reclines in a folding chair with her arms raised behind her head, wearing a light, frilled theatrical dress, striped stockings, and pointed stage shoes. Her long loose hair, dreamy expression, and relaxed pose give the card a strong Belle Époque / Edwardian stage-glamour quality. This is exactly the sort of image that made early actress and music-hall postcards so popular with collectors. The lower margin identifies the publisher as Rotary Photo (no.1891A).The National Portrait Gallery identifies the company as active from 1897 to 1916 and the firm was associated with many theatrical and celebrity portraits. Lina Verdi is not as fully documented today as the major Edwardian stars, but she was a real music-hall and variety performer. Contemporary newspaper references describe Miss Lina Verdi as a “dainty singer and graceful dancer” and note her success as Dandini in Cinderella at the Tyne Theatre in Newcastle. Another theatrical postcard dealer identifies her more simply as a “mimic and dancer.” Another reference describes “Little Lina Verdi” delighting audiences with her imitations, suggesting that she may have begun as a youthful mimic or child performer before becoming a music-hall artist. The back of the card is postally used. The card bears a green Great Britain King Edward VII halfpenny stamp, the standard domestic postcard rate stamp of the period. The postmark appears to be Maidenhead. The date is obscured, but the card appears to be from about 1905, which is also supported by the postcard format. The writer of of the postcard states in his/her message that they are bringing a book to the postcard’s recipient. The book is “Rupert of Hentzau”. Research reveals that the book, published in 1898, is an adventure novel by Anthony Hope and is a sequel to “The Prisoner of Zenda”.  SOLD

This striking Edwardian real photo postcard captures the celebrated Dare sisters, 
Phyllis Dare and Zena Dare, posed in an elegant and carefully composed studio portrait. The sisters are dressed in beautiful winter clothing. Both are wearing furs. Note their fur hats. Both women gaze directly toward the camera with happy smiles and both convey the composed self-assurance expected of leading theatrical personalities of their era. The Dare sisters were among the best-known stage performers of the Edwardian musical comedy era in England. Born into a theatrical family, the sisters rose to fame while still quite young and became closely associated with the glittering world of London’s West End theatre during the early 1900s. Zena, the elder sister, achieved considerable success first and was admired for her beauty, elegance, and accomplished performances in musical comedies produced by impresarios such as George Edwardes. Phyllis followed in her sister’s footsteps and quickly became an even greater sensation, charming audiences with her youthful energy, lively personality, and fashionable stage presence. Both women frequently appeared in lavish productions that blended comedy, music, and elaborate costumes, helping define the theatrical style of the Edwardian period. Their fame extended well beyond the stage, and their portraits appeared widely on postcards, in magazines, and in theatrical advertising, making them recognizable celebrities of their day. Offstage, the sisters were often written about in the popular press, where their glamour and social lives attracted public fascination. Although tastes in entertainment changed after the First World War, both Zena and Phyllis Dare remain remembered as iconic figures of Britain’s golden age of musical theatre. This postcard was published by Rapid Photo (no.2903). The sisters photo was taken by the Bassano studio (UK). This postcard was postmarked in 1906.  SOLD

This original sepia-toned photograph captures the Hart Mirror Plate Company basketball team of Grand Rapids, Michigan, during the 1922–1923 season. The image shows six proud players posing in a studio setting, each wearing sleeveless jerseys bearing the bold heart-shaped “HMP Co” insignia — the distinctive logo of the company that sponsored their team. The player at center holds a basketball inscribed “1922–3,” documenting the season. Founded in 1899 by Joseph S. Hart, the Hart Mirror Plate Company (HMPC) became one of Grand Rapids’ leading manufacturers of mirrors and display glass. The firm contributed to the city’s reputation as “Furniture City,” producing the glass used in fine furniture and architectural interiors throughout the Midwest. The company remained a local mainstay until it was sold in 1962, closing a chapter in Michigan’s proud industrial history. Company-sponsored athletic teams such as this one reflected the social fabric of early 20th-century American life, when factory floors and basketball courts often shared the same workforce. Sports leagues helped foster company pride, teamwork, and morale in an era before large professional leagues dominated the national scene. This photograph also connects to the broader story of Michigan basketball heritage. Seven decades after this image was taken, the state would celebrate the rise of the “Fab Five” at Michigan State University — the celebrated  team remembered for its unity, talent, and pioneering style. The Hart Mirror Plate Company team stands as an early example of that same competitive Midwestern spirit that helped shape the state’s basketball identity.  (SOLD)

This striking cabinet card portrait dates from the late 1890s to around 1900 and features a young woman dressed in what appears to be a nurse’s uniform—complete with puffed-leg-of-mutton sleeves, white apron, upright collar, and traditional cap. She stands confidently with a closed book in her hand, suggesting she may have been a nursing student or early-career nurse. The backdrop is characteristic of Chicago studio work from the turn of the century: softly atmospheric with an artfully staged setting and a patterned table drape at the viewer’s left. The photograph was produced by the Scott studio. Scott’s studio was located in the Champlain Building in Chicago, Illinois. This image is a compelling example of turn-of-the-century occupational portraiture. Based on the mount style, typography, fashion (leg-of-mutton sleeves peaked ~1895–1899), and the known period of Scott’s Chicago imprint, this cabinet card dates to: circa 1895–1900. (SOLD)

This vintage real photo postcard features Miss Lily Gullick, an Edwardian stage performer, posed in theatrical costume with an elaborate hat, large bow, decorative sleeves, and a soft, engaging expression. The portrait has the classic look of an early 1900s British actress postcard: dramatic costume, studio lighting, and a printed performer’s name at the bottom. The image is numbered F.H.L. 3477 and the reverse shows the red Hartmann trade mark, which identifies it as a card published by Frederick Hartmann of London. The firm was a major British postcard publisher active mainly from about 1902 to 1909. Hartmann is especially associated with early divided-back postcards and issued many theatrical, glamour, view, and real-photo-style cards. Lily Gullick appears to have been a British musical-theatre and pantomime performer rather than a major international star. Reliable references place her in Edwardian theatrical productions, including J. Bannister Howard’s touring pantomime Aladdin, produced at the Crystal Palace Theatre in 1906.  She played the role of the Princess. A contemporary review quoted in a theatre-history source says that, as the Princess, Lily Gullick “sings and dances well.” She is also listed in a University of Kent theatre collection among photographic postcards of performers connected with Aladdin. The reverse is postally used and addressed to someone residing in Cardiff, the capital of Wales. The stamp is a green Great Britain halfpenny postage and revenue stamp showing King Edward VII. The postmark is dated 1906. Interestingly, the writer of the postcard apparently knew Lily, or at least, her family. After thanking the postcard recipient for a “pretty postcard”, the writer states that “this is one of those Gullicks daughters”.  The condition of this postcard is good for its age. It has normal signs of handling and postal use. The image side has decent contrast and some light surface and edge and corner wear. The reverse shows postal handling, ink writing, and postmarking.  

This vintage Postcard is available for purchase at my store, The History Peddler, for $16.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/236823620387

This striking uncommon Edwardian real photo postcard captures the celebrated Dare sisters, Phyllis Dare and Zena Dare, posed in an elegant and carefully composed studio portrait. The sisters are dressed in refined high-waisted gowns with delicate embroidered detailing, lacework, and flowing fabrics that reflect the fashionable transitional style of the period just before the First World War. Their voluminous coiffed hairstyles, softly framing their faces in broad waves, immediately evoke the sophistication and romantic femininity associated with the Edwardian stage. The composition presents an appealing contrast between the two sisters, with one standing gracefully behind a carved chair while the other sits in a relaxed but poised manner, creating a natural sense of intimacy and companionship. The seated sister lightly holds a very small  Chihuahua-like dog. I is possible that the dog may be a figurine. That is for you to determine. Both women gaze directly toward the camera with calm, confident expressions, conveying the composed self-assurance expected of leading theatrical personalities of their era. The softly diffused lighting and muted background lend the image a dreamy, almost painterly quality, allowing the intricate textures of the gowns and the sisters’ expressive faces to become the visual focus. The Dare sisters were among the best-known stage performers of the Edwardian musical comedy era in England. Born into a theatrical family, the sisters rose to fame while still quite young and became closely associated with the glittering world of London’s West End theatre during the early 1900s. Zena, the elder sister, achieved considerable success first and was admired for her beauty, elegance, and accomplished performances in musical comedies produced by impresarios such as George Edwardes. Phyllis followed in her sister’s footsteps and quickly became an even greater sensation, charming audiences with her youthful energy, lively personality, and fashionable stage presence. Both women frequently appeared in lavish productions that blended comedy, music, and elaborate costumes, helping define the theatrical style of the Edwardian period. Their fame extended well beyond the stage, and their portraits appeared widely on postcards, in magazines, and in theatrical advertising, making them recognizable celebrities of their day. Offstage, the sisters were often written about in the popular press, where their glamour and social lives attracted public fascination. Although tastes in entertainment changed after the First World War, both Zena and Phyllis Dare remain remembered as iconic figures of Britain’s golden age of musical theatre. This postcard was published by Rotary Photo (no.11591D). The sisters photo was taken by the Foulsham & Banfield studio (UK). Interestingly, the writer of this postcard states in her message “Hope Photo will be a success”. This illustrates the attraction people had to these theatrical photo postcards. This postcard was postmarked in 1909. The card is in overall good condition for its age. The card has some surface, corner and edge wear. The photograph has good contrast and clarity. (See Scans).

This vintage Postcard is available for purchase at my store, The History Peddler, for $18.00 at auction

Interested collectors may view the listing here:

https://www.ebay.com/itm/236815338989

This vintage real photo postcard captures Amélie Diéterle (1871-1941), a luminary of the Belle Époque, in a pose that epitomizes the era’s blend of elegance and daring. Photographed by the esteemed Parisian studio Reutlinger and published by the Société Industrielle de Photographie (S.I.P.), the image showcases Diéterle in attire that was considered provocative for the time. Her ensemble, possibly a stage costume, features delicate fabrics and ornate embellishments that accentuate her figure, reflecting the period’s fascination with theatrical glamour and sensuality. Diéterle’s expression is both confident and inviting, with a subtle smile and eyes that engage the viewer, conveying the charm that made her a favorite among audiences and artists alike. Her coiffed hair and poised demeanor further emphasize her status as a fashion and cultural icon of early 20th-century France. Born in Strasbourg, France, Amélie Diéterle rose to prominence as an actress and singer, becoming a central figure in Parisian theater. Her performances at the Théâtre des Variétés and collaborations with notable composers and playwrights solidified her reputation. Beyond the stage, she inspired renowned artists such as Auguste Renoir and Henri de Toulouse-Lautrec, who immortalized her in their works. Diéterle’s influence extended into the realm of early cinema, with appearances in several silent films during the 1900s and 1910s. SOLD