THE CABINET CARD GALLERY

This vintage scallop edged real photo postcard features a grandfather posing with his grandaughter. He is elegant and handsome. She is cute and has a wonderful smile. The pair were photographed at a studio in Halberstadt, Germany. An inscription on the reverse of the card states that the photograph was taken in 1920. SOLD

This cabinet card portrait features an adorable little girl. She is posing next to a chair with an open newspaper on top of it. The child is fashionably dressed. Her photograph was taken by the Selle & Kuntze studio located in Potsdam, Germany. The pair operated a second studio in Spandau. In 1870, Gustav Adolf Selle (1854-1902) and Julius Adolph Paul Kuntze (1848-1905) partnered in founding a photographic studio in Potsdam, Germany. After the death of Kuntze, his daughter, Elsbeth Marianna Kuntze (1879-1913) succeeded him in the business. She married photographer, Karl Friedrich Wilhelm Niederastroth (1874-1927) and together, they operated the portrait studio.  SOLD

This vintage real photo postcard, taken in 1924 by the Parisian photographer Louis of 29 Boulevard Saint-Martin, Paris, France .Louis captures an intriguing and playful moment between two elegantly dressed women, possibly for a theatrical event, masquerade, or a carnival. The woman on the left wears a soft, floral-patterned dress with delicate puffed sleeves and cascading ruffles along the skirt. A wide-brimmed bonnet with a ribbon frames her gentle face, giving her an air of demure elegance. Her expression is serene and slightly enigmatic, with a hint of amusement in her gaze. She rests one hand on her hip, exuding quiet confidence. Her companion, in stark contrast, is dressed in full masculine attire reminiscent of an 18th-century gentleman. A tailored frock coat with prominent buttons and lace-trimmed cuffs adds a touch of aristocratic flair. A high cravat and dark velvet collar further enhance the historical styling. Perched atop her head is a tall, elegant top hat, completing the androgynous transformation. Her stance is assertive, one foot slightly forward, gloved hand at her side, while her confident smirk suggests a playful and daring personality. Given the fashion and the dramatic contrast in their outfits, it is possible this image was taken during a costume ball, stage performance, or a Parisian carnival event—occasions where cross-dressing and role reversals were celebrated. This would align with the lively and avant-garde spirit of 1920s Paris, a time of artistic and cultural experimentation. This postcard is attractive to collectors due to  several factors, including rarity, condition, subject matter, and demand. Given its theatrical/cross-dressing theme, clear photographic quality, and the Parisian studio mark, it could fetch between $25–$60, with higher prices possible if marketed to niche collectors of LGBTQ+ history, early photography of gender expression, and French theatrical ephemera.  (SOLD)

This tintype photograph features two handsome well dressed men. The standing gentleman is holding a pair of gloves.  Tintypes were popular between 1856 and 1867. Tintypes did not totally disappear for the next few decades but they became a novelty.  SOLD

This late 19th-century cabinet card shows two young men posed in uniform at the Werner studio in Marquette, Michigan. Both men wear dark, high-collared tunics with a visible “S” on the collar, indicating that they are members of The Salvation Army. The two men are posed formally, one standing beside a small studio table and the other seated in a wicker chair. The seated man holds a long rolled or folded document. It could be a certificate, appointment paper, program, or musical/theatrical sheet, but there is not enough visible detail to identify it with certainty. Given the Salvation Army connection, it may possibly relate to an appointment, training, service, or membership document. Their serious expressions, matching collars, and dark uniforms give the photograph a strong religious, fraternal, and social-history character. The embossed photographer’s imprint reads “Werner, Marquette, Michigan.” This photo comes from the studio of Gustav A. Werner, a known Marquette photographer. Werner cabinet cards from Marquette appear in institutional and collector records, including theAmon Carter Museum. The Cabinet Card Gallery blog also has a Werner-related entry noting that Werner was a German-born or German-descended photographer who began operating a photographic studio around 1890, and later moved into the notable Werner Building in Marquette. Marquette, Michigan was an important Upper Peninsula city on Lake Superior, closely tied to the region’s iron-ore economy. This cabinet card likely dates from the 1890s, based on the Werner studio imprint, cabinet card format, clothing, and Salvation Army-style uniforms. (SOLD)

This vintage postcard depicts the College of Law building at the University of Wisconsin, located in Madison, Wisconsin. The building’s architecture is distinctly in the late 19th to early 20th-century style, featuring red brickwork and ivy-covered walls that exude a sense of academic tradition and prestige. The surroundings include lush greenery, well-maintained gardens with colorful flowers, and tree-lined paths that give the setting a serene, idyllic campus atmosphere. The postcard is a white border card, which was typical in the early 20th century, between the years 1915 and 1930. The 1918 postmark on its reverse suggests it was sent during one of the most pivotal years in U.S. history due to the Spanish Flu pandemic, which swept across the country. In that pandemic, the United States lost 675,000 people to the influenza outbreak. The message on the back of the postcard adds a personal, poignant touch, mentioning that the sender, “Cousin Luella,” is unwell and notes that someone named Francis is being isolated because of the flu. This detail reflects the tragic reality of the era, as isolation measures were a common part of controlling the spread of the virus during the pandemic.The lithographic printing method used for this card, typical of the time, gives it vivid, hand-colored tones, highlighting the red brick of the building and the bright greenery.  (SOLD)

This is a striking, risque and highly collectible antique French postcard featuring the stage performer Devannes, identified in the image as appearing at the famed Folies-Bergère in Paris, one of the most celebrated music halls of the Belle Époque era. The photograph is credited at lower right to Waléry, Paris, the studio name associated with the renowned theatrical photographer whose work captured many of the era’s most famous dancers, actresses, and cabaret performers. Devannes is shown in a dramatic and theatrical topless pose, standing en pointe or near-en pointe, her body framed by a large, sheer, floral-patterned veil that she holds extended outward with both arms. The fabric flows in a wide arc around her body, creating a wing-like silhouette. This style of presentation is closely associated with veil dancing, a popular performance form in early 20th-century Parisian revue and cabaret culture, where movement, fabric, and suggestion were combined to create an elegant yet provocative stage effect. The positioning of the veil—held outward and partially enveloping the body—heightens both the sense of motion and the allure of concealment and reveal. She wears an elaborate oversized bow-like headpiece, which further emphasizes the theatrical and stylized nature of the performance. Her expression is confident and engaging, with a slight smile and direct gaze that reflects the poised self-awareness typical of professional stage performers of the period. While not among the most extensively documented stars of the Folies-Bergère, Devannes appears to have been one of the many featured performers who specialized in visually striking dance routines and tableaux. Performers of her type were integral to the success of Parisian revues, which relied on spectacle, costume, and sensual presentation as much as on narrative or song. SOLD

This is a unique portrait of an attractive couple who share a dangerous career. The man and woman are circus acrobats dressed in their performance costumes. The postcard’s stamp box indicates that it dates to sometime between 1918 and 1936.  SOLD