THE CABINET CARD GALLERY

This original cabinet card photograph features a tender portrait of two young siblings—likely sisters—captured in a professional studio setting during the 1890s. The older child stands with composure and curiosity, her expression calm and observant, while resting one hand gently on the baby’s arm. She wears a smocked white dress with full sleeves and a pleated hem, along with white stockings and dark buckle shoes. Her hair is carefully styled with a large ribbon bow. The younger child, likely under one year old, is seated securely in a studio chair draped with an ornate floral fabric. Dressed in a voluminous white gown with a scalloped lace collar, the infant gazes directly at the camera with wide, steady eyes and a serene expression. The careful posing and formal attire reflect the significance of this portrait—likely marking a milestone such as a birth or baptism. The backdrop is typical of the era, with a softly blurred painterly background to keep focus on the subjects. The overall composition and tone evoke warmth and elegance from a bygone era. The photographer’s mark at the bottom mount reads: Abercrombie – Pottstown, PA – Gold Medal 1893, identifying this as the work of the Abercrombie Studio of Pottstown, Pennsylvania. Photos by Henry A. Abercromby can be found in the collections of the Library of Congress and the New York Public Library. Abercromby was born in England in 1850 and died in Pottstown, Pennsylvania in 1906. He was active in Orlando, Florida (1891-1895) and Pottstown (1898-1906). SOLD

Up for auction is a beautiful, highly collectible 1914 hand-colored antique postcard capturing the monumental architecture of the historic Temple Israel Jewish Synagogue in St. Louis, Missouri. The grand Neoclassical structure pictured here was built in 1907 at the corner of Kingshighway and Washington Boulevards. Designed by acclaimed local architect Harvey Ellis, the building was modeled explicitly after the classical Temple of Piety in Rome, defined by its massive, towering Corinthian columns. Founded originally in 1886 by Reform Jewish families, Congregation Temple Israel made this specific structure a landmark of American religious unity. In 1931, Temple Israel joined forces with neighboring St. John’s Methodist and Second Baptist Church to form the famous “Holy Corners Fellowship”, a pioneering interfaith alliance that shared dinners, services, and community work across decades. The vibrant street-level view on this card shows a large, bustling crowd gathered on the steps during the height of its Kingshighway era.  The reverse features a fantastic snapshot of early 20th-century rural Missouri life. Sent from Chesterfield to Lohman, Missouri, the cursive message written by Arthur Hensel to his cousin Benjamin Stroble reads: “Hello Ben how are you we are all well we are done digging potatoes we are shucking corn now and we are done sowing wheat I am going to school I am having a fine time at school playing ball this is all the news I know for this time. From your cousin Arthur Hensel.” The card is completely intact with its original green 1-Cent George Washington postage stamp and a crisp, bold “Chesterfield, MO. 1914 postmark.  SOLD

This exceptionally handsome circa-1880s cabinet card presents a distinguished unidentified gentleman photographed by the celebrated San Francisco photographer Isaiah West Taber (1830–1912). The sharply focused bust portrait is presented in an elegant embossed oval vignette and shows the sitter with neatly groomed hair and a substantial mustache, dressed in a dark three-piece suit with contrasting lapel edging, high white collar, and broad cravat or ascot-style neckcloth. A cravat was a wide piece of formal neckwear, an ancestor of the modern necktie, that could be folded or arranged decoratively at the throat and tucked into the waistcoat; this gentleman has further embellished his with a striking jeweled cravat pin or stickpin, apparently fashioned as a small floral or cross-shaped cluster. The stones have considerable sparkle in the photograph and may have been diamonds or another gemstone, although their material cannot be determined from the image alone. Taber was one of the most important commercial photographers working in late-19th-century California. Born in New Bedford, Massachusetts, in 1830, he went to sea on whaling vessels as a teenager, traveled to California during the Gold Rush in 1850, worked for a time as a miner and farmer, and later studied dentistry before photography became his life’s work. He returned to California in 1864 to work with the prominent San Francisco firm Bradley & Rulofson and established his own Taber Gallery in 1871; his business became especially well known for society portraiture. Taber’s clientele and assignments reflected his considerable reputation: he photographed King Kalākaua of Hawaii, operated one of San Francisco’s premier photographic establishments, and was later selected for major international photographic work. His personal life is also unusually well documented for a 19th-century photographer: he married Annie Slocomb in 1871, and the couple had two daughters, Daisy and Louise; numerous photographs of Taber, his wife, his daughters, and their Oakland home survive today in the Bancroft Library’s Taber Family collection. Taber’s career effectively ended when the 1906 San Francisco earthquake and fire destroyed his studio and enormous archive of glass negatives, a particularly important loss to California photographic history. This photograph dates to circa 1885. SOLD

This sexy advertising postcard was published for Bebe Fashion. The pretty model is wearing a low cut white dress with a red rose floral print. Bebe Stores Inc.is a women’s retail brand that was established in 1976. This postcard was published by Max Racks. SOLD

This striking Belle Époque portrait depicts Geneviève Lantelme (1883–1911), one of the most photographed and fashionable actresses of turn-of-the-century Paris. She developed a successful theatrical career during the first decade of the 20th century. The Bibliothèque nationale de France identifies her as a theatrical actress, the wife of newspaper magnate Alfred Edwards, and records that she died by drowning during a cruise on the Rhine in 1911. Lantelme began appearing on the Paris stage in the early 1900s. Surviving theatrical records place her in Le Secret de Polichinelle at the Théâtre du Gymnase in 1903 and as Suzette in Paris-New York at the Théâtre Réjane in 1907. Her fame increased considerably during the later years of the decade, and she became closely associated with the glamorous world of Belle Époque theater, fashion, and celebrity culture. She was repeatedly photographed by leading Paris studios and appeared in fashionable dress in the illustrated press. The portrait offered here is particularly appealing. Lantelme is shown in a close, softly modeled head-and-shoulders study, wearing an elaborately patterned off-the-shoulder gown, a necklace of large beads, and a decorative hair accessory. Her carefully arranged coiffure, direct gaze, and refined costume reflect the fashionable theatrical portraiture for which the Reutlinger studio became famous. A faint pencil notation along the upper reverse reads “Lantelme.” The Reutlinger studio was one of the major portrait photography establishments in Paris. The photographic business began with Charles Reutlinger in the mid-19th century and continued through Émile and Léopold Reutlinger. The New York Public Library records the studio as operating at 21 Boulevard Montmartre during the 1890s. Under Léopold Reutlinger, the studio became especially successful at photographing actresses, dancers, singers, fashionable women, and other celebrities of the Paris stage. Reutlinger photographs of performers survive today in important museum and archival collections.The Palais Galliera in Paris owns a Reutlinger portrait of Geneviève Lantelme wearing an evening gown by the celebrated couturier Doucet, specifically dated 1909; its reverse also carries a handwritten identification of Lantelme. The photograph of Lantelme presented for sale here, was taken circa 1909.  SOLD

This handsome turn-of-the-century cabinet card presents Miss Cecil Vane, a British stage actress or theatrical performer. Vane is shown in a softly focused bust-length portrait, gazing directly toward the camera with a calm, serious expression. Her hair is arranged in a fashionable upswept style, and she wears a light-colored gown with a puffed sleeve, two delicate necklaces, and a ring on the hand supporting an abundant bouquet of daisy-like flowers and foliage. The portrait has the refined, romantic appearance associated with late-Victorian and early-Edwardian theatrical photography. The large bouquet dominates the lower half of the composition and provides an attractive contrast to Vane’s pale gown and finely modeled face. A faint “PROOF” mark appears within the lower-left portion of the image, indicating that this was a studio proof or sample copy rather than an ordinary retail portrait. Reliable personal information about Cecil Vane remains scarce. However, historical records and theatrical trade publications, including The Era, place her on the British stage during the late 1870s and 1880s, performing in music halls, variety entertainments, and pantomimes alongside other notable performers of the period. Her professionally printed identification and appearance before the prestigious Ellis & Walery studio further suggest that she had sufficient theatrical standing and public recognition to merit a formal publicity portrait. The photograph was produced by Alfred Ellis & Walery. The partnership brought together English theatrical photographer Alfred Ellis and Stanisław Julian Ignacy Ostroróg, who worked under the celebrated professional name Walery. Their Baker Street studio photographed actors, actresses, musicians, writers, royalty, and prominent society figures; the National Portrait Gallery associates the partnership with nearly 100 portraits. Walery was the son of a Polish-born photographer who had established successful studios in Paris and London, while Ellis had operated his own Baker Street studio from 1884. Museum records differ slightly regarding the precise years of their collaboration, but the partnership was active around the turn of the twentieth century and used the Baker street address printed on this mount. The ornate reverse advertises the firm’s “Day and Electric Light Studios,” states that it was established in 1884. Based upon the studio address, mount design, costume, and hairstyle, the portrait likely dates from approximately 1899–1905.  SOLD

This elegant real photo postcard features the beloved English stage actress Phyllis Dare in a delicate, ethereal pose. She is seen wearing a romantic Edwardian ensemble with sheer puffed sleeves and a wide-brimmed hat lavishly adorned with roses and lace. Her long, wavy hair is styled in a thick braid that cascades over her shoulder, giving her a youthful, almost dreamlike appearance. Her gentle, serene expression—gazing softly toward the camera—captures the demure charm and poise that made her a favorite of Edwardian audiences and collectors alike. Printed by Rotary Photo, and numbered 4168 L, this card is captioned “MISS PHYLLIS DARE — ‘THE BELLE OF MAYFAIR,’” referencing her role in the popular 1906 musical comedy of the same name. She was photographed by Foulsham & Banfield, known for their high-quality theatrical postcards. Born in 1890 in London, Phyllis was introduced to the stage at an early age alongside her equally famous sister, Zena Dare. The sisters performed as children and quickly became stars of Edwardian musical comedy. Phyllis gained recognition in shows such as The Belle of Mayfair (1906), The Arcadians (1909), and The Girl in the Train (1910). While Zena later explored film and wartime nursing, Phyllis largely stayed devoted to the theater, where she enjoyed a long, graceful career. Though known for her delicate features and gentle stage presence, Phyllis Dare was a seasoned performer with an understated strength. Off-stage, she lived a quiet life and never married—dedicating herself fully to her craft. This postcard is unused and part of the Rotary Photographic Series, printed in England.  (SOLD)

This beautiful vintage cabinet card portrait features a pretty and elegantly dressed stage actress from the Woodward Stock Company, posed in a three-quarter view with a composed yet engaging expression. Her elaborate upswept hairstyle is adorned with floral decorations and a dramatic plume, reflecting the height of late Victorian/Edwardian theatrical fashion. Printed at the lower margin is: “Compliments of the Woodward Stock Co., New Auditorium” along with “Photo by Matzen, Omaha.” The Woodward Stock Company was likely a resident theatrical troupe operating from the New Auditorium in Omaha, Nebraska, during the early 20th century. Such companies maintained a roster of actors performing a rotating schedule of plays, often distributing high-quality promotional photographs to fans and patrons. The photographer, James Matzen, was a well-known Omaha portrait artist active from the late 1890s into the early 1900s. He frequently partnered with Herman Heyn as Heyn & Matzen, official photographers for the 1899 Greater America Exposition. Matzen’s work, prized for its rich tonal range and refined lighting, appears in both theatrical publicity materials and historically significant portrait series, including Native American studies held in institutional collections. The image is printed on a sepia-toned mount with wide white borders, in very good condition with sharp detail and rich contrast. This is a fine example of regional theatre history and Midwestern photographic artistry. SOLD

This striking early-20th-century photographic postcard presents an elaborate staged scene featuring five young girls, one boy, and a pug-type dog. The children are arranged around what appears to be a cushioned bed or divan in a photographer’s studio, with flowers scattered through the composition and a painted backdrop behind them. The five girls wear beautifully detailed white Edwardian dresses decorated with lace, ruffles and large hair ribbons; several have extraordinarily long hair, adding considerably to the visual appeal of the image. In the center, a stout little pug sits upright on an ornate fringed cushion, wearing an impressive studded collar and harness and looking directly toward one of the girls. At the far right is the only boy in the group. He wears a sailor-inspired outfit, including a striped shirt and broad white sailor collar, and holds a long toy rifle vertically beside him. The juxtaposition of the delicately dressed girls, the heavily harnessed pug and the boy with his rifle gives the scene an almost theatrical or storybook quality. It may have been intended to represent children engaged in make-believe rather than an ordinary family portrait. The card was published as part of a series (no.325). The card was mailed in Belgium. The green stamp is a Belgian 1-centime Coat of Arms issue, a design introduced in 1893; catalog references place this particular Coat of Arms series in the 1893 period. The circular cancellation appears to read LIÈGE, so the card was apparently mailed from Liège, Belgium. This postcard was published sometime circa 1907. SOLD

This charming antique cabinet card photograph features a beautifully posed young girl seated in a carved studio chair. Captured by Myers J. Bucklin of Little Falls, New York, the image exudes turn-of-the-century elegance and innocence. The child gazes directly at the camera with a calm, composed expression. Her long, curly hair flows past her shoulders, topped by an oversized feathered hat adorned with a large bow. She wears a light-colored, eyelet-lace dress, along with a choker, pendant necklace, and a beaded bracelet. Her high-buttoned boots and dainty bouquet of flowers complete the enchanting portrait. The photographer, Myers J. Bullock, operated a well-regarded studio in Little Falls, NY, known for producing high-quality cabinet portraits like this one. The mounted photograph, including the decorative card stock, measures approximately 5 ¾ x 7 ¾ inches, while the actual image area measures about 3 ¾ x 5 ½ inches. The cabinet card is in good condition for its age, with some corner wear and light surface spotting typical of early 20th-century mounting cards. (SOLD)