A distinguished looking older man with a white eard and mustache poses for his portrait at the Fenwick studio in Bloomington, Illinois. The man is dressed in his finest clothing for his day at the photographer but it seems he had no time to see a barber to tame his beard and longish hair. The photographer of this image is Richard Fenwick. He was born in England in 1845. He appears in the U.S. Census in 1870. He was living in a Bloomington boarding house and working as a laborer. The 1880 census finds Mr Fenwick (age 35) married to Alida Fenwick (age 30). The couple was married in 1875 and were living with their two children. Richard Fenwick had a 1 year-old daughter (Adda) and a 9 year-old step son (Rush Downey). Fenwick was working as a photographer. The 1900 census reveals that Fenwick still worked as a photographer and his step son, Rush, filled the manager role in the photography studio. Research reveals that between 1866 and 1875, Fenwick was associated with the Cook and Fenwick studio. This cabinet card is in good condition (see scans).
This Cabinet Card is available for purchase at my store, The History Peddler, for $22.00 or best offer
These three vintage real photo postcards feature actress Xenia Desni (1894-1962). She is seen in the first postcard, snuggling with a large teddy bear. Miss Desni is beautiful and this photograph is a bit risque for it’s era. She has pretty eyes and a wonderful smile. Miss Desni was born in the Russian Empire and she and her family fled the Russian Revolution to Constantinople, which was in the Ottoman Empire. She began acting and dancing in vaudeville there and than moved to Berlin where she became involved in films. She began her career by appearing in the movie “Sappho” (1921). This was followed by a number of other film successes. The IMDb credits her with 33 acting roles between 1921 and 1940. She is most identified with “Leap Into Life” (1924), “Der rosa Diamant” (1926) and “The Tower of Silence” (1925). The introduction of sound movies, (she only appeared in one) led to the death of her career. Xenia Desni was the mother of Tamara Desni, a star of British films in the 1930’s and 1940’s. The Cabinet Card Gallery has a photograph of Tamara Desni (1913-2008) which can be seen by placing her name in this blog’s search box. The photographer of this portrait is the Willinger studio which was located in Vienna. Laszlo Josef Willinger (1909=1989) was a Jewish-German photographer known for his portrait photography of movie stars and celebrities. This area of concentration began in 1937. His mother, Margaret Willinger was also a photographer. Her work included photographs of theatrical stars. Laszlo Willinger established studios in Paris (1929) and Berlin (1931). At the age of 23, he left Berlin (1933) with the rise of Adolf Hitler and relocated to Vienna, Austria. He began photographing celebrities including Hedy Lamarr, Josephine Baker, Marlene Dietrich, Sigmund Freud, and Carl Jung. Willinger was invited by studio photographer, Eugene Robert Richee to move to the United States and in 1937, he settled in Los Angeles, California. He then opened a photo studio in Hollywood and sold many of his photographs to magazines and other periodicals. He produced many magazine covers of popular stars. Among the stars he photographed were Clark Gable, Joan Crawford and Fred Astaire. Interestingly, toward the end of his career, he was accused of stalking some celebrities, including Charlie Chaplin. This postcard was published by Ross Verlag of Berlin, Germany and is part of a series (no. 1661/1). SOLD
The second postcard highlights Miss Desnis’ beauty. Her dress’s “plunging” neckline makes this postcard a bit risque for it’s time. In fact, her clothing looks a lot like sleepwear. This photo portrait of Xenia Desni was taken by photographer A. Eberth of Berlin, Germany. In her Berlin studio, German photographer Anny Eberth photographed aristocratic ladies and elegant fashion models, but also film actors and expressionist dancers. During the 1910s and 1920s, she published her photos in major German magazines. Her photos were also used for film star postcards. The postcard was published by Ross Verlag and is part of a series (no. 571/1). SOLD
The third postcard features a photo portrait of Xenia Desni taken by photographer A. Eberth of Berlin, Germany. In her Berlin studio, German photographer Anny Eberth photographed aristocratic ladies and elegant fashion models, and also film actors and expressionist dancers. During the 1910s and 1920s, she published her photos in major German magazines. Her photos were also used for film star postcards. This postcard was published by Ross Verlag of Berlin, Germany and is part of a series (no. 571/2). (SOLD)
This charming Victorian cabinet card photograph shows two children posed in a theatrical studio scene, almost certainly intended to evoke the nursery rhyme “Jack and Jill went up the hill to fetch a pail of water.” The young girl and boy stand on either side of a metal pail, each holding the handle, with a painted woodland backdrop behind them. Their costuming adds to the theatrical quality of the image: the girl wears a light dress with a decorated hat, while the boy wears a belted outfit, high socks, and a brimmed hat. The composition has wonderful storybook appeal. The photograph was produced by C. W. Smartt who operated studios in Leamington and Stratford on Avon (United Kingdom). The cabinet card is in good antique condition overall, with typical age-related wear. The photograph has light fading and spotting. The reverse has general age toning and surface wear. The photographer’s backmark remains attractive and legible (see scans).
This Cabinet Card is available for purchase at my store, The History Peddler, for $32.00 at auction.
Camille Clifford (1885–1971) was a Belgian-born stage actress and fashion icon best known as the quintessential “Gibson Girl”, a feminine ideal created by American illustrator Charles Dana Gibson. Born in Antwerp, Belgium, she was raised in Sweden and later in Boston, Massachusetts. In 1902, she entered and won a contest sponsored by Gibson seeking the perfect embodiment of his Gibson Girl drawings, which rocketed her to fame. Clifford’s signature look — an hourglass figure, piled-high coiffure, and aristocratic bearing — made her an immediate sensation in Edwardian society. She soon transitioned to the London stage, where her statuesque beauty often overshadowed her acting roles. Her most famous performance was in the musical comedy The Catch of the Season (1904), where she appeared as the aristocratic Lady Crystal. In 1906, Clifford married the Hon. Henry Lyndhurst Bruce, son of the 2nd Baron Aberdare, and largely retired from the stage after marriage, though she made occasional returns in the 1910s and 1920s. After her husband’s death in World War I, she lived a quieter life but remained a symbol of Edwardian elegance. This is a striking Rotary Photographic Series real photo postcard featuring Miss Clifford, serial number (4180 H). It was published by Rotary Photo, one of the most prolific and respected postcard publishers in early 20th-century Britain. This striking real photo postcard portrays Camille Clifford, captured in one of the most graceful and refined portraits of the Edwardian era. This image, photographed by Foulsham & Banfield, presents Clifford in half-profile, gazing slightly upward with a soft, distant expression that conveys both poise and introspection. Her face is gently illuminated, the lighting accentuating her smooth complexion, delicate features, and the serene confidence that made her one of the most admired beauties of her time. Her hair, styled in the towering pompadour fashion that was so characteristic of the early 1900s, is crowned by an extravagant hat of remarkable size and texture. The hat is elaborately adorned with feathery plumes or straw embellishments that give it a light, almost cloud-like appearance. It sits dramatically atop her voluminous hairstyle, creating a sense of height and elegance that immediately draws the eye upward. Clifford’s dress is exquisitely detailed, made of a light, translucent fabric patterned with delicateblossoms. The floral design softens the overall composition, contrasting beautifully with the structural drama of her hat. The high collar, trimmed in a narrow dark band, elongates her neck and adds to the formality of her pose. The sheen of the fabric suggests silk or organza. Her shoulders are turned slightly away from the camera, allowing the folds of the dress to catch the light in subtle, graceful ways. The expression on her face is one of quiet thoughtfulness — a look that suggests reverie more than performance. Her lips are softly closed, and her eyes, directed slightly above the viewer’s gaze, convey a sense of calm aspiration. (SOLD)
This attractive Edwardian theatrical postcard (postmarked 1908) features Miss Daisy Thimm, a British stage actress active during the early years of the twentieth century. Thimm belonged to the world of Edwardian stage performers whose portraits were issued on postcards and cigarette cards for admirers of the theatre. Her image appeared in the W.D. & H.O. Wills cigarette-card series of actresses, and Raphael Tuck also issued a postcard series devoted to her, placing her firmly within the popular postcard culture of the early 1900s. Daisy Thimm’s biographical information is difficult to find. However, there is enough information accessible to confirm that she achieved real professional visibility in the British theatre and was not merely an anonymous chorus performer. Thimm was associated with notable stage roles including Christina in Ib and Little Christina, Ermengarde in The Little Princess, and Leonie in There’s Many a Slip. She also appeared in connection with productions such as Sweet Lavender and Memory’s Garden, and worked in the theatrical world of the West End and the British provincial circuits. Contemporary theatrical notices suggest that she was a capable and appealing performer, praised for the charm and vivacity she brought to her roles. Miss Thimm is pretty and well dressed in this postcard photograph. She is flashing a pretty smile. The card was published by Hartmann as part of a series (1674). This original vintage postcard is in fair to good antique condition and is priced accordingly. The postcard has age-appropriate wear visible on both the front and reverse. The front image of Daisy Thimm remains attractive and clear, with good contrast and strong overall visual appeal. There is noticeable surface wear and discoloration along the lower portion of the image especially near the printed name and series number, where there appears to be staining. The edges and corners show typical handling wear. The card has been postally used, with a one-penny green British stamp and a clear circular postmark (see scans).
This vintage Postcard is available for purchase at my store, The History Peddler, for $9.85 or best offer.
This vintage real photo postcard captures a “chorus line” of little girls during dance class. Perhaps they are performing in a recital. These costumed dance students are simply adorable. This photograph was taken by R. S. Parker. He operated a studio in Manchester, England. Some of his photographs are held by England’s National Archives, as well as by the Manchester Archives. During my research, I was able to find three of his photographs online. All the images were taken in schools. Perhaps, Parker’s niche was school photography. SOLD
This vintage lithographic postcard features the Hotel Taft located in New York City. The hotel is 22 stories high and is located on Seventh Avenue between 50th and 51st stree. It is a bit north of Times Square in Midtown, Manhattan. Manger Hotels originally built a 20 story 1,250 room hotel on the site. The Hotel Manger opened in 1926. The hotel was connected to the popular Roxy Theater. Manger Hotels sold the hotel in 1931 to Bing & Bing which named the hotel, Hotel Taft (honoring President William Howard Taft). One of the famous parts of the hotel was the “Taft Grill”.The restaurant was known for its Big Band performances by the best in the business. The dining established also hosted a number of radio shows. In 1957, the Hotel Taft was sold. The hotel was sold a number of times and it looked shabby compared to many of it’s recently remodeled neighbors. Foreclosure occurred in 1975. The building underwent a mixed use conversion beginning 1984. In fact, T G I Fridays took over the Roxy Theater space. In 1990 the hotel space in the building became the Parc Fifty one Hotel after gaining a new owner. Just two years later, Star Hotels bought the hotel and renamed “The Michelangelo”. This vintage multi-view card includes a photograph of Hotel Taft’s grill room, lobby, tap room, and coffee shop. (SOLD)
A very good looking man is the subject of this portrait from the Hile studio in Greensburg, Pennsylvania. This gentleman is perfectly coiffed and ready for a photo shoot with “Gentleman’s Quarterly”. Note his pretty and sizable bow tie and the gold chain of his watch visible at the bottom of the image. I wonder if this photograph is a wedding portrait? The photographer of this image, William Hile (1838-1922) operated his studio out of his home at 114 East Pittsburgh Street. His daughter Lilli was also a photographer at the studio. William Hile was married to Lucinda Reamer Hile (1841-1918) and the couple had four children. Today’s Greensburg is part of the Pittsburgh metropolitan area. During the cabinet card era, Greensburg was a railroad stop and a vibrant center of the local mining industry. William Hile is buried at the St. Clair Cemetery in Greensburg (view his grave marker below)
This Cabinet Card is available for purchase at my store, The History Peddler, for $45.00 or best offer.
Vesta Tilly (1858-1952) was one of the most beloved and influential performers of the British music hall era. She was a groundbreaking male impersonator who captivated audiences for decades with her wit, charm, and powerful stage presence. Born into modest beginnings, she rose to become a symbol of British patriotism and a pioneer for women on the stage. Tilly was born in Worcester, England. She was the second of thirteen children born to Henry Powles, a self-employed musician and fiddler, and Matilda Powles. Her father, deeply involved in local musical performances, recognized Matilda’s precocious talent at an early age and began showcasing her on stage by the time she was just three years old. The Powles family moved to London when Matilda was a child, in pursuit of more lucrative theatrical opportunities. With her father acting as her manager, she began performing under the stage name “Little Tilly” in pantomimes and variety shows. Matilda’s first male impersonation was at the tender age of six. By her teenage years, she had taken the stage name Vesta Tilly, inspired by the Roman goddess of the hearth (Vesta) and a common nickname (Tilly). Her success as a “principal boy” in pantomime was soon eclipsed by her signature act: portraying men with startling authenticity and satirical flair. What set Tilly apart was her command of the stage and her uncanny ability to adopt male gestures, mannerisms, and vocal inflections. She didn’t just mimic men—she portrayed them with intelligence, humor, and often, social critique. She frequently played dapper young men, military officers, or swells (wealthy young men), sometimes poking fun at political figures or addressing social issues. She became one of the most highly paid and respected performers in the British music hall scene during the late Victorian and Edwardian periods. Her stage appearances were soconvincing that many audience members did not initially realize she was a woman. Vesta Tilly’s career spanned over four decades, and she performed in countless popular songs and sketches. Some of her most iconic performances included: “Following in Father’s Footsteps”, “Burlington Berlie”, and “The Boy in the Gallery”. She was particularly popular among working-class audiences and soldiers. During World War I, Tilly took on a new patriotic role, performing in uniform to recruit young men to the military. She was so effective that she earned the nickname “England’s Greatest Recruiting Sergeant.” In 1890, Vesta Tilly married Walter de Frece, a theatrical impresario and songwriter. Their relationship was both romantic and professional—Walter became her manager and guided much of her career. He was instrumental in helping shape her brand and ensuring her continued success on the music hall circuit. After World War I, Walter was knighted and later became a Member of Parliament. This new political role brought Vesta into a more socially prominent world, and she gradually withdrew from the stage. Vesta Tilly gave her final performance in 1920 at the London Coliseum. Her retirement was widely publicized and emotional for her devoted fan base. After stepping away from the stage, she became Lady de Frece, supporting her husband’s political ambitions and engaging in charity work. The couple eventually moved to Monte Carlo, where they lived a quieter life. Walter de Frece died in 1935, and Vesta lived on until 1952.
Postcard 1 was published by Rotary Photo as part of a series (No.2007A). (SOLD)
Postcard 2captures Tilley in one of her male impersonator roles.
Postcard 3: This elegant real photo postcard of Miss Tilley was published by the Davidson Bros. (London) as part of the Real Photographic Series, Series 2206. Tilley is pictured in a half-length studio portrait against a dark backdrop. She wears an opulent Edwardian ensemble—an intricately beaded lace bodice with floral appliqué and pendant trims, a light fur cape dotted with decorative medallions and dark feather tips, pearl earrings, and layered pearl choker and necklace with a pendant drop. Her hair is swept up in a high pompadour adorned with a jeweled aigrette/ornament. Her expression is poised and self-possessed, with a direct gaze and slight, confident smile—classic for her celebrated stage persona. (SOLD)
This is a beautiful hand-tinted French theatrical postcard featuring Miss Connerly, identified by name in the image at the upper right. She is shown in an elaborate Belle Époque costume, wearing a large lace-trimmed hat with a prominent bow, curled hair, and a soft, theatrical expression. The pink and blue hand-coloring on her costume adds greatly to the charm of the card and gives it much decorative appeal. The photographer of this image was Sazerac who operated a studio in Paris. More specifically, the studio was located at the “Hotel Prive” in Paris. Sazerac is associated with French performer and showgirl postcards of the early 1900s, including portraits of actresses and music-hall women. Note the star publishing mark (Etoile) used by G. Piprot , a publisher strongly associated with Belle Époque theatrical postcards. The reverse identifies this card as Série N. 866 — Th. 118. The card was mailed in France and is addressed to Rouen, capital of Normandy. The message reads “Bonne année à tous,” which translates as “Happy New Year to everyone.” The stamp is a French green 5 centimes stamp, consistent with early 20th-century French postal use. This antique postcard shows expected age and handling wear. The front has light soiling and mild corner wear. The hand-coloring remains attractive, especially the pink tones in the hat and dress and the blue accent along the costume. The reverse shows postal use, handwriting, a French stamp and postmark, and blacked-out areas in the address section. Overall, this is a visually appealing Belle Époque actress postcard with strong Paris theatrical-publishing interest. See Scans.
This vintage Postcard is available for purchase at my store, The History Peddler, for $22.00 or best offer.
THE CABINET CARD GALLERY 