THE CABINET CARD GALLERY

This charming vintage photograph, measuring 6 x 4.25 inches, captures a young girl in the early 20th century, posed confidently with one hand resting on a carved-back wooden chair. Her stance, with one leg raised onto the chair’s rung, gives the image a spirited and slightly playful energy—suggesting a child comfortable in front of the camera. Her expression is calm and composed, with the faintest trace of a smile playing at the corners of her lips, giving her a sense of self-possession that is rare in children’s portraiture of the period.She wears a delightful checked dress with a high, ruffled collar and full sleeves gathered at the wrists. The dress is decorated with bands of detailed horizontal pleating and lacework near the hem, a popular style for girls in the Edwardian era. Her long hair, parted down the middle and styled into loose waves, is adorned with two large white hair bows—adding a delicate and feminine touch. She wears dark stockings and ankle-high leather button-up boots, typical of children’s fashion of the 1900s. The photograph was taken by George J. Vreeland, a professional photographer based in Enid, Oklahoma, whose elegant studio mark appears in the lower right corner of the original mount. George J. Vreeland was part of a photographic lineage—his mother, Rosa Vreeland, was a pioneering woman in the field of photography. Her career spanned over three decades during the late 19th and early 20th centuries. She began her photographic journey in 1881 in McPherson, Kansas, establishing herself as a skilled artisan photographer and entrepreneurial studio owner. Throughout her career, she operated studios in various locations, including Salina, Hutchinson, and Marion in Kansas, as well as Colorado Springs, Colorado. Around 1901, she relocated to Alva, Oklahoma, where she continued her photographic work under the Vreeland Studio name. Rosa operated her own studio during a time when few women worked in this profession and earned a reputation for her technical skill and artistry behind the camera. She undoubtedly influenced her son’s work, and her legacy lives on in portraits such as this—well-composed, gently lit, and full of personality. The mount itself is beautifully decorated with pressed, embossed scrollwork framing the photograph, further emphasizing the image’s refined presentation.  SOLD

This captivating cabinet card features a young girl captured in the Huntington, New York studio of Frederick H. Lockwood, a renowned local photographer of the late 19th and early 20th centuries. The girl in the photograph exudes an air of refined innocence and quiet sophistication. Her long, wavy hair cascades over her shoulders, meticulously styled to reflect the beauty standards of the Victorian era. She wears an elaborately detailed coat, finely tailored with textured fabric, which adds depth to her overall appearance. A large, dramatic hat adorned with an extravagant plume sits proudly atop her head. Her gloves, tightly clasped in her hands, and the patterned fabric draped over her lap suggest a sense of composure and decorum. The girl’s expression is serene, almost wistful, her gaze turned slightly to the side as though she’s lost in thought or caught in a fleeting moment of daydreaming. Her subtle smile and delicate jewelry, including modest earrings, reflect a reserved yet genteel personality—perhaps a young lady of a well-to-do family. This photograph originates from the studio of Frederick Lockwood in Huntington, New York. SOLD

This vintage real photo postcard features a pretty little Little Red Riding Hood holding a picnic basket and walking through the woods. She is clutching a bouquet of flowers and gives the appearance of someone on a mission. 
Little Red Riding Hood is a European fariy tale about a young girl and a sly wolf. Its origins can be traced back to several pre-17th-century European folk tales. This
postcard has a German postage stamp. SOLD

This warm and touching cabinet card portrait captures an elderly woman in a peaceful and dignified pose. The sitter, identified by the handwritten inscription on the reverse as Mrs. M.E. Edwards, sits in a carved Victorian chair, hands gently at work knitting. A ball of yarn rests in her lap, with knitting needles in her hands—a charming detail that brings personality and depth to this late 19th-century image. Her serene expression and calm gaze suggest kindness and wisdom, and her faint smile exudes gentle grace. Dressed in a dark, modest dress with a fine lace shawl and a brooch at her collar, Mrs. Edwards embodies the archetype of a matriarch from the 1800s. Her hair is neatly parted and pinned back in a simple, traditional style appropriate for the time. The setting is unembellished, allowing her character and activity to take center stage. According to the beautifully designed reverse of the card, this photograph was taken by Taylor & Preston, accomplished portrait photographers based at 188 Essex Street, Salem, Massachusetts. Their studio’s backmark boasts a richly detailed red illustration featuring photographic equipment, emphasizing their artistry and skill. The handwritten note on the back reads: “Taken Nov. 14, 1890 – Age 86 years – Mrs. M.E. Edwards”. Here is some information about the photographers of this cabinet card. George P. Taylor was at the Salem address that this photo was taken from 1866 through 1899. Taylor was born in 1836. He was educated in Salem schools and at the age of 17, he shipped on the White Swallow, to the Pacific.  Upon his return he was employed at D. W. Bowdoin’s photography studio.  From 1857 until 1859, he had a traveling photo studio and practiced throughout Massachusetts.  During the Civil War he had a studio in Alexandria, Virginia.  In about 1867, he partnered with Charles Preston and bought out the studio of William Snell. They established the firm of Taylor and Preston. Taylor ran the business. He retired in 1906 and died in 1911. Little information could be found about Preston. Some of the pair’s photographs are part of the historical collection at Salem State University archives. (SOLD)

The thirteen young women featured in this vintage photograph are members of a women’s lacrosse team. The women are in their uniforms and holding their wooden lacrosse sticks. The woman in the top row, with a white blouse, is likely the team’s coach. Note the woman in the center of the second row is hodling a championship cup. This team obviously had a successful season. This post-cabinet card era photograph measures about 5 5/8 x 4 inches. SOLD 

This is an original tintype photograph (also known as a ferrotype) dating from approximately the 1860s to early 1870s, during the height of the tintype’s popularity. The tintype process, patented in 1856, used a thin sheet of iron coated with a dark lacquer or enamel as the photographic base. These durable images became the most widely produced photographs of the Civil War era—affordable, portable, and able to be made in minutes. This particular image depicts a young woman seated in a studio, posed with quiet dignity and self-assurance. Her direct gaze and composed expression suggest a sense of poise and intelligence. She wears a striking plaid dress featuring a fitted bodice trimmed with decorative ribbon work across the chest and at the cuffs. The high neckline is fastened with a small brooch, and her earrings and bracelet complete the modest but elegant appearance. Her neatly styled dark hair is parted at the center and smoothed into a braided or pinned-back arrangement, typical of mid-19th-century fashion. The patterned plaid dress was a fashionable choice during the 1860s, as bold textiles and geometric patterns became more accessible through industrial textile production. Her pose—with one hand resting lightly on her lap and the other on a support—was common for portrait photography of the period, as longer exposure times required the subject to remain perfectly still. The photograph retains fine contrast and clarity, allowing close study of facial details and clothing texture. The background is simple and unadorned, focusing attention entirely on the sitter. The reverse is plain black metal, as is characteristic of tintypes. There is no photographer’s imprint, which was typical, as tintypes were often produced quickly in itinerant studios or fairs. This tintype dates back to circa 1865 to 1870. The image is in very good antique condition with expected surface scuffs and minor edge wear. The top corners are slightly clipped, Overall, the tintype remains well-preserved with a strong, well-defined image. Tintypes were particularly popular among Civil War soldiers and families, as they could be easily mailed or carried without fear of breakage. By the late 1870s, the process declined in professional studios but continued at fairs and carnivals well into the 1890s. SOLD

Mademoiselle Sophie Croizette (1847–1901) was one of the most celebrated French actresses of the late 19th century. A luminous talent on the Parisian stage, Croizette rose to fame in the 1860s and 1870s, particularly at the Comédie-Française, France’s most prestigious theater institution. Known for her intelligence, poise, and expressive acting, she became a central figure in French theater, praised for her roles in both classical tragedies and modern comedies. Born in Saint-Pétersbourg to French parents, Sophie returned to France as a child and studied acting at the Paris Conservatoire. Her rise was meteoric, joining the Comédie-Française in 1863 and quickly becoming one of its “sociétaires,” a rare honor reserved for its most talented performers. She was known not only for her stage skill but also for her beauty and fashionable presence, which made her a favorite of the Parisian press and society. Her close association with notable literary and theatrical figures of the day, such as Alexandre Dumas, only enhanced her reputation. Croizette’s career was curtailed when she retired from the stage in the early 1880s, after which she largely withdrew from public life. She remains an emblematic figure of the Belle Époque and a symbol of feminine elegance and artistic power during the golden age of French theater. This elegant cabinet card features Mlle Croizette in a classic studio portrait, taken by the noted Parisian photographer Alphonse Liébert. The image shows Croizette in a three-quarter view, gazing thoughtfully downward, her expression serene and introspective. Her coiffure is arranged in soft curls, pinned high in the fashion of the time. She wears an ornate lace-trimmed gown, delicately embroidered with floral motifs, paired with a dark velvet choker adorned with a star-shaped pendant. The soft lighting and oval vignette framing give the image a dreamy, almost ethereal quality—perfectly suited to her reputation as one of France’s great stage beauties .Alphonse Liébert (1827–1913) was a pioneer of 19th-century French photography and an important chronicler of his time. Originally trained as a naval officer, Liébert transitioned into photography in the 1850s and went on to establish a prominent studio in Paris. He became known for his portraits of artists, actors, writers, and society figures, many of whom were central to the cultural blossoming of the Second Empire and Belle Époque periods. Liébert’s work stood out for its clarity, elegance, and psychological insight—qualities that helped cement his reputation among the artistic elite. His studio was frequently commissioned to produce cabinet cards and cartes de visite for theatrical performers, and his portraits often appeared in illustrated theatrical journals of the time. Pasted on the reverse of this photograph are antique press clippings about Mlle.Croizette. This cabinet card portrait is hand dated 1876. SOLD

This arcade card features American baseball player, Sam Jethroe (1917-2001). Sam was from Mississippi. He began his career in 1938 in the Negro American League. He was a centerfielder. He played in the league through the 1948 season. He played on the Indianapolis ABC’s, the Cincinnati-Cleveland Buckeyes, and the Cleveland Buckeyes. He batted above a .300 average in six of his eight seasons in the league. In 1950, he joined the Major Leagues and played with the Boston Braves through the 1952 season. In his first two seasons, he batted .273 and .280. He hit 18 homeruns each of those years. In 1950, he was the National League Rookie of the Year. He was the oldest player ever to earn that title. This Arcade card was made in the USA. The photo shows Jethroe dressed in his Boston Braves uniform. The card has Jethroe’s faux autograph on it’s front and measures about 3.25 x 5.25 inches. SOLD

This vintage real photo postcard features a pretty young woman in an enticing pose. She has her index finger over her lips and her wide eyes signal that she is being secretive. In addition, her dress is low cut. It could be argued, that this woman is presenting herself in a seductive manner. At least in terms of the times that this postcard was issued. Provocative postcards sold well. The writer of the message on this postcard, certainly found the card titillating. On the front of the card he penned, “How is this for a beauty” and “look and weep”. On the reverse of the postcard he wrote “But please don’t be so sarcastic. It hurts me”. The writer signed the card “Little Me”. It is interesting that this postcard is addressed to a single woman. Seems inappropriate for the times. The addressee is located in Penzance, England. The card was postmarked in 1903 and has a British stamp. This postcard was published by Raphael Tuck as part of a six card series, “Types of Beauty” (No.5032). (SOLD)

Offered here is a striking modern French photographic postcard featuring a bold and evocative glamour portrait of a young woman posed against a textured brick wall. The model is captured in a confident, natural stance, her arms raised above her head, creating a strong sculptural line that emphasizes both form and attitude. She wears a loosely tied top and denim jeans, with a bandana at the wrist—styling that evokes a casual, late 20th-century aesthetic while retaining a distinctly European artistic sensibility. The photograph blends elements of fashion, portraiture, and artistic nude imagery. The reverse of the postcard identifies this as part of the “French Collection” with photography credited to Chris Nikolson, and printed in France. These cards were produced in the late 20th century, often the 1980s–1990s period, and are known for their artistic, sometimes provocative photographic studies. Unlike earlier real photo postcards, these were commercially printed photographic reproductions, typically appealing to collectors of modern photographic art and European glamour imagery. The card is postally used, bearing a French Marianne stamp with the slogan “Liberté, Égalité, Fraternité.” The handwritten message is in French.  (SOLD)