THE CABINET CARD GALLERY

This dramatic real photo postcard captures a U.S. Army training exercise photographed at Camp Lincoln, Illinois, in September 1908, as identified by the period handwritten inscription at the lower right of the image. The scene shows a group of uniformed soldiers assembled in a tent camp, clearly engaged in what appears to be a staged training or disciplinary drill rather than an actual execution. One soldier lies on the ground at center, theatrically posed with one arm raised, while a semicircle of fellow soldiers aim rifles and sidearms toward him under the supervision of an apparent instructor or officer. The exaggerated posture and casual demeanor of several participants strongly suggest this is a demonstration or mock scenario, likely intended to illustrate proper weapons handling, firing-line discipline, or battlefield procedure. Behind the men are rows of canvas Army tents, arranged in a formal encampment pattern beneath mature trees—typical of National Guard and regular Army training camps of the period. Camp Lincoln was located just west of Springfield, Illinois, near the Sangamon River. Established in the late 19th century, it served as a major Illinois National Guard training ground and was also used by regular Army units. By 1908, Camp Lincoln was actively hosting summer encampments, drills, and weapons training exercises as part of the U.S. military’s post–Spanish-American War modernization.  Camp Lincoln remained in military use through World War I and later became the site of Camp Lincoln Cemetery, now a well-known Illinois veterans’ burial ground. The soldiers appear to be holding U.S. Springfield Model 1903 bolt-action rifles, the standard service rifle of the U.S. Army beginning in 1903. These rifles are identifiable by their long barrels, wood stocks, and military sling hardware. Some soldiers also appear to be holding sidearms, likely Colt revolvers commonly issued during this eraThe presence of Model 1903 rifles aligns perfectly with the 1908 date noted on the card. This postcard has a Cyko stamp box dating the card sometime between 1904 and 1920. This postcard is in overall very good antique condition. The image remains strong with good contrast and clarity. There arwe no creases of tears. There is minor corner and edge wear. The inscription is clear and legible (See Scans).

This vintage postcard is available for purchase at my store, The History Peddler, for $45.00 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336411285260

This vintage real photo postcard features American singer, dancer, and comic performer, Fanny Fields (1880-1961), who was a successful performer in British music halls and pantomimes in the early 1900s. During her career she was frequently billed as “Happy” Fanny Fields. She was born, Fanny Furman, in New York City, to a Jewish family. She first appeared in variety shows in NYC sometime around 1899. In her act, she sang and told stories. In 1902, she performed in London and had a very positive reception. One reviewer described her as “one big bubble of mirth and merriment”. She toured with Welsh harpist, Nansi Richards. She also performed “The Suffragette”. In an accompanying monologue, she encouraged woman to make a stand for their rights. In 1912, she performed in front of King George V. She also starred in a silent film short entitled “Happy Fanny Fields and the Four Little Dutchmen” (1913). She retired from the entertainment business in 1913. She returned to the United States and married Dr Abraham Rongy (1878-1949). He was a gynecologist and set up maternity hospitals. In 1933, he published one of the first books proposing the legalization of abortion. Fanny became an active fundraiser for Jewish medical organizations. This postcard features a close-up portrait of Fanny Fields. She looks young and pretty. The postcard was published by Rotary Photo as part of a series (no.4007 C). This postcard is unused and was published circa 1906. The postcard is in good condition (see scans).

This real photo postcard is available for purchase at my store, The History Peddler, for $14.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/236610955880

This charming real photo postcard depicts a young child standing and playing a violin, posed formally against a studio backdrop. The child wears a light-colored, ankle-length dress with vertical striping, puffed sleeves, and lace or ruffled detailing at the bodice, giving the image a distinctly late 19th / early 20th century European feel. The child’s softly curled hair frames the face, and the violin is held carefully under the chin, suggesting a staged studio portrait rather than a candid moment. The reverse reveals a Danish postcard, clearly marked “BREVKORT” (the Danish word for postcard). It is franked with a green Danish 5 Øre stamp featuring King Frederik VIII, which was commonly used in the early 1900s. The postcard is postmarked ESBJERG, with a clearly struck circular cancel dated 5.2.07. The address is written to a gentleman residing in Kolding, Denmark. A rough translation (original Danish) of the message on the reverse is: “Can you imagine listening to my little violin? Then you must come down here one day. Greetings from [signature].” The message is affectionate and informal, consistent with family or close acquaintance correspondence, and nicely complements the image of the child musician on the front. This postcard is in Good antique condition for a real photo postcard of this age. The image shows mild surface wear, particularly in the darker background areas. Corners and edges show light wear and there are no creases or tears. The photographic image remains clear, with good detail in the child’s face, clothing, and violin. The reverse shows postal wear, ink marks, and cancellations typical of a genuinely used postcard, with all writing, stamp, and postmark remaining legible (see scans).

This real photo postcard is available for purchase at my store, The History Peddler, for $9.95 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336412460472

This vintage real photo postcard features Marta Eggerth (1912–2013), the celebrated Hungarian actress and singer who became one of the most important operetta stars of the 20th century. Eggerth is shown here in a striking studio portrait, her face framed by her hands in a pose that emphasizes elegance, symmetry, and quiet intensity. The image has a distinctly early-1930s European glamour aesthetic, with soft lighting, refined makeup, and carefully styled hair typical of the period. Eggerth was born in Budapest, the daughter of a dramatic operatic soprano. She began singing as a child, and her mother devoted herself to developing her vocal and theatrical talents. Eggerth made her stage debut at just eleven years old, and while still a teenager toured internationally performing operatic works. By the early 1930s, she had achieved international fame, appearing in films in five different languages. While making a film, she met Polish tenor Jan Kiepura, whom she married in 1936. Together, they became an international sensation, appearing on stage and screen across Europe and the United States. In the U.S., Eggerth appeared on Broadway, including productions by Richard Rodgers, and starred alongside Kiepura in “The Merry Widow.” Between 1940 and 1945, she appeared in three Broadway productions. She also signed with MGM and made two films with Judy Garland. Remarkably, Eggerth continued performing well into old age; her final stage appearance occurred at age 99. IMDb credits her with 39 acting roles between 1930 and 1999, underscoring the extraordinary longevity of her career. The small diamond-shaped logo in the lower right corner of the image, with the initials resembling “FFD” and a series number, is associated with Film-Foto-Verlag (FFV), Berlin, a major German publisher of real photo postcards during the interwar period. Film-Foto-Verlag specialized in high-quality photographic postcards of film stars, singers, and performers. The postcard format, typography, and photographic style are fully consistent with early-to-mid 1930s German production, when Eggerth was at the height of her European film career. In regard to condition, this postcard’s image remains sharp with strong contrast and excellent facial detail. There is light edge and corner wear. The reverse is unused, clean, and free of writing. Overall, this postcard is in very good vintage condition (see scans).

This cabinet card is available for purchase at my store, The History Peddler, for $12.00 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/236602752405

Offered here is a striking and historically rich late-19th-century lithographic postcard featuring the American opera singer Adrienne Osborne, a well-known soprano who enjoyed considerable popularity in Europe—particularly in German-speaking countries—during the 1890s. The image presents Osborne in profile, her hair swept back into a neat, classical bun, with soft lighting emphasizing her refined features and bare shoulders. The pose and photographic treatment are characteristic of continental studio portraiture of the 1890s, designed to convey elegance, poise, and artistic seriousness rather than theatrical flamboyance. It is an intimate and dignified likeness, very much in keeping with the way serious opera singers were marketed to educated European audiences at the time. Beneath the singer’s name appears the printed credit: “Nach Orig.-Aufn. v. Georg Brokesch.” This translates to “After the original photograph by Georg Brokesch.” In other words, this postcard image is not an original sitting, but a reproduction based on an earlier studio photograph taken by Georg Brokesch (1849-1896), a talented professional photographer whose work was frequently used by European publishers for celebrity portrait postcards. This was a common and accepted practice in the 1890s and does not diminish the card’s authenticity or period significance.The card was issued by Postkarten-Verlag Vogel, Leipzig, as indicated along the margin. Leipzig was one of the major European centers for postcard publishing at the turn of the century, especially for musical, theatrical, and operatic subjects. The printed number “118” identifies this image within the publisher’s series of celebrity postcards. In the upper right corner of the image appears the handwritten notation “6.11.97”. This date aligns closely with the German postmark on the reverse, strongly suggesting that the postcard was written and mailed in November 1897, during the height of Osborne’s European career. The handwritten message on the reverse is especially noteworthy for its insight into contemporary opera fandom. Transcribed below (original spelling and punctuation preserved as closely as possible): “Here is your promised card, I do not want it again as it will probably get so dirty going through the post. A.O. is my favourite opera singer, she is an American but speaks perfect German. She is much prettier than the others & far more graceful. With love in haste.” This is a remarkably personal and enthusiastic fan endorsement, praising Osborne not only for her voice, but for her appearance, grace, nationality, and linguistic ability—all qualities that mattered greatly to European opera audiences of the time. The comment that she “speaks perfect German” is particularly telling, underscoring how successfully Osborne integrated into the German operatic world, something relatively rare for American singers in the 1890s. The postcard was mailed from Germany, bearing a German Reich postage stamp, and addressed to London, England, highlighting the international circulation of opera culture and celebrity imagery at the end of the century. In regard to Miss Osborne. she was an American operatic soprano active in the 1890s, known especially for her performances in Germany and Central Europe. She was frequently described in period press accounts as both vocally accomplished and physically attractive, a combination that clearly resonated with audiences and collectors alike. While not a household name today, she was well known enough in her time to merit commercial postcard publication and devoted fan correspondence, as this example vividly demonstrates. This postcard is in very good antique condition for a postcard of this age. Expected age toning, light surface spotting, and mild edge wear are present. The image remains clear and well-defined, and the handwritten message is fully legible.  Overall, this is a well-preserved and visually appealing example of a circa-1897 European opera postcard (see scans).

This real photo postcard is available for purchase at my store, The History Peddler, for $75.00 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336406068273

Mary Pickford (1892-1979) was a Canadian-American actress and one of the most influential figures in early Hollywood. She was often referred to as “America’s Sweetheart”. She was a pioneer of silent film and a co-founder of the film industry as we know it today. Pickford’s career began in childhood when she performed in theater productions in Canada and the United States. By the early 1900s, she transitioned to film, working with director D.W. Griffith at Biograph Studios. Her delicate beauty and expressive acting quickly made her a fan favorite, setting her apart in an era when exaggerated stage-style performances dominated silent films. During the 1910s and 1920s, Pickford became one of the highest-paid and most beloved actresses in the world. Starring in films such as Rebecca of Sunnybrook Farm (1917), Daddy-Long-Legs (1919), and Pollyanna (1920), she was known for playing wholesome, spirited young women. Her curly hair and signature on-screen innocence became iconic, but she was also a savvy businesswoman who understood the power of her brand. Pickford was not only a star but also a trailblazer in the film industry. In 1919, she co-founded United Artists alongside Charlie Chaplin, Douglas Fairbanks (her then-husband), and director D.W. Griffith. This revolutionary move allowed filmmakers to control their own productions rather than rely on major studios, changing the industry forever. As the film industry transitioned to “talkies,” Pickford retired from acting in the early 1930s, though she continued to produce films. Her contributions earned her an honorary Academy Award in 1976 for her lasting impact on cinema. Mary Pickford’s influence extends beyond her films. She helped shape the star system, paved the way for women in Hollywood, and co-founded the Motion Picture Relief Fund to support struggling actors. She remains an enduring symbol of early Hollywood glamour and innovation. Mary Pickford was born into a working-class family in Toronto, Canada. Her father, John Charles Smith, was an alcoholic who struggled to provide for the family and died from a workplace accident when Mary was just six years old. Her mother, Charlotte Hennessey Smith, was left to raise Mary and her two younger siblings, Lottie and Jack, on her own. To support the family, Charlotte encouraged her children to enter acting, and Mary began performing in theater at a young age. She soon became the family’s primary breadwinner, and her siblings, Lottie Pickford and Jack Pickford, also pursued film careers. Pickford transitioned from theater to film in the early 1900s, quickly rising to fame with her expressive acting and wholesome on-screen persona. By the 1910s and 1920s, she was one of the most recognizable stars in the world, earning the nickname “Queen of the Movies.” She also helped establish the Academy of Motion Picture Arts and Sciences. Mary Pickford was married three times. Pickford’s first marriage was to silent film actor Owen Moore (1911-1920). Her second and most famous marriage was to fellow silent film actor, Douglas Fairbanks (1920-1936). Her third marriage was to actor Charles “Buddy” Rogers (1937-1979). After retiring from acting in the early 1930s, Pickford focused on producing films and philanthropy. She became more reclusive in her later years, struggling with alcoholism and health issues. Today, she is remembered as a pioneering force in cinema history. This vintage early 20th-century real photograph postcard depicting Mary Pickford, was issued by Rotary Photo, E.C., and bears the serial number 11873A. Rotary Photo was a major British publisher of celebrity and theatrical postcards, known for producing high-quality real photograph cards from studio portraits of prominent stage and film performers. The image presents Pickford in a soft, intimate studio portrait, shown from the shoulders up, wearing a sheer, gauzy costume that frames her face and neckline. Her hair is styled in loose curls, arranged simply rather than theatrically, reinforcing the youthful quality of the image. Her expression is calm and introspective, with a direct, slightly wistful gaze that emphasizes her delicacy and screen presence. In this portrait, Pickford appears quite young, consistent with her image during the late 1910s, when she was already famous but still closely associated with youthful roles. This exact portrait is held by the National Portrait Gallery, London, which dates the photograph to circa 1918, providing a solid institutional reference point for dating. The card was printed in Britain and is clearly identified on the reverse as a real photograph. The postcard is in very good antique condition overall. The image retains strong tonal quality with good clarity and contrast. Corners only show light wear and there are no creases, tears, or losses. The reverse is clean. Overall, the card presents very well and remains highly displayable {See Scans).

This cabinet card 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/236599444322

This vintage real photo postcard features Irish actress, singer, and dancer, Alice Russon. She acted in musical comedies and silent films. Russon’s stage work included “The Girl from Kay’s” (1904), “Cinderella” (1907), and “The Arcadians” (1911). In 1906, she appeared in a variety show headlined by Will Rogers. In 1912 and 1913, she performed in Australia. According to IMDb, Russon appeared in three British silent films including “Democracy” (1918) and “All Men are Liars” (1919). Russon was married to actor, Vernon Davidson. It is reported that she was an amateur photographer. This postcard, depicting Miss Russon, was issued by Rotary Photo, E.C., and bears the serial number 1803R.  Rotary Photo was one of the most prominent British publishers of actress and theatrical postcards in the early 20th century. The image features Russon seated and leaning on a rustic brick structure and holding a bundled broom, suggestive of a stage role or symbolic costume rather than everyday dress. She wears a soft, flowing costume with layered fabric and a loosely draped head covering. Her long, wavy hair falls freely over her shoulders, reinforcing the youthful and idealized presentation common to Edwardian stage portraiture. Her relaxed posture and direct, gentle gaze give the image an intimate, informal quality that contrasts with more rigid studio portraits of the period. The photograph is credited to Sidney & Wood. The postcard has been postally used and is postmarked 1907. The postcard reads “Just a postcard to wish you many happy returns of the day and many of them”, The card is signed “Lily”. The postcard is in good antique condition. The photographic image remains strong, with good tonal depth and clarity. There is minor corner wear, and some small marks consistent with age and postal handling. The reverse shows normal handling wear, light toning, and writing from postal use, along with a clearly visible stamp and postmark. No creases or tears are present (see scans).

This real photo postcard is available for purchase at my store, The History Peddler, for $18.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336405573484