This is a lithographic postcard showing the stucco, castellated façade of the Jack & Jill Tavern on Jericho Turnpike, West Hills, Huntington, Long Island, New York. The view is alive with roadside detail: a vertical hanging sign reads “JACK & JILL TAVERN,” an oval “RESTAURANT” sign projects over the entrance, and a marquee along the roofline advertises “BEER ON TAP.” At left a curb sign lists the fare—“CHICKEN DINNERS – STEAKS – SANDWICHES – 50¢”**—and there’s a small AAA emblem nearby. A Coca-Cola door sign anchors the storefront windows with striped awnings. Two late-1930s cars complete the scene: the foreground coupe appears to be a 1937–1938 Plymouth or Dodge (rounded fenders, horizontal-bar grille), while the rear trunk-back sedan looks like a 1936–1937 Buick/Oldsmobile—identifications offered as best-effort, not guaranteed. The card was postmarked Huntington Station, N.Y., 1940 and bears a red 2¢ John Adams stamp. The publisher imprint on the message side reads “A. Birnbaum, 252 Decatur St., Brooklyn, N.Y.”—a familiar New York regional postcard publisher of the period. The writing on the reverse of the divided back postcard is penned in Russian (Cyrillic). The following is an AI best-effort translation of the handwritten Russian message on the back (a few words are hard to read, but the sense is clear): “Dear [—],The automobile has been put in order; the battery has been charged in the garage. I’ve already called—everything is in order. Don’t worry; there’s nothing to be concerned about. Well, that’s that. We’ll see each other soon! Yours, [signature illegible].”
These vintage real photo postcards feature a beautiful actress named Alice Crawford (1882-1931). Miss Crawford was born in Bendigo, Australia. Her sister, Ruby Crawford was also an actress. Miss Crawford came to England with actor Wilson Barret in 1902 after appearing with him in Australia. Her London debut was in 1902 in in the play “The Christian”. She was in the revival of the play in 1907. Other stage credits include “Antony and Cleopatra (1906), Matt of Merrymount (1908), and “The Passing of the Third Floor, Back” (1908). The New York Times (1909) announced her arrival in New York to perform in “These Are My People”. She is credited with film roles in “False Ambition” (1918) and Glorious Adventure (1922). There are fifteen portraits of Alice Crawford in the National Portrait Gallery, eight of which are by the photographer of the top photo postcard (Alexander Bassano}. Bassano (1829 –1913) was a leading royal and high society photographer in Victorian London. Crawford was married to George Valentine Williams. He was wounded twice in WW I and was awarded the Military Cross. He later worked as a journalist, mostly in trouble spots. During WW2 he conducted “confidential work” for the British Government. He is best known as an author of Detective Fiction. He died in 1946.
Postcard 1captures Miss Crawford in costume for her role as “Diantha Frothingham” in “Matt of Merrymount” (1908). Alice Crawford certainly qualifies as a “stage beauty” and she has an amazingly engaging smile. Bassano photographed the actress for Rotary Photo’s, Rotary Photographic Series (no.1852 R).SOLD
Postcard 2 features Miss Crawford looking quite beautiful. Her hair is long and flowing and she has a flower hair band. Her eyes are beautiful and she appears to be holding back a smile. Like the first postcard, this card is also published by Rotary Photo and was part of a series (no. 1852 K). In fact both postcards seen here are part of the same series. The postcard’s photograph was taken by the Dover Street Studio. The studio was active between circa 1906 and circa 1912. The gallery specialized in taking theatrical portraits and was located in London, England. They were the successors to the Biograph Studios as well Adart (a studio that took advertising photos). Examination of the reverse of this postcard (see second postcard below) reveals that it was postmarked in 1907. The message on the back of the postcard is quite interesting because it contains comments about the photo on the postcard. The writer reports that she was charmed by a postcard from the addressee and she asks her how she likes “this one”. The writer also states that she was planning to go see “The Thief” at the St. James Theater. Billboard (1907) contains a review of the musical and describes it as an English version of Henry Bernstein’s “Le Voleur”. The play was produced by Mr George Alexander and it’s cast included Mr. Alexander, Irene Vanbrugh, and Lillian Braithwaite. SOLD
Postcard 3’s portrait of Miss Crawford was produced by Rotary Photo and photographed by Dover Studios. The postcard was part of the Rotary Photographic Series (no.1852 P) and was printed in England. This photograph captures Alice Crawford appearing quite dismayed. SOLD
Postcard 4 in this collection features a close-up portrait of Miss Crawford. This image confirms that Alice Crawford was certainly a stage beauty. The photograph is very similar to the second postcard in this group and the two images were likely taken during the same photo session at the Dover Street Studio. This postcard was published by Raphael Tuck and Sons and is part of the “Celebrities of the Stage” series (no. T 1148). Raphael Tuck and his wife started their photography business in 1866 in London. Their store sold pictures, greeting cards, and in time, postcards. Their success came from the sale of postcards during the late 1890’s and early 1900’s. In the early 1900’s the firm conducted postcard competitions for collectors of Tuck postcards. These competitions offered cash prizes and they were very popular. The winner of one of these competitions had a collection consisting of over twenty-five thousand cards. Three of Tuck’s four sons participated in the business. The company was devastated by German bombing during World War II. In 1959 the company merged with two other printing companies. This postcard was written and postmarked in 1908. It was postmarked at Bradninch, England. The message on the card is a “Happy Birthday” wish. SOLD
Postcard 5 features a close-up view of Miss Crawford. She looks pretty with her rolled curl hair and her engaging eyes. This postcard was published by Raphael Tuck and Sons. It is part of the “Celebrities of the Stage” series (no. T 1202).
Postcard 6 features a beautiful actress named Alice Crawford (1882-1931). Alice Crawford is portrayed seated gracefully upon a textured rock, barefoot, with one leg drawn slightly upward in a natural, relaxed pose. She wears a flowing, light-toned, crinkled gown that softly drapes around her figure, evoking a classical, almost ethereal aesthetic. Her hair, loose and wavy, is adorned with a crown of flowers that enhances the pastoral, romantic quality of the image. Her gentle expression—calm, introspective, and tinged with sweetness—conveys both innocence and quiet confidence, perfectly complementing the soft lighting and tranquil composition of the photograph. Dover Street Studio photographed the actress for Rotary Photo’s, Rotary Photographic Series (no.1852L). SOLD
Gabrielle Ray, born Gabrielle Elizabeth Clifford Cook on April 28, 1883, in Cheadle, Stockport, England, was a renowned English stage actress, dancer, and singer. She was the fourth of six children to William Cook, a wealthy iron merchant and judicial officer, and his wife Anne Cook. Ray’s stage career commenced at the young age of 10, when she appeared in the musical “Miami” at the Princess’s Theatre in London in 1893. Throughout the late 1890s, she took on various minor roles, gradually gaining recognition for her dancing and singing talents. In 1899, after her performance in “Sinbad the Sailor,” she caught the attention of theatre manager Ben Greet, who invited her to tour with his company. Her major breakthrough came in 1903 when she was spotted by the famed theatre impresario George Edwardes. He cast her in several of his productions, propelling her to stardom in London’s West End. Gabrielle Ray became a prominent figure in Edwardian musical comedies. Some of her most notable performances include: “The Orchid” (1903), “The Belle of New York” (1899–1900), “Little Red Riding Hood” (1902), and “The Merry Widow” (1907).Ray’s beauty and stage presence made her one of the most photographed women of her time. She became a favorite subject for real photo postcards, a popular medium in the early 20th century for fans to collect images of their favorite celebrities. These postcards contributed significantly to her widespread fame. In 1912, Gabrielle Ray announced her retirement from the stage to marry Eric Loder. The wedding was initially scheduled with much public attention, but Ray failed to appear, citing nervousness due to the overwhelming media presence. The couple married privately the following day. The marriage was short-lived and ended in divorce. Following the dissolution of her marriage, Ray attempted to return to the stage in 1915 but struggled to regain her former prominence. After retiring from the stage, Ray faced personal challenges, including depression and alcoholism. In 1936, she was admitted to a mental health institution in Surrey, where she remained until her death on May 21, 1973, at the age of 90.
Postcard 1 was published by Rotary Photo as part of a series (No.2008Z). Miss Ray’s photo was taken by the Foulsham & Banfield gallery. SOLD
Postcard 2 was published by Rotary Photo as part of a series (No.11724C). Miss Ray’s photo was taken by the Foulsham & Banfield gallery. SOLD
Postcard 3 features Miss Ray, shown in a dramatic three-quarter-length studio portrait, gazing slightly upward with a poised and self-assured expression. She wears an exceptionally elaborate theatrical or fashionable costume dominated by a very large, broad-brimmed hat piled high with sweeping folds of fabric and decorative trimming. The enormous hat frames her face and gives the portrait much of its immediate visual impact. Altogether, the costume has the extravagant, carefully staged appearance associated with Edwardian musical comedy and theatrical publicity photography. This vintage portrait postcard was published by Raphael Tuck as part of the “Celebrities of the Stage series (No.G979). Miss Ray’s photo was taken by the La Rose gallery. SOLD
This attractive original vintage black-and-white photograph, measuring approximately 8 × 10 inches and dating to the late 1950s or early 1960s, was taken by noted African American photographer Jimmy H. Baynes (1922–2010) of Cleveland, Ohio, whose studio stamp appears on the reverse. The photograph captures an elegant formal gathering featuring a smiling gentleman wearing a dark tuxedo, bow tie, eyeglasses, and neatly trimmed mustache, greeting three beautifully dressed young African American women who appear to be participating in a receiving line or ceremonial presentation. The women wear coordinated, full-skirted lace dresses with floral decorations at their shoulders, fashionable high heels, and carefully styled hair, with white formal gloves adding to the refinement of the occasion. A decorative floral wall design and richly patterned carpet provide an attractive setting, suggesting a ballroom, banquet, beauty pageant, or similar social celebration, although the exact event and participants have not been identified. James Hamilton “Jimmy” Baynes Jr. was a Cleveland postal worker who developed a remarkable parallel career photographing the city’s African American community, eventually establishing Baynes Foto Service. His photographs documented social gatherings, beauty contests, weddings, nightclubs, political events, and performances by celebrated entertainers, including Aretha Franklin, Louis Armstrong, Count Basie, and Mahalia Jackson. His work is recognized as an important photographic record of mid-20th-century African American social and cultural life, with examples preserved in the collections of the Rock & Roll Hall of Fame and the Cleveland Museum of Art. This is a particularly appealing example of Jimmy Baynes’s work, preserving the elegance, fashion, and social traditions of Cleveland’s African American community during the mid-20th century. SOLD
Image 1 features American stage actress, and singer, May de Sousa (1884-1948). She had many successes, but she lived a tragic life. Her father was a Chicago police detective. She became famous in 1898, I at about 14 years of age, when she sang “Dear Midnight of Love”. This song was a ballad by bathhouse John Coughlin. He was a Chicago politician and would-be songwriter. In 1901 she was hired by Frank Perley as one of the principles for his touring company. Next, she became the understudy for Alice Nielson in a San Francisco production. In 1902 she was invited to go to London with the cast of that show, but she turned down the opportunity because she was afraid of the sea voyage. She then joined the cast of the highly successful operatic fantasy, “The Storks”. In 1904 she joined the cast of the Wizard of Oz. That same year, she became part of the cast of “Babes in Toyland”. At this point, she had become a very popular actress. She then went to London to star in a production of Cinderella. She followed that up with other stage successes in London. Although she had much success in light operatic roles, she wanted to display her talent as a dramatic actress. In 1908 she was one of the first American actresses to perform at the Moulin Rouge. While in Paris she was reported missing because she did not contact friends or family for over five weeks. She returned without explanation. She was now a star in both the United States and England. In 1910, her mother was discovered dead in a room filled with gas. It was unknown whether her mother’s death was accidental or by suicide. In 1910, May married a stockbroker. Their marriage was very troubled from its beginning. Her husband had lied about his finances, and the financial burden fell on the De Sousa. In addition, her husband frequently physically, abused her. After two years of marriage, she divorced him on the grounds of cruelty and financial desertion. De Sousa continued her career in both America and Europe. De Sousa appeared in 8 Broadway plays between 1905 and 1915. She was performing in France shortly before the start of World War I and barely escaped Germany’s invasion of France. In 1913, she was forced to declare bankruptcy. In 1918, she toured Australia with a theatrical company. While there, in about 1919, she married a local doctor and the pair moved to Shanghai. She performed there with amateur companies. In 1941 her husband died, and in around 1943 she was imprisoned for seven months as a civilian intern by the Japanese. When she returned to Chicago, she worked as a scrub woman in a public school. Her health was very much compromised by her internment, she soon was forced to quit her job due to not being healthy enough to perform her tasks. She became malnourished and died in poverty and alone. She was a charity case in the county hospital when she died in 1948. May DeSosa had risen to become the toast of Europe and America, but died isolated and forgrotten. She was buried in a pauper’s grave. This vintage postcard was published by Philco as part of a series (No.3206B). The card was postmarked in 1907. (SOLD)
Image 2 was published by Rotary Photo as part of a series (No.1993I). De Sousa is shown in costume for “The Girls of Gottenberg”. (SOLD)
Image 3, a striking vintage theatrical portrait, believed to date from approximately 1915, features May De Sousa wearing an enormous, dramatically sweeping wide-brimmed hat decorated with soft fabric trimming, a delicate ruffled blouse, and a long strand of pearls, gazing thoughtfully to one side. The handwritten inscription on the reverse appears to associate the photograph with Two Is Company, the 1915 Broadway musical in which De Sousa portrayed Lulu LaGrange, although the complete inscription is partially obscured and this attribution remains unconfirmed. The reverse bears the label of Culver Service, the prominent New York photographic research agency that supplied historical and theatrical photographs to newspapers, magazines, and publishers, together with handwritten editorial notations and a 1946 date stamp, likely associated with archival use rather than the original portrait date. This is a captivating theatrical portrait distinguished by its beautiful subject, remarkable personal history, and fascinating Culver Service provenance. (SOLD)
This item is a vintage real photo postcard featuring a hunter with his gun hanging over his shoulder and his very alert hunting dog in front of him. The hunter is wearing a pair of binoculars around his neck. The photographer of this incredibly clear and detailed photograph is Otto Hennin whose studio was located in Neukolln, Germany. Neukolln is an inner-city locality of Berlin. SOLD
This beautiful antique hand-colored photographic postcard, dating to the early 1900s, features an elegant young woman in profile, her hair arranged in an extraordinary Edwardian coiffure of elaborate curls and sweeping waves, complemented by a delicate lace-trimmed gown with green and pink accents. The photograph bears the imprint of Reutlinger, Paris, the celebrated French photographic studio renowned for its portraits of fashionable women and theatrical personalities during the Belle Époque. Across the front appears the Spanish advertising slogan “Los Cigarrillos Paris son los mejores,” meaning “Paris cigarettes are the best,” promoting the Cigarrillos París tobacco brand associated with a celebrated international advertising competition organized by Manuel Malagrida in 1901. The portrait also bears a stylized signature that appears to read “S. Avril,” most possibly identifying the featured performer, Suzanne Avril, who posed for may Reutlinger postcards. This is a wonderful example of early twentieth-century tobacco advertising that combines French photographic artistry, Edwardian fashion, and the elegance of the Belle Époque. This antique postcard is in good overall condition, with a small but noticeable diagonal surface crease in the upper-left quadrant and light corner and edge wear. This beautifully hand-colored image retains attractive detail and pleasing color, while the undivided reverse is unused (see scans).
This Vintage Real Photo Postcard is available for purchase at my store, The History Peddler, for $34.85 at auction
This striking cabinet card presents an intimate, staged studio portrait of a man and a young child posed together in a carefully arranged domestic setting. The adult figure—seated comfortably and wearing a dark uniform-style jacket and cap—holds a pipe, while the child, perched on a small table beside him, mirrors the gesture with a pipe of his own. The deliberate echoing of pose and prop gives the image a gently playful, almost theatrical quality, typical of late-19th-century studio photography, where symbolism and visual storytelling were often encouraged. The contrast between the adult’s relaxed authority and the child’s earnest imitation adds warmth and charm, making this a memorable and engaging portrait. The photograph is mounted on an elegant cabinet card with a decorative black border accented by Art Nouveau–influenced motifs. The overall presentation suggests a professional studio intent on appealing to a refined, middle-class clientele, with equal attention paid to both image and mount. The photographer is clearly identified on the reverse as J. Enard, who operated studios in Delémont and Moutier, towns in the Jura region of Switzerland. The reverse is richly printed in French and provides valuable period details, including the studio locations (“Avenue de la Gare”), telephone reference, and hours of operation. Such detailed backs are characteristic of cabinet cards produced in the late 1890s to early 1900s.The typography and ornamental vine-and-floral design further enhance the visual appeal and confirm its continental origin. Based on the studio information, design style, and overall presentation, this cabinet card likely dates to circa 1895–1905. Overall, this cabinet card is in very good antique condition. The photograph shows very mild edge and corner wear. The mount remains sturdy, with the decorative border well preserved. The reverse is clean and legible, with light toning. See Scans.
This Vintage Real Photo Postcard is available for purchase at my store, The History Peddler, for $65.00 or Best Offer
This is an outstanding antique photographic postcard featuring the beautiful American silent-film actress Ella Hall (1897–1981) in a captivating publicity portrait for the 1914 Universal adventure serial The Master Key. The striking photograph shows Hall with large, expressive eyes, softly curled blonde hair beneath an elaborate lace-covered bonnet, and a light-colored garment, looking directly toward the camera with a compelling, almost mysterious expression. Ella Hall was a popular leading lady during Hollywood’s early silent-film era, beginning her career onstage before working with pioneering filmmaker D. W. Griffith and becoming a featured performer at Universal. She appeared in numerous silent productions, including Jewel (1915), The Bugler of Algiers (1916), and Polly Redhead (1917). She married fellow actor and director Emory Johnson. The postcard promotes The Master Key, a 15-chapter silent adventure serial directed by Robert Z. Leonard, who also starred opposite Hall. Released between November 1914 and March 1915, the production featured Hall as Ruth Gallon, a young woman caught up in a suspenseful story involving a valuable gold mine, danger, intrigue, and romance. Remarkably, only one chapter of this historically significant early Universal serial is known to survive. Along the upper border is the inscription “Copyright. Trans-Atlantic Film Co. Ltd.”, while the lower left corner displays the distinctive oval Trans-Atlantic Film Company trademark with the name UNIVERSAL above it. The Trans-Atlantic Film Company was a British distributor of American Universal motion pictures, making this postcard an interesting surviving example of early international film publicity. This is a wonderful piece of early Hollywood history, particularly appealing to collectors of silent-film actresses, Universal Studios memorabilia, vintage movie publicity, and surviving material associated with lost motion pictures. SOLD
This beautiful antique hand-tinted photographic postcard, dating to approximately 1905–1910, features Violet Wegner (1887–1960), the celebrated British music-hall singer and actress who achieved considerable popularity throughout Europe and became known as the “Idol of Berlin.” She is portrayed with an exceptionally elaborate, voluminous curled hairstyle, expressive eyes, a delicate necklace and pendant, and a fashionable dress featuring attractive blue and gold hand-applied coloring along the neckline and bodice. Born in London, Violet was the daughter of William Theodore Wegner, a Scotland Yard detective, and began performing professionally while still in her teens, eventually appearing in music halls across Britain and continental Europe. In 1912, she married Italian nobleman Count Sergio Brunetta d’Usseaux, and in 1924 she married Prince Peter of Montenegro, the youngest son of King Nicholas I, becoming Princess Ljubica of Montenegro and leaving her theatrical career behind. The postcard was published in the G.G. photographic series, associated with Georg Gerlach & Co. of Berlin, and bears the number 127/5 at the lower left, along with the printed signature of Violet Wegner at the lower right. The divided back postcard is unused. This antique postcard is in good vintage condition overall, with corner and edge wear. The portrait retains lovely sepia tones, excellent facial detail, and attractive hand coloring, while the reverse exhibits minor age-related surface wear (see scans). This is a particularly appealing Edwardian theatrical postcard featuring a beautiful actress whose remarkable life took her from the music halls of Europe to the royal family of Montenegro (see scans).
This Vintage Real Photo Postcard is available for purchase at my store, The History Peddler, for $12.00 or Best Offer
PHOTO 4 (SOLD)
POSTCARD 4
