THE CABINET CARD GALLERY

This tintype photograph features two handsome well dressed men. The standing gentleman is holding a pair of gloves.  Tintypes were popular between 1856 and 1867. Tintypes did not totally disappear for the next few decades but they became a novelty.  SOLD

This late 19th-century cabinet card shows two young men posed in uniform at the Werner studio in Marquette, Michigan. Both men wear dark, high-collared tunics with a visible “S” on the collar, indicating that they are members of The Salvation Army. The two men are posed formally, one standing beside a small studio table and the other seated in a wicker chair. The seated man holds a long rolled or folded document. It could be a certificate, appointment paper, program, or musical/theatrical sheet, but there is not enough visible detail to identify it with certainty. Given the Salvation Army connection, it may possibly relate to an appointment, training, service, or membership document. Their serious expressions, matching collars, and dark uniforms give the photograph a strong religious, fraternal, and social-history character. The embossed photographer’s imprint reads “Werner, Marquette, Michigan.” This photo comes from the studio of Gustav A. Werner, a known Marquette photographer. Werner cabinet cards from Marquette appear in institutional and collector records, including theAmon Carter Museum. The Cabinet Card Gallery blog also has a Werner-related entry noting that Werner was a German-born or German-descended photographer who began operating a photographic studio around 1890, and later moved into the notable Werner Building in Marquette. Marquette, Michigan was an important Upper Peninsula city on Lake Superior, closely tied to the region’s iron-ore economy. This cabinet card likely dates from the 1890s, based on the Werner studio imprint, cabinet card format, clothing, and Salvation Army-style uniforms. (SOLD)

This vintage postcard depicts the College of Law building at the University of Wisconsin, located in Madison, Wisconsin. The building’s architecture is distinctly in the late 19th to early 20th-century style, featuring red brickwork and ivy-covered walls that exude a sense of academic tradition and prestige. The surroundings include lush greenery, well-maintained gardens with colorful flowers, and tree-lined paths that give the setting a serene, idyllic campus atmosphere. The postcard is a white border card, which was typical in the early 20th century, between the years 1915 and 1930. The 1918 postmark on its reverse suggests it was sent during one of the most pivotal years in U.S. history due to the Spanish Flu pandemic, which swept across the country. In that pandemic, the United States lost 675,000 people to the influenza outbreak. The message on the back of the postcard adds a personal, poignant touch, mentioning that the sender, “Cousin Luella,” is unwell and notes that someone named Francis is being isolated because of the flu. This detail reflects the tragic reality of the era, as isolation measures were a common part of controlling the spread of the virus during the pandemic.The lithographic printing method used for this card, typical of the time, gives it vivid, hand-colored tones, highlighting the red brick of the building and the bright greenery.  (SOLD)

This is a striking, risque and highly collectible antique French postcard featuring the stage performer Devannes, identified in the image as appearing at the famed Folies-Bergère in Paris, one of the most celebrated music halls of the Belle Époque era. The photograph is credited at lower right to Waléry, Paris, the studio name associated with the renowned theatrical photographer whose work captured many of the era’s most famous dancers, actresses, and cabaret performers. Devannes is shown in a dramatic and theatrical topless pose, standing en pointe or near-en pointe, her body framed by a large, sheer, floral-patterned veil that she holds extended outward with both arms. The fabric flows in a wide arc around her body, creating a wing-like silhouette. This style of presentation is closely associated with veil dancing, a popular performance form in early 20th-century Parisian revue and cabaret culture, where movement, fabric, and suggestion were combined to create an elegant yet provocative stage effect. The positioning of the veil—held outward and partially enveloping the body—heightens both the sense of motion and the allure of concealment and reveal. She wears an elaborate oversized bow-like headpiece, which further emphasizes the theatrical and stylized nature of the performance. Her expression is confident and engaging, with a slight smile and direct gaze that reflects the poised self-awareness typical of professional stage performers of the period. While not among the most extensively documented stars of the Folies-Bergère, Devannes appears to have been one of the many featured performers who specialized in visually striking dance routines and tableaux. Performers of her type were integral to the success of Parisian revues, which relied on spectacle, costume, and sensual presentation as much as on narrative or song. SOLD

This is a unique portrait of an attractive couple who share a dangerous career. The man and woman are circus acrobats dressed in their performance costumes. The postcard’s stamp box indicates that it dates to sometime between 1918 and 1936.  SOLD

This is a stunning antique cabinet card photograph featuring a young girl posed in an elegant and timeless studio portrait. She gazes softly at the camera with wide, expressive eyes and a gentle, almost wistful expression. Her light curls frame her face and cascade just to her shoulders, their shine captured perfectly in the sepia-toned print. She wears a wide-brimmed striped hat with a dark ribbon bow, adding a touch of charm and sophistication to the composition. Her dress is light in color with a ruffled neckline and puffed sleeves, the textured fabric rendered beautifully by the photographer’s skillful lighting. The card mount bears the photographer’s imprint in embossed gold script. The image dates to the late 19th or very early 20th century, a period when formal child portraiture was at its height of popularity. Preliminary research yielded little information about the photographer’s life or studio. Patton’s gallery was located at 600 Liberty Avenue in Pittsburgh. SOLD

This unusual late 19th-century advertising cabinet card photograph shows two Victorian women seated outdoors at Indian Springs (Martin County), Indiana, a once-popular summer and mineral-springs resort. The women are posed in a rustic wooded setting beside a fence and large tree, with foliage and flowers around them. The woman at right holds a dark parasol, giving the image a wonderful summer-resort feeling, while the woman at left sits more formally with gloved hands in her lap. Their high-necked dresses, puffed sleeves, fitted bodices, and layered skirts place the image very much in the 1880s to early 1890s period. What makes this card especially appealing is that it is not just a portrait cabinet card, but also an advertising cabinet card. The reverse promotes Indian Springs as “a delightful summer resort” and names Alfred Guthrie as the proprietor. The advertising also includes railroad connection information for reaching the resort. It names Weatherford & Swan as the photographers of this photograph and it is interesting to note that their studio was located in Louisville, Kentucky (80 miles from Indian Springs). Indian Springs was connected with the 19th-century mineral-springs resort culture in Martin County, Indiana. Period resort promotion emphasized the sulphur waters, rustic recreation, walking paths, and a relaxed vacation atmosphere. A local-history account notes that Trinity Springs and Indian Springs were popular enough that the area once had multiple hotels and train service bringing visitors to the resorts. The mount itself adds considerable charm. The card has decorative scalloped edges with gilt/gold edging. This ornate treatment, combined with the resort advertisement on the reverse, makes this more distinctive than a standard studio cabinet portrait. SOLD

This dramatic vintage real photo postcard shows Auguste van Biene, printed on the card as “Van Bienne — The Actor Musician.” The spelling on the postcard appears to add an extra “n,” but the performer is best known historically as Auguste van Biene, the Dutch-born cellist, composer, actor, and theatrical personality. Van Biene was both an accomplished musician and stage actor. Van Biene was born in Rotterdam in 1849, and died in Brighton, England in 1913. He studied cello, moved to London as a young man, and was discovered by conductor Sir Michael Costa, who engaged him for the Covent Garden orchestra. He later became principal cellist, worked with Richard D’Oyly Carte’s opera company, and became known as a theatrical manager, conductor, composer, actor, and touring stage attraction. His great success was The Broken Melody, a musical play for which he composed the famous cello melody and in which he starred as a musician. He toured widely with the work, and his reputation became so closely tied to the cello that he was sometimes described as the “Magician of the Cello.” His death was famously theatrical: van Biene died while performing on stage at the Brighton Hippodrome in 1913, reportedly while playing the cello in The Master Musician, with his son conducting the orchestra. He was buried at Golders Green Jewish Cemetery in London. This portrait itself is wonderfully intense. Van Biene is shown close-up, with his hand raised to his temple and a penetrating, thoughtful expression. The pose is almost psychological in its effect, presenting him not simply as a musician but as a brooding theatrical figure. The postcard was issued from a Nottingham photographic source/publisher. The postcard was likely published circa 1905.  SOLD