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)
This vintage real photo postcard features pretty Mexican actress, dancer, and singer; Dolores del Rio (1904-1983). Del Rio’s performing career spanned more than half of a century. She was the first major Latin American actress to become an American film star (1920’s & 1930’s). Del Rio was also a major star in Mexican films. Dolores was known for her beauty as well as for her talent. She was discovered in Mexico and her Hollywood film career started in 1925. She began her career with a number of successful films, including “Ramona” (1928) and “Evangeline (1929). During the silent film era, she was considered the female version of “latin lover”, Rudolph Valentino. Del Rio was one of the fortunate actresses whose career was not destroyed by the advent of sound films. She acted in a wide range of film genres. “Bird of Paradise” (1932) and “Madame Du Barry” (1934) were among her successful films of the 1930’s. In the early 1940’s, her Hollywood career began to flounder sparking Del Rio to return to Mexico to become a major star of Mexican cinema. She continued acting in Mexican films through the 1950’s. Beginning 1960 she acted in both Mexican and Hollywood films. During the late 1950’s through the early 1970’s, Del Rio acted in theater and television. Dolores was born in Durango City, Mexico. Her parents were part of Mexican aristocracy whose lineage could be traced to Spain. Dolores was the cousin of actor Ramon Novarro (another silent film”latin lover”), and of Mexican cinema actress, Andrea Palma. During the Mexican Revolution (1910-1920), Dolores’s family lost its fortune. Her family felt threatened by Pancho Villa’s insurgence. It was time to “get out of town”. Her father fled to the United States while she and her mother escaped to Mexico City. Acting was an integral part of Dolores’s getaway. She and her mother felt compelled to dress as peasants to insure safe passage on the train to Mexico City. Her parents reunited there in 1912. Dolores attended a college in Mexico City operated by French nuns. After seeing Russian ballerina, Anna Pavlova perform; Dolores decided to become a dancer and took lessons from a well respected teacher. At age 17, Dolores married Jaime Martinez del Rio. He was from a wealthy family and was educated in England. The couple honeymooned in Europe for two years and Dolores formed close relationships with a number of members of European aristocracy. When the couple returned to Mexico, they settled in Mexico City. In 1925, Dolores met American filmmaker Edwin Carewe, and he was spellbound. He convinced Dolores and her husband to move to Hollywood where he promised to make Dolores a star. Her husband hoped to write screenplays there. When they arrived in Tinseltown, Carewe launched a public relations campaign to raise excitement about his beautiful find. He built up her aristocratic background by saying such gems as Dolores was “the first lady of high Mexican Society” and that she had come to Hollywood with a collection of shawls and combs valued at fifty thousand dollars. Dolores made her film debut in “Joanna” (1925), where she played a vamp of Spanish-Brazilian origin. Her first starring role was in the comedy “Pals First” (1926), directed by Carewe. That same year, Dolores appeared in the war film “What Price Glory?”. The movie was a huge financial success and helped Dolores become one of the “WAMPAS Baby Stars” of 1926. Other members of her “class” were Mary Astor, Joan Crawford, Janet Gaynor, and Fay Wray. By then, her film career was rocketing. Her role in Resurrection” (1927), a popular film based on a Tolstoy novel, further propelled her career. While her career was succeeding, her personal life was a “hot mess”. Her marriage to Del Rio ended in 1928. He had much difficulty being in the shadow of his famous and successful wife. Six months after Dolores filed for divorce, Del Rio died in Germany. While dealing with her grief, she had to deal with constant harassment from her discoverer, Edwin Carewe. He wanted to be more than her agent and her director since he had first launched her career. In 1929, Dolores announced to the press, that despite Carewe’s claims, the pair were just friends and business companions. She added that they had no plans for marriage. Soon thereafter, she cancelled her contract with him. The end result was a legal dispute that was settled out of court. Carewe’s anger did not end there. He disparaged her the press and refilmed “Resurrection” starring Lupe Velez, another popular Mexican film star. In 1930, Del Rio married MGM art director, Cedric Gibbons. They became one of Hollywood’s most followed couples of the early 1930’s. In 1932, the film, “Birds of Paradise”, was released to rave reviews. The film starred Del Rio and actor, Joel McCrea. The movie was a South Seas love story. A scandal arose from the film because of a scene featuring the pair swimming naked. Controversy continued in Del Rio’s appearance in “Flying Down to Rio” (1933). In this film, Del Rio was the first actress to wear a two piece bathing suit on screen. Fred Astaire and Ginger Rogers danced together for the first time on film, in this movie. Del Rio and Astaire also did an “intricate” dance number in the film. Del Rio found herself in political hot water when she and Ramona Novarro and Lupe Velez attended a special screening of a Mexican film which was accused of promoting Communism in California. Del Rio was accused of being a Communist for her attendance at the screening. In 1940, Del Rio began an affair with actor/filmmaker, Orson Welles. The dalliance resulted in Del Rio and Gibbons divorce. In 1954, Dolores was scheduled to co-star in a Spencer Tracy film, but the US government would not give her permission to work in the United States. The government believed she was sympathetic toward communism for attending the aforementioned film screening and for signing a petition supporting a world peace conference. After some time, she was able to remedy the problem by writing a persuasive letter to the US authorities. Later in life Del Rio did express some “political” beliefs. She stated that she wished she could play Mexican roles to show what life in Mexico was really like. She felt such an opportunity could help diminish the ugly stereotypes that existed about Mexicans in American society. She stated that it was her great wish to make fans realize the beauty, wonder, and greatness of Mexicans as a people. She asserted that the great majority of Americans view Mexicans as a “race of bandits, or laborers, dirty, unkempt, and uneducated”. Why do these false negative stereotypes sound so familiar? Del Rio wanted to show “the best that’s in my nation”. It has been pointed out by more than a few writers that Dolores del Rio was no “Latin bombshell”. Instead, she was noted for her elegance. The IMDb reports that Del Rio has 63 film credits ranging from 1925 through 1978.
Postcard 1 was published by Ross Verlag as part of a series (no.656). The reverse of the card has a gold seal stating “Ross Splendid”. This postcard has a Netherlands stamp and was postmarked in Rotterdam in 1932. SOLD
Postcard 2 was published by Ross Verlag as part of a series (no.3378/2). SOLD
This vintage real photo postcard features an aerial view of Mueller’s Old Watermill Inn. The restaurant offered activities including “Dining, Dancing, Fishing, Boating”. The inn was located in Centerport, Long Island, New York. If you are familiar with Centerport, you may be wondering about the exact location of the scene on this postcard. The restaurant was located at the current site of the Chalet Motel on Route 25A. The card was published by the Albertype Company (Brooklyn, New York). SOLD
This beautiful and finely printed French postcard features the celebrated opera contralto Meyrianne Heglon, captured in 1901 by the renowned Parisian photographer Leopold Reutlinger, whose studio produced many of the most iconic theatrical and operatic portraits of the Belle Époque. Heglon appears in an elaborate exotic costume, with long flowing hair, floral headdress, jeweled adornments, and a stage gown decorated with strings of pearls—a dramatic style typical of the highly stylized mythological and Symbolist roles she performed during the early 1900s. The undivided back card bears the printed credit “Reutlinger Paris 1901” at right and is published by S.I.P. – Série 42, No. 11 along the left border. This is an early and desirable example of a Heglon portrait, produced during the height of her operatic fame and printed from one of Reutlinger’s most elegant theatrical sittings. The postcard remains a striking example of Belle Époque theatrical glamour. Meyrianne Heglon was a celebrated French opera singer of the late 19th and early 20th centuries, known for her commanding stage presence, dramatic depth, and rich, expressive contralto voice. She was born in the small commune of Parisot (Tarn), France. Heglon showed promise from a young age and pursued formal vocal training in Paris. Her voice—deep, resonant, and unusual even among contraltos—was suited to dramatic repertoire, including the roles of sorceresses, queens, and tragic heroines. She soon gained attention for her intensity and musical intelligence, qualities that separated her from lighter, more conventional salon contraltos of the period. Heglon’s professional debut occurred in the 1890s, and by the turn of the century she was appearing on major stages. She became closely associated with the repertoire of French grand opera, excelling particularly in the works of Gounod, Massenet, and Bizet. Her portrayal of Carmen—a role often dominated by mezzos—was noted for its darker vocal color and a psychological complexity that critics praised for its originality. She also sang at the Opéra-Comique and performed abroad, including engagements in Belgium and Switzerland. Her range of roles expanded as she achieved maturity as an artist, and she won accolades not only for her voice but also for her striking theatrical instincts. Publicity photographs from this period—often taken by major Parisian studios such as Reutlinger or Boyer—show a woman of arresting features, expressive eyes, and a sense of controlled but powerful emotion. In 1903, Heglon married the well-known baritone Dinh Gilly, an Algerian-born singer who achieved distinction at the Paris Opéra before joining the Metropolitan Opera in New York. Their partnership was both artistic and personal; the couple occasionally performed together and later became important teachers. After her stage career slowed, Heglon devoted increasing attention to vocal pedagogy, training singers in Paris and London. Her retirement from the stage did not diminish her influence. She continued to be respected for teaching opera to a new generation. Heglon died in 1958. (SOLD)
This evocative real photo postcard (RPPC) features a young African American woman standing beside an ornate wicker chair, her gaze calm yet direct. She is stylishly dressed in a light blouse with a wide white collar and dark sash tied in a bow at her waist, paired with a mid-length skirt. Around her neck she wears two pieces of jewelry—a short beaded choker and a pendant necklace—both adding a touch of grace and individuality. Her hair is neatly styled and parted, framing a face that conveys quiet confidence and dignity. The studio backdrop is minimal, drawing attention entirely to the sitter. The light is strong and frontal, giving the image a slightly high-contrast appearance that emphasizes her figure and facial features. The wicker chair at her side—an ever-popular prop of early 20th-century studios—adds a decorative element and helps balance the composition. The overall effect is both elegant and timeless, capturing the poised self-presentation of an African American woman during a period when such studio portraits were acts of personal pride and identity. The postcard’s reverse carries an AZO stamp box with two triangles pointing upward and two pointing downward, which dates the card’s production to approximately 1910–1918. This dating corresponds well with the woman’s fashion—her blouse and skirt ensemble, along with the jewelry and hairstyle, are consistent with styles of the mid-to-late 1910s. Unsigned and uncaptioned, this real photo postcard is a poignant example of African American portraiture from the early twentieth century, offering both historic and aesthetic appeal. The sitter’s steady gaze and graceful stance embody the quiet strength and dignity of a generation often overlooked in mainstream studio photography of the time.(SOLD)
This is an exceptionally striking and undeniably sophisticated vintage photograph capturing a glamorous blonde woman in a moment that feels both staged and intimate, almost cinematic in its execution. The subject stands before a full-length mirror, allowing us to see her simultaneously from the front and the back—an elegant compositional device that heightens both the allure and the artistry of the image. She is dressed in a shimmering, form-fitting evening gown, likely sequined, which clings to her figure and falls to the floor in a sleek silhouette, finished with high heels that accentuate her posture and poise. In her hands she holds what appears to be a magazine or program—possibly entertainment-related—suggesting a connection to nightlife, performance, or the world of cabaret. Her expression, as caught in the mirror, is confident, slightly provocative, and knowingly aware of the viewer, while her turned back reveals the graceful lines of her shoulders and the daring cut of the gown. The setting, with its tiled walls, sconces, and understated furnishings, evokes a refined European interior—likely a dressing area or lounge space connected to performance or leisure culture. The overall effect is stylish, suggestive, and very much in keeping with mid-20th century Parisian glamour photography. It is entirely appropriate to describe this image as risqué, though tastefully so.. The reverse provides important and quite desirable provenance. It is stamped: RISS-PHOTO (Paris and Deauville). This indicates a professional photographic studio operating out of Paris’s 16th arrondissement—an affluent district associated with high society. Deauville is a famed seaside resort long associated with luxury, fashion, and entertainment culture. Studios in these locations often produced publicity and glamour photographs for entertainers, which aligns very well with the character of this image. The photograph measures approximately 9 1/8 by 6 7/8 inches and is printed on heavy-weight photographic paper, thicker than a typical press photo. This is consistent with a presentation or studio print rather than a standard news-service photograph. SOLD
This charming vintage photograph, taken at the esteemed Waters Studio in Chicago, captures two young women in an elegant pose. They are performers from the early 1900s. The pair stand side by side, holding large feathered props in the shape of arches above their heads, suggesting they are mid-performance or posing to highlight their costumes and artistry. The women are dressed in elaborate, ruffled costumes with matching skirts and blouses accented by puffed sleeves. Their outfits, along with their detailed lace-up boots, are typical of the turn-of-the-century vaudeville or theatrical performers. The expressions on their faces—one with a playful smile and the other with a more subdued but confident demeanor—reveal a sense of joy and professionalism, hinting at their comfort in front of the camera. These young women could very well be professional dancers, actresses, or variety show performers showcasing their talent and stage presence. This photograph, including its mount, measures approximately 6 x 8.5 inches, while the image itself is about 3 5/8 x 5.25 inches. The condition is excellent for its age, with minimal wear to the edges of the mount and crisp details in the image. There is an embossed “Waters Studio, Chicago” mark in the mounts corner. The Waters Studio was known for its striking photographic work during the early 20th century, capturing the essence of its subjects with skill and precision. I have had the pleasure of owning three other photographs by this studio, all of which sold quickly—a testament to the photographer’s exceptional talent and the enduring appeal of their work. Photographer, J. Edgar Waters wrote an article for a business magazine. “The Magazine of Business” (1915) contains an article entitled “The One-Man Business”. In the article, Waters provides practical advice about business record keeping. SOLD
THE CABINET CARD GALLERY 