This vintage real photo postcard features a young boy and girl riding a donkey. Pardon my lack of equine knowledge; perhaps the donkey is actually a mule or burro. Both children are smiling and apparently having a good time. It is likely that the pair are siblings. The sister is riding side-saddle. I believe the donkey is actually a late donkey. It was not unusual to have subjects pose with a taxidermied animal for their studio photograph. The AZO stamp box on the reverse of this postcard indicates that it was published between 1910 and 1930. SOLD
An adorable little girl wearing a frilly dress is the star of this vintage real photo postcard. She is absolutely adorable as she flashes a wide smile and holds a bouquet of roses (?) aloft. Beside the darling child is a basket of flowers. The postcard was published by E. A. Schwerdtfeger & Co. (EAS) and was part of a series (no. 04721/5). The publisher was established in 1894 and expanded in 1920 when the company took over the publishing department of NPG. EAS had offices in Berlin and London. SOLD
These risque vintage real photo postcards feature Maud Allan (1873-1956). She was a Canadian-born dancer, choreographer, and actress, who performed in the United States and Europe at the turn of the 20th century. She was known for her performances of the “Vision of Salome”, an interpretive dance based on the Oscar Wilde play “Salome”, in which she portrayed the title character. Allan’s performances were controversial and often drew criticism for their erotic content. She also was known for her court case in 1918 against a British newspaper, the Illustrated Times, who published an article accusing her of promoting immorality and lesbianism. She sued for libel and won. In regard to Allan’s sexual orientation, she was a lesbian and was involved with women her entire life. She had a long affair with Margot Asquith, the wife of Herbert Henry Asquith, the Prime Minister of the United Kingdom from 1908 through 1916. Allan also had a long affair with Verna Aldrich, her secretary.
Postcard 1 presents Allan dancing as “Salome”. She is wearing a sexually provocative costume. She is covered with jewelry. This postcard was published by Rotary Photo as part of a series (No.4946B). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. An inscription on the card’s reverse reveals that the card is from 1908. (SOLD)
Postcard 2 This postcard also presents Allan dancing as “Salome”. Once again, she is wearing a sexually provocative costume and is covered with jewelry. This postcard was published by Rotary Photo as part of a series (No.4946Q). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This card is from circa 1908. (SOLD)
Postcard 3 is rare. The card captures Miss Allan wearing a sexually provocative costume. She is covered with jewelry. This postcard was published by Rotary Photo as part of a series (No.11406B). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This card is from circa 1908. (SOLD)
Postcard 4 is a risque vintage postcard that was published by Aristophot. Allan’s photograph was taken by Leopold Reutlinger as part of a series (no.E1586). This Salome postcard has a 1908 postmark. (SOLD)
Postcard 5: Most vintage postcards of Miss Allan, capture her in various risque poses during her performance in “Salome”. This uncommon postcard portrait captures her well dressed and elegant looking. This card is uncommon and was published by Rotary Photo as part of a series (No.4946Y). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This card has a 1906 postmark. (SOLD)
Postcard 6 features Maud Allan in an erotic costume as she plays “Salome”. This postcard was published by Rotary Photo as part of a series (No.4946D). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. (SOLD)
Postcard 7 was published by Rotary Photo as part of a series (No.4946N). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This postcard features Allan radiating an aura of refined elegance and timeless beauty. Her attire is a masterful display of Edwardian fashion. She wears a high-necked lace blouse adorned with intricate detailing, lending her an air of sophistication and grace. Over this, she dons a luxurious fur coat that adds richness and depth to her ensemble. Around her neck, a delicate pendant peeks out, suggesting a taste for understated yet exquisite jewelry. Her hat is a work of art in itself, lavishly adorned with roses, feathers, and ornate embellishments. The elaborate design frames her face beautifully, complementing her delicate features. Her hair, arranged in soft, voluminous curls beneath the hat, enhances her classic femininity. Maud’s expression is serene yet captivating, her slightly parted lips and soft gaze conveying both intelligence and an enigmatic charm. Her eyes hold a quiet confidence, suggesting a woman of depth, creativity, and individuality. Altogether, Maud Allan’s appearance in this postcard speaks to her remarkable beauty, not only in her physical features but also in the grace and character she exudes. She appears as a woman who is elegant, enigmatic, and effortlessly captivating. (SOLD)
This real photo postcard is quite intriguing. Who is this pretty young woman behind the sheer veil and wearing this middle eastern type dress. Is she a native of the Middle East? Is she an actress? Is she a fashionista that is wearing the latest style? I tend to rule out the possibility of her being from the Middle East. I do so because her clothing appears more fashionable than functional and her stylish shoes seem to be very not Middle Eastern. This photographic portrait was taken at the Baldomar studio in Paris, France. SOLD
This vintage real postcard features a little girl posing in her best Sunday clothing. She is a cutie pie. Note her wide brimmed hat. The young girl is identified by an inscription on the reverse of the postcard (“Grace B. Shapley”). At the time of the photograph she was six years of age. Research reveals that Grace B. Shapley (1902-1989) spent all or much of her life in Binghamton, New York. Her father was William Shapley (1850-1923) and her mother was Sara Mary Thorne Shapley (1867-1919). Her father either owned or worked in boiler factory. Grace appears in Binghamton directories through 1936. Further research is required to find out where her life took her after that time. I don’t know where life took her, but I know where she ended up. She is buried in Spring Forest Cemetery in Binghamton. This postcard was printed on a postcard by Artura sometime between 1908 and 1924 SOLD
This vintage photograph features an adorable little girl. She looks seriously inquisitive as she stares at the photographer and camera. The child was photographed at the Schindler studio in Jersey Shore, Pennsylvania. Charles Schindler (1874-1949) was listed in the Williamsport (Pa.) business directory between at least 1896 and 1910. A pencilled inscription on the reverse of the photograph indicates that the girl’s name is Malita Underwood. Research found a woman in Jersey Shore named Malita Underwood, but she is clearly a different person than the girl in this photograph. Malita Underwood (1849-1906) can not be the little girl seen in this image because this image was photographed after 1900; a time that the identified Malita Underwood was a middle aged woman. SOLD
This vintage real photo postcard features a very fashionable woman. She is wearing a large hat and an abundance of flowers on her jacket. She is holding something in her left hand. My guess is that the object being held is a purse. Her other hand rests on a pretty antique chair. The previous owner of this postcard reported that the woman’s name is Grace Watkins. The PMO stamp box on this card indicates that it was published some time between 1907 and 1915. This portrait postcard is in fair condition. Note the light crease on the top right and bottom left corner. There is also marking on the bottom left hand corner.(See Scans).
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This cabinet card features a young woman wearing a lacy gown and holding a feather fan. She is striking a theatrical pose. The young lady is pretty and gives a floaty, light and airy appearance. This scallop edged cabinet card is from the Covington, Kentucky studio of Richard J Stevens. Stevens is listed as a photographer in the Covington / Newport Business Directory between 1888 and 1894. This cabinet card is in very good condition (see scans).
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This vintage real photo postcard features American silent film actress, Carol Dempster (1901-1991). She was born in Minnesota. Her father was a captain on a ship that travelled on the Great Lakes. The family moved to California when her father switched careers. She was spotted dancing in a school program by noted dancer Ruth St. Denis. St. Denis recruited her for her own dance school. Griffith discovered her at the St. Denis school. Dempster began her film career as a protege of film director extraordinaire. She was one of a number of actresses he collected for his “stable”. Others included Lillian and Dorothy Gish, Miriam Cooper, and Mae Marsh. These other actresses were said to detest Dempster because she mimicked their acting styles. Dempster was given her first role in the 1916 film, “Intolerance”. She played a harem girl along with teenage newcomer, Mildred Harris. Dempster was just 15 years old. She became one of Griffith’s favorites and appeared in nearly every one the films he directed through the 1920’s. Their relationship became a romantic relationship during the arly 1920’s. Dempsters last film appearance was in 1926. She retired that year to marry a wealthy banker. Dempster was not seen as a great actress by critics. She was overshadowed by Lillian Gish. In addition her animated acting style and physical appearnce were considered relatively ordinary. The IMDb reports that Dempster appeared in 19 films between 1916 and 1926. This vintage postcard offers a closeup view of Miss Dempster She looks pretty and glamorous. The card was published by Cinemagazine (Paris Edition). The postcard dates back to the 1920’s and is in very good condition (see scans).
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This cabinet card portrait features an adorable little girl while sitting on a platform covered with fake grass. The youngster exhibits a lot of poise for a child her age. Note her lace collar and the multitude of buttons on her jacket. She is holding her bonnet on her lap. The photographer of this image is Frank W. Cole (1857-1912) who operated a studio in Reading, Pennsylvania. Cole was born in Bethlehem, Pa. and learned photography there. He came to Reading in 1883 and opened a photography studio at the address printed at the bottom of this cabinet card. He closed the studio in 1885 and went to work for another photographer (Saylor). According to the information aforementioned, this photograph was taken between 1883 and 1885. A Christmas/New Year’s message on the reverse of the photograph (see below) reveals that this charming girl’s name is Emily. SOLD
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