This vintage press photo features Adolph Zukor sitting in the backseat of his chauffer driven luxury automobile. He is accompanied by his two children, Eugene and Mildred. The year of the photo is 1914 and the photo was taken in front of Zukor’s residence in New York City. Adolph Zukor (1873-1976) was a Hungarian-American film producer famous for being one of the three founders of Paramount Pictures. He produced one of America’s first feature length films, “The Prisoner of Zenda (1913). The IMDb reveals that Zukor produced 96 films between 1913 and 1943. What happened to Zukor’s children. In 1916, Eugene became a Paramount executive. Mildred married Arthur Loew son of Marcus Lowe, founder of MGM studios and the Lowes theater chain. Arthur became President of MGM. This press photograph is an artifact of motion picture history. SOLD
Mrs. Vreeland Whitlock photographed this cabinet card in 1893. Whitlock’s studio was located in McPherson, Kansas. Her subject is a young woman wearing a corsage, necklace, earrings, and a hair clip. The images of other female photographers can be viewed by clicking on the category “Female Photographers”. To view other photographs by Mrs Vreeland Whitlock, click on the cabient card gallery “Photographer: Vreeland”. SOLD
This cabinet card photograph presents two young girls, posed in a formal studio setting. The standing girl is wearing a stylish hat adorned with a large feather. Her dress has a lace collar and appears layered combining light and dark fabrics. She is wearing gloves that cover her hands and wrists. She is holding what appears to be a slender stick or cane. The seated girl is the youngest of the two. She is dressed in a dark satin or silk dress with puffed sleeves and decorative elements. Her hat is whimsical, with an unusual antenna-like detail. Her hat may suggest that her costume is meant to be playful rather than conventional fashion. The seated girl is also wearing gloves. Both girls have neutral, serious expressions. The seated girl looks directly at the camera, her gaze is steady and composed, while the standing girl appears slightly more reserved. The naturalistic backdrop features a painted outdoor scene with trees and foliage. This photograph was taken by J. W. Fyfe, whose studios were located in Aberdare and Merthyr, South Wales. SOLD
A woman poses for her portrait at Gay’s studio in Fall River, Massachusetts. She likely viewed her self as foremost, a musician. She chose to pose herself, or approved the photographers instructions, to pose sitting and holding her autoharp on her lap. Gay’s Studio was operated by a talented female photographer named Emily Gay. She ran the studio for over 40 years. She established the studio in 1878. Actually, the studio was started in 1863 by her husband Edwin Gay. In 1878, Edwin “lost it” and shot his brother-in-law and abducted his daughter. He absconded to Canada, where he died from TB in 1879. The TB that killed Edwin, caused him to turn the studio over to Emily in around 1878. Somehow, she managed to run the studio despite all the personal drama in her life. When Emily retired in the 1920’s, her daughter succeeded her in running the studio. An interesting sidenote is that Emily (her maiden name was Borden) was a distant relative of Lizzie Borden, the tried and acquitted axe murderer of her father and step-mother. Lizzie lived in Fall River and was photographed at Gay’s Studio. The cabinet card image exists today. SOLD
This vintage real photo features a pretty young woman wearing a negligee and holding a small bouquet of flowers. The woman is perched on an ornately carved wooden stool with upholstered fabric. She is in a graceful, slightly coy pose, looking off to her left, avoiding direct eye contact with the camera. She has short, wavy hair, characteristic of the 1920s or early 1930s style, giving her a modern and sophisticated look for the era. Her expression is flirtatious yet demure, exuding a mix of elegance and allure. She is wearing a light, sleeveless garment resembling a chemise or slip, commonly associated with boudoir or risqué photography of the time. The outfit is detailed with delicate embroidery and small ribbon accents, enhancing its feminine charm. Her night clothes are accessorized with a simple yet sparkling necklace and earrings. This postcard was published by Alfred Noyer (Paris). The model’s photograph was taken by J. Mandel. Mandel was a noted Parisian studio or publisher that specialized in photographic postcards during the early 20th century. Many of his works were part of the “boudoir” genre, featuring women posed in intimate or suggestive settings. SOLD
The subject of this cabinet card portrait is Marie Roze (1846-1926) a French operatic soprano. She was born in Paris and at the age of 12, she was sent to England to be educated for two years. Her next school was the Paris Conservatoire. In 1865, she received first prize in singing. That same year, she made her debut at the Opera-Comique. Despite being only sixteen years of age, she met great success there which resulted in her being engaged to perform several times at the Paris Opera. It is believed that the opera “Carmen” was written by Bizet with Marie Roze in mind. Roze refused the role because she felt it was indecent. In 1875, she sang in “Elijah” at the Royal Albert Hall. In 1876, she began a ten year stint working for the Carl Rosa Opera Company. She participated in their United Kingdom tours. By then, she was performing in “Carmen”. She made her American debut in 1878 and later toured the United States with the Carl Rosa Opera Company from 1883 to 1889. She was a popular singer in the UK and in the United States. She was a proficient singer in the English language. In 1890, she established a music school in Paris. She taught singing there. Her farewell tour occurred in 1894. Marie Roze’s first marriage was to the American operatic bass, Julius E. Perkins. They had a son named Raymond (1875-1920) who was a theatre composer and conductor. Roze’s second husband was Henry Mapleson, son of a noted impresario in London and New York. Roze recieved a number of medals for her actions during the invasion of France by Germany. Upon the death of Maria Roze, the French government bought two of her portraits and had them hung in the Paris Opera Garnier Library and the Museum of the Philharmonie de Paris. Roze was a sitter in 10 portraits in England’s National Portrait Gallery. SOLD
This cabinet card features a young woman posing for her photograph at the studio of Charles S. Rabineau of Albany, New York. The woman is wearing earrings and an interesting necklace. The necklace chain appears to be cloth and it is holding, what appears to be, a coin. The woman appears to have grey hair but this may actually be the result of photographic or development error. Rabineau did an interesting job of utilizing light in this cabinet card. He was a pioneer Albany photographer, and when he died at age 73 in 1916, he had been a photographer for over 50 years. This cabinet card is in excellent condition (see scans).
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A mother and her young child pose for a family photograph at the studio of Joseph M. Annable, in Leland, Illinois. Mom is wearing an interesting and complicated dress and the child is dressed in plaid and lace. This cabinet card has been trimmed to fit a frame. The photograph is in overall good condition (see scans).
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$14.00
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This vintage real photo postcard features “Public Schools” in Austin, Pennsylvania. The town is built next to Freeman Run (river) in Potter County, Pennsylvania. Austin is located in North Central Pennsylvania. This is an early postcard. The card was postmarked in Austin in 1909. SOLD
This vintage real photo postcard features celebrated German actress, Lil Dagover (1887-1980). She was renowned for her work in silent films, particularly her collaborations with key figures of German Expressionist cinema. Her striking beauty and ability to convey complex emotions made her one of the most recognizable faces of early 20th-century European cinema. Lil Dagover was born into a well-to-do family in the Dutch East Indies, where her father worked as a forestry officer. After his death, her mother relocated with the family to Europe, and Dagover spent much of her youth in Switzerland and Germany. She was orphaned at 13 years of age and was raised by relatives. She initially planned to become a painter but was drawn to the performing arts, which led her to pursue acting. Dagover’s acting career began on the stage, but her breakthrough came with the advent of film. She made her debut in 1913, though her rise to stardom began in earnest in the early 1920s when she worked with director Robert Wiene in the landmark German Expressionist film The Cabinet of Dr. Caligari (1920). Dagover became a favorite of directors such as Fritz Lang, F.W. Murnau, and Ernst Lubitsch. Her notable silent-era films include “Destiny” (1921), “Dr. Mabuse, the Gambler” (1922), and “The Chronicles of the Grey House” (1925). Her success continued during the sound era, where her aristocratic demeanor and elegance suited roles in historical dramas and comedies. Dagover remained active in German cinema during the Third Reich, a time when the industry was heavily influenced by propaganda. However, she largely avoided overtly political films, focusing instead on character-driven narratives. After World War II, she transitioned to stage work and television, continuing her career well into the 1970s. In regard to her personal life, in 1913 she married Fritz Daghofer, an Austrian officer. They had one child and the marriage ended in divorce. She married for a second time to a German film producer. This postcard was published by Film-Foto-Verlag as part of a series (No.A3735/1). Miss Dagover’s photograph was taken by Baumann between 1941 and 1944. The logo for Terra Film is in the bottom right corner of the image. Terra Film was a Berlin-based film production company. Founded in 1919, it became one of Germany’s largest film production companies in the 1930s under the Nazi regime. SOLD
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