This vintage real photo postcard features two men on horseback. They are carrying tools. The tools appear to be shovels or spades. One rider has coiled rope hanging from his saddle. Is it a lasso. Are these men cowboys? Prospectors? Ranch hands? This postcard has a Velox stamp box indicating it dates back to sometime between 1907 and 1914. SOLD
This arresting cabinet card, taken in Oakley, Idaho by the photographer Mrs. R. I. Mills, captures a vivid and timeless portrait of five rugged Western men from the late 19th or very early 20th century. The image radiates strength, camaraderie, and a quiet intensity that invites speculation about the identities and lives of its subjects. The five men are posed against a painted studio backdrop that includes drapery and a classical vase stand, subtly contrasting with the grit and rough-hewn realism of the men themselves. Two sit in the foreground, legs crossed with a relaxed authority, while three stand behind them. All are dressed in frontier attire: wide-brimmed hats, wool coats, high boots, and neckerchiefs. Their layered clothing suggests the chill of the high desert West. The expressions vary slightly—some show stoic resolve, others a more neutral bearing—but none of the men are smiling. Their faces are rugged, with prominent cheekbones, strong jaws, and thick mustaches. The man at center back smokes a cigar, and one gets the sense that these are men of action—likely cowboys, ranchers, or possibly even lawmen or miners. The man seated at the right front—wearing a wide-brimmed hat, dark scarf, and white canvas trousers with riveted side seams—commands particular attention. His intense gaze and imposing posture suggest he may have been a leader among them. The others wear expressions of cool composure, unified by the weathered look of men who knew hard labor or possibly the frontier justice of the American West. Written in blue ink on the reverse of the card is an identification key, apparently penned by someone familiar with at least some of the sitters: James D. Glenn, Frank Taylor, Mr. Johnson. An inscription reveals that the men are all friends of James Glenn. It is likely that this photograph belonged to Mr. Glenn. This photograph was taken by a female photographer. Mrs. R. I. Mills was an early female photographer working in the American West—an unusual and significant occupation for a woman at the time. Her studio was located in Oakley, Idaho, a small Mormon-founded settlement in Cassia County. Historical records show that Mrs. Rachel I. Mills operated a photography studio in Oakley in the late 19th century. She was part of a small but growing number of frontier women who ran their own commercial photography studios. Though little has been published about her biography, her studio was active around the 1880s–1890s, a time when Oakley was transitioning from a pioneer settlement into a more established town with irrigation agriculture and Mormon communal development. Founded in the early 1880s by Mormon settlers, Oakley was a rural, religiously conservative community that grew around farming and ranching. It sat on the edge of the high desert and became a local hub for commerce in southern Idaho. During the time this photograph was likely taken—circa 1890—Oakley would have been a small but lively town, with residents involved in cattle ranching, grain farming, and trade. (SOLD)
This vintage real photo postcard features a portrait of four young siblings. The children are adorable. Note that three of the four children in the image are wearing sailor suits. This photo was taken at a time that the “nautical look” was in vogue. SOLD
This antique cabinet card photograph features a young girl dressed in an elegant Victorian-era outfit, posing in a photographer’s studio. She wears a dark-colored dress adorned with intricate white lace trim along the hem and sleeves. A delicate crocheted lace shawl is draped over her shoulders, fastened with a small pendant necklace. Her curly hair is neatly styled, framing her youthful face, which holds a solemn and slightly curious expression as she gazes directly at the camera. She stands poised with one hand gently resting on an artificial rock prop. The painted backdrop depicts a soft-focus nature scene, adding to the classic charm of the image. She wears lace-up leather boots, further emphasizing the era’s fashion. The photographer, location, and identity of this charming young girl are unknown, but this carefully composed portrait serves as a beautiful relic of the past. SOLD
This cabinet card portrait features a profile view of a very pretty woman. She is wearing a broach on her collar and her hairstyle includes a bun. The photographer is George C. Urlin (1854-1942) of Urlin’s Mammoth Art Gallery. The studio was located at 216 & 218 South High Street, in Columbus, Ohio. The studio was founded in 1873. This cabinet card photograph was taken in 1884 or shortly thereafter. The photographer, George Urlin was born in Canada and was active in Columbus from 1873 through 1887. He later partnered with William Beckley in Columbus, J. Becker in Cleveland, and John Pheiffer in Columbus. Urlin won 10 silver medals and 16 “Best” awards from Ohio State Fairs. Other photographs by George Urlin can be seen by clicking on the category “Photographer: Urlin”. SOLD
This is a vintage advertising blotter for W. C. Osborn, a painter and decorator from Decatur, Illinois. The colorful lithographed design features a cheerful painter promoting the benefits of hiring a professional. The blotter shows a young boy sitting on a Dutch Boy White Lead paint bucket. The blotter likely dates back to the 1920s. SOLD
This French vintage risque real photo postcard features a pretty young woman modeling for a photographer. This photograph is meant to titillate. The bathing beauty is scantily dressed in her bathing suit. More of her body is exposed than covered. Her bathing suit is low cut and her legs are exposed. “Super” is the firm that published this postcard. The card was part of a series (No.883). SOLD
This striking cabinet card presents Kitty Blanchard, a prominent American stage actress of the late 19th century. Seated in a confident pose, she is dressed in an elegant dark dress that hints at late Victorian fashion, with a fitted bodice and high collar, possibly made of velvet or a similar rich fabric. The neckline is modest, and the detailing is ornate yet refined, suggesting both stage presence and social grace. A subtle brooch or decorative element rests at her throat, drawing the viewer’s attention to her carefully arranged appearance. Her hair is styled in a voluminous upswept fashion, typical of actresses of her era, and her expression is composed, intelligent, and slightly reserved—conveying the self-assurance of a seasoned performer. There’s a maturity and dignity in her face that speaks of both artistic discipline and personal resolve. Her overall appearance is poised, polished, and unmistakably theatrical. Kitty Blanchard was a well-known American actress born circa 1850, likely in New York. She enjoyed significant success in the 1870s through the 1890s, often cast in melodramas and character roles that required both emotional intensity and comedic timing. She was married to William A. Mestayer, a fellow stage actor and playwright. The two frequently worked together and were regarded as a respected couple in theatrical circles of the time. Blanchard was best known for her roles in popular touring productions of melodramatic favorites such as “The Galley Slave” and “The Two Orphans”—the latter being one of her most memorable parts, where she often played the devoted sister. She was also admired for her comedic ability, particularly in domestic farces and sentimental comedies. Kitty Blanchard passed away in 1912, closing the curtain on a long and respected theatrical career. Though she never achieved national superstardom, she held a solid and admirable place in 19th-century American theater, especially as a stalwart of the traveling stage companies that brought culture to towns across the country. This cabinet card was produced by the esteemed Philadelphia photographic firm Gilbert & Bacon, one of the most prolific studio partnerships of the late 19th and early 20th centuries. The studio was originally established by Charles M. Gilbert, who later partnered with William F. Bacon around 1875. Together, they operated a prominent photography business specializing in theatrical portraits, society figures, and portraiture of prominent Philadelphians. Gilbert & Bacon became known for their technical skill and their ability to capture the charisma of stage personalities, making them a favorite among actors and actresses appearing in Philadelphia theaters. Their studio, located on Chestnut Street, was active well into the early 1900s. (SOLD)
This striking vintage postcard features a classic nude portrait by celebrated Parisian photographer Lucien Waléry, whose name appears here in reverse as “YrélaW” — a common practice he used to subtly obscure his identity on more provocative works. The image is numbered 1088 in the lower right corner, indicating it was part of a larger, collectible series.
The young model is posed in an artful semi-recline, one hand supporting her as she leans back against a textured curtain backdrop. She appears relaxed yet lively, her head turned to the side as she offers a gentle, playful smile. Her hair is dark, voluminous, and naturally wavy, framing her face with softness. Her expression conveys youthful confidence with an air of ease — not coy or provocative, but serene and open, as though caught in conversation or reacting to someone just out of frame. The pose emphasizes the natural curves of her body, rendered with artistic sensitivity in the soft lighting typical of Waléry’s photographic style. Though nude, the model is not sexualized in a gratuitous way; the tone is classical and aesthetic, clearly intended as fine art rather than erotica. Lucien Waléry was the pseudonym of Stanisław Julian Ignacy Ostroróg (1863–1929), a French-born photographer of Polish descent. He came from a line of photographers — his father was also a notable portraitist — and worked during the height of the Belle Époque and Art Deco periods in Paris. Waléry’s photography specialized in glamour, cabaret performers, and nude or semi-nude models, often featuring stars of the Folies Bergère and other Parisian revues. His studio attracted both high-society clientele and show business personalities. While many of his portraits were openly credited, he used backwards spellings of his name (YrélaW or similar variations) for his nude and risqué imagery — a clever form of self-censorship and anonymity designed to navigate laws and cultural norms concerning modesty and pornography in early 20th-century Europe. His works were widely reproduced as postcards, photogravures, and portfolio prints, making them highly collectible today. (SOLD)
This vintage photograph features a pretty young girl. She is fashionably dressed. Note her high collar and the circle striped pattern of the collar and the top of her dress. She is wearing flowers pinned to her shoulder. She is likely in her early, or mid teenage years. The photo studio’s name and location are not identified. SOLD
 | bmarshphd on ANNIE DUNSCOMBE : BURLESQUE AC… |
 | AL Guerra on ANNIE DUNSCOMBE : BURLESQUE AC… |
 | Sarah Wolfmayr on PORTRAIT OF THE PRETTIEST WOMA… |
| bmarshphd on PRETTY WOMAN IN FRILLY CLOTHIN… |
 | Jerry Darrell Guilli… on PRETTY WOMAN IN FRILLY CLOTHIN… |
THE CABINET CARD GALLERY 