This cabinet card family portrait features a family portrait by the Taft Studio in Saxtons River, Vermont. The family unit consists of intense looking parents and their two sons. The boys are very similar in appearance and may be identical twins. The boys are well dressed in their striped jackets and vests. The parents seem to be older than one might expect to have children the age of these boys. Perhaps the boys are their youngest children and the older siblings are gone from the nest. To view other photographs by Preston William Taft and to learn more about him, click on the category “Photographer: Taft”. Be sure to note that two of Taft’s cabinet cards share an identical backdrop. SOLD
IDENTICAL TWIN’S FAMILY PORTRAIT IN SAXTONS RIVER, VERMONT
ANNIE AND MAGGIE: ADORABLE YOUNG SISTERS POSE IN HOUSTON, TEXAS
Annie and Maggie Fleming pose for this cabinet card portrait at the Anderson’s photographic studio, located at 85 Main Street in Houston, Texas. An inscription on the reverse of the card identifies the little girls and indicates that this photograph was given to their cousin. These cute siblings appear to be a bit dubious of the photographer and their photographic session. The photographer, Samuel Anderson, operated out of the address on this cabinet card, between 1886 and 1892. To see other photographs by Sam Anderson, click on this sites category, “Photographer: Anderson”.
PORTRAIT OF A TRUMPET PLAYER IN LEBANON, PENNSYLVANIA
This cabinet card photograph features a well dressed man holding a trumpet. The portrait was taken at Berger & Herbst studio in Lebanon, Pennsylvania. The Lebanon County Historical Society’s online photographer directory lists Berger & Herbst as operating in Lebanon between 1893 and 1894. The directory also reports that R. H. Herbst had his own studio in 1900. SOLD
DOE EYED BEAUTY IN LACE (BROOKLYN, NEW YORK; 1895)
A doe eyed beauty in lace poses for her portrait at the studio of Edward Carey Dana in Brooklyn, New York. The studio was located at the intersection of Fulton and Bond Street. Dana also owned a studio in Pittsburgh. To learn more about the photographer, click on cabinet card gallery’s category, “Photographer: Dana”. This photograph is dated 1895. No identifying information is available concerning the pretty young woman who is the subject of this photograph. SOLD
ALMA BENNETT : RISQUÉ 1920s RPPC OF SILENT FILM ACTRESS : PATHE : IRIS VERLAG
This sepia-toned, real photo postcard features the glamorous silent film actress Alma Bennett (1904-1958) in a striking, risqué pose. Published by Iris Verlag of Austria, this collectible is numbered 5234 and credits the prominent studio Pathé as the photographer—known for its high-quality film stills and star portraits during the silent era. The image captures Bennett draped in a sheer, flowing fabric that barely conceals her chest. With her hands placed carefully to cover herself, the pose is both sensual and elegant—clearly intended to appeal to fans of 1920s starlets and risqué glamour. Her expressive face is tilted upward in a dramatic fashion, with her dark, wavy bob framing large, expressive eyes. Her parted lips and gaze suggest a moment of theatrical longing or awe, characteristic of the silent film aesthetic. This postcard falls squarely into the risqué category due to its suggestive styling and scant coverage, though it retains a refined and artistic tone rather than being overtly provocative. Alma Bennett was an American silent film actress who appeared in over 60 films between 1919 and 1931. Known for her beauty, versatility, and ability to play both dramatic and comedic roles, she became a recognizable face during the peak years of silent cinema. Bennett began her career in Hollywood in the late 1910s, likely transitioning into film from stage or local beauty contests, as was common during the period. Her breakout years came in the 1920s, with notable roles in films such as: “Orphans of the Storm” (1921, uncredited, directed by D.W. Griffith), “The Prairie Pirate” (1925), “A Woman Against the World” (1928), “The Night Flyer” (1928). and “The Arizona Kid” (1930). Alma’s personal life was somewhat tumultuous, mirroring that of many silent-era actresses whose careers were overshadowed by the transition to sound films. She was married to Fred Bennett, though the marriage reportedly ended in divorce. Little is documented about her life after retiring from film around 1931, and she never returned to the screen during the sound era. (SOLD)
STARLET POSES IN SANTA ANA, CALIFORNIA
This cabinet card features a profile portrait of a pretty young woman. She is wearing a five point star pin on her collar. The woman is unidentified, but her initials (E. J. H.) are on the reverse of the photograph. The photographer is Hummel and his studio was located in Santa Ana, California. The photographer is likely the same individual who was partnered with Conaway in the Conaway & Hummel photographic studio, also located in Santa Ana. Research uncovered no further information about Mr. Hummel. SOLD
HANDSOME YOUNG MAN IN ROCHESTER, NEW YORK
A handsome and well groomed young man poses for his portrait at the studio of Cornell and Saunders, in Rochester, New York. References to Cornell and Saunders were found in photographic journals of 1893 and 1894. SOLD
THE WILLOMERE : BATH BEACH : BEACH SCENE : BROOKLYN :UNDIVIDED VINTAGE POSTCARD
This vintage lithograph printed postcard features “The Willowmere, Bath Beach, New York”. Bath Beach was located in Brooklyn, New York. The postcard was published by the Ill. Postcard Co. which was located in New York. The card is part of a series (no.4008). The postcard is an undivided back card and was published circa 1905. The message on the postcard suggests the reader “take a swim”. SOLD
MEXICAN FAMILY PORTRAIT : SAN BERNARDINO, CA : C.L. SEARS : CABINET CARD 1896
This striking 1896 Cabinet Card portrait captures a well-dressed Hispanic (likely Mexican-American) family, photographed in San Bernardino, California, by C.L. Sears, whose studio was located at 452 Third Street. The formal composition, attention to detail, and clarity of the photograph make it a compelling example of late 19th-century Southwestern portraiture. The image features four individuals: Standing at left is a young woman in a pristine white dress with puffed sleeves and a wide cinched belt. She wears gloves and a marvelous hat adorned with ribbon and flowers, her expression poised yet solemn. Seated in the center is another woman, likely the matriarch, holding an infant in her lap. She wears a richly patterned dark dress with a high collar and decorative trim. Her elaborate hat features feathers and a dark plume. Her gaze is direct and proud. The baby is dressed in a long, frilly white gown and bonnet, eyes barely open, swaddled securely in the mother’s arms. Standing to the right is a bearded man, presumably the patriarch. He wears a wide-brimmed hat, white shirt, and a textured vest, exuding a calm, grounded presence. Each subject’s expression is serious. Their clothing suggests they were dressed in their finest attire, marking this as a significant family occasion. C.L. Sears operated a photographic studio in San Bernardino in the late 19th century. His studio address, 452 Third Street, places him in the heart of the developing Southern California region during a period of migration and cultural blending. Sears is known for his clear, well-composed portraits and was active during a time when San Bernardino served as a crossroads for Hispanic, Anglo, and Indigenous communities. While not widely documented in photographic history texts, Sears’ work appears occasionally in regional archives and vintage photograph collections, typically featuring local residents, families, and scenes of everyday life. His work is valuable for its documentary quality and its representation of the diverse people who populated Southern California in the 1890s. The reverse of the Cabinet Card bears a handwritten inscription in pencil. It appears to read: “To Forosio Padilla, Cidar, Arizona,1896”. My research indicates that there is no town in Arizona named Cidar. I believe that “Cidar” is a mispelling and should read “Cedar”, Arizona. Cedar was a gold, silver and copper mining town in Mohave County, Arizona. It was founded circa 1875. Perhaps Senor Padilla and his family were from Cedar. (SOLD)
SOLOMON J. SOLOMON : ARTIST : 1901 OGDEN’S GUINEA GOLD TOBACCO CARD : JUDAICA
This is an original 1901 Ogden’s Guinea Gold tobacco card featuring the esteemed British painter Solomon J. Solomon, A.R.A., best known for his richly detailed portraits and historical subject paintings. Measuring approximately 1 3⁄8 inches by 2 ¼ inches, this vintage tobacco card was issued as part of Ogden’s iconic Guinea Gold series, which featured real photographic images of prominent figures from the arts, politics, and society at the turn of the 20th century.This card is number 72 in the series and it is captioned: “Solomon J. Solomon, A.R.A. — Well-known for his Portraits and Subject Pictures.” Solomon Joseph Solomon (1860–1927) was a highly respected British-Jewish artist, born in London to a family of German-Jewish descent. A Royal Academy-trained painter, Solomon became a member of the Royal Academy of Arts (RA) and was associated with the New English Art Club. He was especially recognized for his powerful biblical scenes, mythological subjects, and commissioned portraits of the aristocracy and military figures. His works often blended the academic style of the Victorian era with emotional intensity and rich color. In addition to his artistic achievements, Solomon played an important role during World War I, using his skills to develop camouflage techniques for the British military. He became a key figure in the establishment of military camouflage units, helping to blend artistry with strategy on the battlefield. This card is a tobacco card from the Ogden’s Guinea Gold Cigarettes series, issued in 1901 by Ogden’s, a division of the Imperial Tobacco Company. These cards were notable for their sepia-toned, photographic-print portraits and glossy black borders, a marked departure from the hand-drawn or color lithographed styles common in other cigarette cards of the time. The Guinea Gold cards remain among the most collectible of all early 20th-century British tobacco issues, especially those featuring influential cultural (judaica) figures like Solomon J. Solomon. SOLD
THE CABINET CARD GALLERY 