PORTRAIT OF AN ABRAHAM LINCOLN LOOK-A-LIKE IN TRENTON, NEW JERSEY

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The gentleman in this cabinet card portrait looks amazingly like Abraham Lincoln (1809-1865), the 16th President of the United States. As much a I would like this to be an early photograph of Lincoln, it most certainly is not. This photograph was produced several years after Lincoln’s death. The photographer of this image was George Pine (1840-1906). For part of George’s photography career he operated a studio with his brother Robert G. Pine. Records indicate that Pine conducted his business at the 27 & 29 East State between 1878 and 1888. He operated out of several addresses over the course of his career and all of his galleries were located in Trenton, New Jersey. I was able to confirm that he ran the studios from at least 1872 through the early 1900’s. George was born in New Jersey. An 1867 business directory indicates that he and his brother had a gold and silver plating business before entering the field of photography. The 1880 US census reveals that George lived in Trenton with his wife Theodosia Burroughs Pine (1842-1900). The couple were living alone. The Trenton Evening Times (1906) ran George’s obituary. He died in Trenton although he did spend some years in Florida where his wife passed away. At the time of his death he was the curator of the Cadwalader Park Museum. The article states that after a successful photography career, George had become a “prominent naturalist”. Cadwalader Park is located in Trenton.The park is nearly 100 acres and is the city’s oldest park (construction began in 1887). The park was designed by Frederick Law Olmsted (creator of New York City’s Central Park).  SOLD

 

Published in: on September 10, 2025 at 12:00 pm  Comments (1)  
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THREE MEN IN COSTUMES WITH ASIAN PARASOLS : BIZARRE VINTAGE SNAPSHOT PHOTO

This small vintage snapshot photograph measures 2½ inches by 3⅜ inches and offers a wonderfully quirky scene of three men posing indoors, apparently during some kind of playful or costume event. The three men are seated closely together on benches. All three are dressed in semi-formal or smart-casual clothing. The man on the left wears a suit jacket, tie, and slacks, topped off with a light-colored, wide-brimmed hat reminiscent of a pith helmet or safari hat. He has a pleasant, slightly amused expression on his face. The man in the middle, dressed in dark clothing, holds a small bouquet of artificial flowers and wears a whimsical hat cocked at an angle. His expression is earnest, almost deadpan, which adds to the surreal charm of the scene. The man on the right sports a tweed jacket, bow tie, and riding boots. He also wears a jaunty hat and is casually holding a pipe in one hand, looking slightly amused and relaxed. In the background, Asian-style paper parasols are hanging or propped against the wall, adding an even more unusual and festive element to the setting. The combination of the flowers, whimsical hats, parasols, and formal clothing creates a truly bizarre, humorous, and delightful scene, suggesting this may have been a themed party, costume event, or simply friends enjoying a bit of light-hearted fun. This delightful vintage snapshot likely dates to the late 1930s or early 1940s, based on clothing and photographic style. (SOLD)

Published in: on September 9, 2025 at 12:00 pm  Leave a Comment  
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HANDSOME FAMILY PORTRAIT : ADORABLE POODLE DOG : AALBORG, DENMARK : CDV

This carte de visite portrait of an attractive family includes two men, one woman, one child, and the family’s pet dog. The dog appears to be a poodle or perhaps part poodle. This photograph was taken by Ernst Gopel (1862-1919). He operated a studio in Aalborg, Denmark between 1895 and 1919. (SOLD)

Published in: on September 8, 2025 at 12:00 pm  Leave a Comment  
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THE GIRLS OF SUMMER: WOMENS SOFTBALL TEAM (1934 VINTAGE PHOTOGRAPH)

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This vintage photograph features a women’s softball team. Judging by their smiles, the ladies were in a happy mood at the time this photograph was taken. The image was produced in the year 1934 which the text on the photo indicates celebrates “a century of progress”. Two of the players are wearing baseball caps but no baseball equipment or team logo is visible in the photograph. At that time in softball history, many leagues required the players not to use gloves.  It is also notable that this team photo includes eleven players rather than the expected baseball nine. Women’s softball teams of that era employed ten players on the field with the tenth player occupying the position of short centerfield. Perhaps the eleventh player in the photo is the coach/manager or possibly a substitute. It is also interesting to note that “A Century of Progress” was the slogan for the 1933 World’s Fair.The exposition was held along the lakefront of Chicago, Illinois. The fair was operated from June 1-November 1, 1933, and May 26-October 31, 1934. It is a safe assumption that this image was taken at the Chicago Worlds Fair grounds. Softball was one of the few team sports available to women during the 1930’s, 1940’s,and 1950’s. During the 1930’s, softball was a very popular sport around the United States. In 1933 the newly established Amateur Softball Association sponsored the first national fast pitch softball tournament for women. The association tied the tournament to the Chicago Worlds Fair. In the initial competition, eight women’s teams competed against each other. It is worth mentioning that some sources report that the games were actually sponsored by a duo comprised of a sports writer and a sporting goods salesman. This wonderful memento of softball history measures 3″ x 4 3/4″ and based on the black paper residue on it’s reverse, once found it’s home in someone’s photo album.  SOLD

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Published in: on September 7, 2025 at 12:00 pm  Comments (5)  
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CHARMING WOMAN WITH HER COLLIE DOG : LEIPZIG, GERMANY : BY BELLACH : CABINET CARD

This evocative cabinet card photograph captures an intimate and timeless portrait of a young woman and her loyal dog, taken by the studio of Carl Bellach (1848-1920) in Leipzig, Germany. The woman sits gracefully beside her canine companion, her body turned slightly but her gaze directed straight into the camera. Her expression is serene and soft, with a gentle smile that suggests both composure and affection. She wears a dark Edwardian dress with a high collar and a prominent bow at the neck, detailed with fabric-covered buttons along the front and sleeve cuffs. Her hair is styled in soft waves and pulled back, adorned with a ribbon or dark headband, reflecting the elegant fashion of the early 20th century. Next to her sits a beautiful dog, likely a rough-coated Collie or a Border Collie mix, whose thick fur and calm, attentive expression add a warm, personal touch to the image. The dog sits proudly on a patterned upholstered bench, perfectly posed as if aware of the photographic moment. The room in which they are posed is softly lit and richly decorated, with a curio cabinet or sideboard in the background, suggesting a comfortable middle-class home. A framed portrait of a man hangs on the wall—perhaps a family member, adding a sentimental layer to the setting. The overall tone of the photograph is tender and domestic, a quiet glimpse into the bond between human and animal, beautifully preserved. The sepia tones and excellent clarity make this image a fine example of studio portraiture from pre-WWI Germany. The photographer, Carl Bellach, was a known Leipzig studio operator, and his imprint appears in gold at the bottom right corner of the mount. Bellach was also known for being an entomologist (scientific study of insects).  (SOLD)

Published in: on September 6, 2025 at 12:00 pm  Leave a Comment  
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WOMAN AND A BIG BOW : ST. JOHNSBURY, VERMONT : CABINET CARD

This cabinet card is an image of a young woman with a very large bow on her collar. She has short hair or it is pulled back behind her head. The photographer is Kellogg of St. Johnsbury, Vermont. SOLD

Published in: on September 5, 2025 at 12:18 pm  Comments (1)  
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PRETTY NUDE WOMAN : PC PARIS : ART NOUVEAU : FRANCE : REAL PHOTO POSTCARD

This striking real photo postcard features a confident young woman posing against a neutral backdrop, dressed in a decorative fringed shawl that is elegantly wrapped around her hips. Her bare torso and boldly direct gaze give the portrait a sense of intimate glamour, common to the French “nude étude” genre of the early 20th century. Her hair is neatly parted and styled in a sleek, classic fashion, and she wears distinctive looped earrings that accent her graceful neck and shoulders.  The woman’s expression is both engaging and relaxed, her slight smile inviting and warm. Her stance—turned slightly in profile yet facing the camera with a sense of ease—demonstrates a poise that suggests she may have been a dancer or performer. The use of light and shadow on the wall behind her adds visual depth, while the soft focus enhances the romanticism of the image. Interestingly, the woman modeling on this postcard has been described by some commentators as Arab and other observers have hypothesized that she is Hispanic. This postcard was produced by P.C. Paris, one of the leading French publishers of glamour, artistic nude, and theatrical postcards during the 1920s and 1930s. The postcard is numbered 1887 in the lower corner, part of a large series of posed studio portraits often issued in sequential sets. The reverse reads “Made in France” and bears the P.C. Paris publisher’s mark, indicating it is an original continental European issue—not a later reproduction. P.C. Paris (Phototypie C. et Cie), based in Paris, was known for creating refined studio portraits of women, including risqué and erotic studies, often with exotic or theatrical styling. Many of their models were dancers, actresses, or professional models. Their cards were sold widely across Europe and were sometimes considered collectible art photography.  SOLD

Published in: on September 4, 2025 at 12:00 pm  Comments (2)  
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JULIA MARLOWE: ESTEEMED AMERICAN STAGE ACTRESS

CABINET CARD 1

   CABINET CARD 2   (SOLD)

CABINET CARD 3  (SOLD)

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CABINETCARD 6CABINET CARD 7   (SOLD)

CABINET CARD 8

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CABINET CARD 11

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CABINET CARD 14   (SOLD)

JULIA MARLOWE: ESTEEMED STAGE ACTRESS : SARONY : CABINET CARD PORTRAIT c1890 - Picture 1 of 3

CABINET CARD 15 (SOLD)

Julia Marlowe (1865-1950) was born in England and as a young child moved to the United States with her family. In her early teens she began her theatrical career with a juvenile opera company. She began playing Shakespeare in her home town of Cincinnati, Ohio. She made her Broadway debut in 1895 and by the end of her career, had appeared in more than 70 Broadway productions. Her first husband was actor, Robert Tabor. Their marriage lasted six years. In 1904 she appeared in “When Knighthood was in Flower”. Great success in this play brought her financial independence. Earlier, in 1903, she appeared in ‘The Cavalier” and “Ingomar”. The New York Sun wrote about her performance in “Ingomar”; “There is not a woman player in America or in England that is – attractively considered- fit to unlace her shoe”. In 1904 she began a partnership with actor E. H. Sothern. They toured the United States performing various plays of Shakespeare. They were managed by Charles Frohman and later, the Shubert brothers. They were considered to be among the major Shakespearian actors of the day. In 1906, Marlowe played in “Jeanne d’Arc” and also as Salome in “John the Baptist”. Later, Sothern and Marlowe played in London but were not terrific box office successes there. In 1911 Marlowe and Sothern married each other. In 1920 and 1921, they made eleven phonograph recordings for the Victor Company. The top Cabinet Card was produced by Newsboy as a premium for their tobacco products. The photographer was Falk and the image is from 1892.

The second portrait of Julia Marlowe has a notation on the reverse of the card stating “Julia Marlowe Tabor”. Therefore, this photograph was likely taken during the time of her marriage to Tabor (1894-1900). The photographic studio that produced this portrait is  Klein & Guttenstein of 164 Wisconsin Street, in Milwaukee,  Wisconsin.  Klein and Guttenstein were leading photographers of their time. Wilson’s Photographic Magazine (1902) reveals that the two men  were very active in the Photographers Association of Wisconsin and other photography organizations. The photographers were considered part of a network of photographers skilled at producing publicity images of theatrical and vaudeville stars to be used in national magazines and other publications. The New York Public Library has a collection of portraits of actress Blanche Bates; produced by Klein & Guttenstein. The University of Pennsylvania Library has one of Klein & Guttenstein’s portraits of Julia Marlowe.  (SOLD)

The third portrait of Julia Marlowe in the cabinet card gallery collection is photographed by Sarony, the famed celebrity photographer located in New York City.  This cabinet card is signed by the actress and dated 1890. Additonal photographs by Sarony can be viewed by clicking on the category “Photographers: Sarony”.  SOLD

The fourth portrait of Miss Marlow features her in role in the production of “Countess Veleska”. The play was adapted for a German work, “The Tall Prussian”, by Rudolph Stratz. The play opened in New York in 1898 at the Knickerbocker Theatre. The review in the New York Times (1898) stated that the “drama was made wholly interesting by the personal charm and sincerity of Miss Marlowe”. In a sarcastic tone, the reviewer comments about Marlowe’s co star, Bassett Roe. The reviewer states that Roe has only two qualities of the man he was playing, “height and good looks”. The reviewer continues his scathing description of Roe; “The only time he actually warmed up was when he accidentally set his hair on fire. Even then he would have let it burn if Miss Marlowe had not gone to his rescue.” The photographic studio that produced the “Countess Veleska” cabinet card was Pach Brothers of New York City. Pach Brothers were photographers known for their photographs of celebrities of their era. To see additional photographs by the Pach Brothers, click on this site’s category of “Photographers: Pach Brothers”.

The fifth portrait of Julia Marlowe appears to be a photograph of the actress in costume for an unknown stage production. The image was photographed by Ye Rose Studio of Providence, Rhode Island. The reverse of the card indicated that the studio was opened in 1886. The studio was located in the Conrad building in downtown Providence. The building still exists. Other photographs by the Ye Rose Studio can be viewed by clicking on the category “Photographer: Ye Rose”.

Portrait number six is an excellent example of the beauty of Julia Marlowe. This image, from 1888, captures Ms. Marlowe at the young age of twenty-three. The photographer of this portrait was B. J. Falk, a celebrity photographer located in New York City, New York. To view other photographs by Falk, click on the category “Photographer: Falk”.

The seventh portrait is another example of a B. J. Falk image. The photograph features a costumed Julia Marlowe in the production of “Cymbeline“. Cymbeline is a play by William Shakespeare that was based on legends about the early Celtic British King,  Cunobelinus. The play deals with themes that include innocence and jealousy. Ms. Marlowe plays Imogen, the King’s daughter. Her expression in the photograph shows fear and concern as she looks at someone or something in the distance. Her left hand shades her eyes while her right hand clutches her belted dagger. A stamp on the reverse of  this cabinet card reveals that it was formerly owned by Culver Pictures of New York City, New York. Culver Pictures has been collecting photographs and illustrations from the 19th and first half of the 20th century, since 1926. These pictures are used in books, films, and other forms of media. At the time that this cabinet card was stamped by the company, Culver Pictures was located in New York City.  (SOLD)

Portrait number eight is a close-up photograph of Miss Marlowe. The photographer of this cabinet card is the studio of Rose & Sands whose gallery was located in Providence, Rhode Island. Note that photograph number five also came from the Rose studio, but at that time, the gallery was called, the Ye Rose studio. The Wilson’s Photographic Magazine (1899) reports that Rose and Sands were the proprietors of Ye Rose. A humorous headline in a photography magazine stated “Providence Provides for All, And Rose Provides for Providence”.  Print on the reverse of this cabinet card reveals that the Rose & Sands studio was opened in 1886 and that it specialized in “High Class Portraits from Cabinet to Life Size”. Also of interest, like photograph number seven, there is a stamp on the reverse of the photograph with the name “Culver Pictures Inc”.

Photograph number nine features the beautiful Miss Marlowe displaying a mischievous smile. Note her engaging large eyes. She is wearing a somewhat revealing dress (for the cabinet card era) and has a wonderful hat atop her head. This cabinet card photograph was published in 1888 by Benjamin Falk of New York City.  The image is marked with the number sixty-nine.

Portrait number ten is a closeup of Julia Marlowe with her head covered, but with her pretty face very visible. She is likely in costume for this photograph. The photograph is taken by B. J. Falk of New York City and has a copyright date of 1888. The cabinet card is marked number “86”.

The eleventh photograph captures Miss Marlowe staring hypnotically at a flower. Someone, has written below her name that the image features her in the role of Parthenia in the production of “Ingomar”.  The New York Times (1904) reviews the play and Miss Marlowe’s performance on opening night at the Empire Theater in New York City. The newspaper reports that Frederick Halm’s play was “impossibly romantic and deliciously sentimental piece of old-fashioned theatrics. Tyrone Power played Ingomar and he was described as “vigourous and picturesque” but the article added that his voice was “not at its best”. The review pointed out that Marlowe’s appearance in this play was to be her last appearance as an independent star before joining E. H. Sothern’s Shakespearean repertory. In regard to Marlowe’s acting in this play, it was written that she played a “dear little prig – adorably dear” (prig can be defined as smug or arrogant) and she presented “a masterpiece of harmonious, modulated, and sustained acting”. The 1904 performance of Julia Marlowe in “Ingomar” marked a return performance for this accomplished actress. The New York Times (1888) wrote a very positive review of the opening night performance in Washington D.C.. The appreciative audience included three Supreme Court Justices and a number of members of the Chinese Embassy. This cabinet card was produced by the previously mentioned Ye Rose Studio of Providence, Rhode Island and it likely dates back to her 1888 performance in the role.

The twelfth cabinet card was produced by Benjamin Falk of New York City. He posed Miss Marlowe next to a spinning wheel. Her low cut dress makes this image a bit risque for the cabinet card era. If Falk or Miss Marlowe thought that looking up at the camera would create a “fetching appearance”, I would contend that their efforts failed. Rather than “fetching”, she appears dazed. The actress was a beautiful woman and provocativeness was not necessary to enhance her image. This photograph was produced in 1888 and was part of a series (#23).

Cabinet Card number thirteen is part of a series that includes Cabinet Card number ten. Both cards were photographed by Benjamin  Falk and have a copyright date of 1888. Both portraits are close-ups but this one is captures Marlowe looking at the camera while number ten offers a profile view. Falk really captured the actresses eyes. Her eyes are beautiful and they are haunting at the same time. This photograph is marked number number 83 of the series.

Cabinet Card fourteen features another beautiful portrait of Julia Marlowe. This photograph was taken by Benjamin Falk and was copyrighted in 1892. This cabinet card is uncommon, possibly rare.  (SOLD)

Cabinet Card 15 was photographed by Napoleon Sarony, the famed celebrity photographer located in New York City.  (SOLD)

Published in: on September 3, 2025 at 12:00 pm  Comments (6)  
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TWO SWEET YOUNG SISTERS POSE FOR THEIR PORTRAIT : LUDLOW, VERMONT : CABINET CARD

his cabinet card captures two young girls posing for their portrait at the Moore studio in Ludlow, Vermont. These well dressed children look very sweet and are likely sisters. The Photographic Journal of America (1890) mentions photographer, C. A. Moore of Ludlow, Vermont. He is likely the same Moore that created this image.  SOLD

Published in: on September 2, 2025 at 12:00 pm  Leave a Comment  
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MOTHERS, DAUGHTERS AND SISTERS IN SAXTONS RIVER, VERMONT

This cabinet card, photographed by P. W. Taft, features two young adult women and two young girls. Perhaps the two older girls are sisters and the two young girls are daughters of the older woman. The family constellation in this image is impossible to determine. It is interesting to note that the two little girls are both wearing dresses styled after a sailor suit. The two dresses are similar, but not identical. Taft’s studio was located in Saxtons River, Vermont. To view other photographs by Taft, click on the category “Photographer: Taft”. Preston William Taft (1826-1901) was listed in the Windham County Business Directory 1884) as having a photography business in Saxtons River. Research reveals that he established a Daguerreotype, and later Photography business in 1856 and operated the studio until 1878. He was married in 1850 to Rose Melissa Miller and the couple had three sons and a daughter. Sons Frank (born 1851), Charles (born 1863), and Edward (born 1868), all became photographers. The daughter’s name was Nettie (born 1865). It is likely that this cabinet card was produced by one of P. W. Taft’s sons since, judging by characteristics of the cabinet card, it was likely photographed after he had left the business. To view other photographs by P. W. Taft, click on the category “Photographer: Taft”.  SOLD

Published in: on September 1, 2025 at 12:00 pm  Comments (1)  
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