This vintage real photo postcard features three attractive couples posing at an unidentified photography studio. The six men and women in this photograph are chock full of personality. Five of the six are flashing wonderful smiles. The women, in particular, appear to be having fun. All six subjects are fashionably dressed. The women are wearing sporty hats. This is an intimate portrait. The three couples seem to be very relaxed and appear to be good friends. This postcard has an AZO stamp box which indicates that the photo was taken sometime between 1918 and 1930. SOLD
This is a rare and beautifully preserved Rotophot (RP) postcard featuring a striking portrait of the renowned British stage actress Miss Violet Vanbrugh (1867–1942). The postcard, numbered 0450, was published by Rotophot, a German publisher known for high-quality photographic postcards. The portrait itself was captured by Lizzie Caswall Smith, a prominent female photographer of actors and society figures during the early 20th century. This particular image is notable for its excellent clarity and fine detail, showcasing Vanbrugh in an elegant, dark gown with a delicate lace underlayer, her short wavy hair styled fashionably, and wearing simple yet refined pearl earrings. Violet Vanbrugh was part of a theatrical family—her sister, Irene Vanbrugh, was also a celebrated actress. She initially pursued her education at Exeter and developed an interest in drama at a young age. She made her stage debut in 1886 at the Theatre Royal, Margate, before stepping into the London theatre scene. Her breakthrough came when she joined Sir Henry Irving’s company, where she refined her skills and gained recognition for her classical performances. Over the years, she became highly regarded for her portrayals of Shakespearean heroines, including Lady Macbeth, Portia in The Merchant of Venice, and Queen Katherine in Henry VIII. Apart from Shakespeare, she also starred in major productions like “Caste” and “Diplomacy”. Vanbrugh was admired for her commanding presence and emotive delivery, making her a favorite among theatre audiences of the late Victorian and Edwardian eras. Violet Vanbrugh married Arthur Bourchier, a fellow actor, in 1894, and the couple became a theatrical powerhouse, frequently starring together in productions. They also managed the Garrick Theatre in London for a time. However, their marriage eventually ended in divorce. Despite personal setbacks, Vanbrugh remained a distinguished figure in the theatrical world well into the 20th century. She passed away in 1942 at the age of 75. The back of this postcard features the Rotophot logo in red, with a printed divider. It is addressed to Miss M. Pattison of Cardiff, Wales. The handwritten message, written in cursive along the left margin, reads: “another for your collection”. The sender hopes the postcard will be added to the recipients postcard collection. The postcard bears a half-penny green King Edward VII stamp, which was postmarked in Cardiff in 1908. (SOLD)
This vintage photograph features two athletic and handsome men posing with tennis gear. They are holding racquets and one of them is grasping a tennis ball. These guys look like they exercise regularly. Judging by their smiles, they seem to be very happy. SOLD
This vintage press photo features members of Merrill’s Maruders, a specialized American fighting group that fought the Japanese in the jungles of North Burma. They fought much like the Japanese soldiers. This American unit used Guerilla war tactics. The American unit was officially known as the 5307th Composite Unit. They conducted long-range penetration missions behind enemy lines. They were established in 1943 and named after their commander, Brigadier General Frank Merrill. All members of the Maruders were volunteers from various Army division. Many were already skilled in jungle warfare. The US soldiers faced many challenges besides facing Japanese forces. The Americans had to deal with harsh weather, disease and supply shortages. The unit completed their mission in 1944 and were disbanded. Many consider the Maruder’s as the predecessor to US modern day special forces. In 1962, a popular movie was released that told the story of this famous 3000 man unit. The movies, unsurprisingly, was titled “Merrill’s Maruders”. This photo includes eleven members of Merrill’s outfit. They are cooking a meal over a flame. Note the large can of compressed corned beef. Despite the tough conditions, the men are smiling as the pose for this news photograph. The photo was taken by the International News Photo. SOLD
Anne Vernon (1924- ) was a French theatre, television and film actress. She is seen in this vintage real photo postcard, posing with a Dachshund dog. Vernon began her film career in the late 1940s, gaining attention for her elegance, charm, and natural screen presence. Her first notable role was in The Murdered Model (1948), marking her debut during the French occupation. In the post-war years, she became a prominent figure in French cinema, appearing in a variety of genres, including comedies, dramas, and musicals. One of her most significant roles came in Jacques Demy’s The Umbrellas of Cherbourg (1964), where she played Madame Emery, the mother of Catherine Deneuve’s character. Her nuanced performance brought depth to the bittersweet romance of the film, which remains a classic of French cinema. Throughout the 1950s and 1960s, Anne worked with esteemed directors such as René Clair and Julien Duvivier, further solidifying her reputation as a versatile actress. She also appeared in international productions, making her a recognized figure beyond France. Notably, she appeared in the Hollywood film Shakedown (1950), playing the role of Nita Palmer alongside Howard Duff and Peggy Dow. This was her only Hollywood film. Despite this venture into American cinema, she remained less known in the United States compared to her prominence in Europe. Over her career, Anne Vernon appeared in approximately 40 films between 1948 and 1970. Anne Vernon was married three times. Her husbands included French lawyer and politician Robert Badinter and politician Jean-Pierre Prouteau. As of January 2025, Anne Vernon is still alive. She is 101 years-old. Miss Vernon’s photograph seen on this postcard was taken by Lucienne Chevert (1911-1982). She was a Paris based photographer who photographed dozens of French film stars post World War II. She was the partner of the well known celebrity photographer, Sam Levin. This postcard was published by the Globe Edition (Paris) and is part of a series (no.137). (SOLD)
This is a striking original vintage photograph taken in Trinidad, measuring approximately 4 1/4 inches by 6 inches.The photograph shows a young Black boy holding a baby in his arms while several other children look on. The young boy, who is the central figure, wears worn clothing—his shirt is torn at the shoulders, and his pants show signs of heavy wear—suggesting a working-class or rural setting. He looks directly into the camera with a slight, dignified smile. The baby, seemingly asleep or resting, is bare-chested and clad in only a light cloth or diaper. The other children in the background, likely of Afro-Caribbean or Indo-Caribbean descent, wear simple white garments. Their expressions vary—some look somber, others curious, all facing the camera in the bright tropical daylight, with blurred palm trees and wild grass in the background.⚠️ Note on Historical Terminology: As a seller of vintage and historical photography, I am committed to presenting these images with honesty and care, while acknowledging and respecting their complex cultural contexts. The caption on this photograph includes a term that today is widely recognized as racially offensive. I include it here solely for the sake of historical accuracy and do not endorse its use or connotations. The term “Rastus” is historically a racially charged stereotype originating in the United States, where it was used derogatorily to caricature Black men, especially in minstrel shows and commercial branding (e.g., Cream of Wheat). Its use in this photograph’s caption, “Young Rastus,“ reflects a colonial-era mindset and exoticism that was common in early 20th-century ethnographic photography, particularly when Westerners documented life in colonized regions like Trinidad. In this case, the label was almost certainly applied by the photographer or publisher, not the subjects, and should be understood as a historical artifact rather than a descriptor used by the individuals pictured. SOLD
This cabinet card features a teenage boy posing for his portrait at Smith’s Studio in Chenoa, Illinois. He is well dressed in his three piece suit. His derby hat is beside him, sitting on a faux wall. Note the backdrop. The artist who created it did not have an abundance of talent. SOLD
This cabinet card is a hunting image photographed by Morrison (1848-?) of Bowling Green, Ohio. The hunter is posed with his hunting dog and his shotgun. Also making an appearance in this image is the raccoon that met its early demise as the prey of the hunt. The dog in the photograph appears to be a hound. The street address of the photographers studio was the Kabig Block. Robert Prescott Morrison worked as a photographer in Fostoria, Ohio around 1865 and began operating in Bowling Green in 1870 or 1878 depending on what source is believed. He was still active in his career in 1900. His wife, Belinda (Linnie) Ball Morrison worked as a negative retoucher during their early married days. Morrison was a veteran of the civil war. He served in Company H of the 133rd Ohio Volunteer Infantry Regiment. SOLD
This cabinet card features a handsome young man with a composed, serious expression. His piercing eyes are steady and direct, suggesting confidence and a sense of purpose. He sports a neatly groomed, full mustache that accentuates his strong facial features, and his dark, wavy hair is styled close to the head with a modest wave. He is dressed formally in a three-piece suit typical of the late 19th century, consisting of a dark jacket with a subtle pinstripe, a matching vest, and a white high-collared shirt adorned with a cravat or tie tucked neatly into the collar. A pocket watch chain is visible just below the vest’s center buttons, a common accessory for men of the era. The photograph was taken by Reidsma Studio, as indicated by the imprint on the bottom mount. The ornate script spells out “Reidsma” alongside the photographer’s monogram and location: Kalamazoo, Michigan. Research into Mr. Reidsma reveals that the photographer was likely John Reidsma, a Dutch-American who operated a photography studio in Kalamazoo in the late 19th century. His work is known for its clarity and careful composition, often capturing the middle class and professional residents of the area during a time of industrial growth in Michigan. The presence of the brown line framing the image—also called a “rule line”—was a stylistic element commonly used in cabinet cards from the 1885–1895 period. This, along with the fashion and card style, helps date the photograph to the early 1890s. On the reverse, written in pencil, is the name: Mrs. R. J. Welch, 837 W. Walnut. The address is likely a local address for Kalamazoo itself or a nearby city. It is quite likely that Mrs. R.J. Welch was the wife of the man pictured. During this era, it was common for women—especially wives—to manage household affairs, including the commissioning and ordering of photographic portraits from local studios. Her name inscribed on the back may indicate ownership or responsibility for this photograph, perhaps sent or shared with family members.
This vintage Cabinet Card features a fashionable woman. She is wearing a fancy dress and is well accessorized. Whe is wearing a large necklace, a collar pin, and what appears to be, a flower with streaming ribbons. The photographer of this image was the Bennett Studio. Bennett operated a studio in Leadville, Colorado. Alfred E. Bennett’s (1862-1942) foray into photography may have been a brief one. He is listed in the 1900 US Census as a photographer but held other occupations in other decade census’s. When this photo was taken, Leadville was a booming mining town. Leadville is located at an altitude of 10,152 feet and in the late 1800’s was the second most populated city in Colorado. Denver was number one in population. Leadville was one of the worlds largest Silver camps and was the home of Doc Holliday shortly after the gunfight at the OK Corral. SOLD
THE CABINET CARD GALLERY 