THE CABINET CARD GALLERY

This vintage real photo postcard features a seven member basketball team and their coach. One player holds a ball marked with the team’s name (initials only) and the year 1914. Note the player’s uniforms. Long baggy shorts and tank top shirts were the order of the day. It is interesting to note, that just like the present, the team’s coach wears a suit for photos and games. SOLD

This beautiful antique postcard features French opera singer Jane Boïé, shown in a soft-focus studio portrait typical of early 20th century theatrical photography. Her name appears printed at the bottom of the card, and the word “Opéra” appears in the upper right corner, indicating that she was an opera performer rather than a stage actress or music hall performer. This designation was commonly used on European theatrical postcards to identify performers associated with opera companies or operatic roles. The postcard was published by Künzli Frères, Paris, a well-known French postcard publisher active in the early 1900s and particularly noted for producing high-quality theatrical and celebrity postcards of opera singers, actresses, and performers. The company was one of the largest pioneer postcard publishing houses. The company was established in 1874. It had offices in Zurich and Paris. Beginning 1898, it became known for publishing postcard maps throughout Europe. Miss Boie’s photograph was taken by the esteemed Reutlinger studio in Paris. Jane Boïé was a French opera singer (soprano) active in the early 20th century, particularly in the period around 1900–1915. She performed in opera and operetta and appeared in a number of productions in France and possibly Belgium. Singers like Boïé were frequently photographed and issued as postcards because opera singers were major celebrities of the era, much like film stars a few decades later. The translated handwritten message on the front of the postcard is in French and reads: “In every lover there is a poet. Love is pure poetry.” — Alfred de Vigny. Alfred de Vigny was a famous 19th-century French poet and writer, and this romantic quotation was likely chosen to accompany the portrait image. The postcard bears two 5 centimes French stamps and a postmark, indicating it was mailed. SOLD

This vintage real photo occupational postcard features a portrait of a large group of construction workers. They are standing by some sort of steam engine. They may be constructing tracks or a bridge.  SOLD

This is an exceptional and visually striking cabinet card featuring a group portrait of nine young women, posed closely together in a carefully arranged studio composition. Their attire—high-collared blouses, puffed sleeves, and decorative bows—reflects late Victorian to early Edwardian fashion, suggesting a date in the circa 1895–1905 range. The sitters present a unified and dignified appearance, possibly indicating a school group, literary society, or women’s club, all of which were increasingly prominent during this period. The photographer’s imprint appears prominently on the mount: “Elite Studio, Ground Floor, 226 S. 11th St., Lincoln, Neb.” The elaborate back mark, featuring decorative typography and floral motifs, is typical of turn-of-the-century cabinet card design and suggests a studio positioning itself as modern and upscale. It is likely that the photographers name is “Townsend”. That name can be found in the logo. Lincoln, Nebraska, during the cabinet card era was a rapidly growing Midwestern city following its designation as the state capital in 1867. By the late 19th century, Lincoln had developed into a regional hub for education, commerce, and culture, anchored by the presence of the University of Nebraska. The image itself is beautifully rendered, with strong tonal range and fine detail in the faces and textiles. The women’s expressions range from composed to subtly assertive, lending the photograph a compelling presence and a sense of individuality within the group. The cabinet card is in very good antique condition overall. The photograph remains crisp and well-defined, with strong contrast. There is light corner wear to the mount. The reverse backmark is clear and attractive, with only minor wear and no significant damage. Overall, this is a clean and highly displayable example. See Scans.

This vintage postcard is available for purchase at my store, The History Peddler, for $28.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/236722549767

This striking cabinet card photograph captures a young child, seemingly around two or three years old, standing beside a small dog that is perched on an ornately decorated pedestal table. The child, dressed in a beautifully tailored Victorian outfit, places an arm around the dog in a gentle yet confident embrace, looking directly at the camera with an expression that conveys a mix of curiosity and composure. The child holds a small wooden toy boat, a charming prop that adds an element of playfulness to the otherwise formal portrait. The child is dressed in a dark-colored, long-sleeved dress with a pleated skirt, a lace-trimmed collar, and a large bow at the neck. White lace detailing decorates the cuffs and bodice, further emphasizing the intricate craftsmanship of the garment. The child’s short, neatly trimmed hair, round face, and large eyes give them an endearing yet serious appearance. At first glance, the dog appears almost lifelike, but upon closer inspection, its stiff posture, rigid gaze, and unnatural stillness suggest that it may not be a live animal but rather a taxidermy specimen or even a sculpted prop. The dog’s breed resembles that of a pug or pug-mix, with a compact, sturdy build, a broad face, short snout, and slightly bulging eyes. Its expression is frozen in an almost human-like seriousness. The photograph is mounted on a cabinet card with elegant scalloped edges, a decorative feature that enhances its visual appeal. The photographer’s name, De Young’s, is embossed in gold lettering at the bottom, along with the studio’s address at 815 Broadway, New York. The photographer, Joseph DeYoung (1843-1919), was both well known and highly respected. He had operated his studio from a number of addresses in New York City. He left the 815 Broadway address, where this photograph was taken in about 1890. He was at that location from at least 1884. In 1907 DeYoung’s studio was involved in the apprehension of a noted thief. The studio had a display case outside the store so pedestrians could see samples of their work. The thief was caught jimmying open the case and removing two sports photographs. The police were very interested in the home address given to them by their new arrestee. They were surprised that he lived in a mansion but it made sense when they learned he was a millionaire’s butler. He had worked in that same capacity for other millionaires living in the city. When the police searched his room, they found a cache of personal items belonging to his current and former employers. Years later, a deceased DeYoung made the news because of his bizarre estate planning. When he died, he left five dollars to his wife, five dollars to his son, and one half of his business to his business partner, Matilda Wallace. The back of the cabinet card is a masterpiece in itself, featuring an elaborate gold-embossed design against a black background. Swirling Victorian filigree, floral motifs, and elegant typography proudly advertise the services of De Young’s as Photographers, Portrait Painters, and Crayon Artists. The phrase “Extra Finish” suggests that this particular image may have been a premium offering, possibly with superior printing quality or special treatment. (SOLD)

This lovely antique cabinet card photograph features a full-length studio portrait of a young girl, photographed by Strunk of Reading, Pennsylvania, whose studio imprint appears prominently at the bottom of the mount. The girl stands beside an ornate wicker chair, resting one hand on the elaborately curved armrest. A small wooden chair is positioned on the opposite side, and a fur rug is visible beneath her feet, all typical studio props used in late 19th and early 20th century portrait photography. The painted studio backdrop creates a soft, neutral setting that keeps the focus on the subject. She wears a light-colored dress with decorative trim and a wide, ruffled collar, along with dark stockings and lace-up boots. A large bow adorns her hair, which is styled in a short bob with gentle waves. Her expression is serious and composed, as was common in children’s studio portraits of the period, and she stands very still in a formal pose, suggesting the photograph dates to a time when longer exposure times required subjects to remain motionless. John D. Strunk was a well-known Reading, Pennsylvania photographer and a pioneer in photography in the region, operating a studio in Reading for many decades. His cabinet cards are widely collected today, particularly those depicting children and families from the Reading area. I have a collection of Strunk photographs; he was a prolific photographer. Much of his work reflects high craftsmanship. This cabinet card is in very good condition for its age. The photograph retains strong detail throughout, with good contrast and clarity. The image has a tiny crease in it’s top right corner but is generally clean. Overall, it presents extremely well and remains a well-preserved portrait of an adorable little girl. (see scans). Based on the mount style, studio props, and the child’s clothing and hairstyle, this cabinet card likely dates to the late 1890s to early 1900s.

This Cabinet Card is available for purchase at my store, The History Peddler, for $24.00 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336504202383

This striking early 20th-century French postcard features Florence Laduz, posed confidently on horseback in full working cowgirl attire—wide-brimmed hat, practical skirt, boots, and coiled lariat at the saddle. The image blends realism and performance: Laduz is presented not as a novelty but as a capable rider, projecting quiet authority and self-possession. Her direct gaze toward the camera reinforces that impression, making this a particularly compelling portrait of a woman in a traditionally male-dominated role. The photograph likely dates to the circa 1900–1910 period, a time when European fascination with the American West—and with female equestrians and performers—was at its height. In France especially, images of women riders were popular in postcards, circus publicity, and illustrated journals, often straddling the line between documentary portrait and performance persona. The postcard was published by Carpel Frères, Paris, a French publisher active in the early postcard era and known for producing high-quality photographic and semi-photographic cards, including portraits of performers, costumed figures, and theatrical or novelty subjects. Florence Laduz, better known on stage as Florence LaDue, was the professional name of Grace Maud Bensel (1883–1951), a celebrated vaudeville performer and internationally recognized champion trick roper. Born in Montevideo, Minnesota, she experienced an unconventional upbringing: her mother died when she was an infant, and she spent much of her childhood on a Sioux reservation, where her grandfather served as a government agent. These early years appear to have shaped both her independence and her remarkable horsemanship. As a young woman, Bensel left home—by some accounts running away to join a Wild West show—and adopted the stage name Florence LaDue. By 1905, she was performing with Cummins’s Wild West Show and Indian Congress, where she met fellow rider and roper Guy Weadick. The two married in 1906 and spent the next several years touring extensively across North America and Europe. LaDue enjoyed a distinguished career in vaudeville and Wild West exhibitions, appearing with major circuits including Keith-Albee, Orpheum, and Pantages, and performing internationally in London, Glasgow, and Paris—making the presence of her image on a French postcard especially fitting. She appeared both solo and with her husband, sometimes billed as Weadick and LaDue, and was equally at home in theatrical settings and competitive roping exhibitions. She also appeared on Broadway in the production Wyoming Days and later with Will Rogers’ Wild West Show. By 1912, LaDue and Weadick settled in Calgary, Alberta, where she played a foundational role in the creation of the Calgary Stampede. LaDue retired after a 31-year career as the undefeated World Champion Lady Fancy Roper, a title that underscored her status as one of the most accomplished female ropers of her era. In recognition of her legacy, Florence LaDue was inducted into the National Cowgirl Museum and Hall of Fame in 2001. Her contributions continue to be honored: in 2024, the Calgary Stampede announced that a major park approach would be named “Flores LaDue Parade,” commemorating her central role in the event’s early history. She died in 1951 in Phoenix, Arizona.  (SOLD)