THE CABINET CARD GALLERY

POSTCARD 1 (SOLD)

POSTCARD 2 (SOLD)

POSTCARD 3 (SOLD)

POSTCARD 4 (SOLD)

POSTCARD 5 (SOLD)

POSTCARD 6 (SOLD)

POSTCARD 7 (SOLD)

POSTCARD 8 (SOLD)

POSTCARD 9 (SOLD)

POSTCARD 10 (SOLD)

These risque vintage real photo postcards feature Maud Allan (1873-1956). She was a Canadian-born dancer, choreographer, and actress, who performed in the United States and Europe at the turn of the 20th century. She was known for her performances of the “Vision of Salome”, an interpretive dance based on the Oscar Wilde play “Salome”, in which she portrayed the title character. Allan’s performances were controversial and often drew criticism for their erotic content. She also was known for her court case in 1918 against a British newspaper, the Illustrated Times, who published an article accusing her of promoting immorality and lesbianism. She sued for libel and won. In regard to Allan’s sexual orientation, she was a lesbian and was involved with women her entire life. She had a long affair with Margot Asquith, the wife of Herbert Henry Asquith, the Prime Minister of the United Kingdom from 1908 through 1916. Allan also had a long affair with Verna Aldrich, her secretary.

 Postcard 1 presents Allan dancing as “Salome”. She is wearing a sexually provocative costume. She is covered with jewelry. This postcard was published by Rotary Photo as part of a series (No.4946B). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. An inscription on the card’s reverse reveals that the card is from 1908. (SOLD)

Postcard 2 This postcard also presents Allan dancing as “Salome”. Once again, she is wearing a sexually provocative costume and is covered with jewelry. This postcard was published by Rotary Photo as part of a series (No.4946Q). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This card is from circa 1908. (SOLD)

Postcard 3 is rare. The card captures Miss Allan wearing a sexually provocative costume. She is covered with jewelry. This postcard was published by Rotary Photo as part of a series (No.11406B). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This card is from circa 1908. (SOLD)

Postcard 4 is a risque vintage postcard that was published by Aristophot. Allan’s photograph was taken by Leopold Reutlinger as part of a series (no.E1586). This Salome postcard has a 1908 postmark. (SOLD)

Postcard 5: Most vintage postcards of Miss Allan, capture her in various risque poses during her performance in “Salome”. This uncommon postcard portrait captures her well dressed and elegant looking. This card is uncommon and was published by Rotary Photo as part of a series (No.4946Y). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This card has a 1906 postmark. (SOLD)

Postcard 6 features Maud Allan in an erotic costume as she plays “Salome”. This postcard was published by Rotary Photo as part of a series (No.4946D). Miss Allan’s photograph was taken by the Foulsham & Banfield studio.  (SOLD)

Postcard 7 was published by Rotary Photo as part of a series (No.4946N). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This postcard features Allan radiating an aura of refined elegance and timeless beauty. Her attire is a masterful display of Edwardian fashion. She wears a high-necked lace blouse adorned with intricate detailing, lending her an air of sophistication and grace. Over this, she dons a luxurious fur coat that adds richness and depth to her ensemble. Around her neck, a delicate pendant peeks out, suggesting a taste for understated yet exquisite jewelry. Her hat is a work of art in itself, lavishly adorned with roses, feathers, and ornate embellishments. The elaborate design frames her face beautifully, complementing her delicate features. Her hair, arranged in soft, voluminous curls beneath the hat, enhances her classic femininity. Maud’s expression is serene yet captivating, her slightly parted lips and soft gaze conveying both intelligence and an enigmatic charm. Her eyes hold a quiet confidence, suggesting a woman of depth, creativity, and individuality. Altogether, Maud Allan’s appearance in this postcard speaks to her remarkable beauty, not only in her physical features but also in the grace and character she exudes. She appears as a woman who is elegant, enigmatic, and effortlessly captivating. (SOLD) 

Postcard 8 is a portrait of Allan wearing an elaborate costume: strands of pearls draped across her shoulders and chest, a large bejeweled ornament on her bodice, and a pearl headdress with a central jewel resting on her forehead. Her dark hair frames her face, and she gazes with a calm, slightly enigmatic expression. The overall mood of the image is both theatrical and regal, emphasizing her role as a stage performer who often blurred the line between classical dance and sensual spectacle. The postcard was published by Rotary Photo as part of their “Opalette” series. The ornate printed “frame” around the oval portrait adds an additional decorative touch. The postcard has a divided back and there is a handwritten note dated in 1911. The correspondence reads: “How do you like this one, I don’t care much for it myself. I have not many more now. Th. B.R.” It is addressed to a man located in London. (SOLD)

Postcard 9 was published by Rotary Photo and is part of the firm’s Opalette Series. this postcard has a postmark from 1909. (SOLD)

Postcard 10 is a striking Edwardian real photo postcard features Maud Allan, the celebrated dancer and stage performer whose career bridged classical, exotic, and highly sensual performance at the turn of the 20th century. Allan is shown seated in a flowing, classical-style gown, posed against a dramatic seaside backdrop of rocks, surf, and stormy skies. The pose is both poised and emotionally charged, with her gaze turned slightly upward, giving the image a dreamlike, almost mythic quality. She is dressed in a soft, empire-waist gown with loose sleeves and a long, flowing skirt. The styling deliberately evokes antiquity and romantic fantasy, which aligns perfectly with Allan’s reputation for expressive, sensuous dance interpretations rather than traditional ballet technique. Her bare foot and relaxed posture add to the quiet intimacy of the image. The photograph was taken by Leopold Reutlinger, one of the most important and accomplished theatrical photographers of the period. Reutlinger’s portraits of performers are widely collected and appear in museum collections; his work is especially prized for its technical quality and dramatic staging. His signature appears in the image, and the postcard carries the Reutlinger studio mark and serial number E1587, confirming it as part of his commercial theatrical series. This is an Aristophot Real Photo Postcard, as clearly indicated on the reverse. Aristophot Co. Ltd. was a London-based publisher, specializing in high-quality photographic postcards of actors, dancers, and performers. The reverse also notes “Printed in Saxony,” which was common for high-end photographic postcard production during this period. This specific image of Maud Allan is uncommon. The combination of Maud Allan + Reutlinger + Aristophot makes this a particularly desirable postcard. In fact, this photograph of Miss Allan can be found in Britain’s National Portrait Gallery. The postcard in their collection was postmarked in 1909.  SOLD

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