This undivided back vintage real photo postcard features American stage and screen actress, Dorothy Tennant (1865-1942). She is best known for her stage roles in the first ten years of the twentieth century. Her most prominent starring role was in the 1904 comedy, “The College Widow”. She performed in this play both on Broadway and on tour. She first appeared on stage in 1901 in the New York production of “White Roses”. The IBDb reports that she appeared in eight Broadway plays between 1902 and 1932. The IMDb states that Tennant acted in eight films between 1929 and 1938. This postcard was published by the Rotograph Company of New York City as part of a series (No.B936). The photo of Tennant seen on this card was taken by esteemed photographer Jacob Schloss. SOLD
This vintage large format cabinet card features American stage and silent film actress, Julia Calhoun (1870-?). She was adept at playing roles in comedy films including a number of roles opposite Oliver Hardy from about 1914 into the 1920’s. Her photograph appears in the Billy Rose Theater Collection at the New York Public Library. She was married to Kirkland Calhoun, also an actor. Julia Calhoun, according to the IMDb, appeared in 32 films between 1912 and 1923. Some of her more well known films include “The Human Orchid (1916)”, “The Man that Stayed at Home (1919)”, “The Match-Breaker (1921)” and “Just Like a Woman (1923)”. This cabinet card was published as part of the Newsboy tobacco advertising collection (No.54). This photograph measures about 6 x 9 inches. SOLD
This vintage real photo postcard features a beautiful French actress, theater director, and poet, named Cora Laparcerie (1875-1951). Laparcerie looks quite beautiful, and goddess like, in this profile postcard portrait. Note her ornamental hair band. She played various theatrical productions, including classical plays and original French drams. Laparcerie began her career at the Odeon theater in Paris. Soon she was taking on major roles in French theaters. She was married to Jacques Richepin, the son of poet, Jean Richepin. The pair were a notable couple in French artistic circles. Laparcerie managed several prestigious Parisian theatres. In her later career she concentrated on writing poetry, theater columns and early radio dramas. This postcard was published by SIP and Laparcerie’s photograph was taken by Leopold Reutlinger. This is an undivided back postcard (at least pre 1907). SOLD
This vintage real photo postcard features theater actress and singer, Madge Saunders (1894-1967). She was born in South Africa. She was married twice, both times to actors. She appeared in two film (1918, 1930). There are 47 portraits of Saunders in England’s National Portrait Gallery. This photo portrait of Miss Saunders is one of the images in the gallery’s collection. This photograph was published by J. Beagles & Co. as part of a series (no.253A). Saunders was photographed by a celebrated female photographer, Rita Martin. SOLD
This vintage real photo Postcard 1 features pretty American actress and dancer, Pauline Chase (1885-1962). She was a regular performer both in the United States and the United Kingdom. She is especially known for her extended starring role in the British production of “Peter Pan, The Boy Who Wouldn’t Grow Up”. Her nickname was the “Pocket Venus of New York”. She was born in Washington D.C. and attended school in New York. She began acting when she was just fifteen years old. In 1901, producer, Charles Frohman recruited her to play in the London production of “The Girl From Up There”. She was just 15 years old. Upon her return to the US, she created a sensation as the “Pink Pajama Girl” in “The Liberty Belles”. She played one of the “lost boys” in the debut of Peter Pan (1904) in London. In 1906 she was chosen by producer, Charles Frohman, and playwright, J. M. Barrie, to play the title role in the production (1906-1913). This role brought her much fame and financial security. While in England, over the years, Chase developed quite a following. Charles Frohman had become her friend and mentor. Chase was a social beauty with many influential friends and admirers. She was a member of the socially elite and lived an extravagant life style. In 1913, Chase retired from the stage to marry a banker. The pair had three children. In 1916, Chase came out of retirement to play in her one and only movie appearance. There are 52 portraits of Chase in the National Portrait Gallery. The film “The Real Thing At Last” was a satirical film, based on MacBeth, written by Barrie. This postcard has a 1907 postmark. The card was published by Rotary Photo as part of a series (No.4083O). Miss Chase’s photograph was taken by the Hutchinson & Svendsen studio. (SOLD)
Postcard 2 was published by Rotary Photo as part of a series (No.4950A). Miss Chase’s photograph was taken by Alexander Bassano. (SOLD)
Postcard 3 has a 1907 postmark. The card was published by Raphael Tuck & Sons as part of a series (No.T30). Miss Chase’s photograph was taken by the Johnston & Hoffmann studio. (SOLD)
Postcard 4 features Chase wearing an interesting lace hat and she has a sweet, pure, and innocent appearance. This postcard was published circa 1909, the date of the cards postmark. The card was published by Rotary Photo as part of a series (No.4856L). Miss Chase’s photograph was taken by the Bassano studio. (SOLD)
This color tinted vintage real photo postcard features a barefoot adorable little girl and her white cat that she is carrying in a cloth bag. She is also carrying a bouquet of flowers and has a basket on her back. The model seen in this postcard photo is most likely, Hani Reinwald, sister of popular postcard model, Grete Reinwald. Both girls became stage and film actresses. I own another postcard from the same series as this postcard. That postcard is postmarked 1913, indicating that this postcard also dates back to that year. This French postcard was published by Fauvette as part of a series (No.1319). SOLD
This striking cabinet card presents Kitty Blanchard, a prominent American stage actress of the late 19th century. Seated in a confident pose, she is dressed in an elegant dark dress that hints at late Victorian fashion, with a fitted bodice and high collar, possibly made of velvet or a similar rich fabric. The neckline is modest, and the detailing is ornate yet refined, suggesting both stage presence and social grace. A subtle brooch or decorative element rests at her throat, drawing the viewer’s attention to her carefully arranged appearance. Her hair is styled in a voluminous upswept fashion, typical of actresses of her era, and her expression is composed, intelligent, and slightly reserved—conveying the self-assurance of a seasoned performer. There’s a maturity and dignity in her face that speaks of both artistic discipline and personal resolve. Her overall appearance is poised, polished, and unmistakably theatrical. Kitty Blanchard was a well-known American actress born circa 1850, likely in New York. She enjoyed significant success in the 1870s through the 1890s, often cast in melodramas and character roles that required both emotional intensity and comedic timing. She was married to William A. Mestayer, a fellow stage actor and playwright. The two frequently worked together and were regarded as a respected couple in theatrical circles of the time. Blanchard was best known for her roles in popular touring productions of melodramatic favorites such as “The Galley Slave” and “The Two Orphans”—the latter being one of her most memorable parts, where she often played the devoted sister. She was also admired for her comedic ability, particularly in domestic farces and sentimental comedies. Kitty Blanchard passed away in 1912, closing the curtain on a long and respected theatrical career. Though she never achieved national superstardom, she held a solid and admirable place in 19th-century American theater, especially as a stalwart of the traveling stage companies that brought culture to towns across the country. This cabinet card was produced by the esteemed Philadelphia photographicfirm Gilbert & Bacon, one of the most prolific studio partnerships of the late 19th and early 20th centuries. The studio was originally established by Charles M. Gilbert, who later partnered with William F. Bacon around 1875. Together, they operated a prominent photography business specializing in theatrical portraits, society figures, and portraiture of prominent Philadelphians. Gilbert & Bacon became known for their technical skill and their ability to capture the charisma of stage personalities, making them a favorite among actors and actresses appearing in Philadelphia theaters. Their studio, located on Chestnut Street, was active well into the early 1900s. (SOLD)
Postcard 1 is a risque original real photo postcard (RPPC) featuring Miss Kitty Malone, an early 20th-century stage performer or model. Malone is wrapped in a tight gown that accentuates all of her curves. The postcard was produced by Rapid Photo Co. in London, with the photograph taken at Dover St. Studios. In the image, Miss Kitty Malone strikes a dramatic pose, wrapped in a flowing, textured gown reminiscent of Grecian or theatrical costume styles. Her long, voluminous dark hair cascades down her shoulders, framing her striking face. She gazes directly at the camera with an intense and almost mysterious expression, her lips slightly parted. Her arms are lifted behind her head, adding to the dramatic, posed aesthetic that was characteristic of early Edwardian stage and artistic photography. This postcard is part of a series and numbered 2676 . This antique real photo postcard (RPPC) was postally used and sent in 1908. It features a green half-penny King Edward VII postage stamp, which was commonly used in the early 20th century for domestic postcards. The handwritten message is addressed to Miss V. Green and is written in black ink in elegant cursive handwriting. The sender, signed as “Aunt Emma”, writes to Violet, mentioning that she has received a postal order (P.O.) safely and hopes Violet and her mother are doing well. She asks if Violet’s mother has any homemade wine available and requests that she let her know by Sunday so she can send for a bottle. Aunt Emma also states that she will send money so it can be delivered by carrier on Wednesday, mentioning that she finds it beneficial for herself and thought Violet’s mother might feel the same. SOLD
Postcard 2 is a risque vintage postcard, published by Rotary Photo and numbered 1945G in the series, features Miss Kitty Malone in an elaborate theatrical costume. This card earns the title of risque because Miss Malone’s top is exceedingly short, exposing much of her legs. The photograph was taken by the renowned Foulsham & Banfield studio. Miss Malone is dressed in an ornate, short tunic-style dress adorned with intricate embroidery and decorative trim. The outfit is cinched at the waist with a bejeweled belt, and she wears sheer, flowing sleeves that drape elegantly from her arms. She also sports shimmering stockings, one of which is embellished with a delicate garter, and dainty, pointed shoes. Her regal headpiece, topped with tall, white feathered plumes, adds to the opulent and theatrical nature of her attire. Her expression is warm and confident, with a slight smile and a poised demeanor. She gazes directly at the camera, her head tilted slightly to one side. Her dark, voluminous hair is styled in an elegant updo, framing her face beautifully. Her pose, with one hand resting on her hip and the other raised near her face, conveys a sense of grace and charisma, suggesting she was a performer or stage actress. The background of the image is softly blurred, allowing the intricate details of her costume and expression to stand out. The overall aesthetic of the postcard captures the glamour and theatrical style of the era. SOLD
This vintage real photo postcard features American actress, Marguerite Chapman (1918-1999). She was born in New York. While working as a telephone switchboard operator, she began to pursue a career in modelling. She was involved in national advertising campaigns. She approached Howard Hughes about appearing in one of his films. The film was never made but he showed her screen test to some Hollywood people and in 1939, she was signed by 20th Century Fox. In 1941 she did a brief stint with Warner Brothers and between 1942 and 1948, she worked for Columbia Pictures. Her film debut was in 1940 and for a couple of years she appeared in small roles of various films. Her 1942, she was signed for a lead role in a Republic Pictures in a twelve part adventure series. More leading roles followed. During World War II she entertained the troops and sold war bonds. In the 1950’s her work mostly included supporting film roles and in the 1960’s she appeared on many television shows. Chapman was married and divorced twice. The IMDb gives her 76 credits in her filmography between 1940 and 1977. She is credited with originating the concept of traveling autograph conventions. This postcard was published by RWP in 2003. SOLD
Mary Pickford (1892-1979) was a Canadian-American actress and one of the most influential figures in early Hollywood. She was often referred to as “America’s Sweetheart”. She was a pioneer of silent film and a co-founder of the film industry as we know it today. Pickford’s career began in childhood when she performed in theater productions in Canada and the United States. By the early 1900s, she transitioned to film, working with director D.W. Griffith at Biograph Studios. Her delicate beauty and expressive acting quickly made her a fan favorite, setting her apart in an era when exaggerated stage-style performances dominated silent films. During the 1910s and 1920s, Pickford became one of the highest-paid and most beloved actresses in the world. Starring in films such as Rebecca of Sunnybrook Farm (1917), Daddy-Long-Legs (1919), and Pollyanna (1920), she was known for playing wholesome, spirited young women. Her curly hair and signature on-screen innocence became iconic, but she was also a savvy businesswoman who understood the power of her brand. Pickford was not only a star but also a trailblazer in the film industry. In 1919, she co-founded United Artists alongside Charlie Chaplin, Douglas Fairbanks (her then-husband), and director D.W. Griffith. This revolutionary move allowed filmmakers to control their own productions rather than rely on major studios, changing the industry forever. As the film industry transitioned to “talkies,” Pickford retired from acting in the early 1930s, though she continued to produce films. Her contributions earned her an honorary Academy Award in 1976 for her lasting impact on cinema. Mary Pickford’s influence extends beyond her films. She helped shape the star system, paved the way for women in Hollywood, and co-founded the Motion Picture Relief Fund to support struggling actors. She remains an enduring symbol of early Hollywood glamour and innovation. Mary Pickford was born into a working-class family in Toronto, Canada. Her father, John Charles Smith, was an alcoholic who struggled to provide for the family and died from a workplace accident when Mary was just six years old. Her mother, Charlotte Hennessey Smith, was left to raise Mary and her two younger siblings, Lottie and Jack, on her own. To support the family, Charlotte encouraged her children to enter acting, and Mary began performing in theater at a young age. She soon became the family’s primary breadwinner, and her siblings, Lottie Pickford and Jack Pickford, also pursued film careers. Pickford transitioned from theater to film in the early 1900s, quickly rising to fame with her expressive acting and wholesome on-screen persona. By the 1910s and 1920s, she was one of the most recognizable stars in the world, earning the nickname “Queen of the Movies.” She also helped establish the Academy of Motion Picture Arts and Sciences. Mary Pickford was married three times. Pickford’s first marriage was to silent film actor Owen Moore (1911-1920). Her second and most famous marriage was to fellow silent film actor, Douglas Fairbanks (1920-1936). Her third marriage was to actor Charles “Buddy” Rogers (1937-1979). After retiring from acting in the early 1930s, Pickford focused on producing films and philanthropy. She became more reclusive in her later years, struggling with alcoholism and health issues. Today, she is remembered as a pioneering force in cinema history. Pickford is featured on this postcard. She is seated gracefully on a carved wooden stool, exuding elegance and poise. She is dressed in a flowing, light-colored gown with delicate embellishments on the bodice and sheer fabric draping over her arms. Her signature curls frame her face, a defining feature of her “America’s Sweetheart” image. She wears a subtle yet confident expression, her eyes gazing slightly to the side with a soft, introspective quality. Her arms are relaxed, with one hand resting gently on her lap and the other elegantly extended. Her accessories include a bracelet on her wrist and a ring on her finger, adding to her refined look. The backdrop behind her is a richly textured tapestry, possibly depicting a pastoral scene. This postcard was likely produced in the 1920s, during the height of Pickford’s career. It is numbered 86 and is part of a larger collectible series showcasing cinema stars of the era. This vintage postcard is part of a series titled Les Vedettes de Cinéma (translated as The Stars of Cinema), and it was published by Alfred Noyer (Paris,France), in collaboration with United Artists, the film distribution company that Pickford co-founded. The back of the postcard identifies the publisher as Cinémagazine – Edition and states that it was Made in France / Fabriqué en France, indicating its European origin. (SOLD)
THE CABINET CARD GALLERY 