This risque vintage real photo postcard features Stacia Napierkowska (1891-1945). was a French actress and dancer during the silent film era. She also directed films. She was born in Paris and began her theatrical career with the Folies-Bergeres. She was “discovered” by the director of the Opera Comique who signed her to theatrical work. Next, she acted in silent films and reached stardom after playing opposite Max Linder, an actor often considered the first international star. In 1913 she left Europe for the United States to begin her own international career. The painter, Francis Picabia, met her on the ocean trip and he produced a series of paintings for which she was the inspiration. During a dance performance in New York City, Napierkowska found herself under arrest for indecency. Upon returning to France, according to Wikipedia, she said “I have not brought away a single pleasant memory from the United States”. She also declared that Americans were “narrow-minded people” and that they were “utterly impervious to any beautiful impression”. IMDb reports that Napierkowska appeared in 91 films between 1908 and 1926. This postcard is quite risque for it’s era. SOLD
This vintage real photo postcard features pretty film actress, Constance Talmadge (1898-1973). She was a silent film star and the sister of actresses Norma and Natalie Talmadge. Constance was born in Brooklyn, New York. Her parents were poor and her father was an alcoholic who abandoned the family in Constance’s early childhood. Her mother worked as a laundress. Mom’s friend suggested that she should try to get Norma a modelling job in flickers, which were shown in nickelodeons. Mom followed the suggestion and that led all three sisters into acting careers. It also led to mom becoming a stereotypical “stage mother”. Constance made her film debut in a Vitagraph comedy short entitled “In Bridal Attire” (1914). Her first substantive role was in D. W. Griffith’s “Intolerance” (1916). Talmadge became a popular star and appeared in more than 80 films during her career. Many of the films were romantic comedies. She also formed her own film production company. She was friends with Anita Loos, a very successful early screenwriter. Loos said she appreciated Talmadge’s “humor and her irresponsible way of life”. Constance left the film business with the introduction of “talkies”. In fact, all three sisters retired around the same time. Apparently, their squeaky Brooklyn accent was not compatible with sound films. Constance became a successful real estate and business investor. Unfortunately, only a few of her films survive. In some ways, Constance lived a tragic life. She became a reclusive alcohol and drug abuser. She also had many affairs and relationships end badly. She was married four times but never had any children. Her first marriage, to a Greek tobacco importer, lasted two years. Marriage number two was to a Scottish soldier and the couple’s union lasted one year. Her third marriage was only two years duration. The fourth time must have been the charm, as she and her stock broker husband were married about 25 years. The marriage only ended upon his death. In 1973, Constance Talmadge died from pneumonia. This vintage real photo postcard was published by Ross Verlag. It was part of a series (no.2033/1). The postcard has the logo of “Fanamet” in the lower right hand corner of the image. “Fanamet Films” was an Austrian film distribution company. The logo for “First National Pictures” is located on the bottom left hand corner of the image. First National Pictures was an American motion picture production and distribution company. The company was founded in 1917 as a theater chain. It then began distributing movies and in 1924 it began producing films. In 1929 the company was absorbed by Warner Brothers. (SOLD)
The pretty actress seen on Postcard 1 is Miss Ethel Irving (1869-1963). Ethel Irving was a British actress who was active in the early 20th century. She appeared in several stage productions and five silent films during her career. Not much information is available about her life and career. She is not well known today and her legacy is limited to her film and stage appearances. She made her London stage debut in 1885 and her New York debut occurred in 1890. She remained in New York until 1895. She returned to London and made several stage appearances there. She then briefly became involved in theater management. She managed the Criterion theatre and then the Globe Theatre. She was the daughter of actor, Joseph Irving and the wife of actor, Gilbert Porteous. This postcard is in very good condition.
Postcard 2is a striking, hand-tinted portrait of Miss Irving features her in three-quarter profile. She wears a deep rose cap and a soft yellow lace scarf/boa, her long wavy hair flowing over the shoulder. Delicate tinting to cheeks and lips adds warmth. Irving’s expression is calm and slightly knowing, with an easy half-smile and bright, direct eyes—very much the poised Edwardian stage persona. The photographer of this portrait was Lyddell Sawyer, a noted British portraitist. The postcard was published by Rotophot (RPH) and is numbered 7768. The company later became linked with Ross Verlag. The postcard was postmarked in 1904 in Manchester, England. The message on the postcard reads “Exchange Hotel, [Manchester] Nov 30th/04, Dear Edie, I think you will like the other side. If you have any letters for me, keep them till I return. I may be sent for tomorrow and then the letters would be here when I am in Sheffield. Your loving Pa”. (SOLD)
Buy this Vintage Real Photo Postcard (includes shipping within the US) #5296
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Buy this Vintage Real Photo Postcard (includes International shipping outside the US) #5296
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This vintage real photo postcard features the celebrated soprano Mary Garden (1874–1967), one of the most renowned opera singers of the early 20th century. The card was photographed by Reutlinger of Paris, one of the premier portrait studios of the Belle Époque, known for capturing glamorous and artistic images of actors, actresses, dancers, and opera stars. The postcard is numbered 970 and published by S.I.P. (Société Industrielle de Photographie), a company that issued countless high-quality portrait postcards of stage and musical personalities. The card is captioned “Op Comique”, referring to the Opéra-Comiquein Paris, one of the city’s most important opera houses. Founded in 1714, the Opéra-Comique specialized in works that combined spoken dialogue with music, and it played a central role in shaping French opera tradition. Mary Garden was strongly associated with this venue, as it was here that she established her reputation as a daring and charismatic performer. Mary Garden, born in Scotland in 1874 and raised in the United States, became a dominant figure in French opera. She was especially famous for her collaborations with composer Claude Debussy, creating the role of Mélisande in the opera Pelléas et Mélisande in 1902. Known for her expressive acting, striking beauty, and captivating stage presence, Garden became not only a star of the Opéra-Comique but also a celebrated figure on the international opera stage. Later in her career, she brought her fame to the United States, where she sang at the Chicago Opera and served as its director for a time. She was remembered as much for her dramatic interpretations and independence as for her voice. In this portrait, Garden gazes softly at the camera, her hair elegantly coiffed and adorned with a ribbon, while she wears a shimmering gown and pearl necklace. She holds a fan or handkerchief delicately in her hand, displaying rings that add to her aura of sophistication. The subdued background and rich tonal quality of the Reutlinger photograph highlight her poise and timeless beauty. SOLD
These three vintage real photo postcards feature actress Xenia Desni (1894-1962). She is seen in the first postcard, snuggling with a large teddy bear. Miss Desni is beautiful and this photograph is a bit risque for it’s era. She has pretty eyes and a wonderful smile. Miss Desni was born in the Russian Empire and she and her family fled the Russian Revolution to Constantinople, which was in the Ottoman Empire. She began acting and dancing in vaudeville there and than moved to Berlin where she became involved in films. She began her career by appearing in the movie “Sappho” (1921). This was followed by a number of other film successes. The IMDb credits her with 33 acting roles between 1921 and 1940. She is most identified with “Leap Into Life” (1924), “Der rosa Diamant” (1926) and “The Tower of Silence” (1925). The introduction of sound movies, (she only appeared in one) led to the death of her career. Xenia Desni was the mother of Tamara Desni, a star of British films in the 1930’s and 1940’s. The Cabinet Card Gallery has a photograph of Tamara Desni (1913-2008) which can be seen by placing her name in this blog’s search box. The photographer of this portrait is the Willinger studio which was located in Vienna. Laszlo Josef Willinger (1909=1989) was a Jewish-German photographer known for his portrait photography of movie stars and celebrities. This area of concentration began in 1937. His mother, Margaret Willinger was also a photographer. Her work included photographs of theatrical stars. Laszlo Willinger established studios in Paris (1929) and Berlin (1931). At the age of 23, he left Berlin (1933) with the rise of Adolf Hitler and relocated to Vienna, Austria. He began photographing celebrities including Hedy Lamarr, Josephine Baker, Marlene Dietrich, Sigmund Freud, and Carl Jung. Willinger was invited by studio photographer, Eugene Robert Richee to move to the United States and in 1937, he settled in Los Angeles, California. He then opened a photo studio in Hollywood and sold many of his photographs to magazines and other periodicals. He produced many magazine covers of popular stars. Among the stars he photographed were Clark Gable, Joan Crawford and Fred Astaire. Interestingly, toward the end of his career, he was accused of stalking some celebrities, including Charlie Chaplin. This postcard was published by Ross Verlag of Berlin, Germany and is part of a series (no. 1661/1). SOLD
The second postcard highlights Miss Desnis’ beauty. Her dress’s “plunging” neckline makes this postcard a bit risque for it’s time. In fact, her clothing looks a lot like sleepwear. This photo portrait of Xenia Desni was taken by photographer A. Eberth of Berlin, Germany. In her Berlin studio, German photographer Anny Eberth photographed aristocratic ladies and elegant fashion models, but also film actors and expressionist dancers. During the 1910s and 1920s, she published her photos in major German magazines. Her photos were also used for film star postcards. The postcard was published by Ross Verlag and is part of a series (no. 571/1). SOLD
The third postcard features a photo portrait of Xenia Desni taken by photographer A. Eberth of Berlin, Germany. In her Berlin studio, German photographer Anny Eberth photographed aristocratic ladies and elegant fashion models, and also film actors and expressionist dancers. During the 1910s and 1920s, she published her photos in major German magazines. Her photos were also used for film star postcards. This postcard was published by Ross Verlag of Berlin, Germany and is part of a series (no. 571/2). (SOLD)
Camille Clifford (1885–1971) was a Belgian-born stage actress and fashion icon best known as the quintessential “Gibson Girl”, a feminine ideal created by American illustrator Charles Dana Gibson. Born in Antwerp, Belgium, she was raised in Sweden and later in Boston, Massachusetts. In 1902, she entered and won a contest sponsored by Gibson seeking the perfect embodiment of his Gibson Girl drawings, which rocketed her to fame. Clifford’s signature look — an hourglass figure, piled-high coiffure, and aristocratic bearing — made her an immediate sensation in Edwardian society. She soon transitioned to the London stage, where her statuesque beauty often overshadowed her acting roles. Her most famous performance was in the musical comedy The Catch of the Season (1904), where she appeared as the aristocratic Lady Crystal. In 1906, Clifford married the Hon. Henry Lyndhurst Bruce, son of the 2nd Baron Aberdare, and largely retired from the stage after marriage, though she made occasional returns in the 1910s and 1920s. After her husband’s death in World War I, she lived a quieter life but remained a symbol of Edwardian elegance. This is a striking Rotary Photographic Series real photo postcard featuring Miss Clifford, serial number (4180 H). It was published by Rotary Photo, one of the most prolific and respected postcard publishers in early 20th-century Britain. This striking real photo postcard portrays Camille Clifford, captured in one of the most graceful and refined portraits of the Edwardian era. This image, photographed by Foulsham & Banfield, presents Clifford in half-profile, gazing slightly upward with a soft, distant expression that conveys both poise and introspection. Her face is gently illuminated, the lighting accentuating her smooth complexion, delicate features, and the serene confidence that made her one of the most admired beauties of her time. Her hair, styled in the towering pompadour fashion that was so characteristic of the early 1900s, is crowned by an extravagant hat of remarkable size and texture. The hat is elaborately adorned with feathery plumes or straw embellishments that give it a light, almost cloud-like appearance. It sits dramatically atop her voluminous hairstyle, creating a sense of height and elegance that immediately draws the eye upward. Clifford’s dress is exquisitely detailed, made of a light, translucent fabric patterned with delicateblossoms. The floral design softens the overall composition, contrasting beautifully with the structural drama of her hat. The high collar, trimmed in a narrow dark band, elongates her neck and adds to the formality of her pose. The sheen of the fabric suggests silk or organza. Her shoulders are turned slightly away from the camera, allowing the folds of the dress to catch the light in subtle, graceful ways. The expression on her face is one of quiet thoughtfulness — a look that suggests reverie more than performance. Her lips are softly closed, and her eyes, directed slightly above the viewer’s gaze, convey a sense of calm aspiration. (SOLD)
Vesta Tilly (1858-1952) was one of the most beloved and influential performers of the British music hall era. She was a groundbreaking male impersonator who captivated audiences for decades with her wit, charm, and powerful stage presence. Born into modest beginnings, she rose to become a symbol of British patriotism and a pioneer for women on the stage. Tilly was born in Worcester, England. She was the second of thirteen children born to Henry Powles, a self-employed musician and fiddler, and Matilda Powles. Her father, deeply involved in local musical performances, recognized Matilda’s precocious talent at an early age and began showcasing her on stage by the time she was just three years old. The Powles family moved to London when Matilda was a child, in pursuit of more lucrative theatrical opportunities. With her father acting as her manager, she began performing under the stage name “Little Tilly” in pantomimes and variety shows. Matilda’s first male impersonation was at the tender age of six. By her teenage years, she had taken the stage name Vesta Tilly, inspired by the Roman goddess of the hearth (Vesta) and a common nickname (Tilly). Her success as a “principal boy” in pantomime was soon eclipsed by her signature act: portraying men with startling authenticity and satirical flair. What set Tilly apart was her command of the stage and her uncanny ability to adopt male gestures, mannerisms, and vocal inflections. She didn’t just mimic men—she portrayed them with intelligence, humor, and often, social critique. She frequently played dapper young men, military officers, or swells (wealthy young men), sometimes poking fun at political figures or addressing social issues. She became one of the most highly paid and respected performers in the British music hall scene during the late Victorian and Edwardian periods. Her stage appearances were soconvincing that many audience members did not initially realize she was a woman. Vesta Tilly’s career spanned over four decades, and she performed in countless popular songs and sketches. Some of her most iconic performances included: “Following in Father’s Footsteps”, “Burlington Berlie”, and “The Boy in the Gallery”. She was particularly popular among working-class audiences and soldiers. During World War I, Tilly took on a new patriotic role, performing in uniform to recruit young men to the military. She was so effective that she earned the nickname “England’s Greatest Recruiting Sergeant.” In 1890, Vesta Tilly married Walter de Frece, a theatrical impresario and songwriter. Their relationship was both romantic and professional—Walter became her manager and guided much of her career. He was instrumental in helping shape her brand and ensuring her continued success on the music hall circuit. After World War I, Walter was knighted and later became a Member of Parliament. This new political role brought Vesta into a more socially prominent world, and she gradually withdrew from the stage. Vesta Tilly gave her final performance in 1920 at the London Coliseum. Her retirement was widely publicized and emotional for her devoted fan base. After stepping away from the stage, she became Lady de Frece, supporting her husband’s political ambitions and engaging in charity work. The couple eventually moved to Monte Carlo, where they lived a quieter life. Walter de Frece died in 1935, and Vesta lived on until 1952.
Postcard 1 was published by Rotary Photo as part of a series (No.2007A). (SOLD)
Postcard 2captures Tilley in one of her male impersonator roles.
Postcard 3: This elegant real photo postcard of Miss Tilley was published by the Davidson Bros. (London) as part of the Real Photographic Series, Series 2206. Tilley is pictured in a half-length studio portrait against a dark backdrop. She wears an opulent Edwardian ensemble—an intricately beaded lace bodice with floral appliqué and pendant trims, a light fur cape dotted with decorative medallions and dark feather tips, pearl earrings, and layered pearl choker and necklace with a pendant drop. Her hair is swept up in a high pompadour adorned with a jeweled aigrette/ornament. Her expression is poised and self-possessed, with a direct gaze and slight, confident smile—classic for her celebrated stage persona. (SOLD)
These vintage real photo postcards feature actress singer Lili Damita (1904-1994). She was born Liliane Marie Madeleine Carre in Blaye, France in 1904. She was educated in convents and ballet schools in several European countries. She was a pretty and talented star actress of silent movies as well as early talkies. Her filmography includes 33 film appearances between 1922 and 1937. Damita started dancing professionally at sixteen years of age and made her film debut in 1922. As a teenager she danced in music halls and appeared in the revue of the Casino de Paris. She also worked as a photographic model. She starred in the film “The Queen was in the Parlor” (1926) by Noel Coward. She appeared with Ronald Colman in Sam Goldwyn’s film “The Rescue” (1929). Goldwyn feared that Damita’s accent would be a deterrent for success in talkies so Damita worked to change her accent and she appeared in her first talkie, “The Cockeyed World” (1929). Goldwyn eventually dropped her partially because she had been too honest with the press about her millionaire lovers. During her career, Damita worked with celebrated actors including Gary Cooper, Laurence Olivier, Cary Grant, Maurice Chevalier, and James Cagney. She had more than one marriage. Her second husband was actor Errol Flynn. They married in 1935 and were divorced seven years later. Cooper’s infidelities contributed to the dissolution of their marriage. The couple’s son, Sean Flynn, disappeared while photographing the Vietnam War, and was never found. She married again; this time to a dairy farmer named Allen Loomis. Her marriage to Loomis dissolved in 1962. In 1994 Damita died of Alzheimers disease in Palm Beach, Florida. A YouTube tribute to Lili Damita can be seen below.
Postcard 1 is part of the “Picturegoer Series (No. 375” ) and was published in London, England. Picturegoer was a British fan magazine focussing on contemporary films and the actors and actresses who performed in them. Picturegoer also published postcards. In fact, they produced over 6500 different real photo postcards on 2000 actors and actresses. Miss Damita looks quite lovely in this photo portrait.
The photograph seen on Postcard 2 was taken during the flapper era. Miss Damita’s portrait on this postcard was taken by celebrity photographer Alex Binder. This card was published by Ross Verlag as part of a series (no.1676/1). It is a white border postcard and it dates back to around the 1920’s.
Postcard 3 was formerly part of the Serge Bonnet Collection as indicated by the stamp on the reverse of the card. This card is provocative. The photo of Damita’s bare legs make the postcard risque for it’s era. This postcard was published by Ross Verlag as part of a series (No.4993/2).The postcard has the logo for Fox films in it’s lower right hand corner. SOLD
Postcard 4 was published by Ross Verlag as part of a series (No.1971/1). Damita’s photograph was taken by Alexander Binder. from 1908 to 1910 he studied photography at a school in Munich, Germany. After the completion of his photography studies, he went to Berlin and in 1913 opened his first photography studio. Before long, he became one of the premier photographers in Berlin. He primarily focused on fashion and celebrity photography. (SOLD)
This 1921 press photo (Press Photo 1)features British actress, theatrical manager, and producer Gladys Cooper (1888-1971). Her career spanned over seven decades and she acted on stage, film, and television. She was a popular “pin-up” model for British troops during World War I. In 1967, she was awarded the coveted title of Dame of the Order of the British Empire. Cooper was known for both her talent and her beauty. This press photo focuses on her beauty. In fact the caption of the photograph states “Gladys Cooper : The Most Beautiful Actress In England”. This press photo was produced by the Keystone View Company. Cooper was about 33 years of age at the time this photograph was taken. (SOLD)
Postcard 1 features the Gladys Cooper’s fascimile autograph. This “hand-painted” postcard was published by Rotary Photo as part of the “British Beauty” series (B1-5). The firm was located in London. (SOLD)
Postcard 2 was published by Rotary Photo as part of the “Rotary Photographic” series (11856H). The firm was located in London. (SOLD)
Postcard 3 is “hand-painted” and published by Rotary Photo as part of the “British Beauty” series (B56-6). The message on the card wishes the recipient many happy returns on her birthday. This postcard is in very good condition (see scans). (SOLD)
Postcard 4 captures Cooper in her role as “Peggy” in “Peggy And Her Husband” (1914). Cooper’s photograph on this card was taken by the Foulsham & Banfield studio. This postcard was published by Rotary Photo as part of a series (6929 J). The firm was located in London. (SOLD)
Postcard 5 features Cooper’s photograph taken by celebrated female photographer, Rita Martin. This uncommon postcard was published by Rotary Photo as part of the “British Beauty” series (A542). The firm was located in London. (SOLD)
Postcard 6 features a portrait of Cooper that was taken by Bertram Park (1883-1972). He was an English portrait photographer. He photographed many celebrities including members of royalty. A number of engravings of his work were used on British and British Commonwealth stamps. Park was also very involved in producing theatrical photographs. His wife, Yvonne Gregory was also an esteemed photographer. In addition, she served as one of his models. The couple produced books on photographing nudes. Park was also an expert on rose cultivation. This postcard was published by J. Beagles & Co. as part of a series (302W). The firm was located in London. (SOLD)
Postcard 7 captures a fashionable Miss Cooper standing next to a beautiful luxurious classic automobile. Cooper’s photograph on this card was taken by the Foulsham & Banfield studio. This postcard was published by Rotary Photo as part of a series (No11861Y). The firm was located in London. (SOLD)
This vintage real photo hand tinted postcard features British actress, theatrical manager, and producer Gladys Cooper (1888-1971). Cooper’s career spanned over seven decades and she acted on stage, film, and television. She was a popular “pin-up” model for British troops during World War I. In 1967, she was awarded the coveted title of Dame of the Order of the British Empire. Cooper was known for both her talent and her beauty. This postcard portrait focuses on her beauty. In fact, she was considered by many to be the most beautiful actress in England. This postcard presents Miss Cooper posed sitting by a window deep in some emotional thought. Cooper’s facsimile autograph is located in the bottom right hand corner. This postcard was published by Rotary Photo as part of the “British Beauty” series (B137-2). The firm was located in London. SOLD
THE CABINET CARD GALLERY 