“Madia! I’ve just met a girl named Madia. And suddenly that name. Will never be the same.” With apologies to Leonard Bernstein, I just couldn’t resist. Madia Borelli was a Belle Epoque Parisian dancer and actress. Borelli was one of the many Parisian stage performers, dancers, and theatrical beauties photographed by Leopold Reutlinger during the early 1900s. She was not a major international stars such as Cléo de Mérode or Cécile Sorel, but she is known from a number of postcard Reutlinger created. Reutlinger was one of the premier Paris studios for images of actresses, dancers, singers, and other performers.
Image 1 is a vintage real photo postcard featuring dancer Madia Borelli. She was a Parisian dancer and actress active in the early twentieth century. The photographer of this portrait of Miss Borelli was the famed photographer Leopold Reutlinger of Paris, France. The postcard was published by S.I.P., which is the Societe Industrielle de Photograpie of Rueil, France. The postcard is part of a series (no. 1239). (SOLD)
Image 2 is a striking risque vintage real photo postcard featuring Borelli, a Belle Époque Parisian dancer and actress, photographed by the famous Reutlinger studio of Paris. The postcard was published by S.I.P. (no.1339). This is a particularly beautiful and decorative theatrical postcard. Borelli is shown in an elaborate jeweled costume with an extraordinary crown-like headdress, large circular side ornaments, dangling jeweled chains, necklace ornaments, and richly decorated bodice. The image has attractive hand-coloring, especially the green and turquoise highlights in the jewels, which stand out dramatically against the dark background. Her serious expression and exotic stage costume give the portrait a very strong Belle Époque theatrical quality. The reverse of the card is postally used, with French stamps and a Grenoble postmark. The handwritten message is in French and the card was postmarked in 1906. This combination of Reutlinger photography, S.I.P. series numbering, postally used reverse, hand-coloring, and the highly ornate jeweled costume makes this a highly displayable card. (SOLD)
Viola Allen (1869-1948) was an American theater and silent film actress who acted in roles between 1882-1919. She was born in Alabama and was the daughter of an actor. Her first stage appearance in New York City was at age 14 when she substituted for the ill Annie Russell who was playing the title role of Esmeralda at Madison Square Theater. Allen’s father was also a member of the cast. Allen appeared in many productions including Masqueraders, Twelfth Night, Under the Red Robe, The Christian, and the Winter Tale. Her most popular roles were in Shenendoah and Little Lord Fauntleroy.
Image 1 has writing on its reverse that indicates that this image is shows Allen playing the role of Dolores in “In The Palace of the King” (1901). The photographer of this Cabinet Card was the studio of Sands & Brady in Providence, Rhode Island.
Image 2 is an early antique postcard portrait of Miss Allen showing Allen in a soft, elegant bust-length portrait, wearing a light draped garment and looking directly toward the camera. The image has a refined theatrical-publicity quality typical of early 1900s actress and stage-star postcards. The reverse is an undivided-back postcard. The left edge reads: “Collection of Leading Artists of the American Stage. Only Authorized Publishers, Darwin D. Silbert, P.O. Station D, N.Y.” Because the reverse is undivided, I would date the card to approximately 1901–1907, before divided-back postcards became standard in the United States. This is a nice early American stage actress postcard. SOLD
These two real photo postcards features stage beauty, Maie Ash (1888-1923). She was an English comedy actress and dancer. She made her London debut in 1902 at Shaftesbury Theatre. The next year she played the title role in Cinderella in Southampton. Other appearances include “Goody Two Shoes” (1904), “Yellow Fog Island” (1907), and “My Darling” (1907). Ash played Miss Gibbs in “Our Miss Gibbs” (1911). A reviewer of the play, writing for the “Playgoer Weekly”, suggests that Ash was charming in her role and that her singing voice resembled that of popular actress, Miss Ellaline Terriss. The reviewer added that her singing and dancing brought the audience much pleasure and that she demonstrated herself to be a “most finished musical comedienne”. She married actor Stanley Brett in 1909. He was the brother of celebrated actor Seymour Hicks. The pair divorced in 1913, and in 1915, she married comedian Fred Allandale. Apparently, Miss Ash and Mr. Allandale didn’t wait for their divorces before getting involved romantically. Ash was named by Allandale’s wife and Allandale was named by Ashe’s husband in their respective divorce petitions. So much for impulse control. Ash was the sitter for six portraits in Britain’s National Portrait Gallery.
Postcard 1 features a fetching portrait of Maie Ash. She is wearing a beautiful smile and has pretty eyes. The card was published by Ralph Dunn & Company which operated in London, England. The post card is part of a series (no. A 105). The card has a 1905 postmark. The message on this postcard wishes the recipient “Many happy returns of the day”. According to Wikipedia, this 18th century greeting is meant to offer the hope that each happy day is repeated by other happy days, The saying was often used on birthdays, and in particular, as a response to “Merry Christmans” and “Happy New Year” wishes. The word “returns” also was used to wish a person that their day yields much happiness.(SOLD)
Postcard 2 presents a close-up photograph of Miss Ash. The postcard is a bit risque for it’s time. Her low cut dress and her coy expression accentuate the beauty of the alluring actress. This postcard was published by the Rotary Photo Company as part of their “Rotary Photographic Series (No. 1831K)”.This photo of Maie Ash was taken by the Johnston & Hoffmann studio. Theodore Julius Hoffmann and P. A. Johnston established a commercial photography studio in Calcutta (1882) and Darjeeling (1890). They also operated a studio in Simla. Johnston and Hoffmann’s photography business was the second largest commercial photography studio in India in that period. Many of their images were of North and Northeast India as well as Sikkim and Nepal. Johnston & Hoffmann produced many photographs of actors and actresses. It is certain that these performers did not travel to India to have their photo taken. It seems likely that Johnston & Hoffmann also had a studio in England during some part of their careers. It is also possible that there were to separate studios that coincidentally shared the same name. This postcard was postmarked in 1906 in Southampton, England. The postcard is in very good condition (see scans). (SOLD)
Postcard 3This postcard shows Miss Ash in a charming theatrical portrait, smiling warmly with her chin resting on her folded hands. She wears an ornate jeweled headdress or costume headpiece, with dramatic puffed sleeves and a soft studio-lit presentation by Dover Street Studio / Rotary Photo (no.1831Q). (SOLD)
These images feature American silent and sound film actress, Carmel Myers (1899-1980). Carmel Myers was an extraordinary actress who captivated audiences during the early years of Hollywood. She had striking beauty, magnetic screen presence, and versatile talent. Myers was born in San Francisco to Jewish immigrants. Her father was a Rabbi from Russian and her mother was from Austria-Hungary. She grew up in a theatrical household and was exposed to the performing arts from a young age. She participated in both school plays and local theater productions. At the age of 16, Carmel Myers made her professional debut on stage, impressing both critics and audiences with her natural talent. It wasn’t long before she gained the attention of film producers. In 1916 she made her screen debut in the silent film “The House of Mystery”. This was the start of a more than twenty year career in the film business. During the silent film era, Carmel Myers became one of the most sought-after actresses in Hollywood. Known for her expressive eyes, graceful movements, and remarkable versatility, she effortlessly transitioned between comedic and dramatic roles. Her notable films during this period include “Ben-Hur” (1925), where she portrayed the seductive courtesan Iras. Many of her early roles were playing a “vamp”. Carmel Myers was also an early advocate for actors’ rights and was instrumental in establishing the Motion Picture Artists Association. She fought for fair wages, better working conditions, and creative control for performers, contributing to the formation of movie industry unions. With the advent of sound in films, Carmel Myers smoothly made the transition from silent movies to “talkies.” Her resonant voice and impeccable timing added another dimension to her performances. She starred in a range of films throughout the 1930s, including comedies, dramas, and musicals, collaborating with renowned directors and actors of the time. her most popular sound films were “Svengali” (1931) and “The Mad Genius” (1931). Her final film appearance was in the 1945 production of “Blonde Ransom,” marking the end of her illustrious acting career. However, Myers remained involved with both radio and television. Carmel Myers lived a private life outside of the spotlight, rarely divulging details about her personal affairs. She was married three times, first to an attorney and song writer in 1919, in 1929, she married a second attorney, and thirdly, she married a Paramount Pictures executive in 1951. Her first two marriages ended in divorce, and her third marriage ended with her husband’s death. After her husband’s death, she wrote a book about handling grief effectively. After retiring from acting, Carmel Myers devoted herself to philanthropy and community work. She supported various charitable organizations and advocated for social causes.
Image 1 was published by A. Noyer and is of French origin. The card has the MGM logo on it’s front. (SOLD)
Image 2 is a vintage ink blotter that advertises the Frog Switch & Manufacturing Company, located in Carlisle, Pennsylvania. The blotter has a calendar for January, 1923. The blotter also features a photograph (litho) of Carmel Myers. (SOLD)
Image 3 This press photo shows Myers in a classic glamour pose, her head turned slightly with a dramatic upward gaze that conveys both elegance and intensity. Her dark hair is softly styled with curls around her face, and she is draped in a fur wrap that slips over her shoulder, adding to the sense of sophistication and allure. In the lower left corner appears the photo’s numbering “V111-1”, while the lower right bears the imprint AFEDA, N.Y., the New York studio known for high-quality publicity portraits of stage and film stars of the era. Apeda was a photography studio in New York City. It was founded in 1906 by Alexander W. Dreyfoos, Sr. (1876–1951) and Henry Obstfield. The studio was known for pursuing two business strategies: shooting original portraiture and reproducing uncopyrighted images by other photographers of newsworthy scenes or celebrities under its own trade name. The second strategy resulted in them being brought to court for copyright infringement. They won the case. Dreyfoos was the head photographer and his focus was on sports, theatre and celebrity portraiture. (SOLD)
Marie Tempest (1864-1942) was a famous soprano in late Victorian light opera and Edwardian musical comedies. She later became a a leading comic actress. She toured in North America and other parts of the world. She was also a significant force behind the founding of the actors union Actors’ Equity in England. She was born in London, England and educated in Belgium. Her later musical education took place in Paris and London. She had her debut in 1885 in the operetta Boccaccio in London. After a few years in other performances, she performed on Broadway over a three year span. She was in numerous productions including The Tyrolean, and The Fencing Master. She was considered on the few rivals to Lillian Russell. Tempest was a difficult star but mellowed in middle age. She was a very active actress and performed in numerous productions over the years. She was created a Dame Commander of the British Empire in 1937.
Image 1 is a cabinet card that was photographed by famous celebrity photographer Falk, of New York City.
Image 2 is a cabinet card that was produced by A. Bassano of London, England.
Image 3 features the esteemed Edwardian stage actress and soprano, Miss Marie Tempest. This postcard presents Tempest nicely dressed and wearing a very elaborate hat. This postcard was published by Rotary Photo as part of a series (No.184L). Miss Tempest’s photo was taken by the Foulsham and Banfield photo studio. (SOLD)
This cabinet card is a portrait of Mollie (Molly) Fuller (1868-1933), a Boston born stage and vaudeville performer. She appeared in two Broadway plays but is better known for her vaudeville career. She was the second wife of Frederick Hallen (1859-1920) and the couple were a popular team on the vaudeville stage for nearly twenty-five years. They were known for their short comedic plays. Mollie’s resume includes performances in “Adonis” and in “Evangeline”, both plays by Edward Rice. He biggest hit was her starring role in “The Twentieth Century Girl” (1895). When producer Edward Albee learned Mollie was near blind an impoverished in Chicago, he arranged to bring her to New York. He commissioned a theater piece to be written for her to perform in. She returned to the stage to perform in the resulting playlet “Twilight”. Mollie was the sister of Loie Fuller (1862-1928). Loie was a pioneer of modern dance and theatrical lighting techniques. Among Loie’s skills was her talent as a “skirt dancer”. She died in Hollywood, California, at the age of 68 in 1933. At the time of her death she was receiving assistance from “Troupers”, a national vaudeville players association. This cabinet card was issued by “Newsboy” which was a tobacco company that used cabinet cards as premiums to encourage sales of their tobacco products. This image is number forty-one of a series. SOLD
These vintage real photo postcards feature pretty American stage and silent film actress and film producer, Fannie Ward (1872-1952). She was also the star of light comedies on Broadway. She began her career in the early 1890s, and appeared in over 100 films between 1895 and 1920. She was known for her roles in silent comedies and melodramas, and was considered one of the most popular actresses of her time. She played starring roles in “Madam President”, “The Shop Girl” and many others. Her screen debut was in Cecil B DeMille’s sexually charged, “The Cheat” (1915). Ward also produced several films, including the 1913 film “The Chink in the Armour,” which was directed by her then-husband, Frank Keenan. She retired from acting in 1920, but continued to work in the film industry as a producer until her death in 1952. In addition, after her retirement from the screen, she opened a beauty salon in Paris called “The Fountain of Youth”. The name of the salon is a bit ironic. Ward was known for her youthful appearance. It was not ununsual for her to play the parts of women one of two decades her junior. Ward held feminist beliefs which she wasn’t shy to talk about. In 1909, she told a reporter that her husband hated her work and then pointed out the hypocrisy of society’s support of men pursuing their interests (ie. art, sports, travel) but not supporting women who did the same. In addition, Ward worked as a film producer, a role not usually populated by women.
Postcard 1 was published by Rotary Photo as part of a series (No.1661A). The firm was located in London. Miss Ward was photographed by celebrated female photographer, Lizzie Caswall Smith. This posted postcard has a 1905 postmark. SOLD
Postcard 2 was published by Rotary Photo as part of a series (No.1661C). Miss Ward looks lovely in her fur hat and fur stole. The firm was located in London. Miss Ward was photographed by the popular female photographer, Lizzie Caswall Smith. SOLD
This vintage real photo postcard features pretty Mexican actress, dancer, and singer; Dolores del Rio (1904-1983). Del Rio’s performing career spanned more than half of a century. She was the first major Latin American actress to become an American film star (1920’s & 1930’s). Del Rio was also a major star in Mexican films. Dolores was known for her beauty as well as for her talent. She was discovered in Mexico and her Hollywood film career started in 1925. She began her career with a number of successful films, including “Ramona” (1928) and “Evangeline (1929). During the silent film era, she was considered the female version of “latin lover”, Rudolph Valentino. Del Rio was one of the fortunate actresses whose career was not destroyed by the advent of sound films. She acted in a wide range of film genres. “Bird of Paradise” (1932) and “Madame Du Barry” (1934) were among her successful films of the 1930’s. In the early 1940’s, her Hollywood career began to flounder sparking Del Rio to return to Mexico to become a major star of Mexican cinema. She continued acting in Mexican films through the 1950’s. Beginning 1960 she acted in both Mexican and Hollywood films. During the late 1950’s through the early 1970’s, Del Rio acted in theater and television. Dolores was born in Durango City, Mexico. Her parents were part of Mexican aristocracy whose lineage could be traced to Spain. Dolores was the cousin of actor Ramon Novarro (another silent film”latin lover”), and of Mexican cinema actress, Andrea Palma. During the Mexican Revolution (1910-1920), Dolores’s family lost its fortune. Her family felt threatened by Pancho Villa’s insurgence. It was time to “get out of town”. Her father fled to the United States while she and her mother escaped to Mexico City. Acting was an integral part of Dolores’s getaway. She and her mother felt compelled to dress as peasants to insure safe passage on the train to Mexico City. Her parents reunited there in 1912. Dolores attended a college in Mexico City operated by French nuns. After seeing Russian ballerina, Anna Pavlova perform; Dolores decided to become a dancer and took lessons from a well respected teacher. At age 17, Dolores married Jaime Martinez del Rio. He was from a wealthy family and was educated in England. The couple honeymooned in Europe for two years and Dolores formed close relationships with a number of members of European aristocracy. When the couple returned to Mexico, they settled in Mexico City. In 1925, Dolores met American filmmaker Edwin Carewe, and he was spellbound. He convinced Dolores and her husband to move to Hollywood where he promised to make Dolores a star. Her husband hoped to write screenplays there. When they arrived in Tinseltown, Carewe launched a public relations campaign to raise excitement about his beautiful find. He built up her aristocratic background by saying such gems as Dolores was “the first lady of high Mexican Society” and that she had come to Hollywood with a collection of shawls and combs valued at fifty thousand dollars. Dolores made her film debut in “Joanna” (1925), where she played a vamp of Spanish-Brazilian origin. Her first starring role was in the comedy “Pals First” (1926), directed by Carewe. That same year, Dolores appeared in the war film “What Price Glory?”. The movie was a huge financial success and helped Dolores become one of the “WAMPAS Baby Stars” of 1926. Other members of her “class” were Mary Astor, Joan Crawford, Janet Gaynor, and Fay Wray. By then, her film career was rocketing. Her role in Resurrection” (1927), a popular film based on a Tolstoy novel, further propelled her career. While her career was succeeding, her personal life was a “hot mess”. Her marriage to Del Rio ended in 1928. He had much difficulty being in the shadow of his famous and successful wife. Six months after Dolores filed for divorce, Del Rio died in Germany. While dealing with her grief, she had to deal with constant harassment from her discoverer, Edwin Carewe. He wanted to be more than her agent and her director since he had first launched her career. In 1929, Dolores announced to the press, that despite Carewe’s claims, the pair were just friends and business companions. She added that they had no plans for marriage. Soon thereafter, she cancelled her contract with him. The end result was a legal dispute that was settled out of court. Carewe’s anger did not end there. He disparaged her the press and refilmed “Resurrection” starring Lupe Velez, another popular Mexican film star. In 1930, Del Rio married MGM art director, Cedric Gibbons. They became one of Hollywood’s most followed couples of the early 1930’s. In 1932, the film, “Birds of Paradise”, was released to rave reviews. The film starred Del Rio and actor, Joel McCrea. The movie was a South Seas love story. A scandal arose from the film because of a scene featuring the pair swimming naked. Controversy continued in Del Rio’s appearance in “Flying Down to Rio” (1933). In this film, Del Rio was the first actress to wear a two piece bathing suit on screen. Fred Astaire and Ginger Rogers danced together for the first time on film, in this movie. Del Rio and Astaire also did an “intricate” dance number in the film. Del Rio found herself in political hot water when she and Ramona Novarro and Lupe Velez attended a special screening of a Mexican film which was accused of promoting Communism in California. Del Rio was accused of being a Communist for her attendance at the screening. In 1940, Del Rio began an affair with actor/filmmaker, Orson Welles. The dalliance resulted in Del Rio and Gibbons divorce. In 1954, Dolores was scheduled to co-star in a Spencer Tracy film, but the US government would not give her permission to work in the United States. The government believed she was sympathetic toward communism for attending the aforementioned film screening and for signing a petition supporting a world peace conference. After some time, she was able to remedy the problem by writing a persuasive letter to the US authorities. Later in life Del Rio did express some “political” beliefs. She stated that she wished she could play Mexican roles to show what life in Mexico was really like. She felt such an opportunity could help diminish the ugly stereotypes that existed about Mexicans in American society. She stated that it was her great wish to make fans realize the beauty, wonder, and greatness of Mexicans as a people. She asserted that the great majority of Americans view Mexicans as a “race of bandits, or laborers, dirty, unkempt, and uneducated”. Why do these false negative stereotypes sound so familiar? Del Rio wanted to show “the best that’s in my nation”. It has been pointed out by more than a few writers that Dolores del Rio was no “Latin bombshell”. Instead, she was noted for her elegance. The IMDb reports that Del Rio has 63 film credits ranging from 1925 through 1978.
Postcard 1 was published by Ross Verlag as part of a series (no.656). The reverse of the card has a gold seal stating “Ross Splendid”. This postcard has a Netherlands stamp and was postmarked in Rotterdam in 1932. SOLD
Postcard 2 was published by Ross Verlag as part of a series (no.3378/2). SOLD
This vintage real photo postcard features Marcelle Louys, a pretty stage performer at the Moulin Rouge. The venue is located in Paris, France. The cabaret opened in 1889 and is best known as the birth place of the can-can dance. The Moulin Rouge remains in business and is a popular tourist destination. This postcard was published by EPR as part of a series (no.144). The postage stamp on this card is from France and the postmark is from 1909. This postcard is in very good condition (see scans)
This Vintage Real Photo Postcard is available for purchase at my store, The History Peddler, for $16.89 or best offer
These vintage real photo postcards feature French actress and dancer, Anne Regina Badet (1876-1949). She was a major star of the Opera-Comique in Paris. She made her debut at the Grand Theatre de Bordeaux where she became a principal dancer She received much acclaim for her portrayal of Conchita Perez in “The Woman and the Puppet (1910)”. Postcard 1 shows her in this role. Her stage acting led her to a brief film career (eleven movies between 1908 and 1922). The Los Angeles Herald (1906) described Badet as the “new Paris pet” and that her dances in the Opera “Aphrodite” had “caused a furor among theater goers. A critic wrote that he went to see the performance because the opera was a “masterpiece” and because he wanted to see the star soprano, Mary Garden, interpretation of her role. Instead, he reports he was most drawn to the performance by Regina Badet. Miss Badet retired from stage and screen in the early 1920’s.
The photographer of the image on Postcard 1 is listed as “Bert”. I believe that this is a photographer who partnered with celebrated photographer Paul Boyer, renowned for his celebrity and theater images. This postcard was published by F. C. & C.
Postcard 2 offers a second portrait of Miss Badet. The pretty actress is wide eyed and wearing a lot of jewelry. The photograph was taken by Henri Manuel (1874-1947). In 1900, Manuel opened a portrait studio in Paris with his brother Gaston. He quickly became well known for his portraits of politicians, artists, and athletes. His images were used by news agencies . His studio became the largest studio in Paris and it attracted many young photographers who sharpened their skills there. In 1925 the brothers expended their business to include fashion photography. They worked for such designers as Chanel, Patou, and Lanvin. The studio shut down during World War II and many of their photographic plates were destroyed. Manuel was the official photographer for the French government from 1914 through 1944. SOLD Postcard 3 features a photograph of Miss Badet that was taken by celebrated photographer, Paul Boyer. SOLD
Postcard 4 features a photograph of Badet taken by the Oricelly studio. SOLD
THE CABINET CARD GALLERY 