ANNE VERNON & HER DACHSHUND : FRENCH ACTRESS : PHOTO BY LUCIENNE CHEVERT : RPPC

Anne Vernon (1924- ) was a French theatre, television and film actress. She is seen in this vintage real photo postcard, posing with a Dachshund dog. Vernon began her film career in the late 1940s, gaining attention for her elegance, charm, and natural screen presence. Her first notable role was in The Murdered Model (1948), marking her debut during the French occupation. In the post-war years, she became a prominent figure in French cinema, appearing in a variety of genres, including comedies, dramas, and musicals. One of her most significant roles came in Jacques Demy’s The Umbrellas of Cherbourg (1964), where she played Madame Emery, the mother of Catherine Deneuve’s character. Her nuanced performance brought depth to the bittersweet romance of the film, which remains a classic of French cinema. Throughout the 1950s and 1960s, Anne worked with esteemed directors such as René Clair and Julien Duvivier, further solidifying her reputation as a versatile actress. She also appeared in international productions, making her a recognized figure beyond France. Notably, she appeared in the Hollywood film Shakedown (1950), playing the role of Nita Palmer alongside Howard Duff and Peggy Dow. This was her only Hollywood film. Despite this venture into American cinema, she remained less known in the United States compared to her prominence in Europe. Over her career, Anne Vernon appeared in approximately 40 films between 1948 and 1970. Anne Vernon was married three times. Her husbands included  French lawyer and politician Robert Badinter and politician Jean-Pierre Prouteau. As of January 2025, Anne Vernon is still alive. She is 101 years-old. Miss Vernon’s photograph seen on this postcard was taken by Lucienne Chevert (1911-1982). She was a Paris based photographer who photographed dozens of French film stars post World War II. She was the partner of the well known celebrity photographer, Sam Levin. 
This postcard was published by the Globe Edition (Paris) and is part of a series (no.137).  (SOLD)

Published in: on October 27, 2025 at 12:00 pm  Comments (2)  
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CLAIRE LUCE : VINTAGE GLAMOUR PORTRAIT : BY MANNELL STUDIO : PRETTY ACTRESS

This vintage portrait postcard captures the elegance and sophistication of Claire Luce, a celebrated American stage and screen actress known for her work in theater and Hollywood during the early to mid-20th century. Photographed by Mannell Studio, London, this stunning black-and-white image exudes the classic glamour of the era, likely from the 1920s or 1930s. In this portrait, Claire Luce is seen wearing a sleek satin gown with a low-cut back, reflecting the timeless fashion of the Art Deco period. Her delicate necklace adds a touch of refinement, while her softly curled platinum blonde hair is meticulously styled in the distinctive finger waves that were highly fashionable during that time. Her expression is both confident and alluring, with a slight smile and a captivating gaze that suggests both poise and mystery. She poses gracefully, her fingers resting near her chin in an elegant yet relaxed manner, enhancing the overall sophistication of the composition. Born in 1903, in Syracuse, New York, Claire Luce became a renowned actress known for her work on both stage and screen. She rose to prominence in the 1920s and 1930s, particularly for her performances in Broadway productions. One of her most notable roles was in Gay Divorce (1932), where she starred alongside Fred Astaire. This production later inspired the classic film The Gay Divorcee (1934), though her role in the film was played by Ginger Rogers. Luce also made a mark in Hollywood, appearing in films such as Up the River (1930), The Cohens and the Kellys in Africa (1931), and Over She Goes (1937). However, her true passion remained the stage, and she continued to shine in numerous theatrical productions, both in the United States and the United Kingdom. Aside from her acting career, Luce was admired for her beauty, grace, and sophisticated sense of style. She was often photographed in elegant gowns, embodying the glamour of the Golden Age of Hollywood and theater. Claire Luce was known for her dedication to her craft, and while she had several notable relationships, she was never widely publicized for her personal life. She married Clifford Warren Smith, an English businessman, though details about their marriage remain relatively private. . Claire Luce’s contributions to theater and film continue to be remembered by classic cinema enthusiasts and theater historians. Her connection to Fred Astaire and the Broadway stage solidifies her place in entertainment history.  George Mannell (London) is the photographer who took this postcard’s photo portrait. The postcard is relatively uncommon.

Published in: on October 21, 2025 at 12:00 pm  Comments (1)  
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JEAN AYLWIN : SCOTTISH ACTRESS & SINGER : DOVER STREET STUDIOS : RPPC 1908

This vintage real photo postcard features a striking portrait of Jean Aylwin (1885-1964), a pretty British actress and singer from the early 20th century. She gained fame for her performances in musical comedies and plays in London and she also toured internationally. Aylwin was associated with the popular Gaiety Theater productions. She had notable performances in several successful productions including “The New Aladdin” (1906), “The Girls of Gottenberg” (1907) and “Our Miss Gibbs” (1909). Aylwin also appeared in two silent films. She married in 1913 but the marriage ended in divorce in 1924. She was accused of adultery with a noted composer of her time. After her divorce, her career declined. She later worked as a housekeeper. In 1926, she briefly worked as a BBC radio broadcaster.  Aylwin looks elegant in this dramatic studio pose. She stands three-quarter length with a thoughtful, hand-to-chin expression, the other hand set firmly at her hip. Aylwin wears a striking military-style costume—a fitted jacket heavily braided with ball buttons and tasselled cords, over a pleated skirt; a matching hat rests at her side. Her hair is dressed in full Edwardian waves, completing the theatrical look. Thd photographer of this portrait is the Dover Street Studios. The card was published by Rotary Photo as part of a series (no1898K). The postcard has a Wandsworth (London) postmark from 1908. The postcard is addressed to someone in West Australia. The message on the card is “This is rather a pretty girl. I have seen her in a piece called Havana. Jack.” The front of this card is has rich, sharp sepia tones. Holding the card at a certain angle, one can see dimples caused by the postmark. (SOLD) 

Published in: on October 20, 2025 at 12:40 pm  Leave a Comment  
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VALLI VALLI : PRETTY SILENT FILM & STAGE ACTRESS : RPPC 1908

POSTCARD 1 (SOLD)

POSTCARD 2 (SOLD)

POSTCARD 3 (SOLD)

These vintage real photo postcards feature British beauty and actress, Valli Valli (1882-1927). She was a British musical comedy actress and a silent film performer. She was born in Berlin but spent most of her life in England. Her sisters, Lulu and Ida Valli were both actresses. Her father was a merchant. She was educated in London and Paris. She made her stage debut in London at the age of twelve. At thirteen years of age she had a successful run in the musical comedy “Morocco Bound” in Berlin. The next year she performed at London’s Drury Lane Theatre in a pantomime version of Cinderella. As an adult, Valli was a beautiful woman. She performed mostly on the English stage but did tour the United States a number of times. These plays include “The Dollar Princess” and her final New York City performance in “Miss Millions” (1919). In all, she appeared in seven Broadway plays between 1905 and 1920. Valli appeared in four films during 1915 and 1916. These films included “The Turmoil” which was an adaptation of a Booth Tarkington novel. In 1917, she married Louis Dreyfus, head of a music publishing house, and later, a theatrical producer. Valli died from tuberculosis at the young age of forty-five.

Postcard 1 captures Valli, in a pensive, or possibly, dejected mood. The card was published by Rotary Photo as part of a series (No.1760G). Miss Valli was photographed by the Bassano studio. (SOLD)

Postcard 2 features Valli, in a pensive or imploring mood, identical to the mood she exhibits in postcard 1. This card was published by Rotary Photo as part of a series (No.11415A).  (SOLD)

Postcard 3 captures Valli in her role as “The Gipsy” in “Queen of Hearts” . The card was published by Rotary Photo as part of a series (No.11415A). (SOLD)

POSTCARD 1 (SOLD)

POSTCARD 2 (SOLD)

POSTCARD 3 (SOLD)

Published in: on October 14, 2025 at 12:00 pm  Leave a Comment  
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ENID LOWE : VINTAGE GLAMOUR PORTRAIT : BY GEORGE MANNELL : PRETTY ACTRESS : RARE

The photo postcard features Enid Lowe (1908-1994) in an elegant and theatrical pose. She was a British actress known for her work in television and theater, with notable appearances in productions such as “BBC Sunday-Night Theatre” (1950), “Educated Evans” (1957), and “Loot” (1970). In 1941, she performed in the musical “London Rhapsody” at The London Palladium. This postcard is a testament to Enid Lowe’s beauty. She is dressed in period-style attire. Her outfit includes a lavish gown with a soft, flowing texture, possibly made of silk or satin, adorned with delicate lace and ribbon details. The bodice has a gentle scalloped trim, and she wears long gloves, adding to the refinement of her look. Her accessories are striking—she wears an elaborate wide-brimmed hat with a voluminous, gathered crown, likely made of soft fabric. Her jewelry is ornate, consisting of large, dangling earrings with multiple tiers and a matching necklace of pearl-like beads. These accessories enhance the regal and theatrical nature of the portrait. Enid Lowe’s facial expression is poised and slightly enigmatic. Her dark, wavy hair is styled in an elegant, vintage fashion, framing her face beautifully. Her eyes, accentuated with dark makeup, have a confident and alluring gaze, and her lips are slightly parted, conveying a subtle yet engaging expression. The soft lighting highlights her delicate features, giving her a luminous and almost ethereal appearance. The photographer of this image, George Mannell, was based in London and was active in the early 20th century. He specialized in theatrical and celebrity portrait photography, producing high-quality postcards featuring actors and actresses of the time. His work captured the glamour and artistry of stage performers, often presenting them in elaborate costumes and dramatic poses to appeal to both fans and collectors. His work often appeared in publications such as the Picturegoer series, a popular British postcard collection featuring film stars and entertainers. SOLD

Published in: on October 13, 2025 at 12:00 pm  Comments (3)  
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DOROTHY GISH : PRETTY SILENT FILM STAR : FASHIONISTA :PARAMOUNT : RPPC 1928

This vintage real photo postcard features actress, Dorothy Gish (1898–1968). She was a prominent American actress best known for her work in silent films and later in theater. She was also quite pretty which is apparent in this postcard portait. In addition, she was quite fashionable. She was born in Dayton, Ohio, into a family with roots in the performing arts. Dorothy and her older sister, Lillian Gish, are often remembered as significant figures in early American cinema, particularly for their work with director, D.W. Griffith. Dorothy and Lillian’s parents separated when they were young, leaving their mother to support the family. In 1902, the Gish family moved to New York City, where their mother sought work in the theater. Both sisters began acting on stage as children to help support their family. Dorothy made her stage debut at a young age, and by the time she was a teenager, she had already gained experience in theater. In 1912, Dorothy and Lillian were introduced to D.W. Griffith by their friend, actress Mary Pickford. Griffith immediately saw potential in the sisters and cast them in his films, launching their film careers. Dorothy’s early work with Griffith included supporting roles in films like The Musketeers of Pig Alley (1912) and The Birth of a Nation (1915). However, Dorothy’s specialty was comedy, and she developed a distinct, lively style that set her apart from her sister Lillian, who typically played more dramatic roles. Dorothy’s popularity rose as she starred in a series of comedic silent films, including Hearts of the World (1918) and Orphans of the Storm (1921), both of which also featured Lillian. While Lillian’s characters often embodied innocence and vulnerability, Dorothy’s roles allowed her to showcase a playful, often mischievous side, bringing her critical acclaim and a strong fan following. With the advent of sound films in the late 1920s, Dorothy, like many silent film stars, found it challenging to transition to “talkies.” She made a few sound films, but she gradually shifted her focus to theater, where she had always felt at home. Dorothy was well-suited to the stage, bringing her charm and humor to roles in productions such as Young Love (1928), which was a hit on Broadway, and The Chalk Garden (1956). Throughout the 1930s and 1940s, Dorothy toured in various plays and continued to appear in films occasionally. She remained active in theater well into the 1950s, and her stage career extended her professional life even as her work in film slowed. In contrast to her sister, who continued to receive accolades in film well into the sound era, Dorothy’s legacy was tied more to her stage performances and her beloved silent film roles. Dorothy was known for her wit, independence, and close bond with her sister Lillian. The two were inseparable and supported each other throughout their lives, both personally and professionally. In 1920, Dorothy married James Rennie, a Canadian-born actor. However, their marriage ended in divorce in 1935, and she did not remarry. After retiring from the stage, Dorothy lived a quiet life but remained connected to the arts and close to her sister. She passed away in 1968. This postcard was published by Ross Verlag as part of a series (No.3513/1). The card was published in 1928/1929. SOLD

Published in: on October 12, 2025 at 12:00 pm  Leave a Comment  
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VESTA TILLY : FAMOUS MUSIC HALL STAR & MALE IMPERSONATOR : VINTAGE RPPC POSTCARD

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 so convincing 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. The postcard’s image shows Tilley in a fur-trimmed coat, accessorized with a hat adorned with feathers. The card has been hand-tinted, with touches of pink on her costume and hat and green on the tassels. The following is a transcription of the letter: “Dear Bess, Just a line to say we landed here quite safe. And are having a lovely time up to the present, only the weather isn’t up to the mark, it is a bit showery but not too bad. You might get a skirt ready to send me on Sunday. Will write and tell Hugh this aft to come round for it on Friday night so try and get it ready. Give my love to [all at home]. Joe” (Writer’s details also appear: No. 5 Company R.S. of Vols, Hightown, Nr. Liverpool.) This postcard was published by Philco as part of a series (No.3149D). (SOLD)

Published in: on October 10, 2025 at 12:00 pm  Leave a Comment  
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NAOMI CHILDERS: GLAMOROUS AMERICAN SILENT FILM ACTRESS

This vintage real photo postcard features silent film actress, Naomi Childers (1892-1964). Although she was born in Pottstown, Pennsylvania, her parents were English. She grew up in St. Louis, Missouri and was educated in the Maryville convent. She began acting at age three. At age ten, she played the title roles in both “Red Riding Hood” and “Alice in Wonderland” at St. Louis’s Odeon Theater. In 1912 she played roles in “The Great Name” and “Madame X”. Childers had one Broadway appearance which occurred in “The Great Name” ( 1911 ). Childers”s film career began in 1913. For the most part, she was a character actress. She played roles in “The Turn of the Road (1915) and “The Writing on the Wall” (1916). She spent four years working with the Vitagraph company. Her most popular role was in “Womanhood, the Glory of the Nation” in which she played a modern Joan of Arc. She joined the Commonwealth Company in 1917. Although Childers played many dramatic roles, she preferred comedy. The IMDb lists 104 film credits for Miss Childers. She was quite beautiful. She was blonde and had deep blue eyes. She was voted the most beautiful woman in Japan, and many of her fans and critics found her physical appearance very similar to Sarah Bernhardt. She did a great deal of modeling work and her nickname was “the girl with the Grecian face”. Childers was married twice. Her first husband was Harold Darling Shattuck, the head of a major candy company. She was later married to Luther A. Reed, a film writer and director. They were married nine years until their divorce in 1929. In her later years, Childers had significant financial problems. Upon learning of her struggles, Louis B. Mayer awarded her a lifetime contract with MGM. Miss Childers looks very glamorous in this postcard image. She is wearing a fur stole and a large hat. Her jewelry includes a necklace, bracelet and wrist watch. This postcard has an AZO stamp box indicating that it was published between 1904 and 1918.   SOLD

Published in: on October 9, 2025 at 12:00 pm  Leave a Comment  
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MEATY FLEURON : POSTCARD QUEEN : DANCE HALL STAR : PHOTO BY ORICELLY

This vintage real photo postcard features Meaty Fleuron, a dancehall artist from the Belle Epoque era. Meaty was a singer and a dancer. She was one of the “Postcard Queens” popular at the turn of the century. In other words, she was a prolific postcard model. She made her debut at the European Concert hall in 1895. She is noted for appearing in “swimsuit roles”. Her sister, Lise Fleuron was also a performer. This postcard was published by LF Co. which I believe, but am not certain, is Labouene Freres. Miss Fleuron was photographed by the Oricelly studio for this postcard. Oricelly was based in Paris, France. SOLD

Published in: on October 4, 2025 at 12:00 pm  Comments (2)  
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JOSEPHINE DUNN : IN “EXCESS BAGGAGE” : MGM SILENT FILM STAR : RISQUE RPPC 1928

Josephine Dunn (1906 –1983) was an American actress known primarily for her work in silent and early sound films during the late 1920s and early 1930s. She was a glamorous starlet of the Jazz Age, often cast in flapper and socialite roles. Josephine Dunn was born in New York City, where she was raised. Little is known about her early years, but she entered show business as a teenager, joining the world of vaudeville before making the transition to film. Her natural beauty, charisma, and fashionable style made her a popular choice for film producers during Hollywood’s silent era. Dunn made her film debut in 1926 and quickly became a sought-after actress, starring in a variety of silent and early talkie films. She was often cast as the “other woman” or as a carefree flapper, fitting the Roaring Twenties’ archetype of modern femininity. One of her most notable films was “Our Modern Maidens” (1929), in which she starred alongside Joan Crawford and Douglas Fairbanks Jr. She also appeared in: “Excess Baggage” (1928),”The Broadway Melody” (1929),  “Tanned Legs” (1929), and “Montana Moon” (1930). Her transition from silent films to talkies was fairly successful, though she never achieved the same level of fame as some of her contemporaries, such as Crawford or Norma Shearer. By the early 1930s, her film career began to slow down. While primarily a screen actress, Dunn had early experience in vaudeville and stage performances, though she never became a major Broadway star. She retired from acting in the mid-1930s and lived a largely private life afterward. Dunn was married multiple times, including to millionaire oil executive Carroll Case. Her personal life was often the subject of media gossip. Although she was never a top-tier star, Josephine Dunn was emblematic of 1920s and early 1930s Hollywood glamour. This postcard features Dunn in her starring role in the 1928 silent film, “Excess Baggage”. The romantic comedy film was produced by Metro-Goldwyn-Mayer (MGM). She played the role fo a glamourous and sophisticated young woman. Unfortunately, like many silent films of the era, Excess Baggage is considered lost, meaning no known copies are available today. In this image, Josephine Dunn is dressed in a delicate, ruffled ballet-style costume, with a short, voluminous tutu and an intricately adorned bodice. The dress features lace and embellishments, reflecting the flapper era’s fascination with femininity and luxury. Her feet are adorned with soft, ballet-like slippers, adding to the graceful, almost ethereal appearance of her outfit. Her pose is both playful and weary—leaning on the large travel trunk with one arm propped up and her hand resting gently against her face. Her expression is one of wistful contemplation, with her eyes gazing off to the side, giving a sense of melancholy or quiet amusement. This pose complements the humor suggested by the film’s title, Excess Baggage, possibly hinting at the idea of emotional or romantic burdens rather than just literal luggage. Her curled, short blonde hair, typical of the 1920s, frames her face beautifully, reinforcing her status as a Jazz Age beauty. This risque postcard was published by Berlin based, Ross Verlag. In the card’s lower right corner, we see the logo of MGM. This vintage real photo postcard was issued in 1928. (SOLD)

Published in: on October 3, 2025 at 12:00 pm  Leave a Comment  
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