Original undivided-back theatrical postcard, printed in Germany/Austria for the European markets, ca. 1900–1905. Studio portrait of a pretty female performer in trouser-role/musketeer costume—small plumed hat, velvet tunic with braid, lace cuffs, short skirt, thigh-high boots, and a rapier. Multilingual back (German “Postkarte,” “Weltpostverein,” French, Italian, Russian, etc.) confirms early Continental printing for export; publisher and photographer uncredited, as issued. (SOLD)
This sepia-toned, real photo postcard features the glamorous silent film actress Alma Bennett (1904-1958) in a striking, risqué pose. Published by Iris Verlag of Austria, this collectible is numbered 5234 and credits the prominent studio Pathé as the photographer—known for its high-quality film stills and star portraits during the silent era. The image captures Bennett draped in a sheer, flowing fabric that barely conceals her chest. With her hands placed carefully to cover herself, the pose is both sensual and elegant—clearly intended to appeal to fans of 1920s starlets and risqué glamour. Her expressive face is tilted upward in a dramatic fashion, with her dark, wavy bob framing large, expressive eyes. Her parted lips and gaze suggest a moment of theatrical longing or awe, characteristic of the silent film aesthetic. This postcard falls squarely into the risqué category due to its suggestive styling and scant coverage, though it retains a refined and artistic tone rather than being overtly provocative. Alma Bennett was an American silent film actress who appeared in over 60 films between 1919 and 1931. Known for her beauty, versatility, and ability to play both dramatic and comedic roles, she became a recognizable face during the peak years of silent cinema. Bennett began her career in Hollywood in the late 1910s, likely transitioning into film from stage or local beauty contests, as was common during the period. Her breakout years came in the 1920s, with notable roles in films such as: “Orphans of the Storm” (1921, uncredited, directed by D.W. Griffith), “The Prairie Pirate” (1925), “A Woman Against the World” (1928), “The Night Flyer” (1928). and “The Arizona Kid” (1930). Alma’s personal life was somewhat tumultuous, mirroring that of many silent-era actresses whose careers were overshadowed by the transition to sound films. She was married to Fred Bennett, though the marriage reportedly ended in divorce. Little is documented about her life after retiring from film around 1931, and she never returned to the screen during the sound era. (SOLD)
This interesting oversized cabinet card was photographed by L. Grillich in Vienna, Austria. The subjects are two very interesting looking young men. One man is wearing a tuxedo and top hat. He is holding a cane and wearing eyeglasses. The second young man appears to be wearing a formal military uniform. He is holding white gloves and wearing a sword. There is likely an interesting story attached to this photograph but that story is lost to history. The photographer of this image was Ludwig Grillich (1855-1926). Grillich was a portrait photographer located in Vienna and in Franzensbad. Included in the list of famous subjects of his portraits, are Johann Strauss, Johannes Brahms and Sigmud Freud. Grillich is also known for a series of postcards he published that displayed many of Vienna’s famous buildings of that era. SOLD
This cabinet card features Katharina Abel (1856 –1904), a distinguished Austrian ballerina renowned for her tenure as a solo dancer at the Vienna Court Opera (now the Vienna State Opera). She was born in Vienna. Abel was accepted into the ballet school of the Kärntnertortheater at the age of twelve. Under the tutelage of ballet mistress Johanna Telle, she honed her skills in classical dance. In 1871, Abel joined the Vienna Court Opera. She captivated audiences with her grace and charm, particularly excelling in pantomimic roles. Her breakthrough came on October 4, 1879, when she performed as the leader of the Amazons in the ballet “Dyellah oder die Reise nach Indien.” Her compelling performance led to her appointment as a solo dancer at the opera. Throughout her career, Abel starred in numerous productions, including the ballet “Coppélia” and the operas “Die schöne Melusine” by Louis Schindelmeisser and “Die Stumme von Portici,” where she portrayed Fenella. She also featured prominently in divertissements such as “Wiener Walzer,” “Die Puppenfee,” “Sonne und Erde,” “Fantasca,” “Fata Morgana,” and “Der Stock im Eisen. In 1890, Abel married Count Georg Orssich von Slavetich, who was ten years her junior. The couple resided on the count’s estate in Theresienfeld. Prior to her marriage, Abel had a daughter born in 1876. The father’s identity remains undisclosed. Abel’s illustrious career was abruptly halted during a performance of “Giselle” when a mechanical failure caused her to fall approximately ten feet onto the stage, resulting in a foot injury that ended her solo performances. She continued to engage audiences in pantomimic roles for a time. In 1892, she retired from the stage. Despite undergoing multiple surgeries, Abel succumbed to cancer in 1904. This photograph is a striking portrait of Abel. Abel is adorned in an elaborate costume that reflects her talent for embodying diverse and exotic roles on stage. She wears a kimono-style garment, richly embroidered with intricate floral patterns. The fabric’s texture and sheen suggest luxurious materials befitting her status as a renowned performer. Her theatrical pose, with arms gracefully extended and a large fan arched behind her head, exudes poise and fluidity. The delicate placement of her hands and the tilt of her head convey a sense of grace. This cabinet card photograph was taken in 1888 by Dr. Josef Szekely (1838-1901). He captured her performance in “The Doll Fairy”. Székely was an Austro-Hungarian chemist and photographer renowned for his contributions to early photography in Central and Southeastern Europe. He had a master’s degree in pharmacy and a doctorate in chemistry. He taught at the University of Vienna before becoming a photographer. He was very successful as a photographer. Székely’s work garnered international acclaim. He was awarded the Bronze Prize at the 1867 World’s Fair in Paris and a silver medal in 1878. His studio produced portraits of many notable figures. This photograph is in the collection of the Theater Museum in Vienna. This cabinet card measures approximately 4.25 x 8 inches, which is larger than the standard cabinet card. SOLD
POSTCARD 1 (SOLD)
POSTCARD 2 (SOLD)
POSTCARD 3 (SOLD)
POSTCARD 4
POSTCARD 5 (SOLD)
POSTCARD 6
POSTCARD 7
POSTCARD 8 (SOLD)
POSTCARD 9
POSTCARD 10
POSTCARD 11 (SOLD)
POSTCARD 12 (SOLD)
Buy this original Real Photo Postcard (includes shipping within the US) #2490
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Buy this original Real Photo Postcard (includes shipping within the US) #2488
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Postcard #7 features Lillian Harvey leaning forward as she looks into a hanging bird cage. The photographer likely chose this pose to inject some sexuality into the image. The pose reveals a small amount of the actress’s cleavage. She is wearing a relatively low-cut dress for this time period. Print on the reverse of the postcard reveals that the photograph of Miss Harvey comes from the film “Congress Dances” (1931). Her costar in the film was Willy Fritsch. The postcard was published by Ross Verlag and is part of a series (no. 6738/1). On the right hand bottom corner of the postcard is the logo for “UFA”, a German film company. This postcard is in excellent condition.
Buy this original Real Photo Postcard (includes shipping within the US) #2520
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Postcard 8 was photographed by Alexander Binder and published by Ross Verlag as part of a series (no.1019/4). Ballerini & Fratini (Florence, Italy) are credited on the reverse of this postcard. (SOLD)
Postcard 9 offers a pretty portrait of Lilian Harvey that was published by Ross Verlag as part of a series (no.5016/2). Note the logo for UFA, the German film company, in the bottom right hand corner of the image. This vintage postcard is in very good conditon (see scans).
Postcard 10 is meant to be risque. Harvey is wearing a provocative dress and it is clear that the aim of the photographer is to emphasize Miss Harvey’s sexiness. The photographer and Miss Harvey succeeded in accomplishing this goal. This card has the logo of Fox Films. She made four films for the company beginning 1931. Lillian Harvey was a popular postcard model and there are many postcard images of her in existence. However, this particular card is very uncommon and one of the more suggestive photographs of Miss Harvey published on a postcard. This postcard portrait was published by Ross Verlag (Germany) as part of a series (No.8000/1). SOLD
Postcard 11 was published by the German firm Ross Verlag and was part of a series (no. 1393/4). Eichberg Films is credited on the bottom right hand corner of the image. The company was located in Germany. Richard Eichberg was a moderately successful actor who became a director/producr in 1915. (SOLD)
Postcard 12 was published by the German firm Ross Verlag and was part of a series (no. 8679/1). She is posed in a bit of a provocative pose and is smoking a pipe. This postcard portrait was photographed by H. Gartner and published by Ross Verlag as part of a series (no.1529/1). Eichberg Films is credited on this postcard. Richard Eichberg (1888-1952) began his career as an actor but became a succssful film director and producer in the German film industry. He directed 87 films and produced 77 films. (SOLD)
Buy this Real Photo Vintage Postcard (includes shipping within the US) #5112
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POSTCARD 13
POSTCARD 14 (SOLD)
POSTCARD 15 (SOLD)
POSTCARD 16 (SOLD)
Postcard 13 was published by Ross Verlag and features Miss Harvey posed in a provocative manner. This postcard has a French stamp and was postmarked in 1929 in Paris, France. (SOLD)
Postcard 14 was published by the German firm Ross Verlag and was part of a series (no. 6096/1). UFA Films is credited on the bottom right hand corner of the image. The company was located in Germany. SOLD
Postcard 15 shows Lillian Harvey wearing a ballerina costume and it is clear that the aim of the photographer is to emphasize Miss Harvey’s sexuality. The photographer and Miss Harvey succeeded in accomplishing this goal. The postcard was published by the Austrian firm Iris Verlag and was part of a series (no.764). Iris Verlag in Vienna was the most important Austrian publisher of film star postcards. The photographer of this portrait was E. Weil & Co. SOLD
Postcard 16 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)
Postcard 1 (SOLD)
Postcard 2 (SOLD)
Postcard 3 (SOLD)
La Jana (1905-1940) was an actress and dancer. Her nationality was Austro-German. She was the illegitimate daughter of a master gilder and his housekeeper. Her parents wed four years after her birth. Her family was Jewish. She went by the name, Henny.. She trained as a dancer at the Frankfurt Opera Ballet and her first stage appearance was at the age of eight. She later began dancing in revues. She was “discovered” in Paris and brought to Berlin to meet with Frederic Zelnik who got her into films. The film director who “discovered” her said that the first time he saw her dance, “that woman possessed the most attractive body that I had set eyes upon” in my not all that long life. He went on to describe her as simple, nice and approachable. He added that she “had as much interest in sex as in Immanuel Kant”. meaning, none at all. As her career advanced, she danced in revues in Berlin, Stockholm, London, and many other cities. When she appeared in “Casanova” she viewed by the audience semi-naked and on a silver platter. In Berlin, she began an affair with Crown Prince Wilhelm. There were also rumors that she had an affair with Joseph Goebbels. Charlie Chaplin was also one of her lovers. Clearly, her attitude about sex changed from the earlier days of her dancing career. In 1937, her performance in a film catapulted her to film stardom. In 1940, while touring Germany, entertaining troops, she fell ill with pneumonia and passed away. The IMDb gives La Jana 23 film credits between 1926 and 1940.
La Jana’s portrait for Postcard 1 was taken by the Manasse studio in Vienna, Austria. The Manasse studio was in existence between about 1922 and 1938. The studio was run by Olga Solarics (1896-1969) and her husband Adorja’n von Wlassics (1893-1946). Olga was known for her interest in photographing nudes. The studio flourished in Vienna during the 1930’s. Many of the portraits taken by the studio had an erotic flavor. The studio attracted some of the leading ladies of film and theater. This postcard was published by Ross Verlag (no.7043/1). This vintage postcard has a small imperfection located under La Jana’s left elbow. (SOLD)
Postcard 2 was published by Ross Verlag (no.5035/2). Miss Jana’s photograph was taken by the Manasse studio in Vienna, Austria. The Manasse studio was in existence between about 1922 and 1938. The studio was run by Olga Solarics (1896-1969) and her husband Adorja’n von Wlassics (1893-1946). Olga was known for her interest in photographing nudes. The studio flourished in Vienna during the 1930’s. Many of the portraits taken by the studio had an erotic flavor. The studio attracted some of the leading ladies of film and theater. (SOLD)
Postcard 3 was published by Ross Verlag (no.3911/1). Miss Jana’s photograph was taken by Martin Badekow (1896-1983) in Berlin. In the 1920’s, Badekow was a well known photographer in Berlin. He photographed portraits of many film stars and other celebrities. He also was a fashion photographer. Before she was famous, Badekow took many fashion photos of Marlene Dietrich. After World War I, he and his son Heinz, took photographs of the devastation in Berlin. Some of them can be found at Getty Images. After the 1920’s, interest in Badekow’s work waned. More recently, Badekow’s photographs from the Berlin cabarets and of the stars of German silent films, can now be found in museums and are considered symbolic images of Weimar Germany. (SOLD)
Buy this Cabinet Card (includes shipping within the US) #6206
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A sweet little girl poses for her photograph with her doll beside her. Both the girl and the doll are well dressed. The girl is holding a bouquet of flowers and has bows in her hair. This photograph was taken by Franz Fischer. His studio was located in Vienna, Austria. SOLD
This cabinet card is absolutely special. Esteemed photographer, Victor (Viktor) Angerer (1839-1894) captures a lovely young girl in her beautiful traditional costume. She is holding a small fan and wearing a fantastic scarf and hairband. I am uncertain about what ethnicity is represented by the girl’s garb. Mr Angerer was a talented and famous photographer. The Austrian photographer was the brother of another highly respected photographer, Ludwig Angerer. Ludwig mentored his brother as a photographer and at one point, the two brothers were partners. Victor opened his own studio in Vienna (1862) and later opened two more. Their locations were Budapest, Hungary; and in the Spa town of Ischl, Austria. Images by Victor are more difficult to find than images by Ludwig. Victor took a number of photographs of the royal family. Perhaps this cabinet card is one of them. Laura Tomicek wrote a thesis about Victor Angerer during her studies at the University of Vienna. She describes him as an important photographer of the 19th century. She reports that he introduced a new photographic style during the last two decades of his life. He focussed on “street life”. That style is similar to “Street Photography” of today. Tomicek states that his photographs during that time “represent an important historical source” about public life in Vienna at the before the turn of the century. SOLD
This cabinet card portrait of a fashionable and attractive young woman is by photographer S. Weitzmann of Vienna, Austria. The image is quite stark because no props are used in the photograph. However, the lighting in the photograph creates an interesting striped effect on the wall behind the subject. The subject is unidentified. She is wearing a loose fitting dress that has a pin on it’s neckline and she is wearing a bracelet and ring. The reverse of the photograph has printing which repeats the address of the photographers studio and also lists a phone number. Research did not reveal when phone service was introduced to Vienna but did discover that international phone service between Vienna and Berlin was introduced in 1894. The date of this photograph remains unknown. To learn about S. Weitzmann and to view more of his photographs, click on the category “Photographer: Weitzmann”. This cabinet card photograph is in very good condition (see scans).
Buy this Vintage Original Cabinet Card (includes shipping within the US) #5291
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