This Cabinet Card features two young children posing for their photograph at the studio of H. R. Koopman, in Roseland, Illinois. The photographer is Henry Ralph Koopman II and his father emigrated from Holland and was a well known minister in the community. The photographers brother, George, joined him in the photography studio business. The Chicago Historical Society’s magazine published an article about Koopman; “The Life and Times of a Neighborhood Photographer”. Roseland is a neighborhood located in the south side of Chicago. This cabinet card has a slight curve and is in overall very good condition. (See Scans)
This cabinet card is available for purchase at The History Peddler for $32.00 or Best Offer.
Two sibling pose for their portrait at the studio of C. N. Stowell in Keene, New Hampshire. The reverse of the cabinet card has an inscription that identifies the children as Amy and Dexter Dodge. Photographer, C. N. Stowell is listed in the Keene, New Hampshire business directory of 1897. Amy Lee Dodge (1889-?) was married in 1919 to John Elliott Cook in Keene, New Hampshire. Her father was Willie Alfred Dodge and he mother was Mary Jane Palley. According to city directories, Amy worked as a telephone operator between 1911 and 1920. The 1930 US census revealed that Amy Cook (her married name) was living with her husband, her 4 year-old son, and a few in-laws. Her husbands occupation was listed as “farmer”. Dexter Rudolph Dodge (1896-?) In the 1917 and 1918 city directories (Keene), Dexter is listed as a member of the US Army Reserve. Note that these were the years of World War I and it is unknown whether Dexter actually went overseas and saw combat. The 1920 US census found Dexter working as a clerk in a jewelry store and living with his parents in Keene. In 1921 he married Helen Lucy Winch. Research found a 1942 draft registration card which reported that Dexter owned a jewelry store and was living in Worcester, Massachusetts. City directories from 1951 through 1957 list Dexter as “retired”. This cabinet card portrait has excellent clarity and is in very good condition (see scans).
This cabinet card is available for purchase at The History Peddler for $19.95 or Best Offer.
This vintage divided back real photo postcard features an adorable little boy. He is identified on the reverse of the card as William August Raichle. He was 1 year and 14 days at the time of this photograph. His story is a sad one. He appears in the 1920 US census as an 8 year-old. He was born in 1912 in Washburn, Wisconsin. In 1920 he and his family lived on Bryce Street in Webster, Wisconsin. He lived with his father, Carl A Raichle, mother (Lydia E.), and two sisters, Geneva P. (age 6), and Alvira E. (age 4). Carl worked in retail. Carl died in about 1927. By the time of the 1930 US census, William had an additional sister (Arlene). The year 1934 was a tragic year for the Raichle family. That was the year that William died in a car accident near Rochester, Minnesota. He was riding in a car with three other young adults that collided with a snow plow and overturned. The snow plow had no lights and the accident took place, according to a newspaper account, in a “treacherous sleet storm”. Although there were other injuries, William was the only fatality. William appears to have been an “All American” kid. He was an eagle scout and had worked as a State Park Guide. It is so unfortunate that William’s life ended so tragically. His funeral took place at the Zion Church in Galesville, Wisconsin. He was buried in Pine Cliff Cemetery in Galesville. This postcard has a Noko stamp box. This stamp box indicates that the postcard was published sometime between 1907 and 1929. This is consistent with the 1913 publication date of this postcard.(SOLD)
This original vintage press photograph (measuring approximately 8 by 10 inches) beautifully captures a celebratory moment in a church or parish hall, taken by noted African-American Cleveland photographer Jimmy Baynes. The scene shows a priest, dressed in his clerical robes, cutting a large frosted cake surrounded by children and adults. The children are dressed formally, with several girls wearing white communion dresses and veils, suggesting this may be a First Communion or confirmation celebration. The boys wear smart suits in both light and dark colors, complete with ties or bow ties. Their attire reflects both the solemnity of the religious occasion and the joy of the gathering. Some children smile brightly toward the camera, while others look on with curiosity and seriousness, lending authenticity and personality to the scene. Behind the children stand several women, elegantly dressed, who appear to be family members or parishioners sharing in the celebration. The priest’s presence at the cake table underscores the ceremonial importance of the event, blending sacred tradition with communal joy. The composition is lively and warm, with details like the children crouched at the front grinning toward the photographer, the ornate veils of the girls, and the cutting of the cake all contributing to a vivid record of mid-20th century African-American community life. The photographer of this photograph, Jimmy Baynes was known for his ability to capture the essence of African American life, culture, and entertainment from the 1950s through the 1980s. Originally a postal worker, Baynes pursued photography as a passion, ultimately founding Baynes Foto Service. His work chronicled the vibrancy of mid-century African American social life, from intimate gatherings and beauty contests to the pulsating energy of live music performances and political events. Baynes photographed some of the most iconic figures in entertainment history, including Aretha Franklin, Louis Armstrong, Count Basie, Mahalia Jackson, Louis Jordan, Jerry Lee Lewis, the Platters, and the Drifters. His ability to capture both candid and staged moments gave his work a lasting impact, preserving the rich history of Cleveland’s African American community. His legacy is recognized today by institutions such as the Rock and Roll Hall of Fame and Museum Library and Archives in Cleveland, which houses a collection of his photographs, primarily focusing on music and entertainment. In 2010, shortly before his passing, his work was featured in the “Polaroid: Instant Joy” exhibition in Brooklyn, New York, reaffirming his role as a visual storyteller of African American life in the mid-20th century. This photograph was taken in the 1950’s. This is a powerful image not only for its documentary value but also for its warmth and charm, preserving a moment of community, faith, and celebration.(SOLD)
This cabinet card features a full-length studio portrait of a young girl posed beside a chair. The photographer’s mark at the bottom reads “Ensminger, Morristown, New Jersey”. The girl appears to be around 5 to 7 years old. She is dressed in a dark, heavy dress or coat with prominent white lace trim at the collar and cuffs, characteristic of children’s fashion around the 1895–1905 period. Her long hair, possibly a wig or enhanced with hairpieces for the photo session, is styled to one side and adorned with two large ribbon bows, adding a touch of charm and formality. She wears a wide-brimmed hat tilted forward, which also features oversized decorative bows—this style was quite popular in Edwardian children’s portraiture. Her high-button black boots are visible under the hem of her dress, and she rests one hand on a wooden chair, adding a subtle compositional balance to the portrait. Her expression is solemn, yet alert—typical of long-exposure portrait photography of the era. The neutral studio backdrop and ornate rug on the floor enhance the formality and timelessness of the portrait. The reverse of the card is marked simply in ink with the handwritten notation: “Mrs. M. S.” This may be a clue to the identity of the child’s mother or the recipient of the photograph—perhaps a keepsake. Henry Ensminger was a notable photographer based in Morristown, New Jersey, during the late 19th and early 20th centuries. He operated a photography studio in Morristown from approximately 1894 to 1922, producing a variety of portrait photographs. (SOLD)
The adorable little girl with the big hat seen in this cabinet card was photographed by a talented and well known celebrity photographer by the name of Charles DeForest Fredricks (1823-1894). Fredricks was an innovative American photographer. He learned the art of producing daguerreotypes from the great photographer , Jeremiah Gurney. Fredricks worked in South America through the early 1850’s and then he operated out of Charleston, South Carolina; and Paris, France. He was the first photographer to make life-size portraits. He hired artists to color them using pastel. Fredricks then returned to New York City and rejoined Gurney. In 1854 he developed a new enlarging process and in 1855 he ended his association with Gurney. In the late 1850’s Fredricks ran his studio in Havana, Cuba, and in the 1860’s he opened a studio on Broadway, in New York City. He retired in 1889. Be sure to view the fancy advertisement printed on the reverse of this photograph. (SOLD)
This vintage portrait photograph captures a poised young Jewish boy, likely taken around the 1920s, dressed formally for what appears to be his Bar Mitzvah. He sits confidently in a high-backed carved chair with lion-head arms, wearing a well-tailored three-piece suit. Draped over his shoulders is a traditional tallit (Jewish prayer shawl), a ceremonial item typically worn during religious rites of passage such as a Bar Mitzvah. In his hands he gently holds what appears to be a small prayer book or sacred text. His expression is one of calm maturity and seriousness, with just the faintest trace of a smile. His hair is neatly combed, and his polished shoes and well-fitted clothing reflect the importance of the occasion. The photograph was taken by Max Froomkin, a Russian-American professional photographer located at 85 Avenue B, New York—a neighborhood historically known for its vibrant Jewish immigrant community on the Lower East Side. The photograph is beautifully mounted in a decorative folder with an embossed Art Nouveau-style frame. This is a touching and visually striking example of early 20th-century Jewish portraiture in America, and it offers both historical and cultural value. (SOLD)
This charming vintage photograph/postcard captures a young girl engaged in a painting activity, likely from the 1920s or 1930s. The handwritten caption on the reverse reads “Petite Artiste Peintre”, which translates from French to “Little Artist Painter.” The girl, who appears to be around five or six years old, has a sweet and confident expression as she looks directly at the camera. Her dark, wavy hair is adorned with a large bow, giving her a classic, period-appropriate appearance. She wears a checkered smock dress with ruffled shoulders, which was likely intended to protect her clothing while she paints. Sitting at a wooden school desk, she holds a paintbrush in her small hand, mid-stroke, as she creates her artwork. The paper in front of her shows a simple yet enthusiastic painting, possibly of a person and a fish. Around her, several small paint pots are scattered on the desk, with some open, revealing the rich tones she is using. The background features a set of shelves lined with neatly arranged objects, possibly classroom materials or art supplies, reinforcing the setting as a school or children’s art class. The overall composition of the image captures both the innocence and creativity of childhood. (SOLD)
This charming vintage photograph captures a young boy seated on a wooden sled, dressed in winter attire. The image is mounted on gray cardstock with a debossed border, a style prevalent between 1900 and 1915. The boy is dressed in a thick woolen outfit, high leather boots, and a wide-brimmed hat, typical of early 20th-century winter wear. He sits on a wooden sled, which resembles designs manufactured between 1895 and 1915, commonly used in Northern states. The photographer’s signature, “Miss Clarke,” is embossed in script on the lower right corner. The photographer is Miss Clarke, possibly the celebrated Sara Maynard Clark. The photograph was taken at Miss Clarke’s Doylestown, Pennsylvania studio. Various aspects of the photograph indicate that the photo was taken sometime between 1905 and 1912. Sara Maynard Clark (1891–1973) was a prominent writer, editor, historian, and photographer based in Bucks County, Pennsylvania. After relocating to the area in 1933, she contributed extensively to local publications such as The New Hope, Bucks County Traveler, and New Bucks County Magazine, often incorporating her own photographs into her articles. She also collaborated with her husband, Harold (Hal) Clark, and their son, Maynard Clark, both photographers, to document the evolving character of Bucks County through photography. Her work is preserved in the Bucks County Artists Database and has been featured in exhibitions at the Michener Art Museum. If I have dated this photograph correctly, the photographer is likely a different woman than Sara Maynard Clark because she was likely living in Iowa, and not Pennsylvania, when this photo was taken. In addition, Clark is spelled Clarke on this photograph’s mount. Further research is required to confirm the identity of the female photographer who took this photo. (SOLD)
This cabinet card portrait features a sweet looking teenage girl dressed in what today we might call, a “preppy look”. Perhaps she is a student. Be sure to note her scarf and hat. The girl’s eyes are wide open and she appears to be suppressing a smile. The photographer’s camera captured the girl in an outdoor setting. The photographer was Hy. Flett who operated a studio in London. Interestingly, the studio was located at 119 Cheapside. This image is actually the second cabinet card in the “Cabinet Card Gallery” from a studio on Cheapside. Research revealed that Cheapside is the name of a street in the city of London. The name Cheapside is derived from the term “marketplace”. Henry Flett (1872-1948) was born in St. Leonards in Sussex. He operated two London studios. The Cheapside studio existed between 1897 and 1940. His second studio was located at 103 Newgate Street (1903-1909). He partnered with Arthur Frame Stevens in the 1930’s. SOLD
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