This vintage real photo postcard features pretty performer, La Belle Alexia. She was a dancer and was also likely an actress. Preliminary research found no biographical information. This photograph of Alexia is risque due to her low cut dress. She is wearing a lot of jewelry around her neck. Alexia is flashing a lovely smile. This postcard was published by EPJ (Maurice P Manes, Paris) as part of a series (no.579). SOLD
This cabinet card features a portrait of a young woman who appears to be French African. She is well dressed and her hair is well coiffed. She is wearing a beaded necklace and a bow at her collar. Her figure is enhanced by a corset. The photographer who took this portrait of this lovely woman was the celebrated photographer, Charles Reutlinger (1816-1881). Charles Reutlinger was part of a prominent and talented family. Charles Reutlinger was of German descent and founded the Reutlinger Photography Studio in Paris in 1850. The studio took photographs of many of the city’s rich and famous residents and visitors until 1937. The British Journal of Photography (1867) provides a wonderful description of Reutlinger’s studio. Charles’s brother Emile took over the studio in 1880 and he ran it until 1890. Emile’s son, Leopold took over in 1890 and among his accomplishments was that he developed the company’s esteemed and economically successful postcard business. The studio became known for it’s unusual art nouveau style of postcard designs. These were very notable in it’s portraits of actresses. Leopold also introduced risque/erotic postcards. He operated the business until losing an eye in an accident with a champagne cork in 1930. He died seven years later. SOLD
his French vintage risque real photo postcard features a pretty young woman modeling for an artist. This photograph is meant to titillate. The young woman is scantily dressed. More of her body is exposed than covered. The previous owner of this portrait postcard identifies the woman as a Parisian dancer named “Jenny Bell”. After preliminary research, I have been unable to confirm this identification. This risque photographic portrait was published by celebrated photographer, Jean Agelou (1878-1921), as part of a series (No.035). Agelou was a French photographer of the 1910’s and 1920’s who is best known for his erotic and nude photographs. He was born in Egypt and not much is known about his private life. Agelou generally used models between the age of 20 and 24 years-old. Although the 1900’s was the “golden age” of erotic photograph, photographers who took such risque photos had to use discretion. As a result, Agelou signed his work “JA”. In 1908, nudity in photographs was banned in France and photographers had to cover nude women images with strategically placed undergarments or other materials. Nude images had to circulate on the down low. They were sent in the mail inside of envelopes. Jean Agelou died in 1921; the result of a car accident. His brother George, who managed Jean’s business, also was killed in the crash. SOLD
The photographer of this press photo must have been in a playful and creative mood at the time that this photograph was taken. The image features a statue and its model, side by side, in identical poses. The caption of the photograph, affixed to the reverse, indicates that the model is “beautiful” Hollywood star, Toni Seven. It also states that she was the fiance of Senator Warren G Magnuson of Washington state. The photograph was taken in 1949. Toni Seven (1922-1991) was born as June Elizabeth Millarde. Her mother was noted stage and silent film actress, June Caprice. Caprice also worked as a model. Toni’s father, Harry F Millarde, was a film director. Toni’s father died when she was just 8 years old. She was orphaned at age 13 when her mother died. Her grandparents took on the responsibility of raising young Toni. She was raised in the town of Great Neck, located on Long Island in New York state. An article in Time Magazine (1949) indicates that she was financially secure. It was reported that she was a heiress to a fortune worth 3 million dollars. It appears that Toni Seven was genetically loaded to become a performer. As Toni Seven, she was a popular American cover girl and actress, In the early 1940’s she played minor roles in three films. One of these films was the well known “Yankee Doodle Dandy” (1942). She later appeared in two more films. When World War II began, she became a volunteer at the “Hollywood Canteen”, The canteen offered food, dancing and entertainment to servicemen, many of whom were preparing to go overseas. Everything at the canteen was free for uniformed servicemen and servicewomen, She was named pin-up of the year by US soldiers in the European theater in 1945. In 1944, she changed her name to Toni Seven. She thought it would be fun to sign her name “Toni 7”. When the first pin-up exhibition in the United States was held in 1944, Toni Seven was featured along with many other beautiful models, including Jane Russell. In 1946, Seven reclaimed her original name. In 1949, newspapers ran articles asserting that Toni was romantically involved with Washington US Senator, Warren Magnuson. Although the caption of this press photo states that she and Magnuson were engaged, the pair never married. However, the couple dated on and off between 1948 and 1953. Looking at Toni Seven’s biographical data, it is clear that her acting career was unremarkable. Toni appeared in only five films. Stellarstar writes in the blog “Those Obscure Objects of Desire” that “Toni Sevin is proof that a girl who lands in Hollywood, has money to burn, a great press agent and more than enough beauty, can still end up a complete unknown”. Toni was successful in other areas of her life. She was a great horsewoman, and also excelled at swimming and tennis. She despised gossip but created some when she dated Errol Flynn and other celebrities. This press photo belonged to the Intercontinental agency, located in Paris, France. An additional photograph of Miss Seven can be found below. SOLD
PHOTO OF TONI SEVEN (NOT FOR SALE)
REVERSE OF PRESS PHOTO
This extraordinary real photo postcard features Djita Salomé, one of Europe’s most celebrated tattooed ladies of the early 20th century. Salomé toured widely on the sideshow and carnival circuit and was promoted as a “living polychrome work of art.” Her entire body was covered in elaborate tattoos, executed in up to 14 different colors, making her a sensation across Europe. She performed at major venues including Edinburgh’s Waverley Market (1911), Toulouse’s Théâtre des Nouveautés (1913), Laval (1914), and Paris’s Bal Tabarin (1914). The postcard’s printed caption (in French) describes her as: “Djita Salomé – Living Polychrome – Work of art executed in 14 tones by the Red Skins of Dakota (U.S.)”. Such phrasing was typical of the bold circus-style marketing used to promote her act. The card carries a handwritten message dated 1916,. The card was sent from Drome, France; and was addressed to Léon Florançon at a local barracks. The following is a rough translation of the message : ” My dear Léon, I received your letter of the 14th with great pleasure. I am happy to know that you are well. Here, everything is going fine, and we are all in good health. Papa is working as usual, and we are managing with the household accounts as best we can. I sent the 25 francs you asked for last week—please let me know if you received it. Write more often when you can; your letters always bring us joy. Mama sends you her warm affection. Courage, my dear boy, and remember that we think of you every day. With tender kisses, Your loving sister, Jeanne.” This message not only adds personal warmth but also situates the postcard directly in the context of World War I France, where families maintained contact with sons and brothers in service. (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 striking real photo postcard features a confident young woman posing against a neutral backdrop, dressed in a decorative fringed shawl that is elegantly wrapped around her hips. Her bare torso and boldly direct gaze give the portrait a sense of intimate glamour, common to the French “nude étude” genre of the early 20th century. Her hair is neatly parted and styled in a sleek, classic fashion, and she wears distinctive looped earrings that accent her graceful neck and shoulders. The woman’s expression is both engaging and relaxed, her slight smile inviting and warm. Her stance—turned slightly in profile yet facing the camera with a sense of ease—demonstrates a poise that suggests she may have been a dancer or performer. The use of light and shadow on the wall behind her adds visual depth, while the soft focus enhances the romanticism of the image. Interestingly, the woman modeling on this postcard has been described by some commentators as Arab and other observers have hypothesized that she is Hispanic. This postcard was produced by P.C. Paris, one of the leading French publishers of glamour, artistic nude, and theatrical postcards during the 1920s and 1930s. The postcard is numbered 1887 in the lower corner, part of a large series of posed studio portraits often issued in sequential sets. The reverse reads “Made in France” and bears the P.C. Paris publisher’s mark, indicating it is an original continental European issue—not a later reproduction. P.C. Paris (Phototypie C. et Cie), based in Paris, was known for creating refined studio portraits of women, including risqué and erotic studies, often with exotic or theatrical styling. Many of their models were dancers, actresses, or professional models. Their cards were sold widely across Europe and were sometimes considered collectible art photography. SOLD
POSTCARD 1 (SOLD)
ARCADE CARD 1 (SOLD)
The pretty actress featured in this vintage real photo postcard is film actress Marie Prevost (1896-1937). She was born in Canada and during her twenty-year career, she made 121 silent and talking movies. She was originally “discovered” by Mack Sennett who inked her to a film contract after she played a bit part in one of his movies. She was only on the set (Keystone Studios) because she was running an errand for the law firm where she was employed as a secretary. She became one of his Bathing Beauties in the late 1910’s. She appeared in dozens of Sennett’s short comedy films. Her first lead role was for Sennett in “Yankee Doodle in Berlin” (1919). She than began to make feature length films for Universal Studios, where she signed for $1,000.00 a week. In 1922 she moved to Warner Brothers where she became one of the studio’s leading ladies (her contract was for $1,500.00 per week). Her movie roles at Warner included “The Beautiful and Damned” (1922), “The Marriage Circle” (1924), and “Kiss Me Again” (1925). Warner Brothers dropped her in 1926 and her career began to diminish as she was offered primarily secondary roles. Her personal life also began to decline, if not plummet. Her mother died in 1926 and her second marriage, to actor Kenneth Harlan, fell apart in 1927. She became very depressed and her symptoms included alcohol abuse and binge eating. In 1928 she was cast in “The Racket” which was directed by Howard Hughes. The pair had a brief affair and when it ended, Prevost fell into an even deeper depression. It became increasingly difficult for her to obtain parts in films and her last film role was in 1936. At the age of 38, Marie Prevost died from acute alcoholism and malnutrition. Her estate was worth just three hundred dollars and her death helped prompt the creation of the Motion Picture & Television Country House and Hospital. The details of Prevost’s death have become a bit of Hollywood legend. She was found in her apartment two days after her death. Also at death scene were empty bottles of alcohol, a promissory note to Joan Crawford, and Prevost’s pet dachshund. She was discovered because neighbors had complained about her dog’s continued barking. The legend claims that by the time she was found, her corpse was half-eaten by Maxie, her dog. It was asserted that this of course was only because the dog was trying to awaken his deceased master. This story is not true, but it appeared in Kenneth Anger’s book “Hollywood Babylon” (1959) and in Nick Lowe’s song “Marie Provost” (1978). The lyrics from Lowe’s song include “She was the winner, That became the doggie’s dinner, She never meant that much to me, Woe, poor Marie”.
Postcard 1 was published by A.N. of Paris for Universal Films. It is part of as series entitled “Les Vedettes de Cinema” (The Stars of Cinema). This postcard is the first in the series (No. 1). SOLD
Arcade Card 1 This striking vintage arcade card features silent film star Marie Prevost, posed in an eye-catching beach setting as part of a Mack Sennett Comedies publicity series. The card is marked “Evans – L.A.”, identifying the work of a notable Hollywood photographer known for capturing many silent-era stars in playful and glamorous portraits that were mass-produced as postcards and arcade cards during the 1920s. Marie Prevost stands confidently on a wooden dock or boardwalk, with the sea or beach receding into the background. She is dressed in a bold, striped one-piece bathing costume, typical of the early 1920s, with black knee socks and classic lace-up shoes. She holds a whimsically oversized parasol — black and white with a bold pinwheel pattern — behind her shoulder, adding a splash of theatrical flair to the scene. Her expression is flirtatious and relaxed, with a subtle smile and a slight tilt of the head. A ribbon wraps around her short, styled hair, in keeping with the flapper aesthetic of the Jazz Age. At the bottom of the image, the words “Mack Sennett Comedies” are clearly printed, linking this photo to the famed Keystone-style slapstick studio that helped launch the careers of many silent film legends — including Marie Prevost. The signature “Evans – L.A.” refers to a Los Angeles-based photography studio active in the 1920s and 1930s that produced portraits of film stars for promotional use. Though not as well-documented as some Hollywood photographers, Evans specialized in theatrical and beach-themed photos of actresses for use in arcade cards, penny cards, and other mass-market prints that were sold in coin-operated machines or five-and-dime stores. These cards remain highly collectible today. This is a lithographed arcade card. SOLD
POSTCARD 1
POSTCARD 2
This vintage real photo postcard features a lovely young couple. The husband is a French non-commissioned officer of the the 156th infantry regiment. The pin on his hat reveals his specific regiment. The soldiers pretty wife apparently likes ruffles. Her long sleeve dress is riddled with ruffles. I’m certainly no fashionista, but I think her dress is lovely as well as interesting. SOLD
This cabinet card portrait features an unknown actress in a provocative pose sitting on a swing. An exposed leg and lacy undergarments propel this photograph into risque territory. The curly haired young woman flashes a terrific smile at the camera. The photographer of this image is the Sazerac studio which was located at the “Hotel Prive” in Paris, France. No information could be located about Mr. Sazerac but one can easily find real photo postcard portraits of French show girls that were produced by his studio. Sazerac cabinet cards are less common. SOLD
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THE CABINET CARD GALLERY 
