This vintage real photo postcard features an adorable little girl dressed in ethnic / cultural costume. She is sitting on a concrete bench in front of a studio backdrop. The girl’s portrait was taken at the Grande Photographie Studio St Julien in the town of Rouen, France. This is a private postcard and it is likely one of a kind. (SOLD)
This vintage real photo postcard is part of a series named “Les Plus Belles Femmes de France” (The Most Beautiful Women of France). This series is about the Provinces of France, and the model for this image represents La Sablaise. Note that the woman in this photograph is wearing a pretty smile. This postcard is no.13 in the series. There were a number of different series published. The Province series was one of the more popular series. The models in this series represent different French Provinces and wear traditional clothing from that particular area of the country. This postcard was published by well known photographer Alfred Noyer. The celebrated photographer supervised a large photo studio in Paris. The Noyer Studio operated from 1910 until the 1940’s. Many of the postcards he produced of women were nudes or risque images.The photographer of this postcard portrait is the Elmlinger studio. This vintage postcard is in good condition (see scans).
Buy this Vintage Real Photo Postcard (includes shipping within the US) #5119
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$17.50
Buy this Vintage Real Photo Postcard (includes International shipping outside the US) #5119
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$27.50
This vintage real photo postcard features a pretty young woman wearing a pink and green rose print dress and a nice smile. She appears to be in her teenage years. The card originates from France and the message on the card was written in 1914 (see postmark). Note the tiny pinhole near the bottom border of the postcard. (SOLD)
This vintage real photo postcard features an adorable little girl holding a bouquet of pink flowers. The girl is bright eyed and is flashing a beautiful smile. The French caption on the front of the card translates to “To Pay For Your Attention”. I believe that the card is a Thank-You card. The postcard was published by EPR as part of a series (No. 289). This real photo postcard is in overall good condition (see scans).
Buy this Vintage Real Photo Postcard (includes shipping within the US) #5056
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$22.00
Buy this Vintage Real Photo Postcard (includes International shipping outside the US) #5056
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$32.00
This vintage real photo postcard features the world’s first playboy bunny. Not really. This wonderful portrait captures French actress Miss Augus-Thyne in a risque costume and sporting long rabbit ears. Her exotic outfit also includes bells and pom poms. The “Ambassadeurs”, a Paris music hall, is printed on the top right hand corner of the front of the postcard. The portrait of Miss Augus-Thyne was photographed by celebrated Paris photographer Stanislaw Julian Ignacy Walery (1863-1935). Walery opened a studio in Paris in 1900 and was known for his portraits of showgirls. SOLD
This vintage real photo postcard features an adorable little boy and girl posing while they hold large faux flowers. A caption (translated) at the top of the image states “Offered in Friendship”. This photograph was taken at a studio in Paris, France. The postcard is in fair condition (see scans).
Buy this original Real Photo Postcard (includes shipping within the US) #5081
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$13.95
Buy this original Real Photo Postcard (includes International shipping outside the US) #5081
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$23.95
POSTCARD 5 (SOLD)
Postcard 1 features lovely edwardian stage performer, Fabienne Darlay. Her photograph was expertly taken by the celebrated French photographer, Paul Boyer (1861-1908). He was based in Paris, and photographed many celebrities during his career. This postcard was published by Societe Industrielle de Photograpie (SIP) of Rueil, France, and was part of a series (no.1441). The image was hand tinted. This postcard dates back to circa 1904-1908. Note there is minor cornerwear and a light crease in the upper left hand corner of the card. (SOLD)
Postcard 2 was published by Societe Industrielle de Photograpie (SIP) of Rueil, France, and was part of a series (no.1441). This image was hand tinted. This postcard dates back to circa 1904-1908. (SOLD)
Postcard 3 features another photograph by Paul Boyer and this postcard was also published by SIP as part of a series (No.1441). The image was hand tinted. This postcard was postmarked in 1906. (SOLD)
Postcard 4 was published by Societe Industrielle de Photograpie (SIP) of Rueil, France, and was part of a series (no.1441). The image was hand tinted. This postcard was postmarked in 1906. (SOLD)
Postcard 5 was published by Societe Industrielle de Photograpie (SIP) of Rueil, France, and was part of a series (no.1441). The image was hand tinted. This postcard has a 1907 postmark. (SOLD)
POSTCARD 5 (SOLD)
This postcard is a vintage real photo card featuring stunning French actress, Martine Carol (1920-1967). She was France’s major sex symbol of the early 1950’s. “Sex Symbol” is an awful term, but it certainly was spoken without much controversy when this postcard was published. Her popularity was short term. She was succeeded by another beautiful French actress, Brigitte Bardot. Little is known about Carol’s childhood. A random encounter with French film and stage actor, Andre Luguet, led her to seek a career in the theatre. She made her stage debut in 1940. Her first film role was in Wolf Farm (1943) and although she was a photogenic beauty and was at ease in front of the camera; her acting ability was limited. Throughout the 1940’s Martine acted in supporting roles and became a popular pin-up. She also appeared in stage roles. Martine was often considered the French version of American actress, Marilyn Monroe. After an affair with married actor Georges Marechal ended poorly, Martine attempted suicide by overdosing on alcohol and drugs, and jumping into the Seine River. The taxi cab driver that took her to the river, rescued her. The unhappy business of her suicide attempt resulted in renewed fan interest in the actress. In 1950, she had her first major film success in “Caroline Cherie”. At least part of her success was attributed to her semi-nude scenes and displays of “seductive sexuality”. She continued to appear in several films that IMDb refers to as “costumed teasers”. Her last popular role was starring in “Lola Montes” (1955). Later roles failed to peak moviegoers interests and Martine became depressed. A severe accident, and substance abuse in the 1960’s, sabotaged her career. At age 46, Martine died of cardiac arrest in the bathroom of a Monaco hotel. News accounts suggested that she died of a drug overdose but the story was never confirmed. Martine was married and divorced three times and left her fourth husband a widower. Her longest marriage was just short of five years duration. An interesting side note is that she was once kidnapped by French gangster, Pierre Loutrel (AKA Crazy Pete). The kidnapping was brief, and the kidnapper sent her roses the next day as a gesture of apology. Martine Carol’s filmography, according to IMDb, includes 50 film credits between 1941 and 1967. The photographer of this portrait photo is Sam Levin (1904-1992). He was born in the Ukraine but emigrated to France when he was two years of age. He is famous for his stage photographs and his portraits of movie stars. His studio was in Paris. Levin was a film photographer for 75 films. He was arrested by the Nazis during World War II and was sent to a camp. His crime was, being Jewish. The fact that he was sent to a detention camp rather than a death camp, indicates there was a high ranking Nazi official acting as his guardian angel. He photographed nearly all the major French and European movie stars of the 1950’s and 1960’s. He is particularly celebrated for his photos of Brigitte Bardot. Levin did over 180 magazine covers in the United States. This postcard was published by the Globe Edition (Paris) and is part of a series (no. 132). The card is in good condition (see scans). SOLD
This vintage real photo postcard is part of a series named “Les Plus Belles Femmes de France” (The Most Beautiful Women of France). This series is about gem stones, and the model for this image represents “L’Emeraude” (Emeralds). There were a number of different series published. One of the more popular series was one in which models represented different French Provinces by wearing traditional clothing from that particular area of the country. This postcard was edited by well known photographer Alfred Noyer. The celebrated photographer supervised a large photo studio in Paris. The Noyer Studio operated from 1910 until the 1940’s. Many of his early postcards were reproductions of artworks. He also produced illustrated patriotic postcards during World War I. With the onset of the 1920’s he began producing postcards of children and women. Many of the postcards he produced of women were nudes or risque images. Some of his postcards list his name while others are simply marked “AN”. SOLD2
This cabinet card is a postmortem photograph of a young girl. The image is upsetting and sad, but served as a remembrance of a family member for their grief stricken family. Note the flowers and cross lying on the child’s bed and the religious statues and candles on the side table. The photographer of this cabinet card was R. Dechavannes, whose studio was located in Paris, France. To view other photographs by Dechavannes, click on the category “Photographer: Dechavannes”. Hopefully, visitors to the cabinet card gallery will not find this image offensive. A website called “Ostrobogulous Cackleberries”, has an interesting article about the practice of postmortem photography. The writer states that during the Victorian era, photographing the recently deceased was “extremely prevalent”. The author points out that the practice existed before the invention of the camera. Instead of photographing the dead, artists painted their portraits immediately following their death. In many cases, the postmortem photo was the only image a family possessed of the departed family member. Many of the Victorian memorial photographs were of infants and children. The mortality rate of children during that time was very high. The writer offers a description of how the dead were posed and there seems to be a great deal of approaches to the practice. Postmortem images could be full body or facial close-ups. Coffins were not frequently included in the picture. The dead were often posed as if they were sleeping and sometimes were presented as life-like. In some photos they were braced or tied into chairs or propped up against other family members to look as alive as possible. According to the article, the popularity of postmortem photography faded in the early twentieth century. Funerals moved from the home parlor to the funeral parlor. Society stopped “embracing mortality” and we became the death denying culture of today. SOLD
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THE CABINET CARD GALLERY 