This vintage real photo postcard features three a portrait of three young siblings. The children are adorable. Note that the boy in the image is wearing a sailor suit. This photograph was taken at a studio in Naples, Italy. The postcard is in good condition (see scans).
This Vintage Real Photo Postcard is available for purchase at my store, The History Peddler, for $22.00 or Best Offer
Interested collectors may view the listing here:
https://www.ebay.com/itm/336875071521
POSTCARD 1 (SOLD)
POSTCARD 2 (SOLD)
Postcard 1 features English actress and singer, Adrienne Augarde (1882-1913). She was born in London. Her father was a violinist and her mother was a Belgian singer. Augarde had several other members of her extended family who were successful theatrical or music performers. Her popularity transcended beyond Great Britain to include the United States. In fact, she appeared in four Broadway plays between 1905 and 1912. These plays included “The Dollar Princess” (1909) which ran for 250 performances. She was most known for her roles in Edwardian musical comedy. Augarde started her career at age sixteen. She did pantomine and appeared in small roles in musical comedy and opera. Her popularity began with her playing leading roles in the musicals of George Edwardes. She then starred in a number of long running productions in both London and New York (1903-1912). While on a Vaudeville tour in the US, she became ill and died after an unsuccessful appendectomy. She was thirty years of age at the time of her death. She died in Chicago. Her ashes were put in an urn designed to look like a make-up box. Her cremains were sent to her mother in England. This card was published by Rotary Photo as part of a series (No.4158B). The photograph was taken by the Foulsham & Banfield studio. The postcard has a 1906 postmark. (SOLD)
In Postcard 2, Miss Augarde looks quite pretty in this postcard. She is captured displaying a terrific smile. This card was published by Rotary Photo as part of a series (No.4158R). The photograph was taken by the Foulsham and Banfield Studio. SOLD
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Postcard 1 is a hand tinted vintage real photo postcard that features Madge Bellamy (1899-1990), an American stage and film actress. She was a popular leading lady in films of the 1920’s and 1930’s. The sound era put the brakes on her career and a romantic scandal in the 1940’s brought it to a total stop. Madge was a Texan. She was born in Hillsboro and was raised in San Antonio and Brownwood. Her father was an English professor at Texas A&M University. As a young child she took dancing lessons but soon, she was interested in becoming an actress. At age 9, she made her stage debut in “Aida”. She and her family moved to Denver, Colorado. She met Carlos Bellamy there and the two married. When Madge decided to leave the state to pursue acting, her marriage ended. Madge went to New York City and worked on Broadway as a dancer. In 1919, she replaced Helen Hayes in Broadway’s “Dear Brutus”, opposite actor, William Gillette. Her career took off thereafter. In 1920, Madge appeared in her first film as a supporting actress to Geraldine Farrar. She then signed a contract with the Triangle Film Corporation. Her “breakout role” was as the title character in Lorna Doone (1922). In 1924 she signed a film contract with Fox Film Corporation. She stayed there five years and during that time she appeared in two films for film director, John Ford. In 1925, she began to have difficulties with fox executives. In 1928, she appeared in Fox’s first talking film, “Mother Knows Best”. In 1928, she married for a second time. The marriage lasted 3 days before she and her husband separated. By 1929, Bellamy’s career entered a tail-spin. She had made poor choices out of her unbridled anger. Fan magazines gave her the nickname of “Miss Firecracker” due to her temperament. In 1929, she also quit her contract with Fox, right after they bought the rights to make a film out of Broadway play. The vehicle was bought with a plan to have Madge be it’s star. Bellamy later admitted she quit over money and added “I got too big for my britches”. She didn’t work again until 1932. She accepted roles in “Poverty Row” (B-movies) films. One of these films was “White Zombie” (1932) in which she appeared opposite Bela Lugosi. Her performance received many poor reviews from film critics. By 1940, Madge basically had no film career. However, she wasn’t done with drama. She was arrested after firing three shots from a .32 caliber revolver at her former lover of five years. The incident was premeditated. She was angry at her intended victim because he married a model shortly after ending their affair. Fortunately, her aim was poor and she missed. The only casualty was her ex boyfriend’s car which took a couple of shots into it’s body. Bellamy pleaded guilty to a lesser charge (violating gun laws), and received a suspended six month sentence and probation. Madge Bellamy’s IMDb filmography reports 61 credits between 1920 and 1945. This vintage postcard is provocative. This postcard is risque for it’s era. She is showing a lot of bare skin. The postcard was published while Madge was under contract with Fox. Therefore, the postcard is from before 1929. The card was published by J. Beagles and is part of the “Famous Cinema Star Series” (No.210P). (SOLD)
Postcard 2 offers another risque view of Madge Bellamy. Her alluring pose and short skirt qualifies this postcard to be considered provocative. This card was produced while Madge was under contract with Fox Films, sometime before 1929. This postcard was published by Ross Verlag as part of a series (No.3907/2). The postcard is in very good condition (see scans).
Postcard 3 is quite provocative. There are shades of Lady Godiva in this photograph. Miss Bellamy is pretty and scantily dressed. This postcard is risque for it’s era. The postcard was published while Madge was under contract with Fox. Therefore, the postcard is from before 1929. The card was published by Alfred Noyer and is part of the “Les Vedettes de Cinema” (The Stars of Film) series (No.200). This postcard is uncommon. (SOLD)
Postcard 4 is uncommon and provocative. Miss Bellamy is pretty and bare shouldered. Her alluring pose makes this postcard risque for it’s era. The postcard was published while Madge was under contract with Fox (note the logo in bottom right hand corner of the image). Therefore, the postcard is from before 1929. The card was published by Iris Verlag and is part of a series (No.480/2). SOLD
Postcard 5 showcases the beauty of Miss Bellamy. The postcard was published while Madge was under contract with Fox (note the logo in bottom left corner of the image). Therefore, the postcard is from before 1929. The card was published by Iris Verlag and is part of a series (No.480/3). SOLD
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PEARL WHITE (SOLD)
Pearl White (1889-1938) was an American actress of film and stage. She started her career on the stage at just 6 years old in the play, “Uncle Tom’s Cabin”. At thirteen years of age she was a bareback rider for a circus. She dropped out of high school to join a touring stage company. Next she worked as a singer in Cuba and South America. She made her appearances in dance halls and casinos. In 1910, her voice began to fail and she began to appear in silent films, including many popular serials. Her nickname was “Queen of the Serials’. She did the majority of her own stunts in these film serials. She is known well for her role in “The Perils of Pauline”. She was often cast in the role of an athletic heroine, rather than the more typical, innocent young woman. As a result of her appearances in “The Perils of Pauline”, she was soon earning $1,750 per week. She increased her star power as she appeared in other serials. In these films she flew airplanes, raced cars, and did other action hero feats. By 1919 White moved on to more dramatic roles. She appeared in ten drama films for Fox Film Corporation. She finished her career by taking roles in European films, and finally, appearing on the European stage. While performing in London, she earned three thousand dollars a week. At the time of her retirement (1924), White had banked two million dollars. She then began investing. Her investments included a hotel, a night club, and a stable of race horses. White was married twice, each time, for short duration to actors. White died of liver failure, possibly due to her history of heavy drinking. Her drinking may have been attributable to her problems with pain stemming from a spinal injury occurring during her stunt days. The IMDb site credits white with 228 film appearances between 1910 and 1924.
Postcard 1 was published by Cinemagazine (Paris Edition). The card is part of the “Les Vedettes de Cinema” (Stars of the Cinema) series (No.,55). White’s postcard photo portrait was taken by the celebrated photographer, Alfred Noyer. (SOLD)
Postcard 2 features White’s beauty. She is wearing a fur. Note her pretty head band. Although this card is the size of a standard postcard, there is no printing on it’s reverse. (SOLD)
Postcard 3 This real photo film star photo was published by Pathe Freres Cinema. (SOLD)
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Postcard 1 features American actress, Lillian Gish (1893–1993). She is considered one of the pioneering figures in early cinema. Born in Springfield, Ohio, Gish began her career on the stage alongside her sister, Dorothy, but soon transitioned to film, where her delicate features and expressive acting made her a favorite of directors during the silent film era. In 1912, Gish joined legendary director D.W. Griffith, becoming his protégé and collaborating with him on groundbreaking films like The Birth of a Nation (1915), Broken Blossoms (1919), and Way Down East (1920). These films cemented her reputation as a leading lady, often playing roles that emphasized innocence and emotional depth. She was known for her meticulous attention to the art of acting. She helped establish the art of screen acting, emphasizing subtlety and naturalism at a time when film was still evolving away from theatrical exaggeration. She was a versatile actress, adapting well to various roles, from delicate heroines to more complex characters, and her commitment to authenticity often saw her enduring extreme conditions on set, like filming in freezing temperatures and performing her own stunts. When silent films gave way to “talkies” in the late 1920s, Gish transitioned gracefully, though her popularity declined as she aged and Hollywood’s focus shifted to younger stars. Still, she continued acting, taking on character roles and even appearing on television. One of her most memorable later performances was in The Night of the Hunter (1955), a film now regarded as a classic. In addition to her acting career, Gish became a vocal advocate for film preservation and the legacy of silent cinema. She gave lectures on the subject. Her work won her numerous accolades, including an honorary Academy Award in 1971, and she remained active in the industry well into her later years. Gish’s career spanned over 75 years, and she is remembered as an icon who bridged the silent and sound eras, leaving an indelible impact on American cinema. Lillian Gish, though a public figure, led a private and often solitary personal life. She was born on October 14, 1893, in Springfield, Ohio, to James Leigh Gish and Mary Robinson McConnell. Her early life was marked by hardship; her father abandoned the family when she was young, leaving her mother to support Lillian and her younger sister, Dorothy. Her mother opened a candy store in New York City, where the family eventually settled, and the two sisters began acting in theater to help support the family financially. Lillian and Dorothy were close throughout their lives, frequently working together in theater and film. Lillian took on the role of family protector and provider from a young age. Though she later became one of the most celebrated actresses of her time, Lillian remained deeply committed to her family, often prioritizing family relationships over romantic entanglements. She never married and had no children, believing that marriage and family life might interfere with her career. However, she did have close friendships with several prominent figures in Hollywood, including her frequent collaborator, director D.W. Griffith, with whom she shared a professional and deeply loyal relationship. There were rumors of a romance with Griffith, though Gish maintained that their relationship was strictly professional. Other rumored suitors included producer Charles Duell and critic George Jean Nathan, yet she largely avoided the spotlight when it came to romance. She valued independence and often expressed a desire to avoid the constraints she felt marriage could impose on her creative pursuits. In later life, she lived with her sister Dorothy until Dorothy’s death in 1968, a loss that deeply affected her. In her final years, Gish continued to work in the entertainment industry and to honor the legacy of silent cinema. She died in 1993, at the age of 99, leaving behind a remarkable career and a life dedicated to her art, family, and the preservation of film history.
Postcard 1 : The logo for Metro Goldwyn Mayor Films can be seen in the lower right corner of the image. This postcard was published by Ross Verlag (Berlin) as part of a series (No.3784/1). (SOLD)
Postcard 2 : This postcard portrait was taken in 1923. LIllian was 30 years old and the photo shows her as she appeared in the film “The White Sister”. This 1923 silent drama film co-starred Ronald Coleman. The logo for British American Films can be seen in the lower right corner of the image. This postcard was published by Ross Verlag (Berlin), is (844/2) in a series. SOLD
Postcard 3 is a vintage German photo postcard features Miss Gish in costume from the MGM silent film La Bohème (1926), wearing an elaborate bonnet and period dress in a beautifully composed studio publicity portrait. The card was published by the celebrated Ross Verlag of Berlin as No. 3424/1, with the Metro-Goldwyn-Mayer Pictures emblem visible at the lower right; specialist Ross Verlag references date this issue to approximately 1928–1929. The reverse is extensively handwritten and retains its original 50-para Kingdom of Serbs, Croats and Slovenes postage stamp, with a clearly visible 1929 postal cancellation. SOLD
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These color tinted vintage real photo postcards feature French actress and singer, Jane Hading (1859-1941). She was born in Marseille, France and was the illegitimate daughter of an actor there at the Theatre du Gymnase. She made her first stage appearance at three years of age. She trained at the local Conservatoire and in 1873 she was hired to perform at a theatre in Algiers. She then was engaged to perform in Cairo, Egypt, where she played coquette, soubrette and ingenue roles. Returning to Marseille, she did stage acting and she sang in operettas. Her first appearance in Paris was in 1879 at the Palais Royal. In 1884, she married playwright and theatre manager, Victor Koning but the pair were divorced within three years. In 1888 and 1893, she toured America. Later, she toured South America with a theater company. In around 1892 she joined the Comedie Francaise. By this time, she was an established star in France, America, and England. She was also considered one of the prettiest actresses of her time.
Jane Hading’s portrait on Postcard 1 was taken by Leopold Reutlinger (Paris). This postcard was published by SIP. The card is part of a series (No.170/17). This is an undivided card and dates back to circa 1903. SOLD
Jane Hading’s portrait on Postcard 2 was taken by Paul Boyer. Paul Boyer was a renowned French photographer born in 1861 and died in 1952. Based in Paris, he gained prominence for his portrait photography, particularly of actors, actresses, and other cultural figures during the Belle Époque. Boyer was known for his use of innovative photographic techniques and artistic lighting, which brought a distinctive elegance to his images. The initials of the firm that published this postcard can be found in the cards lower left corner. The initials PMM likely, but not for sure, belong to postcard publisher, “Maurice Manes”. The company, based in Paris, produced postcards during the golden era of postcards (pre 1939) and distributed them across Europe. The postcard is numbered 5316. This postcard’s reverse serves as an advertisement for the appearance of Jane Hading at the Coronet Theatre W. on the 26th of May, in 1902. SOLD
Postcard 3 This postcard was published by G. Piprot, of “Etoille” or “Star” publishing in Paris. The card is part of a series (No.758). SOLD
Postcard 4 Jane Hading’s portrait on this postcard was taken by Leopold Reutlinger. Reutlinger was a prominent Parisian photographer born in 1863 and died in 1937. He succeeded his uncle Charles Reutlinger as head of the Reutlinger photographic studio, which became famous for its glamorous portraits of performers, especially actresses, dancers, and cabaret stars. Known for his hand-tinted and artfully composed postcards, Reutlinger helped define the visual culture of the Belle Époque and early 20th-century Paris. His work is celebrated for blending artistic flair with commercial appeal. This postcard was published by the Rotary Photo Co. (London). The card is numbered 227A. SOLD
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These vintage undivided real photo postcards feature Scottish music hall singer and dancer, Daisy Taylor (1894-1930). Daisy had a successful but brief performing career. Unfortunately, she died young. Her cause of death has been described as “a brief illness”. By the time 1913 arrived, Daisy had garnered much attention in London. Soon she was touring all over Great Britain and the United States. She toured South Africa in 1927. She made a number of cylinder recordings for Edison in London. You may hear some of her recordings by doing an internet search. Two of Daisy’s recordings that are easily accessible are “Archie! Archie!” and “Let’s Pretend We’re Married”. The latter title is a duet.
Image 1, a 1912 postcard, is remarkable because the reverse of the postcard has a written message from Miss Taylor to a Mrs. Boylan. Daisy tells Mrs. Boylan when she will be arriving in Chatham (England) and she asks if she can sleep in one of Boylan’s spare bedrooms. Perhaps Mrs Boylan managed or owned a boarding house. You may wonder how I know that Daisy really wrote the message on the card. I can’t guarantee it, but the handwriting seen on the reverse of the postcard, closely matches the handwriting on other postcards that she autographed. (SOLD)
Image 2 shows Daisy smiling, wearing a theatrical costume with a distinctly Scottish-inspired appearance. She wears a dark fitted bodice with bright square decorations, a plaid skirt, lace cuffs, and a lace-trimmed collar. A large plaid bow decorates her hair, and a matching plaid sash or shawl is draped over one shoulder. Her hands rest lightly on the back of a chair, giving the portrait a graceful, posed studio quality. This postcard was published by Hamptons (Glasgow). It was published circa 1912. (SOLD)
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“Madia! I’ve just met a girl named Madia. And suddenly that name. Will never be the same.” With apologies to Leonard Bernstein, I just couldn’t resist. Madia Borelli was a Belle Epoque Parisian dancer and actress. Borelli was one of the many Parisian stage performers, dancers, and theatrical beauties photographed by Leopold Reutlinger during the early 1900s. She was not a major international stars such as Cléo de Mérode or Cécile Sorel, but she is known from a number of postcard Reutlinger created. Reutlinger was one of the premier Paris studios for images of actresses, dancers, singers, and other performers.
Image 1 is a vintage real photo postcard featuring dancer Madia Borelli. She was a Parisian dancer and actress active in the early twentieth century. The photographer of this portrait of Miss Borelli was the famed photographer Leopold Reutlinger of Paris, France. The postcard was published by S.I.P., which is the Societe Industrielle de Photograpie of Rueil, France. The postcard is part of a series (no. 1239). (SOLD)
Image 2 is a striking risque vintage real photo postcard featuring Borelli, a Belle Époque Parisian dancer and actress, photographed by the famous Reutlinger studio of Paris. The postcard was published by S.I.P. (no.1339). This is a particularly beautiful and decorative theatrical postcard. Borelli is shown in an elaborate jeweled costume with an extraordinary crown-like headdress, large circular side ornaments, dangling jeweled chains, necklace ornaments, and richly decorated bodice. The image has attractive hand-coloring, especially the green and turquoise highlights in the jewels, which stand out dramatically against the dark background. Her serious expression and exotic stage costume give the portrait a very strong Belle Époque theatrical quality. The reverse of the card is postally used, with French stamps and a Grenoble postmark. The handwritten message is in French and the card was postmarked in 1906. This combination of Reutlinger photography, S.I.P. series numbering, postally used reverse, hand-coloring, and the highly ornate jeweled costume makes this a highly displayable card. (SOLD)
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These two real photo postcards features stage beauty, Maie Ash (1888-1923). She was an English comedy actress and dancer. She made her London debut in 1902 at Shaftesbury Theatre. The next year she played the title role in Cinderella in Southampton. Other appearances include “Goody Two Shoes” (1904), “Yellow Fog Island” (1907), and “My Darling” (1907). Ash played Miss Gibbs in “Our Miss Gibbs” (1911). A reviewer of the play, writing for the “Playgoer Weekly”, suggests that Ash was charming in her role and that her singing voice resembled that of popular actress, Miss Ellaline Terriss. The reviewer added that her singing and dancing brought the audience much pleasure and that she demonstrated herself to be a “most finished musical comedienne”. She married actor Stanley Brett in 1909. He was the brother of celebrated actor Seymour Hicks. The pair divorced in 1913, and in 1915, she married comedian Fred Allandale. Apparently, Miss Ash and Mr. Allandale didn’t wait for their divorces before getting involved romantically. Ash was named by Allandale’s wife and Allandale was named by Ashe’s husband in their respective divorce petitions. So much for impulse control. Ash was the sitter for six portraits in Britain’s National Portrait Gallery.
Postcard 1 features a fetching portrait of Maie Ash. She is wearing a beautiful smile and has pretty eyes. The card was published by Ralph Dunn & Company which operated in London, England. The post card is part of a series (no. A 105). The card has a 1905 postmark. The message on this postcard wishes the recipient “Many happy returns of the day”. According to Wikipedia, this 18th century greeting is meant to offer the hope that each happy day is repeated by other happy days, The saying was often used on birthdays, and in particular, as a response to “Merry Christmans” and “Happy New Year” wishes. The word “returns” also was used to wish a person that their day yields much happiness.(SOLD)
Postcard 2 presents a close-up photograph of Miss Ash. The postcard is a bit risque for it’s time. Her low cut dress and her coy expression accentuate the beauty of the alluring actress. This postcard was published by the Rotary Photo Company as part of their “Rotary Photographic Series (No. 1831K)”. This photo of Maie Ash was taken by the Johnston & Hoffmann studio. Theodore Julius Hoffmann and P. A. Johnston established a commercial photography studio in Calcutta (1882) and Darjeeling (1890). They also operated a studio in Simla. Johnston and Hoffmann’s photography business was the second largest commercial photography studio in India in that period. Many of their images were of North and Northeast India as well as Sikkim and Nepal. Johnston & Hoffmann produced many photographs of actors and actresses. It is certain that these performers did not travel to India to have their photo taken. It seems likely that Johnston & Hoffmann also had a studio in England during some part of their careers. It is also possible that there were to separate studios that coincidentally shared the same name. This postcard was postmarked in 1906 in Southampton, England. The postcard is in very good condition (see scans). (SOLD)
Postcard 3 This postcard shows Miss Ash in a charming theatrical portrait, smiling warmly with her chin resting on her folded hands. She wears an ornate jeweled headdress or costume headpiece, with dramatic puffed sleeves and a soft studio-lit presentation by Dover Street Studio / Rotary Photo (no.1831Q). (SOLD)
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These vintage real photo postcards feature pretty American stage and silent film actress and film producer, Fannie Ward (1872-1952). She was also the star of light comedies on Broadway. She began her career in the early 1890s, and appeared in over 100 films between 1895 and 1920. She was known for her roles in silent comedies and melodramas, and was considered one of the most popular actresses of her time. She played starring roles in “Madam President”, “The Shop Girl” and many others. Her screen debut was in Cecil B DeMille’s sexually charged, “The Cheat” (1915). Ward also produced several films, including the 1913 film “The Chink in the Armour,” which was directed by her then-husband, Frank Keenan. She retired from acting in 1920, but continued to work in the film industry as a producer until her death in 1952. In addition, after her retirement from the screen, she opened a beauty salon in Paris called “The Fountain of Youth”. The name of the salon is a bit ironic. Ward was known for her youthful appearance. It was not ununsual for her to play the parts of women one of two decades her junior. Ward held feminist beliefs which she wasn’t shy to talk about. In 1909, she told a reporter that her husband hated her work and then pointed out the hypocrisy of society’s support of men pursuing their interests (ie. art, sports, travel) but not supporting women who did the same. In addition, Ward worked as a film producer, a role not usually populated by women.
Postcard 1 was published by Rotary Photo as part of a series (No.1661A). The firm was located in London. Miss Ward was photographed by celebrated female photographer, Lizzie Caswall Smith. This posted postcard has a 1905 postmark. SOLD
Postcard 2 was published by Rotary Photo as part of a series (No.1661C). Miss Ward looks lovely in her fur hat and fur stole. The firm was located in London. Miss Ward was photographed by the popular female photographer, Lizzie Caswall Smith. SOLD
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