This vintage real photo postcard features an attractive romantic couple riding a sled. The pair are dressed for winter. There is fake snow on the ground. This card was published by B.N.K. (Berlin-Neuroder Kunstanstalten) as part of a series (No.33272/6). The firm was located in Berlin, Germany. B.N.K. did it’s own printing and had four factories. During World War II, the company manufactured cardboard ammunition boxes. This postcard has a stamp from Denmark. In addition, there is also a 1910 Christmas Seal stamp on the card. Research reveals that the seal was issued for a charity dedicated to helping tuberculosis patients. SOLD
The beautiful actress seen in the top vintage real photo postcard is named Ossi Oswalda (1897-1947). She was born in Germany and appeared predominately in silent films. She was a leading lady, popular comedienne, dancer, and singer. Due to her popularity, she was known as “the German Mary Pickford”. Ossi began her career as a ballerina and she danced in a chorus line for a theater in Berlin. She made her film debute in “Night of Horrors” (1916) and was noticed by actor/screenwriter Hanns Kraly, who introduced her to director Ernst Lubitsch. Oswalda’s early career began with appearances in several Lubitsch films. In 1921, she and her husband started a film production company that produced four films over four years, all starring Miss Oswalda. After 1925, she was under contract to UFA, a German film company. After the transition to “talkies”, Oswalda joined the ranks of actresses and actors, who’s career took a nose dive. She only acted in two sound films. Her final screen appearance was in “The Star of Valencia”. She then began acting on the stage. She appeared in operettas in Germany and Vienna. When the National Socialists took power in Germany, she emigrated to Prague with her “Jewish life partner”, Julius Aubenberg. In 1943, she wrote a story for a Czechoslovakian film. In summarizing Ossi’s career, the IMDb credits her with 51 film appearances, producing 5 films, and 1 screen writing credit. It is reported that she frequently played child-like spoiled women. She appeared in drag in at least one film. Oswalda’s first marriage (1919-1925) was to a Hungarian baron. After her divorce, the actress began a highly publicized romantic relationship with Crown Prince Willhelm (1882-1951). Simultaneously, the actress Lily Damita, was having an affair with the Prince’s son. The royal family put a kibosh to both “inappropriate” relationships. In 1947, she died in Prague at age 48, bankrupt and suffering from multiple health problems. This German real photo postcard is published by Ross Verlag soemetime between 1919 and 1924. The photograph of Miss Oswalda was taken by Becker & Maass of Berlin. Note her pretty hat and fan. Hopefully, she wasn’t allergic to feathers. Oswalda was young when this photograph was taken. She was beautiful and no older than 27 years of age.
Postcard 2 features Miss Oswalda in a very skimpy costume. Her feathered hat is quite showy . She has a wonderful smile and pretty eyes. This risque postcard was part of a series (no. 1050/2) and published by Ross Verlag of Berlin, Germany. The logo of UFA, a German film company, appears on the lower right hand corner of the postcard. The reverse of the postcard reveals that that the photographer is Strobl J. Nandor of Budapest, Hungary. (SOLD)
Postcard 3 is a German real photo postcard that was published by Ross Verlag. Miss Oswalda’s photo was taken by celebrity photographer Alex Binder. (SOLD)
Postcard 4 captures Miss Oswalda looking amused. She is flashing a wonderful smile. This postcard was published by Ross Verlag of Berlin, Germany (no.474/2). (SOLD)
Postcard 5 captures Miss Oswalda in a provocative pose. She is wearing a short skirt resulting in quite a leggy photo. Posing her with her hands on her hips was aimed at being suggestive. This risque postcard was published by Ross Verlag of Berlin, Germany (no.483/1). The photographer of this portrait of Oswalda was celebrity photographer Alex Binder. (SOLD)
This vintage real photo postcard features a lovely well dressed couple with a sense of humor. The gentleman in the photograph wrote a very funny message on the reverse of the card. The man, Joe, writes that the pair are being photographed on a mountain, twelve hundred feet above Portland, Oregon. He then demonstrated his flair for humor by suggesting to the postcard’s recipient, “If you have any rats in your smoke house, just put this (photo) in there and I will insure you no more rats will bother”. This postcard was sent to a woman in Latham, Kansas, and was postmarked in Eads, Colorado. The card was written and mailed in 1908. Joe and his “lady friend” were photographed at 10 Minute Photos, by Cal Calvert. The studio was located in Council Crest (Portland, Oregon). Council Crest Park is a city park in southwest Portland. Council Crest is 1071 feet above sea leveland is one of the hightest points in in the Tualatin Mountains. The park offers a great view of Portland. The couple in this photo may have taken a street car to the park. The Portland Railway, Light and Power Company opened a street car route (Council Crest Line) to the park in 1906. In 1907 the company opened an amusement park at the site. Research found information related to the photographer who took this photograph. Charles E. (Cal) Calvert operated his studio at Sixth & Ankeny from 1906 through 1930. In 1907, with the opening of Council Crest Amusement Park, he operated a studio and postcard stand on it’s grounds. He also ran a studio at the Washington Street entrance to Portland’s City Park in 1910. Cal was known for his use of rustic props and for his creativity. One of his sets involved subjects appearing as if they were flying an airplane over the city of Portland. A postcard employing this setting is part of a collection at the Portland Art Museum. SOLD
These two vintage real photo postcards feature two smiling bathing beauties posing outside a beach cabana. This photographs are risque for their era. These images were produced by the studio of the esteemed photographer, Henry (Heinrich) Traut. The postcards were published by Rotophot Berlin (RPH). Rotophot eventually morphed in Ross Verlag. BOTH SOLD
This poignant real photo postcard, dated 1923, captures a tender family moment—likely taken in a professional studio simulating an outdoor scene. The composition features an African American mother gently smiling as she stands behind a beautiful, large wicker baby carriage. Nestled inside the pram is a young infant with wide, alert eyes, while an older daughter stands nearby in a white dress, her expression serious and slightly pensive. The mother is dressed with quiet elegance in a light-toned wrap dress with lapels, tied at the waist—a popular post-World War I style that balances modesty with modernity. Her calm smile and direct gaze suggest pride and affection. The infant is dressed in traditional white baby clothing, resting on a cushioned lining in the pram. The older girl wears a crisp white dress, accented with a large hair bow—common children’s fashion for the early 1920s. The wicker baby carriage is especially eye-catching, with its sweeping curves and woven basket design, indicative of upscale early 20th-century prams. It rests on ornate wrought iron wheels, reinforcing the studio setting, where such props were often used to enhance domestic or garden-themed portraiture. The back of the card includes a divided back design and an AZO stamp box which was used between 1918 and 1930, consistent with the handwritten date of 1923 on the reverse. (SOLD)
This vintage real photo postcard features the beautiful French theatre actress, Yvonne Garrick (1878-?). She performed at the “Theatre de L’Odeon” and the “Comedie-Francaise” in Paris. During the World War I years, she appeared at the “Theatre Francais” in New York City. The IDBD reports that she performed on Broadway in two productions; “Lets Go” (1918) and “Musk” (1920). The magazine, “Sketch: A Journal of Art and Actuality” (1902) published a glowing article about Mlle. Garrick. The writer stated that no artist had made such a “positive hurricane progress” in the French theatrical world as Yvonne Garrick of the O’Deon. The critic also stated that he had recently seen Garrick in a play and her performance reminded him of the early days of Sarah Bernhardt. Although thewriter admits that she may not be the second coming of Mlle. Bernhardt; he believes that Garrick will make a world wide reputation. He continues to write that he has seen no young actress so “natural and so “sympathetic”. The New York Times (1908) published a review for the play “Jeanne Qui Rit” in which Mlle. Garrick played a starring role. The article states that Yvonne Garrick was a young actress who has attracted much attention at the Comedy-Francaise. She was reported to have received a hearty reception and was “repeatedly recalled” (cheered for an encore). A New York Times (1918) article records Mlle. Garrick’s debut in a New York farcical comedy “Mon Ami Teddy”. In the piece she is described as a “comely and charming actress who proves a most welcome recruit from the Paris stage”.
Postcard 1 provides a portrait of Mlle. Garrick during the time she was appearing at the Comedie-Francaise. The photograph was taken by Henri Manuel (1874-1947). In 1900, Manuel opened a portrait studio in Paris with his brother Gaston. He quickly became renowned for his portraits of politicians, artists, and athletes. His images were used by news agencies . His studio became the largest studio in Paris and it attracted many young photographers who sharpened their skills there. In 1925 the brothers expended their business to include fashion photography. They worked for such designers as Chanel, Patou, and Lanvin. The studio shut down during World War II and many of their photographic plates were destroyed. Manuel was the official photographer for the French government from 1914 through 1944. To view other photographs by Manuel, click on the category “Photographer: Manuel”. This portrait postcard is in very good condition (see scans).
Postcard 2 was taken by celebrity photographer, Leopold Reutlinger as part of a series (No.1306). The card was published by SIP. (SOLD)
Postcard 3 was taken by celebrity photographer, Leopold Reutlinger as part of a series (No.1282). He was based in Paris. The card was published by SIP. (SOLD)
Buy this Vintage Real Photo Postcard (includes shipping within the US) #3916
To purchase this item, click on the Pay with PayPal button below
$27.75
Buy this Vintage Real Photo Postcard (includes International shipping outside the US) #3916
To purchase this item, click on the Pay with PayPal button below
Mary Pickford (1892-1979) was a Canadian-American actress and one of the most influential figures in early Hollywood. She was often referred to as “America’s Sweetheart”. She was a pioneer of silent film and a co-founder of the film industry as we know it today. Pickford’s career began in childhood when she performed in theater productions in Canada and the United States. By the early 1900s, she transitioned to film, working with director D.W. Griffith at Biograph Studios. Her delicate beauty and expressive acting quickly made her a fan favorite, setting her apart in an era when exaggerated stage-style performances dominated silent films. During the 1910s and 1920s, Pickford became one of the highest-paid and most beloved actresses in the world. Starring in films such as Rebecca of Sunnybrook Farm (1917), Daddy-Long-Legs (1919), and Pollyanna (1920), she was known for playing wholesome, spirited young women. Her curly hair and signature on-screen innocence became iconic, but she was also a savvy businesswoman who understood the power of her brand. Pickford was not only a star but also a trailblazer in the film industry. In 1919, she co-founded United Artists alongside Charlie Chaplin, Douglas Fairbanks (her then-husband), and director D.W. Griffith. This revolutionary move allowed filmmakers to control their own productions rather than rely on major studios, changing the industry forever. As the film industry transitioned to “talkies,” Pickford retired from acting in the early 1930s, though she continued to produce films. Her contributions earned her an honorary Academy Award in 1976 for her lasting impact on cinema. Mary Pickford’s influence extends beyond her films. She helped shape the star system, paved the way for women in Hollywood, and co-founded the Motion Picture Relief Fund to support struggling actors. She remains an enduring symbol of early Hollywood glamour and innovation. Mary Pickford was born into a working-class family in Toronto, Canada. Her father, John Charles Smith, was an alcoholic who struggled to provide for the family and died from a workplace accident when Mary was just six years old. Her mother, Charlotte Hennessey Smith, was left to raise Mary and her two younger siblings, Lottie and Jack, on her own. To support the family, Charlotte encouraged her children to enter acting, and Mary began performing in theater at a young age. She soon became the family’s primary breadwinner, and her siblings, Lottie Pickford and Jack Pickford, also pursued film careers. Pickford transitioned from theater to film in the early 1900s, quickly rising to fame with her expressive acting and wholesome on-screen persona. By the 1910s and 1920s, she was one of the most recognizable stars in the world, earning the nickname “Queen of the Movies.” She also helped establish the Academy of Motion Picture Arts and Sciences. Mary Pickford was married three times. Pickford’s first marriage was to silent film actor Owen Moore (1911-1920). Her second and most famous marriage was to fellow silent film actor, Douglas Fairbanks (1920-1936). Her third marriage was to actor Charles “Buddy” Rogers (1937-1979). After retiring from acting in the early 1930s, Pickford focused on producing films and philanthropy. She became more reclusive in her later years, struggling with alcoholism and health issues. Today, she is remembered as a pioneering force in cinema history.
Postcard 1 features Pickford seated gracefully on a carved wooden stool, exuding elegance and poise. She is dressed in a flowing, light-colored gown with delicate embellishments on the bodice and sheer fabric draping over her arms. Her signature curls frame her face, a defining feature of her “America’s Sweetheart” image. She wears a subtle yet confident expression, her eyes gazing slightly to the side with a soft, introspective quality. Her arms are relaxed, with one hand resting gently on her lap and the other elegantly extended. Her accessories include a bracelet on her wrist and a ring on her finger, adding to her refined look. The backdrop behind her is a richly textured tapestry, possibly depicting a pastoral scene. This postcard was likely produced in the 1920s, during the height of Pickford’s career. It is numbered 86 and is part of a larger collectible series showcasing cinema stars of the era. This vintage postcard is part of a series titled Les Vedettes de Cinéma (translated as The Stars of Cinema), and it was published by Alfred Noyer (Paris,France), in collaboration with United Artists, the film distribution company that Pickford co-founded. The back of the postcard identifies the publisher as Cinémagazine – Edition and states that it was Made in France / Fabriqué en France, indicating its European origin.(SOLD)
Postcard 2features Mary Pickford in a soft, introspective portrait that perfectly captures the romantic visual style of the early 1910s. Pickford is posed in three-quarter profile, her gaze cast downward, with her signature long curls cascading over her shoulders. She wears a delicate, flowing gown rendered in subtle hand-applied color, with pale blue and warm cream tones carefully brushed over the original photograph, lending the image a dreamy, ethereal quality. The overall effect is gentle and luminous, emphasizing her youthful features and expressive eyes. This postcard was produced by Rotary Photo, one of the most prolific and collectible publishers of celebrity real photo postcards in the early 20th century. The image is identified by the ID No. S.62-2, printed at the lower edge, and the reverse confirms it was printed in England via (Rajer Bromide). (SOLD)
This attractive vintage French postcard features a hand-colorized portrait of a young woman — her hair softly waved, her features delicate, and her expression warm and gentle. She tilts her head slightly and raises one arm, resting her hand near her ear, holding a rose (colorized in vivid pink) against her cheek. The soft hand-tinting gives the card a dreamy, romantic feel: gentle blush on her cheeks, subtle color in her lips, and pastel tones in the background. The fashion and style — the wavy hairstyle, the jewelry, and the sitter’s graceful pose — evoke early 20th-century glamour. In the upper right of the image side appears the gilded greeting “Bonne Année” — a New Year’s wish, adding charm and purpose to the card. The card’s publisher imprint in the lower left reads SUBAR 155-PARIS. The reverse carries a handwritten message and address in French (see translation). “Best wishes and greetings — Marthe”. The card is marked “SUBAR 155-PARIS.” Unfortunately, I was unable to locate reliable reference material definitively describing a postcard house named “SUBAR.” That said, the card’s style — hand-colored portrait, gilded greeting, Paris imprint — is consistent with many small-scale French postcard producers from the pre-WWI and interwar periods, when dozens of modest workshop-publishers issued commemorative and greeting cards for domestic distribution.(SOLD)
Mary Pickford (1892-1979) was a Canadian-American actress and one of the most influential figures in early Hollywood. She was often referred to as “America’s Sweetheart”. She was a pioneer of silent film and a co-founder of the film industry as we know it today. Pickford’s career began in childhood when she performed in theater productions in Canada and the United States. By the early 1900s, she transitioned to film, working with director D.W. Griffith at Biograph Studios. Her delicate beauty and expressive acting quickly made her a fan favorite, setting her apart in an era when exaggerated stage-style performances dominated silent films. During the 1910s and 1920s, Pickford became one of the highest-paid and most beloved actresses in the world. Starring in films such as Rebecca of Sunnybrook Farm (1917), Daddy-Long-Legs (1919), and Pollyanna (1920), she was known for playing wholesome, spirited young women. Her curly hair and signature on-screen innocence became iconic, but she was also a savvy businesswoman who understood the power of her brand. Pickford was not only a star but also a trailblazer in the film industry. In 1919, she co-founded United Artists alongside Charlie Chaplin, Douglas Fairbanks (her then-husband), and director D.W. Griffith. This revolutionary move allowed filmmakers to control their own productions rather than rely on major studios, changing the industry forever. As the film industry transitioned to “talkies,” Pickford retired from acting in the early 1930s, though she continued to produce films. Her contributions earned her an honorary Academy Award in 1976 for her lasting impact on cinema. Mary Pickford’s influence extends beyond her films. She helped shape the star system, paved the way for women in Hollywood, and co-founded the Motion Picture Relief Fund to support struggling actors. She remains an enduring symbol of early Hollywood glamour and innovation. Mary Pickford was born into a working-class family in Toronto, Canada. Her father, John Charles Smith, was an alcoholic who struggled to provide for the family and died from a workplace accident when Mary was just six years old. Her mother, Charlotte Hennessey Smith, was left to raise Mary and her two younger siblings, Lottie and Jack, on her own. To support the family, Charlotte encouraged her children to enter acting, and Mary began performing in theater at a young age. She soon became the family’s primary breadwinner, and her siblings, Lottie Pickford and Jack Pickford, also pursued film careers. Pickford transitioned from theater to film in the early 1900s, quickly rising to fame with her expressive acting and wholesome on-screen persona. By the 1910s and 1920s, she was one of the most recognizable stars in the world, earning the nickname “Queen of the Movies.” She also helped establish the Academy of Motion Picture Arts and Sciences. Mary Pickford was married three times. Pickford’s first marriage was to silent film actor Owen Moore (1911-1920). Her second and most famous marriage was to fellow silent film actor, Douglas Fairbanks (1920-1936). Her third marriage was to actor Charles “Buddy” Rogers (1937-1979). After retiring from acting in the early 1930s, Pickford focused on producing films and philanthropy. She became more reclusive in her later years, struggling with alcoholism and health issues. Today, she is remembered as a pioneering force incinema history.
In Postcard 1, Mary Pickford is shown in a soft, romantic studio portrait. She is presented in three-quarter view and gazing directly at the camera with a calm, introspective expression. Her most striking feature is her abundant cascade of long, tightly curled hair, which frames her face and falls well past her shoulders, emphasizing the youthful, ethereal image for which she became famous. Her face is delicately lit, with smooth, pale complexion, gently arched brows, and large, expressive eyes that convey both innocence and quiet seriousness. The lighting is subtle and flattering, creating a gentle contrast that draws attention to her eyes and the natural symmetry of her features. Pickford wears a dark, likely velvet garment with a lighter collar visible at the neckline, adding depth and richness to the composition. The image appears hand-tinted, with warm tones in her hair and soft coloration in her clothing, enhancing the lifelike quality while preserving the elegance of early studio portraiture. Overall, the photograph presents Mary Pickford as youthful, graceful, and refined, embodying the carefully crafted screen persona that earned her the nickname “America’s Sweetheart.” This postcard was published by Rotary Photo as part of a series (No.S62-3). The photographer is listed as “Moody”. (SOLD)
Postcard 2 features Pickford appearing on an uncommon postcard. In this glamorous sepia-toned image, Pickford is posed elegantly against a textured backdrop. She wears a large, dramatic hat with a wide brim that frames her face beautifully. Her hair is styled in soft curls that fall to her shoulders, and she wears a sheer, embroidered gown that adds a romantic and ethereal quality to the photograph. A simple yet elegant string of pearls drapes around her neck, which she gently holds with one hand, adding to her demure and sophisticated pose. Mary Pickford’s facial expression is soft and serene, with her large, expressive eyes gazing upward as if lost in a dream. Her lips are slightly parted in a faint, knowing smile, giving her an air of both innocence and quiet confidence. The delicate embroidery on her gown and the flowing tulle layers create an image of timeless beauty and classic Hollywood elegance. The reverse of the postcard identifies the publisher as Pictures Ltd., located at 88 Long Acre, London, United Kingdom. This card is part of their “Pictures Portrait Gallery” series and is numbered No. 144. The design on the back features ornate lettering and a charming illustration of a woman surrounded by art supplies, reinforcing the theme of portraiture and artistry. (SOLD)
This vintage real photo postcard captures five siblings posed on a front porch. They are likely in front of their own home. The oldest child is sitting on a rocking chair and has the baby of the family on her lap. The writer of this postcard addressed it to “Uncle Joe” and introduces him to each child by their first name. The stamp box indicates that this postcard was produced by Cyko. SOLD
POSTCARD 1
POSTCARD 2 (SOLD)
POSTCARD 3 (SOLD)
POSTCARD 4 (SOLD)
POSTCARD 5 (SOLD)
THE CABINET CARD GALLERY 