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
These vintage real photo postcards feature British beauty and actress, Valli Valli (1882-1927). She was a British musical comedy actress and a silent film performer. She was born in Berlin but spent most of her life in England. Her sisters, Lulu and Ida Valli were both actresses. Her father was a merchant. She was educated in London and Paris. She made her stage debut in London at the age of twelve. At thirteen years of age she had a successful run in the musical comedy “Morocco Bound” in Berlin. The next year she performed at London’s Drury Lane Theatre in a pantomime version of Cinderella. As an adult, Valli was a beautiful woman. She performed mostly on the English stage but did tour the United States a number of times. These plays include “The Dollar Princess” and her final New York City performance in “Miss Millions” (1919). In all, she appeared in seven Broadway plays between 1905 and 1920. Valli appeared in four films during 1915 and 1916. These films included “The Turmoil” which was an adaptation of a Booth Tarkington novel. In 1917, she married Louis Dreyfus, head of a music publishing house, and later, a theatrical producer. Valli died from tuberculosis at the young age of forty-five.
Postcard 1 captures Valli, in a pensive, or possibly, dejected mood. The card was published by Rotary Photo as part of a series (No.1760G). Miss Valli was photographed by the Bassano studio. (SOLD)
Postcard 2 features Valli, in a pensive or imploring mood, identical to the mood she exhibits in postcard 1. This card was published by Rotary Photo as part of a series (No.11415A). (SOLD)
Postcard 3 captures Valli in her role as “The Gipsy” in “Queen of Hearts” . The card was published by Rotary Photo as part of a series (No.11415A). (SOLD)
The photo postcard features Enid Lowe (1908-1994) in an elegant and theatrical pose. She was a British actress known for her work in television and theater, with notable appearances in productions such as “BBC Sunday-Night Theatre” (1950), “Educated Evans” (1957), and “Loot” (1970). In 1941, she performed in the musical “London Rhapsody” at The London Palladium. This postcard is a testament to Enid Lowe’s beauty. She is dressed in period-style attire. Her outfit includes a lavish gown with a soft, flowing texture, possibly made of silk or satin, adorned with delicate lace and ribbon details. The bodice has a gentle scalloped trim, and she wears long gloves, adding to the refinement of her look. Her accessories are striking—she wears an elaborate wide-brimmed hat with a voluminous, gathered crown, likely made of soft fabric. Her jewelry is ornate, consisting of large, dangling earrings with multiple tiers and a matching necklace of pearl-like beads. These accessories enhance the regal and theatrical nature of the portrait. Enid Lowe’s facial expression is poised and slightly enigmatic. Her dark, wavy hair is styled in an elegant, vintage fashion, framing her face beautifully. Her eyes, accentuated with dark makeup, have a confident and alluring gaze, and her lips are slightly parted, conveying a subtle yet engaging expression. The soft lighting highlights her delicate features, giving her a luminous and almost ethereal appearance. The photographer of this image, George Mannell, was based in London and was active in the early 20th century. He specialized in theatrical and celebrity portrait photography, producing high-quality postcards featuring actors and actresses of the time. His work captured the glamour and artistry of stage performers, often presenting them in elaborate costumes and dramatic poses to appeal to both fans and collectors. His work often appeared in publications such as the Picturegoer series, a popular British postcard collection featuring film stars and entertainers. SOLD
This vintage real photo postcard features actress, Dorothy Gish (1898–1968). She was a prominent American actress best known for her work in silent films and later in theater. She was also quite pretty which is apparent in this postcard portait. In addition, she was quite fashionable. She was born in Dayton, Ohio, into a family with roots in the performing arts. Dorothy and her older sister, Lillian Gish, are often remembered as significant figures in early American cinema, particularly for their work with director, D.W. Griffith. Dorothy and Lillian’s parents separated when they were young, leaving their mother to support the family. In 1902, the Gish family moved to New York City, where their mother sought work in the theater. Both sisters began acting on stage as children to help support their family. Dorothy made her stage debut at a young age, and by the time she was a teenager, she had already gained experience in theater. In 1912, Dorothy and Lillian were introduced to D.W. Griffith by their friend, actress Mary Pickford. Griffith immediately saw potential in the sisters and cast them in his films, launching their film careers. Dorothy’s early work with Griffith included supporting roles in films like The Musketeers of Pig Alley (1912) and The Birth of a Nation (1915). However, Dorothy’s specialty was comedy, and she developed a distinct, lively style that set her apart from her sister Lillian, who typically played more dramatic roles. Dorothy’s popularity rose as she starred in a series of comedic silent films, including Hearts of the World (1918) and Orphans of the Storm (1921), both of which also featured Lillian. While Lillian’s characters often embodied innocence and vulnerability, Dorothy’s roles allowed her to showcase a playful, often mischievous side, bringing her critical acclaim and a strong fan following. With the advent of sound films in the late 1920s, Dorothy, like many silent film stars, found it challenging to transition to “talkies.” She made a few sound films, but she gradually shifted her focus to theater, where she had always felt at home. Dorothy was well-suited to the stage, bringing her charm and humor to roles in productions such as Young Love (1928), which was a hit on Broadway, and The Chalk Garden (1956). Throughout the 1930s and 1940s, Dorothy toured in various plays and continued to appear in films occasionally. She remained active in theater well into the 1950s, and her stage career extended her professional life even as her work in film slowed. In contrast to her sister, who continued to receive accolades in film well into the sound era, Dorothy’s legacy was tied more to her stage performances and her beloved silent film roles. Dorothy was known for her wit, independence, and close bond with her sister Lillian. The two were inseparable and supported each other throughout their lives, both personally and professionally. In 1920, Dorothy married James Rennie, a Canadian-born actor. However, their marriage ended in divorce in 1935, and she did not remarry. After retiring from the stage, Dorothy lived a quiet life but remained connected to the arts and close to her sister. She passed away in 1968. This postcard was published by Ross Verlag as part of a series (No.3513/1). The card was published in 1928/1929. SOLD
Vesta Tilly (1858-1952) was one of the most beloved and influential performers of the British music hall era. She was a groundbreaking male impersonator who captivated audiences for decades with her wit, charm, and powerful stage presence. Born into modest beginnings, she rose to become a symbol of British patriotism and a pioneer for women on the stage. Tilly was born in Worcester, England. She was the second of thirteen children born to Henry Powles, a self-employed musician and fiddler, and Matilda Powles. Her father, deeply involved in local musical performances, recognized Matilda’s precocious talent at an early age and began showcasing her on stage by the time she was just three years old. The Powles family moved to London when Matilda was a child, in pursuit of more lucrative theatrical opportunities. With her father acting as her manager, she began performing under the stage name “Little Tilly” in pantomimes and variety shows. Matilda’s first male impersonation was at the tender age of six. By her teenage years, she had taken the stage name Vesta Tilly, inspired by the Roman goddess of the hearth (Vesta) and a common nickname (Tilly). Her success as a “principal boy” in pantomime was soon eclipsed by her signature act: portraying men with startling authenticity and satirical flair. What set Tilly apart was her command of the stage and her uncanny ability to adopt male gestures, mannerisms, and vocal inflections. She didn’t just mimic men—she portrayed them with intelligence, humor, and often, social critique. She frequently played dapper young men, military officers, or swells (wealthy young men), sometimes poking fun at political figures or addressing social issues. She became one of the most highly paid and respected performers in the British music hall scene during the late Victorian and Edwardian periods. Her stage appearances were so convincing that many audience members did not initially realize she was a woman. Vesta Tilly’s career spannedover four decades, and she performed in countless popular songs and sketches. Some of her most iconic performances included: “Following in Father’s Footsteps”, “Burlington Berlie”, and “The Boy in the Gallery”. She was particularly popular among working-class audiences and soldiers. During World War I, Tilly took on a new patriotic role, performing in uniform to recruit young men to the military. She was so effective that she earned the nickname “England’s Greatest Recruiting Sergeant.” In 1890, Vesta Tilly married Walter de Frece, a theatrical impresario and songwriter. Their relationship was both romantic and professional—Walter became her manager and guided much of her career. He was instrumental in helping shape her brand and ensuring her continued success on the music hall circuit. After World War I, Walter was knighted and later became a Member of Parliament. This new political role brought Vesta into a more socially prominent world, and she gradually withdrew from the stage. Vesta Tilly gave her final performance in 1920 at the London Coliseum. Her retirement was widely publicized and emotional for her devoted fan base. After stepping away from the stage, she became Lady de Frece, supporting her husband’s political ambitions and engaging in charity work. The couple eventually moved to Monte Carlo, where they lived a quieter life. Walter de Frece died in 1935, and Vesta lived on until 1952. The postcard’s image shows Tilley in a fur-trimmed coat, accessorized with a hat adorned with feathers. The card has been hand-tinted, with touches of pink on her costume and hat and green on the tassels. The following is a transcription of the letter: “Dear Bess, Just a line to say we landed here quite safe. And are having a lovely time up to the present, only the weather isn’t up to the mark, it is a bit showery but not too bad. You might get a skirt ready to send me on Sunday. Will write and tell Hugh this aft to come round for it on Friday night so try and get it ready.Give my love to [all at home]. Joe” (Writer’s details also appear: No. 5 Company R.S. of Vols, Hightown, Nr. Liverpool.)This postcard was published by Philco as part of a series (No.3149D). (SOLD)
This French vintage real photo postcard features a pretty young woman, wearing a scarf and top hat. She has a beautiful smile that she is flashing at the camera. This postcard was published by Alfred Noyer. The card is part of a series (No.9538). SOLD
This vintage real photo features a pretty young woman wearing a negligee and stockings. She is provocatively playing with pillows. The pillow on the floor has a drawing of a woman who looks a lot like “Betty Boop”. This postcard is risque for its era. The card was published by the French firm, P.C Paris as part of a series (No.1448). The P.C logo is an abbreviation for Papeteries d Levallois-Clichy. The firm published a variety of real photo postcard topics including portraits of pretty models, nudes, views, and holiday cards. The company was active in the 1920’s. SOLD
This vintage real photo postcard (RPPC) captures a striking studio portrait of a family—mother, father, and young daughter—likely taken as a souvenir along the Atlantic City Boardwalk in the 1920s. The woman is dressed in a fashionable dark seaside outfit with lace-up boots, seated on a prop with “ATLANTIC CITY” clearly visible. The young girl, wearing a sailor-style dress with large hair bows, stands between her parents, while the man wears a sleeveless athletic undershirt and shorts, a typical beach attire of the period. The backdrop is painted to resemble the seashore, a hallmark of boardwalk souvenir photography studios. A rough transcription of the message on the reverse of the photograph is as follows: “Dear Florence, We’ve been here for 2 weeks and I have tried to write a few but really I have been too lazy. I cannot write every day. I thought I would go to Florence. Intend to write to all that is a good as it got. I am looking forward to going home as Andrew is going to be married Sept 13 to Em Wm Carrow. He is a retired fireman a brother to Joe Carrow that has the saloon front & back. Love to all from all, Asmy Joseph”. The postcard has an AZO stamp box dating it to approximately 1904-1918. Atlantic City’s boardwalk photographers were popular during the early 20th century, offering tourists a chance to take home a posed souvenir photo, often with seaside props or painted backdrops. The mix of casual and dressed attire in this card is characteristic of family beach portraits from the era.(SOLD)
This vintage real photo postcard features Meaty Fleuron, a dancehall artist from the Belle Epoque era. Meaty was a singer and a dancer. She was one of the “Postcard Queens” popular at the turn of the century. In other words, she was a prolific postcard model. She made her debut at the European Concert hall in 1895. She is noted for appearing in “swimsuit roles”. Her sister, Lise Fleuron was also a performer. This postcard was published by LF Co. which I believe, but am not certain, is Labouene Freres. Miss Fleuron was photographed by the Oricelly studio for this postcard. Oricelly was based in Paris, France. SOLD
These vintage real photo postcards feature actress Billie Dove. Billie Dove (1903-1997) was an American actress. Her parents were Swiss immigrants. During her teenage years, she worked as a model to support her family. Florenz Ziegfeld hired her as a teenager to appear in the Ziegfeld Follies Revue. She was not a particularly talented dancer or singer, her beauty and acting ability were her major assets. In the early 1920’s she moved to Hollywood and began appearing in silent films. It has been written that Ziegfeld’s wife, actress Billie Burke, helped facilitate Dove’s transition to films. Apparently, Burke was trying to separate Dove from her husband because the pair were having an affair. It did not take long for her to become one of the more popular actresses of the 1920’s. Among her better known films was “The Black Pirate” (1926) with Douglas Fairbanks, and “The American Beauty” (1927). Dove was a ravishing beauty and was very photogenic. She married director, Irvin Willat, in 1923. The marriage had a six year duration. She then had a three year romance with Howard Hughes. Dove’s other interests included being a pilot, painter, and poet. After her last film, “Blondie of the Follies” (1932), Dove retired from films. It is thought that she retired because she was distraught about her role in her last film being “trimmed” by her co-star’s (Marion Davies) influential boyfriend (William Randloph Hearst). Hearst was upset because Miss Davise’s acting was overshadowed by Dove’s acting. Mr Hearst owned Cosmopolitan Productions which produced the movie. After retirement, Dove married oil executive Robert Kenaston in 1933 and the couple remained together until Kenaston’s death in 1970. She had a brief third marriage to an architect. It is interesting to note that jazz singer, Billie Holiday, borrowed Billie Dove’s first name when picking out her own stage name. Miss Holiday was an admirer of Miss Dove. The IMDb lists 50 movie credits for Billie Dove between 1921 and 1962.
Postcard 1 is a profile portrait was published by Cinemagazine – Paris Edition (no.313). (SOLD)
Postcard 2 was published as by Ross Verlag as part of a series (No.3687/1). Billie Dove looks beautiful in this portrait taken by Defina. The logo for First National Pictures can be seen in the image’s lower right corner. (SOLD)
Postcard 3 features Billie Dove looking beautiful in this provocative portrait. The card is risque, considering Dove’s pose and revealing tight dress. Billie Doves portrait seen on this postcard was taken by Defina. This card was published by Ross Verlag’s Italian Edition (Bellerini & Fratini, Florence, Italy). Casa Editrice Bellerini & Fratini was one of the most renowned Italian publishers. The firm began publishing film postcards in the early 1920’s and later became a distributor for Ross Verlag. As of 1918, the firm was still in existence. (SOLD)
THE CABINET CARD GALLERY 