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
POSTCARD 2 (SOLD)
POSTCARD 3 (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)
POSTCARD 1
POSTCARD 2 (SOLD)
POSTCARD 3
This vintage real photo postcard features a beautiful Oiran Courtesan accompanied by her young assistants (kamaro). What is an Oiran? An Oiran is a high class, beautiful and esteemed prostitute in Tokyo. Her assistants are often apprentices; in other words, future Oirans. How are Oirans different from Geishas you may ask. Geishas are highly trained entertainers. They entertained via song, dance, or playing a musical instrument. Geishas were not necessarily prostitutes, though some were. This postcard comes from a collection that belonged to a US Navy officer. He likely acquired the card while in a Japanese port during his tour of duty. This postcard likely was issued in around 1908. SOLD
This vintage real photo postcard features a portrait of a football team. These eleven heroes of the gridiron are wearing their uniforms for this group photograph. Six of the young men are wearing their helmets. Unfortunately, these thin leather helmets didn’t offer much protection against concussions or Chronic Traumatic Encephalopathy (CTE). At first glance, I thought this team may actually be a rugby team. I based my impression on the odd shape and size of the football. The ball looked more like a rugby ball than a football. A little investigating revealed that today’s football has evolved over time. Basically, footballs have gone from round, to watermelon shaped, to today’s shaped football. The modern football became commonly used in 1935. In 1869 (first collegiate football game), the ball used was round, resembling a soccer ball. In 1874, a rugby-type ball was introduced. Shaped like a watermelon, it was as difficult to throw as the round ball. In 1912, an oversized version of today’s football was introduced. This football gave the quarterback more control of the ball when passing. The football in this photo postcard appears to be the rugby style ball, and that is compatible with the AZO stamp box which indicates that this portrait was taken between 1904 and 1918. The players and their team are unidentified. 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
This sepia-toned, real photo postcard features the glamorous silent film actress Alma Bennett (1904-1958) in a striking, risqué pose. Published by Iris Verlag of Austria, this collectible is numbered 5234 and credits the prominent studio Pathé as the photographer—known for its high-quality film stills and star portraits during the silent era. The image captures Bennett draped in a sheer, flowing fabric that barely conceals her chest. With her hands placed carefully to cover herself, the pose is both sensual and elegant—clearly intended to appeal to fans of 1920s starlets and risqué glamour. Her expressive face is tilted upward in a dramatic fashion, with her dark, wavy bob framing large, expressive eyes. Her parted lips and gaze suggest a moment of theatrical longing or awe, characteristic of the silent film aesthetic. This postcard falls squarely into the risqué category due to its suggestive styling and scant coverage, though it retains a refined and artistic tone rather than being overtly provocative. Alma Bennett was an American silent film actress who appeared in over 60 films between 1919 and 1931. Known for her beauty, versatility, and ability to play both dramatic and comedic roles, she became a recognizable face during the peak years of silent cinema. Bennett began her career in Hollywood in the late 1910s, likely transitioning into film from stage or local beauty contests, as was common during the period. Her breakout years came in the 1920s, with notable roles in films such as: “Orphans of the Storm” (1921, uncredited, directed by D.W. Griffith), “The Prairie Pirate” (1925), “A Woman Against the World” (1928), “The Night Flyer” (1928). and “The Arizona Kid” (1930). Alma’s personal life was somewhat tumultuous, mirroring that of many silent-era actresses whose careers were overshadowed by the transition to sound films. She was married to Fred Bennett, though the marriage reportedly ended in divorce. Little is documented about her life after retiring from film around 1931, and she never returned to the screen during the sound era. (SOLD)
POSTCARD 1 (SOLD)
POSTCARD 2 (SOLD)
POSTCARD 3 (SOLD)
These vintage real photo postcards feature French stage and film actress, Renee Adoree (1898-1933). She also appeared in silent movies produced by Hollywood in the 1910’s. Her most well known film was the melodramatic romance and war epic, “The Big Parade”. She played the love interest of John Gilbert. Renee’s parents were circus artists. She would perform with them at times. She was a dancer, acrobat artist, and bareback rider. She perfomed throughout Europe. She made her movie debut in 1918. In 1919, she went to New York City and played in a vaudeville-style musical. Several other stage appearances followed. In 1920, she began to perform in movies again. In total, Renee performed with John Gilbert nine times. She appeared with actor Ramon Novarro four times. In a 1928 Howard Hughes film, “The Mating Call”, Renee had a brief scene in which she swam in the nude. This act created much controversy. Renee’s personal life included two marriages and two divorces between 1921 and 1929. Renee, unlike many other actresses of her time, was successful in making the transition to sound film. She appeared in four “talkies” before her early death. In all, by the end of 1920, Renee had appeared in forty-five films. The IBDb reports that she appeared in two Broadway productions, both occurred in 1919, It was in 1930 that Renee was diagnosed with tuberculosis. Despite her doctor’s advice, she continued her participation in the filming of a movie. After completing the movie, she was rushed to an Arizona sanitorium. She was flat on her back for two years during her recovery. Post discharge, Renee’s health began to deteriorate until she died in 1933. She was only about 35 years old at the time of her death.
Postcard 1 features Renee in a risque pose. She is dressed quite provocatively. This postcard was published by “Ross Verlag” as part of a series (No.4350/1). SOLD
Postcard 2 features Renee standing in front of a horse. She is holding the horse’s harness. Apparently, she liked animals and possessed a sense of humor. She had a dog named “Useless”, and a cat named “Worthless”. The logo for MGM can be seen in the lower right hand corner of the image. She was under contract with MGM from 1930 until her death. This postcard was published by “Europe” as part of a series (No.395). SOLD
Postcard 3 offers a view of Renee that illustrates her beauty. She is fashionable and her attire includes a jacket with a fur collar. The card features a logo for MGM in its lower right corner. The card was published by Ross Verlag and is part of a series (No.3794/1). SOLD
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POSTCARD 2
THE CABINET CARD GALLERY 