BILLIE DOVE: BEAUTIFUL FILM ACTRESS, GIRLFRIEND OF FLORENZ ZIEGFELD : RPPC

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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 4 accentuates Billie Dove’s beauty and elegance. She is reclining gracefully on an ornate, upholstered sofa. Her expression is soft and alluring, with a slightly playful or flirtatious gaze directed toward the camera. She is wearing a light, likely beaded or embellished, sleeveless gown that exudes 1920s sophistication and glamour. A long, delicate strand of pearls adorns her neck, adding to the vintage style and suggesting wealth or high social status. Her accessories include dangling earrings, a bracelet, and what looks like a feather boa or decorative fur near her arm. Her hair is styled in the characteristic short, wavy fashion of the 1920s. Her makeup is subtle yet elegant, with attention to her eyes and lips to accentuate her facial features. The atmosphere is glamorous and romantic. The soft pose and luxurious backdrop suggest themes of wealth, fame, and vintage Hollywood allure. The sofa has an intricate pattern that matches the era’s lavish interior design aesthetic. The background fabric and curtains complement the overall tone of refinement. This postcard was published by Ross Verlag (Berlin, Germany) as part of a series (no.4305/1).  SOLD

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MADGE BELLAMY : RISQUE : PROVOCATIVE : TROUBLED FILM STAR : MISS FIRECRACKER : RPPC

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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 2 is available for purchase at my store, The History Peddler, for $ 22.00

Interested collectors may view the listing here:

https://www.ebay.com/itm/236433767579

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STACIA NAPIERKOWSKA : FRENCH STAGE AND SILENT FILM ACTRESS : RISQUE : RPPC

This risque vintage real photo postcard features Stacia Napierkowska (1891-1945). was a French actress and dancer during the silent film era. She also directed films. She was born in Paris and began her theatrical career with the Folies-Bergeres. She was “discovered” by the director of the Opera Comique who signed her to theatrical work. Next, she acted in silent films and reached stardom after playing opposite Max Linder, an actor often considered the first international star. In 1913 she left Europe for the United States to begin her own international career. The painter, Francis Picabia, met her on the ocean trip and he produced a series of paintings for which she was the inspiration. During a dance performance in New York City, Napierkowska found herself under arrest for indecency. Upon returning to France, according to Wikipedia, she said “I have not brought away a single pleasant memory from the United States”. She also declared that Americans were “narrow-minded people” and that they were “utterly impervious to any beautiful impression”. IMDb reports that Napierkowska appeared in 91 films between 1908 and 1926. This postcard is quite risque for it’s era. SOLD

RISQUE PORTRAIT OF A DANCER FROM THE PARIS FEMALE REVUE (GEORGIGUST)

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This vintage real photo postcard features one half of the dance partners from the “Duo Georgigust”. The pair were a popular dance couple during the 1910’s. Judging by the dancer’s tight clothing and revealing top, there must have been a sexual tone to her dance routine. This is a relatively risque photograph for it’s time.  The reverse of this postcard is an advertisement for Georgigust’s act. Georgigust is described as a “modern duo” and promises that they will perform 15 transformations (different dances?, different acts?) and a “new number” in a wonderful bright decor. This postcard is an advertisement for the “Paris Female Revue”. The photo postcard below, shows the duo reunited and dancing together.  SOLD

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 Georgigust as a Duo (Not for Sale)

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Published in: on June 6, 2026 at 11:30 am  Leave a Comment  
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MAUD ALLAN : RISQUE : SALOME : DANCER, ACTRESS, AND CHOREOGRAPHER : 1908 : RPPC

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These risque vintage real photo postcards feature Maud Allan (1873-1956). She was a Canadian-born dancer, choreographer, and actress, who performed in the United States and Europe at the turn of the 20th century. She was known for her performances of the “Vision of Salome”, an interpretive dance based on the Oscar Wilde play “Salome”, in which she portrayed the title character. Allan’s performances were controversial and often drew criticism for their erotic content. She also was known for her court case in 1918 against a British newspaper, the Illustrated Times, who published an article accusing her of promoting immorality and lesbianism. She sued for libel and won. In regard to Allan’s sexual orientation, she was a lesbian and was involved with women her entire life. She had a long affair with Margot Asquith, the wife of Herbert Henry Asquith, the Prime Minister of the United Kingdom from 1908 through 1916. Allan also had a long affair with Verna Aldrich, her secretary.

 Postcard 1 presents Allan dancing as “Salome”. She is wearing a sexually provocative costume. She is covered with jewelry. This postcard was published by Rotary Photo as part of a series (No.4946B). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. An inscription on the card’s reverse reveals that the card is from 1908. (SOLD)

Postcard 2 This postcard also presents Allan dancing as “Salome”. Once again, she is wearing a sexually provocative costume and is covered with jewelry. This postcard was published by Rotary Photo as part of a series (No.4946Q). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This card is from circa 1908. (SOLD)

Postcard 3 is rare. The card captures Miss Allan wearing a sexually provocative costume. She is covered with jewelry. This postcard was published by Rotary Photo as part of a series (No.11406B). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This card is from circa 1908. (SOLD)

Postcard 4 is a risque vintage postcard that was published by Aristophot. Allan’s photograph was taken by Leopold Reutlinger as part of a series (no.E1586). This Salome postcard has a 1908 postmark. (SOLD)

Postcard 5: Most vintage postcards of Miss Allan, capture her in various risque poses during her performance in “Salome”. This uncommon postcard portrait captures her well dressed and elegant looking. This card is uncommon and was published by Rotary Photo as part of a series (No.4946Y). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This card has a 1906 postmark. (SOLD)

Postcard 6 features Maud Allan in an erotic costume as she plays “Salome”. This postcard was published by Rotary Photo as part of a series (No.4946D). Miss Allan’s photograph was taken by the Foulsham & Banfield studio.  (SOLD)

Postcard 7 was published by Rotary Photo as part of a series (No.4946N). Miss Allan’s photograph was taken by the Foulsham & Banfield studio. This postcard features Allan radiating an aura of refined elegance and timeless beauty. Her attire is a masterful display of Edwardian fashion. She wears a high-necked lace blouse adorned with intricate detailing, lending her an air of sophistication and grace. Over this, she dons a luxurious fur coat that adds richness and depth to her ensemble. Around her neck, a delicate pendant peeks out, suggesting a taste for understated yet exquisite jewelry. Her hat is a work of art in itself, lavishly adorned with roses, feathers, and ornate embellishments. The elaborate design frames her face beautifully, complementing her delicate features. Her hair, arranged in soft, voluminous curls beneath the hat, enhances her classic femininity. Maud’s expression is serene yet captivating, her slightly parted lips and soft gaze conveying both intelligence and an enigmatic charm. Her eyes hold a quiet confidence, suggesting a woman of depth, creativity, and individuality. Altogether, Maud Allan’s appearance in this postcard speaks to her remarkable beauty, not only in her physical features but also in the grace and character she exudes. She appears as a woman who is elegant, enigmatic, and effortlessly captivating. (SOLD) 

Postcard 8 is a portrait of Allan wearing an elaborate costume: strands of pearls draped across her shoulders and chest, a large bejeweled ornament on her bodice, and a pearl headdress with a central jewel resting on her forehead. Her dark hair frames her face, and she gazes with a calm, slightly enigmatic expression. The overall mood of the image is both theatrical and regal, emphasizing her role as a stage performer who often blurred the line between classical dance and sensual spectacle. The postcard was published by Rotary Photo as part of their “Opalette” series. The ornate printed “frame” around the oval portrait adds an additional decorative touch. The postcard has a divided back and there is a handwritten note dated in 1911. The correspondence reads: “How do you like this one, I don’t care much for it myself. I have not many more now. Th. B.R.” It is addressed to a man located in London. (SOLD)

Postcard 9 was published by Rotary Photo and is part of the firm’s Opalette Series. this postcard has a postmark from 1909. (SOLD)

Postcard 10 is a striking Edwardian real photo postcard features Maud Allan, the celebrated dancer and stage performer whose career bridged classical, exotic, and highly sensual performance at the turn of the 20th century. Allan is shown seated in a flowing, classical-style gown, posed against a dramatic seaside backdrop of rocks, surf, and stormy skies. The pose is both poised and emotionally charged, with her gaze turned slightly upward, giving the image a dreamlike, almost mythic quality. She is dressed in a soft, empire-waist gown with loose sleeves and a long, flowing skirt. The styling deliberately evokes antiquity and romantic fantasy, which aligns perfectly with Allan’s reputation for expressive, sensuous dance interpretations rather than traditional ballet technique. Her bare foot and relaxed posture add to the quiet intimacy of the image. The photograph was taken by Leopold Reutlinger, one of the most important and accomplished theatrical photographers of the period. Reutlinger’s portraits of performers are widely collected and appear in museum collections; his work is especially prized for its technical quality and dramatic staging. His signature appears in the image, and the postcard carries the Reutlinger studio mark and serial number E1587, confirming it as part of his commercial theatrical series. This is an Aristophot Real Photo Postcard, as clearly indicated on the reverse. Aristophot Co. Ltd. was a London-based publisher, specializing in high-quality photographic postcards of actors, dancers, and performers. The reverse also notes “Printed in Saxony,” which was common for high-end photographic postcard production during this period. This specific image of Maud Allan is uncommon. The combination of Maud Allan + Reutlinger + Aristophot makes this a particularly desirable postcard. In fact, this photograph of Miss Allan can be found in Britain’s National Portrait Gallery. The postcard in their collection was postmarked in 1909.  SOLD

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MISS DE ROY : PRETTY PERFORMER : MUSIC HALL : CABARET : UNDIVIDED RPPC 1902

This rare vintage real photo postcard features pretty performer, A. De Roy. She looks stunning in her beautiful dress. The card is risque due to her low cut dress. She is identified on the front of the card. De Roy was likely a music hall or cabaret performer. This postcard was published by S. Bluh (SBW) as part of a series (No.437). The firm was located in Vienna, Austria and was the only agent in Austria for postcard publisher Rotophot. The card has a Belgian stamp and was postmarked in 1902. SOLD

TWO BATHING BEAUTIES : RISQUE : BEACH CABANA : PHOTO BY HENRY TRAUT : RPPC

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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

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RISQUE FRENCH NEW YEARS POSTCARD : PRETTY WOMAN : SEE-THROUGH TOP : RPPC

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)

Published in: on March 24, 2026 at 11:30 am  Leave a Comment  

GLAMOROUS FRENCH MODEL : RISQUE BEADED COSTUME : SEMI NUDE : JEAN AGELOU : RPPC

This risque postcard features a sepia-toned image of a striking woman posed in a theatrical, evocative setting. She stands confidently, her body slightly angled, with one leg bent gracefully at the knee. Her scanty attire consists of an ornate, jewel-encrusted bikini-style costume adorned with beads and shimmering details, complemented by a garter on her thigh. She holds a piece of gauzy fabric in one hand, which adds a sense of movement and allure to the image. Her delicate high-heeled shoes contribute to her poised, elegant stance. The woman’s long, wavy hair cascades over her shoulders, framing her face, which exudes a calm, almost introspective expression. Her gaze is soft, directed downward as though lost in thought, lending an enigmatic quality to her overall appearance. This type of postcard, often referred to as a risqué or “boudoir” card, was a popular collectible in the late 19th and early 20th centuries. While such images were considered daring or provocative for the era, they were also widely accepted within artistic and theatrical circles, particularly in Paris and other European cultural hubs. These postcards often featured dancers, actresses, or models and were sometimes used for advertising performances or as keepsakes. This photograph was likely taken by renowned French photographer, Jean Agélou. Agelou is credited with photographing other real photo postcards from this series.  SOLD

MISS MARJORIE VILLIS : RISQUE PORTRAIT OF A STRIKINGLY PRETTY BRITISH ACTRESS

This vintage real photo postcard portrait feature British silent film actress, Marjorie Villis (1891-1981). Miss Villis is quite pretty and has a wonderful smile. This photograph captures her in a risque pose and a risque costume. What an amazing elaborate and busy costume. When I first saw this image, I immediately became motivated to find information about this provocative actress. I met little success in learning about Marjorie Villis. Photographs of her appear to be uncommon, and I could not find the postcard above anywhere online. I did learn that she sat for seven postcard portraits that can be found in the UK’s National Portrait Gallery, All of the portraits were taken by celebrated photographer, Alexander Bassano. The IMDb credits Villis with 15 film roles between 1915 and 1922. Villis was most noted for her roles in “The Rugged Path (1918), “A Romany Lass (1918)”, and  “Brenda of the Barge (1920). She had a relatively short career. I wonder why her career ended so abruptly? The first talkie feature film did not get released until 1927, so we know that, unlike many other silent film stars, Villis was not shut out of the film industry because of an unsuitable voice or foreign accent. This postcard was published by J. Beagles & Company (London)  as part of a series (no.142 J). The wonderful portrait of Miss Villis was taken by S. Ward. This vintage postcard is in very good condition (see scans)

This cabinet card is available for purchase at my store, The History Peddler, for $35.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336231732840