This striking vintage postcard features a classic nude portrait by celebrated Parisian photographer Lucien Waléry, whose name appears here in reverse as “YrélaW” — a common practice he used to subtly obscure his identity on more provocative works. The image is numbered 1088 in the lower right corner, indicating it was part of a larger, collectible series. The young model is posed in an artful semi-recline, one hand supporting her as she leans back against a textured curtain backdrop. She appears relaxed yet lively, her head turned to the side as she offers a gentle, playful smile. Her hair is dark, voluminous, and naturally wavy, framing her face with softness. Her expression conveys youthful confidence with an air of ease — not coy or provocative, but serene and open, as though caught in conversation or reacting to someone just out of frame. The pose emphasizes the natural curves of her body, rendered with artistic sensitivity in the soft lighting typical of Waléry’s photographic style. Though nude, the model is not sexualized in a gratuitous way; the tone is classical and aesthetic, clearly intended as fine art rather than erotica. Lucien Waléry was the pseudonym of Stanisław Julian Ignacy Ostroróg (1863–1929), a French-born photographer of Polish descent. He came from a line of photographers — his father was also a notable portraitist — and worked during the height of the Belle Époque and Art Deco periods in Paris. Waléry’s photography specialized in glamour, cabaret performers, and nude or semi-nude models, often featuring stars of the Folies Bergère and other Parisian revues. His studio attracted both high-society clientele and show business personalities. While many of his portraits were openly credited, he used backwards spellings of his name (YrélaW or similar variations) for his nude and risqué imagery — a clever form of self-censorship and anonymity designedto navigate laws and cultural norms concerning modesty and pornography in early 20th-century Europe. His works were widely reproduced as postcards, photogravures, and portfolio prints, making them highly collectible today.(SOLD)
Postcard 1 is a risque original real photo postcard (RPPC) featuring Miss Kitty Malone, an early 20th-century stage performer or model. Malone is wrapped in a tight gown that accentuates all of her curves. The postcard was produced by Rapid Photo Co. in London, with the photograph taken at Dover St. Studios. In the image, Miss Kitty Malone strikes a dramatic pose, wrapped in a flowing, textured gown reminiscent of Grecian or theatrical costume styles. Her long, voluminous dark hair cascades down her shoulders, framing her striking face. She gazes directly at the camera with an intense and almost mysterious expression, her lips slightly parted. Her arms are lifted behind her head, adding to the dramatic, posed aesthetic that was characteristic of early Edwardian stage and artistic photography. This postcard is part of a series and numbered 2676 . This antique real photo postcard (RPPC) was postally used and sent in 1908. It features a green half-penny King Edward VII postage stamp, which was commonly used in the early 20th century for domestic postcards. The handwritten message is addressed to Miss V. Green and is written in black ink in elegant cursive handwriting. The sender, signed as “Aunt Emma”, writes to Violet, mentioning that she has received a postal order (P.O.) safely and hopes Violet and her mother are doing well. She asks if Violet’s mother has any homemade wine available and requests that she let her know by Sunday so she can send for a bottle. Aunt Emma also states that she will send money so it can be delivered by carrier on Wednesday, mentioning that she finds it beneficial for herself and thought Violet’s mother might feel the same. SOLD
Postcard 2 is a risque vintage postcard, published by Rotary Photo and numbered 1945G in the series, features Miss Kitty Malone in an elaborate theatrical costume. This card earns the title of risque because Miss Malone’s top is exceedingly short, exposing much of her legs. The photograph was taken by the renowned Foulsham & Banfield studio. Miss Malone is dressed in an ornate, short tunic-style dress adorned with intricate embroidery and decorative trim. The outfit is cinched at the waist with a bejeweled belt, and she wears sheer, flowing sleeves that drape elegantly from her arms. She also sports shimmering stockings, one of which is embellished with a delicate garter, and dainty, pointed shoes. Her regal headpiece, topped with tall, white feathered plumes, adds to the opulent and theatrical nature of her attire. Her expression is warm and confident, with a slight smile and a poised demeanor. She gazes directly at the camera, her head tilted slightly to one side. Her dark, voluminous hair is styled in an elegant updo, framing her face beautifully. Her pose, with one hand resting on her hip and the other raised near her face, conveys a sense of grace and charisma, suggesting she was a performer or stage actress. The background of the image is softly blurred, allowing the intricate details of her costume and expression to stand out. The overall aesthetic of the postcard captures the glamour and theatrical style of the era. SOLD
This French vintage nude real photo postcard features a pretty young woman model. Her facial expression can be described as alluring. This photograph is meant to titillate. The young woman is scantily dressed. More of her body is exposed than covered. She is wearing bed clothes, a negligee to be exact. This risque photographic portrait was published by celebrated photographer, Jean Agelou (1878-1921), as part of a series (No.D107). 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
This vintage real photo postcard features a pretty young woman posing with her guitar. Her plunging neckline makes this a risque postcard. The card was published by Adolph Engel (Berlin, Germany) and is part of a series (No.2504/4). SOLD
This vintage real photo postcard features an unidentified pretty performer. She is posed like a dancer. This is a risque postcard. She is wearing a flesh colored body suit and is posed in a provocative manner. The model on this card was likely a minor player based on the fact that she is not named on the postcard. This photo was taken at the studio of A. Liebert, in Paris, France. The Getty Museum, located in Los Angeles, California, as well as other fine museums, have photographs in their collections by Paris photographer, Alphonse J. Liebert (1827-1913). Many of his Parisian subjects were actresses. Perhaps Miss Lesian is one of those actresses. Mr. Liebert has an interesting story. He was a photographer in Nevada City, California (1857-1862), and later, operated in Paris (1863-1890’s). He was born in France. He became an officer in the French Navy. He left the navy in 1848 to study daguerreotypy. He must have reenlisted in the navy because In 1851, he arrived in San Francisco, as a Lieutenant on a French ship. This was a time when there was much excitement about Gold mining. As a result, there was a mass desertion of the ship’s crew. The sailors joined the rush for gold. Liebert had in mind, his own venture. He and two partners decided to take on the project of refurbishing a steamship. They sought investors and hired workers to transform the ship. However, due to the partners inexperience, the venture failed. Liebert than tried gold mining but met little success. In 1857 he opened a photo gallery in Nevada City. He lost thousands of dollars after a fire in 1858. In 1859 Liebert ridiculed a former photography pupil of his, named Louis Celarie, in the press. This started a bitter professional feud. Soon after, Liebert announced that he had won a medal at the state fair. Unfortunately, there was no evidence to confirm this claim. The competition between Liebert and Celarie was fierce. Each offered special promotions to best the other. By 1861, Liebert triumphed, evidenced by the sale of Celarie’s studio. About a year later, Liebert sold his photo gallery. By 1863, he had returned to France and opened a gallery specializing in tintypes. Liebert closely identified with his photography experience in America, and as a result, he named his Paris gallery “Photographie Americaine”. Liebert began to write photography articles and books, and ultimately, invented a prototype solar camera. In 1867, Liebert had a problem with the law. He was sentenced to two months in prison and levied a fine of 200 francs. He was charged for the intent to distribute banned post mortem photographs. These were not photos of some random person. Instead, they were images of Emperor Maximillian, who had been executed in Mexico. Liebert ultimately did exhibit these photos. Liebert was becoming more and more successful. His photo gallery was so lavish that a reviewer for the British Journal of Photography wrote that it was “worthy of the smiles of the ‘God of Light’, and a repository for some of the best productions of the photographic art”. In 1879, Liebert’s gallery was the first studio to utilize electric light. By 1880, he was considered to have the most impressive photo studio in Paris. . The card was published by Star or Etoille Publishing (Paris). This postcard image was created by a process called “emaillographie”. It is interesting to note that the first five letter of the process are “email”. This postcard was part of the V B C series (No.3063). SOLD
This vintage real photo postcard features a pretty young woman posing with her guitar. Her plunging neckline makes this a risque postcard. The card was published by Adolph Engel (Berlin, Germany) and is part of a series (No.2504/4). SOLD
This French vintage nude real photo postcard features a pretty young woman model Her facial expression can be described as alluring. This photograph is meant to titillate. The young woman is scantily dressed. More of her body is exposed than covered. She is wearing bed clothes, a negligee to be exact. This risque photographic portrait was published by celebrated photographer, Jean Agelou (1878-1921), as part of a series (No.D107). 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
This uncommon color tinted vintage real photo postcard features pretty and buxom French performer, De Dionne. Some research is required to learn biographical information about her. I found another postcard of this performer and the caption revealed that she had performed at the Theatre du Chatelet in Paris. This postcard was published by Royer. The firm was located in Nancy, France. The photographer of De Dionne’s photo seen on this card was J. Oricelly (Paris). SOLD
This original real photo postcard (RPPC) features a risqué French flapper secretary in a provocative pose atop her wooden desk, an old-fashioned typewriter at her fingertips. Dressed in a short, dark dress with a white collar and cuffs, her outfit flutters open to reveal her stockings, garter, and lacy undergarments, making this a bold, flirtatious workplace fantasy from the 1920s or early 1930s. Her wavy bobbed hair, softly curled, frames her face, giving her that quintessential Roaring Twenties allure. Her sultry gaze and playful smirk suggest she’s in on the joke, making eye contact as she teasingly holds a piece of paper while perched suggestively on the desk. A product of its time, this image glorifies the “sexy secretary” trope, something that today would be seen as wildly inappropriate in the #MeToo era. Back then, however, this pin-up style was considered both cheeky and glamorous. (SOLD)
Vintage real photo Postcard 1 features a portrait of the multi talented actress, dancer, and singer, Gaby Deslys (1881-1920). Miss Deslys performed at the beginning of the twentieth century in both Europe and the United States. She was extremely popular worldwide. In fact, she was able to earn four thousand dollars a week when performing in the United States. She performed several times on Broadway. She had a dance named after her, “The Gaby Glide” (1911). You can find the sheet music, with Gaby on the cover, elsewhere on ebay. Her love life was the topic of much public gossip. She probably added to the sensationalism surrounding her by posing in a number of risque postcards. She was courted by many wealthy and powerful men, including the King of Portugal. Her life was cut short by the “Spanish” influenza. Postcard 1 is not at all common. It was published by E. A. Schwerdtfeger Company of London and printed in Berlin (no. 0291/1). The company also had an office in New York (opened in 1910). This publishing house printed many different types of real photo postcards but was known for its hand-colored real photo postcards of actresses and fashionable women in exotic costumes. The photographer was the Talbot studio. The creator of Miss Deslys’s hat is also credited (Lewis). This particular real photo postcard stands out because it offers a colorized and very clear view of this beautiful and talented performer. SOLD
Postcard 2 was photographed by Edouard Stebbing. He was active in Paris between 1890 and 1910. Stebbing taught at a University in Paris and invented the stebbing camera, and was known for his work with emulsions. It is reported that he was friends with the artist Monet. He died in 1914 and his wife (Celestine) died five years earlier. Stebbing was a prolific photographer during the Belle Epoque Paris. He appears to have been an expatriate from England. He published many articles in British Photographic journals. Stebbing photographed many theatrical stars. A frequent publisher of these postcards was Monsieur G.Piprot, of “Etoille” or “Star” publishing in Paris. The “Photographic Times and American Photographer” (1883) cited Stebbing as “one of the bright lights of the French Photographic Society. The card has a 1908 postmark. SOLD
Postcard 3 is not common. It was published by Rotary Photo of Great Britain as part of a series (no.11843 A). This postcard portrait was taken by the Foulsham & Banfield studio. Gaby Deslys was certainly a beautiful and talented performer. SOLD
Postcard 4 was published by Rapid Photo of Great Britain as part of a series (no.4245). The company was active between 1901 and 1910. The firm specialized in taking theatrical portraits and was located in London. This postcard portrait was taken by the Bassano studio. SOLD
Postcard 5 was published by Raphael Tuck & Sons of Great Britain as part of the Celebrities of the Stage series (no.T745). The company produced a variety of postcards including an extensive catalog of celebrity (stage and screen) portrait postcards. The firm began publishing this Deslys postcard in 1903. Miss Deslys was photographed by Dover Street Studio for the portrait seen on this postcard. (SOLD)
Postcard 6 was published by J. Beagles of Great Britain as part of a series (no.70H). This real photo postcard is uncommon. This risque vintage real photo postcard features Deslys wearing a provocative costume for her time. She is flashing an infectious smile. Note her corset assisted wasp thin waist.
Postcard 7 was published by Societe Industrielle de Photograpie (SIP) of Rueil, France, and is part of a series (no.1537).The photographer was Edouard Stebbing who was active in Paris between 1890 and 1910. Stebbing taught at a University in Paris and invented the stebbing camera, and was known for his work with emulsions. It is reported that he was friends with the artist Monet. He died in 1914 and his wife (Celestine) died five years earlier. Stebbing was a prolific photographer during the Belle Epoque Paris. He appears to have been an expatriate from England. He published many articles in British Photographic journals. Stebbing photographed many theatrical stars. This real photo postcard is uncommon. (SOLD)
Postcard 8 is an uncommon vintage real photo postcard. It was published by Davidson Brothers of Great Britain. Davidson Brothers was located in both London and New York City. The firm operated between 1901 and 1911. (SOLD)
Postcard 9 has a portrait taken by esteemed celebrity photographer, Leopold Reutlinger. This real photo postcard is very uncommon. Gaby Deslys was certainly a beautiful and talented performer. (SOLD)
Postcard 10 is not at all common. It was published by Rotary Photo of Great Britain as part of a series (no.11843 C). This postcard portrait was taken by the Foulsham & Banfield studio. SOLD
Postcard 11 captures Deslys in a pose that blends theatrical glamour with unabashed sensuality. Reclining languidly on a divan, Deslys gazes directly into the camera with a confident, coquettish smile. Her expression, both inviting and self-assured, evokes the knowing charm that made her a sensation on both sides of the Atlantic. She is dressed in a diaphanous, low-cut gown adorned with delicate lace and sparkling embellishments. The sheer fabric reveals the contours of her form beneath, and the bodice dips dramatically to showcase her décolletage. A garter peeks out from beneath the hem of her dress, holding up one of her stockings—a provocative detail that contributes to the postcard’s risqué nature. At a time when societal norms placed great emphasis on modesty, such a revealing pose and costume would have been seen as daring, bordering on scandalous. Her hair is crowned with a wreath of artificial flowers, emphasizing both her stage persona and the romanticized ideal of feminine beauty in the Belle Époque. Every detail of this image—from the suggestive pose to the luxurious styling—speaks to Deslys’ identity as a performer who captivated audiences not just with her talent, but also with her bold charisma and sex appeal. The card is numbered 4361 N and was published by Rotary Photo, E.C., a major British publisher known for high-quality celebrity postcards. The photograph itself was taken by Foulsham & Banfield, Ltd., a prominent London studio located at 49 Old Bond St. W, famed for its theatrical portraits.
THE CABINET CARD GALLERY 