This is a wonderfully candid-feeling group portrait of six young women taking a breather from a game of croquet. They’re perched across a slatted garden bench beneath a big shade tree, each with a mallet either resting in her hands or propped against the seat. Two straw hats—one a jaunty boater—sit on the bench like time-capsule props. Nobody is posing stiffly; there’s the relaxed camaraderie of friends who’ve been laughing and competing all afternoon. Clothing helps date the scene to the late 1890s–very early 1900s. We get classic leg-of-mutton sleeves, high collars, pin-tucked bodices, and waist belts, with hair dressed up in the fashionable pompadour style. The woman at left looks off with a serious “game face,” the two standing in the middle wear tiny, knowing smiles, and the two seated in front give us the best expressions: one cool and composed with her mallet across her lap, the other glancing sideways with a mischievous, almost conspiratorial look. It’s easy to imagine them as a local club, sisters, or classmates—Victorian sport as social life is exactly what made croquet so popular.(SOLD)
These vintage real photo postcards extol the glory of war. We see images of a cute little boy playing with his toy soldiers. Above him, we see an image of a smiling World War I soldier looking down on the young lad. Perhaps these photographs can be interpreted as a soldier at war fondly remembering his days playing with toy soldiers. A second interpretation may be that a little boy is fantasizing fighting in a “real war” while he is playing with his militaristic toys. It is clear that these photo postcards were aimed to stimulate feelings of patriotism during a time of war. Many generations of young boys have had a skewed view of war. Fighting wars has been viewed as glorious and exciting. One teenager once told me that he didn’t want to live his life without having the experience of going to war. When these young boys (and in present times….girls) grow up and become participants in warfare, they realize that the fantasy is nothing like the reality. These postcards are an example of propaganda meant to garner support for France, it’s policies, and it’s troops. These postcards were published in France and are part of a series (0 549). (ALL THREE POSTCARDS SOLD)
Santa Claus poses for this studio photograph by McCormick & Heald of Boston, Massachusetts. The studio was located on the appropriately named, Winter Street (#22). Santa has long whiskers, long hair and a lengthy beard. He is in the midst of a disorganized collection of toys. It appears as if Santa’s sled came in for a rough landing and spilled out much of its contents. Cabinet Card photographs of Santa are quite unusual. Information printed on the reverse of this photograph reveals that the image was produced for Christmas, 1880. To view other photographs by McCormick, click on the category “Photographer: McCormick”. SOLD
This evocative real photo postcard, written and dated 1925, presents a beautifully staged studio portrait of a very young child posed behind an elaborate miniature world of toys—an image that feels both intimate and faintly theatrical, as was common in European children’s portraiture of the interwar period. Spread carefully across the tabletop in front of the child is an impressive assortment of early 20th-century toys, each rendered with remarkable clarity. On the left stands a wooden pull horse on wheels, its form sturdy and utilitarian, likely hand-painted. Nearby is a small toy donkey or horse mounted on a simple wheeled frame. At center is a miniature cart with large spoked wheels, suggesting rural life and transport—imagery deeply familiar to Eastern European households of the era. To the right appears a toy goat or sheep, delicately harnessed, positioned near a detailed model boat complete with mast and rigging—an ambitious and unusual toy that adds narrative complexity to the scene. Also visible are tiny toy houses, a small lidded container or barrel, and a painted doll figure standing upright at the far right, dressed in what appears to be a sailor-style outfit. Collectively, these objects create a miniature village or imagined world, emphasizing themes of childhood, play, and aspiration. The child—identified in the message as two years and eight months old—stares directly at the camera with a solemn, almost uncanny composure, heightening the emotional impact of the image. The photograph is warm-toned and evenly exposed, suggesting professional studio work rather than a casual snapshot. This postcard is not only visually compelling but also richly documented, with a handwritten message on the reverse that firmly anchors it in time and place. The following is the English translation of the message on this postcard: “We offer you, as a keepsake and souvenir, the portrait of our son. Ovidiu Radian (Mleanu) 2 years and 8 months old Ismail, May 1, 1925.” The postcard is addressed to a family in Romania. The card originated from Ismail, a particularly important location historically. In 1925, Ismail was located in Basarabia, a region that at the time was part of Greater Romania (1918–1940). Today, Ismail is located in modern-day Ukraine. The postcard is in very good antique condition for a 1925 real photo postcard. The image remains strong with nice tonal depth. Light surface/handling wear consistent with age. The reverse shows expected age toning and a faint circular postal marking, along with the handwritten message. There is only minor corner/edge wear (see scans).
This cabinet card is available for purchase at The History Peddler for $68.00 or best offer
Seated on a small toy piano, a young girl gazes directly into the camera with a serious, almost puzzled expression. Her light-colored coat, featuring large buttons and a Peter Pan collar, suggests a chilly season. Her dark stockings contrast sharply against the crisp fabric of her coat, and her slightly scuffed lace-up shoes hint at a child often at play. Her blonde hair, parted slightly to the side, is adorned with a large white bow, a common fashion accessory for young girls of the era. Beside her, a well-loved wooden wagon carries an assortment of cherished toys. A china-head doll dressed in a long, slightly tattered gown sits upright, her delicate painted face conveying a timeless charm. Next to her, a worn plush teddy bear with jointed limbs lounges against the wagon’s edge, its fur thinned from years of companionship. A smaller doll, with a cloth body and a painted bisque head, rests in a heap, suggesting it may have been hastily placed there before the photo was taken. Behind the girl, the toy piano upon which she perches adds a striking visual element. The intricate decals and ornate detailing on its wooden frame indicate it was once a prized plaything. Its keys, some appearing slightly askew, reveal the signs of youthful enthusiasm. The setting appears to be an outdoor porch or wooden structure, the horizontal planks of the wall providing a rustic backdrop. The natural light casts soft shadows, enhancing the depth and character of the image. The reverse side of the postcard features a typical divided-back design, indicating it dates from the early 1900s. A faint handwritten inscription reads “Frank B’s little girl”. Franks’s last name is likely “Binder”. The handwriting is delicate and slightly faded, but still legible. SOLD
This vintage photograph features a child sitting in an antique toy wooden pedal airplane. The plane has a propellor and it’s pedals are clearly visible in the photo. This vintage photograph measures about 3 1/2 x 4 7/8 inches. SOLD
An adorable little boy with a big bow tie poses with a ceramic dog and a toy rifle at the Goebel studio in St. Charles, Missouri. Rudolph Henry Goebel (1835-1923) was born in Germany and came to the United States in about 1856. Upon arrival, he quickly began his career as a daguerreotype artist in St. Charles. He married Emille Julia Dyer (1836-1912) who was also an immigrant from Germany. The couple had six children. Goebel continued to work as a photographer according to census data. In the late 1870’s, Goebel began working as a travelling photographer in area around St. Charles. He did both scenic views as well as portraits. He also worked as a school photographer in St. Charles. He retired sometime between 1915 and 1920. A photograph of, and photographs by Goebel can be seen at the Missouri History Museum. This cabinet card portrait is in good condition (see scans).
Buy this Cabinet Card Photograph (includes shipping within the US) #6397
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Buy this Vintage Original Cabinet Card (includes International shipping outside the US) #6397
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This vintage divided back real photo postcard features two young girls flying an airplane. The plane is of the photo studio variety. The girls, judging by appearance, are presumably sisters. Although it is not uncommon to see a studio airplane on a postcard, this particular plane prop is uncommon. (SOLD)
This vintage real photo postcard features two well dressed and adorable siblings and their rocking horse. The youngest child is sitting in the saddle. Note the detail of the horse. The toy horse also has a harness and reins. This likely one-of-a-kind photo postcard was made by a private studio. SOLD
The caption under the photograph on this holiday greeting real photo postcard wishes the recipient a “Happy Christmas”. Two adorable children are standing under a copiously decorated Xmas tree. The kids are accompanied by a large doll and a toy sail boat. This French postcard has a French stamp affixed to the front of the card. The card has a 1908 postmark. The postcard was published by PC as part of a series (No.4013) and is in very good condition (see scans). SOLD
POSTCARD 2 (SOLD)
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