THE CABINET CARD GALLERY

This handsome late nineteenth-century cabinet card presents a formal studio portrait of a family group, likely parents with their three children, posed against an elaborately painted architectural backdrop featuring arches, columns, and draped elements. The composition is carefully balanced, with the seated adults at center and the children arranged standing and seated around them, a conventional and deliberate arrangement that emphasized family unity and social stability during the Victorian era. The father is seated at left, wearing a tailored three-piece suit with vest, bow tie, and neatly groomed mustache, while the mother sits beside him in a high-necked blouse and long skirt, holding a slender object that may be a parasol or riding crop—an accessory sometimes used to lend formality or composure to studio portraits. The children are dressed in refined, period-appropriate clothing: the girls wear high-collared dresses with decorative bows in their hair, and the boy at right appears in a suit with knee-length trousers, stockings, and lace-up boots, suggesting a late Victorian to very early Edwardian date. Their expressions are composed and serious, typical of the era’s long exposure times and social expectations of photographic portraiture. The photograph was almost certainly taken in a professional studio, rather than in a private home, as indicated by the theatrical painted backdrop and controlled lighting. While no studio imprint is visible on the card itself, the style of backdrop, clothing, and posing strongly suggests a North American or Western European studio, most likely in the United States or Canada, where such cabinet cards were extremely popular. Without a photographer’s mark, the exact location cannot be determined, but the aesthetic aligns closely with American studio work of the 1890s. The cabinet card measures approximately 4¼ by 6 1/4 inches, which is slightly taller than the most common standard cabinet card size. This dimension places it very close to what collectors often refer to as a boudoir-format cabinet card or a transitional oversized cabinet, a format that gained popularity in the late 1880s and 1890s for larger, more impressive family portraits intended for parlor display. While not a full boudoir card (which are typically larger still), the proportions suggest a deluxe presentation rather than a basic cabinet card. Based on clothing styles, hair arrangements, and the studio setting, this photograph was most likely taken circa 1890 to 1898. The high collars, structured bodices, and tailored men’s wear firmly anchor it in the late Victorian period, just before Edwardian fashions began to soften silhouettes and lower necklines. SOLD

This compelling real photo postcard presents a formal studio portrait of a young United States Army soldier photographed during the World War I era. The subject is shown from the chest up, wearing a regulation U.S. Army service uniform and campaign hat, with a calm, direct gaze that reflects the seriousness of military service during this period. The image is sharply focused and well lit, allowing uniform details to be clearly observed. Of particular interest are the collar insignia visible on the soldier’s tunic. The crossed symbols on the collar appear consistent with insignia associated with the U.S. Army Medical Department, suggesting that this soldier may have served in a medical or support role rather than in a front-line combat unit. While the precise branch cannot be confirmed with absolute certainty from the photograph alone, the presence of medical-style insignia strongly supports an association with the Army Medical Corps or related service during World War I. The reverse of the postcard provides valuable identifying information. Written in blue ink is the name Elmer A. Martz, along with Lafayette, Indiana, and the notation “Route D.” In this context, “Route D” refers to a rural mail route designation and indicates the mailing address rather than the photographer or studio. Based on standard postcard practices of the era, it is most likely that Elmer A. Martz was the recipient of the postcard, not necessarily the soldier depicted in the photograph. There is no message present, suggesting the card may have been sent as a keepsake or identification portrait. The postcard features an AZO stamp box, a commonly used photographic paper mark. The specific AZO configuration visible on this card dates its production to approximately 1907–1918, which aligns perfectly with the World War I timeframe and further supports the military context of the image. Real photo postcards of identified World War I servicemen—particularly those associated with medical units—are not common. The postcard is in very good vintage condition for its age. The photograph retains strong contrast and clarity, with no creases or tears. There is light, even toning consistent with early 20th-century photographic paper, along with minor edge and corner wear. The reverse remains clean and fully legible. Overall, this is a well-preserved example of a World War I era real photo postcard (see scans).

This cabinet card is available for purchase at my store, The History Peddler, for $32.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336397091835

This striking vintage postcard features a mounted military officer posed on horseback in front of a substantial masonry building, likely a barracks or institutional structure. The officer sits upright and composed, wearing a formal military tunic, high riding boots, gloves, and a peaked cap, with a neatly groomed mustache that was characteristic of European officers in the early twentieth century. The horse is well-tacked and calm, suggesting a formal or ceremonial portrait rather than an action scene. The setting and the deliberate pose indicate that this image was intended as an official or commemorative photograph rather than a casual snapshot. Based on the style of uniform, the cut of the tunic, and the overall presentation, the soldier is most consistent with an Imperial German Army officer, likely cavalry or mounted infantry. The use of a horse, combined with the structured uniform and cap style, places this image firmly in the pre–World War I to World War I era, approximately circa 1905–1915. The absence of later war-era steel helmets and the elegance of the uniform suggest a date closer to the years just before or at the very beginning of the First World War. The postcard was published by Vve G. Hallaux-Mertens, whose imprint appears on the reverse and lists an address indicating the publisher was located in what is today Antwerp, Belgium. This Belgian publisher attribution is particularly interesting given the likely German military subject, reflecting the complex political and military landscape of Europe in the years surrounding World War I. The postcard is printed with a divided back format typical of the early twentieth century. The reverse is unused, with no message or postage, allowing the publisher’s imprint to remain clear and legible. Condition is very good overall for a postcard of this age. The photographic image remains clear with good contrast and strong detail in both the uniform and the architectural background. There is light edge and corner wear consistent with normal handling over more than a century. No creases, tears, or losses are visible, and the postcard presents well both front and back (see scans).

This cabinet card is available for purchase at my store, The History Peddler, for $28.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336384911562

This vintage real photo postcard features pretty film actress, Constance Talmadge (1898-1973). She was a silent film star and the sister of actresses Norma and Natalie Talmadge. Constance was born in Brooklyn, New York. Her parents were poor and her father was an alcoholic who abandoned the family in Constance’s early childhood. Her mother worked as a laundress. Mom’s friend suggested that she should try to get Norma a modelling job in flickers, which were shown in nickelodeons. Mom followed the suggestion and that led all three sisters into acting careers. It also led to mom becoming a stereotypical “stage mother”. Constance made her film debut in a Vitagraph comedy short entitled “In Bridal Attire” (1914). Her first substantive role was in D. W. Griffith’s “Intolerance” (1916). Talmadge became a popular star and appeared in more than 80 films during her career. Many of the films were romantic comedies. She also formed her own film production company. She was friends with Anita Loos, a very successful early screenwriter. Loos said she appreciated Talmadge’s “humor and her irresponsible way of life”. Constance left the film business with the introduction of “talkies”. In fact, all three sisters retired around the same time. Apparently, their squeaky Brooklyn accent was not compatible with sound films. Constance became a successful real estate and business investor. Unfortunately, only a few of her films survive. In some ways, Constance lived a tragic life. She became a reclusive alcohol and drug abuser. She also had many affairs and relationships end badly. She was married four times but never had any children. Her first marriage, to a Greek tobacco importer, lasted two years. Marriage number two was to a Scottish soldier and the couple’s union lasted one year. Her third marriage was only two years duration. The fourth time must have been the charm, as she and her stock broker husband were married about 25 years. The marriage only ended upon his death. In 1973, Constance Talmadge died from pneumonia. This vintage real photo postcard was published by Cinemagazine. SOLD

This uncommon elegant early twentieth-century real photo postcard presents a striking profile portrait of Marjorie Villis, a British actress active during the silent film era. The photograph was taken by S. Ward, whose name appears in the image area, and the postcard was published in Great Britain by J. Beagles & Co. of London, one of the most prolific and respected British postcard publishers of the period. The card bears the publisher’s serial number 142H. The image itself is beautifully composed, showing Villis in a soft, contemplative profile, her gaze lowered and turned away from the camera. Her long, dark hair is styled in gentle waves and partially drawn back with a decorative comb, while a sheer, gauzy fabric drapes delicately over her shoulder, lending the portrait a romantic and ethereal quality characteristic of Edwardian and early post-Edwardian studio photography. The lighting is subtle and refined. Marjorie Villis was born in London in 1891 and became active as an actress in the 1910s, appearing in both stage productions and silent films. Her known film appearances include Sally Bishop (1916) and Brenda of the Barge (1920), placing her firmly within the British silent cinema tradition of the World War I and immediate post-war years. Although not among the most widely remembered stars of the era, Villis represents the large and important class of working actresses whose images were circulated through postcards such as this one, which were avidly collected by theater- and cinema-goers at the time. She lived a long life, passing away in London in 1981. Based on the style of the portrait, Villis’s active years in film, and the known production period of Beagles real photo postcards, this card was most likely produced circa 1915 to the early 1920s, a peak era for celebrity postcards in Britain. The reverse displays the standard J. Beagles postcard back, printed in England. SOLD

This evocative early 20th-century lithographic photograph depicts four children, likely siblings, posed together in a domestic or courtyard setting. The composition is striking for the contrast in age: one older child, standing or seated protectively behind or beside three much younger children, who appear to range from toddler to early childhood. The older child’s posture and expression suggest responsibility and attentiveness, reinforcing the impression of familial hierarchy and care. The children are dressed in simple but carefully chosen clothing typical of the pre-World War I or interwar Jewish diaspora, with modest garments that reflect everyday life rather than studio formality. Their expressions are sober and composed, a common feature of period photography, particularly within Eastern European or immigrant Jewish communities where photographs were often made to commemorate family continuity or to be sent to relatives abroad. Turning to the reverse, the photograph bears handwritten Hebrew text, written in a flowing but economical hand. The inscription appears to be a personal dedication, likely identifying the children or addressing a family member. In narrative translation, the text conveys a sense of familial connection and remembrance rather than a commercial or studio notation, suggesting the photograph was intended as a keepsake rather than a public portrait. Taken together, the image and inscription strongly suggest a Jewish family context, possibly Eastern European or immigrant, dating to approximately the 1910s–1920s. Photographs of this type are historically significant, as they document ordinary Jewish family life during a period marked by migration, instability, and profound cultural transition. The following is an AI translation of the text on the reverse of the photo. The reverse of the photograph bears handwritten Hebrew identifying the children by name and age. Three girls—Chava, Rachel, and Sarah—are listed, along with a fourth child, a baby boy noted as nine months old. The ages are carefully recorded: one child aged eight and a half, another four years, a toddler of one and three-quarters years, and an infant. The place name Petach Tikva is prominently written, situating the family in what was then a Jewish settlement in Mandatory Palestine. The inscription reads as a personal family record rather than a postcard message, likely intended to document and preserve the identities of the children. A brief closing—“From me!”—suggests the photograph was sent as a keepsake to relatives. An English annotation at the top, reading “Aunt Henny’s Children”, appears to have been added later, reinforcing the photograph’s role as a family archive object rather than a commercial image. This photo measures about 3.25 x 5 inches. The photograph presents well overall. The photograph is possibly trimmed at it’s bottom. The image has a crease which can be seen on the seated middle child’s right hand. The handwritten Hebrew inscription on the reverse remains legible and intact (see scans). 

This cabinet card is available for purchase at my store, The History Peddler, for $36.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/236574661382

This evocative early 20th-century photographic portrait depicts three young adults posed in a studio setting, arranged in a classic triangular composition that emphasizes both formality and subtle interpersonal dynamics. The photograph measures 6 ¼ x 4 ¼ inches, a size commonly associated with privately commissioned portraits from the late 1890s to early 1900s, just before the widespread dominance of postcards. The man stands at center, slightly behind the two seated women, resting one arm casually across the back of a chair. He wears a dark suit jacket, a crisp white shirt, and a neatly tied bow tie, topped with a flat cap. His expression is steady and unsmiling, projecting quiet confidence and composure rather than overt warmth—typical of male portraiture of this era, where restraint was often equated with dignity. The two women flanking him are dressed in fashionably structured blouses with high collars, each wearing an elaborate hat that reflects the period’s emphasis on millinery as a marker of style and social standing. The woman on the right appears more reserved, her face calm and serious, eyes directed forward with little visible emotion. The woman on the left, however, is especially compelling. Her expression carries a subtle complexity—a faint, knowing half-smile combined with alert, engaged eyes. Rather than the blank neutrality seen in many studio portraits, her gaze feels self-aware, even slightly amused, as if she is conscious of the moment and perhaps skeptical of its formality. This small emotional deviation gives the photograph much of its charm and individuality. The studio backdrop features a painted decorative scene with ornate scrollwork, lending depth and visual interest without overpowering the sitters. The photograph itself is in very good antique condition, with strong contrast and excellent clarity in facial features and clothing details. No creases, tears, or losses are evident. Overall, this piece displays well and retains significant visual and historical appeal.

This cabinet card is available for purchase at my store, The History Peddler, for $28.00 

Interested collectors may view the listing here:

https://www.ebay.com/itm/236561726141

This engaging real photo postcard captures a large picnic gathering posed around a long wooden table. The scene is identified in caption as a “Picnic Dinner at Stoddard’s Camp, May 30, 1914.” The scene appears to be set beneath a rustic open-sided shelter, likely part of a campground or excursion destination, with heavy timber beams overhead and large rocks visible in the background—details that strongly evoke an early 20th-century recreational camp environment. Seated and standing around the table are fourteen young adults, men and women, most appearing to be in their late teens to early thirties. The men wear period-appropriate shirts, ties, and jackets—some with suspenders—while the women are dressed in modest blouses and long skirts, several accessorized with wide-brimmed hats typical of the 1910s. Their expressions range from relaxed to quietly formal, suggesting the photographer asked the group to pause mid-meal. The table is covered with cups, plates, and food, reinforcing the sense of a communal outing rather than a staged studio portrait. The overall mood is social and intimate, offering a vivid snapshot of leisure culture just before World War I, when group picnics and organized outings were popular among young working adults and social clubs. The shelter structure and natural surroundings hint that this was a known destination rather than a private backyard. In the lower right corner of the image, the photographer credit appears to read “Frasher Photo” followed by a number (possibly “863”). This attribution is consistent with Frasher, a well-known western U.S. photographer active in the early 20th century, particularly in the Pacific Northwest and Intermountain West.  Burton Frasher (1888 –1955) was an influential American photographer and publisher best known for his extensive documentation of the landscapes, towns, and daily life of the American West in the first half of the 20th century. Frasher began his career in photography in 1914 when he established a studio in Lordsburg(now La Verne) California. By 1921, he relocated the studio to Pomona, California, where Frasher shifted his focus toward producing and publishing real photo postcards. These postcards—marketed as “Frasher Fotos”—quickly became popular, capturing scenic vistas, historic towns, and the evolving infrastructure of the West. His work spanned California, Arizona, New Mexico, Colorado, Utah, Nevada, Oregon, Washington, Alaska, and parts of Mexico. The reverse of the postcard is clearly marked “IDAHO” in pencil. There was a Stoddard’s Camp in Idaho, believed to have been a recreational campground (likely in northern Idaho), making Idaho a plausible—though not absolutely confirmed—location for this image. There were  campgrounds in other states that had “Stoddard” in their names. In addition, if Frasher took the photo on this card, it had to be very early in his career since the photo was taken in his first year of business. The question remains, was there another photographer, sharing the Frasher name who operated the same time as Burton Frasher. It is strange though that both photographer labeled their postcards, “Frasher Photos’.  In regard to condition, the image side is in good vintage condition, with strong tonal contrast and clear facial detail. There is a very difficult to detect pin hole at the top center  of the postcard. It is more detectable on the reverse of the card. Notably, there is a patch of tape residue at the bottom center of the reverse, which does not affect the image side. Overall, the card presents well and remains an excellent social-history photograph from the 1910s (see scans).

This cabinet card is available for purchase at my store, The History Peddler, for $18.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/236561664667

Mary Pickford (1892-1979) was a Canadian-American actress and one of the most influential figures in early Hollywood. She was often referred to as “America’s Sweetheart”. She was a pioneer of silent film and a co-founder of the film industry as we know it today. Pickford’s career began in childhood when she performed in theater productions in Canada and the United States. By the early 1900s, she transitioned to film, working with director D.W. Griffith at Biograph Studios. Her delicate beauty and expressive acting quickly made her a fan favorite, setting her apart in an era when exaggerated stage-style performances dominated silent films. During the 1910s and 1920s, Pickford became one of the highest-paid and most beloved actresses in the world. Starring in films such as Rebecca of Sunnybrook Farm (1917), Daddy-Long-Legs (1919), and Pollyanna (1920), she was known for playing wholesome, spirited young women. Her curly hair and signature on-screen innocence became iconic, but she was also a savvy businesswoman who understood the power of her brand. Pickford was not only a star but also a trailblazer in the film industry. In 1919, she co-founded United Artists alongside Charlie Chaplin, Douglas Fairbanks (her then-husband), and director D.W. Griffith. This revolutionary move allowed filmmakers to control their own productions rather than rely on major studios, changing the industry forever. As the film industry transitioned to “talkies,” Pickford retired from acting in the early 1930s, though she continued to produce films. Her contributions earned her an honorary Academy Award in 1976 for her lasting impact on cinema. Mary Pickford’s influence extends beyond her films. She helped shape the star system, paved the way for women in Hollywood, and co-founded the Motion Picture Relief Fund to support struggling actors. She remains an enduring symbol of early Hollywood glamour and innovation. Mary Pickford was born into a working-class family in Toronto, Canada. Her father, John Charles Smith, was an alcoholic who struggled to provide for the family and died from a workplace accident when Mary was just six years old. Her mother, Charlotte Hennessey Smith, was left to raise Mary and her two younger siblings, Lottie and Jack, on her own. To support the family, Charlotte encouraged her children to enter acting, and Mary began performing in theater at a young age. She soon became the family’s primary breadwinner, and her siblings, Lottie Pickford and Jack Pickford, also pursued film careers. Pickford transitioned from theater to film in the early 1900s, quickly rising to fame with her expressive acting and wholesome on-screen persona. By the 1910s and 1920s, she was one of the most recognizable stars in the world, earning the nickname “Queen of the Movies.” She also helped establish the Academy of Motion Picture Arts and Sciences. Mary Pickford was married three times. Pickford’s first marriage was to silent film actor Owen Moore (1911-1920). Her second and most famous marriage was to fellow silent film actor, Douglas Fairbanks (1920-1936). Her third marriage was to actor Charles “Buddy” Rogers (1937-1979). After retiring from acting in the early 1930s, Pickford focused on producing films and philanthropy. She became more reclusive in her later years, struggling with alcoholism and health issues. Today, she is remembered as a pioneering force in cinema history. This is a classic profile portrait of Mary Pickford, photographed in a soft-focus, romantic style that emphasizes elegance rather than celebrity bravura. She is shown in left-facing profile, her gaze cast downward, which lends the image a quiet, introspective quality typical of late 1910s–early 1920s studio portraiture. Her hair is worn long and loosely waved, flowing down her back in a natural cascade — a visual hallmark of Pickford’s screen persona during her peak years. The lighting is gentle and diffuse, carefully modeling her features without harsh shadows, while the dark background isolates her silhouette and heightens the sculptural effect of the profile. She wears a light-colored gown with a soft neckline and a single-strand pearl necklace, reinforcing the refined, feminine image that made her internationally recognizable. The overall effect is idealized and ethereal, very much in keeping with publicity imagery intended for the European market. The postcard was issued by Verlag “Ross,” Berlin, with distribution credited to Transocean-Film Co., Berlin, indicating a German publisher producing authorized star portraits for international film audiences during the silent era. (SOLD)

This vintage color postcard depicts Harman’s Kentucky Fried Chicken, a locally branded early franchise of Kentucky Fried Chicken operating in Phoenix, Arizona during the early 1960s. The image shows a classic mid-century roadside restaurant with bold signage, expansive parking, and exterior lighting designed to attract passing motorists—an architectural style closely associated with America’s postwar car culture. At the time this postcard was produced, Kentucky Fried Chicken franchises were often permitted to incorporate the owner’s surname into the business name, resulting in signage such as Harman’s Kentucky Fried Chicken. This practice was common during the brand’s early expansion under Colonel Harland Sanders, before later corporate standardization phased out most locally branded names. The postcard was published by Dexter Press for the Phoenix Specialty Advertising Company and photographed by Tom Reed. Based on Dexter’s internal coding system, the card dates to circa 1963, placing it squarely in the formative era of KFC’s national growth. Evidence suggests that at least two Harman’s Kentucky Fried Chicken locations operated in Phoenix, making this card an especially interesting record of early fast-food franchising in the Southwest. The reverse is a standard Dexter Press divided-back format, printed for souvenir and promotional use. Cards like this were often sold at the restaurant or nearby tourist outlets. This postcard is in very good vintage condition. The card features a clean image with strong color and contrast. There is light corner wear consistent with age. There are no creases or tears. The reverse remains clean and legible. Overall, this is a well-preserved example that displays well (see scans).

This cabinet card is available for purchase at The History Peddler for $22.00 at auction

Interested collectors may view the listing here:

https://www.ebay.com/itm/236566876440