THE CABINET CARD GALLERY

This striking French vintage postcard features an elegant early 20th-century artistic nude study, photographed in the refined continental style popular in Paris before the First World War. The image shows a reclining young woman posed on a richly upholstered chaise longue, her body partially draped with tulle fabric. She holds a three-panel folding mirror, creating a captivating visual effect as her reflection appears from multiple angles. Her expression is relaxed and absorbed, as if admiring her reflection in a private boudoir moment. The photographer has arranged the scene with great care—soft lighting, painterly shadows, and the ornate studio backdrop all work together to evoke classic French glamour photography of the Belle Époque and early Art Deco period. The number “136” appears in the lower right corner of the card, a typical cataloging mark of French postcard studios known for producing tasteful figure studies intended for artists, collectors, and students of drawing. The sepia tone heightens the vintage aesthetic and reflects the warm printing style used in many early 1900s French photographic ateliers. This card is unposted and has a blank reverse, consistent with collectible “carte photo” nudes of this era. (SOLD)

This rare vintage French postcard features A. R. Spittler, the director of the Grand Cirque Helvetia (The Great Swiss Circus(, in a formal portrait with two of his performing dogs. Seated in a studio chair, Spittler wears a dark three-piece suit and gazes directly at the camera with a composed, confident expression. At his side sits a large, muscular dog—likely a mastiff-type—while another dog, with a wiry coat and long muzzle, reclines at his feet. The image exudes a quiet dignity, reflecting both the man’s role as circus director and the close bond between trainer and animals. The upper right of the card is printed with: “Grand Cirque Helvetia – A. R. Spittler, Directeur”. The reverse side is a standard French divided back. The card is unused and unposted. Historical records indicate that A. R. Spittler was an early 20th-century circus impresario, active around 1910. He operated under the banner “Nouveau Cirque Helvetia”, touring parts of eastern France with a two-mast big top tent of approximately 40 meters in diameter. Known for his animal acts and refined presentation style, Spittler’s productions combined traditional circus spectacle with a focus on quality performance and visual appeal. Postcards like this one served as promotional souvenirs for attendees.  (SOLD)

This cabinet card features a formal portrait of three individuals—two women and a boy—accompanied by a dog. The setting appears to be a professional photography studio, with a painted backdrop and a patterned floor covering. The young boy is dressed in a Western-style outfit, wearing a light-colored jacket, knee-length pants, tall socks, and a newsboy-style cap. His expression is neutral, and he holds his hands in front of him in a composed stance. The standing woman in the center wears a dark kimono with a traditional obi sash. Her hair is styled in an elegant updo, characteristic of the late Meiji or early Taisho period. She maintains a composed yet confident expression, resting one hand gently on the seated woman’s shoulder. The seated woman on the right wears a lighter-colored kimono with a darker obi. She has a calm expression and a poised posture, with her hands delicately resting in her lap. The dog, sitting in front of the group, is a medium-sized breed with a short coat. Its head is slightly tilted, giving it an endearing expression. The reverse side has handwritten Japanese inscriptions, adding to its historical interest. This cabinet card likely dates to the late Meiji period (circa 1895–1912) or early Taisho period (1912–1926), based on clothing style and photograph format. (SOLD)

This item is a charming and visually striking cabinet card photograph of a young boy dressed in a sailor suit, posed at the helm of a ship’s wheel against a painted maritime backdrop. The child stands confidently as if steering a vessel, a popular and highly collectible studio theme of the late 19th century that reflected America’s fascination with naval power and seafaring life. This image was produced by Charles McMillan (Solano Art Studio). McMillan was one of the leading photographers in Vallejo, California, during the cabinet card era. Born in Canada in 1853, he began his career in Chicago before relocating to California in 1879. He eventually settled in Vallejo, where he established a successful studio. Vallejo itself holds a significant place in California history. Located in Solano County in Northern California, just northeast of San Francisco, Vallejo was an important naval and transportation hub during the late 19th century. It had earlier served briefly as the state capital in the 1850s and later became closely tied to maritime activity. The nautical theme of this photograph is therefore particularly fitting for Vallejo, reinforcing the connection between the studio setting and the maritime culture of the area. The boy’s sailor outfit—complete with cap, lanyard, and dark uniform—combined with the ship’s wheel prop and painted ocean backdrop, creates a wonderfully evocative and timeless image. The inclusion of a fur rug beneath his feet, a common studio prop of the period, adds an interesting and incongruous contrast to the otherwise maritime illusion. The cabinet card is in very good antique condition. The photograph remains strong with good contrast and pleasing sepia tones. There is minor corner wear. The mount is clean and the reverse is blank. See Scans.

This vintage cabinet card photograph is available for purchase at my store, The History Peddler, for $75.00 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336530724371

This rare and visually rich real photo postcard (RPPC) offers a crisp and detailed streetscape view of Cheboygan, Michigan, likely photographed in the late 1920s to early 1930s, based on the style of the automobiles parked along the brick-paved main street. The photo captures a classic American downtown, with storefronts, signage, and vintage vehicles creating a vivid snapshot of small-town life between the World Wars. Electric streetlight wires crisscross above the street, adding charm and historical character. On the left side of the street, visible businesses include: Levine & Co. – offering “Ladies & Gents Furnishings” and Furniture, Briscott & Johnson Shoes – M.L. Elvey,  Pontiac Auto Sales – under a hanging Oakland Pontiac sign, J. Post Hardware, and a Used Parts for Cars and Auto Wrecking garage. On the right side one can see signs for: Michelin Auto Sales, Hudson and Essex Sales & Service, and a prominent brick building, likely the U.S. Post Office, flying an American flag.  Also visible farther back are: J. Post Hardware Co., Rapin-Hirsh Clothing Company, and a Drug Store, barely visible beneath an awning. This view features a bustling commercial corridor, showcasing American small-town commerce in a transitional era when automobiles were beginning to dominate main streets across the country.  Cheboygan is a small city in northern Michigan, located at the mouth of the Cheboygan River where it empties into Lake Huron. It sits just southeast of Mackinaw City, making it part of the gateway region to Michigan’s Upper Peninsula. Historically, Cheboygan was a center of the lumber trade and later developed a strong tourism and boating culture due to its proximity to the Great Lakes.  SOLD

This cabinet card photograph features a portrait of beautiful stage and film actress, and businesswoman, Maxine Elliott (1868-1940). The photograph was taken in 1901 by Burr McIntosh at his New York City studio. The photograph captures her in costume playing “Portia” in William Shakespere’s “The Merchant of Venice”. Elliott was more than a stage actress. She managed her own theater and experimented with silent films in the 1910’s. Elliott was an extremely popular actress. Apparently she was popular with the men too. It is thought that she had affairs with famous people including King Edward VII and J. P. Morgan. It is also reported that she dated baseball hall of famer, John Montgomery Ward and heavyweight champion Gentleman James Corbett. During World War I she was very involved with the cause for Belgian relief. Elliott was born in Rockland, Maine. Her father was a sea captain. She had at least three siblings including her sister Gertrude Elliott, who also became a successful actress. When Maxine was 15, she was seduced and impregnated by a 25 year-old man. She may or may not have married the man but it is known that she lost the baby. In 1890 she made her first stage appearance. Her big break came in 1895 when she was hired by Augustin Daly to be the supporting actress for the highly acclaimed actress, Ada Rehan. In 1898, after divorcing husband number one, she married comedian Nat C. Goodwin. The two starred together in a number of productions including “Nathan Hale” and “The Cowboy and the Lady”. In 1903, Maxine appeared in the Broadway production of “Her Own Way” (1903). The play launched Maxine into stardom. In 1905, the play went to London where King Edward VII requested an introduction to the pretty actress. They met and then rumors started about the pair having an intimate relationship. In 1908, Goodwin obtained a divorce from Elliott. This is about the time she met 70 year-old J. P. Morgan. They became friends and rumors of their romantic involvement were never confirmed. Financial advice from Morgan helped her become a wealthy woman. The same year as her divorce, she opened her own theater, “The Maxine Elliott” in New York City. She was both the owner and the manager. In fact, she was the only woman in the US, at the time, managing her own theater. In regard to acting on Broadway, Elliott had an extensive resume. She appeared in 22 Broadway productions between 1894 and 1920. In 1913, she began acting in silent films. The IMDb reports that she was in five films including “From Dusk to Dawn” (1913), “Fighting Odds” (1917), and “The Eternal Magdalene” (1919). In 1913, Elliott went to England and started dating tennis star Anthony Wilding, fifteen years her junior. According to one source, the pair planned to marry, but he was killed in action in World War I. As a result, Elliott became obsessed with the war and moved to Belgium where she volunteered her money and time toward Belgian relief. It is reported that she also nursed wounded soldiers. Belgium recognized her by awarding her the Belgian Order of the Crown. Elliott retired from the stage in 1920. She stated that she “wished to grow middle-aged gracefully”. This cabinet card portrait features a young and beautiful Maxine Elliott. The photographer of this image is Burr McIntosh of New York City. William Burr McIntosh (1862-1942) lived an interesting life. Among his job titles listed by Wikipedia, are photographer, lecturer, film studio owner, silent film actor, publisher of the “Burr McIntosh Monthly”, reporter, and radio and early film pioneer. His sister was Nancy McIntosh, a noted operatic soprano. He was a graduate of Lafayette College in 1884. His most noted film role was his appearance in D. W. Griffith’s film, “Way Down East” (1920). Wikipedia notes that he appeared in 53 films between 1914 and 1934.  This image is a beautiful remnant of turn of the century Broadway theater history. The cabinet card measures about 4 1/4 x 6 5/8 inches, has excellent clarity, and is in very good condition (see scans). 

This vintage cabinet card photograph is available for purchase at my store, The History Peddler, for $85.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/236228922842

This appealing real photo postcard captures a classic mid-20th-century American street scene along Route 40 in Beallsville, Pennsylvania, showing a gently sloping roadway lined with utility poles, storefronts, residences, and several period automobiles. The photographer positioned the camera looking down the hill, giving the image depth and a strong sense of everyday life in a small Pennsylvania town during the late 1930s to early 1940s. Dominating the left foreground is a substantial frame house with a raised porch and exterior staircase, likely a mixed residential or residential-commercial structure typical of small Route 40 communities. The street itself is active but unhurried, with cars parked curbside and others traveling in the distance, reinforcing the postcard’s documentary quality rather than a staged or promotional feel. Two parked cars are clearly visible in the foreground. One is a larger sedan (left) that appears to be a late-1930s Chevrolet Master or Master Deluxe, likely circa 1939–1940.  The second car is a smaller sedan (right) which is likely a late-1930s Plymouth or Dodge, circa 1938–1940. Additional vehicles farther down the street also appear consistent with late-1930s to early-1940s American automobiles, reinforcing the proposed dating. Beallsville is a small borough located in southwestern Pennsylvania, in Washington County, near the Monongahela River valley and not far from the West Virginia border. The town lies along U.S. Route 40, historically known as the National Road, one of the most important early transportation routes in the United States. Beallsville was established in the 19th century and developed as a modest service and residential community supporting regional coal mining, agriculture, and transportation traffic along Route 40. Like many towns along the National Road, it benefited from steady automobile traffic well into the mid-20th century. The postcard nicely reflects that era, when Route 40 still functioned as a vital commercial artery before the rise of the Interstate Highway System. The reverse of the postcard is postally used and bears two green 1¢ George Washington stamps. The card has a Romney, West Virginia postmark.  (SOLD)

This charming vintage photograph measures approximately 6 x 4 inches and features a beautifully composed portrait of two children, likely a brother and sister, posed together in what appears to be a studio or carefully arranged indoor setting. The boy is seated in a wooden chair, dressed in a suit jacket with a striped tie and knee-length trousers with dark stockings, typical attire for a young boy in the early 20th century. He sits in a relaxed but composed pose, looking directly at the camera with a serious expression. Standing beside him is a young girl wearing a light-colored dress with a dropped waist and decorative trim along the hem, consistent with children’s fashion of the 1920s. She wears a very large bow in her hair, a popular style for young girls during this period, and rests her arm affectionately across the boy’s shoulder, suggesting a close sibling relationship. The background features multi-pane windows or a window-like studio backdrop, which adds strong visual structure to the composition and gives the photograph a very appealing, almost portrait-studio quality despite its smaller snapshot size. The overall composition is unusually well done for a photograph of this size, with excellent lighting and sharp detail. Based on the clothing, hairstyle, and photographic paper, this photograph likely dates to the 1920s. This is a wonderful and touching vintage portrait capturing a moment between two children, and a very nice example of early 20th century child portrait photography. The photograph is in very good vintage condition. The image is sharp with good contrast and detail. There is some light edge wear and minor corner wear. The back of the photograph shows a few small stains. Overall, the photograph presents very well and is a nice example of a vintage 1920s photographic portrait. See scans. 

This vintage photograph is available for purchase at my store, The History Peddler, for $22.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336522325656

This antique undivided back postcard features a sweet little girl and her inattentive dog. The girl is adorable and is flashing a wonderful smile as she looks directly at the photographer. The dog is cute, but not cooperative with the photographer, as he looks intently away from the camera. The postcard was published by PFB (Paul Finkenrath), a Berlin postcard publishing and printing business. It is part of a series. (no. 3293). The Paul Finkenroth company made quality photo postcards and the company was heavily oriented toward export. They were known to be responsive to printing postcards that they’re customers desired over time. They were quite profitable but closed in 1911 when protective tariffs interfered with their business. The company was established by Paul Finkenrath and Paul Grasnick in 1897. The partnership lasted about a year and then Grasnick left to start his own lithography studio.  SOLD