This vintage real photo postcard features the Huntington Town Hall located on Main Street in Huntington village. Huntington is a north shore town on Long Island in the state of New York. Note the old cars in the photo. Because the newest cars in the image appear to date from about 1938–1940, the photograph itself was likely taken around 1939–1941. The postcard was published by the Tomlin Art Company (Northport, Long Island, New York). The company produced a large number of scenic postcards of Long Island and nearby areas. The firm was associated with Milton (“Milt”) Price, a photographer from Islip, New York, who owned and operated the Tomlin. Price himself photographed many of the scenes that appeared on the cards. The firm appears to have been active between circa 1910 and the late 1970s. There is a very light crease in the top left corner of the card. The postcard is in overall very good condition (see scans).
This postcard is available for purchase at my store, The History Peddler, for $9.85 or best offer
This rare vintage lithographic postcard captures vaudeville history as well as the restaurant and entertainment history of New York City. The postcard is an advertisement for the appearance of the Gardiner Trio at the venue of Churchill’s restaurant. The Gardiner trio was composed of Arline, Helen, and Edgar Gardiner. The three performers acted, danced and sang on the vaudeville stage. The trio even appeared on Broadway in the production of “Take it from Me” (1919). The New York Tribune reviewed the show. Here are a few excerpts from the review. The show was described as “mildly entertaining” and “a curious jumble of Burlesque, Vaudeville and Musical Comedy”. The production ran from 3/31/19 to 6/21/19 at the Central Theater. Now, a short description of Churchill’s Restaurant. The establishment blended restaurant service with live entertainment. It was located in Manhattan’s theater district. The restaurant was in Times Square and was founded by James “Big Jim” Churchill, a colorfull New York figure who had previously served about twenty years in the New York Police Department. He established Churchill’s in around 1909 or 1910. The restaurant/cabaret closed in around 1921. Prohibition was a large contributor to the restaurant’s demise. This postcard is in fair condition. The card has corner and edge wear and about four light creases can be seen on close examination. The fair condition does not detract from either the image of the trio or from the advertising copy on the front of the card (see scans). My research was unable to find any other examples of postcards advertising either Churchill’s or the Gardiner Trio. This postcard is an excellent illustration of both New York City and Vaudeville history.
This cabinet card is available for purchase at my store, The History Peddler, for $24.85
This vintage real photo postcard features American actress, Lillian Gish (1893–1993). She is considered one of the pioneering figures in early cinema. Born in Springfield, Ohio, Gish began her career on the stage alongside her sister, Dorothy, but soon transitioned to film, where her delicate features and expressive acting made her a favorite of directors during the silent film era. In 1912, Gish joined legendary director D.W. Griffith, becoming his protégé and collaborating with him on groundbreaking films like The Birth of a Nation (1915), Broken Blossoms (1919), and Way Down East (1920). These films cemented her reputation as a leading lady, often playing roles that emphasized innocence and emotional depth. She was known for her meticulous attention to the art of acting. She helped establish the art of screen acting, emphasizing subtlety and naturalism at a time when film was still evolving away from theatrical exaggeration. She was a versatile actress, adapting well to various roles, from delicate heroines to more complex characters, and her commitment to authenticity often saw her enduring extreme conditions on set, like filming in freezing temperatures and performing her own stunts. When silent films gave way to “talkies” in the late 1920s, Gish transitioned gracefully, though her popularity declined as she aged and Hollywood’s focus shifted to younger stars. Still, she continued acting, taking on character roles and even appearing on television. One of her most memorable later performances was in The Night of the Hunter (1955), a film now regarded as a classic. In addition to her acting career, Gish became a vocal advocate for film preservation and the legacy of silent cinema. She gave lectures on the subject. Her work won her numerous accolades, including an honorary Academy Award in 1971, and she remained active in the industry well into her later years. Gish’s career spanned over 75 years, and she is remembered as an icon who bridged the silent and sound eras, leaving an indelible impact on American cinema. Lillian Gish, though a public figure, led a private and often solitary personal life. She was born on October 14, 1893, in Springfield, Ohio, to James Leigh Gish and Mary Robinson McConnell. Her early life was marked by hardship; her father abandoned the family when she was young, leaving her mother to support Lillian and her younger sister, Dorothy. Her mother opened a candy store in New York City, where the family eventually settled, and the two sisters began acting in theater to help support the family financially. Lillian and Dorothy were close throughout their lives, frequently working together in theater and film. Lillian took on the role of family protector and provider from a young age. Though she later became one of the most celebrated actresses of her time, Lillian remained deeply committed to her family, often prioritizing family relationships over romantic entanglements. She never married and had no children, believing that marriage and family life might interfere with her career. However, she did have close friendships with several prominent figures in Hollywood, including her frequent collaborator, director D.W. Griffith, with whom she shared a professional and deeply loyal relationship. There were rumors of a romance with Griffith, though Gish maintained that their relationship was strictly professional. Other rumored suitors included producer Charles Duell and critic George Jean Nathan, yet she largely avoided the spotlight when it came to romance. She valued independence and often expressed a desire to avoid the constraints she felt marriage could impose on her creative pursuits. In later life, she lived with her sister Dorothy until Dorothy’s death in 1968, a loss that deeply affected her. In her final years, Gish continued to work in the entertainment industry and to honor the legacy of silent cinema. She died in 1993, at the age of 99, leaving behind a remarkable career and a life dedicated to her art, family, and the preservation of film history. This postcard portrait was taken sometime between 1908 and 1920 (likely near the earliest years). The logo for Metro Goldwyn Mayor Films can be seen in the lower right corner of the image. This postcard was published by “Europe”.The EUROPE logo enclosed within a circle was used by a continental European postcard publisher, most likely operating in France, during the 1905–1925 postcard boom. The circle logo functioned as a series trademark, identifying postcards produced or distributed under the “Europe” brand. Europe was primarily a publisher or distributor, not necessarily the photographer. This postcard is in good condition. There is surface wear on the front and reverse of the card. The image itself is clear with good contrast. See scans.
This cabinet card is available for purchase at my store, The History Peddler, for $9.85
Offered here is a handsome late nineteenth-century cabinet card portrait of a gentleman with an impressive handlebar mustache, photographed by the Harrisburg, Pennsylvania studio of Shriver & Kibbler. The portrait shows the man turned slightly to one side in a classic studio pose, dressed in a well-tailored double-breasted coat with decorative metal buttons, a high stiff collar, and a neatly tied cravat or tie. His grooming is particularly notable. The sitter wears a full, carefully groomed handlebar mustache, thick across the upper lip and extending outward into gently curled ends. The mustache is both symmetrical and well shaped, giving the portrait a distinctive character and reflecting a popular masculine style of the late Victorian period, when elaborate mustaches were widely admired as a symbol of refinement and maturity. Harrisburg, located in south-central Pennsylvania along the Susquehanna River, has served as the state capital since 1812. By the late nineteenth century the city had become an important regional center for government, commerce, and rail transportation. This cabinet card remains in very good antique condition overall. The photograph retains good clarity and contrast, and the image of the sitter is sharp and well preserved. The mount shows slight corner wear. The mount also shows an extremely slight curvature from age. The reverse of the mount is plain and remains clean. Overall, the card presents attractively and displays nicely (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $28.00
This cabinet card portrait captures the great facial expressions of a loving father and his spunky daughter. Dad looks quite intense and protective of his adorable daughter. The daughter offers a priceless expression. She has amazing poise for a girl her age. The photographer brilliantly has the daughter holding her fathers hat. Great looking subjects and a terrific pose characterize this image by the Leiter studio in Hamilton, Ohio. SOLD
This is a striking antique cabinet card portrait depicting two young women dressed in dark formal attire, photographed by J. Proctor of Corning, Iowa. The image presents a beautifully composed studio portrait typical of the late nineteenth century, likely dating to the 1880s or early 1890s. The two women are posed within a traditional studio setting featuring a painted woodland backdrop and decorative studio props. One woman stands while the other is seated beside an ornamental pedestal. The seated woman rests one arm on the pedestal, while the standing figure holds what appears to be a small envelope and an elegant handbag, accessories commonly seen in Victorian portrait photography. Both women are dressed in dark, carefully tailored garments typical of the late Victorian period. Their outfits include fitted bodices, high collars, and long pleated skirts, with stylish hats and gloves completing their attire. The seated woman wears a broad-brimmed hat and a coat with decorative buttons, while the standing woman wears a smaller hat with fur or velvet trim and carries a fashionable small purse. The fact that both women are dressed entirely in black naturally raises the possibility that this may represent mourning attire, which was common during the Victorian era following the death of a family member. Mourning dress often involved black garments worn for extended periods, particularly among women. However, black clothing was also widely worn as formal or fashionable attire, especially for studio portraits where darker garments photographed well. The photograph was produced by J. Proctor, whose imprint appears along the bottom mount. Corning is a small community located in southwestern Iowa. This cabinet card portrait dates back to circa 1886 to 1890. This cabinet card remains in very good antique condition overall. The photograph itself retains good clarity, contrast, and detail, with both figures sharply rendered. The mount shows some light foxing along the lower margin. The corners show minor rounding and light edge wear consistent with age and handling. The reverse of the mount displays a plain pink backing and has beveled gold edges. (see scans)
This cabinet card is available for purchase at my store, The History Peddler, for $75.00 .
Offered here is a vintage real photo postcard (RPPC) portrait of a young woman seated in an ornate studio chair, likely dating to the early 20th century, circa 1910–1920. The photograph captures the sitter in a composed studio setting, seated against a softly blurred backdrop that was typical of portrait studios of the period. The young woman faces the camera directly with a thoughtful and somewhat intense expression, which gives the portrait much of its character and appeal. Her gaze is steady and engaging, lending the image a sense of personality that makes the photograph particularly interesting to study. She wears a dark dress with short sleeves and a single strand pearl necklace, a fashionable accessory for women of the era. Her hair is styled in a soft early twentieth-century coiffure and tied with a large ribbon bow, which adds to the charm of the portrait. Resting in her hands is a small bouquet of flowers, while she sits in an ornately carved studio chair with decorative tassels, that adds a touch of elegance to the image. In the lower left corner of the image is a small printed box that reads: “Max Zesig – Perleberg.” Perleberg is a historic town in Brandenburg, Germany, located northwest of Berlin and known for its preserved medieval architecture. Zesig is the photographer or the publisher of this postcard. In fact, he may have filled both roles. This postcard is in fair antique condition overall. The card shows several signs of age and handling, including: A crease along the right edge near the center of the card, a crease in the bottom left corner, and a crease at the card’s top right corner. The postcard also shows moderate warping or curvature, meaning it does not sit completely flat on a surface. There are also light surface marks and general age toning consistent with an early twentieth-century photographic postcard. Despite these issues, the image itself remains clear and appealing, and the expressive portrait of the sitter still displays well. This is an attractive and characterful early German real photo postcard portrait (see scans).
This vintage postcard is available for purchase at my store, The History Peddler, for $7.85 or best offer
This cabinet card photograph features a handsome and distinguished looking older gentleman. He has a bushy beard but no mustache. This image comes from the studio of Thompson & Son in Toronto, Canada. Canada. Note the surface wear above the subject’s head and the corner wear on the reverse of the photo. Overall, this cabinet card portrait is in good condition (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $19.85
This is a beautiful hand-colored Art Nouveau postcard portrait of the performer Speranza, photographed by the Paris photographer Lucien Walery. The image presents the actress in elegant profile, her gaze directed thoughtfully into the distance, creating a refined and almost classical composition typical of theatrical portrait photography of the Belle Époque era. Speranza is shown wearing an elaborate lace headdress or veil adorned with decorative ornaments, including jeweled elements and a suspended pendant ornament that drapes alongside her hair. The delicate lace veil falls gracefully over the back of her head and shoulders. Her hair is styled in a softly arranged early 20th-century coiffure, swept upward and back in a fashion typical of the period. The portrait emphasizes her refined features—her straight nose, softly defined lips, and thoughtful expression—giving the image a strikingly sculptural quality. The photograph has been tastefully hand-colored, particularly visible in the floral decoration on her garment and the ornamental headpiece, adding warmth and visual richness to the otherwise monochrome studio photograph. This type of subtle color enhancement was common in theatrical postcards produced during the early 1900s. Walery (Paris) was active during the early decades of the twentieth century and produced numerous portrait postcards of actresses, performers, and fashionable women. He was one of the most celebrated society and theatrical photographers of the Belle Époque. SOLD
This elegant cabinet card photograph depicts a poised young gentleman holding a violin (sometimes called a fiddle in folk traditions), along with the bow in his right hand. The instrument’s distinctive shape, tuning pegs, and chin rest clearly identify it as a violin rather than a viola or other bowed instrument. The young man holds the violin resting against his shoulder in a theatrical pose, suggesting that he was likely either a trained musician or wished to present himself in the fashionable image of a cultured performer. The subject appears to be a young adult man dressed in formal evening attire typical of the 1890s. He wears a dark tuxedo-style coat with satin lapels, a waistcoat fastened with buttons, and a white shirt with a prominent bow tie. His carefully combed hair and composed expression give him a refined and somewhat introspective look, while his sideways gaze adds a touch of drama to the portrait. Such poses were often used in studio photography to emphasize talent, social status, or artistic identity. The violin, a long-established symbol of classical music and culture, reinforces the impression that the sitter was a musician. The photograph was produced by A. D. Vanderbilt, whose studio operated in the village historically known as Sing Sing, New York. The town, located along the Hudson River in Westchester County, later changed its name to Ossining to avoid the notoriety associated with the famous prison located there. The name “Sing Sing” originally derived from the Sintsink Native American tribe, from whom the land was purchased in the seventeenth century. During the late nineteenth century the village was a bustling Hudson River community. The reverse of this cabinet card has a logo which provides additional details about the studio. It was located on the Barlow Block of Sing Sing. The ornate design incorporates a decorative emblem containing a classical column and photographic camera—symbols often used by photographers of the period to convey artistic skill and technical mastery. The Barlow Block referenced on the card was a commercial building on Main Street rebuilt after a major fire in 1872 and became an important center of retail activity in the village.The studio imprint also advertises that the photographs were “made by the new instantaneous process,” a marketing phrase commonly used by photographers in the late nineteenth century to highlight improved photographic technology that allowed shorter exposure times and sharper portraits. This cabinet card was most likely produced circa 1887-1893. SOLD
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