This cabinet card is an image of a young woman with a very large bow on her collar. She has short hair or it is pulled back behind her head. The photographer is Kellogg of St. Johnsbury, Vermont. SOLD
PRETTY NUDE WOMAN : PC PARIS : ART NOUVEAU : FRANCE : REAL PHOTO POSTCARD
This striking real photo postcard features a confident young woman posing against a neutral backdrop, dressed in a decorative fringed shawl that is elegantly wrapped around her hips. Her bare torso and boldly direct gaze give the portrait a sense of intimate glamour, common to the French “nude étude” genre of the early 20th century. Her hair is neatly parted and styled in a sleek, classic fashion, and she wears distinctive looped earrings that accent her graceful neck and shoulders. The woman’s expression is both engaging and relaxed, her slight smile inviting and warm. Her stance—turned slightly in profile yet facing the camera with a sense of ease—demonstrates a poise that suggests she may have been a dancer or performer. The use of light and shadow on the wall behind her adds visual depth, while the soft focus enhances the romanticism of the image. Interestingly, the woman modeling on this postcard has been described by some commentators as Arab and other observers have hypothesized that she is Hispanic. This postcard was produced by P.C. Paris, one of the leading French publishers of glamour, artistic nude, and theatrical postcards during the 1920s and 1930s. The postcard is numbered 1887 in the lower corner, part of a large series of posed studio portraits often issued in sequential sets. The reverse reads “Made in France” and bears the P.C. Paris publisher’s mark, indicating it is an original continental European issue—not a later reproduction. P.C. Paris (Phototypie C. et Cie), based in Paris, was known for creating refined studio portraits of women, including risqué and erotic studies, often with exotic or theatrical styling. Many of their models were dancers, actresses, or professional models. Their cards were sold widely across Europe and were sometimes considered collectible art photography. SOLD
JULIA MARLOWE: ESTEEMED AMERICAN STAGE ACTRESS
CABINETCARD 6CABINET CARD 7 (SOLD)
CABINET CARD 12
CABINET CARD 14 (SOLD)
CABINET CARD 15 (SOLD)
VINTAGE PHOTOGRAPH 16 (SOLD)
Julia Marlowe (1865-1950) was born in England and as a young child moved to the United States with her family. In her early teens she began her theatrical career with a juvenile opera company. She began playing Shakespeare in her home town of Cincinnati, Ohio. She made her Broadway debut in 1895 and by the end of her career, had appeared in more than 70 Broadway productions. Her first husband was actor, Robert Tabor. Their marriage lasted six years. In 1904 she appeared in “When Knighthood was in Flower”. Great success in this play brought her financial independence. Earlier, in 1903, she appeared in ‘The Cavalier” and “Ingomar”. The New York Sun wrote about her performance in “Ingomar”; “There is not a woman player in America or in England that is – attractively considered- fit to unlace her shoe”. In 1904 she began a partnership with actor E. H. Sothern. They toured the United States performing various plays of Shakespeare. They were managed by Charles Frohman and later, the Shubert brothers. They were considered to be among the major Shakespearian actors of the day. In 1906, Marlowe played in “Jeanne d’Arc” and also as Salome in “John the Baptist”. Later, Sothern and Marlowe played in London but were not terrific box office successes there. In 1911 Marlowe and Sothern married each other. In 1920 and 1921, they made eleven phonograph recordings for the Victor Company. The top Cabinet Card was produced by Newsboy as a premium for their tobacco products. The photographer was Falk and the image is from 1892.
The second portrait of Julia Marlowe has a notation on the reverse of the card stating “Julia Marlowe Tabor”. Therefore, this photograph was likely taken during the time of her marriage to Tabor (1894-1900). The photographic studio that produced this portrait is Klein & Guttenstein of 164 Wisconsin Street, in Milwaukee, Wisconsin. Klein and Guttenstein were leading photographers of their time. Wilson’s Photographic Magazine (1902) reveals that the two men were very active in the Photographers Association of Wisconsin and other photography organizations. The photographers were considered part of a network of photographers skilled at producing publicity images of theatrical and vaudeville stars to be used in national magazines and other publications. The New York Public Library has a collection of portraits of actress Blanche Bates; produced by Klein & Guttenstein. The University of Pennsylvania Library has one of Klein & Guttenstein’s portraits of Julia Marlowe. (SOLD)
The third portrait of Julia Marlowe in the cabinet card gallery collection is photographed by Sarony, the famed celebrity photographer located in New York City. This cabinet card is signed by the actress and dated 1890. Additonal photographs by Sarony can be viewed by clicking on the category “Photographers: Sarony”. SOLD
The fourth portrait of Miss Marlow features her in role in the production of “Countess Veleska”. The play was adapted for a German work, “The Tall Prussian”, by Rudolph Stratz. The play opened in New York in 1898 at the Knickerbocker Theatre. The review in the New York Times (1898) stated that the “drama was made wholly interesting by the personal charm and sincerity of Miss Marlowe”. In a sarcastic tone, the reviewer comments about Marlowe’s co star, Bassett Roe. The reviewer states that Roe has only two qualities of the man he was playing, “height and good looks”. The reviewer continues his scathing description of Roe; “The only time he actually warmed up was when he accidentally set his hair on fire. Even then he would have let it burn if Miss Marlowe had not gone to his rescue.” The photographic studio that produced the “Countess Veleska” cabinet card was Pach Brothers of New York City. Pach Brothers were photographers known for their photographs of celebrities of their era. To see additional photographs by the Pach Brothers, click on this site’s category of “Photographers: Pach Brothers”.
The fifth portrait of Julia Marlowe appears to be a photograph of the actress in costume for an unknown stage production. The image was photographed by Ye Rose Studio of Providence, Rhode Island. The reverse of the card indicated that the studio was opened in 1886. The studio was located in the Conrad building in downtown Providence. The building still exists. Other photographs by the Ye Rose Studio can be viewed by clicking on the category “Photographer: Ye Rose”.
Portrait number six is an excellent example of the beauty of Julia Marlowe. This image, from 1888, captures Ms. Marlowe at the young age of twenty-three. The photographer of this portrait was B. J. Falk, a celebrity photographer located in New York City, New York. To view other photographs by Falk, click on the category “Photographer: Falk”.
The seventh portrait is another example of a B. J. Falk image. The photograph features a costumed Julia Marlowe in the production of “Cymbeline“. Cymbeline is a play by William Shakespeare that was based on legends about the early Celtic British King, Cunobelinus. The play deals with themes that include innocence and jealousy. Ms. Marlowe plays Imogen, the King’s daughter. Her expression in the photograph shows fear and concern as she looks at someone or something in the distance. Her left hand shades her eyes while her right hand clutches her belted dagger. A stamp on the reverse of this cabinet card reveals that it was formerly owned by Culver Pictures of New York City, New York. Culver Pictures has been collecting photographs and illustrations from the 19th and first half of the 20th century, since 1926. These pictures are used in books, films, and other forms of media. At the time that this cabinet card was stamped by the company, Culver Pictures was located in New York City. (SOLD)
Portrait number eight is a close-up photograph of Miss Marlowe. The photographer of this cabinet card is the studio of Rose & Sands whose gallery was located in Providence, Rhode Island. Note that photograph number five also came from the Rose studio, but at that time, the gallery was called, the Ye Rose studio. The Wilson’s Photographic Magazine (1899) reports that Rose and Sands were the proprietors of Ye Rose. A humorous headline in a photography magazine stated “Providence Provides for All, And Rose Provides for Providence”. Print on the reverse of this cabinet card reveals that the Rose & Sands studio was opened in 1886 and that it specialized in “High Class Portraits from Cabinet to Life Size”. Also of interest, like photograph number seven, there is a stamp on the reverse of the photograph with the name “Culver Pictures Inc”.
Photograph number nine features the beautiful Miss Marlowe displaying a mischievous smile. Note her engaging large eyes. She is wearing a somewhat revealing dress (for the cabinet card era) and has a wonderful hat atop her head. This cabinet card photograph was published in 1888 by Benjamin Falk of New York City. The image is marked with the number sixty-nine.
Portrait number ten is a closeup of Julia Marlowe with her head covered, but with her pretty face very visible. She is likely in costume for this photograph. The photograph is taken by B. J. Falk of New York City and has a copyright date of 1888. The cabinet card is marked number “86”.
The eleventh photograph captures Miss Marlowe staring hypnotically at a flower. Someone, has written below her name that the image features her in the role of Parthenia in the production of “Ingomar”. The New York Times (1904) reviews the play and Miss Marlowe’s performance on opening night at the Empire Theater in New York City. The newspaper reports that Frederick Halm’s play was “impossibly romantic and deliciously sentimental piece of old-fashioned theatrics. Tyrone Power played Ingomar and he was described as “vigourous and picturesque” but the article added that his voice was “not at its best”. The review pointed out that Marlowe’s appearance in this play was to be her last appearance as an independent star before joining E. H. Sothern’s Shakespearean repertory. In regard to Marlowe’s acting in this play, it was written that she played a “dear little prig – adorably dear” (prig can be defined as smug or arrogant) and she presented “a masterpiece of harmonious, modulated, and sustained acting”. The 1904 performance of Julia Marlowe in “Ingomar” marked a return performance for this accomplished actress. The New York Times (1888) wrote a very positive review of the opening night performance in Washington D.C.. The appreciative audience included three Supreme Court Justices and a number of members of the Chinese Embassy. This cabinet card was produced by the previously mentioned Ye Rose Studio of Providence, Rhode Island and it likely dates back to her 1888 performance in the role.
The twelfth cabinet card was produced by Benjamin Falk of New York City. He posed Miss Marlowe next to a spinning wheel. Her low cut dress makes this image a bit risque for the cabinet card era. If Falk or Miss Marlowe thought that looking up at the camera would create a “fetching appearance”, I would contend that their efforts failed. Rather than “fetching”, she appears dazed. The actress was a beautiful woman and provocativeness was not necessary to enhance her image. This photograph was produced in 1888 and was part of a series (#23).
Cabinet Card number thirteen is part of a series that includes Cabinet Card number ten. Both cards were photographed by Benjamin Falk and have a copyright date of 1888. Both portraits are close-ups but this one is captures Marlowe looking at the camera while number ten offers a profile view. Falk really captured the actresses eyes. Her eyes are beautiful and they are haunting at the same time. This photograph is marked number number 83 of the series.
Cabinet Card fourteen features another beautiful portrait of Julia Marlowe. This photograph was taken by Benjamin Falk and was copyrighted in 1892. This cabinet card is uncommon, possibly rare. (SOLD)
Cabinet Card 15 was photographed by Napoleon Sarony, the famed celebrity photographer located in New York City. (SOLD)
Vintage Photograph 16 shows a seated pretty young woman—Julia Marlowe—posing in a studio setting. This photograph is printed on a thin paper stock and then mounted to a heavier card. This was a common production method, and the piece appears exactly as manufactured. I have seen this same image as a postcard. Marlowe wears an elaborate Edwardian dress with ornate embroidery, beadwork, and lace detailing. Her gown has layered textures and patterns, and she rests one hand on her lap while the other lightly touches the chair. She wears a large, dramatic hat trimmed with tall, soft plumes that sweep upward and to the side. Her expression is calm and direct, looking slightly toward the camera with a composed, almost introspective gaze. The background is a simple dark studio backdrop that highlights her figure and outfit. The photographer is identified as the Sands & Brady studio in Providence, Rhode Island. In the lower left corner of the image is a distinct publisher’s mark: a four-leaf-clover-shaped logo with letters in each quadrant. The clover has three letters in it, S., D., and P.. The fourth quadrant indicates that the publisher was located in New York. (SOLD)
TWO SWEET YOUNG SISTERS POSE FOR THEIR PORTRAIT : LUDLOW, VERMONT : CABINET CARD
his cabinet card captures two young girls posing for their portrait at the Moore studio in Ludlow, Vermont. These well dressed children look very sweet and are likely sisters. The Photographic Journal of America (1890) mentions photographer, C. A. Moore of Ludlow, Vermont. He is likely the same Moore that created this image. SOLD
MOTHERS, DAUGHTERS AND SISTERS IN SAXTONS RIVER, VERMONT
This cabinet card, photographed by P. W. Taft, features two young adult women and two young girls. Perhaps the two older girls are sisters and the two young girls are daughters of the older woman. The family constellation in this image is impossible to determine. It is interesting to note that the two little girls are both wearing dresses styled after a sailor suit. The two dresses are similar, but not identical. Taft’s studio was located in Saxtons River, Vermont. To view other photographs by Taft, click on the category “Photographer: Taft”. Preston William Taft (1826-1901) was listed in the Windham County Business Directory 1884) as having a photography business in Saxtons River. Research reveals that he established a Daguerreotype, and later Photography business in 1856 and operated the studio until 1878. He was married in 1850 to Rose Melissa Miller and the couple had three sons and a daughter. Sons Frank (born 1851), Charles (born 1863), and Edward (born 1868), all became photographers. The daughter’s name was Nettie (born 1865). It is likely that this cabinet card was produced by one of P. W. Taft’s sons since, judging by characteristics of the cabinet card, it was likely photographed after he had left the business. To view other photographs by P. W. Taft, click on the category “Photographer: Taft”. SOLD
IDENTICAL TWIN’S FAMILY PORTRAIT IN SAXTONS RIVER, VERMONT
This cabinet card family portrait features a family portrait by the Taft Studio in Saxtons River, Vermont. The family unit consists of intense looking parents and their two sons. The boys are very similar in appearance and may be identical twins. The boys are well dressed in their striped jackets and vests. The parents seem to be older than one might expect to have children the age of these boys. Perhaps the boys are their youngest children and the older siblings are gone from the nest. To view other photographs by Preston William Taft and to learn more about him, click on the category “Photographer: Taft”. Be sure to note that two of Taft’s cabinet cards share an identical backdrop. SOLD
ANNIE AND MAGGIE: ADORABLE YOUNG SISTERS POSE IN HOUSTON, TEXAS
Annie and Maggie Fleming pose for this cabinet card portrait at the Anderson’s photographic studio, located at 85 Main Street in Houston, Texas. An inscription on the reverse of the card identifies the little girls and indicates that this photograph was given to their cousin. These cute siblings appear to be a bit dubious of the photographer and their photographic session. The photographer, Samuel Anderson, operated out of the address on this cabinet card, between 1886 and 1892. To see other photographs by Sam Anderson, click on this sites category, “Photographer: Anderson”.
PORTRAIT OF A TRUMPET PLAYER IN LEBANON, PENNSYLVANIA
This cabinet card photograph features a well dressed man holding a trumpet. The portrait was taken at Berger & Herbst studio in Lebanon, Pennsylvania. The Lebanon County Historical Society’s online photographer directory lists Berger & Herbst as operating in Lebanon between 1893 and 1894. The directory also reports that R. H. Herbst had his own studio in 1900. SOLD
DOE EYED BEAUTY IN LACE (BROOKLYN, NEW YORK; 1895)
A doe eyed beauty in lace poses for her portrait at the studio of Edward Carey Dana in Brooklyn, New York. The studio was located at the intersection of Fulton and Bond Street. Dana also owned a studio in Pittsburgh. To learn more about the photographer, click on cabinet card gallery’s category, “Photographer: Dana”. This photograph is dated 1895. No identifying information is available concerning the pretty young woman who is the subject of this photograph. SOLD
ALMA BENNETT : RISQUÉ 1920s RPPC OF SILENT FILM ACTRESS : PATHE : IRIS VERLAG
This sepia-toned, real photo postcard features the glamorous silent film actress Alma Bennett (1904-1958) in a striking, risqué pose. Published by Iris Verlag of Austria, this collectible is numbered 5234 and credits the prominent studio Pathé as the photographer—known for its high-quality film stills and star portraits during the silent era. The image captures Bennett draped in a sheer, flowing fabric that barely conceals her chest. With her hands placed carefully to cover herself, the pose is both sensual and elegant—clearly intended to appeal to fans of 1920s starlets and risqué glamour. Her expressive face is tilted upward in a dramatic fashion, with her dark, wavy bob framing large, expressive eyes. Her parted lips and gaze suggest a moment of theatrical longing or awe, characteristic of the silent film aesthetic. This postcard falls squarely into the risqué category due to its suggestive styling and scant coverage, though it retains a refined and artistic tone rather than being overtly provocative. Alma Bennett was an American silent film actress who appeared in over 60 films between 1919 and 1931. Known for her beauty, versatility, and ability to play both dramatic and comedic roles, she became a recognizable face during the peak years of silent cinema. Bennett began her career in Hollywood in the late 1910s, likely transitioning into film from stage or local beauty contests, as was common during the period. Her breakout years came in the 1920s, with notable roles in films such as: “Orphans of the Storm” (1921, uncredited, directed by D.W. Griffith), “The Prairie Pirate” (1925), “A Woman Against the World” (1928), “The Night Flyer” (1928). and “The Arizona Kid” (1930). Alma’s personal life was somewhat tumultuous, mirroring that of many silent-era actresses whose careers were overshadowed by the transition to sound films. She was married to Fred Bennett, though the marriage reportedly ended in divorce. Little is documented about her life after retiring from film around 1931, and she never returned to the screen during the sound era. (SOLD)
THE CABINET CARD GALLERY 