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
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
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)
This cabinet card features a profile portrait of a pretty young woman. She is wearing a five point star pin on her collar. The woman is unidentified, but her initials (E. J. H.) are on the reverse of the photograph. The photographer is Hummel and his studio was located in Santa Ana, California. The photographer is likely the same individual who was partnered with Conaway in the Conaway & Hummel photographic studio, also located in Santa Ana. Research uncovered no further information about Mr. Hummel. SOLD
A handsome and well groomed young man poses for his portrait at the studio of Cornell and Saunders, in Rochester, New York. References to Cornell and Saunders were found in photographic journals of 1893 and 1894. SOLD
This vintage lithograph printed postcard features “The Willowmere, Bath Beach, New York”. Bath Beach was located in Brooklyn, New York. The postcard was published by the Ill. Postcard Co. which was located in New York. The card is part of a series (no.4008). The postcard is an undivided back card and was published circa 1905. The message on the postcard suggests the reader “take a swim”. SOLD
This striking 1896 Cabinet Card portrait captures a well-dressed Hispanic (likely Mexican-American) family, photographed in San Bernardino, California, by C.L. Sears, whose studio was located at 452 Third Street. The formal composition, attention to detail, and clarity of the photograph make it a compelling example of late 19th-century Southwestern portraiture. The image features four individuals: Standing at left is a young woman in a pristine white dress with puffed sleeves and a wide cinched belt. She wears gloves and a marvelous hat adorned with ribbon and flowers, her expression poised yet solemn. Seated in the center is another woman, likely the matriarch, holding an infant in her lap. She wears a richly patterned dark dress with a high collar and decorative trim. Her elaborate hat features feathers and a dark plume. Her gaze is direct and proud. The baby is dressed in a long, frilly white gown and bonnet, eyes barely open, swaddled securely in the mother’s arms. Standing to the right is a bearded man, presumably the patriarch. He wears a wide-brimmed hat, white shirt, and a textured vest, exuding a calm, grounded presence. Each subject’s expression is serious. Their clothing suggests they were dressed in their finest attire, marking this as a significant family occasion. C.L. Sears operated a photographic studio in San Bernardino in the late 19th century. His studio address, 452 Third Street, places him in the heart of the developing Southern California region during a period of migration and cultural blending. Sears is known for his clear, well-composed portraits and was active during a time when San Bernardino served as a crossroads for Hispanic, Anglo, and Indigenous communities. While not widely documented in photographic history texts, Sears’ work appears occasionally in regional archives and vintage photograph collections, typically featuring local residents, families, and scenes of everyday life. His work is valuable for its documentary quality and its representation of the diverse people who populated Southern California in the 1890s. The reverse of the Cabinet Card bears a handwritten inscription in pencil. It appears to read: “To Forosio Padilla, Cidar, Arizona,1896”. My research indicates that there is no town in Arizona named Cidar. I believe that “Cidar” is a mispelling and should read “Cedar”, Arizona. Cedar was a gold, silver and copper mining town in Mohave County, Arizona. It was founded circa 1875. Perhaps Senor Padilla and his family were from Cedar. (SOLD)
This is an original 1901 Ogden’s Guinea Gold tobacco card featuring the esteemed British painter Solomon J. Solomon, A.R.A., best known for his richly detailed portraits and historical subject paintings. Measuring approximately 1 3⁄8 inches by 2 ¼ inches, this vintage tobacco card was issued as part of Ogden’s iconic Guinea Gold series, which featured real photographic images of prominent figures from the arts, politics, and society at the turn of the 20th century.This card is number 72 in the series and it is captioned: “Solomon J. Solomon, A.R.A. — Well-known for his Portraits and Subject Pictures.” Solomon Joseph Solomon (1860–1927) was a highly respected British-Jewish artist, born in London to a family of German-Jewish descent. A Royal Academy-trained painter, Solomon became a member of the Royal Academy of Arts (RA) and was associated with the New English Art Club. He was especially recognized for his powerful biblical scenes, mythological subjects, and commissioned portraits of the aristocracy and military figures. His works often blended the academic style of the Victorian era with emotional intensity and rich color. In addition to his artistic achievements, Solomon played an important role during World War I, using his skills to develop camouflage techniques for the British military. He became a key figure in the establishment of military camouflage units, helping to blend artistry with strategy on the battlefield. This card is a tobacco card from the Ogden’s Guinea Gold Cigarettes series, issued in 1901 by Ogden’s, a division of the Imperial Tobacco Company. These cards were notable for their sepia-toned, photographic-print portraits and glossy black borders, a marked departure from the hand-drawn or color lithographed styles common in other cigarette cards of the time. The Guinea Gold cards remain among the most collectible of all early 20th-century British tobacco issues, especially those featuring influential cultural (judaica) figures like Solomon J. Solomon. SOLD
POSTCARD 1 (SOLD)
POSTCARD 2 (SOLD)
POSTCARD 3 (SOLD)
These vintage real photo postcards feature French stage and film actress, Renee Adoree (1898-1933). She also appeared in silent movies produced by Hollywood in the 1910’s. Her most well known film was the melodramatic romance and war epic, “The Big Parade”. She played the love interest of John Gilbert. Renee’s parents were circus artists. She would perform with them at times. She was a dancer, acrobat artist, and bareback rider. She perfomed throughout Europe. She made her movie debut in 1918. In 1919, she went to New York City and played in a vaudeville-style musical. Several other stage appearances followed. In 1920, she began to perform in movies again. In total, Renee performed with John Gilbert nine times. She appeared with actor Ramon Novarro four times. In a 1928 Howard Hughes film, “The Mating Call”, Renee had a brief scene in which she swam in the nude. This act created much controversy. Renee’s personal life included two marriages and two divorces between 1921 and 1929. Renee, unlike many other actresses of her time, was successful in making the transition to sound film. She appeared in four “talkies” before her early death. In all, by the end of 1920, Renee had appeared in forty-five films. The IBDb reports that she appeared in two Broadway productions, both occurred in 1919, It was in 1930 that Renee was diagnosed with tuberculosis. Despite her doctor’s advice, she continued her participation in the filming of a movie. After completing the movie, she was rushed to an Arizona sanitorium. She was flat on her back for two years during her recovery. Post discharge, Renee’s health began to deteriorate until she died in 1933. She was only about 35 years old at the time of her death.
Postcard 1 features Renee in a risque pose. She is dressed quite provocatively. This postcard was published by “Ross Verlag” as part of a series (No.4350/1). SOLD
Postcard 2 features Renee standing in front of a horse. She is holding the horse’s harness. Apparently, she liked animals and possessed a sense of humor. She had a dog named “Useless”, and a cat named “Worthless”. The logo for MGM can be seen in the lower right hand corner of the image. She was under contract with MGM from 1930 until her death. This postcard was published by “Europe” as part of a series (No.395). SOLD
Postcard 3 offers a view of Renee that illustrates her beauty. She is fashionable and her attire includes a jacket with a fur collar. The card features a logo for MGM in its lower right corner. The card was published by Ross Verlag and is part of a series (No.3794/1). SOLD
POSTCARD 1
POSTCARD 2
A pretty woman wears a feather and a hair comb in her hair , as she sits for her portrait at the studio of Hargrave in New York City. The young woman is very stylishly dressed. Hargrave Portraits was located at 68 West 23rd Street. To view other photographs by Hargrave, click on the category “Photographer: Hargrave”. SOLD
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