An attractive couple pose for their portrait in Falmouth, England. The couple are very well dressed and appear very comfortable in front of the camera. The photographer is W. M. Harrison. Harrison had studios in Falmouth, Helson, Truro and Redruth. William Marsden Harrison (1852-?) worked as a photographer in Scotland but worked in Falmouth beginning the early 1880’s. By 1900, Harrison had won over 30 medals for his photographs, many of them from international competitions (ie. France, Austria, Belgium, Holland). Judging by the back design, this cabinet card photograph is circa 1902. SOLD
The message on this vintage real photo postcard is as follows: “Edd & Susan, Here is a picture. looks like us but not good work at all. How are you? We are all well. My Dishes haven’t come yet… Bird”. I added the punctuation since “Bird” didn’t seem to have the time or interest. This photograph features a young man and woman sitting in their horse drawn buggy in front of a rural house and landscape. The previous owner of this image believed that that the couple are dressed in their wedding clothes. I certainly can not confirm that, but the pair are certainly dressed in their nicest clothing. “Bird”, perhaps short for “Birdie”, is not very pleased with this photograph. Personally, I believe the photographer did an excellent job in capturing this couple, their horse and buggy, and their homestead. The stamp box on the reverse of this RPPC indicates that it was produced on Cyko paper sometime between 1904 and the 1920’s. SOLD
This cabinet card features Katharina Abel (1856 –1904), a distinguished Austrian ballerina renowned for her tenure as a solo dancer at the Vienna Court Opera (now the Vienna State Opera). She was born in Vienna. Abel was accepted into the ballet school of the Kärntnertortheater at the age of twelve. Under the tutelage of ballet mistress Johanna Telle, she honed her skills in classical dance. In 1871, Abel joined the Vienna Court Opera. She captivated audiences with her grace and charm, particularly excelling in pantomimic roles. Her breakthrough came on October 4, 1879, when she performed as the leader of the Amazons in the ballet “Dyellah oder die Reise nach Indien.” Her compelling performance led to her appointment as a solo dancer at the opera. Throughout her career, Abel starred in numerous productions, including the ballet “Coppélia” and the operas “Die schöne Melusine” by Louis Schindelmeisser and “Die Stumme von Portici,” where she portrayed Fenella. She also featured prominently in divertissements such as “Wiener Walzer,” “Die Puppenfee,” “Sonne und Erde,” “Fantasca,” “Fata Morgana,” and “Der Stock im Eisen. In 1890, Abel married Count Georg Orssich von Slavetich, who was ten years her junior. The couple resided on the count’s estate in Theresienfeld. Prior to her marriage, Abel had a daughter born in 1876. The father’s identity remains undisclosed. Abel’s illustrious career was abruptly halted during a performance of “Giselle” when a mechanical failure caused her to fall approximately ten feet onto the stage, resulting in a foot injury that ended her solo performances. She continued to engage audiences in pantomimic roles for a time. In 1892, she retired from the stage. Despite undergoing multiple surgeries, Abel succumbed to cancer in 1904. This photograph is a striking portrait of Abel. Abel is adorned in an elaborate costume that reflects her talent for embodying diverse and exotic roles on stage. She wears a kimono-style garment, richly embroidered with intricate floral patterns. The fabric’s texture and sheen suggest luxurious materials befitting her status as a renowned performer. Her theatrical pose, with arms gracefully extended and a large fan arched behind her head, exudes poise and fluidity. The delicate placement of her hands and the tilt of her head convey a sense of grace. This cabinet card photograph was taken in 1888 by Dr. Josef Szekely (1838-1901). He captured her performance in “The Doll Fairy”. Székely was an Austro-Hungarian chemist and photographer renowned for his contributions to early photography in Central and Southeastern Europe. He had a master’s degree in pharmacy and a doctorate in chemistry. He taught at the University of Vienna before becoming a photographer. He was very successful as a photographer. Székely’s work garnered international acclaim. He was awarded the Bronze Prize at the 1867 World’s Fair in Paris and a silver medal in 1878. His studio produced portraits of many notable figures. This photograph is in the collection of the Theater Museum in Vienna. This cabinet card measures approximately 4.25 x 8 inches, which is larger than the standard cabinet card. SOLD
This vintage lithographic postcard features aa view of the Chinese Tuxedo Restaurant in New York City’s Chinatown. Note the people standing on the second floor balcony. They are likely employees of the restaurant. A shop below the restaurant has an awning advertising trunks & bags. Here is some history about the Chinese Tuxedo Restaurant. It opened it’s door in 1904 and was located at 2 Doyers Street. At the time, it was one of several upscale Chinese Restaurants capitalizing on the influx of non-Chinese tourists to Chinatown. The restaurant was decorated with elaborate chandeliers and other “exotic” accessories. The restaurant was well known for its ornate eagle crowned balcony. The restaurant closed it’s doors in the mid 1900’s. The text in the message section of this undivided back postcard states the following, “Uncle Jules & Aunt Aimee send kisses to their niece Marie Adele”. This message is dated 1906. The postcard was published by J. Koehler Publishing Company of New York City. Joseph Koehler (1842-1933) was a New York based lithographer, printer, and stationer active in the late 19th and early 20th century. He was born in France and was the son of a prominent physician. In fact his father was once Napleon Bonoparte’s personal physician. Koehler came to the US with his family at the age of four. He is credited with the invention of the “greeting card” in 1867. After inventing the greeting card, he built an extensive postcard and calling card business. Most of his cards were printed in Europe until the 1890’s when he established his own steam press operation in New York City. He retired sometime around 1914. A nearly identical card to this listed card can be seen in the collection of the Museum of Chinese in America (MOCA) located in New York City.
Violet Cameron (1862-1919), was an English stage star. She was the niece of burlesque legend Lydia Thompson. Cameron began her stage career as a child in 1871. She played several child roles at the Drury Lane Pantomime theatre. As an adult, she played many prominent roles in the most important English theatres. In 1886 she came to America and played in “The Commodore” and “Kenilworth”. In 1893 she had great success in the stage play “Morocco Bound”. She was involved in several scandalous love affairs during her stage career.
Cabinet Card 1 is a product of Elliot & Fry, a prominent London photography studio.
Cabinet Card 2 was produced at the studio of W & D Downey in London, England.
Cabinet Card 3 is also by Downey. She looks lovely in her ruffly dress and her plunging neckline (relative to the cabinet card era) highlights her necklace. The reverse of the cabinet card has the stamp of Charles Ritzmann of New York City indicating that it was once owned by the esteemed purveyor of theatrical photographs.
Cabinet Card 4 also comes from the Downey studio. Cameron appears to be wearing a wedding dress in this cabinet card portrait.
The reverse of Carte de Visite1 has an advertisement for Taunus Mineral Water. The natural sparkling water came from Springs located near Frankfurt, Germany. Miss Cameron’s portrait for this carte de visite was taken by the celebrated Walery studio in London, England.
A beautiful woman, fashionably dressed, is the subject of this cabinet card image. She is perfectly posed by the photographer. The studio that took this photograph is Chandler & Scheetz, of Philadelphia, Pennsylvania. To view other images by Chandler and Scheetz, click on the category “Photographer: Chandler & Scheetz. SOLD
A pretty young woman poses for her portrait at the studio of George Lansil in Bangor, Maine. Her hairstyle can be described as “Bangs and a Bun in Bangor”. She is wearing a lace collar. Research reveals that in the late 1800’s, George Lansil was described as a “painstaking, thorough artist” and one of Bangor’s finest photographers. A Maine native, he became established as a photographer in the early 1860’s. By the mid 1880’s, he was located in his Main Street studio, and had 5 assistants. His studio occupied three floors and was comprised of eight rooms. SOLD
This French vintage nude real photo postcard features a pretty young woman model. Her facial expression can be described as alluring. This photograph is meant to titillate. The young woman is scantily dressed. More of her body is exposed than covered. She is wearing bed clothes, a negligee to be exact. This risque photographic portrait was published by celebrated photographer, Jean Agelou (1878-1921), as part of a series (No.D107). Agelou was a French photographer of the 1910’s and 1920’s who is best known for his erotic and nude photographs. He was born in Egypt and not much is known about his private life. Agelou generally used models between the age of 20 and 24 years-old. Although the 1900’s was the “golden age” of erotic photograph, photographers who took such risque photos had to use discretion. As a result, Agelou signed his work “JA”. In 1908, nudity in photographs was banned in France and photographers had to cover nude women images with strategically placed undergarments or other materials. Nude images had to circulate on the down low. They were sent in the mail inside of envelopes. Jean Agelou died in 1921; the result of a car accident. His brother George, who managed Jean’s business, also was killed in the crash. SOLD
This vintage photograph features an adorable little girl with long hair. She certainly is well dressed. The child is wearing a corsage and is holding a bunch of flowers. Her portrait was taken at the Cheney Studio in Oregon City, Oregon. Interest in photography must have been in the Cheney family genes. The web site “The Art of Historic Photos” reports that at least three siblings in the Cheney family worked as professional photographers. Eston Cheney and his sister Edith both had studios located in Oregon City. Sister Ethel was a partner with Bessie Krumm in a studio at McMinnville, Oregon. Eston operated his studio between 1895 and 1901. Another site, “The Historic Photo Archive” has a different version of the Cheney family history. Eston is reported to be the father of Edith and Ethel Cheney. The reason for there being (Chinese?) writing on the reverse of this photograph, is unknown. SOLD
This stunning cabinet card portrait captures Edwin Booth, one of the most celebrated Shakespearean actors of the 19th century. Taken by renowned photographer George G. Rockwood of New York, the image boasts exceptional clarity and sharp detail, making it an outstanding example of 19th-century portrait photography. Booth is dressed in elegant period attire, featuring a high-collared white shirt with a neatly tied bow tie, a dark waistcoat, and a light-colored overcoat draped over his shoulders. His hair, swept back in soft curls, frames his distinguished face, exuding an air of quiet confidence and introspection. His gaze is directed slightly away from the camera, lending a dramatic and contemplative quality to the portrait—a fitting expression for a man known for his deep and emotional performances on stage. The cabinet card is in very good condition, with minimal signs of wear, and the sepia tones remain rich and well-preserved. The reverse of the card is equally impressive, featuring Rockwood’s distinctive studio imprint, which includes a charming illustration of a cherub holding a painter’s palette and brushes, next to an artist’s easel that advertises the Rockwood studio at 17 Union Square (West), New York. Additionally, there is an inscription at the top that reads: “E. Booth,” a reference to the legendary actor. Edwin Booth (1833–1893) was one of the greatest American actors of the 19th century, best known for his Shakespearean roles, particularly Hamlet, which he performed more than 100 times—an unprecedented feat at the time. His extraordinary talent and deep emotional connection to his roles earned him widespread acclaim in both America and Europe. Despite his artistic triumphs, Booth’s life was forever overshadowed by his brother’s infamous act—John Wilkes Booth’s assassination of President Abraham Lincoln in 1865. The tragedy devastated Edwin, who was a staunch Unionist and had publicly opposed his brother’s views. He briefly retired from the stage but later returned, determined to restore his family’s name through his craft. In 1888, he founded The Players Club in New York City, a private social club for actors, which still exists today. The Booth family was a dynasty of performers—Edwin’s father, Junius Brutus Booth, was an acclaimed English actor, and his brothers, John Wilkes Booth and Junius Brutus Booth Jr., also pursued theatrical careers. However, Edwin’s talent and legacy far outshone the rest of his family, cementing his place as one of America’s greatest classical actors. The photographer of Mr. Booth was George Rockwood (1832-1911). He was a renowned photographer whose studio was located in New York City. Rockwood was born in Troy, New York and graduated from college with a PhD, reportedly either from the University of Chicago, or Columbia University. At 21 years of age, he was a newspaper reporter for the Troy Daily Times and at age 23, he was managing editor of the Troy Daily Post. He began working as a photographer in St. Louis and in 1857 opened a studio with his brother Elihu in New York City. He has been credited with bringing CDV’s to America. His obituary in the Washington Post reports that Rockwood photographed more than 350,000 people. SOLD
CABINET CARD 1
CABINET CARD 3
CABINET CARD 4
CARTE de VISITE 1
THE CABINET CARD GALLERY 