This cabinet card is a hunting image photographed by Morrison (1848-?) of Bowling Green, Ohio. The hunter is posed with his hunting dog and his shotgun. Also making an appearance in this image is the raccoon that met its early demise as the prey of the hunt. The dog in the photograph appears to be a hound. The street address of the photographers studio was the Kabig Block. Robert Prescott Morrison worked as a photographer in Fostoria, Ohio around 1865 and began operating in Bowling Green in 1870 or 1878 depending on what source is believed. He was still active in his career in 1900. His wife, Belinda (Linnie) Ball Morrison worked as a negative retoucher during their early married days. Morrison was a veteran of the civil war. He served in Company H of the 133rd Ohio Volunteer Infantry Regiment. SOLD
HUNTER, SHOTGUN, AND DOG MEET RACCOON: RACCOON MEETS ITS MAKER
HANDSOME YOUNG MAN: KALAMAZOO, MICHIGAN : REIDSMA STUDIO : CABINET CARD c1890s
This cabinet card features a handsome young man with a composed, serious expression. His piercing eyes are steady and direct, suggesting confidence and a sense of purpose. He sports a neatly groomed, full mustache that accentuates his strong facial features, and his dark, wavy hair is styled close to the head with a modest wave. He is dressed formally in a three-piece suit typical of the late 19th century, consisting of a dark jacket with a subtle pinstripe, a matching vest, and a white high-collared shirt adorned with a cravat or tie tucked neatly into the collar. A pocket watch chain is visible just below the vest’s center buttons, a common accessory for men of the era. The photograph was taken by Reidsma Studio, as indicated by the imprint on the bottom mount. The ornate script spells out “Reidsma” alongside the photographer’s monogram and location: Kalamazoo, Michigan. Research into Mr. Reidsma reveals that the photographer was likely John Reidsma, a Dutch-American who operated a photography studio in Kalamazoo in the late 19th century. His work is known for its clarity and careful composition, often capturing the middle class and professional residents of the area during a time of industrial growth in Michigan. The presence of the brown line framing the image—also called a “rule line”—was a stylistic element commonly used in cabinet cards from the 1885–1895 period. This, along with the fashion and card style, helps date the photograph to the early 1890s. On the reverse, written in pencil, is the name: Mrs. R. J. Welch, 837 W. Walnut. The address is likely a local address for Kalamazoo itself or a nearby city. It is quite likely that Mrs. R. J. Welch was the wife of the man pictured. During this era, it was common for women—especially wives—to manage household affairs, including the commissioning and ordering of photographic portraits from local studios. Her name inscribed on the back may indicate ownership or responsibility for this photograph, perhaps sent or shared with family members.
FASHIONABLE WOMAN : HISTORIC MINING TOWN : LEADVILLE, COLORADO : CABINET CARD
This vintage Cabinet Card features a fashionable woman. She is wearing a fancy dress and is well accessorized. Whe is wearing a large necklace, a collar pin, and what appears to be, a flower with streaming ribbons. The photographer of this image was the Bennett Studio. Bennett operated a studio in Leadville, Colorado. Alfred E. Bennett’s (1862-1942) foray into photography may have been a brief one. He is listed in the 1900 US Census as a photographer but held other occupations in other decade census’s. When this photo was taken, Leadville was a booming mining town. Leadville is located at an altitude of 10,152 feet and in the late 1800’s was the second most populated city in Colorado. Denver was number one in population. Leadville was one of the worlds largest Silver camps and was the home of Doc Holliday shortly after the gunfight at the OK Corral. SOLD
CLAIRE LUCE : VINTAGE GLAMOUR PORTRAIT : BY MANNELL STUDIO : PRETTY ACTRESS
This vintage portrait postcard captures the elegance and sophistication of Claire Luce, a celebrated American stage and screen actress known for her work in theater and Hollywood during the early to mid-20th century. Photographed by Mannell Studio, London, this stunning black-and-white image exudes the classic glamour of the era, likely from the 1920s or 1930s. In this portrait, Claire Luce is seen wearing a sleek satin gown with a low-cut back, reflecting the timeless fashion of the Art Deco period. Her delicate necklace adds a touch of refinement, while her softly curled platinum blonde hair is meticulously styled in the distinctive finger waves that were highly fashionable during that time. Her expression is both confident and alluring, with a slight smile and a captivating gaze that suggests both poise and mystery. She poses gracefully, her fingers resting near her chin in an elegant yet relaxed manner, enhancing the overall sophistication of the composition. Born in 1903, in Syracuse, New York, Claire Luce became a renowned actress known for her work on both stage and screen. She rose to prominence in the 1920s and 1930s, particularly for her performances in Broadway productions. One of her most notable roles was in Gay Divorce (1932), where she starred alongside Fred Astaire. This production later inspired the classic film The Gay Divorcee (1934), though her role in the film was played by Ginger Rogers. Luce also made a mark in Hollywood, appearing in films such as Up the River (1930), The Cohens and the Kellys in Africa (1931), and Over She Goes (1937). However, her true passion remained the stage, and she continued to shine in numerous theatrical productions, both in the United States and the United Kingdom. Aside from her acting career, Luce was admired for her beauty, grace, and sophisticated sense of style. She was often photographed in elegant gowns, embodying the glamour of the Golden Age of Hollywood and theater. Claire Luce was known for her dedication to her craft, and while she had several notable relationships, she was never widely publicized for her personal life. She married Clifford Warren Smith, an English businessman, though details about their marriage remain relatively private. . Claire Luce’s contributions to theater and film continue to be remembered by classic cinema enthusiasts and theater historians. Her connection to Fred Astaire and the Broadway stage solidifies her place in entertainment history. George Mannell (London) is the photographer who took this postcard’s photo portrait. The postcard is relatively uncommon.
JEAN AYLWIN : SCOTTISH ACTRESS & SINGER : DOVER STREET STUDIOS : RPPC 1908
This vintage real photo postcard features a striking portrait of Jean Aylwin (1885-1964), a pretty British actress and singer from the early 20th century. She gained fame for her performances in musical comedies and plays in London and she also toured internationally. Aylwin was associated with the popular Gaiety Theater productions. She had notable performances in several successful productions including “The New Aladdin” (1906), “The Girls of Gottenberg” (1907) and “Our Miss Gibbs” (1909). Aylwin also appeared in two silent films. She married in 1913 but the marriage ended in divorce in 1924. She was accused of adultery with a noted composer of her time. After her divorce, her career declined. She later worked as a housekeeper. In 1926, she briefly worked as a BBC radio broadcaster. Aylwin looks elegant in this dramatic studio pose. She stands three-quarter length with a thoughtful, hand-to-chin expression, the other hand set firmly at her hip. Aylwin wears a striking military-style costume—a fitted jacket heavily braided with ball buttons and tasselled cords, over a pleated skirt; a matching hat rests at her side. Her hair is dressed in full Edwardian waves, completing the theatrical look. Thd photographer of this portrait is the Dover Street Studios. The card was published by Rotary Photo as part of a series (no1898K). The postcard has a Wandsworth (London) postmark from 1908. The postcard is addressed to someone in West Australia. The message on the card is “This is rather a pretty girl. I have seen her in a piece called Havana. Jack.” The front of this card is has rich, sharp sepia tones. Holding the card at a certain angle, one can see dimples caused by the postmark. (SOLD)
PRETTY PARISIAN ACTRESS : HAND-TINTED : NPG : RPPC 1904
This is a striking hand-tinted real photo postcard (RPPC) featuring a young actress or performer seated confidently on a chair. The card is part of the NPG (Neue Photographische Gesellschaft) series, serial number 645/2, and dates to 1904. It was printed in Berlin, Germany, as indicated on the reverse. The woman in the image has voluminous, dark, curly hair adorned with colorful ribbons, one pink and one lavender. She wears a bold theatrical costume: a bright turquoise satin dress trimmed with cream-yellow ruffled sleeves and skirt, accented by a vivid red flower at the bodice. The layered ruffles of her skirt spill over her lap, giving her a lively, almost playful stage presence. She sits with her legs crossed, her expression calm and slightly defiant, exuding poise and self-assurance. Her dark stockings and buttoned heels complete the look, emphasizing her identity as a stage performer rather than a conventional society portrait sitter. Neue Photographische Gesellschaft A.G. was a leading German postcard and photographic publishing house active in the early 20th century. The left-side imprint, translated, reads: “Original photograph by NP Steglitz refers to the Berlin district where NPG was located, not the photographer’s surname. On the reverse, the postcard carries a green French stamp, confirming that the card was mailed from France, even though it was printed in Germany. The stamp is from the French “Sower” (La Semeuse) series, first issued in the early 20th century. The message on the card, translated from French reads: “Guess who is sending this to you.” SOLD
PRETTY WOMAN GETTING DRESSED : WEARING LINGERIE : RISQUE : NPG : RPPC
This vintage real photo postcard features a pretty young scantily clad woman, getting dressed. She is dressed in her lingerie and the rest of her clothes are on the chair beside her. Interestingly, it appears that there is a wig on the dressing table at her right. This young lady has a fetching smile. The card is part of a series (No.4287). SOLD
TUNISIAN LOVERS : LEHNERT AND LANDROCK : ORIENTAL TYPES : ETHNOGRAPHY : RPPC
This vintage postcard features “Les Amoureux” which translates to English as “Lovers”. The pair are dressed in their traditional garb. Both offer the photographer beautiful smiles. The postcard was published by the celebrated ethnographic photography firm, Lehnert & Landrock as part of the III series (No.2532). R
udolf Franz Lehnert (1878-1948) & Ernst Heinrich Landrock (1878-1966) were the principals of the firm. Lehnert was of German origin, while Landrock was from Bohemia. The pair met in Switzerland and decided to go into business together. Lehnert was the photographer and Landrock was the administrator. Landrock organized trips, managed the photo studio and photo production, and marketed the photographs and prints. They were photographers in Tunisia and in Egypt, They also opened studios in Munich (Germany) and Leipzig (Germany). They produced many photographs from Egypt and Tunisia. Their first studio was in Tunis. They photographed monuments and sites in those countries, but were most known for their erotic images of Arab women, often posing in harem themes. Sometimes the photographers seemed more concerned about producing erotic photographs rather than documenting everyday life in these Middle Eastern countries. Lehnert and Landrock were well acclaimed for their work and the duo have images in a number of museums, including Philadelphia’s Penn Museum an the Musee de l’elysee in Lausanne, Switzerland. (SOLD)
SUFFOLK COUNTY LONG ISLAND NY FAIRGROUNDS : HARNESS RACING : COLORIZED POSTCARD
This vintage colorized postcard captures a lively scene at the Suffolk County Fair Grounds in Riverhead, New York, during the early 1900s. The image shows harness racing in progress, with several sulky drivers and their horses trotting down the dirt track. A covered grandstand filled with spectators lines the left side of the view, while on the right a tall judges’ or announcer’s stand rises above the crowd beneath autumn-colored trees. The postcard vividly conveys the excitement of fair-time races and the bustling atmosphere of an agricultural fair. On the reverse, the card is published by the Eagle Post Card Company of New York. A handwritten message reads: “It is on these grounds that we practice our out of door sports. It is about a quarter of a mile from school. We use the tracks also.” This personal note suggests that the track and fairgrounds were used for more than public events—they were also a community resource. The Suffolk County Fair was a major institution on Long Island for nearly a century. The Suffolk County Agricultural Society began holding fairs in the 1840s, and in 1867 Riverhead citizens purchased and donated 20 acres to establish permanent fairgrounds, which opened the following year. The fair showcased livestock, poultry, produce, and machinery, and it quickly became known for its popular horse and bicycle races. The site grew to prominence, hosting events such as political rallies—Theodore Roosevelt campaigned there—and even sporting spectacles; Babe Ruth is said to have played baseball on the grounds in 1923. The fair operated annually through the 1930s, until the land was sold to the Riverhead School District between 1934 and 1936. The grandstand and racetrack, however, lived on in postcards like this one, which now serve as visual records of an important part of Suffolk County’s history. SOLD
PRETTY DANCER : RISQUE : JEAN AGELOU : PARIS : JENNY BELL : TITTILATING RPPC
his French vintage risque real photo postcard features a pretty young woman modeling for an artist. This photograph is meant to titillate. The young woman is scantily dressed. More of her body is exposed than covered. The previous owner of this portrait postcard identifies the woman as a Parisian dancer named “Jenny Bell”. After preliminary research, I have been unable to confirm this identification. This risque photographic portrait was published by celebrated photographer, Jean Agelou (1878-1921), as part of a series (No.035). 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
THE CABINET CARD GALLERY 