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

VALLI VALLI : PRETTY SILENT FILM & STAGE ACTRESS : RPPC 1908

POSTCARD 1 (SOLD)

POSTCARD 2 (SOLD)

POSTCARD 3 (SOLD)

These vintage real photo postcards feature British beauty and actress, Valli Valli (1882-1927). She was a British musical comedy actress and a silent film performer. She was born in Berlin but spent most of her life in England. Her sisters, Lulu and Ida Valli were both actresses. Her father was a merchant. She was educated in London and Paris. She made her stage debut in London at the age of twelve. At thirteen years of age she had a successful run in the musical comedy “Morocco Bound” in Berlin. The next year she performed at London’s Drury Lane Theatre in a pantomime version of Cinderella. As an adult, Valli was a beautiful woman. She performed mostly on the English stage but did tour the United States a number of times. These plays include “The Dollar Princess” and her final New York City performance in “Miss Millions” (1919). In all, she appeared in seven Broadway plays between 1905 and 1920. Valli appeared in four films during 1915 and 1916. These films included “The Turmoil” which was an adaptation of a Booth Tarkington novel. In 1917, she married Louis Dreyfus, head of a music publishing house, and later, a theatrical producer. Valli died from tuberculosis at the young age of forty-five.

Postcard 1 captures Valli, in a pensive, or possibly, dejected mood. The card was published by Rotary Photo as part of a series (No.1760G). Miss Valli was photographed by the Bassano studio. (SOLD)

Postcard 2 features Valli, in a pensive or imploring mood, identical to the mood she exhibits in postcard 1. This card was published by Rotary Photo as part of a series (No.11415A).  (SOLD)

Postcard 3 captures Valli in her role as “The Gipsy” in “Queen of Hearts” . The card was published by Rotary Photo as part of a series (No.11415A). (SOLD)

POSTCARD 1 (SOLD)

POSTCARD 2 (SOLD)

POSTCARD 3 (SOLD)

ENID LOWE : VINTAGE GLAMOUR PORTRAIT : BY GEORGE MANNELL : PRETTY ACTRESS : RARE

The photo postcard features Enid Lowe (1908-1994) in an elegant and theatrical pose. She was a British actress known for her work in television and theater, with notable appearances in productions such as “BBC Sunday-Night Theatre” (1950), “Educated Evans” (1957), and “Loot” (1970). In 1941, she performed in the musical “London Rhapsody” at The London Palladium. This postcard is a testament to Enid Lowe’s beauty. She is dressed in period-style attire. Her outfit includes a lavish gown with a soft, flowing texture, possibly made of silk or satin, adorned with delicate lace and ribbon details. The bodice has a gentle scalloped trim, and she wears long gloves, adding to the refinement of her look. Her accessories are striking—she wears an elaborate wide-brimmed hat with a voluminous, gathered crown, likely made of soft fabric. Her jewelry is ornate, consisting of large, dangling earrings with multiple tiers and a matching necklace of pearl-like beads. These accessories enhance the regal and theatrical nature of the portrait. Enid Lowe’s facial expression is poised and slightly enigmatic. Her dark, wavy hair is styled in an elegant, vintage fashion, framing her face beautifully. Her eyes, accentuated with dark makeup, have a confident and alluring gaze, and her lips are slightly parted, conveying a subtle yet engaging expression. The soft lighting highlights her delicate features, giving her a luminous and almost ethereal appearance. The photographer of this image, George Mannell, was based in London and was active in the early 20th century. He specialized in theatrical and celebrity portrait photography, producing high-quality postcards featuring actors and actresses of the time. His work captured the glamour and artistry of stage performers, often presenting them in elaborate costumes and dramatic poses to appeal to both fans and collectors. His work often appeared in publications such as the Picturegoer series, a popular British postcard collection featuring film stars and entertainers. SOLD

DOROTHY GISH : PRETTY SILENT FILM STAR : FASHIONISTA :PARAMOUNT : RPPC 1928

This vintage real photo postcard features actress, Dorothy Gish (1898–1968). She was a prominent American actress best known for her work in silent films and later in theater. She was also quite pretty which is apparent in this postcard portait. In addition, she was quite fashionable. She was born in Dayton, Ohio, into a family with roots in the performing arts. Dorothy and her older sister, Lillian Gish, are often remembered as significant figures in early American cinema, particularly for their work with director, D.W. Griffith. Dorothy and Lillian’s parents separated when they were young, leaving their mother to support the family. In 1902, the Gish family moved to New York City, where their mother sought work in the theater. Both sisters began acting on stage as children to help support their family. Dorothy made her stage debut at a young age, and by the time she was a teenager, she had already gained experience in theater. In 1912, Dorothy and Lillian were introduced to D.W. Griffith by their friend, actress Mary Pickford. Griffith immediately saw potential in the sisters and cast them in his films, launching their film careers. Dorothy’s early work with Griffith included supporting roles in films like The Musketeers of Pig Alley (1912) and The Birth of a Nation (1915). However, Dorothy’s specialty was comedy, and she developed a distinct, lively style that set her apart from her sister Lillian, who typically played more dramatic roles. Dorothy’s popularity rose as she starred in a series of comedic silent films, including Hearts of the World (1918) and Orphans of the Storm (1921), both of which also featured Lillian. While Lillian’s characters often embodied innocence and vulnerability, Dorothy’s roles allowed her to showcase a playful, often mischievous side, bringing her critical acclaim and a strong fan following. With the advent of sound films in the late 1920s, Dorothy, like many silent film stars, found it challenging to transition to “talkies.” She made a few sound films, but she gradually shifted her focus to theater, where she had always felt at home. Dorothy was well-suited to the stage, bringing her charm and humor to roles in productions such as Young Love (1928), which was a hit on Broadway, and The Chalk Garden (1956). Throughout the 1930s and 1940s, Dorothy toured in various plays and continued to appear in films occasionally. She remained active in theater well into the 1950s, and her stage career extended her professional life even as her work in film slowed. In contrast to her sister, who continued to receive accolades in film well into the sound era, Dorothy’s legacy was tied more to her stage performances and her beloved silent film roles. Dorothy was known for her wit, independence, and close bond with her sister Lillian. The two were inseparable and supported each other throughout their lives, both personally and professionally. In 1920, Dorothy married James Rennie, a Canadian-born actor. However, their marriage ended in divorce in 1935, and she did not remarry. After retiring from the stage, Dorothy lived a quiet life but remained connected to the arts and close to her sister. She passed away in 1968. This postcard was published by Ross Verlag as part of a series (No.3513/1). The card was published in 1928/1929. SOLD

THE STATUE AND IT’S MODEL : TONI SEVEN : AMERICAN COVER GIRL AND ACTRESS

The photographer of this press photo must have been in a playful and creative mood at the time that this photograph was taken. The image features a statue and its model, side by side, in identical poses. The caption of the photograph, affixed to the reverse, indicates that the model is “beautiful” Hollywood star, Toni Seven. It also states that she was the fiance of Senator Warren G Magnuson of Washington state. The photograph was taken in 1949. Toni Seven (1922-1991) was born as June Elizabeth Millarde. Her mother was noted stage and silent film actress, June Caprice. Caprice also worked as a model. Toni’s father, Harry F Millarde, was a film director. Toni’s father died when she was just 8 years old. She was orphaned at age 13 when her mother died. Her grandparents took on the responsibility of raising young Toni. She was raised in the town of Great Neck, located on Long Island in New York state. An article in Time Magazine (1949) indicates that she was financially secure. It was reported that she was a heiress to a fortune worth 3 million dollars. It appears that Toni Seven was genetically loaded to become a performer. As Toni Seven, she was a popular American cover girl and actress, In the early 1940’s she played minor roles in three films. One of these films was the well known “Yankee Doodle Dandy” (1942). She later appeared in two more films. When World War II began, she became a volunteer at the “Hollywood Canteen”, The canteen offered food, dancing and entertainment to servicemen, many of whom were preparing to go overseas. Everything at the canteen was free for uniformed servicemen and servicewomen, She was named pin-up of the year by US soldiers in the European theater in 1945. In 1944, she changed her name to Toni Seven. She thought it would be fun to sign her name “Toni 7”. When the first pin-up exhibition in the United States was held in 1944, Toni Seven was featured along with many other beautiful models, including Jane Russell. In 1946, Seven reclaimed her original name. In 1949, newspapers ran articles asserting that Toni was romantically involved with Washington US Senator, Warren Magnuson. Although the caption of this press photo states that she and Magnuson were engaged, the pair never married. However, the couple dated on and off between 1948 and 1953. Looking at Toni Seven’s biographical data, it is clear that her acting career was unremarkable. Toni appeared in only five films. Stellarstar writes in the blog “Those Obscure Objects of Desire” that “Toni Sevin is proof that a girl who lands in Hollywood, has money to burn, a great press agent and more than enough beauty, can still end up a complete unknown”. Toni was successful in other areas of her life. She was a great horsewoman, and also excelled at swimming and tennis. She despised gossip but created some when she dated Errol Flynn and other celebrities. This press photo belonged to the Intercontinental agency, located in Paris, France. An additional photograph of Miss Seven can be found below.  SOLD

PHOTO OF TONI SEVEN (NOT FOR SALE)

REVERSE OF PRESS PHOTO

VESTA TILLY : FAMOUS MUSIC HALL STAR & MALE IMPERSONATOR : VINTAGE RPPC POSTCARD

Vesta Tilly (1858-1952) was one of the most beloved and influential performers of the British music hall era. She was a groundbreaking male impersonator who captivated audiences for decades with her wit, charm, and powerful stage presence. Born into modest beginnings, she rose to become a symbol of British patriotism and a pioneer for women on the stage. Tilly was born in Worcester, England. She was the second of thirteen children born to Henry Powles, a self-employed musician and fiddler, and Matilda Powles. Her father, deeply involved in local musical performances, recognized Matilda’s precocious talent at an early age and began showcasing her on stage by the time she was just three years old. The Powles family moved to London when Matilda was a child, in pursuit of more lucrative theatrical opportunities. With her father acting as her manager, she began performing under the stage name “Little Tilly” in pantomimes and variety shows. Matilda’s first male impersonation was at the tender age of six. By her teenage years, she had taken the stage name Vesta Tilly, inspired by the Roman goddess of the hearth (Vesta) and a common nickname (Tilly). Her success as a “principal boy” in pantomime was soon eclipsed by her signature act: portraying men with startling authenticity and satirical flair. What set Tilly apart was her command of the stage and her uncanny ability to adopt male gestures, mannerisms, and vocal inflections. She didn’t just mimic men—she portrayed them with intelligence, humor, and often, social critique. She frequently played dapper young men, military officers, or swells (wealthy young men), sometimes poking fun at political figures or addressing social issues. She became one of the most highly paid and respected performers in the British music hall scene during the late Victorian and Edwardian periods. Her stage appearances were so convincing that many audience members did not initially realize she was a woman. Vesta Tilly’s career spanned over four decades, and she performed in countless popular songs and sketches. Some of her most iconic performances included: “Following in Father’s Footsteps”, “Burlington Berlie”, and “The Boy in the Gallery”. She was particularly popular among working-class audiences and soldiers. During World War I, Tilly took on a new patriotic role, performing in uniform to recruit young men to the military. She was so effective that she earned the nickname “England’s Greatest Recruiting Sergeant.” In 1890, Vesta Tilly married Walter de Frece, a theatrical impresario and songwriter. Their relationship was both romantic and professional—Walter became her manager and guided much of her career. He was instrumental in helping shape her brand and ensuring her continued success on the music hall circuit. After World War I, Walter was knighted and later became a Member of Parliament. This new political role brought Vesta into a more socially prominent world, and she gradually withdrew from the stage. Vesta Tilly gave her final performance in 1920 at the London Coliseum. Her retirement was widely publicized and emotional for her devoted fan base. After stepping away from the stage, she became Lady de Frece, supporting her husband’s political ambitions and engaging in charity work. The couple eventually moved to Monte Carlo, where they lived a quieter life. Walter de Frece died in 1935, and Vesta lived on until 1952. The postcard’s image shows Tilley in a fur-trimmed coat, accessorized with a hat adorned with feathers. The card has been hand-tinted, with touches of pink on her costume and hat and green on the tassels. The following is a transcription of the letter: “Dear Bess, Just a line to say we landed here quite safe. And are having a lovely time up to the present, only the weather isn’t up to the mark, it is a bit showery but not too bad. You might get a skirt ready to send me on Sunday. Will write and tell Hugh this aft to come round for it on Friday night so try and get it ready. Give my love to [all at home]. Joe” (Writer’s details also appear: No. 5 Company R.S. of Vols, Hightown, Nr. Liverpool.) This postcard was published by Philco as part of a series (No.3149D). (SOLD)

NAOMI CHILDERS: GLAMOROUS AMERICAN SILENT FILM ACTRESS

This vintage real photo postcard features silent film actress, Naomi Childers (1892-1964). Although she was born in Pottstown, Pennsylvania, her parents were English. She grew up in St. Louis, Missouri and was educated in the Maryville convent. She began acting at age three. At age ten, she played the title roles in both “Red Riding Hood” and “Alice in Wonderland” at St. Louis’s Odeon Theater. In 1912 she played roles in “The Great Name” and “Madame X”. Childers had one Broadway appearance which occurred in “The Great Name” ( 1911 ). Childers”s film career began in 1913. For the most part, she was a character actress. She played roles in “The Turn of the Road (1915) and “The Writing on the Wall” (1916). She spent four years working with the Vitagraph company. Her most popular role was in “Womanhood, the Glory of the Nation” in which she played a modern Joan of Arc. She joined the Commonwealth Company in 1917. Although Childers played many dramatic roles, she preferred comedy. The IMDb lists 104 film credits for Miss Childers. She was quite beautiful. She was blonde and had deep blue eyes. She was voted the most beautiful woman in Japan, and many of her fans and critics found her physical appearance very similar to Sarah Bernhardt. She did a great deal of modeling work and her nickname was “the girl with the Grecian face”. Childers was married twice. Her first husband was Harold Darling Shattuck, the head of a major candy company. She was later married to Luther A. Reed, a film writer and director. They were married nine years until their divorce in 1929. In her later years, Childers had significant financial problems. Upon learning of her struggles, Louis B. Mayer awarded her a lifetime contract with MGM. Miss Childers looks very glamorous in this postcard image. She is wearing a fur stole and a large hat. Her jewelry includes a necklace, bracelet and wrist watch. This postcard has an AZO stamp box indicating that it was published between 1904 and 1918.   SOLD

PRETTY WOMAN : WEARING TOP HAT : NOYER : REAL PHOTO POSTCARD

This French vintage real photo postcard features a pretty young woman, wearing a scarf and top hat. She has a beautiful smile that she is flashing at the camera. This postcard was published by Alfred Noyer. The card is part of a series (No.9538). SOLD

Published in: on October 8, 2025 at 12:00 pm  Leave a Comment  
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PRETTY WOMAN WEARING A NEGLIGEE & STOCKINGS : RISQUE : FLAPPER : PC PARIS : RPPC

This vintage real photo features a pretty young woman wearing a negligee and stockings.  She is provocatively playing with pillows. The pillow on the floor has a drawing of a woman who looks a lot like “Betty Boop”. This postcard is risque for its era. The card was published by the French firm, P.C Paris as part of a series (No.1448). The P.C logo is an abbreviation for Papeteries d Levallois-Clichy. The firm published a variety of real photo postcard topics including portraits of pretty models, nudes, views, and holiday cards. The company was active in the 1920’s.  SOLD

Published in: on October 7, 2025 at 12:00 pm  Leave a Comment  
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