HELEN BANCROFT : PRETTY THEATER ACTRESS : CABINET CARD BY JOSE MORA

This cabinet card photograph features stage actress, Helen Bancroft. Her portrait was photographed by esteemed celebrity photographer, Jose Mora. She is quite pretty and appears to be dressed in costume from one of her theatrical performances. Bancroft made three Broadway appearances between 1904 and 1911. “Music and Drama” (1892) wrote about Bancroft’s debut in the “Hunchback”, It appears to have been her first major role. The reviewer quotes another reviewer who stated she had “an attractive presence, pretty face and mellow voice(that) did much to win her audience”. Theatre Magazine (1905) had a less complimentary comment about Miss Bancroft. Apparently, she had “resigned” from a play because one of her costumes was an “unbecoming color”.  (SOLD)

Published in: on November 17, 2022 at 2:19 pm  Leave a Comment  
Tags: , ,

PORTRAIT OF AMERICAN STAGE ACTRESS MAUDE WHITE OR POSSIBLY A PORTRAIT OF AMERICAN STAGE ACTRESS MAUD WHITE

maude white 1

This is an unusual cabinet card portrait for two reasons. First, the pretty young woman who is the subject of this photograph is a New York city actress and certainly does not look the part. She is well dressed, but she is wearing conservative and “boring” attire. Overall, she looks more like the “woman next door” than a Broadway actress. She exudes a sweet and innocent disposition and she has a twinkle in her eyes. She doesn’t  give the appearance of a professional actress of that time. Where’s the histrionic flamboyance? Where’s the drama? Secondly, what’s wrong with the photographer, Napoleon Sarony. The fantastic celebrity photographer was not showing his usual bombastic flair when he posed and shot this photograph. Unlike many of his theatrical portraits, there is no fancy clothing or abundance of props in this portrait. The young lady in this image is named Maude White. Her name is written on the reverse of the photograph. However, there is a caveat worth mentioning. I encountered a problem while I was researching Maude White. I discovered that there was also an actress named Maud White who was performing during the same era. This became an issue because, despite the inscription on the back of the cabinet card, I could not be sure if the woman photographed was Maude White or Maud White. I attempted to find other photographs of both actresses but met no success. Due to the fogginess of the identification issue, I decided to research both Maude and Maud. The Internet Broadway Data Base reveals that Maude White appeared in one Broadway production, “The Ruling Power” (1904). However, Maud White made three appearances on Broadway (“Lost-24 Hours”(1895), “A Stranger in a Strange Land” (1899), and “There and Back” (1903). First, I will present some information gleaned from researching Maude. The New York Times (NYT) (1888) published an article about a soon to open play entitled “A Parisian Romance”. The star of the show was Mr Richard Mansfield and the supporting cast included Miss Maude White. The NYT (1888) later reviewed the play and made special mention of Maude. The review described her as “the danceuse (female ballet dancer) of the Opera” and reported that she played her role in a charming, pert, and clever manner. The NYT (1898) announced the soon to open comedy, “A Stranger in a Strange Land”, and that it would include both Mansfield and Maude. An article in the NYT (1900) stated that Maude would appear in Stuart Robson’s company that year. The NYT (1903) heralded the opening of a farcical comedy called “There and Back” and added that Maude would be a principal in the cast. An interesting story about Maude appeared in the NYT in 1905. The issue at hand was plagiarism. Maude had written a playlet called “Locked Out At Three AM” and she complained to the United States circuit court that the author of another play used some of her material. Maude had asked for an injunction and sued for damages. The NYT (1906) stated that Maude would be starring in the play “Nobody’s Fault”.  Now lets focus on Maud, rather than Maude.  In 1890, Maud was involved in some controversy and it was reported in the NYT. The title of the article was “Fritz Emmet Sobering Up”. Emmet was an established comedian who had a relationship with “John Barleycorn” that had produced many newspaper articles focussing on his drunken behavior. The article stated that there was  “a stormy sea” on the stage of the Hammerstein’s Harlem Opera House. Emmet had been drinking heavily for two weeks and creating much drama. His professional and personal life had become badly damaged. In his previous engagement in Philadelphia, Emmet had reached the point that he could no longer perform. The theater had to close the show, and fortunately for the theater, Emmet compensated them for their losses. Next stop was Harlem, but Emmet kept drinking excessively until the dramatic incident occurred on stage. At a Saturday night performance he “murdered his play”. While onstage he made many “Bacchanalian references” and exhibited other inappropriate words and actions.. Emmet’s adult son decided to put an end to his father’s out-of-control behavior. Just as the curtain went down on the last act of the play, Fritz’s son went on the stage where his father and Maud were standing. The son informed Maud that she would have to leave the theater company. Maud objected in a “vigorous manner” spurring the young Mr. Emmet to have her forcibly removed from the theater. Worse yet, he had her confined to a little storm house over the stage door. Basically, she was temporarily kidnapped. Maud cried and screamed “various better words” and even though Fritz tried to intervene, she was imprisoned until the police arrived. The police were called by the younger Mr Emmet and they promptly took Fritz to Manhattan Hospital where he was confined overnight. Maud was released and put in a carriage to go wherever she wanted to go. The story got worse for Fritz. Directly after this incident, his wife of 27 years, sued him for divorce on grounds of infidelity. They ultimately divorced and the settlement was costly for Fritz. Maud continued to perform and the NYT (1891) announced that Maud would be appearing in a play directed by Charles Frohman called “Mr. Wilkinson’s Widows”. That same year, she appeared in a Frohman production entitled “The Solicitor”. The NYT (1892) has an article reporting that Maud appeared in another Frohman production (“The Lost Paradise”). An 1895 NYT article states that maud was appearing with the Robert Hilliard Company in “Lost- 24 Hours” at the Hoyt Theater. The NYT (1897) has an article reporting her appearance in “The Wrong Mr Wright”. Maud received a complimentary review from the  NYT (1903) concerning her performance in the role of the “seductive Marie Antoinette” in the play “There and Back”.   (SOLD)

PAULINE HALL (1860-1919): BEAUTIFUL MUSICAL THEATRE STAR

This cabinet card features Pauline Hall (1860-1919), one of the most popular turn of the century prima donnas. She began her career as a dancer in Cincinnati, Ohio at age 15. She joined the Alice Oats Opera Company but left to tour in plays with famed actress Mary Anderson. By 1880, she worked for well known producer Edward Everett Rice in musical productions. Early in their association, he gave her a role in “Evangeline”. Her shapely figure allowed her to take male roles as she did in “Ixion” (1885). Her greatest success came in the title role of the first American production of  “Erminie” (1886). She played in more than two dozen Broadway operettas. Her final role was in the “Gold Diggers” (1919). This photograph was taken by famed celebrity photographer, Elmer Chickering of Boston, Massachusetts. The cabinet card has wear in it’s lower right hand corner and has a very slight curl. It is in overall good condition *see scans. 

8002-pauline-hall-1

Buy this Vintage Cabinet Card photograph (includes shipping within the US) #5013

To purchase this item, click on the Pay with PayPal button below

$58.85

8002-pauline-hall-3

Buy this Vintage Cabinet Card (includes International shipping outside the US) 5013

To purchase this item, click on the Pay with PayPal button below

$68.00

MARGUERITE CLARK : POPULAR AND PRETTY AMERICAN BROADWAY AND FILM STAR

This vintage real photo postcard features pretty American stage and silent film actress, Marguerite Clark (1883-1940). She was a very popular actress of her time; only second to Mary Pickford in popularity. The two shared a “little girl look”. Marguerite was tiny. She was 4’11” and weighed only 90 pounds. She was born in Cincinnati, Ohio. Her father was a haberdasherer. After finishing school, at the age of 17, Marguerite made her Broadway debut. During her stage career (1900-1913), she appeared in sixteen Broadway plays. Marguerite was also a prolific screen actress. Between 1914 and 1921, she appeared in 40 films. She is noted for her film role in “Snow White” (1916). In 1918, she married plantation owner and millionaire businessman, Harry Palmerston Williams. Marguerite retired at age 38 in order to live a more traditonal life with her husband. He died in 1936 in an airplane crash. This portrait postcard was published by Kraus Mfg.  This postcard photograph was likely taken between 1910 and 1920.  (SOLD)

Published in: on October 21, 2022 at 12:00 pm  Leave a Comment  
Tags: , , ,

DO DO WATTS : BRITISH STAGE AND FILM ACTRESS : CAREER WOMAN

This vintage real photo postcard features British stage and film actress, Dodo Watts (1910-1990), She had one appearance on Broadway in “The Middle Watch” (1929).When she retired from acting, she became a career woman. She owned a successful millinery firm in London. She also worked as a casting director for three films. She cast Diana Rigg in her role in “The Avegers” television series. Watts also worked as a theatrical agent. The IMDb credits her with19 film credits between 1925 and 1953. This card was published by Picturegoer as part of a series (no.537). The photograph seen on this card was taken by George Mannell. His firm was located in London, England. This vintage portrait postcard is in Very Good condition (see scans).

Buy this Vintage Real Photo Postcard (includes shipping within the US) #5009

To purchase this item, click on the Pay with PayPal button below

$8.80

Buy this Vintage Real Photo Postcard (includes International shipping outside the US) 5009

To purchase this item, click on the Pay with PayPal button below

$17.95

JANE COWL : IN COSTUME FOR “WITHIN THE LAW

This vintage real photo postcard features American film and stage actress, Jane Cowl (1883-1950). Cowl was also a playwright. She was born in Boston, attended high school in Brooklyn, New York, and took courses at Columbia University. She made her Broadway debut in 1903. She landed her first leading role in a 1909 David Belasco production. Her first big success was in “The Gamblers” (1910). She had much success on the stage, including “Within the Law” (1912). This photo postcard captures Miss Cowl in costume for her role in “Within the Law”. She played in a number of Broadway productions of Shakespeare. She played Juliet in more than 1000 consecutive performances. In 1930, she performed with a young Katharine Hepburn in “Art and Mrs. Bottle”. In sum, the IBDB reports that Cowl appeared in 35 Broadway productions between 1903 and 1947. Cowl’s performing history includes working in film. She was the lead in two silent films. She had an over 30 year hiatus from the movies until taking on some supporting film roles during the 1940’s. IN 1906, Jane Cowl was married to Adolph Edward Klauber. He was the drama critic for the New York Times. He was a former actor and the son of a noted Louisville, Kentucky Jewish photographer. In 1918, Klauber left his newspaper job to become a theatrical producer and manager. He and Cowl separated in 1930. This vintage postcard portrait is in excellent condition (see scans).

jane-cowl_0001-2

Buy this Vintage Real Photo Postcard (includes shipping within the US) #3931

To purchase this item, click on the Pay with PayPal button below

$21.75

jane-cowl_0001-1

Buy this Vintage Real Photo Postcard (includes International shipping outside the US) #3931

To purchase this item, click on the Pay with PayPal button below

$31.00

JULIA MARLOWE: ESTEEMED AMERICAN STAGE ACTRESS

CABINET CARD 1

   CABINET CARD 2

CABINET CARD 3

CABINET CARD 4

CABINET CARD 5

CABINETCARD 6CABINET CARD 7   (SOLD)

CABINET CARD 8

CABINET CARD 9

MARLOW8CABINET CARD 10

MARLOWE IN INGAMAR_0003CABINET CARD 11SPIN MARLOWE_0002

CABINET CARD 12

BRANSCOMBECABINET CARD 13

This image has an empty alt attribute; its file name is julia-marlowe-falk.jpg

POSTCARD 14   (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.

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”.

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)

IRIS HOEY : STAGE AND FILM ACTRESS : ROTARY PHOTO : RPPC : (1907)

The pretty actress seen on this vintage real photo postcard is Iris Hoey (1885-1979). She has a beautiful smile. Hoey was a British actress who performed in the first half of the twentieth century. She appeared in both stage and movie roles. Iris was born in London. Her father was a professor of economics. She began her career in straight theater and in musical comedies. Her first film appearance was in 1922. She was very active in the 1930’s working in film but still found time for theater. Th IMDb credits her with 20 acting roles in films. They range from 1922 to 1954. The IBDb reports that Hoey performed in two Broadway shows. Twelve portraits of Iris Hoey are part of the collection of Great Britain’s National Portrait Gallery. Hoey is considered to be among the prettiest actresses of her era. This postcard was published by Rotary Photo and is part of a series (no.2010 J).  (SOLD)

MISS EMMY WEHLEN : PRETTY THEATRE AND SILENT FILM STAR : BROADWAY : RPPC

This vintage real photo postcard features German actress, Emily “Emmy” Wehlen (1887-1977). She was a Edwardian musical comedy and silent film actress. She retired from acting at a young age (early 30’s), Wehlen received her musical training at the Mannheim Conservatory. She then joined the Thalia-Theatre and performed in musical comedies in several German cities. She was then invited to London and was considered as a possible successor to Lily Elsie. Wehlen played the lead role in “The Merry Widow” (1909). Later that year she appeared in the hit musical “The Dollar Princess” which ran for 428 performances. Next stop was New York, where she appeared in four Broadway plays between 1911 and 1915. Shortly after her last Broadway appearance, Wehlen left the stage and pursued a film career.  She appeared in over twenty films between 1915 and 1920. “Everybody’s Magazine (1911) reported that Wehlen was very pretty and very graceful. Her acting and voice were also praised. In addition, the article stated that “she has the indescribable charm of personality” and that audiences liked her and wanted her to never leave the stage during a production. Miss Wehlen’s photograph on this postcard was taken by celebrity studio, Foulsham & Banfield. The card was published by Rotary Photo as part of a series (no.11717H). (SOLD)

LORRAINE DREUX : PRETTY STAGE ACTRESS : DIES YOUNG AND TRAGICALLY : CABINET CARD

This cabinet card is a portrait of theatre actress, Lorraine Dreux. The  image is part of the Newsboy Series (#385) and was published in New York City. The Newsboy series was used for advertising purposes by the Newsboy Tobacco Company. Celebrity photographs were given away as premiums upon the sale of tobacco products. Ms. Dreux looks like she ran through the woods in order to arrive at the photography studio in a timely fashion. She has twigs and leaves on her head and even is wearing a necklace of branches around her shoulders. It seems she is modeling “the natural” look. Her eyes are looking upward, as if to say, “Am I really wearing sticks and leaves?”. Who was Lorraine Dreux? The Illustrated America (1893) describes her as “young and pretty, with soft dark eyes, a tremulous little mouth, and a dazzling complexion”. She was born in Marquette, Michigan, of well to do parents. Her father did a great deal of business in the East and she spent much time on the banks of the Hudson River in New York. She was educated at home by a governess supervised by Dreux’s beautiful mother. She decided that she wanted to be an actress while in her early teens. Her parents reluctantly gave her permission and her first experience acting occurred while she was in London, England, with her mother. She was engaged by Mr Charles Wyndham to play comedy parts in London stage shows. She next joined the London Globe Theatre Stock Company playing sentimental roles. She then joined an English traveling theatre company. She soon returned to America and appeared in a number of plays, including “Ninety Days” with William Gillette. The article closes with the prediction that Dreux would be a successful actress in America because she possessed both beauty and talent. The New York Times (1894) reported on Dreaux’s appearance in “Lem Kettle” at the Bijou theatre. She also appeared in “Rush City” (1894) which was staged in Brooklyn (New York), and also in “Nance Oldfield” (1896) in New York. Dreux appeared in one Broadway production, “The Spectator” (1896). The New York Dramatic Mirror (1908) reported the tragic death of Lorraine Dreux. She was described as a well known and capable leading women of many stock companies outside of New York City. She died in New York’s Bellvue Hospital at age 35. The article reports that she “had fallen on evil days” and was “too proud to let her friends know of her plight”. She let an illness go till it turned  into acute pneumonia which led to her death. Her last two engagements were in Worcester, Massachusetts and Rochester, New York. She received excellent reviews for her acting in both productions. However, her wardrobe was stolen and she was criticized for the way she dressed for her part in Rochester. She returned home “down hearted and discouraged” and sick, penniless and homeless. She met an old friend on the streets of New York who took her home to be fed and cared for but her condition worsened. A collection was made from other actors and actresses and the money was used to admit her to Bellvue Hospital where she died. Aid from the Actors Fund paid for her funeral and burial at Evergreen Cemetery. (SOLD)