A distinguished looking and well dressed gentleman poses for his portrait in the studio of A. K. P. Trask at 1210 Chestnut Street, Philadelphia, Pennsylvania. The gentleman is dressed quite fashionably; wearing a bowler hat, a tweed overcoat, and holding a cane. The photographer, Trask, attended the 1871 convention of the National Photographic Association and the Philadelphia Inquirer (1872) reported that the pictures produced by Trask were “bewitchingly beautiful”. SOLD
This photograph features a fashionable wonderful looking elderly couple photographed by David’s Studio in Lapeer, Michigan. The image presents a dignified and deeply human study of age, partnership, and character. The gentleman is seated on the left. He wears a dark suit with vest and tie, formal but modest, and has a full white beard and mustache, with thinning hair brushed back from a high forehead. His expression is calm and direct, conveying a sense of quiet authority and lived experience. The woman, seated beside him, wears a patterned high-neck blouse beneath a darker jacket, consistent with late Victorian / early Edwardian styles worn into the 1910s. Her hair is neatly parted at the center and pulled back tightly, and her expression is steady, reserved, and attentive. The pair sit closely together against a plain dark studio backdrop, emphasizing their faces and posture rather than surroundings. The photographer’s imprint at the lower right reads “Davies Studio, Lapeer, Mich.” Measurements are as follows: 6 x 8 inches (mount & photo), 5 1/2 x 3 7/8 inches (image itself). This photo is in fair condition due to the mount’s top right corner is missing (see scans). The corner loss does not affect the image. The photograph itself is sharp with strong tonal range and good contrast.
This vintage photograph is available for purchase at my store, The History Peddler, for $24.00 or best offer.
Interested collectors may view the listing here:
https://www.ebay.com/itm/336438735918
CABINETCARD 6CABINET CARD 7 (SOLD)
CABINET CARD 12
CABINET CARD 14 (SOLD)
CABINET CARD 15 (SOLD)
VINTAGE PHOTOGRAPH 16 (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. (SOLD)
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”. SOLD
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)
Cabinet Card 15 was photographed by Napoleon Sarony, the famed celebrity photographer located in New York City. (SOLD)
Vintage Photograph 16 shows a seated pretty young woman—Julia Marlowe—posing in a studio setting. This photograph is printed on a thin paper stock and then mounted to a heavier card. This was a common production method, and the piece appears exactly as manufactured. I have seen this same image as a postcard. Marlowe wears an elaborate Edwardian dress with ornate embroidery, beadwork, and lace detailing. Her gown has layered textures and patterns, and she rests one hand on her lap while the other lightly touches the chair. She wears a large, dramatic hat trimmed with tall, soft plumes that sweep upward and to the side. Her expression is calm and direct, looking slightly toward the camera with a composed, almost introspective gaze. The background is a simple dark studio backdrop that highlights her figure and outfit. The photographer is identified as the Sands & Brady studio in Providence, Rhode Island. In the lower left corner of the image is a distinct publisher’s mark: a four-leaf-clover-shaped logo with letters in each quadrant. The clover has three letters in it, S., D., and P.. The fourth quadrant indicates that the publisher was located in New York. (SOLD)
PHOTO 1
PHOTO 2 (SOLD)
PHOTO 3 (SOLD)
The top Cabinet Card is an image of American stage actress, Fanny Davenport. The photograph is dated February 28, 1880. Miss Davenport (1850-1898) was thirty years of age when she sat for this photograph by Emil Scholl, in Philadelphia, Pennsylvania. He photographed many celebrities and this site has a category that includes a number of his images. To view these images, click on the category “Photographer: Scholl”. Davenport was born in London, England and educated in public schools in Boston, Massachusetts. In 1862 she appeared in ” Faint Heart Never Won Fair Lady” in New York. In 1869 she became a member of the Augustin Daly Theater Company. She later formed her own company. She had great success in “Fedora” (1883) and “Cleopatra” (1890). Fellow actor, Otis Skinner, in a backhanded compliment stated that “Miss Davenport was a handsome woman, her business sense keen and her industry untiring. To these qualities rather than her acting, she owed the late success in which she accumulated a fortune in her productions.”
The second photograph features a portrait of Davenport by Thomas Houseworth, whose studio was located in San Francisco, California. This image was part of the “Houseworth Celebrities” series. The series included three thousand titles for different categories, including entertainment and government. Note the carving below the chairs armrest in this photograph. Also take notice of Miss Davenport’s interesting hat. Thomas Houseworth (1828-1915) was an optician, photographer, and photographic publisher. Houseworth and George S. Lawrence came to San Francisco in 1849, during the Gold Rush. They caught gold fever and worked as miners in Calavera and Trinity counties. After two years of mining, they admitted defeat, and returned to San Francisco. In 1855, they partnered in a store that sold optical supplies and other miscellaneous items; but the partners became most well known for their stereographs. In 1859 they sold stereographs from an English company, but they soon contracted with local photographers to acquire and publish a diverse collection of stereos featuring various aspects and scenery of northern California and western Nevada. Later, they began to publish and market stereographs under their own name and by the early 1860’s had built the largest collection of stereographs for sale on the west coast. Lawrence retired in 1868 and the firm became known as Thomas Houseworth and Company. Houseworth hired the most talented photographers he could find. His photographers included Thomas Hart (Transcontinental Railroad Construction), Carleton Watkins (The Sierras’), and Eadweard Muybridge (Yosemite). By the 1870’s Houseworth’s business was failing due to increased competition. He left the field of photography in the 1880’s and went to work as an accountant and an optometrist.
Photograph 3 is a carte de visite portrait of Fanny Davenport (1850-1898) . The photo was taken at the Broadway studio of Napoleon Sarony. This photograph is from circa 1880. Miss Davenport was about thirty years of age when she sat for this photograph by Napoleon Sarony in New York City.
CABINET CARD 1
These two Cabinet cards present quite a mystery. The dramatically dressed and attractive young woman in Cabinet Card 1 is simply identified as “Etta”. She appears to be an actress and my research reveals a large number of actresses named Etta who were stage performers around the turn of the century. I have been unable to determine this actresses identity, but a leading candidate might be Etta Butler (1879-1903). Etta Butler was a well-known actress and impersonator. She began her career at age 19 with the Tivoli Chorus in San Francisco. A year later she became a member of the “Around New York in Eighty Minutes” company. She was later featured in Frohman comedies. She was last seen in “The Liberty Belles” at the Madison Square. Because of her popularity and promise, she was retained by David Belasco in a long term contract. She died of Typhoid fever in Roosevelt Hospital, in New York City at age 24. This mystery lady was photographed by Bradley and Bulofson of San Francisco, California.
Cabinet Card 2 has an inscription on the reverse signed by “Etta”. Are these two cabinet cards, taken by the same photographer, portraits of the same woman? One can see enough resemblance between the two images to hypothesize that they are likely the same “Etta”. Take a look at another cabinet card by these photographers by clicking on the category “Photographer: Bradley & Rulofson”. That very same click will provide the reader with additional information about the photographers of this image. (SOLD)
CABINET CARD 1
RPPC 7 (SOLD)
RPPC 8 (SOLD)
Lillian Russell (1860-1922) is pictured in the Cabinet Card 1 photograph by famed New York celebrity photographer, Falk. Lillian Russell is captured in costume as she appeared in “Pepita” (1886). Russell was a very famous American actress and singer who was known for her beauty, style, voice and stage presence. Her theater career began with roles in comic operas including the work of Gilbert and Sullivan. She married composer Edward Solomon in 1884 and two years later, he was arrested for bigamy. She performed in New York and elsewhere in starring roles in comic opera and musical theatre. In 1904 she switched to dramatic roles due to voice problems. She later also appeared in vaudeville. She retired from the stage in 1919. She later wrote newspaper columns, advocated for women suffrage, and was a popular lecturer. She married four times and her longest marriage was to Diamond Jim Brady who supported her extravagant lifestyle for four decades. It is interesting to note that the New York Times (4/2/1886) reported that during the performance of “Pepita”, an opera by her husband, Edward Solomon; there were obvious signs of marital discord observed on stage. The newspaper blamed issues revolving around Russell’s interfering mother, as well as, issues pertaining to Russell’s sudden prosperity. The newspaper article correctly predicted that there would soon be a divorce.
Cabinet card 2 is also photographed by Falk. This photograph provides a close-up image of Lillian Russell and is a testimonial to her beauty. (SOLD)
Cabinet card 3 was published by Newsboy and used by the tobacco company as a premium (#340). The photographer was Falk and the image was copyrighted in 1893. To view a collection cabinet cards by Falk; click on the category “Photographer: Falk”. (SOLD)
Cabinet card 4 is another image produced by B. J. Falk. Miss Russell is in costume and is posed provocatively partially behind sheer lace.
Cabinet card 5, also by Falk, provides a terrific profile portrait of the beautiful Miss Russell.
Lillian Russell is pictured in this vintage real photo postcard (RPPC 6). This undivided back postcard was published in 1907 or earlier. (SOLD)
RPPC 7 is an undivided back postcard portrait of Miss Russell. She is in costume. The publisher of this card is Pascalis, Moss & Company. The firm was London based and ceased publishing postcards in 1902. At that time Charles H. Pascalis (c1877-?) left the company and the firm changed it’s name to Henry Moss & Company. (SOLD)
RPPC 8 is risque in terms of the “plunging” neckline of Russell’s dress. This vintage postcard was published by Rotograph as part of a series (No.B518) Miss Russell’s photograph was taken by Jacob Schloss in 1899. (SOLD)
This Cabinet Card presents an attractive woman in a beautiful dress. She is wearing a “choker” necklace, a cross, and earrings. Note her somewhat unusual hairstyle and that she is wearing bangs. In addition, the woman in this portrait achieved an hour-glass type figure with an assist from a corset. A corset is a garment that was worn to mold a woman’s torso into a desired shape. Typically, corsets reduced the size of woman’s waist and exaggerated the size of their bust and hips. SOLD
This terrific Cabinet card image shows two Hunters and their three hunting dogs. Both gentleman are wearing boots and are holding rifles. This studio photograph was produced by Walter of Rochester, New York. Notation on the reverse of the card identifies the hunters and is dated 1887. SOLD
CABINET CARD 1
CABINET CARD 2 (SOLD)
POSTCARD 1 (SOLD)
POSTCARD 2 (SOLD)
POSTCARD 3
POSTCARD 4 (SOLD)
POSTCARD 5 (SOLD)
POSTCARD 6 (SOLD)
The sixth image (postcard 4) is a vintage real photo postcard portrait of Ethel Barrymore. The postcard was published by Albert Hahn who was based in New York City (200 Broadway) and Hamburg. Hahn operated his company between 1901 and 1919. The postcard was produced in Germany sometime in the decade of 1900-1910. The postcard is part of a series (no. 5271). (SOLD)
Postcard 5 offers a profile view of Miss Barrymore. The postcard was published by the Rotograph Company as part of the Rotograph Series (No. A 112). The photographer of this image is Burr McIntosh of New York City. William Burr McIntosh (1862-1942) lived an interesting life. Among his job titles listed by Wikipedia, are photographer, lecturer, film studio owner, silent film actor, publisher of the “Burr McIntosh Monthly”, reporter, and radio and early film pioneer. His sister was Nancy McIntosh, a noted operatic soprano. He was a graduate of Lafayette College in 1884. His most noted film role was his appearance in D. W. Griffith’s film, “Way Down East” (1920). Wikipedia notes that he appeared in 53 films between 1914 and 1934. This vintage postcard is in very good condition.
Postcard 6 is a portrait of Miss Barrymore that was postmarked in 1907. (SOLD)
POSTCARD 4
POSTCARD 5
Postcard 6 (Sold)
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