This vintage real photo postcard features three well dressed women wearing interesting hats and interesting expressions. The two women on the right have countenances like the “cat that ate the canary”. The ladies were photographed by an unknown studio at an unknown location. The “AZO” stamp box indicates that the postcard was published sometime between 1904 and 1918.
The beautiful woman pictured in this Cabinet card is stage actress, Florence Collingbourne. Obtaining significant biographical information about her has been difficult and further research will be done and provided in an addition to this blog. However, information from readers about this stage beauty will be appreciated. The Cabinet card was produced by the Rotary Photographic Company which also produced many postcards with images of theatrical stars. This Cabinet card was published in London, England. The second image displayed is a vintage real photo postcard also featuring the beautiful Miss Collingbourne (1880-?). The postcard was published by the Rotary Photo Company. The reverse of the postcard has evidence that it once occupied a photo album.
Maude Branscombe was a very popular stage beauty and light opera singer. She was reported to be the most photographed woman of her day. Biographical information about her is sparse and more will be added at a later date. Her first appearance on the New York stage was in 1876 as Cupid in a revival of Ixion at the Eagle Theatre. The portrait at the top was photographed by renowned W & D Downey of London, England.
The second portrait was cropped so the photographer is unknown.
The third portrait (Branscombe is wearing a necklace) is by L. Levin & Son of San Francisco, California.
The fourth cabinet card image was photographed by Sarony. Sarony was a well known celebrity photographer and more of his portraits can be viewed by clicking on the category of “Photographer: Sarony”. Sarony does an excellent job of capturing Branscombe’s beauty and her alluring eyes.
The fifth and sixth, and seventh cabinet card were photographed by another celebrity photographer, Jose Mora, of New York City. Interestingly, the fifth and seventh cabinet card captures Branscombe in the same costume as the second cabinet card. It is likely that the photographer of cabinet card number two, is also Jose Mora. To view other photographs by Mora, click on the category of “Photographer: Mora”.
The eighth cabinet card portrait of Branscombe was photographed by Howell, another New York City photographer with a studio on Broadway. Howell’s close-up photograph captures the actress’s beauty and her wonderful eyes. She is wide eyed and her hair is a bit mussed. These qualities add to the allure of Miss Branscombe.William Roe Howell was born in 1846 in Goshen, New York. He had a passion for drawing and painting and he directed his creative interest into the field of photography as a young adult. He opened a photographic studio in Goshen. In 1863 he moved to New York City where he joined Robert and Henry Johnston at Johnston Brothers Studio at 867 Broadway. In 1866 the firm became Johnston & Howell. In 1867, he became the sole proprietor of the gallery. By 1870, he was gaining much recognition in the field of photography. His great location in New York City gave him access to many fashionable upper class men and women as well as many celebrities. Among his photographic subjects were P. T. Barnum, Buffalo Bill, and Robert E. Lee. He opened a branch studio in Brooklyn. In 1873 he came one of five Americans to be awarded a special grand prized at the Vienna World Fair. He frequently received mention in the photographic journals. He published a book of cabinet cards that received much praise. He became a photographer for West Point, Princeton, and other notable institutions. He won many medals at photography exhibitions. In 1878 he moved his business from 867 to 889 Broadway and opened another studio with a partner (Meyer) at 26 West 14th Street. In 1880 he retired from photography due to health reasons. In 1886 he moved with his family to Washington D.C. intent on opening a photography business there. He then disappeared. He vanished just two weeks before the grand opening of his new studio. He left his wife of 16 years (Fannie Scott) and his five children penniless. His wife stated that Howell was an eccentric man and that he must have got tired of business and family problems “and cut loose from us”. He apparently returned home after a short duration of absence and his business appeared in the 1888 Washington D. C. business directory but not in the 1889 directory. He died of tuberculosis in New York City in 1890. He had been residing at the home of a colleague who ran a photography studio in Harlem. It is believed by some biographers that he had divorced his wife and returned to New York without his family.
The ninth cabinet card is another portrait photographed by Jose Mora. The actress’s costuming detracts from the overall appeal of the photograph. She seems lost in the swirl of her head covering. However, the photographer does an excellent job of highlighting Miss Branscombe’s seductive eyes. The phrase “Maude Branscombe eyes” certainly rivals the phrase “Bette Davis eyes”.
Cabinet card number ten also comes from the studio of Jose Mora. She is well dressed in this portrait. It is not clear if she is dressed for a stage role or if she is attired for a jaunt around town.
This Cabinet Card is quite unusual. A pretty woman is posed outside a curtained window peering into a room. She is wearing a corsage and a fancy hat. The window is clearly put in the photograph after the picture was taken. The woman appears pensive and has a very interesting and attractive face. The photographer is Friend of Port Chester, New York.
Chavita is captured in this Cabinet Card by famed Paris Photographer, Reutlinger. This beautiful woman is wearing a mantilla and holding a spanish fan. She is wearing a Spanish lace dress and is clearly in a corset. She danced at the opera=comique and was known for her “spicy numbers”. More information will be added when research uncovers further biographical information on this star of the Paris stage. To view other photographs by Charles Reutlinger, click on the category “Photographer: Reutlinger”.
This Cabinet card by Rieman & Co. of San Francisco captures the image of a fashionable young woman in San Francisco, California. Rieman’s studio was in San Francisco in 1882 and he was partners with Forrest Chadbourne. Rieman opened a new studio in 1886 so it is clear that this photograph was taken between 1882 and 1886. To view other photographs by Rieman & Co., click on cabinet card gallery’s category “Photographer: Rieman”.
Alice Evans was a theatrical star and her beauty is apparent in this Cabinet card by celebrity photographer Falk of New York City. Further research is required to find biographical information concerning this lovely actress.
This wide eyed cute little girl is posing for her portrait at the Crow studio in Astoria. Note her her terrific curls. Research was not productive to determine whether this is the Astoria that is located in Queens, New York; or another Astoria, such as the one in Oregon. The only certainty is that the little girl is adorable as she dons her large lace bonnet for her sitting at the photographer.
Jessie Bartlett Davis (1859?-1905) was an American actress and operatic singer from Illinois who was billed as “America’s Representative Contralto”. Her father was a farmer and country school master and she was one of ten children. She was discovered when she was performing locally and was taken by traveling managers to perform on the west coast. In 1879 she made her debut in the opera H.M.S. Pinafore. She performed with several opera companies before joining the new Boston Ideal Opera and remained with this troupe until 1901 performing as their prima donna. She is most well known for her role as Alan a-Dale in the 1890 opera Robin Hood. She also toured performing opera in Europe one season and in 1897 she opened on Broadway in The Serenade. She played Broadway again in 1903 in Jakobowski”s operetta Erminie. This versatile performer also performed vaudeville, wrote songs, stories and poems. She had a home in Chicago and summer home in Indiana where she raised horses, collies and fox terriers. In 1905 she died of Brights disease and is buried in Chicago. The photographer of this portrait is renowned theatrical photogarpher Benjamin J Falk of New York City.
A Turkish family is posing in their traditional garb for photographer L.A. Sawyer in Philadelphia, Pennsylvania. Cabinet cards capture history and this photograph represents the building of America through immigration. How did this family adapt to life in this country? What issues did they face? Lots of questions and no answers. We can only imagine or read about the struggles of other immigrant families. The inscription below the photograph appears to indicate that this family comes from Bitlis, Turkey. Bitlis is located in southeastern Turkey, southwest of Lake Van and 4600 feet above sea level. It is rich in history, having been controlled by Arab dynasties, Byzantines, Persians and Mongolians. By the 14th century it became part of the Kurdish dynasty and was very autonomous until 1847 when it became part of the Ottoman empire. During World War I, the city was occupied by the Russians. The occupation had adverse impact on Bitlis; it reduced its population and damaged their weaving and dyeing industries.
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