CARMEL MYERS : JEWISH AMERICAN FILM ACTRESS : BEN HUR : RPPC

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These images feature American silent and sound film actress, Carmel Myers (1899-1980). Carmel Myers was an extraordinary actress who captivated audiences during the early years of Hollywood. She had striking beauty, magnetic screen presence, and versatile talent. Myers was born in San Francisco to Jewish immigrants. Her father was a Rabbi from Russian and her mother was from Austria-Hungary. She grew up in a theatrical household and was exposed to the performing arts from a young age. She participated in both school plays and local theater productions. At the age of 16, Carmel Myers made her professional debut on stage, impressing both critics and audiences with her natural talent. It wasn’t long before she gained the attention of film producers. In 1916 she made her screen debut in the silent film “The House of Mystery”. This was the start of a more than twenty year career in the film business. During the silent film era, Carmel Myers became one of the most sought-after actresses in Hollywood. Known for her expressive eyes, graceful movements, and remarkable versatility, she effortlessly transitioned between comedic and dramatic roles. Her notable films during this period include “Ben-Hur” (1925), where she portrayed the seductive courtesan Iras. Many of her early roles were playing a “vamp”. Carmel Myers was also an early advocate for actors’ rights and was instrumental in establishing the Motion Picture Artists Association. She fought for fair wages, better working conditions, and creative control for performers, contributing to the formation of movie industry unions. With the advent of sound in films, Carmel Myers smoothly made the transition from silent movies to “talkies.” Her resonant voice and impeccable timing added another dimension to her performances. She starred in a range of films throughout the 1930s, including comedies, dramas, and musicals, collaborating with renowned directors and actors of the time. her most popular sound films were “Svengali” (1931) and “The Mad Genius” (1931). Her final film appearance was in the 1945 production of “Blonde Ransom,” marking the end of her illustrious acting career. However, Myers remained involved with both radio and television. Carmel Myers lived a private life outside of the spotlight, rarely divulging details about her personal affairs. She was married three times, first to an attorney and song writer in 1919, in 1929, she married a second attorney, and thirdly, she married a Paramount Pictures executive in 1951. Her first two marriages ended in divorce, and her third marriage ended with her husband’s death. After her husband’s death, she wrote a book about handling grief effectively. After retiring from acting, Carmel Myers devoted herself to philanthropy and community work. She supported various charitable organizations and advocated for social causes.

Image 1 was published by A. Noyer and is of French origin. The card has the MGM logo on it’s front. (SOLD)

Image 2 is a vintage ink blotter that advertises the Frog Switch & Manufacturing Company, located in Carlisle, Pennsylvania. The blotter has a calendar for January, 1923. The blotter also features a photograph (litho) of Carmel Myers. (SOLD)

Image 3 This press photo shows Myers in a classic glamour pose, her head turned slightly with a dramatic upward gaze that conveys both elegance and intensity. Her dark hair is softly styled with curls around her face, and she is draped in a fur wrap that slips over her shoulder, adding to the sense of sophistication and allure. In the lower left corner appears the photo’s numbering “V111-1”, while the lower right bears the imprint AFEDA, N.Y., the New York studio known for high-quality publicity portraits of stage and film stars of the era. Apeda was a photography studio in New York City. It was founded in 1906 by Alexander W. Dreyfoos, Sr. (1876–1951) and Henry Obstfield.  The studio was known for pursuing two business strategies: shooting original portraiture and reproducing uncopyrighted images by other photographers of newsworthy scenes or celebrities under its own trade name. The second strategy resulted in them being brought to court for copyright infringement. They won the case. Dreyfoos was the head photographer and his focus was on sports, theatre and celebrity portraiture.  (SOLD)

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Published in: on September 2, 2026 at 12:30 pm  Leave a Comment  
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FANNIE WARD : PRETTY STAGE & SILENT FILM STAR : PHOTO BY LIZZIE CASWALL SMITH : RPPC 1905

POSTCARD 1 (SOLD)

POSTCARD 2 (SOLD)

These vintage real photo postcards feature pretty American stage and silent film actress and film producer, Fannie Ward (1872-1952). She was also the star of light comedies on Broadway. She began her career in the early 1890s, and appeared in over 100 films between 1895 and 1920. She was known for her roles in silent comedies and melodramas, and was considered one of the most popular actresses of her time. She played starring roles in “Madam President”, “The Shop Girl” and many others. Her screen debut was in Cecil B DeMille’s sexually charged, “The Cheat” (1915). Ward also produced several films, including the 1913 film “The Chink in the Armour,” which was directed by her then-husband, Frank Keenan. She retired from acting in 1920, but continued to work in the film industry as a producer until her death in 1952. In addition, after her retirement from the screen, she opened a beauty salon in Paris called “The Fountain of Youth”. The name of the salon is a bit ironic. Ward was known for her youthful appearance. It was not ununsual for her to play the parts of women one of two decades her junior. Ward held feminist beliefs which she wasn’t shy to talk about. In 1909, she told a reporter that her husband hated her work and then pointed out the hypocrisy of society’s support of men pursuing their interests (ie. art, sports, travel) but not supporting women who did the same. In addition, Ward worked as a film producer, a role not usually populated by women.

Postcard 1 was published by Rotary Photo as part of a series (No.1661A). The firm was located in London. Miss Ward was photographed by celebrated female photographer, Lizzie Caswall Smith. This posted postcard has a 1905 postmark.  SOLD

Postcard 2 was published by Rotary Photo as part of a series (No.1661C). Miss Ward looks lovely in her fur hat and fur stole. The firm was located in London. Miss Ward was photographed by the popular female photographer, Lizzie Caswall Smith. SOLD

POSTCARD 1

POSTCARD 2

Published in: on August 23, 2026 at 11:30 am  Leave a Comment  
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DOLORES DEL RIO : BEAUTIFUL ACTRESS : STAR OF AMERICAN AND MEXICAN CINEMA : RPPC

POSTCARD 1 (SOLD)

POSTCARD 2 (SOLD)

This vintage real photo postcard features pretty Mexican actress, dancer, and singer; Dolores del Rio (1904-1983). Del Rio’s performing career spanned more than half of a century. She was the first major Latin American actress to become an American film star (1920’s & 1930’s). Del Rio was also a major star in Mexican films. Dolores was known for her beauty as well as for her talent. She was discovered in Mexico and her Hollywood film career started in 1925. She began her career with a number of successful films, including “Ramona” (1928) and “Evangeline (1929). During the silent film era, she was considered the female version of “latin lover”, Rudolph Valentino. Del Rio was one of the fortunate actresses whose career was not destroyed by the advent of sound films. She acted in a wide range of film genres. “Bird of Paradise” (1932) and “Madame Du Barry” (1934) were among her successful films of the 1930’s. In the early 1940’s, her Hollywood career began to flounder sparking Del Rio to return to Mexico to become a major star of Mexican cinema. She continued acting in Mexican films through the 1950’s. Beginning 1960 she acted in both Mexican and Hollywood films. During the late 1950’s through the early 1970’s, Del Rio acted in theater and television. Dolores was born in Durango City, Mexico. Her parents were part of Mexican aristocracy whose lineage could be traced to Spain. Dolores was the cousin of actor Ramon Novarro (another silent film”latin lover”), and of Mexican cinema actress, Andrea Palma. During the Mexican Revolution (1910-1920), Dolores’s family lost its fortune. Her family felt threatened by Pancho Villa’s insurgence. It was time to “get out of town”. Her father fled to the United States while she and her mother escaped to Mexico City. Acting was an integral part of Dolores’s getaway. She and her mother felt compelled to dress as peasants to insure safe passage on the train to Mexico City. Her parents reunited there in 1912. Dolores attended a college in Mexico City operated by French nuns. After seeing Russian ballerina, Anna Pavlova perform; Dolores decided to become a dancer and took lessons from a well respected teacher. At age 17, Dolores married Jaime Martinez del Rio. He was from a wealthy family and was educated in England. The couple honeymooned in Europe for two years and Dolores formed close relationships with a number of members of European aristocracy. When the couple returned to Mexico, they settled in Mexico City. In 1925, Dolores met American filmmaker Edwin Carewe, and he was spellbound. He convinced Dolores and her husband to move to Hollywood where he promised to make Dolores a star. Her husband hoped to write screenplays there. When they arrived in Tinseltown, Carewe launched a public relations campaign to raise excitement about his beautiful find. He built up her aristocratic background by saying such gems as Dolores was “the first lady of high Mexican Society” and that she had come to Hollywood with a collection of shawls and combs valued at fifty thousand dollars. Dolores made her film debut in “Joanna” (1925), where she played a vamp of Spanish-Brazilian origin. Her first starring role was in the comedy “Pals First” (1926), directed by Carewe. That same year, Dolores appeared in the war film “What Price Glory?”. The movie was a huge financial success and helped Dolores become one of the “WAMPAS Baby Stars” of 1926. Other members of her “class” were Mary Astor, Joan Crawford, Janet Gaynor, and Fay Wray. By then, her film career was rocketing. Her role in Resurrection” (1927), a popular film based on a Tolstoy novel, further propelled her career. While her career was succeeding, her personal life was a “hot mess”. Her marriage to Del Rio ended in 1928. He had much difficulty being in the shadow of his famous and successful wife. Six months after Dolores filed for divorce, Del Rio died in Germany. While dealing with her grief, she had to deal with constant harassment from her discoverer, Edwin Carewe. He wanted to be more than her agent and her director since he had first launched her career. In 1929, Dolores announced to the press, that despite Carewe’s claims, the pair were just friends and business companions. She added that they had no plans for marriage. Soon thereafter, she cancelled her contract with him. The end result was a legal dispute that was settled out of court. Carewe’s anger did not end there. He disparaged her the press and refilmed “Resurrection” starring Lupe Velez, another popular Mexican film star. In 1930, Del Rio married MGM art director, Cedric Gibbons. They became one of Hollywood’s most followed couples of the early 1930’s. In 1932, the film, “Birds of Paradise”, was released to rave reviews. The film starred Del Rio and actor, Joel McCrea. The movie was a South Seas love story. A scandal arose from the film because of a scene featuring the pair swimming naked. Controversy continued in Del Rio’s appearance in “Flying Down to Rio” (1933). In this film, Del Rio was the first actress to wear a two piece bathing suit on screen. Fred Astaire and Ginger Rogers danced together for the first time on film, in this movie. Del Rio and Astaire also did an “intricate” dance number in the film. Del Rio found herself in political hot water when she and Ramona Novarro and Lupe Velez attended a special screening of a Mexican film which was accused of promoting Communism in California. Del Rio was accused of being a Communist for her attendance at the screening. In 1940, Del Rio began an affair with actor/filmmaker, Orson Welles. The dalliance resulted in Del Rio and Gibbons divorce. In 1954, Dolores was scheduled to co-star in a Spencer Tracy film, but the US government would not give her permission to work in the United States. The government believed she was sympathetic toward communism for attending the aforementioned film screening and for signing a petition supporting a world peace conference. After some time, she was able to remedy the problem by writing a persuasive letter to the US authorities. Later in life Del Rio did express some “political” beliefs. She stated that she wished she could play Mexican roles to show what life in Mexico was really like. She felt such an opportunity could help diminish the ugly stereotypes that existed about Mexicans in American society. She stated that it was her great wish to make fans realize the beauty, wonder, and greatness of Mexicans as a people. She asserted that the great majority of Americans view Mexicans as a “race of bandits, or laborers, dirty, unkempt, and uneducated”. Why do these false negative stereotypes sound so familiar? Del Rio wanted to show “the best that’s in my nation”. It has been pointed out by more than a few writers that Dolores del Rio was no “Latin bombshell”. Instead, she was noted for her elegance. The IMDb reports that Del Rio has 63 film credits ranging from 1925 through 1978.

Postcard 1 was published by Ross Verlag as part of a series (no.656). The reverse of the card has a gold seal stating “Ross Splendid”. This postcard has a Netherlands stamp and was postmarked in Rotterdam in 1932. SOLD

Postcard 2 was published by Ross Verlag as part of a series (no.3378/2). SOLD

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Published in: on August 8, 2026 at 12:30 pm  Leave a Comment  
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MARY MILES MINTER : SILENT FILM ACTRESS : PICTURES LTD : LINKED TO A MURDER RPPC

This is a vintage real photo postcard featuring the celebrated silent film actress Mary Miles Minter (1902–1984). The card was published by Pictures Ltd., London as part of their “Pictures” Portrait Gallery series, and it is numbered No. 149. The sepia-toned image shows a striking head-and-shoulders portrait of the actress with her trademark flowing, wavy blonde hair and youthful, wistful expression. Minter’s wide, expressive eyes and delicate features reflect the qualities that made her one of the most beloved ingénues of the 1910s and early 1920s. Minter was born in Shreveport, Louisiana, she adopted the stage name Mary Miles Minter to circumvent child labor laws and began appearing in films as a child. She became one of the most popular silent screen actresses of the 1910s, often cast as sweet, innocent heroines. At the height of her career, she starred in such films as Anne of Green Gables (1919), The Eyes of Julia Deep (1918), and Nurse Marjorie (1920). Minter was most noted for her fresh-faced beauty and her ability to convey innocence and vulnerability on screen, making her one of Paramount’s biggest box-office draws of the period. However, her career was cut short in the early 1920s after the sensational unsolved murder of director William Desmond Taylor in 1922. Minter had been romantically linked to Taylor, and although she was never charged with any crime, the intense media scandal surrounding the case effectively ended her Hollywood career. At the time of Taylor’s death, love letters written by Minter to the director were discovered and widely publicized. One of her notes, signed with “Mary Miles Minter” in lipstick on Taylor’s bedroom mirror, was sensationalized by the press. Although the message was innocent, it became emblematic of the scandal, cementing her tragic association with the case. After leaving the screen, Minter lived a long, quiet life away from Hollywood, rarely granting interviews and never making a comeback, though she retained a mystique as one of the silent era’s “lost stars.” (SOLD)

Published in: on March 20, 2026 at 11:30 am  Comments (1)  
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JEAN AYLWIN : PRETTY BRITISH ACTRESS & SINGER : RAPHAEL TUCK : RPPC

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. In this portrait, Jean Aylwin is presented with a soft, coquettish elegance that was typical of early 20th-century stage and postcard imagery. She is shown seated and slightly angled toward the camera, her head gently tilted, with her hands clasped at her chest in a demure, almost confessional pose. Her expression is warm and inviting—large, dark eyes looking directly at the viewer beneath delicately arched brows, with a faint, knowing smile that suggests charm rather than overt theatricality. She wears an ornate period costume with layers of lace and sheer fabric, the bodice trimmed with ruffles that frame her neckline and sleeves. Dark ribbon accents at the sleeves and waist provide contrast against the pale, airy textiles. Her hair is styled neatly and topped with a frilled cap or bonnet, finished with a prominent dark bow that adds visual drama and balance to the composition. Overall, the image emphasizes her youthful femininity, grace, and approachability, qualities that clearly made her well suited for popular theatrical and postcard circulation of the era. Jean’s career in the performing arts overlapped with the golden age of postcards, and her image frequently appeared on souvenir postcards like this one. The card is published by Raphael Tuck, a notable postcard company active in England during the early 20th century. The card is part of the series, numbered T1255, and was published and printed in England. (SOLD)

Published in: on January 13, 2026 at 12:00 pm  Leave a Comment  
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MARY PICKFORD : AMERICA’S SWEETHEART : ROTARY PHOTO : HAND TINTED RPPC 1920

This beautiful vintage real photo postcard features Mary Pickford, shown here in a soft, introspective portrait that perfectly captures the romantic visual style of the early 1910s. Pickford is posed in three-quarter profile, her gaze cast downward, with her signature long curls cascading over her shoulders. She wears a delicate, flowing gown rendered in subtle hand-applied color, with pale blue and warm cream tones carefully brushed over the original photograph, lending the image a dreamy, ethereal quality. The overall effect is gentle and luminous, emphasizing her youthful features and expressive eyes. This postcard was produced by Rotary Photo, one of the most prolific and collectible publishers of celebrity real photo postcards in the early 20th century. The image is identified by the ID No. S.62-2, printed at the lower edge, and the reverse confirms it was printed in England via (Rajer Bromide). Mary Pickford needs little introduction; often called “America’s Sweetheart,” she was one of the most beloved and influential actresses of the silent film era, helping to define early Hollywood stardom. This particular image emphasizes her emotional subtlety and screen presence rather than theatrical glamour, making it especially appealing to collectors of classic film portraiture. The reverse reveals the postcard was postally used and that it is bearing a British King George V one-penny red stamp, postmarked in 1920. The card was mailed to someone in Harrogate, England. The handwritten message reads, in part “Just a card to let you know I am quite well. Hoping you are the same. Best love…”.  (SOLD)

Published in: on January 5, 2026 at 12:00 pm  Leave a Comment  
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NORMA TALMADGE : BEAUTIFUL ACTRESS : PICTUREGOER SERIES : RPPC

This vintage real photo postcard features American silent film actress, Norma Talmadge (1894-1957). She was noted for her dramatic and emotionally intense performances. She was one of the most popular and highly paid actresses of her era. She starred in over 200 films during her career. Raised in a show business family, Norma and her sisters Constance and Natalie Talmadge all became successful actresses. Norma began her acting career on the stage, performing in vaudeville and musical comedies. Initially, Talmadge worked for Vitagraph Studios before signing with D.W. Griffith’s Triangle Film Corporation, where she gained recognition for her talent. In the 1910s and 1920s, Talmadge became a major star, known for her ability to portray a wide range of characters. She excelled in dramatic roles, often playing heroines with complex emotions. Some of her notable films include “The Probation Wife” (1919), Smilin Through (1922), Camille (1926), and “New York Nights” (1929). Norma Talmadge was one of the few silent film stars who successfully made the transition to talkies. However, as the era of sound films emerged, her popularity waned. After her last film in 1930, Talmadge retired from acting and focused on her personal life. She married the film producer Joseph M. Schenck in 1916, and together they founded the Norma Talmadge Film Corporation. The company produced several successful films, contributing to Talmadge’s financial success and status as one of the highest-paid actresses of her time. However, her marriage to Schenck eventually ended in divorce in 1934. After her retirement from acting, Talmadge lived a private life, seldom making public appearances. She remarried in 1946 to Carvel James, a wealthy oil broker, and they remained together until her death. This vintage postcard is part of the “Picturegoer” series (No. 145B).  SOLD

Published in: on December 4, 2025 at 12:05 pm  Comments (1)  
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BRIGITTE HELM : TAKES A PHOTO : CAMERA ON TRIPOD : PHOTOGRAPHER : ACTRESS : RPPC

POSTCARD 1 (SOLD)

POSTCARD 2 (SOLD)

Postcard 1 features German actress, Brigitte Helm (1908-1996). The postcard captures Miss Helm taking a photograph with a camera on a tripod. Photographs of photographers in action are quite collectible. Now, back to Brigitte Helm. She is best known for her dual role in Fritz Lang’s 1927 silent film, Metropolis. After “Metropolis” she played in a long string of movies where she typically had the starring role. Helm was typecast as a Vamp or a femme fatale. She was born in Berlin. Her father was a Prussian Army officer. She was interested in acting at an early age and by age 12, was taking lead parts in school plays. At the age of 17, she acted in “Metropolis”. In 1925 she signed a ten year contract with UFA. She performed in both silent films and talkies. Beside “Metopolis” (1927), Helm was best known for “A Daughter of Destiny” (1928), “L’Argent” (1928), and “Alraune” (1929). Helm had an eventful personal life. Helm was involved in several traffic accidents. In fact, she was briefly placed in prison for manslaughter charges. She married industrialist, Dr Hugo Kunheim. The Nazis were not very pleased with her choice in men because Kunheim was Jewish. In 1935, Helm retired and moved with her husband to Switzerland where they started a family. Helm explained her retirement was because of disgust about the Nazi’s taking over the German film industry. This postcard was published by Ross Verlag as part of a series (No.8486/1). The card has the UFA logo which reveals it was published between 1925 and 1935. (SOLD)

Postcard 2 captures Miss Helm in a beautiful dress that illustrates her nice figure. This postcard was published by Ross Verlag as part of a series (No.8486/1). The card has the UFA logo which reveals it was published between 1925 and 1935.  (SOLD)

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Published in: on November 24, 2025 at 12:00 pm  Leave a Comment  
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LILLIAN GISH : PRETTY SILENT FILM STAR : D W GRIFFITH : RPPC

POSTCARD 1 (SOLD)

POSTCARD 2 (SOLD)

Postcard 1 features American actress, Lillian Gish (1893–1993). She is considered one of the pioneering figures in early cinema. Born in Springfield, Ohio, Gish began her career on the stage alongside her sister, Dorothy, but soon transitioned to film, where her delicate features and expressive acting made her a favorite of directors during the silent film era. In 1912, Gish joined legendary director D.W. Griffith, becoming his protégé and collaborating with him on groundbreaking films like The Birth of a Nation (1915), Broken Blossoms (1919), and Way Down East (1920). These films cemented her reputation as a leading lady, often playing roles that emphasized innocence and emotional depth. She was known for her meticulous attention to the art of acting. She helped establish the art of screen acting, emphasizing subtlety and naturalism at a time when film was still evolving away from theatrical exaggeration. She was a versatile actress, adapting well to various roles, from delicate heroines to more complex characters, and her commitment to authenticity often saw her enduring extreme conditions on set, like filming in freezing temperatures and performing her own stunts. When silent films gave way to “talkies” in the late 1920s, Gish transitioned gracefully, though her popularity declined as she aged and Hollywood’s focus shifted to younger stars. Still, she continued acting, taking on character roles and even appearing on television. One of her most memorable later performances was in The Night of the Hunter (1955), a film now regarded as a classic. In addition to her acting career, Gish became a vocal advocate for film preservation and the legacy of silent cinema. She gave lectures on the subject. Her work won her numerous accolades, including an honorary Academy Award in 1971, and she remained active in the industry well into her later years. Gish’s career spanned over 75 years, and she is remembered as an icon who bridged the silent and sound eras, leaving an indelible impact on American cinema. Lillian Gish, though a public figure, led a private and often solitary personal life. She was born on October 14, 1893, in Springfield, Ohio, to James Leigh Gish and Mary Robinson McConnell. Her early life was marked by hardship; her father abandoned the family when she was young, leaving her mother to support Lillian and her younger sister, Dorothy. Her mother opened a candy store in New York City, where the family eventually settled, and the two sisters began acting in theater to help support the family financially. Lillian and Dorothy were close throughout their lives, frequently working together in theater and film. Lillian took on the role of family protector and provider from a young age. Though she later became one of the most celebrated actresses of her time, Lillian remained deeply committed to her family, often prioritizing family relationships over romantic entanglements. She never married and had no children, believing that marriage and family life might interfere with her career. However, she did have close friendships with several prominent figures in Hollywood, including her frequent collaborator, director D.W. Griffith, with whom she shared a professional and deeply loyal relationship. There were rumors of a romance with Griffith, though Gish maintained that their relationship was strictly professional. Other rumored suitors included producer Charles Duell and critic George Jean Nathan, yet she largely avoided the spotlight when it came to romance. She valued independence and often expressed a desire to avoid the constraints she felt marriage could impose on her creative pursuits. In later life, she lived with her sister Dorothy until Dorothy’s death in 1968, a loss that deeply affected her. In her final years, Gish continued to work in the entertainment industry and to honor the legacy of silent cinema. She died in 1993, at the age of 99, leaving behind a remarkable career and a life dedicated to her art, family, and the preservation of film history.

Postcard 1 : The logo for Metro Goldwyn Mayor Films can be seen in the lower right corner of the image. This postcard was published by Ross Verlag (Berlin) as part of a series (No.3784/1). (SOLD)

Postcard 2 : This postcard portrait was taken in 1923. LIllian was 30 years old and the photo shows her as she appeared in the film “The White Sister”. This 1923 silent drama film co-starred Ronald Coleman. The logo for British American Films can be seen in the lower right corner of the image. This postcard was published by Ross Verlag (Berlin), is (844/2) in a series. SOLD

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Published in: on November 19, 2025 at 12:00 pm  Comments (1)  
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JOSEPHINE DUNN : IN “EXCESS BAGGAGE” : MGM SILENT FILM STAR : RISQUE RPPC 1928

Josephine Dunn (1906 –1983) was an American actress known primarily for her work in silent and early sound films during the late 1920s and early 1930s. She was a glamorous starlet of the Jazz Age, often cast in flapper and socialite roles. Josephine Dunn was born in New York City, where she was raised. Little is known about her early years, but she entered show business as a teenager, joining the world of vaudeville before making the transition to film. Her natural beauty, charisma, and fashionable style made her a popular choice for film producers during Hollywood’s silent era. Dunn made her film debut in 1926 and quickly became a sought-after actress, starring in a variety of silent and early talkie films. She was often cast as the “other woman” or as a carefree flapper, fitting the Roaring Twenties’ archetype of modern femininity. One of her most notable films was “Our Modern Maidens” (1929), in which she starred alongside Joan Crawford and Douglas Fairbanks Jr. She also appeared in: “Excess Baggage” (1928),”The Broadway Melody” (1929),  “Tanned Legs” (1929), and “Montana Moon” (1930). Her transition from silent films to talkies was fairly successful, though she never achieved the same level of fame as some of her contemporaries, such as Crawford or Norma Shearer. By the early 1930s, her film career began to slow down. While primarily a screen actress, Dunn had early experience in vaudeville and stage performances, though she never became a major Broadway star. She retired from acting in the mid-1930s and lived a largely private life afterward. Dunn was married multiple times, including to millionaire oil executive Carroll Case. Her personal life was often the subject of media gossip. Although she was never a top-tier star, Josephine Dunn was emblematic of 1920s and early 1930s Hollywood glamour. This postcard features Dunn in her starring role in the 1928 silent film, “Excess Baggage”. The romantic comedy film was produced by Metro-Goldwyn-Mayer (MGM). She played the role fo a glamourous and sophisticated young woman. Unfortunately, like many silent films of the era, Excess Baggage is considered lost, meaning no known copies are available today. In this image, Josephine Dunn is dressed in a delicate, ruffled ballet-style costume, with a short, voluminous tutu and an intricately adorned bodice. The dress features lace and embellishments, reflecting the flapper era’s fascination with femininity and luxury. Her feet are adorned with soft, ballet-like slippers, adding to the graceful, almost ethereal appearance of her outfit. Her pose is both playful and weary—leaning on the large travel trunk with one arm propped up and her hand resting gently against her face. Her expression is one of wistful contemplation, with her eyes gazing off to the side, giving a sense of melancholy or quiet amusement. This pose complements the humor suggested by the film’s title, Excess Baggage, possibly hinting at the idea of emotional or romantic burdens rather than just literal luggage. Her curled, short blonde hair, typical of the 1920s, frames her face beautifully, reinforcing her status as a Jazz Age beauty. This risque postcard was published by Berlin based, Ross Verlag. In the card’s lower right corner, we see the logo of MGM. This vintage real photo postcard was issued in 1928. (SOLD)

Published in: on October 3, 2025 at 12:00 pm  Leave a Comment  
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