PHOTOGRAPH OF THE THEATER IN LAKEWOOD, MAINE

This vintage real photo postcard features the theater at Lakewood, Maine. The theater gives the appearance of a large colonial home. The marquee on the front porch is displaying the photograph of the actors and actresses appearing in the current show. Note the two 1940’s automobiles parked in front of the theater. The postcard’s message states that the writer is at the theater for an afternoon matinee. The postcard is addressed to a couple living in Port Washington (Long Island). New York. The card’s postmark reveals that it was mailed in 1950. The postcard has a small chip on the left side of the top border but is in otherwise good condition (see scans). The Lakewood theatre is the official state theater of Maine. It received that title in 1967 from the state legislature. Before that time, the theater was known as “Broadway in Maine”. It began as a vaudeville play house. It was originally built as a hall for Spiritualist Camp Association meetings. The building was built in 1882. In 1884 it was converted into a roller skating rink. In 1898, it became a theater. (SOLD)

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Published in: on March 20, 2023 at 12:00 pm  Leave a Comment  
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PAULETTE DEL BAYE : CUBAN : FRENCH ACTRESS, SINGER, DANCER, & VAUDEVILLE RISQUE

This vintage real photo postcard features actress Paulette Del Baye (1877-1945).This French actress, singer, dancer and vaudevillian was born in Cuba. In 1904 she performed in the production of “Sleeping Beauty” at the Moulin Rouge. She received excellent reviews. She performed on stage at least from 1906 through 1918. She also appeared in four silent films in 1921. One of these films was a Sherlock Holmes adventure. In 1909 she was accused of being involved in a plot to restore the French monarchy. This risque photo postcard was published by SIP as part of a series (no.1322). Miss Del Baye’s portrait was taken by esteemed celebrity photographer Paul Boyer. His studio was located in Paris, France. The card has minor edge and cornerwear and is in overall Good Condition (See Scans).

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Buy this Vintage Real Photo Postcard (includes shipping within the US) #3923

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Published in: on August 7, 2022 at 4:19 pm  Leave a Comment  
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JULIA MARLOWE: ESTEEMED AMERICAN STAGE ACTRESS

CABINET CARD 1

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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)

Published in: on August 5, 2022 at 12:01 pm  Comments (6)  
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ADRIENNE AUGARDE : POPULAR ACTRESS IN BRITAIN & US : RPPC : (1906)

This vintage real photo postcard features English actress and singer, Adrienne Augarde (1882-1913). She was born in London. Her father was a violinist and her mother was a Belgian singer. Augarde had several other members of her extended family who were successful theatrical or music performers. Her popularity transcended beyond Great Britain to include the United States. In fact, she appeared in four Broadway plays between 1905 and 1912. These plays included “The Dollar Princess” (1909) which ran for 250 performances. She was most known for her roles in Edwardian musical comedy.  Augarde started her career at age sixteen. She did pantomine and appeared in small roles in musical comedy and opera. Her popularity began with her playing leading roles in the musicals of George Edwardes. She then starred in a number of long running productions in both London and New York (1903-1912). While on a Vaudeville tour in the US, she became ill and died after an unsuccessful appendectomy. She was thirty years of age at the time of her death. She died in Chicago. Her ashes were put in an urn designed to look like a make-up box. Her cremains were sent to her mother in England. This card was published by Rotary Photo as part of a series (No.4158B). The photograph was taken by the Foulsham & Banfield studio. The postcard has a 1906 postmark. (SOLD)

Published in: on May 3, 2022 at 12:00 pm  Leave a Comment  
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LEILA HYAMS : PRETTY FILM ACTRESS : FAMOUS MODEL : LISTERINE : “FREAKS” : RPPC

This vintage real photo postcard features American film and stage actress, model and vaudeville player, Lila Hyams (1905-1977). Her parents were vaudeville comedy performers and her mother was also a well thought of actress. Her parents also appeared together in a number of films. Leila began acting on stage as a child. In her teenage years, she worked as a model and became nationally known. She modelled for the first ad for Listerine. Leila’s film career was during the silent film and early talkie era and spanned from 1924 through 1936. Often playing leading lady roles, she appeared in more than fifty films. “Freaks” (1932)  was one of best known movies. Leila married her talent agent in 1927 and they stayed together for 50 years. The New York Times wrote in her obituary that she was “an attractive blonde actress who was eminently successful at playing ingenues.  This vintage postcard portrait is in very good condition (see scans). SOLD

Published in: on March 9, 2022 at 10:31 pm  Leave a Comment  
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CARRIE PERKINS : RISQUE PHOTO : WORE THE TIGHTEST DRESSES IN VAUDEVILLE

The pretty woman seen in this cabinet card portrait is actress, Carrie Perkins. Her acting included productions on Broadway, as well as, appearances on the Burlesque and Vaudeville stage. One of Perkins’s claims to fame, is that she was considered to be the actress that wore the tightest fitting costumes in all of vaudeville. She appeared in much advertising such as premium cards for cigarette brands. The website, “Broadway Photographs” provides a biography of Miss Perkins. She is described as “a vaudevillian with a trim body and a smart tongue”. The site states that “she plied both the visual and verbal dimensions of entertainment”. Although she was known for her tight gowns, the biographer states that “it was her urban girl wit that won her a ticket to Broadway”. She became known to the theatrical world in Garrick’s burlesque “Thrilby” (1895). She wasn’t considered beautiful enough to play lead roles. Instead she played roles that showcased “feminine audacity”. She appeared in nineteen Broadway productions according to the Internet Broadway Database (IBDB). These appearances occurred between 1888 and 1911. These performances included “Jack and the Beanstalk (1898), “The Casino Girl” (1901), and “The Merry Shop Girl’s” (1905). Her final show was “The Fascinating Widow”. which was a touring production with the popular actor and female impersonator Julian Eltinge. There seems to be agreement that Perkins was long on personality and appearance, but short on talent. Perkins rarely received praise from theatre critics. She found her place on the stage as a supporting actress/dancer/singer. This cabinet card photograph was taken by the Sparks Photo-Publishing Company. The studio was located in Philadelphia, Pennsylvania. The artist/manager of the studio was Elliott Houseworth. The 1880 census lists Elliott A. Houseworth as being born in 1855, residing in San Francisco, California, and working as a photographer. Houseworth also appears in the 1900 census as living in Norwood, Pennsylvania and working as a manager. These demographics fit the photographer of this image, since Houseworth managed Sparks Photography Studio and Norwood is only about eleven miles from Philadelphia. A stamp on the reverse of the image states “Russell Brothers, 126 Tremont Street, Boston”. Perhaps the Russell Brothers were photograph collectors or a photo gallery that sold celebrity photographs. Photographs of Miss Perkins are rare and this image is beautiful remnant of turn of the century Broadway theater. SOLD

Published in: on April 6, 2021 at 12:00 pm  Leave a Comment  
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BETTY COMPSON : PROLIFIC AND PRETTY AMERICAN FILM ACTRESS : SITS IN SPORTS CAR

This vintage real photo postcard features American actress and film producer, Betty Compson (1897-1974). She was nicknamed “the prettiest girl in pictures”. Compson was born in a mining camp in Beaver, Utah. Her father was a mining engineer, a gold prospector, and grocery store owner. Her mother was a maid in hotels and private homes. Betty graduated from Salt Lake High School. She was hired as a violinist at age 16 in a theater in Salt Lake City. She then played in vaudeville touring companies and it was during this stint she was discovered by a film producer (Al Christie) who signed her to a contract. She began her career during Hollywoods’s silent film era. Her debut film was “Wanted, a Leading Lady” (1915). After this film, her career rocketed. She appeared in 25 film in 1916. All but one, were shorts. In 1918 she was offered a contract by studio head Mack Sennett. She rejected the offer because the salary was too low. She continued to make numerous short films until the middle of 1918. She was frequently paired with Roscoe “Fatty” Arbuckle. She started making only feature films. She became a rising star after appearing opposite Lon Chaney in “The Miracle Man” (1919). Paramount became interested in her and signed her to a five year contract. In 1921, Compson established her own production company in order to have creative control over screenplays and financing. The first movie she produced was “Prisoners of Love” (1921). After she completed acting in “The Woman With Four Faces” (1923), Paramount refused to give her a raise. She wanted an increase in her $2500 per week salary. Compson was angry enough at Paramount, to leave the company, and sign with a British film company. She made four films in England, two of them were films penned by Alfred Hitchcock. Paramount lured her back to Hollywood from England by offering her a top dollar contract. She then appeared in a movie by director, James Cruze. The pair married in 1924, but divorced four years later. The divorce from Cruze nearly ruined her financially because of debt accrued by Cruze. After Paramount did not offer her a contract renewal, she began freelancing in lower budget films. In 1928 she appeared in a “part talkie” called “The Barker”. She played a manipulative carnival girl. She was nominated for a “Best Actress” for this role by the Academy Awards. In 1929, she gained much recognition for her role in “The Docks of New York”. She played a suicidal prostitute. These two films resulted in her popularity returning to it’s previous high level. She appeared in many “talkie” films. Unlike a lot of silent film stars, Compson made a successful transition into sound films. In fact, she even appeared in a number of early musicals. When she played singing parts, her voice was dubbed. Her career flourished. In 1930, she appeared in 9 films. Her last “hit’ was in “The Spoilers”. Her costar was Gary Cooper. Her popularity waned and she only got roles in low budget, less successful studios. Her last film was in 1948. After retiring from her movie career, she started a cosmetic line and assisted her husband in a business named “Ashtrays Unlimited”. In total Compson was married three times. Her second marriage, to agent/producer Irving Weinberg ended in divorce after four years. Her third marriage was to a professional boxer. The marriage lasted 18 years and ended upon his death in 1962. She had no children. She died in 1974 after suffering a heart attack. She had much impact on the early movie industry. The IMDb reports 209 film credits between 1915 and 1948. This vintage postcard is in excellent condition (see scans). Take a look at the YouTube video below. The video features Betty Compson appearing in the silent film, “The Docks of New York” (1928). The music accompanying this video is obviously modern, but, in my opinion, it is excellent. Compson demonstrates incredible acting ability. Her facial expression and her eyes speak for her. SOLD

Betty Compson in “The Docks of New York” (1928)
Music: “Marry Me” By Dave Pagett and Viv Jones (Sax)

Published in: on October 7, 2020 at 12:00 pm  Comments (1)  
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A DUSKY BEAUTY : MISS AIDA OVERTON WALKER

The subject of this vintage real photo postcard is Miss Aida Overton Walker. The caption above her name refers to her as “A Dusky Beauty”. Seems like a racist title to me. I don’t recall ever seeing its equivalent, “A Pasty Beauty”, on a portrait of a white female performer. Aida Overton Walker (1880-1914) was known as “The Queen of the Cakewalk”. She was African-American and an American vaudeville performer, singer, actress, and choreographer. She has been called the most famous African American female performer of the early twentieth century. She was married in 1899 to vaudeville performer, George Walker. Aida and her husband performed with the highly successful Bert Williams. They were the major black vaudeville and musical comedy act of the era. She was also a solo dancer and choreographer for a number of other vaudeville shows. Aida was well known for her 1912 performance of the ”’salome” dance. Aida was born in Richmond, Virginia and moved to New York City when she was young. She was educated there and received a great deal of musical training. When she was fifteen years old she joined the “Octoroons”, a black touring group. In 1900 she gained national notice with her performance of  “Miss Hannah from Savannah” in the play, “Sons of Ham”.  The song became a major hit. Overton Walker had significant theatrical success with her performances in Dahomey (1902), Abyssinia (1906), and Bandana Land (1908). Overall, Aida was praised by critics and fellow performers. She was financially successful. In 1908 she retired to care for her ill husband. In 1910 she returned to the stage as a solo act. In 1911, her husband died. By 1912, she was on tour again. That same year, she performed on Broadway as Salome. In 1914, Walker died suddenly from kidney failure. Two years before her death, she was performing in white variety theaters. She and Bert Williams were the only Black performers “permitted” to do so. At that time, African Americans were expected to confine themselves to “lower” entertainment such as comedy and ragtime. “High” art, like dramatic theater and classical dance were reserved for whites. Aida helped break that racist tradition. During her career, Aida addressed the issue of racial relations. She stated in an article in “The Colored American Magazine (1905), her view that that the performing arts could have a beneficial effect on race relations. Walker asserted “I venture to think and dare to state that our profession does more toward the alleviation of color prejudice than any other profession among colored people.” She also worked to improve working conditions, and to expand roles for black women on the stage. During the period Walker was performing, female actresses, especially black actresses, were seen as “immoral and oversexed”. Aida wrote “a woman does not lose her dignity…when she enters stage life”. Walker also worked to develop the talents of younger black performers within the framework of refinement and elegance. In 1908, she began organizing benefits to assist such causes as the Industrial Home for Colored Working Girls. This vintage postcard was published by Raphael Tuck, of Paris, France. The photographer of Miss Walker was Cavendish Morton (1874-1939). The National Portrait Gallery possesses 104 of Morton’s portraits. Morton had several careers including electrical engineering, architecture, acting, illustrating, and in the 1890’s he took up photography. He is known for his theatrical photo portraits. His son was a well known watercolor artist. This postcard was postmarked in 1908, The postcard is in good condition. See the youtube video below. It is a tribute to Aida Overton Walker.   (SOLD)

 

Published in: on September 10, 2019 at 12:00 pm  Comments (1)  
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DOLLY BABCOCK: BEAUTIFUL VAUDEVILLE PERFORMER

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This photograph features a beautiful young woman in a theatrical costume. Written on the reverse of the image is the name “Dorilda (Dolly)”  This pretty woman is Dolly (Tetreault) Babcock. She and her husband performed on the Keith Orpheum Vaudeville Circuit playing all over the United States. They were active from the early 1920’s through the early 1930’s” and performed under the stage name of  “Babcock and Dolly”. She was known for her beauty and fantastic costumes, many of which she made for herself. Arthur died in 1953 and Dolly lived until 1965. This vintage photo measures about 4 1/2″ x 6″.   SOLD

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Published in: on December 8, 2018 at 12:01 am  Comments (2)  
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BAWDY PORTRAIT OF A SCANTILY CLAD YOUNG WOMAN (VAUDEVILLE ACTRESS?)

This vintage bawdy photograph features a young woman scantily clothed and flashing a terrific smile. Her expression is very inviting. I wish I knew the story associated with this risque image. My hypothesis is that the woman is an actress and part of a vaudeville show. Her act was likely focused on bringing men into the theater. She may have been a dancer or a singer. Perhaps she was talented in both dance and song. Note her dress. It certainly didn’t require a lot of material to produce. It shows a lot of the performer’s body, but it is tastefully done. The dress covers “the essentials”. Vaudeville acts were very popular in the United States from the early 1880’s through the early 1930’s. Vaudeville was a genre of theater that was composed of a series of separate and unrelated acts that were presented together at one performance. It is difficult to determine when this photograph was taken. It certainly was produced sometime in the early period of vaudeville. This photograph is not a postcard. I do not believe that the image is a trimmed cabinet card, though it has a cabinet card type board.  An examination of the photos edges reveal that they are straight and smooth. The photograph measures about 5 1/4″ x 3 1/4″. There is a small pinhole through the top center of the image. Someone, decades ago, appreciated this wonderful photograph enough, to hang it on their wall.  ADDENDUM : I have been informed that the woman seen in this photograph is part of Mack Sennetts bathing beauty troupe. This has not yet been confirmed but worth noting.

Published in: on January 14, 2018 at 12:00 pm  Comments (4)  
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