This vintage French photographic postcard presents a playful and deliberately risqué studio scene, produced in France during the early 20th century, likely circa 1905–1915. The image shows a young woman reclining nude in an ornate bathtub, leaning over the tub’s edge with her arms folded and smiling directly at the viewer. Her expression is open, flirtatious, and self-aware, clearly intended to engage the recipient in a lighthearted, teasing manner. The setting is a stylized interior, with a patterned background and a decorative porcelain bathtub, lending the scene an air of theatrical elegance rather than explicit exhibition. While the subject is unclothed, the composition remains suggestive rather than explicit, placing the postcard squarely within the tradition of French “risqué” or “galant” postcards that were popular in the Belle Époque period. The card is marked “REX 811” on the image side, identifying it as part of a commercial French postcard series, produced for novelty and adult amusement rather than private photography. Such cards were widely collected, mailed discreetly, or kept in albums, and today they are sought after for their blend of early photography, social history, and erotic ephemera. A translation of the message is as follows: “Peek-a-boo… it’s me!” “Yes, it really is me… in flesh and bone, In flesh above all — but behind closed doors…” The wording is intentionally playful and suggestive, reinforcing the private, teasing tone of the image and making the postcard unmistakably risqué by period standards. The postcard is in very good vintage condition. There is light edge and corner wear consistent with age. The image remains clear, with good contrast and no major distractions. The reverse shows light handling wear (see scans).
This vintage postcard is available for purchase at The History Peddler for $45 at auction
This scarce and evocative antique theatrical portrait photograph, measures 5 x 7 inches, and depicts actress Gertrude Quinlan in her role as Annette from the musical comedy King Dodo, as performed at Daly’s Theatre in Chicago, Illinois. The photograph was taken by the Gibson Art Galleries of Chicago, a prominent studio known for producing high-quality portraits of stage performers and society sitters in the late 19th and early 20th centuries. In this portrait, Quinlan is presented in a softly lit, pictorialist style, wearing a flowing costume and an elaborate floral headpiece that frames her face. Her pose—head gently inclined, hand raised thoughtfully toward her chin—reflects the refined, expressive aesthetic favored in Edwardian theatrical portraiture, designed to emphasize character, mood, and feminine grace rather than strict realism. The image would have served both as a promotional likeness and as a collectible souvenir for theatergoers. Gertrude Quinlan was an early 20th-century American stage actress active during the height of musical comedy and light operetta in the United States. She sang in over 125 operas. While not a headlining star of the era, she was part of the important working class of professional actresses who sustained touring companies and long theatrical runs in major cities such as Chicago. Performers like Quinlan frequently appeared in chorus and featured roles, and their images were commonly commissioned by studios like Gibson Art Galleries for publicity and personal distribution. Her appearance as Annette in King Dodo places her squarely within the lively theatrical culture of Chicago in the first decade of the 1900s, when the city rivaled New York as a major center for touring Broadway and London productions. King Dodo is a musical comedy that originated in London in 1906, produced by George Edwardes, with music by Walter Slaughter and a libretto by Harry B. Smith. The show was quickly brought to the United States, where it enjoyed considerable success on tour. The production appeared in Chicago at Daly’s Theatre during the 1906–1907 season, part of the American run that followed its London popularity. King Dodo is a lighthearted romantic farce centered on a fictional European kingdom where a young king—nicknamed “King Dodo” due to his naïveté—navigates court intrigue, romantic entanglements, and mistaken identities. The character Annette is typically portrayed as a charming and sympathetic young woman whose relationships and choices help drive the comedic and romantic elements of the story. Like many Edwardian musical comedies, the play emphasized humor, romance, and spectacle over realism. This vintage photograph is in good antique condition. The photo has edge and corner wear, mild surface toning, and handling marks consistent with age. Note the surface issue on the mount near the top right corner. The image itself remains strong, with pleasing tonal range and soft focus characteristic of early 20th-century theatrical portraiture (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $48.00 at auction.
Santa Claus poses for this studio photograph by McCormick & Heald of Boston, Massachusetts. The studio was located on the appropriately named, Winter Street (#22). Santa has long whiskers, long hair and a lengthy beard. He is in the midst of a disorganized collection of toys. It appears as if Santa’s sled came in for a rough landing and spilled out much of its contents. Cabinet Card photographs of Santa are quite unusual. Information printed on the reverse of this photograph reveals that the image was produced for Christmas, 1880. To view other photographs by McCormick, click on the category “Photographer: McCormick”. SOLD
This evocative real photo postcard, written and dated 1925, presents a beautifully staged studio portrait of a very young child posed behind an elaborate miniature world of toys—an image that feels both intimate and faintly theatrical, as was common in European children’s portraiture of the interwar period. Spread carefully across the tabletop in front of the child is an impressive assortment of early 20th-century toys, each rendered with remarkable clarity. On the left stands a wooden pull horse on wheels, its form sturdy and utilitarian, likely hand-painted. Nearby is a small toy donkey or horse mounted on a simple wheeled frame. At center is a miniature cart with large spoked wheels, suggesting rural life and transport—imagery deeply familiar to Eastern European households of the era. To the right appears a toy goat or sheep, delicately harnessed, positioned near a detailed model boat complete with mast and rigging—an ambitious and unusual toy that adds narrative complexity to the scene. Also visible are tiny toy houses, a small lidded container or barrel, and a painted doll figure standing upright at the far right, dressed in what appears to be a sailor-style outfit. Collectively, these objects create a miniature village or imagined world, emphasizing themes of childhood, play, and aspiration. The child—identified in the message as two years and eight months old—stares directly at the camera with a solemn, almost uncanny composure, heightening the emotional impact of the image. The photograph is warm-toned and evenly exposed, suggesting professional studio work rather than a casual snapshot. This postcard is not only visually compelling but also richly documented, with a handwritten message on the reverse that firmly anchors it in time and place. The following is the English translation of the message on this postcard: “We offer you, as a keepsake and souvenir, the portrait of our son. Ovidiu Radian (Mleanu) 2 years and 8 months old Ismail, May 1, 1925.” The postcard is addressed to a family in Romania. The card originated from Ismail, a particularly important location historically. In 1925, Ismail was located in Basarabia, a region that at the time was part of Greater Romania (1918–1940). Today, Ismail is located in modern-day Ukraine. The postcard is in very good antique condition for a 1925 real photo postcard. The image remains strong with nice tonal depth. Light surface/handling wear consistent with age. The reverse shows expected age toning and a faint circular postal marking, along with the handwritten message. There is only minor corner/edge wear (see scans).
This cabinet card is available for purchase at The History Peddler for $68.00 at auction
Mary Pickford (1892-1979) was a Canadian-American actress and one of the most influential figures in early Hollywood. She was often referred to as “America’s Sweetheart”. She was a pioneer of silent film and a co-founder of the film industry as we know it today. Pickford’s career began in childhood when she performed in theater productions in Canada and the United States. By the early 1900s, she transitioned to film, working with director D.W. Griffith at Biograph Studios. Her delicate beauty and expressive acting quickly made her a fan favorite, setting her apart in an era when exaggerated stage-style performances dominated silent films. During the 1910s and 1920s, Pickford became one of the highest-paid and most beloved actresses in the world. Starring in films such as Rebecca of Sunnybrook Farm (1917), Daddy-Long-Legs (1919), and Pollyanna (1920), she was known for playing wholesome, spirited young women. Her curly hair and signature on-screen innocence became iconic, but she was also a savvy businesswoman who understood the power of her brand. Pickford was not only a star but also a trailblazer in the film industry. In 1919, she co-founded United Artists alongside Charlie Chaplin, Douglas Fairbanks (her then-husband), and director D.W. Griffith. This revolutionary move allowed filmmakers to control their own productions rather than rely on major studios, changing the industry forever. As the film industry transitioned to “talkies,” Pickford retired from acting in the early 1930s, though she continued to produce films. Her contributions earned her an honorary Academy Award in 1976 for her lasting impact on cinema. Mary Pickford’s influence extends beyond her films. She helped shape the star system, paved the way for women in Hollywood, and co-founded the Motion Picture Relief Fund to support struggling actors. She remains an enduring symbol of early Hollywood glamour and innovation. Mary Pickford was born into a working-class family in Toronto, Canada. Her father, John Charles Smith, was an alcoholic who struggled to provide for the family and died from a workplace accident when Mary was just six years old. Her mother, Charlotte Hennessey Smith, was left to raise Mary and her two younger siblings, Lottie and Jack, on her own. To support the family, Charlotte encouraged her children to enter acting, and Mary began performing in theater at a young age. She soon became the family’s primary breadwinner, and her siblings, Lottie Pickford and Jack Pickford, also pursued film careers. Pickford transitioned from theater to film in the early 1900s, quickly rising to fame with her expressive acting and wholesome on-screen persona. By the 1910s and 1920s, she was one of the most recognizable stars in the world, earning the nickname “Queen of the Movies.” She also helped establish the Academy of Motion Picture Arts and Sciences. Mary Pickford was married three times. Pickford’s first marriage was to silent film actor Owen Moore (1911-1920). Her second and most famous marriage was to fellow silent film actor, Douglas Fairbanks (1920-1936). Her third marriage was to actor Charles “Buddy” Rogers (1937-1979). After retiring from acting in the early 1930s, Pickford focused on producing films and philanthropy. She became more reclusive in her later years, struggling with alcoholism and health issues. Today, she is remembered as a pioneering force incinema history. In this postcard, Mary Pickford is shown in a soft, romantic studio portrait. She is presented in three-quarter view and gazing directly at the camera with a calm, introspective expression. Her most striking feature is her abundant cascade of long, tightly curled hair, which frames her face and falls well past her shoulders, emphasizing the youthful, ethereal image for which she became famous. Her face is delicately lit, with smooth, pale complexion, gently arched brows, and large, expressive eyes that convey both innocence and quiet seriousness. The lighting is subtle and flattering, creating a gentle contrast that draws attention to her eyes and the natural symmetry of her features. Pickford wears a dark, likely velvet garment with a lighter collar visible at the neckline, adding depth and richness to the composition. The image appears hand-tinted, with warm tones in her hair and soft coloration in her clothing, enhancing the lifelike quality while preserving the elegance of early studio portraiture. Overall, the photograph presents Mary Pickford as youthful, graceful, and refined, embodying the carefully crafted screen persona that earned her the nickname “America’s Sweetheart.” This postcard was published by Rotary Photo as part of a series (No.S62-3). The photographer is listed as “Moody”. (SOLD)
This original vintage real photo postcard presents a formal group portrait associated with the Salvation Army, photographed in Kingston, Jamaica, likely in the late 1910s to early 1920s. The image shows five individuals posed in a studio setting: three Salvation Army officers seated in the foreground, with two women standing behind them. Four of the workers are wearing uniforms. The Salvation Army uniforms are clearly identifiable by the distinctive “S” collar insignia, confirming the religious and missionary context of the photograph. Group portraits such as this were commonly made to commemorate postings, service assignments, or transfers within the organization, and were often mailed or retained as keepsakes. Of particular historical interest is the inclusion of a Black woman standing at right, very likely a native of Jamaica, reflecting the Salvation Army’s active presence among local communities during the colonial period. Her dignified posture and inclusion within the group provide an important visual record of race, religion, and social structure in early 20th-century Jamaica. My research reveals that this photograph was taken by a Kingston, Jamaica photography studio operated by J. W. Cleary and E. W. Elliott. A handwritten notation on the reverse reads identifies one of the Salvation Army officers as a Staff Captain. The captains name is illegible. This postcard is in good vintage condition. Please note that it exhibits a noticeable curvature and does not lie flat, a common issue with early real photo postcards due to age and paper characteristics. There is light corner wear. The image remains clear and well-defined, with strong facial detail (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $24.00 at auction.
This vintage lithographic postcard offers a tranquil early view of Heckscher Park in Huntington, Long Island, capturing the park in its formative years as a carefully landscaped civic retreat. In the foreground stands the distinctive stone pavilion, its rustic construction harmonizing with the gently sloping lawns, young plantings, and wooded hills beyond. The stone house and pavilion still stand and are in use today. The scene featured on this postcard reflects the early 20th-century ideal of public park design—orderly, pastoral, and restorative—intended to provide town residents with a refined escape from daily life. Heckscher Park was a gift to the Town of Huntington from August Heckscher, a prominent industrialist and philanthropist. Heckscher, who made his fortune in zinc mining and banking, was deeply committed to public welfare and urban beautification. In 1920, he donated the land and funds necessary to establish the park, which officially opened shortly thereafter. His vision was to create a permanent green space that would enhance civic life and cultural enrichment—an ambition that continues to define the park today. Over the decades, Heckscher Park has become one of Huntington’s most beloved landmarks. It now hosts concerts, festivals, art fairs, and seasonal events, and serves as the outdoor setting for the adjacent Heckscher Museum of Art, also founded through August Heckscher’s philanthropy. The park remains a focal point of community life, blending recreation, culture, and history in a setting that has changed remarkably little in spirit since this postcard was produced. The postcard was published by A. M. Simon, located at 32 Union Square, New York City, a prolific early-20th-century postcard publisher known for high-quality photographic and halftone views of American cities, parks, and landmarks. Simon postcards are widely collected for their clear imagery and strong documentation of urban and suburban development during the Undivided Back and early Divided Back eras, generally dating this card to the circa 1915–1925 period. This unused postcard is in good condition with minor corner and edge wear (see scans).
This vintage postcard is available for purchase at The History Peddler for $17.50 or Best Offer.
This postcard is a powerful and historically important antique illustrated postcard titled “Comrades,” copyrighted 1905 and published by Raphael Tuck & Sons (No.2181), one of the most influential postcard publishers of the late 19th and early 20th centuries. The image depicts two African American boys standing arm-in-arm on a wooden walkway beside tall marsh grasses at sunset. Their clothing—patched trousers, work shirts, and bare or worn footwear—signals rural labor and economic hardship, while their relaxed posture and direct gaze convey dignity, friendship, and resilience. The boys are presented as equals and companions, underscoring the title’s emphasis on solidarity and shared experience. The card is color-printed from an original photograph, a common Raphael Tuck practice, combining photographic realism with painterly color enhancement. The image bears the printed line “Copyright 1905 by V. G. Schreck”, identifying the photographer whose work Tuck adapted for postcard publication. Schreck supplied images that were frequently used by Tuck for genre scenes reflecting American life. V.G. Schreck (Victor G. Schreck) was a turn-of-the-century (c. 1900s) photographer known for capturing everyday life, especially early African American culture. His work documented urban life and posed subjects, leaving behind valuable historical photographic records. The reverse identifies the publisher as Raphael Tuck & Sons, with the familiar “Art Publishers to Their Majesties the King and Queen” designation, and references “The Sunny South” postcard series—an indication of the card’s intended thematic framing. The undivided back format places production squarely in the pre-1907 period. Founded in London in 1866, Raphael Tuck & Sons became the most important postcard publisher of the era, with production facilities in England, Germany, and the United States. Tuck was known for commissioning and adapting photographic images into finely printed postcards, often emphasizing sentiment, narrative, and moral framing. Cards from Tuck’s American series are especially historic due to their role in shaping visual culture and public perception. This postcard occupies a complex and significant place in American visual history. While published within a commercial framework that often romanticized Southern life for white audiences, “Comrades” departs from caricature by portraying Black children with humanity, mutual affection, and quiet strength. The absence of overt stereotyping, combined with the emphasis on companionship, makes the image notable within early 20th-century postcard production. This postcard is in good antique condition. The card has edge and corner wear, surface toning consistent with age, and minor handling marks. The image remains strong with good color retention. The postcard has no writing and is postally unused (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $16.48 or Best Offer.
This is a striking and unusual antique real photo postcard (RPPC) featuring a young man posed confidently beside a full-sized alligator, its jaws open to display its teeth. The sitter rests one hand casually on the alligator’s head while standing behind a simple railing, creating a dramatic and memorable image that blends portraiture, novelty, and spectacle. The man is well dressed in a dark suit, white shirt, and straw boater-style hat, placing the image squarely in the late 1910s to early 1920s. The backdrop is a painted tropical scene with palm trees and water, clearly a studio setting rather than an outdoor photograph. The alligator—almost certainly a taxidermy or carefully staged prop—was a popular novelty element used by certain studios during this era, particularly in Florida and other southern or tourist-oriented locations. During the early 20th century, alligators were frequently employed as studio props to convey adventure, exoticism, and regional identity. Studios catering to tourists or novelty portrait seekers often featured taxidermied alligators, faux swamps, and painted tropical backdrops. These images were meant to be eye-catching souvenirs—proof of having “visited the wild” or participated in something daring. Alligator imagery was especially common in Florida-related studio work, sideshows, and amusement venues, where such props became iconic symbols of place and bravado. The postcard is printed on AZO photographic paper, with the stamp box showing four triangles pointing up, a configuration that dates production to approximately 1918–1930. The card is unused, with no writing or postal markings, allowing the image to remain the sole focus. This postcard is in very good antique condition overall. The postcard has light edge and corner wear. There are no tears or creases. The image remains clear and strong, with excellent contrast and sharp detail (see scans).
This cabinet card is available for purchase at The History Peddler for $25.00 at auction
This charming and visually rich antique Christmas gel postcard, dates to 1907, and postally used during the Golden Age of postcards. The front features a beautifully illustrated holiday scene titled “A Merry Christmas.” Santa Claus, depicted in a classic early 1900s style with a red robe and flowing white beard, floats in on a cloud to present gifts to a young child reaching up in delight. A decorated Christmas tree filled with toys and ornaments dominates the left side of the composition, while architectural elements and glowing light effects add warmth and motion to the scene. The image is softly luminous, with rich color saturation characteristic of early high-quality printing. Gel postcards (also known as a gelatine postcard) are printed on a gelatin-coated paper stock that produces a smooth surface and deep, vibrant colors. Gel postcards were especially popular between approximately 1902 and 1912 and were often used for holiday imagery because of their refined appearance and visual depth. The reverse shows a divided back and is postmarked, with a 1¢ Benjamin Franklin stamp affixed. The card was mailed to York, Pennsylvania, and includes a handwritten Christmas greeting reading, in part: “Well Helen I guess you are ready for Christmas. From your friend, Rosa E. Ailes”. Although unsigned, it is known that P. Sander is the artist that created the art on this postcard. He was a prolific postcard artist during the “Golden Age” (around 1905-1915) known for signing his vintage, often embossed, real photo or artistic cards featuring holiday and travel scenes. (SOLD)
THE CABINET CARD GALLERY 
