The Flickr Postale Image Generatr

The Postcard

A postally unused carte postale that has a divided back.

Lussac-de-Libourne (Gironde)

Lussac is a commune in the Gironde department in Nouvelle-Aquitaine in southwestern France. The village's population in 2022 was 1,146.

-- Château de Lussac

The Château de Lussac (Lussac-Saint-Emilion) is a 30-hectare vineyard located in the village of Lussac, in the Lussac-Saint-Emilion Bordeaux's wine appellation.

In the heart of the village, the Château de Lussac is easily identifiable because of its distinctive architecture. The main building was built in 1876 by the wine grower Gascon Montouroy.

Gascon left the property to his son-in-law, the Marquis de Sercey. The property remained in this family until the 1980's, when Olivier Roussel purchased it and produced wines for about 15 years.

In 2000, Griet and Hervé Laviale took over the property. They are also the owners of the Château Franc Mayne.

The 30 hectares (74 acres) of mainly 30 year old vines are on a limestone plateau which is naturally well drained. The vines are 77% Merlot and 23% Cabernet Franc.

920 S. Figueroa, Los Angeles.
I stayed there for a week end of July 1983,
I still have the original postcard on hand and available for $ale.

Vintage French postcard, 1900s. S.I.P, No. 1461. See also our card www.flickr.com/photos/truusbobjantoo/54464644864/in/photo...

Natalia/ Natasha Trouhanova, officially Natalia Vladimirovna Troukhanova / Наталія Володимирівна Труханова (1885, Kyiv — 1956 , Моscow)) was a Franco-Russian dancer and silent film actress. She is also known as Natalia Trukhanova and Natacha Trouhanowa-Ignatieff

Vintage French postcard, 1900s. Photo by Reutlinger, Paris. Ed. S.I.P., No. 1309. NB other examples of this card carry the number 1980.

Natalia/ Natasha Trouhanova, officially Natalia Vladimirovna Troukhanova / Наталія Володимирівна Труханова (1885, Kyiv — 1956 , Моscow)) was a Franco-Russian dancer and silent film actress. She is also known as Natalia Trukhanova and Natacha Trouhanowa-Ignatieff

Vintage French postcard, 1900s. Photo by Verus. Number illegible.

Natalia/ Natasha Trouhanova, officially Natalia Vladimirovna Troukhanova / Наталія Володимирівна Труханова (1885, Kyiv — 1956 , Моscow)) was a Franco-Russian dancer and silent film actress. She is also known as Natalia Trukhanova and Natacha Trouhanowa-Ignatieff

Vintage French-German postcard, 1900s. S.I.P, No. 1506. This postcard has almost the same illustration as the French edition of it, but it has a different serial number, and on the back is an indication the Neue Photographische Gesellschaft had this card put before the censor in 1906. During the 1900s, Eds. SIP made a whole series with actresses and dancers before the same palette, including e.g. La Toledo and Miéris. See e.g. www.flickr.com/photos/truusbobjantoo/54252880483/in/photo...

Natalia/ Natasha Trouhanova, officially Natalia Vladimirovna Troukhanova / Наталія Володимирівна Труханова (1885, Kyiv — 1956 , Моscow)) was a Franco-Russian dancer and silent film actress. She is also known as Natalia Trukhanova and Natacha Trouhanowa-Ignatieff

Vintage French postcard, 1900s. Photo by H. Manuel. Edit. M.G.

Natalia/ Natasha Trouhanova, officially Natalia Vladimirovna Troukhanova / Наталія Володимирівна Труханова (1885, Kyiv — 1956 , Моscow)) was a Franco-Russian dancer and silent film actress. She is also known as Natalia Trukhanova and Natacha Trouhanowa-Ignatieff

Vintage French postcard, 1900s. Photo by reutlinger, Paris. Ed. S.I.P., No. 1309. It is strange that this card and our other card www.flickr.com/photos/truusbobjantoo/54464450826/in/datep... have the same serial number.

Natalia/ Natasha Trouhanova, officially Natalia Vladimirovna Troukhanova / Наталія Володимирівна Труханова (1885, Kyiv — 1956 , Моscow)) was a Franco-Russian dancer and silent film actress. She is also known as Natalia Trukhanova and Natacha Trouhanowa-Ignatieff

Vintage French postcard, 1900s. Photo by Reutlinger, Paris. Ed. S.I.P., No. 1442 (according to other examples of this card).

Natalia/ Natasha Trouhanova, officially Natalia Vladimirovna Troukhanova / Наталія Володимирівна Труханова (1885, Kyiv — 1956 , Моscow)) was a Franco-Russian dancer and silent film actress. She is also known as Natalia Trukhanova and Natacha Trouhanowa-Ignatieff

Trouhanova was the daughter of Vladimir Bostunov, Russian opera singer and star of the Kyiv operetta, and Marie Brown, a Frenchwoman born in Alsace. After arriving in Moscow with her mother, at the age of fifteen and a half, she married Lieutenant B. F. Trukhanov (by marrying, she escaped from family custody), with whom she soon divorced. From 1904 she lived in France, where in no time she became a great master of dance. She worked with and was acquainted with Sergei Diaghilev, Fyodor Chaliapin, Richard Strauss, and Isadora Duncan. Her friends, colleagues, and associates were Maurice Ravel, Max Reinhardt, and Camille Saint-Saëns, to whose music Trouhanova created a choreographic miniature for her Dance of Death that impressed the composer. Leonida Sobinova noted in one of her letters with surprise: "Trukhanova is full of thoughts about her dances. I did not even expect her to be so serious about it... She has a photograph of Massenet on her desk with a most pleasant inscription. Next season she will dance a new ballet by him here."

As English Wikipedia writes," she made international news for wearing extravagant diamonds on stage at Monte Carlo in 1906.[2] She was known for dancing the part of Salome in various Paris productions, including in Richard Strauss's Salome (1907, dancing for singer Emmy Destinn), in Antoine Mariotte's opera Salomé (1910, dancing for singer Lucienne Bréval), and in Florent Schmitt's La tragédie de Salomé (1912). She also premiered Paul Dukas's La Péri (1911) [which he dedicated to her and which she performed in 1912]. She also performed in Maurice Ravel's Adelaide, or the Language of Flowers in 1912, and acted the part of "the Nun" in Max Reinhardt's The Miracle (1911/ 1912). In 1914, she danced at Rheims for the Sixth Olympic Congress. She had a well-publicized confrontation with Richard Strauss in 1907, when he refused to let her take a curtain call as Salomé, next to the singer of the part, "as he considered the art of dancing was an inferior one"; she left the production and described the insult in a letter to the press."

Trouhanova appeared in several French silent films between 1909 and 1916, mostly short films, beginning with the Pathé production La laide, conte hindou/ The Ugly Girl (Michel Carré, 1909). Next, at Pathé she was Maguelonne in Le roi 's amuse/ Rigoletto (1909) by Carré and Albert Capellani, opposite Paul Capellani as king François I and Henry Sylvain as Triboulet, and based on Victor Hugo's novel (IMDb also mentions Rigoletto but this is the same film). In 1911 Trouhanova acted at Eclipse in the films Milton by Henri Desfontaines and the Shakespeare adaptation La mégère apprivoisée/ The Taming of the Shrew, again by Desfontaines. In 1913 she played the character Musidora in the Pathé production Le carabine de la mort by Desfontaines and Paul Garbagni. Even if all sources write that actress Musidora too her nom de plume from the 1837 novel Fortunio by Théophile Gautier, it may be coincidence that soon after Trouhanova's film Musidora adopted the name. After one more film in 1913, L'homme nu by Desfontaines, starring Raimu, Trouhanova's film career ended in 1916 with the films Léda (dir. unknown) and La forêt qui écoute by Desfontaines.

Trouhanova retired from the stage when she married in 1918, but returned in 1921. From 1918 she was the wife of Alexei Ignatiev, a Russian living in Paris. After the First World War they ran a small farm. The couple went to the Soviet Union in 1936 or 1937. Trouhanova published her memoirs as On Stage and Backstage, which were praised by academician Yevgeny Tarle as ‘a charming memoir full of masculine intelligence and charming femininity’. Trouhanova died in 1956, aged 71 years, in Moscow. There is a box of letters to Trouhanova, and a manuscript of her memoirs, in the Houghton Library at Harvard University.

Sources: English, French and Ukrainian Wikipedia, IMDb.

Vintage French postcard. Ciné-Cartes G., Paris. André Nox as Claude Saint-Hesme and Henri Baudin as Old Robert, the main character in L'Homme qui pleure (Louis d'Hee, Louis de Verande, Fox Film/ Paris Film Production, 1922). Episode: L'anathème.

André Nox (1869-1946) was a French actor who worked in the cinema from 1916 till 1940. During the silent era he starred in French and German films. After the sound film was introduced he mainly played supporting parts.

André Nox was born as Abraham André Nonnes-Lopes in 1869 in Paris, France. He was sometimes credited as André Nonnez. He came from a family of Jewish notables, and was the nephew of dramaturge and author Georges de Porto-Riche. After his studies, he worked in finance before joining the army at the very beginning of the First World War. Demobilised in 1916, when he was about fifty, he abandoned his business to try a career in cinema which was booming at the time. He made his cinema debut for Les Films Succès in the short silent film Sous les phares/Under the lights (1916), directed by André Hugon. He next starred in the silent Western Les chacals/The Jackals (André Hugon, 1917), also starring Louis Paglieri and Musidora. For Huron, he also appeared in Vertige/Vertigo (André Hugon, 1917) starring Régine Marco, the crime film Requins/Sharks (André Hugon, 1917) starring Charles Krauss, Johannes, fils de Johannes/Johannes, son of Johannes (André Huron, Louis Paglieri, 1918) with Musidora, and La Fugitive/The Fugitive (André Hugon, 1920) starring Marie-Louise Derval. He signed a contract with Gaumont and acted in Léon Poirier's Âme de Orient/Soul of the Orien" (1919) filmed in Nice, with Madeleine Sève, Charles Dullin and the very young Josette Day. Then he played in Poirier’s Le Penseur/The thinker (Leon Poirier, 1920), a philosophical drama on an idea of Edmond Fleg, with Marguerite Madys and Armand Tallier. Pascal Donald at CinéArtistes calls it “certainly his best role (…) With his pepper and salt hair often shaggy, his face with powerful features and his dark eyes, he is the perfect interpreter of poignant dramas.” For Germaine Dulac, Nox appeared in her La mort du soleil/The Death of the Sun (1922). He played a musician in Le quinzième prélude de Chopin/The fifteenth prelude of Chopin (Victor Tourjanski, 1922). In 1925, he appeared opposite Conrad Veidt in the French silent historical film Le comte Kostia/Count Kostia (Jacques Rober, 1925), set in Tsarist Russia. He had a supporting part in the drama La femme nue/The Nude Woman (Léonce Perret, 1926) starring Iván Petrovich, Louise Lagrange and Nita Naldi, and based on a play by Henry Bataille. In Germany, he appeared with Carmen Boni, Werner Krauss and S.Z. Sakall in the silent film Der fidele Bauer/The Merry Farmer (Franz Seitz, 1927), based on the 1907 operetta of the same title, and in Die Hölle der Jungfrauen/The hell of virgins (Robert Dinesen, 1928) with Werner Krauss and Elizza LaPorta. Back in France, he appeared with Betty Balfour and Jaque Catelain in the drama Le diable au Coeur/Little Devil May Care (Marcel L'Herbier, 1928). One of his best films is Verdun, visions d'histoire/Verdun, historical visions (Léon Poirier, 1928), a dramatic re-enactment of the battle of Verdun during World War I, as seen by both French and German sides. In Germany he also made the silent drama S.O.S. Schiff in Not/Ship in Distress (Carmine Gallone, 1929) starring Liane Haid, Alphons Fryland and Gina Manès.

André Nox could make the step to sound films. He played Hedy Lamarr’s father in Extase/Ecstasy (Gustav Machatý, 1933), which became a sensation because of a daring sex scene. In 1933 he had a part in the French-German Science Fiction film Le tunnel/The Tunnel (Kurt (Curtis) Bernhardt, 1933), starring Jean Gabin, Madeleine Renaud and Robert Le Vigan. It was the French language version of the German film Der Tunnel, with a different cast and some changes to the plot. Both were followed in 1935 by an English version. Such Multiple-language versions were common in the years immediately following the introduction of sound, before the practice of dubbing had come to dominate international releases. Germany and France made a significant number of films together at this time. The film is an adaptation of Bernhard Kellermann's 1913 novel Der Tunnel about the construction of a vast tunnel under the Atlantic Ocean connecting Europe and America. The film's Jewish director Bernhardt had fled Germany following the Nazi takeover, but returned briefly to shoot exterior scenes after being granted special permission by the German government. Nox also appeared in the drama L'Appel du Silence/The Call of Silence (Léon Poirier, 1936), with Jean Yonnel as the Catholic missionary Charles de Foucauld, who traveled the Sahara and was killed by local bandits. A success was Un grand amour de Beethoven/The Life and Loves of Beethoven (Abel Gance, 1936) a lyrical biography of the classical composer played by Harry Baur. Nox reunited with director-writer Marcel L’Herbier for the dramas Nuits de feu/Nights of Fire (Marcel L'Herbier, 1937), starring Gaby Morlay and La citadelle du silence/The Citadel of Silence (Marcel L'Herbier, 1937), starring Annabella. He also had a supporting part in the war foilm J'accuse! (Abel Gance, 1938) starring Victor Francen. It is a remake of the 1919 film of the same name, which was also directed by Gance. He also appeared with Dita Parlo and Erich von Stroheim in the French historical drama Ultimatum (Robert Wiene, Robert Siodmak, 1938). With his friend Léon Poirier, André Nox made in Equatorial Africa what turned out to be his final film, Brazza ou l'épopée du Congo/Brazza or the epic of Congo (Léon Poirier, 1940). On his return from Africa, France was at war. The defeat in June 1940 and the rise of anti-Semitism forced Nox to withdraw to Brittany. He died on 25 February 1946, a few months after the liberation. He did not get the time to return to the cinema. André Nox was 76. His son was the actor Pierre Nonnez-Lopès (1898-1978), known as Pierre Nay.

Sources: Pascal Donald (CinéArtistes – French), Wikipedia (French and English) and IMDb.

Henry Baudin (1882-1953) was a French actor who was highly active in French silent cinema of the 1920s.

German postcard by Ross Verlag, Berlin, no. 491/2, 1919-1924. Photo: Atelier Balázs.

Grete Reinwald (1902-1983) was a German stage and film actress. As a child, due to her sweet, appealing features, she modelled for many monochrome, hand-tinted and autochrome postcards. Her siblings Hanni Reinwald and Otto Reinwald were also actors.

Grete Reinwald was born Malwina Margarete Reinwald in 1902 in Stuttgart, Kingdom of Württemberg, German Empire. She was the daughter of court stucco artist Otto Reinwald. Grete danced in the children's ballet at the Berlin theatre. As a child, she became famous for being Germany's most prolific child model for postcards between 1906 and 1914. Her younger sister Hanni also modelled for postcards. Grete, Hanni and their brother Otto later all became successful actors. During the First World War, she performed at the Kristall-Palast in Leipzig and at the Palast-Theater am Zoo in Berlin. Together with her siblings Otto and Hanni, she made her film debut as an elfin in Ein Sommernachtstraum unserer Zeit / A Midsummer Night's Dream in Our Time (Stellan Rye, 1913) starring Carl Clewing as Lysander. The plot is largely based on William Shakespeare's original but attempts to take the play away from the theatre and make it more cinematic with the technical possibilities available at the time.

From 1919 onwards, Grete Reinwald played passionate women in love or faithful wives in numerous silent films. She appeared in such films as Die Schuld (1919), the drama Die Nacht der Entscheidung / The Night of Decision (Franz Osten, 1920) starring Erich Kaiser-Titz, and the Stuart Webbs film Das Rattenloch /The Rat Hole (Max Obal, Ernst Reicher, 1921). She was the star of Jugend / Youth (Fred Sauer, 1922) opposite Fritz Schulz, Theodor Loos and Fritz Rasp. She also played the female lead in Das Weib auf dem Panther / The Woman on the Panther (Alfred Halm, 1923) with Hermann Thimig. She played supporting parts in well-known silent films such as Wilhelm Tell / William Tell (Rudolf Dworsky, Rudolf Walther-Fein, 1923) starring Hans Marr and Conrad Veidt, the Goethe adaptation Götz von Berlichingen zubenannt mit der eisernen Hand / Goetz von Berlichingen of the Iron Hand (Hubert Moest, 1925) starring Eugen Klöpfer, Goldjunge / Golden Boy (Henk Kleinman, 1925) with Henkie Klein, and the historical film Die elf Schill'schen Offiziere / The Eleven Schill Officers (Rudolf Meinert, 1926). She was the star of the drama Der Jäger von Fall /The Hunter of Fall (Franz Seitz, 1926) with William Dieterle and Fritz Kampers. The film is based on a novel of the same title by Ludwig Ganghofer which has been made into films several times.

Grete Reinwald met heartthrob Fred Louis Lerch during the production of the British-German silent drama Rutschbahn / Whirl of Youth (Richard Eichberg, 1928) starring Fee Malten, Heinrich George and Lerch. They soon married. She later also appeared as a supporting actress in sound films. One of her first sound films was Hans Westmar (full title: Hans Westmar. Einer von vielen. Ein deutsches Schicksal aus dem Jahre 1929 / Hans Westmar. One of many. A German Fate from the Year 1929) Hans Westmar (Franz Wenzler, 1933) was the last of an unofficial trilogy of films produced by the Nazis shortly after coming to power in January 1933, celebrating their Kampfzeit – the history of their period in opposition, struggling to gain power. The film is a partially fictionalised biography of the Nazi martyr Horst Wessel. Reinwald also played small roles in big entertainment films like the drama Frauen für Golden Hill / Women for Golden Hill (Erich Waschneck, 1938) starring Kirsten Heiberg and Viktor Staal, and the comedy thriller Stern von Rio / The Star of Rio (Karl Anton, 1940) starring La Jana, and the drama Die große Liebe / The Great Love (Rolf Hansen, 1942) with Zarah Leander. In 1944, she was on the list of those honoured by the Reich Ministry of Public Enlightenment and Propaganda. Reinwald appeared in West German films well into the 1950s, mostly in supporting roles such as in the drama Der Kaplan von San Lorenzo / The Chaplain of San Lorenzo (Gustav Ucicky, 1953) starring Willy Birgel, and her final film Die Prinzessin von St. Wolfgang / The Princess of St. Wolfgang (Harald Reinl, 1957) with Marianne Hold. She remained married to Fred Louis Lerch till she died. Grete Reinwald died in 1983 in Munich, Bavaria, West Germany. She was 81. During her long career, Reinwald acted in over 90 films

Sources: Wikipedia (German and English) and IMDb.

Vintage Italian postcard. Ed. A. Traldi, Milano, No. 871. Photo by Fontana.

Italian actress Alba Savelli (?-?) played in a handful of films between the mid-1920s and the end of the decade.

Alba Savelli was born in Subbiano, Italy as Luigina Lapini. Though IMDB (and several derivate sites) claims she was already in a Pathé drama of 1911, this is a mix up with a film called La Savelli, in which Alba Savelli did not play, and dated 1910. Alba Savelli herself only acted in a handful of films between the mid-1920s and the end of the decade. In 1925 she debuted in two films starring Marcel Levesque, based on French boulevard plays: Il tacchino and Teodoro e socio. While her parts were small here, a larger part she got the same year in the comical adventure film Saetta e le sette mogli del Pascià (1925, released early 1926), directed by Lucian Doria and starring Domenico Gambino as Saetta. Together with Dolly Grey, Savelli had the female lead. In Nanù, la cugina d'Albania (Amleto Palermi, 1927), Savelli played a vamp opposite Enrica Fantis as the female lead, who tries to save her spending cousin (Sandro Salvini) from the clutches of the femme fatale, and wins (the fight and the man). Also in her last Italian silent film, La madonnina dei marinari (Ubaldo Maria Del Colle, 1928), Savelli is the arrogant, spoiled rich woman Elena, who refuses to help her young lover, the fisherman Luciano (Guido Graziosi), when he is accused in court of having killed a moneylender. The humble rejected fisher girl Mariella (Leda Gys) sacrifices her honour to save him, after which she is scorned, but eventually, the truth comes out. Savelli last film was the Czech adventure film Dva pekelné dny/ Zwei höllische Tage (William Karfiol, 1928), starring the Italian forzuto Carlo Aldini, with Helga Thomas as the love interest, and with Raimondo Van Riel as the bad guy. The film is all about the breathtaking and neck-breaking stunts of Aldini as a reporter who witnesses a murder but is suspected to be the murderer himself.

Vintage French postcard, 1900s. CCCC (Compagnie Charles Collas, Cognac), series La Vestale. Caption: Feux sacrés de Vesta, vous n'êtes plus que cendre! Fuis, mon Horace, fuis, car j'ai rompu ma foi, Tous les dieux irrités dans Rome vont descendre, Pour se venger de moi. (Sacred fires of Vesta, you are nothing but ashes! Flee, my Horace, flee, for I have broken my faith; all the gods are angry in Rome and will descend to take revenge on me. ) Card mailed in 1905.

Vintage French postcard, 1900s. CCCC (Compagnie Charles Collas, Cognac), series La Vestale. Caption: Oui, je pars; la déesse a fixé notre sort, Laissez en paix les dieux de l'Olympe e de Rome, Ils seraient impuissants contre deux coeurs en somme, Que les Parques, demain, vont unir dans la mort. (Yes, I am leaving; the goddess has fixed our fate, Leave in peace the gods of Olympus and Rome, They would be powerless against two hearts in sum, Which the Fates, tomorrow, will unite in death.)

Vintage Austrian postcard. Photo by Carl Pietzner, Vienna, 1900s or 1910s.

Leo Slezak (1873-1946) was an Austrian dramatic tenor. He was associated in particular with Austrian opera as well as the title role in Verdi's 'Otello'. In 1932, he started a second career as a character actor and singer in German and Austrian films. Slezak is the father of actors Walter Slezak and Margarete Slezak and the grandfather of soap actress Erika Slezak.

German postcard by Ross Verlag, no. A1161/1, 1937-1938. Photo: Pallas-Siegel Monopol-Film.

Leo Slezak (1873-1946) was an Austrian dramatic tenor. He was associated in particular with Austrian opera as well as the title role in Verdi's 'Otello'. In 1932, he started a second career as a character actor and singer in German and Austrian films. Slezak is the father of actors Walter Slezak and Margarete Slezak and the grandfather of soap actress Erika Slezak.

German postcard or collector's card by Ross Verlag. Photo: Fritz-Stein-Film Verleih GmbH. Might have been for one of Slezak's Austrian films.

Leo Slezak (1873-1946) was an Austrian dramatic tenor. He was associated in particular with Austrian opera as well as the title role in Verdi's 'Otello'. In 1932, he started a second career as a character actor and singer in German and Austrian films. Slezak is the father of actors Walter Slezak and Margarete Slezak and the grandfather of soap actress Erika Slezak.