The well-known Honus Wagner baseball card came from a pack of Piedmont or Sweet Caporal, the cancerstick of choice for James T. Farrell’s Studs Lonigan. While one story goes that Wagner was holding out for more pay, another version says Wagner didn’t appreciate having his portrait promote tobacco use to young folks. The card was withdrawn, and that, not merely its age, accounts for its supreme scarcity.
These weren’t meant to be consigned to a cigar box or wrapped in a rubber band, exiled to a bureau drawer. To further enhance collectibility, they were glad to provide you with an album into which you'd paste them, a way to keep track of your three-pack-a-day habit.
I came across a two-volume album, entitled Vom Wedren Deutscher Filmkunst, from 1935. It's a proud history of German cinema, complete with elaborate text and captions. Glossy, bright cigarette cards provide the illustrations. The text would be tough going even if I were fluent in German: it’s set in a blackletter font better suited for the Spinal Tap logo.
Okay, it's not on a level with finding lost films or still more footage from "Metropolis," but I was pleased to see that many of the "stills" were not the same ones I'd seen repeatedly in film histories, monster magazines and old Perry Rhodan science-fiction paperbacks.
Unfortunately, because they’re a product of their time, the march of cinema starts goosestepping. There are synopses of propaganda films about Hitler Youth, and 8” x 10”s of a rising young starlet named Leni Riefenstahl.
But there are also shots of what’s purportedly the UFA studio, and many films and actors you may only know by reputation. I’ll share more soon.
You’re welcome, Google.
Brigitte Helm, the “Vamp” of German cinema, in “Metropolis.” 
Paul Wegener as the Golem. 
“The Cabinet of Dr. Caligari.” 
Hans Albers in “F.P. 1 antwortet nicht” or “F.P. 1 Does Not Answer.”
“F.P.” stands for “Flugzeugplattform” or “Flying Platform,” if I remember my science fiction history correctly.
“Frau im Mond” or “The Woman in the Moon.” 
“Hilde Warren und der Tod.” 