An adorable curly haired little girl poses with her doll in a stroller in front of a water scene backdrop at the studio of T. S. Hawke in Watertown, New York.

This cabinet card portrait features an attractive stylish woman wearing unusual but attire. Her ensemble looks like she is wearing wire mesh under her jacket but it most likely just the design of her blouse or jewelry. It would be terrific if some of the cabinet card gallery’s visitors from the fashion contingent would comment on this woman’s clothing choice. The photograph was produced by the Cudding studio in Friendship, and Bolivar, New York. The town of Cudding was settled in 1806. It is located in Allegany County. The original name of the town was “Bloody Corners” due to the amount of conflict in the area. Fortunately, peace must have come to the area and in 1815, the town was renamed Friendship.

An unidentified old man with a great beard poses for his portrait at the H. Weston studio in Red Bluff, California. Fifty shades of grey is the best way to describe the color of his hair and beard. To view other all-star beards, click on the category “Beards (Only the Best)”. Henry Weston (1840-1911) was born in Massachusetts. He was listed in the 1885 business directory as a photographer in the Tehama County directory. He is also listed in the 1900 US census as a photographer living in Amador, California. Red Bluff is a town about 125 miles north of Sacramento. The town overlooks the Sacramento River and is in Tehama County.

A mother and her three adorable children pose for the portrait at the studio of F. Kost in Frankfurt, Germany. The well dressed mother is holding the youngest child’s hand and appears to be stroking it. The little boy is holding an object that may be a toy. The children all have identical hair styles.

If  “cool” was a slang word used in the early 1900′s, than this is one very “cool” couple. Both subjects are very expressive as they pose for their wedding portrait at Wilhelm Richter’s studio in Karbitz, Czechoslovakia. The bride is holding a large bouquet of flowers and the the groom is wearing a flower on his lapel. A written notation on the reverse of the photograph indicates that the image was produced in 1920.

Photographer Charles E. Smith photographed the gentleman in this photograph at his studio in Evanston, Illinois. The studio was located at 701 Davis Street. The subject is well groomed and well dressed. His pose in this portrait gives an appearance of confidence. Photographer Smith is cited as an exhibition participant in the Bulletin of Photography (1912)

Although this terrific photograph is from the post cabinet card era, I want to share it with Cabinet Card Gallery visitors. The five individuals in this photograph appear to be dressed for an auto tour. One can easily imagine them sitting in an open motoring car driving down an open country road. The groups wardrobe and good looks bring to mind images of Bonnie and Clyde. This photograph was taken at the Quimby Studio in Manawa, Wisconsin. The Manawa Wisconsin Gazeteer and Business Directory (1903) lists A. C. Quimby as operating as a photographer in the town of Manawa.

A man with a partial beard, mutton chops, and a very bushy mustache is captured by photographer George Frank E. Pearsall. The address of Pearsall’s studio was 298 Fulton Street in Brooklyn, New York. This portrait earns a spot in the cabinet card gallery’s category “Mustaches (Only the Best)”. Take a look at the category for some very interesting facial hair images. Frank Pearsall was born in New York City. His father was a life boat builder. Pearsall’s parents died when he was young and he and his two brothers were raised by an aunt in Saratoga, New York. In 1852 he began to learn about the photography business from his uncle who operated a gallery. After two years, his uncle left for Australia and the business failed despite Pearsall’s aunt’s efforts. Frank and his older brother left for an adventure and they spent eight years in such places as Cuba, West Indies, Venezuela, and elsewhere. In 1862 he returned to New York and worked as a positionist with celebrated New York City photographer Benjamin Gurney (see category “Photographer: Gurney”). He refined his skills working in the Gurney studio. In 1866 he married Long Islander Elizabeth Conrow. In 1870 he opened a photographic studio in Brooklyn which operated for two years at which point he moved his business to the 298 Fulton Street address. An 1880 advertisement asserted that Pearsall’s studio was the largest one in Brooklyn. Pearsall developed a historic camera in 1883. The camera was called the “Pearsall’s Compact Camera” and was unique in that it came in its own “carrying case” that also housed needed accessories. This design was imitated by all of the major camera manufacturers through the 1920′s. The British Journal of Photography (1876) published an article pertaining to a court case involving Pearsall. The case, Pearsall vs Schenck. was followed by photographers through out the United States because it involved a matter of universal importance to their business. The case concerned a couple that set for 17 poses at Pearsall’s studio. He sent them the proofs and they returned them. The couple contended that they did not like the pictures and would not pay for them. Pearsall demanded payment regardless of whether the couple liked the pictures. The journal took the side of Pearsall when they wrote that photography does not make “the human face divine”, it only reproduces it. The journal argued that the photographer does not have the responsibility of the painter to please the sitter for the portrait because the photographer can not control an image the way a painter can control a painting. Photographer can no change their subject’s “bad features”. The nose that is “snubby” will be “snubby” in photographs. “It is too bad to blame the poor photographer for the facial accidents of nature”. Tongue in cheek, the journal suggests the couple should have paid their bill or else the photographer might put their portraits in the gallery’s main display cases to be seen by all visitors. Pearsall won the legal case and the couple was ordered to pay for the photographs. The New York Times (1876) also reported this story but was less supportive of Pearsall. However, their article stated that the photographer should be paid for his time and supplies. The Times also made an analogy concerning the relationship of medical doctor and patient. The article asserted that patients had to pay their doctors even when they were not cured by the doctors efforts. Research revealed two interesting side notes. Pearsall was the President of the Brooklyn Archery club and in 1881 was the Secretary and Treasurer of the National Archery Association. A second bit of trivia is that Pearsall’s brother, Alva Pearsall, was a camera operator for Matthew Brady in 1871.

A pretty young woman, wearing a corsage, poses for her portrait at the New London, Connecticut studio of Scholfield & Tingley. Everett A. Scholfield was born in 1843 in Lowell, Massachusetts. In the 1850′s he and his family moved to Westerly, Rhode Island and his father switched careers to operate a photographic studio. Young Everett learned photography from assisting his father. Everett opened a studio in Wakefield, Rhode Island with Nathan E. Nash. It did not take long for Nash to leave the business and Scholfield continued the gallery as a sole proprietor. During most of 1864 and nearly half of 1865, Everett was licensed as a travelling photographer. In 1865 he moved to Norwich, Connecticut and partnered with Lucius Thompson in operating a studio. By 1866 he had moved his business location to Stonington, Connecticut and remained there until 1871. His partners in Stonington included C. D. Holmes and later D. O. Angell. In 1872 he began business in Putnam, Connecticut working with W. T. Dyer. By 1873 he had left Stonington to open a studio in Mystic, Connecticut. In 1877 he travelled to the West Indies and had experienced business failures there. In 1879 he and his brothers Addison and Edwin joined together in operating a Westerly, Rhode Island studio called Scholfield Brothers. This fraternal partnership ended in 1885. George E. Tingley apprenticed at Everett’s Mystic studio and soon became Everett’s partner. Everett ran the satellite New London studio while Tingley was in charge of the Mystic studio. In less than a year the partnership dissolved. Tingley continued in Mystic and experienced a great deal of success in his profession. Scholfield continued his business in New London through 1912. He retired in Mystic and died in 1930 at the age of eighty-six. Scholfield had a long career as a photographer but he certainly wasn’t a desirable business partner or tenant. It seems he changed partners and locations at an unusually high frequency.

A handsome well dressed and devilish looking man poses for his portrait at Lindenmuth’s studio which was located at 24 North 6th Street in Allentown, Pennsylvania. He looks terrific in his three piece suit and his well groomed beard and handlebar mustache. Writing on the reverse of the photograph dates the image as being produced in 1899. The photographer of this portrait is primarily known for his work as an artist. Arlington Nelson Lindenmuth (1856-1950) was an American landscape and portrait painter who lived and painted in Allentown and the Lehigh Valley region of Pennsylvania. The Pennsylvania native was a member of the “Baum Circle”., the group of artists either were taught by or influenced by Pennsylvania impressionist painter, Walter Emerson Baum. Lindenmuth was also one of the earliest professional photographers in the Lehigh Valley area. He opened his first studio in Allentown in 1881. Prior to that, he operated studios in  Tamaqua, Philadelphia, and Pottstown. All three cities are in Pennsylvania. As early as 1862, Lindenmuth was also employed as a traveling sales representative for Eastman Kodak.

A curly haired young boy with tightly pursed lips poses for his portrait at the carpeted Rino studio in St. Louis, Missouri. The studio was located at 801 Franklin Avenue at the time this photograph was taken. Even though the boy in this image projects a less than desirable expression, this is a wonderful portrait of a turn of the century tricycle. August Rino is listed in “Pioneer Photographers from the Mississippi to the Continental Divide” (2005). Rino was active in Chicago between about 1858 and 1860 and operated in St. Louis between 1860 and 1875.

This cabinet card portrait of actress Lottie Gilson was produced by celebrated New York City photographer, Aime Dupont. Gilson  is perched on a pedestal and this image is a bit risque for its era. Note Miss Gilson’s coy smile, her exposed neck, relativesly low cut dress, the straps on her arms, and the leggy view. Gilson’s nickname, “the little magnet” is written on the reverse of the photograph. Also on the back of the cabinet card is a stamp from “Culver Pictures” which was a company that supplied photographs to the media for a price. Lottie Gilson (1871-1912)  was a popular comedienne and vaudeville singer born in Basil, Switzerland. She was called “the little magnet” because of her popularity with audiences and her ability to propel the sales of sheet music. Her musical hits included “The Sunshine of Paradise Alley” and “The Little Lost Child”. The date of her theatrical debut is unknown but it is certain that she performed at the Bowery’s Old National Theatre in 1884. She later performed in many of New York’s theaters and was the top soubrette of her day. She is noted as the originator of the stunt of having a boy come out of the balcony singing along with one of her songs. This became a common vaudeville routine. The San Francisco Call (1900) reported Gilson’s third wedding (she was only twenty nine at the time). The article also mentioned that her first husband was sent to the penitentiary for setting her hat on fire. The New York Times (1912) printed an obituary for Gilson. They reported that she had been out of the public eye for five years prior to her sudden death. Another source states that she died after years of self destructive behavior, illness, and depression. To view other photographs by Dupont, click on the category “Photographer: Dupont”.

This large format cabinet card features a thick bearded man wearing a band or fraternal uniform holding a clarinet at his side. His uniform suggests that he is a member of a band or a fraternal organization. He is wearing a bag strapped over his left shoulder. Could that bag be his clarinet case? This photograph was produced by the Newcomb studio in Salt Lake City, Utah. Photographer Scott Newcomb operated out of the 162 South Main Street address listed on the bottom of this cabinet card. According to reference site Langdon Road, Scott Newcomb was a photographer in Salt Lake from the 1890s until 1905. A photographer named Marion W. Newcomb (1851-?) also was active at an unknown address in Salt Lake City during the cabinet card era. It is likely that the two men were relatives as one source noted that a female photographer, Flossie Newcomb, was from a family of photographers in Salt Lake City. Flossie operated her own studio in Vernal, Utah in 1906 and married noted photographer Fred Hartsook.

This wonderful photograph has an occupational theme. However, it is a mystery as to what exactly the men in this photograph do for a living. The previous owner of this image asserted that that them men are roofers. It is likely that the women and children in the photograph are residents of the work site or famiy members of the workmen. The name “Odway” or “Ordway” is written on the reverse of the photograph. “Odway” is a last name and “Ordway” is the name of a town in Colorado. Unfortunately, the name of the photographer or the location the photograph was taken are unknown.

A formally dressed gentleman poses for his portrait at the Alman & Company studio in New York City. He has a great bushy mustache which earns a spot in the category “Mustaches (Only the Best)”. Click on this category to view other facial hair masterpieces. Note the man’s wide lapels and bow tie. One source states that Louis Alman (1835-?) was active in New York City and Newport, Rhode Island from the 1870′s through 1920. The dates have not been confirmed by research.

Isabel Irving (1871-1944) was an American actress born in Bridgeport, Connecticut. Her stage career began in 1886. She performed in many performances of Shakespeare. She was also in more than 30 Broadway plays between 1894 and 1936.  These plays included “Merry Wives of Windsor” (1917) and “Uncle Vanya” (1930). The first cabinet photo was done at the studio of Napoleon Sarony in New York.  Sarony was a very famous photographer of his time and known for his photos of theatrical performers and other celebrities. The second photograph comes from the studio of William McKenzie Morrison who was located in the Haymarket Theatre building in Chicago, Illinois. The third cabinet card portrait features Miss Irving photographed by celebrated New York photographer Benjamin Falk.

I surrender. Who the heck is “Nelson”? The young woman in this photograph seems to be obsessed with “Nelson”. She is wearing Nelson’s name on her skirt and it appears on her fan.  Is she a Willie Nelson groupie? A second mystery in this image is the abundance of feathers. There are feathers on the floor, pinned to her blouse and decorating her hat. Take note of the daisy chain that the woman is wearing at and below her collar. This mysterious photograph is by T. H. Eulass whose studio was located in Mason City, Illinois. Mr. Eulass knows who “Nelson” is, but he’s not talking. Perhaps “Nelson” was a political candidate or the name of a local company. Thomas H. Eulass (1841-1903) was an Ohio native. Eulass participated in the America’s civil war as a member of the 146th Ohio Infantry. He entered the unit as a private and mustered out as a corporal. He appears in both the 1880 and 1900 US census as a photographer. He was married to Kate Eulass. He is buried in the Mason City Cemetery.

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.

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 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).

In writing about Mrs James Brown Potter, an author stated “She was singularly beautiful with her pale delicate chiseled face, long dark eyes, and hair like burnished bronze with copper lights”. Mrs Brown Potter (1859-1936) was born Mary Cora Urquhart,  the daughter of a wealthy  New Orleans Colonel. She was one of the first American society women to join the stage. In 1877 she married a very wealth New York socialite, James Brown Potter. That same year she made her stage debut at Theatre Royal in Brighton, England. Soon thereafter, she partnered with actor Kyrle Bellew and they frequently performed together over a ten year period. She performed in the United States and in Europe. She retired from the stage in 1912. She was active in raising money for war charities during the Second Boer War. Mrs Brown Potter was considered a competent actress, but not an outstanding performer. In this photograph, Mrs. Potter looks very beautiful as she peers through a curtained doorway. Her gown was likely made by the best dress makers of the time and was assuredly very expensive. Falk, the photographer of this cabinet card, was a famous celebrity photographer in New York City. To see other photographs by Falk, click on the category “Photographer: Falk”.

The second photograph of Cora Potter was photographed by Kuebler of Philadelphia, Pennsylvania. She appears to be in costume and is clearly a beautiful woman with fetching eyes. To view other photographs by and to learn more about Kuebler, click on the category “Photographer: Kuebler”.

The third photograph of Mrs Potter was produced by Jose Maria Mora, a celebrity photographer based in New York City. The image was part of a series (#7). To view other photographs by this photographer, click on the category “Photographer: Mora”. Mrs Potter looks quite elegant in this cabinet card portrait. Her hat can best be described as “floral”. The photograph is stamped on the reverse with the name of the gallery that originally sold it (“John Hoch Art Store, 118 Court Street, Boston”). Hoch’s obituary appears in the Bulletin of Photography and the article reports that he was the first among Boston’s photographers to sell photographs of celebrities. He had been engaged in the photography and picture frame business in Boston for more than fifty years. The obituary mentions that he was of German heritage and was 84 years old at the time of his death. His cause of death was cerebral hemorrhage.

The Van Woert studio in Oneonta, New York produced this wonderful portrait of an adorable wild haired little girl sitting on a wicker chair. The child’s combed back hair gives full display to her facial expression which seems to reflect a frowning disinterest. She doesn’t appear to be having a good time at Mr. Van Woert’s studio. She is wearing a white lace dress and a necklace and hair band. The cabinet card has a gilded gold border.