This cabinet card features ten beautiful young children posed together for what is likely a portrait of an extended family. The children are well dressed for their visit to the photographer. Two of the boys are holding their baby sibling in position for the photograph. Note that the baby on the left is holding a stuffed animal, possibly a teddy bear. The photographer of this image is A. Steiker whose studio was located in Moscow, during the time of Imperial Russia.
This handsome older gentleman with white hair and a white beard, is named Adrian Manley (1826-1906). The U.S. census of 1880 reveals that he was married to Elizabeth Manley and that he was employed as a clerk. He and his wife lived with their son Leny, a twenty nine year-old laborer. The 1900 census finds Mr Manley in his seventies living with his wife and two grandchildren, Wane (age 8), and Sylvia (age 6). Adrian Manley’s death certificate lists his occupation as a farmer which likely indicates that farming was his primary work for most of his life. The photographer who produced this photograph was John Morrison Brigham (1863-1933) whose studio was located in Plainwell, Michigan. Brigham attended Indiana Normal College at Valparaiso, Indiana. He studied photography in Plainwell and owned his first gallery there. In 1898 he moved to Battle Creek, Michigan where he opened a photography studio that became very successful. In 1885, Brigham married Ida M Potter of Mankato, Minnesota. Photo Beacon (1897) printed a review of some of Brigham’s work and it was not complimentary. The reviewer simply wrote, “lots of dead eyes”.
This cabinet card features two young gentlemen and two young ladies posing for their portrait at Roswall’s Art Studio, in Macon, Missouri. The exact address of the studio was 21 & 23 Rollins Street. The young adults in this photograph may be from the same family, or may be just friends. These four individuals are very well dressed, leading one to believe that they likely come from families of means. It is interesting to note that the girl on the left appears somewhat separated from the other three subjects. The separation my reflect how she felt psychologically about her place in the foursome. However, her position in the photograph may be simply the result of the photographer not wanting to leave too much space on the left side of the image. The photographer, Lars J. A. Roswall, was reported by the Photographic Times (1884) to be a part of a group that held a patent relating to an apparatus for cleaning photographs.
These two cabinet card portraits come from the same source and belong together. Writing on the reverse of one photograph indicates that the couple are named George and Lizzie. Perhaps the young man and woman are married to each other. If not married, the two subjects may be siblings. The photographer of both cards is Copelin whose studio was located on the Northwest corner of Madison and State Streets in Chicago, Illinois. The exact address was 75 Madison Street. Some biographical information concerning the Copelin studio is available, but it is very difficult to sort out. It seems that Copelin had a succession of photography businesses. Alexander J. W. Copeland (1851-c1923) and Melander bought out their boss to open a studio in Chicago sometime around 1870. Copelin & Son was established in 1871 and existed about ten years. The business has an interesting story associated with it. The gallery was established just six days before the Chicago Fire (1871) and the building was completely destroyed in the blaze. The building had been the first photographic gallery in Chicago but had housed many proprietors. A.J. Copelin rebuilt the business. In the early 1880’s, the Copelin Gallery was established. Copelin eventually left portrait photography and opened a successful commercial photography business. Copelin is also recognized as one of the founding fathers of the Photographers Association of America.
UThis cabinet card features Charles James Folger (1818-1884) who was an American lawyer and politician. He served as Secretary of the Treasury under President Chester Arthur. Folger was born in Nantucket, Massachusetts but lived most of his life in Geneva, New York. He attended Hobart College. His political career includes judgeships and some terms in the New York State Senate (1862-1869). While in the state senate, he served four years as President Pro Tempore. In 1869 he left state government after being appointed by President Ulysses Grant as the Assistant U.S. Treasurer. In 1870, he became a judge of the New York Court of Appeals and eventually became the Chief Judge. H eft the judgeship in 1881 to serve as Secretary of the Treasury, and during that tenure, he ran for Governor in New York against future U.S. President, Grover Cleveland. Folger had many accomplishments and he has just added a new honor to his legacy. Folger’s wonderful muttonchops, qualifies him to join the facial hair elite in the category of “Beards (Only the Best)”. Click on the category to view unusual styles of facial hair. This portrait was photographed by Falk, a well known New York City, celebrity photographer. To view other photographs by Falk, click on the category “Photographer: Falk”. 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.
This cabinet card image features a shapely woman in a polka dot dress with a black jacket and apron. Although the shape of the dots are more like a leaf or star, than a dot, the dress has a polka dot appearance. The fashion statement made by this woman is reminiscent of the latter day song about the girl in the “itsy bitsy teeny weeny yellow polka dot bikini”. The woman in this photograph, judging by her outfit, clearly is not adverse to attracting attention. The photograph was produced by an unidentified studio in Bellefonte, Pennsylvania. Interestingly, Bellefonte proclaims itself to be “Central Pennsylavnia’s Victorian Secret”. According to various sources, the town has many lovely Victorian homes. Bellefonte is located about twelve miles from State College, the home of Penn State.
This cabinet card features a pretty, Rose Austin, of the Austin Sisters, who were well known trapeze artists. On the reverse of the photograph is a pencilled notation that states the performer’s name and “Bath Beach, Long Island, New York” (Bath Beach is in Brooklyn). The image was published by the Robinson & Roe studio which had galleries in both Chicago and New York City. The Circus Historical Society’s web site cites the “Austin Family”. Its members included R.G., Aimee (1870-1907), George E., and Rose. Among their venues were Orrin Brothers (1883-1884), W. W. Cole (1885), Coney Island (1892), and Bentley’s (1895). Aimee Austin, born in London, was an aerialist who was known as the “Human Fly” for her talent of “ceiling walking”. She began performing with Rose Austin, at nine years of age, as part of the Austin Sisters aerial act which played at the Circus Rentz, in Berlin, Germany. The act was managed by R. G. Austin. The aerialist performed with various European circuses before coming to the United States. Rose Austin was the subject of three articles in the New York Times. A 1892 article was entitled “Cannot Find Rose Austin”. The article reported that the disappearance of Ms. Austin from her home in Bath Beach. She was described as a well known trapeze performeer and leader of the “clever” Austin Sisters. It was also metioned that she was the wife of R. G. Austin; the manager of the Australian Theatrical Company. At the time of her disappearance, she and her sister were performing at Vaceas’s West End Casino in Coney Island, New York. She had been last seen boarding a ferry bound for New York City. The article points out that Ms. Austin had suffered from epilepsy for the previous four or five years and had experienced a severe attack about ten days earlier.(An acrobat with epilepsy? Doesn’t seem like a terrific career choice.). The article closes with a statement that both Rose Austin’s husband and her doctor, believed that she was either in a hospital, or had fallen off the ferry and drowned. A follow up article (1892) revealed that Ms. Austin had been found and was currently confined to bed as “she is wandering in her mind”. She couldn’t account for her whereabouts or activities during the time she was missing and last remembered falling ill on the ferry. A third article in the New York Times (1894) reports that Rose fell from a trapeze while performing with her brother George in Coney Island. She fell after fainting (one would imagine she had a epileptic seizure). She and her brother fell into a net together and knocked heads, rendering them both unconscious. George recovered quickly but Rose was brought home to Bensonhurst (Brooklyn) in a delirious condition. To view other photographs by Robinson and Roe, and to learn a little about them, click on the category “Photographer: Robinson & Roe”. SOLD
When Ole Johnson passed away at ninety-four years of age, it is likely that his family commissioned a photographer to produce this memorial cabinet card. Due to the commonality of the name Ole Johnson (especially in the North Central states where many Scandanvians settled) , research yielded no biographical information about the Mr. Johnson pictured in this photograph. To view other Remembrance cabinet cards, click on the category “Memorial Card”.
A cherubic, curly haired little girl stands on a blanket covered chair in the photographic studio of J. W. Taylor, in Rochester, New York. The girl is wearing a long gown and a very serious expression. She firmly holds a rattle with both hands. To view other photographs by Taylor, click on the category “Photographer: Taylor JW
This cabinet card features a well dressed young boy posing next to a wooden tricycle in the Jenness Studio, in Clinton, Massachusetts. The lad is wearing a suit, bow tie, and hat. Note the decorated wooden handlebars on the tricycle and the fancy seat. The first tricycle was invented in 1680 by a disabled German man who wanted to maintain his mobility. There were many versions invented over time until Starley developed the first rotary chain drive tricycle in 1877. After the introduction of this model, tricycle riding became very popular. Tricycles and bicycles can be found in many cabinet card photographs. To view examples of such images, click on the category of “Bicycle”.
