NEWLONDONLADY_0002A 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.


brooklyn mustash_0004A 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.


BONNIE AND CLYDEAlthough 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. Three of the subjects of this photograph are identified on the reverse as Ed Fetzer, Ed Heideman, and Martha Krause. 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.

Published in: on September 11, 2013 at 12:00 pm  Leave a Comment  
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EVANSTON MAN_0001Photographer 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)

Published in: on September 10, 2013 at 12:00 pm  Leave a Comment  
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COOLCZECHWEDDING_0005If  “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.

Published in: on September 9, 2013 at 9:31 am  Leave a Comment  
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germanfamilyA 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.

Published in: on September 7, 2013 at 12:06 pm  Comments (1)  
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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.


FRIENDSHIP LADY_0001This 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.

Published in: on September 5, 2013 at 12:01 am  Comments (3)  
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watertown baby_0001An 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.

Published in: on September 4, 2013 at 12:01 am  Leave a Comment  
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EASTON BABYA cute little girl wearing a long gown stands on a wicker chair and looks directly at the photographer. The photographer is the Gray Studio of Easton, Pennsylvania. William Gray is listed as a photographer in various Easton business directories from 1894 through 1916. He was married to Annie Gray. William Gray is also cited in the 1940 US census and it is reported that he was born in 1867 and was a native of Maryland.

Published in: on September 3, 2013 at 12:01 am  Leave a Comment  
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