This cabinet card features pretty actress Nellie Howe in a risque stage costume. The photographer and the location of the studio that produced this image is unknown. Research revealed no information about Miss Howe. This photograph is likely an early cabinet card, dating back to the 1870’s or 1880’s.
This cabinet card features Amalia Mignon Hauck (1851-1929). She was best known as Minnie Hauk and she was a celebrated American opera soprano. Minnie Hauk was born in New York City and as a child also lived in Rhode Island and Kansas. She studied voice with Achille Errani and had her debut in Brooklyn at age 14. Her New York City debut occurred when she was fifteen years of age. She sang Juliette in the American premiere of “Romeo et Juliette” in 1867. She performed in London in 1868 and in Paris the following year. She was the first American “Carmen” (1878). Unfortunately her fame and success did not last throughout her life. By 1918 she was in poverty and nearly blind. To see other photographs by Alfred S. Campbell and to learn more about him, click on the category “Photographer: Campbell”.
Dame Ellen Terry (1847-1928) was an English stage actress. The top cabinet card is from the studio of Campbell, in Elizabeth, New Jersey. Ellen Terry was the leading Shakespearian actress in Great Britain. She was born into a family that was immersed in the theatre; and future generations continued theatrical pursuits; including grand nephew, John Gielgud (actor, director, producer). Ellen Terry began playing Shakespeare roles as a child and continued to do so. In 1878 she joined Henry Irving’s company. She toured Britain and the United States with great success. In 1903 she took over management of London’s Imperial Theatre and her focus included the plays of George Bernard Shaw and Henrik Ibsen. In 1916 she began acting in films and in 1925 she was made a “Dame Grand Cross of the Order of the British Empire”. Terry’s romantic life, including marriages and love affairs, make interesting reading. Research about the photographer of this cabinet card discovered his obituary in the New York Times (1912). The Times reports that Alfred S. Campbell (1839-1912) was a pioneer in the development of art photography. Among his accomplishments was the publication of an edition of the bible that was illustrated with photographs he took in the Holy Land. He emigrated to the United States on the invitation of famed photographer, Napoleon Sarony in 1866. Among his “intimate friends” were Henry Longfellow, Thomas Nast, and William Cullen Bryant . Visitors to the Cabinet Card Gallery can see photographs by Sarony under the category of “Photographer: Sarony” and can see a portrait of William Cullen Bryant under the category of “Journalist”. To view other photographs by Campbell, click on the category “Photographer: Campbell”.
The second cabinet card features Ellen Terry in the role of “Beatrice” in William Shakespeare’s play, “Much Ado About Nothing”. The Window & Grove studio of London,England, published this photograph. The studio operated in London from the 1870’s to at least 1908.
This cabinet card features a pretty young woman in a risque pose. She is identified on the reverse of the image as Netty Hunter. The previous owner of this portrait reported that Miss Hunter was a theater actress but a search found no evidence to support the notion that she had a stage career. In fact, no biographical information could be found about her. The photographer of this image was Jacob Schloss. Schloss photographed many theater celebrities from his studio in New York City. A notation on the lower left corner of the image shows that the copyright date of this photograph is 1895. A fading stamp on the back of this cabinet card indicates that it was formerly part of a collection belonging to Charles L. Ritzman (943 Broadway, New York City) who collected among other things, photographs of theater actors and actresses. In sum, although there is evidence that Netty Hunter was a theater actress; the evidence is not conclusive.
The beautiful woman in this cabinet card portrait is unidentified despite the existence of evidence that should facilitate identification. One possibility is that the subject of this photograph is an actress. Evidence pointing toward the acting profession include her beauty as well as the fact that she was photographed by D. H. Anderson, a renowned New York City theatre photographer. Obviously not all beautiful women are actresses and Anderson didn’t exclusively photograph theatre stars. Further evidence exists that points the search for the subjects identity in another direction. An inscription on the reverse of the photograph reveals the subjects name, “Lillie Prush”. However, life is rarely that easy; there is a complication. Due to legibility issues, the inscription might actually read “Lillie Roush” or “Lillie Raush”. I contend that the name is “Lillie Prush” and the 1880 US Census finds a Lillie Prush living in New York City. Miss Lillie was a school teacher. She was born in 1859 and lived with her parents and brother. Her father, J. E. Prush, owned a furnishing store and her brother was a civil engineer. If this photograph is an image of Miss Lillie, a New York City school teacher, than she must have certainly commanded the attention of the older boys in her classes. There must have been a lot of crushes in her classroom. Here is one final observation. Note the ivy pinned to the shoulder and back of Lillie’s dress. Do you think this small prop adds to or detracts from the photograph? To view other photographs by Anderson, click on category “Photographer: Anderson (New York)”.
A pretty young woman is the subject of this cabinet card. She is posed in a provocative manner, relative to the time of this photograph. She is likely a German actress/model. The previous owner of this cabinet card translated the German text below the image as stating “I know my power over men’s hearts”. Printing on the reverse of the photograph identifies the photographer as S. B. Farren and Son. The image is identified as number 233 of a series. Farren may be the photographer of this cabinet card but it is also possible that he purchased it from the original photographer and sold it to collectors from his studio. SOLD
Elise De Vere was indeed a very pretty woman and her pose in this image can be described as risque. She poses in this cabinet card photograph for famed celebrity photographer, Charles Reutlinger. Reutlinger’s studio was located at 21 Boulevard in Paris, France. The photograph was published in 1899. Small print located at the bottom of the reverse of the card states R. Dechavannes. He may be in fact the actual photographer of the portrait. Perhaps the photograph was published by Reutlinger but not actually photographed by him. The facts concerning the role of Reutlinger and Dechavannes are not clear. To view other photographs by Dechavannes, click on the category “Photographer: Dechavannes”. To view other photographs by Reutlinger, click on the category “Photographer: Reutlinger”. Elise De Vere was an English actress/singer who performed in music halls and operas around 1900. The previous year she had won second place in a beauty contest at the Paris Olympia Theatre. She was described at the contest as a “Chanteuse Excentrique” (Eccentric Singer). Around 1900 she was a stage diva in Europe and America. In 1903-1904 she performed in the Flo Ziegfeld Broadway opera “Red Feather” which played at the Lyrical Theatre and then the Grand Opera Theatre. In announcing De Vere’s arrival in America to play in “Red Feather”, The New York Times (1903) writes that although she was a Parisienne, she spoke excellent English (shouldn’t have been a surprise, she was English). The article added that De Vere had recently learned to sing in German. In a later article, the New York Times (1903) labelled De Vere as a “Soubrette” in the “Red Feather”. A soubrette is a stock character in opera or theatre. A soubrette is frequently a comedic character who is often portrayed as vain, girlish, mischievous, gossipy and light hearted. SOLD
This photograph, by celebrity photographer B. J. Falk, features stage star Jennie Joyce. She was photographed for the Newsboy tobacco company and the image was used as a premium to reward purchasers for buying Newsboy products. The image has a copyright date of 1891 and is number 307 in the Newsboy series. This photograph is risque for its era. Miss Joyce is showing much of her nearly bare legs and is exhibiting a sexually provocative pose. The New York Times (1892) published an article reporting that Jennie Joyce was sued by her husband for divorce. John E. Stanley’s request for a divorce was uncontested. The newspaper described Jennie Joyce as a variety actress and singer. An 1899 article in the same newspaper reported a story about problems in the marriage of Joyce and sportsman Phil Daly Jr.. Daly had told Joyce that he would be out all night but according to plan, returned home at two in the morning only to find his wife with another man (Phillip Wood). Daly fired a number of shots at Wood but missed. Daly’s parting shot was to file for divorce and end his five year marriage. The bad publicity caused by Joyce’s marital problems cause her to speculate in another 1899 Times article that she planned to leave the United States to perform pantomime in London until the fallout from her divorce had diminished. An additional conflict was in the news when the New York Times (1901) printed a story about Joyce successfully suing theatre manager, Alexander Hashim for unpaid salary. Jennie Joyce was clearly a gossip magnet for the press and she provided them with a lot of material. SOLD
This cabinet card features the lovely Conchita Gelabert, soprano and operetta actress. Marie “Conchita” Gelabert was born in Madrid in 1857 and died in Paris in 1922. She was educated in the Paris Conservatory of Music. An article in the New York Times (1922) announced her death. She was described as a “Spanish Comic Opera singer. who for many years was one of the most celebrated of Paris stars”. The article states that Gelabert “died today alone and forgotten”. Apparently, she had left the stage in 1890 and went into seclusion for the rest of her life. The cause of her abandoning her career and becoming an isolate, was an unhappy love affair. The article credits Gelabert with creating many roles, including “The Beautiful Person”and “The Grand Mogul”. This portrait was photographed by Chalot and Company of Paris, France. Ms. Gelabert is a stage beauty with eyes and an expression that can best be described as playful. She is wearing an interesting hat and well adorned with jewelry. Her dress is a bit risque but by Paris standards, this is a tame photograph. The photographer of this image, Isadore Alphonse Chalot was one of the subjects of an article appearing in the American Journal of Photography (1890). The article was entitled “Photographers in Paris- Their Studios and Workshops”. SOLD
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