A pretty woman poses for her photograph at the studio of Hansen & Weller in Copenhagen, Denmark. The studio’s address was 28 Bredgade. The woman is playing her violin with her bow. Her hair is up and she appears to be wearing a corset , giving her a lovely figure. One of the photographers is George Emil Hansen (1833-1891). He was a pioneer Danish photographer. His father and brother were also photographers. He won photography awards in London (1862) and Berlin (1865). Hansen was the photographer of the Danish Royal Family. His photographic work spanned from 1856 through 1891. There is a gold lettered word embedded in the lower right corner of the image. The word is “emeret”; and research may illuminate the word’s meaning. “Emeret” most likely signifies that the person in the photograph had retired from a notable profession, such as acting or teaching, or was being honored post-career. It is likely a Scandinavian variant or typographical version of the Latin word “emerita” (female form of emeritus). SOLD
This cabinet card was photographed by George Rockwood (1882-1911) whose studio was located at 17 Union Square West in New York City. The reverse of the card identifies the subject of this portrait as Maud Harrison (c1856-1907). I have verified that this is indeed Maud Harrison. The corseted Miss Harrison is attractive and wearing a hat, a flower in her hair, and a cross. She is also wearing what appears to be wrist bands. The purpose of these bands beyond fashion, is unknown. Maud Harrison began her career at the Madison Square Theater. The IBDb reports that she appeared in five Broadway plays between 1877 and 1900. These productions include “Pink Dominos” (1877), “French Flats” (1880), and “Naughty Anthony” (1900).The New York Times reports Harrison’s death in 1907. She was found unconscious by a maid in her New York City hotel room. She died shortly after being discovered. Her cause of death was determined to be “Paralytic Stroke”. She had stopped acting in 1902 to care for her sick mother. She was in New York attempting to find a theatrical role to restart her career. For some reason, the Times reports that Miss Harrison was a Christian Scientist. This cabinet card’s photographer, George Rockwood was born in Troy, New York. He graduated from college with a PhD; reportedly either from the University of Chicago, or Columbia University. At 21 years of age, he was a newspaper reporter for the Troy Daily Times and at age 23, he was managing editor of the Troy Daily Post. He began working as a photographer in St. Louis and in 1857 opened a studio with his brother Elihu in New York City. He is credited for bringing CDV’s to America. His obituary in the Washington Post reports that Rockwood photographed more than 350,00 people. This cabinet card has foxing above Miss Harrison’s bust. The photograph is in overall good condition (see scans).
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This cabinet card features an attractive young woman posed holding a book. The woman is nicely dressed and has a lovely figure. Her great figure is, no doubt, assisted by her tight corset. The book she is holding is entitled “Grifting“. The definition of grifting is “engaging in petty swindling”. What is a nice girl like the girl in this image doing with such a sensational book? The most likely reason she has possession of that particular title is that; it was there in the studio. The book likely belonged to the photographer. The studio that produced this photograph was the Aime Dupont gallery. Dupont (1842-1900) founded his photography business in 1886 in New York City, New York. He was formerly a sculptor and he was of Belgian origin. His American wife, Etta Greer, was also a photographer. She was well respected for he work as a portraitist of opera singers in Paris, France. She was educated in Paris and spent much of her childhood there. She also met and married Dupont in Paris. The couple was very talented and they became very popular as portrait photographers in New York. Among their society and celebrity clients were many singers who were appearing in New York. After Dupont’s death, his wife, and later his son (Albert), operated the studio. His wife kept the name of the studio the same, after the death of her husband. In 1906, the Metropolitan Opera hired its own official photographer, resulting in diminished portrait work in that sector. The studio went bankrupt in 1920. A couple of interesting questions about this photograph remain unanswered. Is the subject of this photograph someone famous in society or the performing arts? Who was the photographer, was it Aime Dupont, or his wife, Etta? SOLD
Lillian Russell (1860-1922) is pictured in the Cabinet Card 1 photograph by famed New York celebrity photographer, Falk. Lillian Russell is captured in costume as she appeared in “Pepita” (1886). Russell was a very famous American actress and singer who was known for her beauty, style, voice and stage presence. Her theater career began with roles in comic operas including the work of Gilbert and Sullivan. She married composer Edward Solomon in 1884 and two years later, he was arrested for bigamy. She performed in New York and elsewhere in starring roles in comic opera and musical theatre. In 1904 she switched to dramatic roles due to voice problems. She later also appeared in vaudeville. She retired from the stage in 1919. She later wrote newspaper columns, advocated for women suffrage, and was a popular lecturer. She married four times and her longest marriage was to Diamond Jim Brady who supported her extravagant lifestyle for four decades. It is interesting to note that the New York Times (4/2/1886) reported that during the performance of “Pepita”, an opera by her husband, Edward Solomon; there were obvious signs of marital discord observed on stage. The newspaper blamed issues revolving around Russell’s interfering mother, as well as, issues pertaining to Russell’s sudden prosperity. The newspaper article correctly predicted that there would soon be a divorce.
Cabinet card 2 is also photographed by Falk. This photograph provides a close-up image of Lillian Russell and is a testimonial to her beauty.(SOLD)
Cabinet card 3 was published by Newsboy and used by the tobacco company as a premium (#340). The photographer was Falk and the image was copyrighted in 1893. To view a collection cabinet cards by Falk; click on the category “Photographer: Falk”.(SOLD)
Cabinet card 4 is another image produced by B. J. Falk. Miss Russell is in costume and is posed provocatively partially behind sheer lace.
Cabinet card 5, also by Falk, provides a terrific profile portrait of the beautiful Miss Russell.
Lillian Russell is pictured in this vintage real photo postcard (RPPC 6). This undivided back postcard was published in 1907 or earlier. (SOLD)
RPPC 7 is an undivided back postcard portrait of Miss Russell. She is in costume. The publisher of this card is Pascalis, Moss & Company. The firm was London based and ceased publishing postcards in 1902. At that time Charles H. Pascalis (c1877-?) left the company and the firm changed it’s name to Henry Moss & Company.(SOLD)
RPPC 8 is risque in terms of the “plunging” neckline of Russell’s dress. This vintage postcard was published by Rotograph as part of a series (No.B518) Miss Russell’s photograph was taken by Jacob Schloss in 1899. (SOLD)
This Cabinet Card presents an attractive woman in a beautiful dress. She is wearing a “choker” necklace, a cross, and earrings. Note her somewhat unusual hairstyle and that she is wearing bangs. In addition, the woman in this portrait achieved an hour-glass type figure with an assist from a corset. A corset is a garment that was worn to mold a woman’s torso into a desired shape. Typically, corsets reduced the size of woman’s waist and exaggerated the size of their bust and hips. SOLD
This cabinet card features a fashionable woman wearing an interesting, but not necessarily attractive hat. She is very thin waisted, thanks to a corset. The photographer is Siegel Cooper and Company of Chicago, Illinois. Siegel Cooper was a major department store in Chicago. Note the art work on the reverse of this cabinet card. Click on category “Photographer: Siegel Cooper” to see other photographs by this studio. (SOLD)
A pretty young woman poses for her cabinet card portrait at the studio of Augusto Baroni in Riva, Italy. The town of Riva is located in northern Italy in the province of Trentino. The town is formally known as Riva del Garda. The subject of this photograph is wearing a heavy chain necklace with a locket. She is wearing a beautiful dress. Her very thin waist is likely the result of a corset. This cabinet card photograph is in very good condition (see scans).
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An exquisite looking teen beauty poses for her portrait at the studio of Fieldman. Fieldman had two galleries, and they were located in Newark and Jersey City, New Jersey. This Jersey girl has a fine hat and a fine figure. The photographer of this cabinet card photograph was Isidore Fieldman (1869-?). He was born in Russia and arrived in America during 1891. He was listed as a photographer in the 1900 through the 1930 U.S. Census. He and his wife Rose (born in Poland) spoke Yiddish, indicating that they were of the Jewish faith. During at least some of their years, the couple and their family lived in Elizabeth, New Jersey. Their children included Esther (born 1890), Milton (born 1901), Margaret (born 1901), Herman (born 1906), George (born 1914). Milton and Margaret were likely twins. Herman joined his father’s photography business. Note that this cabinet card has excellent clarity, edge wear, and light stains on the bottom border below the image. (SOLD)
This item is a vintage trade card advertising corsets for the Chicago Corset Company. The card dates back to the 1880’s. The wasp waisted women seen in a number of the photographs of the cabinet card era, didn’t get that way from going to Jenny Craig and the gym. Their secret weapon was wearing a corset. This trade card utilizes a “celebrity spokesperson”. Adelina Patti, a famous opera singer, sings the praise of Ball’s Corsets which were manufactured by the Chicago Corset Company of Aurora, Illinois. She ordered eight corsets and testified that she wished that she had known about them sooner. The company advertising on the card brags that “they need no breaking in” and that they provide “health and comfort”. This particular trade card is also advertising the T. J. Elcock & Company which was a Dry Goods, Carpet, and Notions store in Mechanicsburgh, Pennsylvania. Here is a little information about the Chicago Corset Company, The business is cited in Robin Shepard’s “The Best Breweries and Brewpubs of Illinois (2003). The author writes that in the late 1800’s and early 1900’s Aurora was considered the corset capitol of the world. There were at least three corset companies operating their factories there and one of the largest was the Chicago Corset Company. In fact, I read elsewhere, that the company was the second largest corset company in the world. At one point, the business employed 600 people and produced 2 million corsets a year. The word “corset” began to be used in the English language in about 1828. “The Ladies Magazine” described it as a “quilted waistcoat”. The primary reason for using corsets was to slim the body and help it conform to a fashionable silhouette. Generally speaking, the corset reduces the waist and exaggerates the bust and hips. Apparently there were “overbust corsets” and “underbust corsets”. Sometimes, corsets were used for medical or for fetish purposes. I’ll refrain from elaborating about the medical and fetish purposes and leave detailed explanation to your imagination. The corset company’s spokesperson on this trade card is Adelina Patti (1843-1919). She was a celebrated 19th century opera singer who earned a great deal of money for her performances at the height of her career. She sang in both Europe and America and is probably one of the most famous sopranos in history. She was born in Madrid. Her father was tenor Salvatore Pattie and her mother was soprano Caterina Barilli. Her parents were Italian and she grew up in the Bronx, New York. She sang professionally from childhood. At sixteen years of age, she made her operatic debut at the Academy of Music in New York City. At age eighteen she began performing in Europe. She later performed “Home Sweet Home” for President Lincoln and his wife shortly after the death of their son, Willie. The bereaved parents requested an encore. She was associated with the song for her entire career. In her prime, Adelina Patti demanded to be paid five thousand dollars a night. She asked to be paid in gold, prior to each performance. She demanded top billing and that her name be in bigger font than others in the company. She also demanded that she not be obligated to attend rehearsals. Did someone say, DIVA? It was reported that she trained her parrot to say “Cash, Cash”. Be sure to look below to see some interesting images pertaining to corsets as well as an image of Miss Patti. (SOLD)
Adelina Patti
Corset Shop Window
Polaire was famous for her tiny, corseted waist, which was sometimes reported to have a circumference no greater than 16 inches (41 cm)
A woman models a corset in this 1898 photograph.
Brooklyn Museum Costume Collection at The Metropolitan Museum of Art
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