Two men wearing ethnic clothing pose for their portrait at the Horos studio in Cairo, Egypt. Both men are holding canes and wearing similar hats. The gentleman that is standing is wearing western attire in regard to his jacket, vest and tie. His shirt has an interesting collar. The seated man is wearing traditional clothing including a long robe. Hopefully, the cabinet card gallery’s unofficial research department (comprised of knowledgeable visitors to the site) will provide information regarding the clothing worn by the subjects in this photograph.
A young family is captured in this portrait by Soderberg studio in Sutton, Nebraska. The family is well dressed. The mother is an attractive woman and her daughter is adorable. The little girl stands in front of her parents, clearly front and center in the photograph. One could hazard a guess that she was also front and center in her parents lives. Pont Sonderberg is listed by the Sutton Historical Society as one of the town’s early photographers. Langdon Road, a historical directory of photographers, asserts that Soderberg operated a studio in Sutton between 1890 and 1905. In addition, the directory states that he had previously been in business during the 1880’s as Smith & Soderberg in Marengo, Iowa.
A woman with long hair and a long dress poses for her portrait at the A. W. Compton studio in Brigham City, Utah. Her dress has an interesting pattern which clashes with the studio’s carpet. The woman has a far away look in her eyes. Brigham City was founded by Mormon pioneer William Davis who first explored the area in 1850. Brigham Young, the church president, assigned Lorenzo Snow to create a self sufficient city at the site in 1853. Two years later, the town was named Box Elder. Brigham Young gave his last public sermon there and in 1877 the city was renamed in his honor. The photographer of this image was Alma Walter Compton. Utah State University has a collection of 90,000 photographs from the Compton Studio which was operated by three generations of the Compton family beginning in 1884. The collection is said to provide an illustrated history of agriculture, business, social life and education for the town of Brigham City over a span of nearly one hundred years. The Alma Compton House, located in Brigham City, is listed on the National Register of Historic Places.
Unlike a lot of children photographed during and soon after the cabinet card era, this child is showing some emotion. It’s exciting to be able to stand on a chair and have parental permission to do so. The child looks adorable in his/her plaid outfit. Note the pretty wicker chair. The Nast studio captured this somewhat unfocussed but lovely portrait.
A man with distinctive muttonchops poses for his portrait at the C. J. Farlie studio in Woolwich. Charles James Farlie (1839-1901) was located at 74 Wellington. The town of Woolwich is part of greater London. Farlie worked as a photographer in the town between the 1860’s and 1880’s. He was married twice. One of his wives was Selina Louisa Farlie who died in 1873 at the age of 32. The subject of this photograph is formally dressed and is wearing the usual pocket watch with the chain exposed under his coat. The gentleman’s interesting facial hair gains him entry into the Cabinet Card Gallery’s category of “Mustaches (Only the Best). Peruse the intriguing facial hair by clicking the category.
A hunter poses with his dog and gun for Paul Pietschmann at his studio in Vienna, Austria. Note the man’s pocket watch and great hat. The dog appears to be very alert and “at the ready”.
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.
This is an original antique occupational photograph dating to the late 19th century. It depicts a large group of laborers, very likely roofers or builders, posed in front of a wooden structure. The photo measures 8 3/8 inches by 5 inches and is mounted on its original card stock. The group consists of about fifteen individuals—primarily men in work clothes, along with two women and one young girl, which makes this an especially unusual occupational image. The men are dressed in a mix of overalls, work shirts, caps, bowler hats, and vests, several sporting mustaches and stern expressions that were typical of the period. One man leans confidently against a large wooden wagon wheel, emphasizing both his stature and his pride in the trade. The women stand in the back, dressed in patterned blouses and aprons, while the young girl is seated front and center atop a stack of roofing materials. Her presence suggests she may have been a daughter brought along for the day. The individuals in the group wear varied expressions: some men stare directly into the camera with serious or defiant looks, while others appear more casual or even slightly amused. Together, they present a strong and dignified record of late-Victorian occupational (working class) life. On the reverse of the mount, the word “Odway” is written in pencil. It is difficult to decipher and could possibly read Oddway or Ordway. If it is Ordway, it may refer to the town of Ordway, Colorado (founded in the 1890s), though it is equally possible that it is simply a surname. It may be the surname of person that possessed the photograph.(SOLD)
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 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”.
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