A pretty young woman sits on a faux rock as she poses at the Moreno studio in New York City. She is holding what appears to be an envelope in her hand but at first glance looks like bank check. This fashionable subject is very thin waisted and present herself in what the photographs previous owner called “a fetching pose”. Antonio E. Moreno was a Cuban painter and graphic artist who became a photographer after seeing the success of his New York based countryman, Jose Maria Mora (see category “Photographer: Mora”). In 1881, Moreno took over a failing New York City photographic studio. The business end of the studio was run by his co-director, Jose Lopez. Moreno developed the business into a great success due to his great talent as a photographer, developer and innovator. He became noted in photographic circles and received much acclaim from his participation in photographic expositions. He surrounded himself with talented co-workers. Much of his staff came from Mexico. Spanish cameraman Antonio Urda was considered to be excellent at his craft but was a fiery man who eventually committed suicide by drinking development fluid after failing to murder printer Domingo Costello. After this incident, Moreno preferred to hire English speaking Europeans to work at his studio. One of his hires was printer Nahum Lubosh whom he snared from celebrated photographer B. J. Falk (see category “Photographer: Falk”). Another employee, cameraman A. L. Simpson pioneered the use of slides utilized in theater sing-alongs. In 1890 Moreno partnered with the Taber Art Company in publishing photographs of beautiful female models in what has been described as “genre scenes and allegories”. The photographs were well posed, precisely lit and very tasteful. Moreno’s gallery was in business for a quarter of a century and was a center for performing arts portraiture. One wonders if the subject of this cabinet card portrait was in fact a theater actress. To view other photographs by Moreno, click on the category “Photographer: Moreno”.
PRETTY YOUNG WOMAN WINS THE LOTTERY IN NEW YORK CITY
A BOY, A BIKE, AND A BAD BACKDROP
Photographer Robert Franck of Worms, Germany produced this rather amateurish cabinet card. The boy is holding his bicycle while posing indoors on what appears to be a stage with a nautical painting on a screen behind him. The child looks as if he is standing in front of a giant picture postcard. Look closely and you can see the stand on each side of the backdrop that holds it in place. The stand is on the floor and located at both corners of the screen. If the photographer stood closer to the subject, the edges of the backdrop would have not been in the image; significantly improving the picture. The very obviously fake plant behind the rear bicycle wheel further detracts from this image. Despite my criticism of this photograph, there is something that I like about it. If one focuses on the boy and his bike, this is a fine image of a child and his beloved mode of transportation. This photograph presents a bit of confusing information because on the reverse of the image, the photographers name is listed as F. Berf (possibly F. Ferf). Perhaps Mr Franck succeeded Mr Berf as owner of the studio and was using up Mr Berf’s card stock. Also on the reverse of the cabinet card is a hand written note that identifies the child as “the little Hoffman boy on his bicycle. He is now married.” (SOLD)
PORTRAIT OF STAGE ACTRESS MARY HAMPTON (BY CELEBRITY PHOTOGRAPHER MORRISON IN CHICAGO, ILLINOIS)
This cabinet card portrait features slumping actress Mary Hampton photographed by Chicago celebrity photographer William McKenzie Morrison. Miss Hampton was a pretty woman and apparently a very successful actress of her day as there are many references to her, as well as accolades about her, in theatrical magazines and newspapers. A photograph of her appears in Broadway Magazine (1898). The New York Times (1899) printed a large illustrated portrait of Miss Hampton in her role as Gertrude Ellingson in the play “Shenandoah”. The book “American Women Theatre Critics: Biographies and Selected Writings of Twelve ….” by Alma J. Bennett (2010) praises Hampton in her role as Rosamund. It is asserted that she played the part “true to the high standard of womanly power and gentleness”. The reviewer also compared her favorably to the great actress Helena Modjeska. The New York Times (1931) printed an obituary when she died at age 63. To view other photographs by Morrison, click on the category “Photographer: Morrison”.
DASHING MAN WITH PLACES TO GO AND PEOPLE TO SEE, POSES FOR HIS PORTRAIT IN COLUMBUS, OHIO
The gentleman featured in this cabinet card portrait appears to be dashing off to conduct some business. He holds a walking stick and wears a scarf. He was photographed by the Mulligan Brothers studio in Columbus, Ohio.
LITTLE GIRL PARTICIPATES IN RELIGIOUS CEREMONY IN REGENSBURG, GERMANY
A young girl poses for her photograph creating a memory of her participation in a religious ceremony. Is the event a communion, or possibly a confirmation. This pretty girl is holding a prayer book and a lit candle. She is dressed in all white and wearing a pair of gloves. The photographer is Walter Klie whose studio was located in Regensburg, Germany.
STRIKING WOMAN IN DECATUR, ILLINOIS
A striking young woman poses for her portrait at Shively’s Tower Art Gallery in Decatur, Illinois. The studio was located on the corner of Water and Park Streets. She is wearing a wide necklace with a hanging charm.
PRETTY GRADUATE IN PROVIDENCE, RHODE ISLAND
It is time for graduation pictures and the pretty young lady featured in this cabinet card portrait is posed at the Carlisle studio in Providence, Rhode Island. She appears to be holding her graduation dipoloma. She is wearing a lot of jewelry including a ring, earrings, necklace and collar pin.
THEATER ACTRESS LILLIAN CONWAY (PHOTOGRAPH BY JOSE MORA)
This cabinet card features a portrait of theater actress Lillian Conway. The image was produced by Jose Mora, the famous New York celebrity photographer. To view other images by Mora, click on the category “Photographer: Mora”. Lillian Conway was Brooklyn born and grew up in a theatrical family. Both her parents were appeared on the stage and her mother was also a theater manager. Lillian’s sister, Minnie, also was an actress. Lillian made her theater debut at the Brooklyn Theater playing a minor role in the burlesque “Evangeline”. She next appeared as the lead in “Virginius”. After her parents died, Lillian moved to Boston where she appeared in Globe Theater productions and next moved to Philadelphia to continue her theatrical career. While in Philadelphia, she met and married a local banker, left the stage, and had two children. The marriage had multiple problems including allegations that her husband was an alcoholic. She divorced her husband, who later died in 1887. Miss Conway returned to the stage and organized the Lillian Conway Opera Company. She took the “show on the road” but her theatrical group failed, partially due to scandal. It seems Lillian Conway was guilty of sharing a hotel room with the troupe’s unmarried business manager. Conway later fell ill, and with the help of the Actor’s Guild was able to finance a trip to London for treatment. Unfortunately, she died there in 1891 from rheumatic fever.
RETICENT WOMAN IN RUFFLED DRESS IN MANSFIELD, OHIO
A taciturn woman in a ruffled dress stands in the shadows at the Pollen studio in Mansfield, Ohio. The photographer posed her in such a way that she almost blends in with the curtains beside her. At one point in time E J. Pollen’s gallery was located at 3 1/2 North Park Street in Mansfield.
MAUDE BRANSCOMBE: CELEBRATED BEAUTY AND ACTRESS
Maude Branscombe was a very popular stage beauty and light opera singer. She was reported to be the most photographed woman of her day. Biographical information about her is sparse and more will be added at a later date. Her first appearance on the New York stage was in 1876 as Cupid in a revival of Ixion at the Eagle Theatre. The portrait at the top was photographed by renowned W & D Downey of London, England.
The second portrait was cropped so the photographer is unknown.
The third portrait (Branscombe is wearing a necklace) is by L. Levin & Son of San Francisco, California.
The fourth cabinet card image was photographed by Sarony. Sarony was a well known celebrity photographer and more of his portraits can be viewed by clicking on the category of “Photographer: Sarony”. Sarony does an excellent job of capturing Branscombe’s beauty and her alluring eyes.
The fifth and sixth, and seventh cabinet card were photographed by another celebrity photographer, Jose Mora, of New York City. Interestingly, the fifth and seventh cabinet card captures Branscombe in the same costume as the second cabinet card. It is likely that the photographer of cabinet card number two, is also Jose Mora. To view other photographs by Mora, click on the category of “Photographer: Mora”.
The eighth cabinet card portrait of Branscombe was photographed by Howell, another New York City photographer with a studio on Broadway. Howell’s close-up photograph captures the actress’s beauty and her wonderful eyes. She is wide eyed and her hair is a bit mussed. These qualities add to the allure of Miss Branscombe.William Roe Howell was born in 1846 in Goshen, New York. He had a passion for drawing and painting and he directed his creative interest into the field of photography as a young adult. He opened a photographic studio in Goshen. In 1863 he moved to New York City where he joined Robert and Henry Johnston at Johnston Brothers Studio at 867 Broadway. In 1866 the firm became Johnston & Howell. In 1867, he became the sole proprietor of the gallery. By 1870, he was gaining much recognition in the field of photography. His great location in New York City gave him access to many fashionable upper class men and women as well as many celebrities. Among his photographic subjects were P. T. Barnum, Buffalo Bill, and Robert E. Lee. He opened a branch studio in Brooklyn. In 1873 he came one of five Americans to be awarded a special grand prized at the Vienna World Fair. He frequently received mention in the photographic journals. He published a book of cabinet cards that received much praise. He became a photographer for West Point, Princeton, and other notable institutions. He won many medals at photography exhibitions. In 1878 he moved his business from 867 to 889 Broadway and opened another studio with a partner (Meyer) at 26 West 14th Street. In 1880 he retired from photography due to health reasons. In 1886 he moved with his family to Washington D.C. intent on opening a photography business there. He then disappeared. He vanished just two weeks before the grand opening of his new studio. He left his wife of 16 years (Fannie Scott) and his five children penniless. His wife stated that Howell was an eccentric man and that he must have got tired of business and family problems “and cut loose from us”. He apparently returned home after a short duration of absence and his business appeared in the 1888 Washington D. C. business directory but not in the 1889 directory. He died of tuberculosis in New York City in 1890. He had been residing at the home of a colleague who ran a photography studio in Harlem. It is believed by some biographers that he had divorced his wife and returned to New York without his family.
The ninth cabinet card is another portrait photographed by Jose Mora. The actress’s costuming detracts from the overall appeal of the photograph. She seems lost in the swirl of her head covering. However, the photographer does an excellent job of highlighting Miss Branscombe’s seductive eyes. The phrase “Maude Branscombe eyes” certainly rivals the phrase “Bette Davis eyes”.
Cabinet card number ten also comes from the studio of Jose Mora. She is well dressed in this portrait. It is not clear if she is dressed for a stage role or if she is attired for a jaunt around town.
THE CABINET CARD GALLERY 