A young man wearing a salvation army sweater (note the lettering on the garment), poses for his portrait at the Kopke studio in Brooklyn, New Yok. He is holding two newspapers, one of which is the “War Cry”. The “War Cry” is the official salvation army news publication. Its first publication date in the United States was 1881. I can not identify the second newspaper. Hopefully a member of the cabinet card gallery community (visitors) will be able to assist in identifying the name of the second newspaper.  To view other photographs by Kopke, click on the category “Photographer: Kopke”.

Published in: on October 26, 2012 at 12:01 am  Comments (2)  
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This cabinet card portrait features Rufus Billings Cowing, New York City Judge and Wall Street lawyer. The photograph was published  by Fredricks whose studio was located at Broadway and Ninth Street in New York City, New York. The New York Times (1906) reported Judge Cowing’s retirement from the bench of the Court of General Sessions. He had served for 28 years and had been involved in some sensational criminal and political corruption cases. His career was intertwined with the history of New York City. After leaving the courts, he entered private practice by joining his son’s firm on Wall Street. Cowing was born in Jamestown, New York in 1840. Cowing’s father died when Cowing was just 5 years old. At age 12, he came to New York City where he attended boarding school until he entered the Polytechnic Institute in Brooklyn from which he graduated in 1861. Next, he clerked at a bank for a short while and then decided to enter a law career. He worked for and studied at a New York City law firm for about two years and then entered Harvard University’s Law School, graduating in 1865. He practiced law in New York City and got involved in politics. He had an unsuccessful run for an assembly seat in 1875. He ran as a Republican in a heavily Democratic district and nearly won. Cowing was married twice and had children from both unions. He was married to Hester Tugnot (1866) and Marie Ling (1901). Cowing died in 1920. Charles DeForest Fredricks, the photographer of this image, was a well known New York City photographer who was known to have photographed many celebrities during his career.


A young boy wearing a white dress naval  uniform poses for a photographer in Brooklyn, New York. The photograph was produced by the Huttenlocher Studio. Note the lads interesting cap. One wonders whether the cap is part of a regulation uniform of a particular nation’s navy. The cap has an insignia on its brim. The meaning of the insignia is unknown. The photographer, Frederick Huttenlocher was mentioned in an article in the Telephone Review (1915) published by the New York Telephone Company. Mr Huttenlocher was presented as kind and as heroic.  A company called the Patchogue Commercial Office, located in Brooklyn, New York, had a fire, causing the office to shut down. The company was across the street from Huttenlocher’s studio and due to Huttenlocher’s kindness, the Patchogue Commercial Office was able to open a temporary headquarters inside of the studio within thirty minutes after experiencing the fire.

Published in: on April 17, 2012 at 12:01 am  Leave a Comment  
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This cabinet card features a pretty, Rose Austin, of the Austin Sisters, who were well known trapeze artists. On the reverse of the photograph is a pencilled notation that states the performer’s name and “Bath Beach, Long Island, New York” (Bath Beach is in Brooklyn). The image was published by the Robinson & Roe studio which had galleries in both Chicago and New York City. The Circus Historical Society’s web site cites the “Austin Family”. Its members included R.G., Aimee (1870-1907), George E., and Rose. Among their venues were Orrin Brothers (1883-1884), W. W. Cole (1885), Coney Island (1892), and Bentley’s (1895). Aimee Austin, born in London, was an aerialist who was known as the “Human Fly” for her talent of “ceiling walking”. She began performing with Rose Austin, at nine years of age, as part of the Austin Sisters aerial act which played at the Circus Rentz, in Berlin, Germany. The act was managed by R. G. Austin. The aerialist performed with various European circuses before coming to the United States. Rose Austin was the subject of three articles in the New York Times. A 1892 article was entitled “Cannot Find Rose Austin”. The article reported that the disappearance of Ms. Austin from her home in Bath Beach. She was described as a well known trapeze performeer and leader of the “clever” Austin Sisters. It was also metioned that she was the wife of R. G. Austin; the manager of the Australian Theatrical Company. At the time of her disappearance, she and her sister were performing at Vaceas’s West End Casino in Coney Island, New York. She had been last seen boarding a ferry bound for New York City. The article points out that Ms. Austin had suffered from epilepsy for the previous four or five years and had experienced a severe attack about ten days earlier.(An acrobat with epilepsy? Doesn’t seem like a terrific career choice.). The article closes with a statement that both Rose Austin’s husband and her doctor, believed that she was either in a hospital, or had fallen off the ferry and drowned. A follow up article (1892) revealed that Ms. Austin had been found and was currently confined to bed as “she is wandering in her mind”. She couldn’t account for her whereabouts or activities during the time she was missing and last remembered falling ill on the ferry. A third article in the New York Times (1894) reports that Rose fell from a trapeze while performing with her brother George in Coney Island. She fell after fainting (one would imagine she had a epileptic seizure). She and her brother fell into a net together and knocked heads, rendering them both unconscious. George recovered quickly but Rose was brought home to Bensonhurst (Brooklyn) in a delirious condition. To view other photographs by Robinson and Roe, and to learn a little about them, click on the category “Photographer: Robinson & Roe”.  SOLD



A very handsome man poses for his portrait at the Dana studio in Brooklyn, New York. Information written on the reverse of the photograph indicates that this good looking gentleman was named Ferdinand Clauburg. The inscription also indicates that the date of this photograph was July 2nd, 1897. Mr. Clauburg is well dressed and is wearing a pin on his lapel. The Dana studio was located at 565 Fulton Street, Brooklyn, New York. Edward Cary Dana (1853-1897) was born in Boston, Massachusetts, developed an interest in photography, and moved to Brooklyn, where he opened a studio. In time he had a great reputation as a skilled photographer and had established three galleries in New York City. He died at age 44 of kidney problems and left a widow, Miss Ada Sherman, of Staten Island, New York.


This risque (lots of cleavage shown for this era) cabinet card is a portrait of Pauline Markham (1847-1919), a singer and burlesque dancer during the civil war period in the United States. She was born in England where she made her stage debut as a child. She came to New York and appeared in “Black Crook” and “Pinafore”. She was a member of the Lydia Thompson troupe (British Blondes). After the civil war, she had relations with Northern Generals and Reconstructionists In the 1870’s she formed her own stage company and in 1879 she took her company on a tour of the West during which they performed Gilbert and Sullivan. A member of that troupe was Josephine Marcus, who later married lawman, Wyatt Earp. She retired from the stage in 1889 after breaking her leg. She must have taken the old show business saying of “break a leg” literally. This cabinet card was photographed by Fredricks, of Brooklyn, New York. It is possible that the photographer is Charles DeForest Fredricks (1823-1894) who was an innovative American photographer. Fredricks learned the art of daguerreotypes from the great photographer , Jeremiah Gurney (see category “Photographer: Gurney”). Fredricks worked in South America through the early 1850’s and then he operated out of Charleston, South Carolina; and Paris, France. He was the first photographer to make life-size portraits, which he then hired artists to color them using pastel. He then returned to New York City and rejoined Gurney. In 1854 he developed a new enlarging process and in 1855 he ended his association with Gurney. In the late 1850’s Fredricks ran his studio in Havana, Cuba, and in the 1860’s he opened a studio on Broadway, in New York City. He retired in 1889. Research has not confirmed that Fredricks ever had a studio in Brooklyn, so it is quite uncertain whether the Fredricks who photographed Markham is actually Charles D. Fredricks.


A young woman dressed in her Salvation Army uniform poses for her portrait in a Brooklyn, New York photographic studio (262 Columbia Street). The woman appears to be holding a bible and her Salvation Army badge is evident on her collar. The name of the photographer is difficult to interpret but it appears to be Thelou & Co. Research reveals that another photographer, named Leeds, also operated at the Columbia Street address, and that in 1883, the studio was put up for sale.

Published in: on February 7, 2011 at 12:01 am  Comments (1)  
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Sarony, Falk and Mora were photographers known to specialize in photographing famous theatre personalities. Eisenmann is a photographer associated with portraits of circus and sideshow performers. A. & G. Taylor was on of several British photographers known as “Photographers to the Queen”. This cabinet card represents the work of a photographic studio that claimed “Clergymen’s Photographs a Specialty”. The reverse of this cabinet card has an elaborate back stamp of the “Brooklyn Catholic Photo. Co.”. The front of the cabinet card indicates the photographer was Robert McElligott  and that his studio was in New York City, New York. The relationship between McElligott and the Brooklyn Catholic Photo  Company is unknown, and research has not yet been fruitful in obtaining additional information. Hopefully, the vast unpaid research department of the Cabinet Card Gallery knows, or can locate relevant illuminating information about the studio and photo company listed on this cabinet card.  This cabinet card  image presents a portrait featuring a priest in his religious garb. Perhaps  the subject is not a priest but instead someone who holds another type of religious role in the church?


The following letter in inscribed on the reverse of this cabinet card. “Dear Friends, This picture I send as a token to remember the good times we had and hoping to see you all again if not in this world then in the next. From a true friend, Lizzie   This day November 4/1897”. This is a sweet letter from a girl who appears to be in her teenage years. The photographer of this cabinet card is The Robinson & Roe Photo Studios, in  New York City. The studio had operations in both Manhattan and Brooklyn. They also operated a studio in Chicago, Illinois. They were prominent photographers in the 1880’s and 1890’s. The pair of photographers are known for their photographs of Inuits from Labrador that were produced during the Worlds Columbian Exposition in Chicago (1893). The Inuits were part of the Eskimo Village exhibition.


This cabinet card is a portrait of a young woman photographed by Harry, who advertised himself as the “leading photographer” of Steubenville, Ohio. The woman is wearing a ribbon around her collar as well as two pins. One pin is a horseshoe while the other appears to be some sort of clover. Perhaps these are good luck charms. Albert S. Harry (1848-1904) was born in Ohio and worked as a photographer in Wooster, Ohio through much of the 1870’s. In 1878, he settled in Steubenville and operated a studio until at least 1893. He later worked as a photographer in Brooklyn, New York.

Published in: on July 18, 2010 at 12:01 am  Leave a Comment  
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