This cabinet card features a well dressed young boy and his toy sail boat. One can imagine the boy playing with this realistic looking model boat in a local pond or lake. The boy his wearing a bow tie and a happy expression The reverse of this photograph has advertising for the photographer, Thomas Fall. His studio was located at “10 Wellington Terrace, (opposite Kensington Palace Gardens), Bayswater W”. Thomas Fall (1833-1900) started as a lithographer and later worked as chief photographer for the famed English photographic gallery, Elliot and Fry. He began at that prestigious firm in 1867 and worked there for seven years. Click on the category “Photographer: Elliot and Fry” to view some of the firms images. He married Sarah Maria Farmer in 1863 and the couple had six children. Fall was a well known photographer, photographed royalty, and was London’s leading canine photographer.
A young Asian man poses for his portrait in this cabinet card portrait from the Moloney studio in Boston, Massachusetts. The reverse of the photograph has an inscription identifying the subject as Yee Hock. American images of Asians are uncommon. This gentleman is wearing ethnic clothing. The 1892 and 1912 Boston Almanac and Business Directory lists M. J. Moloney as being a photographer at the 22 Hanover address printed on this photograph. Another source reported that Moloney served the Boston area as a photographer for over twenty years.
This cabinet card portrait features a young girl wearing a big hat. She is very cute. She is also wearing a big bow. The portrait of this child was taken at the studio of A. Hinkel & Son in Warrensburg, Missouri. Inscribed on the verso of this photograph is the girls name and age, “Bessie Strodes Aged 9 years”. Preliminary research did not find find much information about little Miss Strodes. The 1910 US census listed a Bessie Strodes that resided in Kansas, Missouri (58 miles from Warrensburg). She was born in 1894 and at the time of the census was a sixteen year-old lodger working as a saleslady in a drug store. No information was located concerning the photographer, A. Hinkel.
This cabinet card features a portrait of a young woman named Nellie Casper (possibly Cooper). Her name is known because an inscription on the reverse of the photograph states it. The inscription is addressed to “Mrs. John”. The inscriptions continues to say that this was a “dear friend of our mother”. The inscription is signed “Jennie Coad”. In my opinion, Nellie is wearing a dress that looks very futuristic. In fact, she could have worn it on an episode of “Star Trek”. The style of the pearl lined collar and the dress’s shoulder are very futuristic. Nellie is also wearing a very big corsage. Initial genealogical research was not productive but someone willing to accept the challenge may have better luck. To learn more about the photographer, W. M. Cherrington, and to view more of his photographs, click on the category “Photographer: Cherrington”.
I must admit that the woman in this cabinet card photograph may not be troubled, but she sure looks troubled. She also looks well dressed in her high collar suit, leather gloves, and monstrosity of a hat covered with feathers and ribbons. The photographer, Henry Opie opened his studio in Redruth, England in 1889. He expanded his business and eventually had studios in Truro, Falmouth, and Helston. The reverse of the image has an identifying inscription stating “Grandma Robertson”.
Two well dressed woman pose for their portrait alongside their bicycles at the Cutler studio in Kemmerer, Wyoming. They are similarly dressed and both are well adorned with flowers.Each are wearing gloves and pretty hats. Joseph H. Cutler emigrated to the United States from England in 1883. This photograph was taken well after that time. The town of Kemmerer became an independent entity in1897. It was founded by an officer of a nearby coal mine company. Interestingly, the retailer J. C. Penny was founded in Kemmerer in 1902.
J. B. Scholl, well known Chicago photographer, produced this wedding portrait of a smartly dressed bride and groom. The groom has a nice handlebar mustache. The bride is wearing a pretty floral wedding veil and appears to be holding the grooms sleeve rather than his hand. Despite their lack of physical contact, the pair are standing much closer to each than seen in many other wedding photographs. I wonder why the photographer posed the gentleman with one foot elevated on a curb. At first, I speculated that the rationale was to add height to a groom who was shorter than his bride. However, the gentleman has both knees bent which certainly restricts his reaching full height. My final conclusion was that the photographer, normally quite skillful, had a bad day and was careless setting up this particular pose.To view more of Mr. Scholl’s photographs and to learn more about him, click on the category “Photographer: Scholl JB.
Sharing is never easy for siblings but these three children appear to be doing a pretty good job of avoiding combat over rights to the toy rocking horse. The children, dressed in white sailor type suits are quite adorable. None of the three kids look all too happy posing for photographer Louis Heuser. Heuser’s name is stamped on the reverse of the photograph but no address is given. Research was not productive in finding the location of Mr. Heuser’s studio.
This photograph features a portrait of an extremely pretty young woman. Unlike many images of this era, the subject is smiling. She has a great smile. There is an inscription on the reverse of the photograph. Unfortunately, I can not translate the words. It’s all Greek to me. The photographer is Kantas Soeurs and his studio was located in Athens, Greece. This photograph is either from the cabinet card era or slight after that period. It measures 4 3/4 ” x 3 1/8″.
A pretty young lady poses for her portrait at New York City’s Bostwick studio. The woman has a wonderful smile accompanied by “smiling eyes”. It appears that this cabinet card once resided in an oval frame judging by the oval indentation on the image. Advertising on the reverse of this cabinet card reveals that Bostwick’s studio was located between 8th and 9th Streets in New York City. The ad also notes that the studio was established in 1867. James Alba Bostwick was born in 1846 or 1848 in Livonia, New York. At one point in his photography career he was a partner in a firm named Bostwick and Bancker. A collection of Bostwick’s work is owned by the University of New Hampshire’s library. In 1927 Bostwick died in Brooklyn, New York. He was 79 years of age at the time of his death.