Two young women in Salvation Army uniforms, pose for their portrait at the Carter Art Studio, in New York City, New York. Note that one woman is wearing Salvation Army pins on both collars and that both women are wearing Salvation Army badges at their collar. The woman appear to be in their twenties, and one wonders what motivated them to join the Salvation Army. Did they have religious convictions that drew them to the organization? Were they hoping to help people or change the world in a positive way? Did they see joining the Salvation Army as a way to be able to live in exciting New York City. Unfortunately, the answers to these questions are lost to history. To see a collection of images of other Salvation Army workers;click on the Cabinet Card Gallery’s category “Salvation Army”.
A uniformed fireman poses for his portrait at an unidentified photographic studio. He is a dashing young man and he appears to proudly wear the buckle which identifies him as one of Red Bud’s “bravest”. The town of Red Bud is located in Illinois. To see other images of firemen, click on Cabinet Card Gallery’s category of “Firemen and Policemen”.
This cabinet card photograph is a portrait of a ship’s steward. His cap has a patch that identifies him as a steward, indicates his identification number, and displays an anchor. The reverse of the card has an inscription indicating that he worked as a steward on the S. S. George W. Clyde. The photographer or the location of the photographers studio is unknown. The S. S. George W. Clyde was built in Philadelphia in 1872 by William Cramp & Sons. The ship was scrapped in 1926. The ship carried both merchandise and passengers during its existence. It was an early American steamship and records indicated that among its voyages were many that ended in the Port of New York.
This unique cabinet card features a mailman delivering a baby. Alright, he’s not delivering the baby using traditional child birth techniques. He is delivering the baby from his mail pouch. The mailman is dressed in his full uniform and he has a relatively serious expression on his face as he poses for the photographer. The baby’s facial expression can best be described as “sour”. The cameraman is Frank C. Weston, located at 2 Smith Block, of Bangor, Maine. Weston was a native of Maine who established himself as a photographer in the late 1870′s. His prices were “dictated by a spirit of moderation”, and he was the preferred photographer among the African American community of Bangor.
A handsome young fireman poses for his portrait at the photo studio of Miller, in Minneapolis, Minnesota. The neatly groomed fireman is wearing his dress uniform and his badge identifies him as fireman #245 in his department. To view other cabinet card photographs of fireman; click on the Cabinet Card Gallery category, “Firemen and Policemen”.
This cabinet card features two tough looking guys, wearing derby hats, and standing outside a ramshackled shed. Who are these men and what are they doing? This may be an occupational photograph. Note the baskets and the barrel. Is that a scale that one of the guys is leaning against? Is that a horseshoe above the shed’s door. This may be a mining scene; or perhaps an agricultural image. Hopefully, someone will leave a comment that makes an educated guess concerning what this image depicts. There is no identifying information concerning the subject, location, or photographer associated with this photograph.
This cabinet card features four uniformed firemen who are members of the fire department’s chemical brigade (#1). The fire fighter on the extreme right is holding a metal hose nozzle and his uniform indicates that he is a foreman of the brigade. The fireman on the far left sideis wearing a corsage and holding a cigar. A backstamp on this cabinet card indicates that the photographer is J.P.Kildahl of Dundee, Illinois. To view other photographs of firemen, click the Cabinet Card Gallery’s category of “Firemen and Policemen”.
Three young men pose for their portrait at the studio of G. Ed. Anderson, located in either Springville, or Spanish Fork, Utah. The guys may have come to the studio after work. The two seated men are wearing work boots and work gloves. They are also wearing dirty trousers. Interestingly, one of the guys is wearing a turtleneck, a garment not seen often in cabinet card photographs. An inscription on the reverse of the card identifies the men as Saul Clyde, Will Rowland, and John Whiting. It would be interesting to hear some of this sites visitors opinion as to what occupation these men may have occupied. Please leave a hypothesis if you have one. Photographer, George Edward Anderson (1860-1928) was a noted photographer for his portraiture and documentary photographs of early Church of Jesus Christ of Latter-day Saints temples. He was born in Salt Lake City, Utah and was a photographer apprentice to renowned photographer Charles Roscoe Savage. At age seventeen, Anderson established a photography studio in Salt Lake City with two of his brothers. He then established a studio in Manti, Utah and in 1886, he moved his studio to Springville, Utah. Anderson became well known for his traveling tent studio which he set up in small towns throughout central, eastern and southern Utah. During that time he did an excellent job of documenting the lives of residents in the years 1884 to 1907. Although best known for his portraits, Anderson took many documentary photographs of homes, barns, businesses, Temples, mines and railroads. He went to England on his Church of Latter Day Saints mission in 1909 to 1911. After his mission, he set up a photography studio in South Royalton, Vermont, which is near the birthplace of LDS prophet Joseph Smith. In 1913, he returned to his home and family in Springville. He returned to financial and marital problems and tried to revive his traveling tent studio but met little success. The later years of his life were spent documenting families and life in Utah Valley and traveling to photograph newly constructed temples. Anderson received most of his recognition long after his death. A collection of his works is housed at Brigham Young University library.
This cabinet card features an older man carrying what appears to be a doctors bag. He is dressed as if he is preparing to make a winter house call to check the status of one of his patients. The doctor is wearing a buffalo coat and a fur cap. He is holding a scarf and a pair of gloves. He has a pocket watch that he probably uses to take the pulse of his patients. It must have been difficult to be a doctor in a rural area for many reasons; including having to travel great distances to visit ill patients in all kinds of weather. At least he didn’t have to deal with managed care. The Huffman and Barnard Studio produced this terrific image. Perrin Cuppy Huffman (1833-1894) was a photographer in Frankville, Iowa from 1862-1864; and than worked in Waukon, Iowa from 1865 until 1896. He was of German ancestry, born in Ohio, and settled in Iowa in 1853. His son Laton Alton Huffman became one of Montana’s foremost photographers. At times he worked with partners. His first partner was his wife, Christina Huffman. He later was associated with the the partner listed on this cabinet card, Barnard. They were partnered between 1882-1894.
This cabinet card features two workmen, photographed by Washer, of Scranton, Pennsylvania. Both men are holding adjustable wrenches. The men may be plumbers or some other type of tradesmen. One man is wearing work clothing while the second man is wearing a neck tie. One could humorously posit that the man with the tie must be management. The photographer is likely Edward Washer, a Scranton photographer mentioned in photography journals of 1911 and 1914.