A pretty and beautifully dressed woman poses for her portrait at the studio of Cavra, located in Philippopoli (Plovdiv), Bulgaria. The street address of the studio was Grand Rue De Chemin De Fer. The woman is wearing a wonderful hat and earrings. A piece of jewelry on her collar features a portrait of an attractive woman. The subject of this photograph is wearing a glove on her right hand and she is holding a second glove in her left hand. Note that she is holding a walking stick with her gloved hand. To view other photographs by Cavra, and to learn more about Philippopoli, click on the category “Photographer: Cavra”.
This cabinet card presents a portrait of a middle aged man with a beard that is reminiscent of a beard that is normally found on a billy goat. The gentleman manages to maintain a distinguished appearance despite his unusual facial hair. The name and location of the photographer responsible for this image, is unknown. To view other notable beards, click on the category “Beards (Only the Best)”.
This cabinet card captures two young children posing for photographer, J. W. Souder, of St. Joseph, Missouri. The children are adorable and they are most probably, siblings. The boy is wearing a bow tie and the girl is riding a tricycle. John W. Souder’s photography business was listed in St. Joseph directories between 1887 and 1896. It is unknown whether he was there during other years.
This cabinet card is a portrait of theatre actress, Verona Jarbeau. Jarbeau often played comedienne roles. Performing Arts (1887) reported on the success of one of her performances. The writer states that 3,000 people crowded into Philadelphia’s Academy of Music to hear the Duff Opera Company perform Von Suppe’s “A Trip to Africa”. The cast was described as “strong” and included Lillian Russell (see her photographs in Cabinet Card Gallery), and Jarbeau. The article states that Jarbeau was the hit of opera when she performed a song in French. The audience applauded and laughed as loud as they possibly could, despite the fact that very few in the audience could understand what she was singing. This cabinet card image was photographed by celebrity photographer, Sarony. To view other photographs by Sarony, click on the category “Photographer: Sarony”.
This cabinet card is an excellent portrait of a majestic looking greyhound (possible whippet) . The dog sits on a bench with as much regal bearing as any king sits on a throne. The photographer of this image is Abner L. Blanks. He is known to have operated his studio in Birmingham, Alabama, between 1888 and 1890, but may have also been in business there during other years.
A jolly looking man poses for a portrait at the studio of Isaiah West Taber (1830-1912), in San Francisco, California. The happy gentleman has a wonderful mustache and earns the right to join other men with remarkable mustaches in the Cabinet Card Gallery’s category “Mustaches (Only the Best)”. Taber was a well known daguerreotypist, ambrotypist and photographer who photographed many California notables. Taber was also a sketch artist and a dentist. He was born in New Bedford, Massachusetts. Between 1845 and 1849, he worked on a whaling ship. He moved to California in 1850 and returned to the east, four years later. Upon his return, he opened a photography studio in Syracuse, New York. In 1864, he returned to California where he worked in the studio of Bradley and Rulofson until 1873. To view images by Bradley and Rulofson, click on the category, “Photographer: Bradley & Rulofson”. In 1871, Tabor opened his own studio and became famous for reproducing the photographs of well known California photographer, Carleton Watkins. Watkin’s business had gone bankrupt, and Taber reproduced his work without giving Watkins any credit. In 1880, Taber took a six week photographic trip to Hawaii. During part of that trip, he fulfilled his commission to photograph King Kalakaua. By 1890, Taber had expanded his operation to include studios in London and other parts of Europe. However, the 1906 San Francisco earthquake, put him out of business. The natural disaster destroyed Taber’s studio, gallery and negatives.
This cabinet card presents a very cute young girl holding one of her dolls. The child is nicely dressed. Note her high button shoes. Her hairstyle seems a bit unusual for the time. Her hair appears to be shorter than one might expect based on other photographs of similar aged girls of that era. However, her hair may be pulled back, and not really short. This photograph also presents a clear view of the child’s doll. The photographer of this image is John J. Walklet of New Milford, Connecticut. Wilson’s Photographic Magazine (1899) announces the sale of Walklet’s studio to W. M. Miller. Walklet’s studio was located at 27 Bank Street, according to a New Milford business directory (1891).
This cabinet card is a portrait of a pretty feathered woman. It is probably misleading to call her a feathered woman, when in fact, it is her dress and hat that is covered with feathers. She is certainly wearing a creative, albeit, odd dress, especially since the photograph was made pre “Big Bird”. The photographer was A. N. Blanchard, and he was located on State Street, in Montpelier, Vermont. Azel Norman Blanchard (1843-1923) was a Civil War veteran who was a member of the 1st US Sharpshooters (Co. F). He established a photography business in Barre, Vermont, in 1865 and moved to Montpelier where he established a studio in 1880. Research reveals that his photography business was listed in the Montpelier directories of 1883 and 1887. He was buried in Green Mountain Cemetery, in Montpelier.
This Cabinet Card is an image of a fashionable woman. She clearly decided to wear one of her finest dresses and her favorite hat for her photograph session at the Art Studio of R. S. Schuyler, in Oxford, Michigan. The woman is wearing wire rim glasses and one glove. She is holding the second glove in her gloved hand. She is also holding something else in the gloved hand. Hopefully, a visitor to the Cabinet Card Gallery, will be able to identify the article she is holding along with the glove. Why is she wearing just one glove? Perhaps, she wants the photograph to show the ring that she is wearing on the middle finger of her ungloved hand.
FORLORN BRIDE AND DISTANT GROOM ON THEIR WEDDING DAY IN MILWAUKEE, WISCONSIN (CAN THIS MARRIAGE BE SAVED?)
This cabinet card is a wedding portrait photographed by Lecher, in Milwaukee, Wisconsin. The bride in this picture appears quite attractive in her wedding gown. She has a lovely veil and has a bouquet of flowers on her lap. The bride seems troubled. Is she questioning her decision to marry her husband? Did her Maid of Honor look more beautiful than she did? The well dressed groom appears quite concerned as he stands quite far from his bride with his hands clasped behind his back, and his top hat rests on the table next to him. The posing of this wedding couple is quite unusual. The couple seem emotionally and physically very distant from each other. Can this marriage be saved? The photographer, Paul G. Lecher, was a native of Germany, who came to the United States at two years of age. Research reveals that he definitely operated his studio in 1889 and 1890, and perhaps, in other years too.