A woman with long hair and a long dress poses for her portrait at the A. W. Compton studio in Brigham City, Utah. Her dress has an interesting pattern which clashes with the studio’s carpet. The woman has a far away look in her eyes. Brigham City was founded by Mormon pioneer William Davis who first explored the area in 1850. Brigham Young, the church president, assigned Lorenzo Snow to create a self sufficient city at the site in 1853. Two years later, the town was named Box Elder. Brigham Young gave his last public sermon there and in 1877 the city was renamed in his honor. The photographer of this image was Alma Walter Compton. Utah State University has a collection of 90,000 photographs from the Compton Studio which was operated by three generations of the Compton family beginning in 1884. The collection is said to provide an illustrated history of agriculture, business, social life and education for the town of Brigham City over a span of nearly one hundred years. The Alma Compton House, located in Brigham City, is listed on the National Register of Historic Places.
Unlike a lot of children photographed during and soon after the cabinet card era, this child is showing some emotion. It’s exciting to be able to stand on a chair and have parental permission to do so. The child looks adorable in his/her plaid outfit. Note the pretty wicker chair. The Nast studio captured this somewhat unfocussed but lovely portrait.
A man with distinctive muttonchops poses for his portrait at the C. J. Farlie studio in Woolwich. Charles James Farlie (1839-1901) was located at 74 Wellington. The town of Woolwich is part of greater London. Farlie worked as a photographer in the town between the 1860’s and 1880’s. He was married twice. One of his wives was Selina Louisa Farlie who died in 1873 at the age of 32. The subject of this photograph is formally dressed and is wearing the usual pocket watch with the chain exposed under his coat. The gentleman’s interesting facial hair gains him entry into the Cabinet Card Gallery’s category of “Mustaches (Only the Best). Peruse the intriguing facial hair by clicking the category.
A formally dressed gentleman poses for his portrait at the Alman & Company studio in New York City. He has a great bushy mustache which earns a spot in the category “Mustaches (Only the Best)”. Click on this category to view other facial hair masterpieces. Note the man’s wide lapels and bow tie. One source states that Louis Alman (1835-?) was active in New York City and Newport, Rhode Island from the 1870’s through 1920. The dates have not been confirmed by research.
This wonderful photograph has an occupational theme. However, it is a mystery as to what exactly the men in this photograph do for a living. The previous owner of this image asserted that that them men are roofers. It is likely that the women and children in the photograph are residents of the work site or famiy members of the workmen. The name “Odway” or “Ordway” is written on the reverse of the photograph. “Odway” is a last name and “Ordway” is the name of a town in Colorado. Unfortunately, the name of the photographer or the location the photograph was taken are unknown.
This large format cabinet card features a thick bearded man wearing a band or fraternal uniform holding a clarinet at his side. His uniform suggests that he is a member of a band or a fraternal organization. He is wearing a bag strapped over his left shoulder. Could that bag be his clarinet case? This photograph was produced by the Newcomb studio in Salt Lake City, Utah. Photographer Scott Newcomb operated out of the 162 South Main Street address listed on the bottom of this cabinet card. According to reference site Langdon Road, Scott Newcomb was a photographer in Salt Lake from the 1890s until 1905. A photographer named Marion W. Newcomb (1851-?) also was active at an unknown address in Salt Lake City during the cabinet card era. It is likely that the two men were relatives as one source noted that a female photographer, Flossie Newcomb, was from a family of photographers in Salt Lake City. Flossie operated her own studio in Vernal, Utah in 1906 and married noted photographer Fred Hartsook.
This cabinet card portrait of actress Lottie Gilson was produced by celebrated New York City photographer, Aime Dupont. Gilson is perched on a pedestal and this image is a bit risque for its era. Note Miss Gilson’s coy smile, her exposed neck, relativesly low cut dress, the straps on her arms, and the leggy view. Gilson’s nickname, “the little magnet” is written on the reverse of the photograph. Also on the back of the cabinet card is a stamp from “Culver Pictures” which was a company that supplied photographs to the media for a price. Lottie Gilson (1871-1912) was a popular comedienne and vaudeville singer born in Basil, Switzerland. She was called “the little magnet” because of her popularity with audiences and her ability to propel the sales of sheet music. Her musical hits included “The Sunshine of Paradise Alley” and “The Little Lost Child”. The date of her theatrical debut is unknown but it is certain that she performed at the Bowery’s Old National Theatre in 1884. She later performed in many of New York’s theaters and was the top soubrette of her day. She is noted as the originator of the stunt of having a boy come out of the balcony singing along with one of her songs. This became a common vaudeville routine. The San Francisco Call (1900) reported Gilson’s third wedding (she was only twenty nine at the time). The article also mentioned that her first husband was sent to the penitentiary for setting her hat on fire. The New York Times (1912) printed an obituary for Gilson. They reported that she had been out of the public eye for five years prior to her sudden death. Another source states that she died after years of self destructive behavior, illness, and depression. To view other photographs by Dupont, click on the category “Photographer: Dupont”.
A curly haired young boy with tightly pursed lips poses for his portrait at the carpeted Rino studio in St. Louis, Missouri. The studio was located at 801 Franklin Avenue at the time this photograph was taken. Even though the boy in this image projects a less than desirable expression, this is a wonderful portrait of a turn of the century tricycle. August Rino is listed in “Pioneer Photographers from the Mississippi to the Continental Divide” (2005). Rino was active in Chicago between about 1858 and 1860 and operated in St. Louis between 1860 and 1875.
A handsome well dressed and devilish looking man poses for his portrait at Lindenmuth’s studio which was located at 24 North 6th Street in Allentown, Pennsylvania. He looks terrific in his three piece suit and his well groomed beard and handlebar mustache. Writing on the reverse of the photograph dates the image as being produced in 1899. The photographer of this portrait is primarily known for his work as an artist. Arlington Nelson Lindenmuth (1856-1950) was an American landscape and portrait painter who lived and painted in Allentown and the Lehigh Valley region of Pennsylvania. The Pennsylvania native was a member of the “Baum Circle”., the group of artists either were taught by or influenced by Pennsylvania impressionist painter, Walter Emerson Baum. Lindenmuth was also one of the earliest professional photographers in the Lehigh Valley area. He opened his first studio in Allentown in 1881. Prior to that, he operated studios in Tamaqua, Philadelphia, and Pottstown. All three cities are in Pennsylvania. As early as 1862, Lindenmuth was also employed as a traveling sales representative for Eastman Kodak. To view other photographs by Lindenmuth, click on the category “Photographer: Lindenmuth”.