An unidentified well dressed young woman poses for her portrait at Kellie’s Elite Studio in Quincy, Massachusetts. Apparently, once a person is photographed at Kellie’s, they become part of the elite. The studio advertises prominently in the Quincy Directory (1902).
This family portrait captures what appears to be three siblings posing in a studio located in an eastern European country. I would guess that this photograph is of Bulgarian origin but I am uncertain. Hopefully, cabinet card gallery’s reliable and knowledgeable research department (consisting of the sites interesting and informative visitors) will be able to decipher and translate the studio’s address listed on the bottom of the photograph.
Lillian Russell (1860-1922) is pictured in the top Cabinet Card photograph by famed New York celebrity photographer, Falk. Lillian Russell is captured in costume as she appeared in “Pepita” (1886). Russell was a very famous American actress and singer who was known for her beauty, style, voice and stage presence. Her theater career began with roles in comic operas including the work of Gilbert and Sullivan. She married composer Edward Solomon in 1884 and two years later, he was arrested for bigamy. She performed in New York and elsewhere in starring roles in comic opera and musical theatre. In 1904 she switched to dramatic roles due to voice problems. She later also appeared in vaudeville. She retired from the stage in 1919. She later wrote newspaper columns, advocated for women suffrage, and was a popular lecturer. She married four times and her longest marriage was to Diamond Jim Brady who supported her extravagant lifestyle for four decades. It is interesting to note that the New York Times (4/2/1886) reported that during the performance of “Pepita”, an opera by her husband, Edward Solomon; there were obvious signs of marital discord observed on stage. The newspaper blamed issues revolving around Russell’s interfering mother, as well as, issues pertaining to Russell’s sudden prosperity. The newspaper article correctly predicted that there would soon be a divorce. The second cabinet card, is also photographed by Falk. This photograph provides a close-up image of Lillian Russell and is a testimonial to her beauty. The third cabinet card was published by Newsboy and used by the tobacco company as a premium (#340). The photographer was Falk and the image was copyrighted in 1893. To view a collection cabinet cards by Falk; click on the category “Photographer: Falk”. The fourth cabinet card is another image produced by B. J. Falk. Miss Russell is in costume and is posed provocatively partially behind sheer lace. The fifth cabinet card, also by Falk, provides a terrific profile portrait of the beautiful Miss Russell.
The gentleman in this photograph has the good fortune to be posing for his portrait with four lovely and well dressed women at the Field studio in Berlin, Wisconsin. One wonders how these five individuals are related. Are they friends? Could they be family? Are they attendees at a match.com stir event? The nature of their relationship is unknown but it is clear that at least two of the women in this image are “swingers”. That is, they are sitting on a swing. The photographer of this image is Julius Herman Field. He was born in 1869 in Waupun, Wisconsin. He was interested in photography and was self trained but talented enough to win photography contests and publish his images. He eventually was trained by a Waupun photographer and soon bought a studio in Berlin. He hired an assistant named Minnie Bell Dies (1879-1971). She eventually became his wife. In 1913 the couple moved to Fayettville, Arkansas where he continued to work as a photographer. He attended the University of Arkansas, graduating in 1933. In 1936 he died after a series of heart attacks. He was cited in the American Amateur Photographer (1905) and in other photographic publications. Many of his photographs are held in the University of Arkansas Library collections.
The reverse of this photograph has an inscription and is signed by the subject. The young woman in this image is Amy Dalphus and the inscription states “to sister “Phillips” from sister “Beaver” Remember the day this was taken”. Miss Dalphus is well dressed and attractive in her coat, hat, and leather gloves. The photographer of this image was Hertsler whose studio was located in Carlisle. Research reveals that Amy E. Dalphus was from the Sioux tribe in South Dakota. She graduated from the Carlisle Indian Industrial School in 1903. She is cited in the book “A Biobibliography of Native American Writers, 1772-1924: A Supplement”by Littlefield and Parins (1985). Next to her name is the following: “Red Man and Helper, February 20-27, 1903”. Perhaps she wrote an article for this magazine or maybe her graduation is listed in the magazine’s pages. Research found little information about Miss Dalphus. Her name was listed on a number of annual “Indian Census” reports from the turn of the century. The “Indian Census” of 1896 reported her to be living in South Dakota with her step mother (Mrs. Moore) and three brothers and a sister. She lived under the auspices of the “Cheyenne River Agency”. The 1900 US census found her living in Carlisle as a student.The story of the Carlisle Indian school is an example of well meaning people committing terrible deeds in an effort to help others. It is important to realize that not everyone involved in this school, and others like it, were actually well intentioned. The Carlisle school operated from 1879 through 1918 as a boarding school founded by Captain Richard Henry Pratt. The school was part of the effort of the US government to assimilate children from 39 tribes into the majority culture. This was an effort to “civilize the Indian”. Pratt saw his task as similar to his experience with the “domestication of wild turkeys”. He believed his mission was the “annihilation of the Indian and his salvation as an American Citizen”. Pratt’s goal was to “kill the Indian in him, and save the man”. Many children were subject to this assimilation project. During some years, the school had as many as a thousand students a year. In addition, there were other schools engaged in the same endeavor. The students were forced to take English names to replace their given tribal names. This was very difficult for the students to accept because their tribal names had personal meanings that reflected their experiences or relationships. In the inscription on the reverse of this photograph, Amy Dalphus refers to herself as “Beaver” alongside her English name. Perhaps this is an effort by her to not surrender her tribal name. The Carlisle school became well known for its athletic programs. Coach Pop Warner and the talented athlete, Jim Thorpe, received national attention. More people are aware of Carlisle’s sports prowess than the actual abuse and racism that permeated the concept and operation of the school.
Meet Philip August Albrecht. His name is written in pencil on the reverse of this photograph. Mr Albrecht has chops. This image may be faded but it certainly does justice to his mutton chops. See more great facial hair in the categories “Beards (Only the Best)” and “Mustaches (Only the Best)”. Philip Albrecht appears in the 1870 US census. The document reveals that he was born in Prussia around 1843. He was employed as a bookkeeper and married to Anna Albrecht. The couple had two children, Emma (age 3) and John (age 10 months). Baltimore City Directories disclose that Philip Albrecht worked as a bookkeeper between at least 1868 and 1882. He worked as a cashier at least between 1888 and 1898. Albrecht died in 1909. This photograph was produced by William Foss Shorey (1833-1911) whose studio was located in Baltimore, Maryland. He was a well known photographer in Baltimore and operated there for more than forty years. He was born in Maine and the son of a furrier (Nehemiah Shorey). William graduated from the Maryland Institute of Art and Design and became a drawing instructor there at twenty-five years of age. He learned photography under the tutelage of H. E. Woodward who was associated with the Institute but also owned the Monumental Art Studio. Shorey’s obituary states that he was the official photographer of William “Buffalo Bill” Cody for the first ten years of his show business career. It was also reported that Shorey was the official photographer of the Maryland Department of the Grand Army of the Republic. He is buried in the Green Mount Cemetery in Baltimore.
The reverse of this cabinet card identifies the subject as Ada Sidney. Judging by her costume, she appears to have been an opera or stage actress. This photographic portrait was taken by the Marc & Schlum studio in New York City. Research revealed no information about Miss Sidney or the studio photographers.
This cabinet card portrait features a well dressed woman and was produced by a female photographer in Montreal, Canada. Madame Gagne ran a photography studio in Montreal in the 1880’s and early 1890″s. Gagne had studios at other locations in Montreal including 897 St. Catherine (circa 1885) and1823 St. Catherine (date unknown). She was located at the 211 St. Laurent address in 1895. She did a great deal of portrait work for the Chinese community. William Notman was the Montreal photographer associated with taking portraits of the elite. It is likely that Madame Gagne was married to fellow Montreal photographer, Edouard Gagne. The McCord Museum in Montreal has some of Madame Gagne’s work in their collection of historic local photographs.
A curly haired woman in a white dress poses a bit provocatively in the studio of Chandler & Scheetz in Philadelphia, Pennsylvania. She is radiating bling. Note the amount of jewelry that she is wearing. She has a brooch, necklaces, earrings, bracelets, and a ring. She is appears to be holding a purse. To view other photographs by Chandler & Scheetz and to learn more about these photographers, click on the category “Photographer: Chandler & Scheetz”.