This cabinet card portrait features a little girl with an engaging smile. She is holding a wooden pail and is standing next to a shovel. She posed in front of the studio’s proverbial wall which the photographer embellished with leafy vines. The photographer of this image is Carl Joseph Horner (1864-1926). He operated a studio in Boston, Massachusetts. I have seen him advertise himself on other images as a “European Photographer”. On the reverse of this cabinet card he describes himself more precisely geographically as being “from Stockholm, Sweden”. It appears that, at least in Boston, European photographers held more status than American photographers. Interestingly, Horner developed a great reputation as a sports photographer. Some of his baseball photographs are very well known. To view more of his images, and to learn more about this photographer, click on the category “Photographer: Horner”.


Published in: on January 17, 2017 at 12:00 pm  Leave a Comment  
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An attractive young woman poses for her portrait at the Warren Studio in Boston, Massachusetts. She is well dressed and is wearing a collar pin. She stands beside a bouquet of flowers resting on top of a faux wall. The photographer of this image is William Shaw Warren. He was a talented and well known Boston area photographer.  He was also a very prolific photographer during the carte de visite era.   W. S. Warren worked as a photographer at 41 Winter from 1870-1874. The cabinet card gallery has a number of images by Warren’s studio which you can peruse by clicking on the category “Photographer: Warren (William Shaw)”.




This is an unusual cartes de visite portrait because of the method utilized to hold the posing child in an optimal and safe position to be photographed. It was not unusual to restrain a young child during a photograph session but usually the restraints are hidden. The safety belt was usually hidden under clothing, a blanket or some other material. In addition, sometimes a child’s parent might hold the baby in place while being covered by a blanket or some other material. In addition, to showing the safety belt, this image is a wonderful portrait of a little girl. The photographer of this cdv is Amory Nelson Hardy (1835-1911). He was born in Cumberland, Maine. He was married to Angeline Davis (1833-1920). Early in his photography career he worked in Bucksport, Maine. He then moved to Boston and during his work there had a studio on Washington Street (1868, 1879-1887) and Winter Street (1873-1878). These dates are only a partial representation of his career. This photograph was taken at the Winter Street studio. It has been brought to my attention that it is very possible that this little girl may not be tied into her seat at all. Instead, both the black bows around her sleeves as well as the wide black band around her abdomen may be symbols of “mourning”. I certainly agree that the ribbons around her sleeves are typical mourning symbols. However, I have not seen similar mourning bands employed around a subject’s waist or abdomen. I wonder what visitors to the cabinet card gallery think about these black bands. Please feel free to leave a comment. To view other photographs by Mr. Hardy, click on the category “Photographer: Hardy”.

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Mrs M. Whitehill posed for this cabinet card portrait produced by the Cook studio in Boston, Massachusetts. She was a nicely dressed and pretty young woman. Her name was gleaned from information possessed by the previous owner of this photograph. I could not find further information about her without knowing her full first name. L. W. Cook was a prolific photographer who began his career during the cdv era. City directories reveal that Cook had various addresses in Boston over the span of his photographic career. He used the 145 Tremont studio at least between 1874 and 1884. He also occupied three other Washington Street addresses besides the Washington location listed on this image.

Published in: on November 15, 2015 at 12:00 pm  Leave a Comment  
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pauline hall

The top cabinet card features Pauline Hall (1860-1919), one of the most popular turn of the century prima donnas. She began her career as a dancer in Cincinnati, Ohio at age 15. She joined the Alice Oats Opera Company but left to tour in plays with famed actress Mary Anderson. By 1880, she worked for well known producer Edward Everett Rice in musical productions. Early in their association, he gave her a role in “Evangeline”. Her shapely figure allowed her to take male roles as she did in “Ixion” (1885). Her greatest success came in the title role of the first American production of  “Erminie” (1886). She played in more than two dozen Broadway operettas. Her final role was in the “Gold Diggers” (1919). This photograph was taken by famed celebrity photographer, Elmer Chickering of Boston, Massachusetts. Other photographs by Chickering can be seen by clicking on Cabinet Card Gallery’s category of “Photographer: Chickering, E.”. The second cabinet card, photographed by B. J. Falk, of New York City, captures Pauline Hall in stage costume. The photograph is #305 in a series from Newsboy. The tobacco company (Newsboy) gave away cabinet cards as a premium with the purchase of their products. This cabinet card shows a copyright date in the 1890’s. The exact date has become illegible over time. To view other Newsboy or Falk cabinet cards, click on the categories “Photographer: Falk” or “Photographer: Newsboy”. The third cabinet card portrait was also photographed by Falk. Ms. Hall looks quite beautiful in this image. She is wearing earrings and an interesting hat. The photograph is a bit risque. Much of her neck and shoulders are exposed. In addition, her dress accentuates and reveals significant cleavage. Is the material at the base of her scoop neckline part of her dress; or was it added in order to make the photograph less provocative? Perhaps a visitor to the cabinet card gallery will be able to provide an explanation. The fourth cabinet card image, once again photographed by B J Falk, features Miss Hall wearing a dark dress, long gloves, a lovely hat, and a purse. Pauline Hall certainly was a stage beauty as attested by this photograph.


INDIANTEMPLE_0003This cabinet card portrait features four Indian men posing for their portrait at the Holland studio in Boston, Massachusetts. These visitors are wearing their traditional clothing, including turbans. At least one of the men is barefoot. One of the men is holding a paper while another is holding a book. Could it be a prayer book? These men may be Sikhs. The previous owner of this photograph suggested that the seated men are Sikhs and the other two men are Burmese attendants. Hopefully, someone from the cabinet card gallery’s vast unpaid research department will be able to specify the ethnicity of the subjects of this photograph. It is is interesting to note that the photographer’s studio is located on Temple Place. Could there be a Hindu temple nearby? The photographer of this terrific image is Henry F. Holland (1853?-1911?). He entered the world of Boston photography when he became a partner with George P. Roberts in 1886. Their studio was located at 10 Temple Place (the same address as this image). The partners designed their own back drops and their studio was a great success; at one time employing 25 people. The gallery was advertised as “the finest studio in New England” and Holland’s business motto was “Realism in Photography”. Apparently Holland should have practiced realism in business because the gallery eventually went bankrupt. Speculation is that a poor investment in a printing business led to the collapse of Holland’s studio. His partner, Mr. Roberts, left the firm in 1888, two years before the bankruptcy. Holland was buoyant and by 1891 had established a new photography studio called “Ye Holland Studio” which he opened on Washington Street in Boston. He soon left the studio for his son’s Tom and C. E. to manage. Holland than entered business in another field for which he had much passion. He formed the Freeman-Holland Company and became involved in the electricity business. He became the local general manager of the National Electrical Manufacturing Company. He also combined his interest photography and technology by becoming a photographer of industrial equipment.


worden front

A pretty young woman poses for a cabinet card portrait at the Worden studio in Boston, Massachusetts. This profile portrait provides a nice view of her lacy dress and pinned flowers. The reverse of the photograph has an inscription that states “Compliments of Miss Gertrude Foster”. Research was unable to find an actress, dancer, or singer with the name of  Gertrude Foster. It seems likely that the Gertrude Foster seen in this cabinet card was not a celebrity. Researching Miss Foster was unproductive because her name is too common in the Boston area. To view more photographs from the Worden studio, click on the category “Photographer: Worden”.         ADDENDUM: I stumbled upon some biographical data about Miss Foster. It turns out that Gertrude Foster was a stage actress during the cabinet card era. The Capital (1898) reported that she was the “leading lady actress” at the Alcazar Theater in San Francisco before accepting a place in the touring Belasco  & Thall Theater Company. Miss Foster is mentioned again in the San Francisco Call (1900). The newspaper reports her marriage to Edward W. Mansfield who was the manager of the Fisher Opera House in San Diego, California. Apparently Mansfield was smitten with her when they met professionally some years before. Mansfield reportedly waited to pursue her until she had an opportunity to garner some “fame”.



An attractive young woman poses or her portrait at the studio of William Shaw Warren whose studio was located in Boston, Massachusetts. The woman has intense eyes and her hair is styled with tightly rolled curls. She is wearing a necklace, earrings, and a collar pin. To learn more about this photographer and view more of his photographs, click on the category “Photographer: Warren”.

Published in: on November 1, 2014 at 11:50 pm  Comments (1)  
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ASIAN_0004A 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.

Published in: on August 21, 2014 at 2:30 pm  Comments (2)  


SWEEYThis cabinet card portrait captures a pretty young woman with a sweet smile. She is wearing a white dress and jewelry including a collar pin and earrings. Note the length of her long dark hair. The photograph was produced by the Bushby and Macurdy Studio which was located in Boston, Massachusetts. To learn more about photographers Asa Bushby and George Macurdy and to view more of their photographs, click on the category “Photographer: Bushby & Macurdy”.