The young wedding couple pictured in this portrait are well dressed and quite attractive. The pretty bride looks terrific in her wedding gown and bridal veil. She is holding a bouquet of flowers in her white gloved hand. The handsome groom is holding a pair of white gloves. One suspects that this couple is well-to-do judging by their appearance. This cabinet card portrait was taken by the studio of Otto Witte who operated his photography business in Berlin, Germany.
J. B. Scholl, well known Chicago photographer, produced this wedding portrait of a smartly dressed bride and groom. The groom has a nice handlebar mustache. The bride is wearing a pretty floral wedding veil and appears to be holding the grooms sleeve rather than his hand. Despite their lack of physical contact, the pair are standing much closer to each than seen in many other wedding photographs. I wonder why the photographer posed the gentleman with one foot elevated on a curb. At first, I speculated that the rationale was to add height to a groom who was shorter than his bride. However, the gentleman has both knees bent which certainly restricts his reaching full height. My final conclusion was that the photographer, normally quite skillful, had a bad day and was careless setting up this particular pose.To view more of Mr. Scholl’s photographs and to learn more about him, click on the category “Photographer: Scholl JB.
Frank Becker, a photographer in Cleveland, Ohio, produced this wedding portrait. The bride is wearing a long white floral veil and the couple clearly spent some money at their local florist. The groom has a handsome mustache. As frequently seen in wedding photographs from the cabinet card era, the groom is seated and the bride stands. Perhaps the reason for this type of pose is to showcase the bride’s wedding gown. Frank Becker was an active photographer in Cleveland between 1886 and 1900 or later. He was born in Germany in 1865 and emigrated to the United States in 1881.
This photograph features an exhibit from America’s first wax museum. Note how real the wax bride and groom appear in this exhibit. The groom is sitting in a decorative chair and wearing a pocket watch and corsage. The bride is wearing a wedding band, flowers, and a bridal veil. Her dark wedding dress is beaded and intricately ornate. This wedding couple looks so real. In fact, they are real. They just look waxen. No offense is meant toward this couple. They are probably posing the way they photographer had instructed them. The photographic process was not generous to their appearance. Writing this description caused me to wonder when wax museums came into existence. Research quickly revealed that the first wax museum originated some time in the early 18th century. However, the creation and use of wax figures for ceremonies occurred many years before that. This cabinet card presents a mystery that I was unable to resolve despite spending quite a bit of time on the endeavor. The mystery involves identifying the photographer of this image. I have copied his studio stamp that was on the reverse of this cabinet card and it can be seen above. Any attempt by the Cabinet Card Gallery’s vast unpaid research department (the gallery’s visitors) to discover the photographers identity would be appreciated. I did not find the name of the photographer to be legible. It also didn’t help that no town, city, or state was listed. For those up to the challenge, good luck in your search.
This portrait captures four young bridesmaids at a wedding in June, 1891. The reverse of the photograph has an inscription that lists the girls names as well as the name of the bride. The handwriting is not clear and some of the names are not completely decipherable. Three of the four girls share a last name with the bride. The photographer and setting are unidentified. This photograph is significantly larger than a cabinet card.
This photograph captures a wedding party which likely includes the bride, groom, best man, and maid of honor. The bride has garlands of ribbon cascading from her bouquet. She is wearing a locket and bracelet. The groom is wearing gloves. The photographer is A. Werner and he operated his studio out of Brooklyn, New York. August Werner is listed as a Brooklyn photographer in both the 1900 and 1920 Federal Census. For much of his career his studio was located at 709 Broadway. He was born in Germany in 1863, immigrated to the US in 1874 and married his wife Kate in 1888.
The Cabinet Card Gallery is appreciative of the talent of Austrian photographer S. Weitzmann and the site is developing a nice collection of his work. To view other images from Weitzmann’s Vienna studio, click on the category “Photographer: Weitzmann”. This photographic portrait captures a well dressed wedding couple. The bride is holding a bouquet of flowers in one hand and the groom’s arm in the other hand. The groom is wearing a flower on his lapel and has a wonderful mustache. Note his top hat on the table beside him. He is holding a pair of white gloves and is wearing his newly acquired wedding band.
J. W. Clark, a photographer from Mendota, Illinois, produced this lovely portrait of a young couple. The pair are beautifully dressed and are wearing flowers. This photograph is likely their wedding portrait. Note the young man’s striped suit and long coat. In addition, take notice of the beautiful stitching near the hem of the woman dress. J. W. Clark was born in Lewisburg, Pennsylvania in 1852. In 1881 he began to operate a photography business, succeeding J. L. Gurrard.
If “cool” was a slang word used in the early 1900’s, than this is one very “cool” couple. Both subjects are very expressive as they pose for their wedding portrait at Wilhelm Richter’s studio in Karbitz, Czechoslovakia. The bride is holding a large bouquet of flowers and the the groom is wearing a flower on his lapel. A written notation on the reverse of the photograph indicates that the image was produced in 1920.
A. C. Paris, the proprietor of the City Gallery of San Antonio, Texas, produced this elegant wedding portrait . On the reverse of the cabinet card is an inscription stating “Alex Rossy, Josephine Fink’s father”. The cabinet card’s edges are gold embossed and scalloped. Census research reveals that the groom in this image, Alex Rossy (1862-1925) was the son of Charles and Aminda Rossy. Alex’s father was of Austrian ancestry. The 1880 US census reports that Alex was the fourth of seven children living in the Rossy’s home. San Antonio business directories assert that Alex’s occupation for many years was “Cigar Manufacturer”. Josephine Fink was actually Josephine Rossy Fink (1897-1980) and she was the daughter of Alex Rossy. She later became the wife of Lewis Fink.