S1, 000-42, 1890s, Cabinet Card, Child in a Dress, New Orleans, LA.

Description: S1, 000-42, 1890s, Cabinet Card, Child in a Dress, New Orleans, LA. Click images to enlarge Description You are bidding on an original Antique 1890's Cabinet Card Photograph, Child in a Dress in a Studio, New Orleans, LA. To see all of my "Stereoview Cards" click here. To see all of my "Cabinet Cards" click here. Photographer: William Watson Washburn, 111 Canal St., New Orleans, LA. (1825-1903) Obituary of this photographer: Deceased was seventy-eight years of age, and was a pioneer in photography, with the history and advance of which he was closely identified. Many improvements, now in general use by photographers throughout the United States, are due to the work of the firm of Washburn, in whose studio men in all walks of life have been photographed during the last fifty-five years. The Washburn studio, located in the block bounded by Canal, Customhouse, Royal streets and Exchange Alley, is one of the most widely known business houses in the city. For many years William Watson Washburn was identified with the commercial interests of New Orleans, taking an active interest in the development and upbuilding of the city, and it was with a great deal of pride that he discussed its growth, especially during the last four or five years. Mr. Washburn was born in Peterboro, N. H., and, after securing a common school education, embarked in the business he followed through life At that time photography had not reached its present development, and the old-fashioned daguerreotype was the limit of art attained. Mr. Washburn took daguerreotypes of many men and women who made up social life in New Orleans and the South in the old days, and his work is still to be found among the heirlooms of their descendants. As was the custom in his profession in those days, after embarking in photography, Mr. Washburn traveled from place to place in New Hampshire, setting up his studio in a town for a short time and then moving on to another field. His first permanent venture was in Boston, where he opened a studio. He did not remain there long, subsequently removing to New York, where he again went into business. Later this studio was taken in charge by his brother, Lorenzo S. Washburn, and Mr. Washburn decided to cast his fortunes in New Orleans, then considered the Bagdad of the South. In 1847 Mr. Washburn arrived here and located his first studio over McPherson's drug store, in Camp street. Two years later he moved to amp and Common, where the Story Building now stands. Here he was joined by his brother, Lorenzo S., and the two managed the business together. At Camp and Common the Washburns built the skylight said to have been the first ever constructed in New Orleans. Their studio was burned out, and they again entered business at old No. 111 Canal, between Royal street and Exchange Alley. After remaining a short while at that location they once more moved one door to the building occupied by them to-day. In 1865, immediately after the war, the Washburns, who had previously taken only daguerrotypes, adopted photographs, and have since that time kept abreast of all improvements made in the business. Practically all the celebrities who have visited New Orleans have had their photographs made by the Washburns, and when Jenny Lind visited New Orleans in 1850 her picture was added to the list. The great singer sent her secretary to all the studios in New Orleans for samples of their work, and, after closely inspecting all submitted, decided to sit for the Washburns. Jefferson Davis also sat for the Washburns, and among the most prominent local men the late Dr. B. M. Palmer frequently had his photograph taken there. During his early days in the city Mr. Washburn was an enthusiastic member of the Odd Fellows, while in religion he was a Presbyterian. When the commercial development of New Orleans was in its infancy Mr. Washburn was one of the most active workers in its behalf, offering his time and money to the advancement of many enterprises which were then considered, in view of the city's uncertain future, more or less hazardous. Even in his advanced age Mr. Washburn kept actively at work, only giving up three weeks ago, when seized by the illness that proved fatal. Every possible care was taken to preserve his life, but the nature of his malady, taken together with is advanced age, proved too strong a combination for medical science to combat." ref (www.findagrave.com) Subjects: People, Child, Fashion, Dress Card size: 4.25" x 6.5". #S1, 000-42 The Cabinet Card was a style of photograph which was widely used for photographic portraiture after 1870. It consisted of a thin photograph mounted on a card typically measuring 108 by 165 mm (4+1⁄4 by 6+1⁄2 inches). The carte de visite was displaced by the larger cabinet card in the 1880s. In the early 1860s, both types of photographs were essentially the same in process and design. Both were most often albumen prints, the primary difference being the cabinet card was larger and usually included extensive logos and information on the reverse side of the card to advertise the photographer’s services. However, later into its popularity, other types of papers began to replace the albumen process. Despite the similarity, the cabinet card format was initially used for landscape views before it was adopted for portraiture. Some cabinet card images from the 1890s have the appearance of a black-and-white photograph in contrast to the distinctive sepia toning notable in the albumen print process. These photographs have a neutral image tone and were most likely produced on a matte collodion, gelatin or gelatin bromide paper. Sometimes images from this period can be identified by a greenish cast. Gelatin papers were introduced in the 1870s and started gaining acceptance in the 1880s and 1890s as the gelatin bromide papers became popular. Matte collodion was used in the same period. A true black-and-white image on a cabinet card is likely to have been produced in the 1890s or after 1900. The last cabinet cards were produced in the 1920s, even as late as 1924. Owing to the larger image size, the cabinet card steadily increased in popularity during the second half of the 1860s and into the 1870s, replacing the carte de visite as the most popular form of portraiture. The cabinet card was large enough to be easily viewed from across the room when typically displayed on a cabinet, which is probably why they became known as such in the vernacular. However, when the renowned Civil War photographer Mathew Brady first started offering them to his clientele towards the end of 1865, he used the trademark "Imperial Carte-de-Visite." Whatever the name, the popular print format joined the photograph album as a fixture in the late 19th-century Victorian parlor. (ref. Wikipedia) If you have any questions about this item or anything I am auctioning, please let me know. Card Cond: VG-VG/EX (Some paper loss on the back, some corner & edge wear), Please see scans for actual condition. This Cabinet Card would make a great addition to your collection or as a Gift (nice for Framing). 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Price: 39.96 USD

Location: Warsaw, Indiana

End Time: 2024-12-02T08:18:00.000Z

Shipping Cost: 4 USD