Cabinet Cards
In 1863 the cabinet card photographic image was introduced. This format, in many ways, was similar to its predecessor, the carte de visite, a paper albumen print mounted on card. The principal difference between the two formats was their size. The cabinet card mount measured approximately 6.5 inches by 4.25 inches. The images were slightly smaller measuring approximately 5.5 inches by 4 inches. Sometime in the 1870′s a new larger sized card emerged and became known as the Boudoir Cabinet Card, which measured 8.25 inches by 5 inches, and designed to be displayed rather than stored in albums. The boudoir format is somewhat scarcer than either cabinet cards or cartes de visite.
The albumen process involved the production of a glass negative; this in turn was used to print the photograph. Frenchman Louis Desire Blanquart Everard had come up with a photographic albumen paper. The paper was coated in a mixture of egg whites and ammonium chloride, it was then allowed to dry and could be kept for later use. When the paper was used it was sensitized in a bath of silver nitrate and then developed using pyrogallic acid. The paper allowed for the production of very sharp images with great tonal quality. The process involved the use of a full plate glass negative from which two images could be printed, this meant that the production costs were slightly higher than the cartes de visite but this did not stop the new format from becoming just as popular. One of the chief benefits of the large glass negative was the ease with which it could be retouched, either by an artist or skilled photographer, thus correcting any defects or photographic errors. The ease of conversion to the new format meant that all studios could produce either cabinet cards or cartes de visite. Photographers began using more elaborate studio scenery and props, which increased the format’s popularity. They also began advertising their studios on the back of the mounts, often with very elaborate illustrations.
The little information that is available would suggest that the cabinet card was first suggested by London portrait photographer F. R. Window. The firm of Window & Bridge in London in 1863 were among the first producers of the cabinet card format. Little is known about this studio and images by them are extremely rare. The earliest images bearing either of these photographers names seem to be those produced Window & Grove of London, this was presumably a new partner for F. R. Window and these images turn up regularly in the U. K.
As with cartes de visites, cabinet cards of public figures proved equally popular with collectors of the day. The major studios in England including Mayall, W& D Downey, The London Stereoscopic & Photographic Company and Elliott & Fry also turned production to the new format. In France the studios of Nadar, Disderi and Reutlinger followed suit. Cabinet cards produced in the U.S. came a few years later after the format had gained popularity in Europe. The highly skilled American cartes de visite photographers of the day began producing cabinet cards with the galleries of Sarony, Mora and Gurney being amongst the most notable.
The vast majority of cabinet cards produced were general portraiture and these may be of interest to social historians. Generally however, they are not highly sought after and prices reflect this. In many cases images can be found for little more than a dollar. The illustrations or advertising on the back of many of these less expensive cabinet cards are frequently more interesting then the picture on the front. This is not an area that is widely collected and therefore offers good value. Occupational images turn up frequently and depending on the subject can attract higher prices, as do outdoor images, again depending on subject matter. Animals are another popular category with collectors, prices range from ten to several hundred dollars. As previously mentioned, cabinet cards of celebrities were very popular when first introduced and they are still sought after by collectors today. Prices for these can range from ten dollars for a now obscure public figure to in excess of a thousand dollars for major historic figures.
The array of subject matter is overwhelming and it would be difficult to cover all possible areas of interest. As a guide, the market value is based on subject matter, photographer and condition. In some cases a rare image in poor condition will still command a higher price, but condition is a key factor in pricing. As with all things each collector will have their own views on what they want in an image and this too can influence the price they are willing to pay.
The cabinet card format remained popular up to the end of the First World War when the wider use of the postcard and availability of snap shot type cameras led to the decline in use of professional studios.
Reference note by p4A.com Contributing Editor Robert M. Ginns.