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 quickly
replaced by the larger cabinet card. 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."[1]
Whatever the name, the popular print format joined the photograph
album as a fixture in the late 19th-century Victorian parlor.
The reverse side of the card as seen
above.
Ironically, early into its introduction, the cabinet card
ushered in the temporary demise of the photographic album which had
come into existence commercially with the carte de visite.
Photographers began employing artists to retouch photographs (by
altering the negative before making the print) to hide facial
defects revealed by the new format. Small stands and photograph
frames for the table top replaced the heavy photograph album. Photo
album manufacturers responded by producing albums with pages
primarily for cabinet cards with a few pages in the back reserved
for the old family carte de visite prints.
For nearly three decades after the 1860s, the commercial
portraiture industry was dominated by the carte de visite and
cabinet card formats. In the decade before 1900 the number and
variety of card photograph styles expanded in response to declining
sales. Manufactures of standardized card stock and print materials
hoped to stimulate sales and retain public interest in card
photographs. However, as with all technological innovations, the
public increasingly demanded outdoor and candid photographs with
enlarged prints which they could frame or smaller unmounted
snapshots they could collect in scrapbooks.
In no small part owing to the immense popularity of the
affordable Kodak Box Brownie camera, first introduced
in 1900, the public increasingly began taking their own
photographs, and thus the popularity of the cabinet card
declined.[2]
