Figure 1.--Early American CDVs commonly had frameing lines, but no information about the photographer. Sometimes the bacls were blank, but very quickly the photographers began adding information about their studio. This CDV is indated, but we know it was was taken about 1865 because there is a Federal Revenue stamp on the back. There was also plain printing describing the studio. Put your cursor on the image to see the back. The children here are unidentified, but we discuss the portrait on the pinafore social class page.
Many 19th century portraits were mounted and these mounts provide a lot of useful information. The early photographic portraits were relatively expensive. Gradually less expensive tin-type and negative processes were developed. The albumen process made it possible to print on paper from negatives, meaning multiple copies were possible. This created prints in large numbers. The CDV appeared in the late 1850s and the cabinet cards in the mid-1860s. Encasing them was no longer a reasonable solution and they were not as prone to damage. Rather prints were mounted on carboard. These mounts came in many colors and print types. HBC has developed information on both CDV mounts and Cabinet card mounts. These mounts often had information about the studio and where it was located. This helps to indicate the country as well as where in the country. The stle of the mounts often can be used to estimate the date of the portrait. Also helpful here are the prize awards which were often dated. The mounts were primarily a 19th century phenomenon. They dusappeared very quickly after the turn of the 20th century.
Mounting
Many 19th century portraits were mounted and these mounts provide a lot of useful information. The early photographic portraits were relatively expensive and were done in cases. Encasing them was no longer a reasonable solution and they were not as prone to damage. Rather prints were mounted on carboard. These mounts came in many colors and print types.
Albumen Process
Gradually less expensive tin-type and negative processes were developed. The albumen process made it possible to print on paper from negatives, meaning multiple copies were possible. This created prints in large numbers. The CDV appeared in the late 1850s and the cabinet cards in the mid-1860s.
Carte de Visite (CDVs) like cabinet cards were mounted on a cardboard mount. The front of the card had the photograph paisted on the mounted. The actual print was on much less substantuial photogaphic paper than is the case with modern print. Thus the mount was necessary to protect it. Many CDVs, unlike cabinet cards, had no printing on the front and were completely devoted to the image. The back of the card had the name and usually the address of the phographer, normally in an elaborate design. CDVs seem, however, much more varied than cabinet cards. We note some photographers who put there name on the front, but much more plainly than was common with cabinet cards. This may have varied chronologically. We have also noted some CDVs in the 1880s with fronts much like cabinnt cards. We also notice some CDVs with elaborately styled fronts. These are almos all 20th century CDVs. Some German CDVs printed in the early 20th century before World War I, for example, had Art-deco styling. Some collectors consider these to be really attractive little objects.
The distinguishing feature of the cabinet card was the commercially printed mounting cards on which the actual photograph was pasted. There were various kinds of mounts. The variations in the mounts are of considerable interest because they can be used to help date the image. As large numbers of these images are today found without any provenance and are undated. At first raw paste board was used. Later cards appeared with a gloss finish. The printed cardboard mounts that the image were pasted on were printed with information about the photographer and studio. Almost all cabinet cards and an imprint giving the name and location of the studio. The colors, script style, and art work used to decorate the mounts varied over time and can also used to help date these cards. There were also change in borders and other aspects of he mounts. Some of the mounts were quite fancy including those with ornate gilt borders. The popularity of the nount colors, shapes, embossing, and gilding varied over time. This can be used to help date the portraits.
Location
The studios used the monts to adverize themselves. These mounts often had information about the studio and where it was located. This helps to indicate the country as well as where in the country. American mounts are easy to identify because the statewas added to the city.
Dating
The mounts normally did not have the date of the portrait on them. A few had the year, but most did not. The stle of the mounts often can be used to estimate the date of the portrait. This is somewhat complicated ad HBC has only begun to work on this. The mounts were primarily a 19th century phenomenon. They dusappeared very quickly after the turn of the 20th century.
There were a variety of national and international competitions in which studios could comprete. We have no information at this time on the nature of these competitions. We only know that many studios advertized the prizes they won on the back of the mounts. They were useful establishing the reputation and pretige of the studio. These awards were much more common in Europe than in America. These prizes are of interest primarily because they are dated. This helps to date the portraits. Obviously the portrait could not be taken before the date of the latest award. The question becomes when usung these prize awards to help date the images is, how long after the award. We tend to think that the portraits would probably be within about 5 years of the latest award. This is because custimers might begin to ask why they were no longer winning awards. Of course there is not absolute rule here, but as a general rule we think that that most portraits would have been taken within a few years of the latest prize award.
