Figure 1.-- Here we have a cabinet portrait of two seven-year old boys which must mean they are twins. They are dressed in matching sailor suits. The portrait was taken July 16, 1893. The studio was Charles Pettingell of Liverpool. The mount was done in dark blue. We believe these dark colored mounts evene more common in the 70s and 80s, but we are just beginning to assess mount styles.

We tend to see English cabinet cards with very narrow margins in the 1890s. The actual print takes up more of the card than was common in earlier decades. And we do not see the the ruling lines used as framing that were so common in earlier cards. We note large numbers of light colored mounts in the the 1890s. This seems similar to the trends in America. The text at the right side of the bottom studio information tended to be different than American cards. We do not see the middle logo common on Ameican cabinet card. You can see that in the 1896 card on the previous page. You also see that here (figure 1). We do still note some cabinet cards done in dark colors in the early-90s. We are not sure yet, however, how common this was. The light-colored mounts seem more common. This seems comparable if not identical to American trends. We will need a larger archive before we can make any real assessment. So far we only have a few dated cabinet cards.

Margins

We tend to see English cabinet cards with very narrow margins in the 1890s. The actual print takes up more of the card than was common in earlier decades.

Ruling

Mount Coloring

We note large numbers of light colored mounts in the the 1890s. This seems similar to the trends in America. We do still note some cabinet cards done in dark colors in the early-90s. We are not sure yet, however, how common this was. The light-colored mounts seem more common. This seems comparable if not identical to American trends. We will need a larger archive before we can make any real assessment. So far we only have a few dated cabinet cards.

Front Bottom Studio Information

The text at the right side of the bottom studio information tended to be different than American cards. It was often a small block font. And we do not see the middle logo common on Ameican cabinet card. You can see that in the 1896 card on the previous page. You also see that here (figure 1).

Embossing

Embossing is carving, molding, or stamping (pressing) a design on a surface making it stand out in relief. In connection with cabinet cards this meant molding or stamping the front text wikth the studio inforation. We never see this in the back as it would have spoiled the fron pohotgraph, The embosing meant we see both raised and depressed texts. We begin to see this in the 1890s. We cannnot say there was no embossing un the 1889s, but so far the earliest example we have found are from the 1890s. Embossing was most common on light-colored mounts. We continue to see embossing after the 1890s in the early-20th century. We also see embossing being used on merican cabinet cards. It was not the most common way of doing the text, but it was not uncommon. We suspect the ame was true of English cabinet cards.

Location

Most cabinent card portarits were taken in photographic studios. Thhis mad it easy for the photographr to make the best use of his expensive cameras and other equipment. And the photographer could have sets with orops and decorative backdrops. This is the standard approach in all countries. We note quite a numner of outdoor portraits. This wa not unknown in other countries, but we see far more of these outdoor portaits in England than any oyher country, including America. And almost always they are taken outsdide the customer's home, with the family. What we do noit know is how they came about. Did the custimer fo to the studio and order them. Or did the phoyographes go from foor ro door seeking orders. Perhaos both. We note morebof these hime imnafes in the 1890s than any other decade. We are not sure why.

Created: 12:10 AM 3/30/2013
Last updated: 8:09 PM 4/28/2020