Figure 1.-- This CDV of the Knapp children is undated, but because their birthdates are noted on the back, and the children look to be about 4-7 years old, we suspect that the portrait was taken about 1887, perhaps 1888. The CDV by this time had largely been replaced by the cabinet card format in America. Note that the The CDV displays most of the characteristics of 1880s cabinet card mounts. Note the rounded corners and lack of ruling. Also the image covers most of the mount. And notice both the elavorate sets and the fancy font used for the studio and city.

Albumen prints had a number of advantages over the well-established Daguerreotype and the new collodion process (Ambros and Tintypes), but for some reason were not an immediate success. We are not sure why. And we do not see Americans adopting the CDV in the 1850s. This changed very rapidly when Disdéri published Emperor Napoleon III's photos in a CDV pormat. This was an immediate success in France where the Emperor was a popular figure. And suddenly we begin to see CDVs in other countries as well. It was not that the Emperor was popular outside France, but the possibilities of the CDV became apprent because of developments in France. The process was at the time called 'cardomania'. The albumen print and negative process in the form of the CDV crossed the Atlantic. And quickly began replacing the Dag and Ambro. At the time the United States already had a larger photographic industry than Europe. When the Civil War broke out (1861), we still see mostly cased Dags and Ambros. The conversion process was, however, very rapid. By the end of the War (1865) we see mostly CDVs. While the CDV was a popular format in Europe througout the late-19th century, the popularity was a much shorter period in America. The larger cabinet card, also using albumen prints, appeared (1866). It rapidly replaced the CDV in America. The CDV did not disappear, but the cabinet card became the standard format. We continue to see cabinet cards throughout the late-19th century. Here we see a CDV of the Knapp children in 1887. We even see a few into the early-20th century, albeit with changed mount styles. American CDVs after the turn-of-the-century, however, are rare. It should b stressed here that th informtion here are only gidelines, nit infalable rules. Some established studios in mjor citoes quikly adopted the newest trends. Others did not, especially less sucessful studios in remote locations.

The 1850s

The CDV wa invented in France (1854). Albumen prints had a number of advantages over the well-established Daguerreotype and the new collodion process (Ambros and Tintypes), but for some reason were not an immediate success. We are not sure why. And we do not see Americans adopting the CDV in the 1850s. This changed very rapidly when Disdéri published Emperor Napoleon III's photos in a CDV pormat. This was an immediate success in France where the Emperor was a popular figure. And suddenly we begin to see CDVs in other countries as well. It was not that the Emperor was popular outside France, but the possibilities of the CDV became apprent because of developments in France. The process was at the time called 'cardomania'. The albumen print and negative process in the form of the CDV crossed the Atlantic. And quickly began replacing the Dag and Ambro. At the time the United States already had a larger photographic industry than Europe. We believe that the first Americn CDVs were made in New York (1859). It is believed that C.D. Fredericks introduced the CDV (late-summer 1859). There are very few made and we have not yet found one.

The 1860s

The CDV very quickly replaced the cased Dags and Ambros that had dominted photogrphy. Dags and Ambros were unique, one-of-a-kind photogrphs. With the CDV, customers were no longer limited to a single, expesive image. They could purchase several copies of a portrit to send to fmily and frinds. We note advertisements offereing six CDVs for $1.00 and prices subsequently declined. When the Civil War broke out (1861), we still see mostly cased Dags and Ambros. The conversion process was, however, very rapid. The Civil War gave the format enormous popularity. Both soldiers and their families wanted photographs taken before they were separated by the War. And then families sent photos to their me servingin the war. The CDV was cheap, could be printed from negatives, and enclosed in letters. By the end of the War (1865) we see mostly CDVs. While the CDV was a popular format in Europe througout the late-19th century, the popularity was a much shorter period in America. The larger cabinet card, also using albumen prints, appeared (1866). It rapidly replaced the CDV in America. Assembling a collection of family photographs soon became an almost universal fmily tradition. Photograph albums began appearing almost as soon as the CDV itself. CDVs taken in the 1860s are fairly easy to identify. The mounts have sharp, square corners and the image is framed with ruling, often red lines. We see no border frames (1860-62), two thin lines (1862-63), and a thin and thickrline (1864-69). There is no front printing ientifying the studio and location. We begin to see printing on the back, at first stmped on. And the 1860s set was very plain, often a individual with a void or blank wall behind him. some times the individual only takes up part of the total image area. Some reproduced Dag/Ambro sets with a chair and small table.

The 1870s

The CDV did not immeiately disappear with the appearance of the cabinet card. We still see quite a number of CDVs in the 1870s, even though the cabinet card became the standard format. The CDV changed in the 1870s. Conviniently, the chnges occured roughly at the turn of the decade. This means that they can be used as a rough separation of CVs taken in the 1860s and 70s decades. Rounded corner mounts quickly became standard. The rounded corners were less susceptible to damage. we continue to see ruling being used for the framing the image and in more color, but gradually the rules disppear. We also see front printing of the stuio and city which became standaed in the front. This was stillusually done in small print with plain fonts, including all capital letters. We are not yet entirely sure about the frame rules. Back printing on the back began to be more complex. Very thick frame rules were common (1874-80). We also see images without rule frmes that fill most of the card (1877). Sets also began to change about 1870. Decorative backdrops and props appeared. This increased as the decade progressed and we begin to see such elaborate sets that detracted from the phototgraph's subject. This trend varied from studio to studio. We still see some CDVs with very plain sets in the 1870s. This same trend can be observed with cabinet cards.

The 1880s

We continue to see cabinet cards throughout the late-19th century. But by the 1880s they begin to become much less common in the photographic record as Americans turned to the larger cabinet cards. The 1880s is the last decade we see any substabtial numbr of CDVs in the American photographic record. We take this to be a good reflection of actual prevalence. We are not sure why the CDV persisted into the 1880s. There are several possibilities. Perhaps they were less expensive. Or perhaps some parents wanted smaller sized photographs for scrapbooking. Perhaps they fit into a letter envelope better. We just are not sure. Maybe readers will know more. Interestingly, the CDV for some reason held its own in many European countries. We see sizeable numbrs of CDVs in England, France, and Germany. And any rate, we have found a few exmples from the decade. We note a portrit of Iowa boy Carl Schrader about 1885. The CDV mount is styled more like a cabinet card with a stylistic font for the studio name. Here we see a CDV of the Knapp children in 1887 (figure 1). The CDV displays most of the characteristics of 1880s cabinet cards. Only the dimensions of the card reveal it is a CDV. We are not sure at this time how many Americn CDV mounts retined the 1870s styling and how many adopted more cabinet-card style mounts. Note the rounded corners and lack of ruling. Also the image covers most of the mount. And notice both the elavorate sets and the fancy font used for the studio and city.

The 1890s

We continue to see some 1890s CDVs, but not very many.

The 1900s

We even see a few CDVs into the early-20th century, albeit with changed mount styles. We do not see very, many but we continue to see a few. EWe only see a handfull and we have a very substamtial American archive. Some were made to look like minature cabinet cards with cilored mounts like cabinet cards. CDVs persisdted in Europoe to a far greater extent than was the case in Anerica. We are not sure why a client would chose a CDV. Presumablt they were cheaper, but the the reduced cost of mterials wold not have been enbough to mke them much cheaper. And we note that at the turn of the 20th century, many new styles of cabinet cards appeares, several with smaller photiographic images than CDVs. American CDVs after the turn-of-the-century, however, are rare. They are a very small part of the photohrphs being taken in America, even a mall part of the studio portraits. As far aw we can tell, most studios did not even offer CDVs. Most of the 1900s CDVs we have found for some reason come from the New England and the wider Northeast.

Created: 11:02 PM 1/18/2014
Last updated: 7:34 PM 4/21/2022