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We find portraits still mounted on cards in the 1910s, but fewer of them. And they are mounted with a matte to resemble a paper frame rather than like the 19th century cabinent cards. We also note an increasing numbr of paper frames. We no longer note extremely small photographs with larger paper frams. As the decade progressed the photographs increasingly same to dominate the frame. Postcard prints were also very common and these were not mounted in frames. We note both studio portraits and snap shots printed with post card backs. The post cards can often be dated to an extet by the stamp boxes on the reverse. The frame portraits are more difficult to date. We note grey as a popular color for the frames. Thre were also whtih/ivory frames. We often note that the frames were often larger in area than the actual potrait, although we do not see the really small area portaits that were common in the 1900s. Also we do no longer see albumen prints. Designs for the frame can also help date the portraits, but here our knowledge and archive is not yet large enough to prperly assess this.
We find some portraits still mounted on cards in the 1910s, but fewer of them. This was the last decade in which the stiff cabinent card that so dominated American portaiture in the late-19th centurybwas an important format. The cards were not as standard as the old 19th century cabinet cards. And they are mounted with a matte to resemble a paper frame rather than like the 19th century cabinent card format. Many actually had smaller images than the old cabinent cards, although the card itself was often actually larger. They usually were square or retanguklar in contrast to the popular oval formt in the 1900s. Many of these cards had plain grey backs. We no longer see the elaborate advertising on the back.
We also note an increasing numbr of paper frames during the 1910s. These were becoming a major way of presenting studio photographs. We no longer note extremely small photographs with very large paper frames. As the decade progressed the photographs increasingly same to dominate the frame. The frame portraits are more difficult to date. We note grey as a popular color for the frames. Thre were also whtih/ivory frames. We often note that the frames were often larger in area than the actual potrait, although we do not see the really small area portaits that were common in the 1900s. We note a variety of folders. We also note folder-type paper frams with fold-over covers. Some had side flaps and others full size folders with left side book-like covers. Designs for the frame can also help date the portraits, but here our knowledge and archive is not yet large enough to prperly assess this.
Postcard prints were also very common and these were not mounted in frames. Postcard prints first appeared in the 1900s and by the 1910s were a major photograph type. They alloweed people to send photographs to friends and neighbors for only a penny. Many decided to send them iside enveloped to make sure the image was not damaged in the mail. We note both studio portraits and snap shots printed with post card backs. The post cards can often be dated to an extet by the stamp boxes on the reverse. The post cards were geneally done in grey-shade tones.
We do no longer see albumen prints. Sepia tinted prints were popular.
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