Figure 1.-- We begun to see a lot of whicker furniture in the 1890s, useful in dating undating portraits. The 1890s whicjer furniture was natural country. We see a lot white whicker in the 1900s. This portrait was taken in 1896, but the white whicker was more common after the turn-of-the century. Notice the deamy, hazzy background. .

The studio sets include furniture and props as well as the backdrops. We will dal with each of thes individually as well as provide a decade by decade chronology of these trends in these studio sets. Here we will do this in general beginning in the 1840s with Daguerreotypes rather than just for cabinet cards, although some studio set trends were influenced by the photographic format. Sets in the 1840s and 50s, first for dags and then for Ambros were very similar, a subject sitting by a table with a patterned cloth fabric covering it. The background was often plain. Not all Dags and Ambros were done like, this but it was very common. Sets for CDVs when they appeared (1860s) looked rather lkike the Dags and Ambros. Ww see CDVs becoming rather like strages, often for some reason with a large drapery at one side. The cabunert cards apoeres (mid-1860s). We begin to see much more elaborate sets, especially for cabinet cards (1870s). Classical imagery ws popular (1870s). Rustic settings seem popular (1880)s. We ee grass, shrubery, and fences -- split rails were popular (1880s). The portrait here is an example with a huge bolder meant to coney a outdoor country setting (figure 1). At the end of the century we see settings with a kind of poetic setting, sometimes with a misty or out of focus backdrop (1890s). We also see house plants at this time. A good example is a portrait of an unidentified New York boy in 1896. We see a lot of whicker furniture in the 1890 and 1900s. Much of the whicker furniture was natural color in the 1890s and white in the 1900s.

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Created: 6:05 AM 7/30/2021
Last updated: 6:06 AM 7/30/2021