The last cabinet cards were produced in the twenties.

The carte de visite was quickly replaced by the larger cabinet card.

Attempting to determine the date of creation for a cabinet card can be gathered by the details on the card.

For his portraits, he used the widely available carte de visite and cabinet card formats.

Eisenmann's photography was sold in the form of Cabinet cards, popular in this era, available to the middle class.

The cabinet card was the style of photograph which was universally adopted for photographic portraiture in 1870.

The other series, T4, was a cabinet card also printed by Obak Cigarettes.

For nearly three decades after the 1860s, the commercial portraiture industry was dominated by the carte de visite and cabinet card formats.

Inspired by late nineteenth-century cabinet cards, Slovenc photographs these couples to appear both physically and emotionally disconnected.

Although not uncommon in the 1870s, the cabinet card did not displace the carte de visite completely until the 1880s.

The CDV would eventually be replaced by the larger, higher quality "Cabinet card", though the two were in existence together for quite some time.

Despite the similarity, the cabinet card format was initially used for landscape views before it was adopted for portraiture.

Cabinet cards remained popular into the early 20th century, when Kodak introduced the Brownie camera and home snapshot photography became a mass phenomenon.

Fans of all ages collected cabinet cards and postcards with their images, read their books, and devoured articles about them in newspapers.

Joseph Heidecker's manipulated cabinet cards are witty and irreverent in the manner of Surrealist visual non sequiturs.

Last Used: The cabinet card still had a place in public consumption and continued to be produced until the early 1900s and quite a bit longer in Europe.

The book Victorian Cartes-de-Visite credits Eisenmann with being the most prolific and well known photographer when it comes to Cabinet cards.

While most of the earlier works were produced as cabinet cards, shot in studios with artificial backgrounds, Slovenc's reconstructions are in color, taken in the couples' homes.

Some cabinet card images from 1890s have the appearance of a black and white photograph in contrast to the distinctive sepia toning notable in the albumen print process.

Ironically, early into its introduction, the cabinet card ushered in the temporary demise of the photographic album which had come into existence commercially with the carte de visite.

As snapshot and personal photography became commonplace among the public, the popularity of the cabinet card and cabinet card specific albums waned.

The cabinet card was large enough to be easily viewed from across the room when typically displayed on a cabinet, which is probably why they became known as such in the vernacular.

Photo album manufacturers responded by producing albums with pages primarily for cabinet cards with a few pages in the back reserved for the old family carte de visite prints.

Tucked away in room 28 at the National Portrait Gallery are a selection of nineteenth century cartes-de-visites and cabinet cards from the studio of Oliver and Napoleon Sarony.

Both were most often albumen prints; the primary difference being the cabinet card was larger and usually included extensive logos and information on the reverse side of the card to advertise the photographer's services.