20-2, 024-09; 1870s, Cabinet card, Lady Dudley (1846-1929), by Adele Perlmutter

To see all of my "Cabinet Cards" click here.

Note on the person on this card: The writing on the back shows Gertie Millar, but that is incorrect. I have found similar images at the National Portrait Gallery in London, England.

Family Tree (see last image).

More Info:
Georgina Elizabeth Ward, Countess of Dudley RRC DStJ (9 August 1846 – 2 February 1929) was a British noblewoman and a noted beauty of the Victorian era.

Georgina was born in Dunbarney, Perthshire, Scotland – "the third of a series of sisters all famous for their good looks" – to Sir Thomas Moncreiffe of that Ilk, 7th Baronet, and Lady Louisa Hay-Drummond, daughter of Thomas Hay-Drummond, 11th Earl of Kinnoull. Her sister Harriet became Lady Mordaunt; another sister, Louisa, married John Stewart-Murray, 7th Duke of Atholl.

In the summer of 1865, the engagement was announced between the 18-year-old Georgina and the 48-year-old William Ward, 1st Earl of Dudley, a wealthy land and mine owner.

The theft of Lady Dudley's jewels on 12 December 1874 at Paddington Station was a famous crime in Victorian England. The jewels, worth perhaps £25,000, were never recovered.

She was a close friend of Queen Alexandra. As dowager countess, Lady Dudley lived at Pembroke Lodge in London, granted to her by "grace and favour" of King Edward.

She died at Pembroke Lodge in February 1929 at the age of 82, having spent more than half of her life as a widow.

The Earl and Countess had six sons and five daughters (see family tree). (ref. wikipedia)
 
Back has Photographer Information.
 
Photographer: Adele Perlmutter, Vienna, Austria

Atelier Adele was a prominent photography studio in Vienna, Austria, in the late 19th century. The studio was founded by Adele Perlmutter, one of the first female photographers in Austria. Atelier Adele specialised in portrait photography and became known for its high quality work.

Adele Perlmutter was born in Prague, Czech Republic in 1835. She moved to Vienna in the 1850s and began working as a photographer in the early 1860s. In 1862 she opened Atelier Adele, which quickly became a favourite haunt of Vienna's elite.

Atelier Adele's portraits were renowned for their artistic quality and attention to detail. The studio employed a team of skilled photographers and retouchers who worked together to produce stunning images. Atelier Adele's photographs were often used for official purposes such as passports and identity cards.

In addition to portrait photography, Atelier Adele also produced photographs of Vienna's landmarks and architecture. These images were sold as postcards and souvenirs to tourists visiting the city.

Adele Perlmutter ran Atelier Adele until her death in 1905. The studio was then taken over by her son, who ran it until the 1920s. Today, the photographs of Atelier Adele are highly sought after by collectors and are considered important examples of 19th century photography.


Card size: 4.25" x 6.5". #20-2, 024-09
 

The Cabinet Card was a style of photograph which was widely used for photographic portraiture after 1870. It consisted of a thin photograph mounted on a card typically measuring 108 by 165 mm (4+1⁄4 by 6+1⁄2 inches).

The carte de visite was displaced by the larger cabinet card in the 1880s. In the early 1860s, both types of photographs were essentially the same in process and design. 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. However, later into its popularity, other types of papers began to replace the albumen process. Despite the similarity, the cabinet card format was initially used for landscape views before it was adopted for portraiture.

Some cabinet card images from the 1890s have the appearance of a black-and-white photograph in contrast to the distinctive sepia toning notable in the albumen print process. These photographs have a neutral image tone and were most likely produced on a matte collodion, gelatin or gelatin bromide paper.

Sometimes images from this period can be identified by a greenish cast. Gelatin papers were introduced in the 1870s and started gaining acceptance in the 1880s and 1890s as the gelatin bromide papers became popular. Matte collodion was used in the same period. A true black-and-white image on a cabinet card is likely to have been produced in the 1890s or after 1900. The last cabinet cards were produced in the 1920s, even as late as 1924.

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