Wider photographic evidence drawn from firmly-dated examples demonstrates that this golden-yellow tone was most fashionable during the 1870s and 1880s, virtually obsolete by 1890.(4) The photographic studio is named as W G Moore of Sackville Street, Dublin.By the early 1870s, cartes de visite were supplanted by "cabinet cards", which were also usually albumen prints, but larger, mounted on cardboard backs measuring 110 mm (4.5 in) by 170 mm (6.5 in).
The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.(3) A striking feature of this card mount is its gold/yellow colour.Several pale-bright shades became fashionable from the late-1860s onwards, also including sugar pink and turquoise.The cabinet card was larger than the CDV, usually 6 ½ by 4 ¼ inches with some variations. Since Miss Garrity is not a local photographer, using the photographer database in the Members Section of the South Bend Area Genealogical Society ( will not help this time, so I turned to online at was no listing for Miss Garrity at Wabash and Jackson, Chicago, but a listing is found for Misses Garrity in Chicago on N. Miss Garrity then relocated to Louisville, Kentucky in 1886.These seems to confirm our date estimate as before 1885. At the time of the application, April 1904, Rev Burelbach was living in Melrose Park, Illinois and following the occupation of Catholic Priest. He was described as having an oval face with high forehead. Census, Chicago, Cook County, Illinois although in 1800, Francis is erroneously listed as female/daughter.The skirt train is said to have been discontinued for day wear in 1880, only being retained for evening and bridal wear after that date.Even allowing for an older lady’s possible conservative taste, a date estimate of c.1876-80 seems correct for this photograph.In 1854, Disdéri had also patented a method of taking eight separate negatives on a single plate, which reduced production costs.The Carte de Visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III's photos in this format.(6) Turning now to the visual image, we notice the full-length composition of the subject, who poses in a contrived drawing-room interior.Generally this type of pose and setting is characteristic of the 1860s, but in this instance the composition presents a red-herring.