1890s Eugene Simon NEW ORLEANS CABINET CARD PHOTOS

Updated August 8, 2026

AVAILABLE for SHIPPING or LOCAL PICKUP > A pair of original late 19th century cabinet card portraits depicting two young children, photographed by Eugene Simon of New Orleans, Louisiana. Standard Simon cabinet cards of this format measure approximately 4 1/4" wide by 6 1/2" tall. One portrait depicts an infant seated in an upholstered studio chair and bears the photographer’s SIMON imprint with the address 183 CANAL ST. The second depicts a young boy in a light colored garment with a broad collar and bears the address 929 CANAL ST. ~ OLD 183. The differing addresses are especially useful for dating and interpreting the pair. New Orleans converted its irregular street numbers to the modern system during the early 1890s; Simon’s former 183 Canal Street address consequently became 929 Canal Street. Both cards therefore originated from the same physical studio, with one mount reflecting the earlier numbering and the other expressly recording the revised address. Eugene Simon, born in New Orleans in 1850 and deceased there in 1914, worked as a photographer as well as a painter and sketch artist. Documented cabinet cards place him at 183 Canal Street from approximately 1887 through 1894, while surviving 929 Canal Street examples are associated with the 1890s following the address conversion. A period New Orleans guide advertised SIMON ~ THE PHOTOGRAPHER ~ 929 CANAL ST. and specifically promoted the studio’s “Specialty of Children’s Pictures,” directly corresponding with the subjects represented here. The reverse of each card carries an elaborate green printed studio advertisement reading E. SIMON ~ PORTRAITS ~ NEW ORLEANS, LA. One records 183 Canal St. ~ Near Grand Opera House, while the other reads 929 Canal St. ~ Old 183 ~ Near Grand Opera House. Handwritten family notations remain along the left margins, though the names are not sufficiently clear to transcribe with confidence. CONDITION REPORT > Both photographs display considerable age and handling wear, including fading, foxing, staining, surface abrasion, scratches, corner and edge wear, discoloration, and scattered losses to the mounted images and card surfaces. The infant portrait is substantially more faded, while the young boy’s facial image remains comparatively distinct. The studio imprints and decorative reverse advertisements remain present and largely legible.

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