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20-2, 020-04, 1880s, Cabinet Card, Albert Delpit (1849-1893), Novelist For Sale
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20-2, 020-04, 1880s, Cabinet Card, Albert Delpit (1849-1893), Novelist:
$79.96
20-2, 020-04, 1880s, Cabinet Card, Albert Delpit (1849-1893), Novelist 20-2, 020-04, 1880s, Cabinet Card, Albert Delpit (1849-1893), Novelist Click images to enlarge Description You are offerding on an original Antique 1880's Cabinet Card Photograph, Albert Delpit (1849-1893), Novelist and Playwright, about 40 years old.
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Family Tree (see last image).
More Info:
Albert Delpit was born in New Orleans on January 30, 1849 and died in Paris on January 4, 1893, is a French novelist and playwright.
Born in 1849 in New Orleans, Albert Delpit, like his brother Édouard Delpit, was the son of a wealthy tobacco merchant living in the United States, Jean Adrien Delpit (1806-1883) and Marie Félicité Plaix (1822-1876). Still young, he came to France to study in Paris and Bordeaux. He first worked for the magazines created by Alexandre Dumas senior, Le Mousquetaire and Le d'Artagnan, while beginning to write his first works.
As a volunteer, he took part in the war of 1870, from which he drew a highly successful collection of verses, L'Invasion (1870), supplemented by texts on the siege of Paris, and a tale in verse, Le Repentir, ou récit d'un curé de campagne (1873). The Académie française awarded him the Montyon Prize in 1871, the Poetry Prize in 1873 and the Vitet Prize in 1880. His American nationality saved him from death during the Paris Commune; he was then aide-de-camp to Admiral Saisset, who tried to mediate. In 1883, he faced a duel with Alphonse Daudet, whom Delpit accused of "having dismantled Chateaubriand's style, of using even more epithets than the author of the Martyrs, of imitating Dickens too closely, of completely lacking imagination and of not knowing how to write a play". He escaped with an injury to his left shoulder. He became a naturalized French citizen in 1892.
Albert Delpit died on 5 January 1893 at his home at 8, avenue Percier in the 8th arrondissement of Paris, and is buried in the Montmartre Cemetery (28th Division).
Works:
Novels:
The Curses, 1869
The Invasion 1870, 1870. Reprint: The Invasion, 1870-1871, 1871
Jean-nu-pieds, chronicle of 1832, 1874
The King's Companions, 1874
The Avenger, 1874
La Famille Cavalié, 2 vols., 1878
Le Mystère du Bas-Meudon, 1878
Le Fils de Coralie, 1879
Odette's Marriage, 1880
Martial's Father, 1881
The Marquise, 1882
The Gods that are broken. Le Repentir, 1891
Amours cruelles, 1884
Solange de Croix-Saint-Luc, 1885
Extinct, 1888
Théresin, 1888
Theatre:
L'Apothéose de Lamartine, apropos in 1 act in verse. Paris, Gaîté, May 9, 1869
La Voix du maître, apropos in 1 act, in verse, Paris, Odéon, 15 January 1870
Le Voyage de Scapin, scene in verse, Paris, Comédie-Française, 15 January 1875
The Sister of Charity, Paris, Vaudeville, July 11, 1875
Jean-nu-pieds, drama in 4 acts in verse, Paris, Vaudeville, 9 August 1875
Le Fils de Coralie, comedy in 4 acts in prose in which Lucien Guitry played one of his first roles, Paris, Gymnase-Dramatique, 16 January 1880
Le Père de Martial, play in 4 acts, Paris, Gymnase-Dramatique, 20 April 1883
Les Maucroix, comedy in 3 acts in prose, Paris, Comédie-Française, 4 October 1883
Mademoiselle de Bressier, drama in 5 acts, Pairs, Ambigu-Comique, 19 April 1887 — published by Paul Ollendorff in 1888 with 42 compositions by Henri Courselles-Dumont.
Passionately, comedy in 4 acts, Paris, Odéon, 3 March 1891
Poetry:
Le Repentir, récit d'un curé de campagne, poem, 1873
La Vieillesse de Corneille, poetry, 1877
Sur les bords de la Nonnette et de la Beuvronne, rhymes fantaisistes, 1886
Poems. Songs of the Invasion. The Gods We Break, 1891
Varia:
The National Will, 1870
Eight Days of History: Admiral Saisset's Command from March 19 to 25, 1871, 1871
The Pretenders: the Bourbons, the d'Orléans, the Empire, the Commune, the Republic, 1872 (ref. Wikipedia)
Back has Photographer Information.
Photographer: Reutlinger, 21, Boulevard Montmartre in Paris
Card size: 4.25" x 6.375". #20-2, 020-04
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. Owing to the larger image size, the cabinet card steadily increased in popularity during the second half of the 1860s and into the 1870s, replacing the carte de visite as the most popular form of portraiture. 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. However, when the renowned Civil War photographer Mathew Brady first started offering them to his clientele towards the end of 1865, he used the trademark "Imperial Carte-de-Visite." Whatever the name, the popular print format joined the photograph album as a fixture in the late 19th-century Victorian parlor. (ref. Wikipedia)
If you have any questions about this item or anything I am saleing, please let me know. Card Cond: VG-VG/EX (some wear), Please see scans for actual condition, (images 3 & 4 is for reference only). This Cabinet Card would make a great addition to your collection or as a Gift (nice for Framing).Visit My store
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20-2, 020-04, 1880s, Cabinet Card, Albert Delpit (1849-1893), Novelist $79.96
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