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20-2, 020-07, 1880s, Cabinet Card, Emile Richebourg (1833-1898) French Novelist For Sale
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20-2, 020-07, 1880s, Cabinet Card, Emile Richebourg (1833-1898) French Novelist:
$99.95
20-2, 020-07, 1880s, Cabinet Card, Emile Richebourg (1833-1898) French Novelist 20-2, 020-07, 1880s, Cabinet Card, Emile Richebourg (1833-1898) French Novelist Click images to enlarge Description You are offerding on an original Antique 1880\'s Cabinet Card Photograph, Emile Richebourg (1833-1898) French Novelist, about 60 years old.
To see all of my \"Cabinet Cards\" click here.
Family Tree (see last image).
More Info:
Émile Richebourg (25 May 1833 – 26 January 1898) was a French novelist.
One of the most prolific and widespread novelists of his time, he gained considerable notoriety as the author of serialized novels, notably published in Le Petit Journal. Having begun in literature all the auspices of Béranger, he wrote, for forty years, in the course of the pen, from day to day, an inexhaustible series of works whose vogue was extreme among the public. He excelled in the very special art of the romance of adventure and feeling, of the sweet weeping genre, which was the hallmark of his talent.
A master of the popular novel, a conscientious worker, during forty years of assiduous work, the man whom Camille Pelletan calls \"a good workman of mediocre work\" has multiplied moving adventures, kidnappings, reconnaissance, crimes, creating a whole world of scarps, masked assassins, brigands of the best world. But what constitutes the hallmark of his work is his children\'s speciality. He will remain the father of the Child of the Faubourg.
This writer, whose fecundity seemed inexhaustible and was admired by the masses, was also an excellent colleague, who was ignorant of what backbiting is, and who always helped young novelists with his advice and his purse. Richebourg\'s sudden death, while correcting the proofs of his last book, left in his will, to the Société des gens de lettres, the capital necessary for the foundation of a prize that would bear his name and which would be awarded each year to a popular novelist.
He was made a Knight of the Legion of Honour on 30 March 1894.
He is buried in the cemetery of Bougival where his grave is adorned with a bust.
Works:
Une madeleine, followed by La fille du fermier, 1 vol., 124 p. Paris, Narcisse Blanpain, 1887.
Le Mari..., Paris, Jules Rouff (d), [n.d.], 1 vol., 1271 p.
L\'Abbé Orsini, 1801-1875, Paris, impr. de Balitout, Questroy et Cie, 1875.
Les Contes enfantins, Paris, C. Vanier, 1857, 1 vol., 209 p.
Cœurs de femmes, Paris, Brunet, 1864, 1 vol., 260 p.
Récits devant l\'âtre, Paris, Brunet, 1867, 1 vol., 307 p.
Honneur et patrie nouvelles militaires, Paris, A. Sagnier, 1875, 1 vol., 297 p.
La Dame voilée, Paris, Édouard Dentu, 1875, 1 vol., 372 p.
La Belle organiste, Paris, Georges Decaux; Brussels, E. Sardou, 1876, 1 vol., 312 p.
Les Exploits de la mère Langlois, Paris, Édouard Dentu, 1876, 1 vol., 432 p.
La Dame voilée, Paris, F. Roy, 1877, 1 vol., 296 p.
La Fille du chanvrier, Paris, G. Decaux, 1877, 1 vol., 188 p.
Les Deux Berceaux, Paris, Édouard Dentu, 1877, 2 vol. 356, 384 p.
Histoire d\'un avare, d\'un enfant et d\'un chien, Paris, Édouard Dentu, 1878, 1 vol., 307 p.
La Fille maudite, Paris, F. Roy, 1878, 1 vol., 616 p.
Quarante mille francs de dot, Paris Édouard Dentu, 1879, 1 vol., 310 p.
Deux mères, Paris, Édouard Dentu, 1879, 2 vol. 436, 403 p.
Andréa la charmeuse, Paris, F. Roy, 1880, 1 vol., 611 p.
Deux Mères, Paris, F. Roy, 1880, 1 vol., 576 p.
Le Fils, Paris, Édouard Dentu, 1880, 2 vol. 452, 444 p.
L\'Enfant du faubourg, Paris, F. Roy, 1881, 451 p., 1 vol.; ill.; in-4° (read online [archive]).
La Belle Tiennette, Paris, Édouard Dentu, 1882, 1 vol., 313 p.
Jean Loup, Paris, Édouard Dentu, 1882, 2 vol. 334, 396 p.
La Petite Mionne, Paris, Édouard Dentu, 1884, 3 vol. 444, 412, 418 p.
Les millions de M. Joramie, (several volumes), Édouard Dentu, Paris, 1885
La Grand\'mère, Paris, Édouard Dentu, 1887, 3 vol. 378, 432, 432 p.
L\'Idiote, Paris, F. Roy, 1888, 1 vol., 676 p.
La Comtesse Paule, Paris, F. Roy, 1889, 1 vol., 824 p.
Le Million du père Raclot, Paris, Édouard Dentu, 1889, in-16, 388 p., fig.
Les Amours de village, Paris, Édouard Dentu, 1890, 1 vol., 250 p.
Les Millions de M. Joramie, Paris, Jules Rouff et Cie, 1898, 1 vol., 1287 p.
Black eyebrows; Le missel de la grand\'mère, Paris, Ernest Flammarion, 1898, 1 vol., 249 p.
L\'Enfant du faubourg, Paris, Jules Rouff, 1899, 1 vol., 528 p.
Two friends; Les violettes blanches, Paris, Jules Rouff, 1904, 1 vol., 121 p.
The Lily of the Village; The secret of the wall. - Péché d\'orgueil, Paris, Jules Rouff, 1904, 1 vol., 124 p.
The Portrait of Bertha; L\'héritage d\'un maniaque, Paris, Jules Rouff, 1904, 1 vol., 122 p.
Father Biscuit; La joue brûlée, Paris, Jules Rouff, 1904, 1 vol., 119 p.
40,000 francs de dot, Paris, F. Rouff, [n.d.], 40 p.
Songs:
La Fée aux miettes!, romance, music by Alfred d\'Hack, Paris, E. Gérard, 1867, in-f°.
La Gitana !, Spanish song, music by Alfred d\'Hack Paris, E. Gérard, 1867, in-f°.
Papa Bonhomme!, chansonnette, music by Alfred d\'Hack, Paris, E. Gérard, 1867, in-f°.
Bibliography:
Fernand-Hue, \"Émile Richebourg\", Courrier artistique et littéraire, no. 10, 1892.
Yves Olivier-Martin, \"Émile Richebourg\", Chasseur d\'illustrés, no. 22, 1971. (ref. Wikipedia)
Back has Photographer Information.
Photographer: Pierre Pettit, 27-29-31, Place Cadet in Paris
Card size: 4.25\" x 6.375\". #20-2, 020-07
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: EX-EX/MT, Please see scans for actual condition, (images 3,4 & 5 are 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, 020-07, 1880s, Cabinet Card, Emile Richebourg (1833-1898) French Novelist $99.95
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