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20-2, 020-12, 1880s, Cabinet Card, Auguste Vacquerie (1819-1895) French Poet For Sale
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20-2, 020-12, 1880s, Cabinet Card, Auguste Vacquerie (1819-1895) French Poet:
$99.95
20-2, 020-12, 1880s, Cabinet Card, Auguste Vacquerie (1819-1895) French Poet 20-2, 020-12, 1880s, Cabinet Card, Auguste Vacquerie (1819-1895) French Poet Click images to enlarge Description You are offerding on an original Antique 1880\'s Cabinet Card Photograph, Auguste Vacquerie (1819-1895) French Poet & Novelist, about 70 years old.
To see all of my \"Cabinet Cards\" click here.
Family Tree (see last image).
More Info:
Auguste Vacquerie, born in Villequier on November 19, 1819 and died in Paris 16th on February 19, 1895, is a French poet, playwright, photographer and journalist.
Auguste Vacquerie\'s father, a shipowner in Le Havre, sent him to complete his studies, which he had begun at the Lycée de Rouen, and in Paris at the Collège Charlemagne, where he was a classmate of Paul Meurice. Vacquerie chose to reside at the Favart pension because it was located near the Place Royale, where Victor Hugo, whom he greatly admired, resided.
A romantic poet, Vacquerie is the author of several collections of poetry and several dramas. In August 1848 he contributed to L\'Événement when it was founded by the sons of Hugo and Paul Meurice, and he was imprisoned in 1851 when the paper was banned. He did, however, pursue a dual career in journalism and literature, frequently visiting the Hugo family during the years of exile. Together with François-Victor and Charles, often under the direction of the master, he produced photographic portraits of the Hugos and their entourage in Jersey. As Hugo\'s executor, with Paul Meurice, he was responsible for the posthumous editions of the poet. He also published Miettes de l\'histoire, an account of his stay in Jersey where he accompanied the Hugos from 1852.
Publications:
Poems:
The Inferno of the Mind (1840)
Demi-teintes (1845), a collection containing the snow sonnet, known for its three-foot verses
Theatre:
Verse translation of Sophocles\' Antigone, in collaboration with Paul Meurice, performed at the Théâtre de l\'Odéon in 1844
Tragaldabas, a comic drama performed at the Théâtre de la Porte-Saint-Martin in July 1848
Often Man Varies, a comedy in two acts, performed at the Théâtre-Français in May 1859
Les Funérailles de l\'honneur, romantic drama in 7 acts, performed at the Théâtre de la Porte-Saint-Martin in March 1861
Jean Baudry, comedy in 4 acts, performed at the Théâtre-Français in October 1863, principal performer Julia Bartet
Le Fils, a comedy in four acts, performed at the Théâtre-Français in October 1866
Formosa, drama in 4 acts, Théâtre de l\'Odéon, 16 March 1883
Varia:
Les Drames de la grève, in verse (1855)
Profil et Grimaces, collection of articles (1856)
Châteaubriand, his public and intimate life, his works (1860)
The Crumbs of History, Memories of Jersey (1863)
My First Years in Paris, Story in Verse (1872)
Aujourd\'hui et Demain, collection of articles (1875)
Photography:
Albums of the Outcasts (with Charles Hugo) (ref. Wikipedia)
Back has Photographer Information.
Photographer: Chalot, 18, Rue Vivienne in Paris
Card size: 4.25\" x 6.375\". #20-2, 020-12
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, 020-12, 1880s, Cabinet Card, Auguste Vacquerie (1819-1895) French Poet $99.95
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