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20-2, 022-05, 1890s, Cabinet Card, Ernest Lavisse (1842-1922) French Historian For Sale
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20-2, 022-05, 1890s, Cabinet Card, Ernest Lavisse (1842-1922) French Historian:
$79.96
20-2, 022-05, 1890s, Cabinet Card, Ernest Lavisse (1842-1922) French Historian 20-2, 022-05, 1890s, Cabinet Card, Ernest Lavisse (1842-1922) French Historian Click images to enlarge Description You are offerding on an original Antique 1890\'s Cabinet Card Photograph, Ernest Lavisse (1842-1922) French Historian, about 50 years old.
To see all of my \"Cabinet Cards\" click here.
Family Tree (see last image).
More Info:
Ernest Lavisse (17 December 1842 – 18 August 1922) was a French historian, founder of positivist history, and author of numerous textbooks, the \"Manuel Lavisse\".
Champion of the \"national novel\" In the service of history and its teaching, it has contributed to the spread of images and mythology that have remained engraved in the memory of generations of schoolchildren. Thus the sentence inscribed in the famous little history textbook and reported by Michel Vernus:
\"You must love France, because Nature has made it beautiful, and because History has made it great.\"
Promoted for more than half a century as the national conscience of the black hussars (the teachers of the Third Republic, according to Charles Péguy), he is buried in Nouvion-en-Thiérache.
Ernest Lavisse was born on 17 March 1862 in Nouvion-en-Thiérache, a small town in the north of the Aisne department, where his parents ran a shop in the rue des Prisches. His father, Louis-Valéry Lavisse (1816-1881), first worked as a notary\'s clerk in Le Nouvion and then as a commercial clerk in Paris, before opening his novelty shop in the house brought as a dowry by his wife, Henriette Levent (1816-1868). Ernest Lavisse\'s paternal grandfather and great-grandfather were yarn and lace merchants, while his mother came from a family of farmers and brewers in the town of Oisy. In his early childhood, Ernest shared a room with his paternal grandmother, Julie Lebon, whom he said was \"the living witness of the past\".
In 1865, Ernest Lavisse was admitted to the agrégation in history. He was then appointed professor of history at the Lycée Impérial in Nancy and then, the following year, at the Lycée de Versailles. In December 1866, in Le Nouvion, he married Marie-Aline Longuet (1840-1915), the daughter of a farmer and widow from his first marriage. He also stayed regularly at Nouvion, whether for the end of year celebrations or the summer holidays, and had a large house with a garden built for him on rue de la Croix, at the eastern exit of the city. He also honours the learned societies of the Aisne with his presence. In Paris, the Lavisses first lived at 22 rue Soufflot before moving to 5 rue de Médicis in 1870, on the edge of the Luxembourg Gardens.
The \"National Teacher\":
For two decades, he directed the publication of the famous collective works that bear his name: Histoire de France illustrée depuis les origines jusqu\'à la Révolution, 1900-1912, and L\'Histoire contemporaine de la France, 1920-1922.
Main publications:
Main article: List of works by Ernest Lavisse
Study on One of the Origins of the Prussian Monarchy or the March of Brandenburg under the Ascanian Dynasty (1875)
Étude sur l\'histoire de la Prusse (1879), Thérouanne Prize in 1880
Sully (1880)
Essay on Imperial Germany (1881)
Questions of National Education (1885)
Three Emperors of Germany (1888)
Studies and Students (1889)
The Youth of the Great Frederick (1891)
The Great Frederick Before the Advent (1893)
A minister: Victor Duruy (1895)
History of France from the origins to the Revolution (1901)
Histoire de France : cours élémentaire, Librairie Armand Colin, 1913, 182 p.,
History of contemporary France from the Revolution to the peace of 1919 (1920-1922)
Ernest Lavisse and François Picavet, Moral and Civic Instruction: or Practical Philosophy, Psychology, Logic, Practical Morality, Political Economy, Theoretical Morality, Civic Instruction for the Use of Primary Normal Schools, Lycées and Colleges of Young Girls, Special Education Students and Candidates for the Baccalaureate of Science, Paris, Armand Colin, 1888, VI-690 p., in-18°
Published under the pseudonym Pierre Laloi. (ref. Wikipedia)
Back has Photographer Information.
Photographer: Eug. Pirou, 5 Bard St, Germain, Paris
Card size: 4.25\" x 6.5\". #20-2, 022-05
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 & 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, 022-05, 1890s, Cabinet Card, Ernest Lavisse (1842-1922) French Historian $79.96
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