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20-2, 022-14, 1890s, Cabinet Card, Paul-Gabriel comte d\'Haussonville (1843-1924) For Sale
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20-2, 022-14, 1890s, Cabinet Card, Paul-Gabriel comte d\'Haussonville (1843-1924):
$79.96
20-2, 022-14, 1890s, Cabinet Card, Paul-Gabriel comte d\'Haussonville (1843-1924) 20-2, 022-14, 1890s, Cabinet Card, Paul-Gabriel comte d\'Haussonville (1843-1924) Click images to enlarge Description You are offerding on an original Antique 1890\'s Cabinet Card Photograph, Paul-Gabriel Othenin de Cléron, comte d\'Haussonville (1843-1924) French Politcian, about 50 years old.
Note: The name written on the back is Joseph Othenin de Cléron, comte d\'Haussonville (1809-1883), but that is wrong. He is the father of this person.
To see all of my \"Cabinet Cards\" click here.
Family Tree (see last image).
More Info:
Paul-Gabriel Othenin de Cléron, comte d\'Haussonville (21 September 1843 – 1 September 1924) was a French politician, lawyer, essayist and literary historian.
He was the son of Joseph Othenin d\'Haussonville, general councillor and deputy of Seine-et-Marne, member of the Académie française, and Louise de Broglie. The portrait of his mother was painted by Ingres. He was also the grandson of Victor de Broglie, 3rd Duke of Broglie, peer of France, president of the council under Louis-Philippe, member of the French Academy, and the great-grandson of Madame de Staël.
In 1871, he was elected deputy for Seine-et-Marne in the National Assembly, where he sat on the centre-right.
He was not re-elected in the 1876 re-election, but became the right-hand man of his maternal uncle, the Duc de Broglie, President of the Council, during the crisis of 16 May 1877.
On 26 January 1888, he was elected to chair No. 27 of the Académie française, succeeding Elme-Marie Caro. He was received there on 13 Dec. 1888 by Joseph Bertrand.
In 1891, when Édouard Bocher resigned from the administration of the Orléans family\'s estate, the Count of Haussonville was appointed accredited representative of the Count of Paris in France3. He sought to strengthen the Orléanist party by recruiting members of the local monarchist committees from among the minor nobility. He created new Orléanist organs and organized lecture tours to emphasize the modern and democratic principles of the Count of Paris. But the latter\'s death in 1894 destroyed these efforts.
Distinction:
Knight of the Legion of Honour
Works:
Sainte-Beuve, his life and works (1875)
Les Établissements pénitentiaires en France et aux colonies (1875)
L\'Enfance à Paris (1879)
Biographical and literary studies. George Sand, Prescott, Michelet, Lord Brougham (1879)
Le Salon de Madame Necker, from documents taken from Coppet\'s archives (1882, 2 vols.)
Across the United States: Notes and Impressions (1883)
Life and Wages in Paris (1883)
Biographical and literary studies. Prosper Mérimée, Hugh Elliot (1885)
My Youth, 1814-1830, Memories (1885)
Social Studies. Misery and Remedies (1886)
Madame de La Fayette (1891)
Mrs. Ackermann: From Unpublished Letters and Papers (1892)
Social Studies. Socialism and Charity (1895)
The Count of Paris: Personal Memories (1895)
Lacordaire (1895)
The Duchess of Burgundy and the Savoyard Alliance under Louis XIV (1898-1903, 4 vols.)
Women\'s Wages and Misery (1900)
The Count of Paris, Personal Memories (1901)
Public Assistance and Private Charity (1901)
With Gabriel Hanotaux, Souvenirs de Mme de Maintenon (1902-1904, 3 vol.)
Varia (1904)
My Diary in the War (1870-1871) (1905)
After separation, followed by the text of the Law on the Separation of Church and State (1906)
At the Académie française and around the Academy (1907)
Women\'s Work at Home (1909)
The Baroness de Staël and the Duchess of Duras (1910)
Women of yesteryear. Men of Today (1912)
Charitable and beneficent Paris (1912)
French Shadows and English Visions (1913)
In Metz (1919)
Madame de Staël and Monsieur Necker from their unpublished correspondence (1925)
Madame de Staël and Germany (1928) (ref. Wikipedia)
Back has Photographer Information.
Photographer: Ladrey, 6 B\'d des Italiens, Paris
Card size: 4.25\" x 6.5\". #20-2, 022-14
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, 022-14, 1890s, Cabinet Card, Paul-Gabriel comte d'Haussonville (1843-1924) $79.96
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