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S11, 034-12, 1875, Cabinet Card, Scene from Stage Play \"Our Boys\", London, UK For Sale
![S11, 034-12, 1875, Cabinet Card, Scene from Stage Play \](img-large/g/1T8AAOSwKDRmZTVW/s-l1600/S11-034-12-1875-Cabinet-Card-Scene-from-Stage-Play.jpg "S11, 034-12, 1875, Cabinet Card, Scene from Stage Play \")
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S11, 034-12, 1875, Cabinet Card, Scene from Stage Play \"Our Boys\", London, UK:
$159.96
S11, 034-12, 1875, Cabinet Card, Scene from Stage Play \"Our Boys\", London, UK S11, 034-12, 1875, Cabinet Card, Scene from Stage Play \"Our Boys\", London, UK Click images to enlarge Description You are offerding on an original Antique 1875 Cabinet Card Photograph, Scene from the Stage Play \"Our Boys\" by Henry J. Byron, London, UK.
To see all of my \"Stereoview Cards\" click here.
To see all of my historical \"Cabinet Cards\" click here.
More info in the play \"Our Boys\":
Our Boys is a comedy in three acts written by Henry James Byron, first performed in London on 16 January 1875 at the Vaudeville Theatre. Until it was surpassed by the run of Charley\'s Aunt in the 1890s, it was the world\'s longest-running play, up to that time, with 1,362 performances until April 1879.[1] Theatre owner David James (1839–93) was Perkyn in the production. The production also toured extensively.[2] The play contains the famous line, \"Life’s too short for chess.\"
The Cast Members in this scene, in italics (see 2nd image):
Sir Geoffrey Champneys.............William Farren Jr. (1825-1908)
Talbot Champneys.....................Thomas Thorne (1841-1918), For more info, click here.
Perkyn Middlewick.....................David James (1839-1893), For more info, click here.
Charles Middlewick....................Charles Warner (1846-1909), For more info, click here.
Violet Melrose..........................Kate Bishop (1847-1923)
Mary Melrose...........................Amy Roselle
Clarissa Champneys.................Sophie Larkin (1833-1903)
More Info on the Author:
Henry James Byron (8 January 1835 – 11 April 1884) was a prolific English dramatist, as well as an editor, journalist, director, theatre manager, novelist and actor.
After an abortive start at a medical career, Byron struggled as a provincial actor and aspiring playwright in the 1850s. Returning to London and beginning to study for the bar, he finally found playwriting success in burlesques and other punny plays. In the 1860s, he became an editor of humorous magazines and a noted man-about-town, while continuing to build his playwriting reputation, notably as co-manager, with Marie Wilton, of the Prince of Wales\'s Theatre. In 1869, he returned to the stage as an actor and, during the same period, wrote numerous successful plays, including the historic international success, Our Boys and The Girls, both at the Vaudeville Theatre. In his last years, he grew frail from tuberculosis and died at the age of 49. (ref. Wikipedia)
Back has photographer info.
Photographer: London Stereoscopic Co, 54 Cheapside, E.C., London, England
Card size: 4.25\" x 6.5\". #S11, 034-12
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: VG-VG/EX (Edge & corner wear), Please see scans for actual condition, (image 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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S11, 034-12, 1875, Cabinet Card, Scene from Stage Play "Our Boys", London, UK $159.96
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