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S8, 803-04, 1890s, Cabinet Card, Phyllis Rankin (1874-1934) Stage Actress For Sale
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S8, 803-04, 1890s, Cabinet Card, Phyllis Rankin (1874-1934) Stage Actress:
$99.95
S8, 803-04, 1890s, Cabinet Card, Phyllis Rankin (1874-1934) Stage Actress S8, 803-04, 1890s, Cabinet Card, Phyllis Rankin (1874-1934) Stage Actress Click images to enlarge Description You are offerding on an original Antique 1890\'s Cabinet Card Photograph, Phyllis Rankin (1874-1934) Stage Actress, about 25 years old.
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More Info:
Phyllis McKee Rankin (August 31, 1874 – November 17, 1934) was a Broadway actress and singer from the 1880s to the 1920s. Phyllis McKee Rankin was the second daughter of stage actors Elizabeth \"Kitty\" Blanchard and Arthur McKee Rankin, also known as McKee Rankin.
Her older sister, Gladys Rankin, was also an entertainer with her husband Sidney Drew in an act billed Mr. & Mrs. Sidney Drew, and her younger half-sister, Doris Rankin, was a stage and screen actress and one-time wife of actor Lionel Barrymore. In September 1890, Elizabeth Rankin filed a motion contesting her husband\'s resistance to providing support for their daughter. A previous suit, in which she filed for separation from Davenport, was being considered by the New York Supreme Court. Mrs. Davenport was regarded as \"the foremost and best-known character actress and stage artist\" of her generation.
Phyllis Rankin was tutored by her father in \"old school drama\". She made her first stage appearance as a youth of 10 with her parents in Stormbeaten. She eventually left her father\'s companies and was managed by Charles Frohman.
By August 1898, she was receiving offers from English managers of comic opera. The Belle of New York was staged at the Shaftesbury Theatre with Harry Davenport in the company. Davenport portrayed a doctor and Rankin, a housekeeper, in Three Wise Fools. The two met and married in the original production of The Belle of New York. In the musical they sang a famous duet, When We Are Married. (ref. Wikipedia)
Back has Photographer info.
Photographer: W. & D. Downey of London, England (1829-1915)
More Info:
William Downey (14 July 1829 in South Shields — 7 July 1915 in Kensington), who came to be known as the Queen\'s Photographer, was born in King Street in South Shields, a decade before commercial photography had become a reality. William, initially, was a carpenter and boatbuilder, but in about 1855 he set up a studio in South Shields with his brother Daniel Downey ( 1831 – 15 July 1881) and later established branches in Blyth, Morpeth and Newcastle. Their first Royal commission was to provide photographs for Queen Victoria of the Hartley Colliery Disaster in January 1862.
In 1863 they opened a studio at 9, Eldon Square in Newcastle, in a building that was demolished in 1973. The same year William set up a studio in the Houses of Parliament and produced portraits of every parliamentarian of the day. The resulting images\' location is unknown to this day.
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Card size: 4.25\" x 6.5\". #S8, 803-04
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, (images 3,4 5 & 6 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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