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S8, 803-10, 1890s, Cabinet Card, Emma Calvé (1858-1942) French Operatic Soprano For Sale
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S8, 803-10, 1890s, Cabinet Card, Emma Calvé (1858-1942) French Operatic Soprano:
$99.95
S8, 803-10, 1890s, Cabinet Card, Emma Calvé (1858-1942) French Operatic Soprano S8, 803-10, 1890s, Cabinet Card, Emma Calvé (1858-1942) French Operatic Soprano Click images to enlarge Description You are offerding on an original Antique 1890\'s Cabinet Card Photograph, Emma Calvé (1858-1942) French Operatic Soprano, about 37 years old.
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More Info:
Emma Calvé, born Rosa Emma Calvet (15 August 1858 – 6 January 1942) was a French operatic dramatic soprano.
Calvé was probably the most famous French female opera singer of the Belle Époque. Hers was an international career, and she sang regularly at the Metropolitan Opera House, New York, and the Royal Opera House, London.
Calvé was born on 15 August 1858 in Decazeville, Aveyron. Her birth name was Rosa Emma Calvet. Her father, Justin Calvet, was a civil engineer. She spent her childhood at first in Spain with her parents, then in different convent schools in Roquefort and Tournemire (Aveyron). After her parents separated, she moved with her mother to Paris. There she attempted to enter the Paris Conservatory, while she studied singing under Jules Puget.
Calvé first appeared in America in the season of 1893–1894 as Mignon. She would make regular visits to the country, both in grand opera and in concert tours. After making her Metropolitan Opera debut as Santuzza, she went on to appear a total of 261 times with the company between 1893 and 1904. She created the part of Anita, which was written for her, in Massenet\'s La Navarraise in London in 1894 and, in 1897, sang Sapho in an opera written by the same composer.
1942 6 January – dies in a clinic in Montpellier, France, aged 83. (ref. Wikipedia)
Back is blank.
Photographer: Aimé Dupont, 574 Fifth Ave, New York (1841-1900)
More Info:
Aimé Dupont (6 December 1841 – 16 February 1900) was a Belgian-born American sculptor and photographer who was best known for his pictures of opera singers when he was the official photographer for the Metropolitan Opera in New York City.
As a result of the Panic of 1884, many of his sculpting clients were bankrupted and Dupont found he could no longer sustain his business. Under the advice of his wife, the couple moved to New York City, where they established a photography studio in Harlem, with Etta handling the finances so that Dupont could focus on the art. His business strategy was to focus on photographic portraits of celebrities. This proved to be so successful that in 1886 they moved the studio to 574 Fifth Avenue in Midtown Manhattan and he soon became the official photographer for the recently formed Metropolitan Opera. The new studio also included space for sculpting, but it was the photography that was far more lucrative.
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Card size: 4.25\" x 6.5\". #S8, 803-10
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, Light creases), 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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S8, 803-10, 1890s, Cabinet Card, Emma Calvé (1858-1942) French Operatic Soprano $99.95
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