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S8, 803-14, 1880s, Cabinet Card, Robert B Mantell (1854-1928), American Actor For Sale
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S8, 803-14, 1880s, Cabinet Card, Robert B Mantell (1854-1928), American Actor:
$99.95
S8, 803-14, 1880s, Cabinet Card, Robert B Mantell (1854-1928), American Actor S8, 803-14, 1880s, Cabinet Card, Robert B Mantell (1854-1928), American Actor Click images to enlarge Description You are offerding on an original Antique 1880's Cabinet Card Photograph, Robert B. Mantell (1854-1928), American Actor, about 30 years old.
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More Info:
Robert Bruce Mantell (7 February 1854 – 27 June 1928) was a noted Shakespearean stage actor who made several silent films. His mother was Elizabeth Bruce Mantell who objected to her son becoming an actor so he used the name Robert Hudson early in his career.
Born in Scotland and raised in Dublin, he travelled to the United States in 1874, but stayed only two weeks with no theatrical success. He returned in 1878 in support of Helena Modjeska but did not stay. In 1883 he found success on Broadway supporting Fanny Davenport as her leading man in Fedora. For the remainder of his theatrical career he played Shakespeare and high class drama. He married several times, and often performed with his wives in Shakespearean productions. His last wife, Genevieve Hamper (1888–1971), was 35 years his junior.
He began acting in films in 1915, aged 61, working at Fox Studios with J. Gordon Edwards, who directed all of his films except the last. Under the Red Robe (1923) was directed by Alan Crosland and distributed through Goldwyn Pictures. As with most early Fox films, all of Mantell's films from that studio are lost. Elements of Under the Red Robe are held at George Eastman House in Rochester, New York.
Robert B. Mantell died at his home in Atlantic Highlands, New Jersey on 27 June 1928. (ref. Wikipedia)
Filmography:
Select Scenes from Monbars (1896 short film)
The Blindness of Devotion (1915)
The Unfaithful Wife (1915)
The Green-Eyed Monster (1916)
A Wife's Sacrifice (1916)
The Spider and the Fly (1916)
Tangled Lives (1917)
Under the Red Robe (1923)
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Back is blank.
Photographer: Frank N. Tomlinson, 236 Woodward Ave., Detroit, MI (1855-1926)
More Info:
Frank N. Tomlinson viewed photography as a means to public recognition and fortune. While serving as a clerk at Newcomb, Endicotte Co. in Detroit, Michigan, Tomlinson attempted to refine his skills at his avocation, photography. He realized the quickest way to establish himself as a significant operator was to take over an established business. He purchased the stock and premises of J.E. Watson's Studio at 236 Woodward, Detroit's photographers' row in 1883. Watson had founded his business in 1872 and built a handsome gallery before tiring of the unceasing effort to secure a clientele.
Tomlinson was more a businessman than an artist. To insure that his portraiture maintained a sufficient level of artistry, he hired Charles M. Hayes as his chief operator. Hayes (1862-19?) hailed from Chardon, Ohio, and had been trained by photographer H.W. Tibbals of Painsville, Ohio. He moved to Detroit in 1884 and was immediately hired by Tomlinson on the strength of work submitted for inspection. Hayes proved precisely the sort of operator Tomlinson needed: efficient, skilled in posing and developing, a capable retoucher, and an blessed with "a good eye." On the strength of Hayes' work, Tomlinson secured the business of the Detroit Wolverines Baseball Club and pursued the theatrical celebrity trade. Hayes handled the performer images.
An active participant in the national associations and exhibitions, Tomlinson often displayed experiments and novelties; in the 1886 St. Louis Convention, he showed a set of enameled portraits. In 1887 Carrie Williams, a "Titianesque blonde," sued Tomlinson when photographs from a sitting began appearing on the labels of a cosmetic compound by Acme Chemical Company. Apparently, the possibilities of advertising photography interested Tomlinson as a source of revenue. But his financial imagination became more fascinated with another path to wealth—real estate. Several of Tomlinson's contemporaries in the photographic profession became astute investors in urban buildings—Theodore Marceau, Albert Naegeli for instance. (ref. Wikipedia)
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Card size: 4.25" x 6.5". #S8, 803-14
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 (Edge & corner wear, Writing on the back), Please see scans for actual condition. 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, 803-14, 1880s, Cabinet Card, Robert B Mantell (1854-1928), American Actor $79.96
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