S11, 37-15, 1880s, Cabinet Card, Laurence Grivot (1843-1890) Operetta Singer

Description: S11, 37-15, 1880s, Cabinet Card, Laurence Grivot (1843-1890) Operetta Singer Click images to enlarge Description You are bidding on an original Antique 1880's Cabinet Card Photograph, Laurence Grivot (1843-1890) French Operetta Singer, about 45 years old. To see all of my "Stereoview Cards" click here. To see all of my historical "Cabinet Cards" click here. More Info: Laurence Grivot (born Marie Laurent, 29 April 1843, Versailles – died 4 June 1890, Thomery) was a French operetta singer and actress. She was the wife of Pierre Grivot. She made her debut at the Théâtre des Batignolles in Le Petit Nicol by Alfred Séguin in 1863 and was then engaged (under the name "Mlle Laurence") at the Vaudeville as Nicette in La Chercheuse d'esprit by Charles-Simon Favart, where she met Pierre Grivot whom she married in 1866. Grivot played in many pieces alongside her husband such as Jobin et Nanette, Horace et Litine, La Famille Benoîton by Victorien Sardou) until her husband left in 1868 to join the Théâtre de la Gaîté. She continued with successes in Les Brebis galeuses and Les Faux Bonshommes by Théodore Barrière, La Dame aux camélias by Alexandre Dumas fils, Le Sacrifice by Alphonse Daudet, and Le Mariage de Figaro by Beaumarchais. At the advent of the Paris Commune in 1871, she joined her husband to run the Gaîté theatre, with performances of La Grâce de Dieu. The couple toured the French provinces and as far as Cairo (the 1872-73 season). Back in France she became a regular creator of roles (often travesty) for Jacques Offenbach with La permission de dix heures and La jolie parfumeuse at the Théâtre de la Renaissance in 1873 then Bagatelle and Madame l'archiduc at the Théâtre des Bouffes-Parisiens in 1874 then, after a serious illness, returning to the stage for a revival of La Vie parisienne at the Variétés in 1877. Moving to straight theatre, Grivot joined the Théâtre de l'Odéon company in 1880 and immediately had great success in Les Parents d'Alice, following this with others plays, before moving to the Théâtre du Gymnase in 1883. Taken ill during a performance of Paris fin de siècle by Ernest Blum and Raoul Toché at the Gymnase in 1890 she was forced to retire and died, aged 47, later that year. (ref. Wikipedia) Back has Photographer info. Photographer: Chalot, 18, Rue Vivienne in Paris, France Card size: 4.25" x 6.5". #S11, 37-15 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 auctioning, please let me know. The Last Image is for Information Only. Card Cond: VG/EX-EX (edge & corner wear), Please see scans for actual condition. This Cabinet Card would make a great addition to your collection or as a Gift (nice for Framing). 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Price: 89.96 USD

Location: Warsaw, Indiana

End Time: 2024-12-18T06:47:48.000Z

Shipping Cost: 4 USD