Emporioelvira cdv second empire gallery

Carte de visite CDV, most of them from second empire epoque , that I’m preparing for sale from my collection.

The have been taken from a single album visible here(22 pages – 2 windows front/back = 88 cdv) in really poor condition (so dirt, no cover, broken windows) that I bought on a street market in 1992.

The album appears to belong to to an important Bologna’s family: Hercolani- Jablonowsky or someone related to them

Few windows were empty (Verdi’s portrait for example – easy to identify ) and there are lot of inscription under windows and … unfortunatly… on cdv recto and verso .

Trying to identify characters I found lot of Opera and Opera Bouffes singers, few actress, famous writers and ethnographical portraits.

If you find someone familiar or can help with identification, please let me know

Please come here from time to time , maybe you’ll find some surprise!

I’m always happy to share other scans or to answer to your question (but beware i’m a little ehm.. talkative)

Le theatre par Mayer & Pierson

Mayer & Pierson Montage

Athalie Manvoy, Mlle Manvoy (1842–1887) est une artiste dramatique française et demi-mondaine fastueuse, très populaire sous le Second Empire.

Née en 1842, elle fut l’élève d’Augustine Brohan et débuta au théâtre du Vaudeville en 1861 dans Un Mariage de Paris d’Edmond About. Elle retint l’attention de Théophile Gautier qui écrivit « Mademoiselle Manvoy qui est une débutante fort jolie et très intelligente, est une bonne acquisition pour le Vaudeville ». Son professeur ajoutant : « elle ira loin, si elle veut ».

Elle tint le rôle de Madame du Barry au théâtre de la Porte-Saint-Martin dans La Reine Cotillon d’Anicet Bourgeois et Paul Féval, et joua des pièces de Victorien Sardou, et Eugène Labiche notamment. En 1869, elle reprenait le rôle de Sarah Bernhardt dans Madame la Marquise. Pensionnaire du théâtre de l’Ambigu jusqu’en 1875, elle partit jouer au théâtre impérial Michel, à Saint-Pétersbourg (Russie).

Classée parmi les demi-mondaines les plus en vue au même titre que Cora Pearl ou Sarah Bernhardt, elle fréquenta la crème du Cercle de la rue Royale et du Jockey Club où se croisaient des admirateurs empressés dont Anatole Demidoff, Charles Haas ou Auguste de Gramont.

À la fin de sa vie, moins en vue, elle s’occupa d’œuvres de charité (orphelinat des Beaux-Arts).

Les presses parisienne et anglo-saxonne firent largement écho de son décès survenu en octobre 1887 alors qu’elle n’avait que 45 ans, mais ne lui reconnaissaient pas un talent extraordinaire, notant cependant sa beauté devenue proverbiale

mlle Manvoy par cremiere

Alice-Marie-Angèle Pasquier aka Madame Pasca

Dopo il suo esordio nell’opera lirica, in età giovanile, passò al Théâtre du Gymnase Marie Bell nel 1864divenendo famosa con il suo nome d’arte^[1]. Nel 1874 venne ritratta dal pittore Léon Bonnat.

Madame Pasca

Emma La Grua italian soprano Phot By A-.L- Vialardi ca 1866

Emma la Grua soprano

Elisabeth Rachel Félix, nota con il nome d’arte di Rachel (Mumpf, 21 febbraio 1821 – Le Cannet, 3 gennaio 1858), è stata un’attrice teatrale francese.

Svizzera di nascita ma francese di nazionalità, Rachel vide i natali a Mumpf, nel cantone dell’Aargau: nata con il nome di Élisa Félix, fu figlia di un droghiere ebreo alsaziano; guadagnò i primi soldi da bambina, cantando e recitando nelle strade.

Nel 1830 circa, arrivò a Parigi e prese lezioni di dizione e di canto, avendo come maestro il musicista Alexandre-Étienne Choron, e studiò arti drammatiche al Conservatorio. Per provvedere ai bisogni della famiglia, debuttò nel gennaio 1837 ne La Vendéenne al Théâtre du Gymnase. Delestre-Poirson, il direttore, le dette il nome d’arte Rachel, nome che scelse di tenere nella vita privata.

All’età di 17 anni, recitò al Théâtre-Français nell’Orazio di Pierre Corneille.

La sua fama si diffuse in tutta Europa, dopo il successo a Londra nel 1841, e diventò esperta nei lavori di Voltaire, Racine, e Corneille, girando in tournée a Bruxelles, Berlino e San Pietroburgo. Rappresentò il personaggioprincipale nella commedia di Eugène Scribe, Adrienne Lecouvreur. Le sue rappresentazioni furono caratterizzate da una perfetta dizione e dall’eleganza dei gesti, sebbene essi fossero minimizzati tanto da essere ridotti al minimo. Rachel fu molto conosciuta per la sua rappresentazione nella Fedra.

Divenne l’amante del figlio di Napoleone Bonaparte, Alessandro Giuseppe Colonna-Walewski, da cui ebbe un figlio, Alexandre Colonna-Walewski, nel 1844. Morì di tubercolosi; fu sepolta nella parte ebrea del Cimitero di Père Lachaise.

Stato di conservazione buono a parte la doppia scritta (sob sob) sul recto

Elisabeth “Eliza/Élisa” Rachel Félix (also Elizabeth-Rachel Félix), better known only as Mademoiselle Rachel (February 21, 1821 – January 3, 1858), was a French actress,

One of the most famous Jews in nineteenth-century France, the actress Rachel was celebrated for her unparalleled talent and is often credited with reviving the classical French tragedies of Racine and Corneille in the era of Romanticism.

Condition: Good – sorry for the writingson recto (see scan)

Please feel fre to ask for more information!

I’ll send the cdv inside (with a safe package) a plastic sleeve. Please note that this Polipropilene bag is acid free and Pat Tested . It fits and it’s safe!

Fille de Jacob Félix (1796 né à Metz-1872), colporteur juif, et d’Esther Thérèse Hayer (1798-1873), Élisabeth a vécu une partie de sa jeunesse à Hirsingue, dans le sud de l’Alsace, ou Sundgau. Après avoir chanté, récité et mendié dans les rues des villes que ses parents traversent avant leur arrivée à Paris, Élisabeth Félix suit les cours du musicien Alexandre-Étienne Choron et de Saint-Aulaire, et prend quelques cours d’art dramatique au Conservatoire. Pour subvenir aux besoins de sa famille, elle débute en janvier 1837 au théâtre du Gymnase. Delestre-Poirson, le directeur, lui fait prendre comme nom de scène Rachel, nom qu’elle adopte dès lors également dans sa vie privée. Auditionnée en mars 1838, elle entre au Théâtre-Français à l’âge de 17 ans. Son succès est immédiat. Elle débute dans le rôle de Camille d’Horace, dont la recette s’élève à 735 francs le premier soir, pour atteindre dix-huit jours plus tard, la somme de 4889,50 francs.

Alors qu’elle débute analphabète, son interprétation des héroïnes des tragédies de Corneille, Racine et Voltaire la rendent célèbre et adulée, et remettent à la mode la tragédie classique, face au drame romantique. Elle créa un modèle nouveau d’actrice et de femme et fut une des femmes les plus célèbres de son siècle. Elle fut ainsi portraiturée par le sculpteur Jean-Auguste Barre.

Elle eut deux fils, l’un d’Arthur Bertrand, fils du maréchal Bertrand, l’autre, Alexandre (3 novembre 1844 – 20 août 1898) du comte Walewski, fils de Napoléon et de Marie Walewska.

Elle repose dans le carré juif du cimetière du Père-Lachaise (division 7). Malgré de nombreuses pressions, elle aura toujours voulu conserver la foi de ses ancêtres.

Elisabeth “Eliza/Élisa” Rachel Félix (also Elizabeth-Rachel Félix), better known only as Mademoiselle Rachel

Marie Garnier

Photographe : Ulrich Grob. Années 1860 probablement.

Marie Garnier fut la créatrice (en 1858) du rôle de Vénus dansOrphée aux Enfers, de Jacques Offenbach.

Parmi tant d’autres, elle a été quelques temps la maîtresse d’Alexandre Dumas.

She drove me crazy — Marie Paul Taglioni Aka Marie Taglioni petite aka Marie Taglioni Jr aka Marie Taglioni II

First the owner of the album mispelled the name Talioni instead of Taglioni, then the National Portrait Gallery in the page pubblished a cdv of the same subjet in same dress but different pose identifiing the dancer in :

Marie Taglioni (1804-1884), Ballerina

The timeline was strange. This cdv is probably dated ’60 but the woman is clearly not in her ’60…and then …I received a message from a collectionist warning me that the dancer is Marie Taglioni jr!

Mistery solved! (guess I have to suggest NPG to change the identification…)

Ladies and gentlemen I’m glad to introduce you

Marie Taglioni, the younger

(b Berlin, 27 Oct. 1833 (some sources say 1830); d Neu-Aigen, nr. Vienna, 27 Aug. 1891 (some sources say 27 Apr. 1891)

German dancer. Daughter of Paul T., granddaughter of Filippo T., and niece of the more famous Marie T., with whom she is sometimes confused. She studied with her father and made her debut in his Coralia at Her Majesty’s Theatre in London in 1847. Subsequent roles included his Théa ou La Fée aux fleurs (1847) and Perrot’s Les Quatre Saisons (1848). From 1853 to 1856 she danced in Vienna; and she was prima ballerina of the Berlin Court Opera until 1866 when she married Prince Joseph Windisch-Grätz. She created roles in her father’s Flick und Flocks Abenteuer (1858), Des Malers Traumbild (1859), and Sardanapal (1865). Johann Strauss wrote the Taglioni-Polka for her.

Marie Taglioni petite

Auctions end 25/1/2015

JOSÉPHINE DURWEND

Finette By A. Ken

Finette (real name Josephine Durwend) of the Bal Mabille was a can-can dancer, thirty years before the dance evolved into the meringue petticoats-and-bloomers form practised by La Goulue at the Moulin Rouge. The Bal Mabille was one of the more disreputable dance halls of the Second Empire, and Finette was also a available to gentlemen after-hours for entertainment unrelated to her skills as a dancer. In his student days in Paris she was briefly the mistress of James McNeill Whistler, who made two etchings of her in 1859.
She first demonstrated her version of the can-can to London audiences at the Lyceum Theatre on 26 December 1867, in a pantomime written by W.S. Gilbert. A week later, according to an advertisement in the Times, she was appearing at the same venue with Mlle. Esther Austin and Mlle. Henriette in ‘Milano’s Grand Parisian Carnival Galop’ and in the spring of 1868 she was appearing nightly at the Alhambra Theatre, on the same bill as Jules Léotard, the trapeze artist.
Here’s a recension from The Pall Mall Gazette … ‘no woman should witness and no man applaud’ – Finette condemned by The Pall Mall Gazette, London, 1868
‘A controversy which crops up periodically as to the progress of morals has lately been revived. The kindred question of the progress of taste and refinement is painfully forced upon one by the predominant character of modern amusements. That even the grotesque silliness of the burlesques should fail to satisfy the appetite for vulgar fun, and should be apparently giving place to the drivelling ribaldry of the comic song, suggests melancholy conclusions as to the intellectual degradation of the multitude. But still worse is the favour openly accorded to exhibitions which lay claim to no other attraction that their immodesty. One notorious person, whom it would be an insult to the profession to which she affects to belong to call an actress, was lately advertised as appearing in certain parts which, ”in variety of character, action, and costume,” afforded great scope for the display of her ”remarkable personal beauty and statuesque grace.” ”The Faultless contour” of a young girl, as exhibited in the dangerous evolutions of the trapeze, is the enticement to another theatre. The entertainment which, under the title ofposes plastiques, the more shameless order of fast men used to seek in obscure corners of the town are now flaunted on the stage of the public theatres. And, to crown all, a lewd dance, which the by no means prudish moral sense of the French has put under the ban of the police, is adopted as the great feature of a brilliant ballet at one of the most popular places of amusement in London. In the low dancing saloons of Paris the police wink at the vivacious obscenity of the Cancan, and those who wish to study it must follow it to its frowzy haunts; any theatre would be instantly closed which dared to put it on the stage. In London, however, where the public morals are under the enlightened an vigilant protection of the Lord Chamberlain and the justices of the peace, it is openly paraded in the bills of the Alhambra’s performance there is not the faintest redeeming feature of elegance or artistic skill. Among the common frequenters of the Closerie, or the Valentino, or any other of the Parisian casinos, better dancers might be discovered at any time. The characteristic immodesty of the Cancan is certainly toned down in Mdlle. Finette’s version, but her capers are nevertheless such as no woman should witness and no man applaud. A correspondent lately suggested that the low character of music-hall entertainments was due to the restraints imposed on them by the present law, which interdicts dramatic performances. If so, we can hardly imagine a stronger argument in favour of more liberal legislation in regard to this establishment from the Cancan ballet at the Alhambra.’
(The Pall Mall Gazette, London, Friday, 27 March 1868, p. 11b)
A carte-de-visite portrait of Mlle. Finette of the Bal Mabile.
The Bal Mabille was one of the more disreputable dance halls of the Second Empire and Finette was one of its most notorious dancers. She first demonstrated her version of the can-can to London audiences at the Lyceum on 26 December 1867.
She is seen in her stage costume of shorts and flowing blouse, inspired by the traditional costume of Neapolitan fishermen. Her trademark, a cosmetically enhanced beauty spot, is clearly visible on her upper-lip.
T are two account’s of Finette’s later life, both of which are really no more than rumours. According to one version, she married and settled down to domestic bliss, producing many children. In the other version, she went to Istanbul and died t in terrible poverty.
During his student days in Paris she was briefly the mistress of James McNeill Whistler, who made two etchings of her in 1859.

and Gabrielle

From Antoine René Trinquart in 23, rue Louis le Grand around 1862 and with a little blindstamp comes this man in uniform

and the charming one here is from an anonomous photographer

… directly from l’Expo Universelle de 1867

Les Merchandes de The du Jardin CHinois

M.lle Leao Ya Tchoé de la province de Fo Kien

expo 1867 Paris Leao Ya Tchoe from fo kien

Magician Joseph Velle par Bernoud

Joseph Velle (1837–1889) est un prestidigitateur né à Budapest. Il se produisit un peu partout en Europe sous son nom de scène de Professeur Velle et en particulier en Italie à Parme et à Paris au théâtre Robert-Houdin, au Cirque d’été, aux Folies Bergère et à l’Eden-Théâtre. Son fils Gaston Velle, lui aussi prestidigitateur, devint réalisateur de films à trucages au début du xxe siècle.

Primavera 1863. Giuochi di Prestigio del Prof. Velle. Rappresentazioni n. 3 – 12, 14 e 17 maggio 1863″: Richiesta del teatro da parte dell’impresario Ercole Tinti per alcuni spettacoli del prestigiatore ungherese Velle.

Nota spese: per retribuzioni giornaliere, per i lavori eseguiti in Teatro, per distribuzioni di circolari per la grande Accademia del professore Velle, per somministrazione d’olio e di candele, per lavori di affissione, per il consumo del gas, per sostituzione dei vetri per l’illuminazione, per la distribuzione di circolari. Introiti delle tre serate dell’accademia del professor Velle.

The strange one :

This cdv has been cut and was in the last pages of the album with an iscription “Arciduca Rodolfo” but the photographer studio is in the States

and it’s clear that the man is not Asburgo Lorena … Since i’m ignore all about military uniform I even don’t know if the man is a soldier

What I know is B Moses according with Pioneer photographers from the Mississippi to the continental divide : a biographical dictionary, 1839-1865

is working in Canal Camp street around 1865 (this is a stereo taken from wikipedia)

Nadar

Dumas fils

Dumas fils Phot Nadar cdv

Peterman aka Gabrielle

Maximilian’s death (creepy)

Mosaique!

Litterateurs par Franck

Theatre Italien From Disderi

theatre itialien Disderi

I find this hand tinted cdv AMAZING!!!! it’s a pity that the photographer did not signed it !

Do you think it could be the Duc Victor of Persigny?

Back on stage!

Irma Marié di L’Isle par Ulric Grob

Julino?? do you know this woman?

Carera? from Schoefft

another woman from Schoefft

Unknown personalities the first playing Mephisto in hervè’s Le Petit Faust de from Schoefft or the successor Calamita?

Dauril? phot Cremiere (atelier en rue de Laval ca 1860 )

Bouvet par Cremiere

Grossi? par Cremiere

Stefanoni phot Schemboche

From Paul Emile Pesme Studio between 60 and middle ’70 ) this unidentified dancer or actress

Et nous avons ici a beautiful image of ….

Christine Nilsson

(1843-1921); Swedish soprano.In 1864 she made her debut as Violetta in “La Traviata” at the Theâtre-Lyrique in Paris. After this success she sang at major opera houses in London, Saint Petersburg, Vienna and New York In 1868 she created the rôle of Ophélie in Ambroise Thomas’ “Hamlet” at the Grand Opéra Paris and she sang the same rôle in the English première of Hamlet at Covent Garden in 1869. She also appeared in the Metropolitan Opera’s inaugural performance on 22 October 1883 in Gounod’s Faust.

Céline Chaumont

de les Bouffes … the one with “no more voices than that of a cat when you squeeze her tail”

Géraldine dit Baudoin Babet, cuisinier de Fortunio soprano in Offenbach’s La Chanson de Fortunio

Hortense Catherine Schneider, La Snédèr, (30 April 1833 – 6 May 1920) was a French soprano, one of the greatest operetta stars of the 19th century, particularly associated with the works of composer Jacques Offenbach.

Born in Bordeaux, where she studied with Schaffner, she made her debut in Agen in 1853, as Inés in La favorite.
She came to Paris and was turned down by the director of the Théâtre des Variétés but was noticed by Jacques Offenbach who invited her to the Théâtre des Bouffes Parisiens, where she made her debut in 1855 in Le violoneux. She enjoyed immediate success and created for Offenbach the role of Boulotte in Barbe-bleue and the title roles in La belle Hélène, La Grande-Duchesse de Gérolstein and La Périchole, all resounding triumphs. She also appeared in London and Saint Petersburg, to great acclaim.

An accomplished singer and actress, she was much admired for her brio and verve on stage, was the toast of the Second Empire and a favourite of royal visitors to Paris. La Snédèr was reputedly one of King Edward VII’smistresses (because of the favours which she liberally granted to the members of the nobility, she was known as Le Passage des Princes.).[1] She retired in 1878, after her marriage, and died in Paris over forty years later at age 87.

Schneider was the subject of the 1950 film La valse de Paris by Marcel Achard.[2]

Hortense Catherine Schneider

Alex von Humboldt ! http://it.wikipedia.org/wiki/Alexander_von_Humboldt. La riproduzione del suo ritratto è eseguita da Frank, professore di fotografia all’ Ecole Centrale nel 1862

Frank had his studio in Rue Vivienne from 1861 . This is a portrait of Baron Alexander von Humboldt a German naturalist born on September 14th 1769 and died in Berlin on May 6th 1859. The engraving was made by J. Horsburgh. Humboldt was an exceptional man of his time, remembered for his contributions to botany, geography and geology. In 1799 he went on a voyage of exploration and scientific investigation, which took him down the length of the Orinoco River. He was able to verify its connection with the Amazon drainage system. He returned with large quantities of botancial and geological specimens. Later in life Humboldt organised the knowledge he had acquired into a five volume book called Kosmos.

Stato di conservazione buono

Humboldt

Disderi:Adelaide Ristori

1860 nei panni di Medea (cfr collezioni Museé d’Orsay).

Questa cdv tuttavia è probabilmente una contraffazione: non riporta il nome del fotografo.

Nessun dubbio però sull’autore dello scatto. E’ Disderi, l’inventore della Carte de Visite!

Questo esemplare è in ottimo stato di conservazione (vedi scan)

Sono sempre disponibile a dare informazioni o eseguire scansioni supplementeari

Le mie carte de visite vengono spedite ben imballate e contenute in una busta in polipropilene acid free. La busta ha superato il PAT test. Calza perfettamente ed è sicura!

Adelaide Ristori (29 January 1822 – 9 October 1906) was a distinguished Italian tragedienne, who was often referred to as the Marquise.Here is Medea. Disderi was the photographer(cfr catalougue of Musee d’Orsay) but this cdv has no stamp/print ti identify the author.

Condition: very good