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S11, 034-05, 1892, Cabinet Card, Scene from the Stage Play "Charley's Aunt", UK S11, 034-05, 1892, Cabinet Card, Scene from the Stage Play "Charley's Aunt", UK
Click images to enlarge
Description You are offerding on an original Antique 1892 Cabinet Card Photograph, Scene from the Stage Play "Charley's Aunt" by Brandon Thomas, London, UK. The play was a success in London and went on to run for 1,466 performances.
Play Info:
Charley's Aunt is a farce in three acts written by Brandon Thomas. The story centres on Lord Fancourt Babberley, an undergraduate whose friends Jack and Charley persuade him to impersonate the latter's aunt. The complications of the plot include the arrival of the real aunt and the attempts of an elderly fortune hunter to woo the bogus aunt. The play concludes with three pairs of young lovers united, along with an older pair – Charley's real aunt and Jack's widowed father.
The play was first performed at the Theatre Royal, Bury St Edmunds, in February 1892. It then opened in London at the Royalty Theatre on 21 December 1892, and quickly transferred to the larger Globe Theatre on 30 January 1893. The production broke the historic record for longest-running play worldwide, running for 1,466 performances. It was produced by the actor W. S. Penley, a friend of Thomas, who appeared as Babberley.
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The Cast Members in this scene, Act 1, in italics (see 2nd image):
Stephen Spettigue....................Ernest Hendrix
Colonel Sir Francis Chesney.......Brandon Thomas (1848-1914)
Jack Chesney...........................Percy Lyndal
Charley Wykeham....................H. Farmer
Lord Fancourt Babberley............W. S. Penley (1851-1912)
Donna Lucia............................Ada Branson
Amy Spettigue........................Kate Gordon
Kitty Verdun...........................Nina Boucicault
Ela Cudmore
More Info on the Author:
Brandon Thomas (24 December 1848 – 19 June 1914) was an English actor, playwright and songwriter, best known as the author of the farce Charley's Aunt.
Born in Liverpool to a family with no theatrical connections, Thomas worked in commerce, and as an occasional journalist, before achieving his ambition of becoming an actor. After a succession of minor roles, he became increasingly sought after as a character actor. He wrote more than a dozen plays, the most celebrated of which, Charley's Aunt, broke all historic records for plays of any kind with an original London run of 1,466 performances, opening in 1892. It has had numerous subsequent productions all around the world, including many film and musical theatre adaptations.
Although Thomas never repeated the prodigious success of Charley's Aunt, he maintained a career as an actor and dramatist until his death, acting mostly in comedy, but with occasional serious roles in the plays of Shakespeare and others.
Thomas died at his home in Bloomsbury, London, in 1914, aged 65, after a brief illness. He was buried in Brompton Cemetery. In its obituary notice, The Times quoted him as saying, "I hoped to go down to fame as a great actor. If I go at all it will be as the author of Charley's Aunt." (ref. Wikipedia)
Back has photographer info.
Photographer: Thomas Charles Turner, 10 Barnsbury Park, N, London, England (1839-1896)
Card size: 4.25" x 6.5". #S11, 034-05
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)
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Card Cond: VG-VG/EX (Edge & corner wear), Please see scans for actual condition. (the last image is for Reference only)
This Cabinet Card would make a great addition to your collection or as a Gift (nice for Framing).
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