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20-2, 015-09, 1880s, Cabinet Card, Emil Fischer (1838-1914) Bass & Bass-Baritone 20-2, 015-09, 1880s, Cabinet Card, Emil Fischer (1838-1914) Bass & Bass-Baritone
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Description You are offerding on an original Antique 1880's Cabinet Card Photograph, Emil Fischer (1838-1914) Bass & Bass-Baritone, about 40 years old.
On this Cabinet card, Emil is playing "Wotan" in Wagner's Die Walküre.
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More Info:
Emil Fischer (June 13, 1838 - August 11, 1914), was a German dramatic bass or bass-baritone, born in Braunschweig, Germany. His parents were Friedrich and Caroline Fischer-Achten, both opera singers.
He made his début in 1857 in Graz in Boieldieu's Jean de Paris. After that, he filled various engagements in Pressburg, Stettin, and Brauschweig. From 1863 to 1870, he was director of the opera at Danzig.
From 1875 to 1880, Fischer sang in Rotterdam, and from 1880 until 1885 in Dresden. The period from 1885 to 1891 at the Metropolitan Opera House, New York City, marks the culmination of his artistic triumphs. Lilli Lehmann, Max Alvary, and Marianne Brandt performed there with him. More than only creating the bass roles in Richard Wagner's later Musikdramas, as far as America is concerned, he firmly established his reputation as a Wagner interpreter equalled by very few. From 1895 until 1897, he performed in several American cities as a member of Walter Damrosch's German Damrosch Opera Company. He appeared once more, and for the last time, at the Metropolitan Opera House in 1907. Fischer died in Hamburg at the beginning of World War I. He left no known recordings of his voice. (ref. Wikipedia)
Back is blank (with writing).
Photographer: Falk, 949 Broadway, NY
More Info:
Benjamin J. Falk
Time Period: 1877-1915
Location: 347 E. 14th Street, 947 Broadway, 13 W. 24th Street
Biography: (1853-1925)
When Napoleon Sarony died in 1896, Benjamin J. Falk ascended to the first place in the world of performing arts photography. Born on October 14th, 1853, Benjamin J. Falk grew up in New York City. He graduated from the College of the City of New York with a B.S. in 1872, while concurrently serving as a technician under photographer George Rockwood. His first ambition was to be a graphic artist, so he attended classes at the NY Academy of Design while maintaining a studio with Jacob Schloss. "Being naturally of an investigating turn of mind he interested himself in scientific studies. After making crayons for five years, he enlarged his studio into a photographic gallery. In 1881 he moved to Broadway, where the business grew rapidly, developing largely in the line of portraits of celebrities."
Falk’s first studio, located on 14th street, became wholly devoted to photography in 1877. His distance from the theater district, however, prompted his 1881 relocation to 947-49 Broadway. The Broadway Studio served for 11 years until high-rises obscured the sunlight needed to maintain a day long shooting schedule, forcing him to relocate to 13-15 East 24th Street. In 1900, Falk relocated to the roof of the Waldorf Astoria. The solarium supplied superb natural light during the day, and his 25x30 operating room became the envy of the photographic fraternity.
Card size: 4.25" x 6.5". #20-2, 015-09
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 (some wear), 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).
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