20-2, 019-06, 1880s, Cabinet Card, Jean Aicard (1848-1921) French Poet For Sale

20-2, 019-06, 1880s, Cabinet Card, Jean Aicard (1848-1921) French Poet 20-2, 019-06, 1880s, Cabinet Card, Jean Aicard (1848-1921) French Poet

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Description You are offerding on an original Antique 1880's Cabinet Card Photograph, Jean Aicard (1848-1921) French Poet & Playwright, about 40 years old.

To see all of my "Cabinet Cards" click here.

Family Tree (see last image).

More Info:
Jean François Victor Aicard (4 February 1848 – 13 May 1921) was born in Toulon (Var) and died on 13 May 1921 in Paris 7th arrondissement, is a French poet, novelist and playwright.

His father was a Saint-Simonian republican, editor of opposition newspapers during the Second Empire. He died when his son was five years old.

Jean Aicard was born on 4 February 1848 in Toulon (Var). A plaque marks the house where he was born, rue de l'Ordonnance. He was educated in Mâcon, where he attended Lamartine, then at the Lycée de Nîmes, then in law in Aix-en-Provence.

He came to Paris in 1867 and published his first collection, Les Jeunes Croyances, in which he paid tribute to Lamartine. His success opened the doors to Parnassian circles, thanks to his cousin, Pierre Elzéar. In 1869, he collaborated on the second collection of contemporary Parnassus. In 1870, a one-act play was produced at the Théâtre de Marseille. During the war, he stayed in Toulon with his family. After the war, he attended the dinners of the Vilains Bonshommes and participated in the creation of the magazine La Renaissance littéraire et artistique.

Jean Aicard died on 13 May 1921 at the nursing home of the Hospitallers of Saint-Jean-de-Dieu, rue Oudinot in the 7th arrondissement of Paris. He is buried in the central cemetery of Toulon.

Poetry:
Joan of Arc (Le rachat de la Tour), 27 April 1866, imprimerie d'E. Aurel, Toulon
Les Jeunes Croyances, Alphonse Lemerre, 1867 
In the Moonlight, 1870, Alphonse Lemerre
Rébellions et Appeasements, 1871, Alphonse Lemerre
Mascarille, 1873, Alphonse Lemerre
Pierre Puget, 1873, L. Laurent, Toulon (gold medal at the Toulon poetry competition)
Poèmes de Provence, 1874, Alphonse Lemerre - Prix Montyon de l'Académie française
La Chanson de l'enfant, 1876, Fischbacher - Prix Montyon de l'Académie française
Le Petit Peuple, 1879, Cayer
Les Poèmes de Provence; les cicadas, 1878
Miette et Noré, idyll provençale, 1880, Charpentier - Prix Vitet de l'Académie française 1881
Lamartine, 1883, Ollendorff - Poetry Prize of the French Academy
The God in Man, 1885, Ollendorff
The Eternal Canticle, 1885, Fischbacher
Maternity Wards, 1886
Le Livre des petits, 1886, Delagrave
Le Livre d'heures de l'amour, 1887, Alphonse Lemerre
Jésus, 1896, Flammarion
Lifeguards, 1898, Mouillet
Italy and France (circa), 1903, Crete
Holland, Algeria (poems and prose), 1913,
The Witness, 1914 - 1916,
Le Jardin des enfants, 1914,
La Légende du Chevrier, (musical adaptation by Emile Dens), 1914, J. Poulalion
The Blood of Sacrifice, 1917,

Novels and short stories:
King of Camargue, 1890, Testard
Le Pavé d'amour, 1892, Ollendorff
L'Ibis Bleu, 1893,
Fleur d'abîme, 1894,
L'Été à l'ombre (short stories), 1895,
Black Diamond (novel), 1895,
Notre-Dame-d'Amour, 1896,
L'Âme d'un enfant, 1898,
Mélita (bohemian novel), 1898,
Tata, 1901,
Benjamine, 1906,
Maurin des Maures, 1908,
L'Illustrious Maurin, 1908,
Arlette des Mayons (novel of the land and the school), 1917,
Gaspard de Besse - un bandit à la française, 1918,
The Famous Chevalier Gaspard, 1908,
Des cris dans la mêlée, (prose), 1916,
Le Rire de Maurin, 1923,
La Gueuse des Marais, 1928,

Theatre:
Au clair de la lune, comedy in one act in verse, Alphonse Lemerre, 1870
Pygmalion, dramatic poem in one act, Alphonse Lemerre, 1872
Othello ou le More de Venise, drama in 5 acts in verse, Charpentier, 1881
Smilis, drama in 4 acts in prose, Ollendorff
Mascarille, an apt song in verse for Molière's birthday, Alphonse Lemerre, January 1873
The Comédie Française in London, Jouaust
The Comédie Française to Alex. Dumas, Ollendorff
Smilis, drama in four acts and prose, 1884, Ollendorff
Le Père Lebonnard, 1889; This play was produced for the first time at the Théâtre-Libre. and filmed in 1939
La Légende du Cœur, Théâtre antique d'Orange, 13 July 1903,
Le Manteau du Roi, Théâtre de la Porte-Saint-Martin, 22 October 1907,
Don Juan ou la Comédie du siècle, 1889 (xixth century), dramatic poem in 5 acts
Forbin de Solliès, play in 2 acts, 1920, 
La Milésienne, 1924, 

Trials:
The Venus de Milo: Research on the History of Discovery, from Unpublished Documents, 1874, Sandez
Leconte de Lisle, Fischbacher bookshop, 1887
Alfred de Vigny, March 1914, lecture in the Revue Hebdomadaire,
Comment rénover la France (prose), 1918, (ref. Wikipedia)
 
Back has Photographer Information.
 
Photographer: Benque & Co, 33, Rue Boissy D'Anglas in Paris
 

Card size: 4.25" x 6.5". #20-2, 019-06
 

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 (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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