20-2, 024-05; 1880s, Cabinet card, The Countess of Lonsdale (1859-1917) For Sale

20-2, 024-05; 1880s, Cabinet card, The Countess of Lonsdale (1859-1917) 20-2, 024-05; 1880s, Cabinet card, The Countess of Lonsdale (1859-1917)

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Description You are offerding on an original Antique 1880\'sCabinet Card Photograph, The Countess of Lonsdale (1859-1917), about 25 years old.
To see all of my \"Cabinet Cards\" clickhere.Family Tree (see last image).More Info:
Constance Gwladys Robinson, Marchioness of Ripon (22 April 1859 – 28 October 1917), was a British patron of the arts. She was a close friend of Oscar Wilde, who dedicated his play \"A Woman of No Importance\" to her; other celebrated friends included Nellie Melba, whose success in London was largely due to Lady Ripon\'s support, Nijinsky and Diaghilev.She was born in 1859 to Sidney Herbert, 1st Baron Herbert of Lea and his wife, Elizabeth, a writer and notable convert to Catholicism. She married St George Lowther, 4th Earl of Lonsdale in 1878, and had a daughter, Gladys Mary Juliet. After Lonsdale\'s death she married Oliver Robinson in 1885, 2nd Marquess of Ripon, then known by his courtesy title of Earl de Grey. She was thus known as Lady de Grey until her husband succeeded to his marquisate in 1909, when she became Marchioness of Ripon. They had no children.Lady Ripon was a patron of the arts, supporting the restoration of the Royal Opera House, Covent Garden. When Jean and Édouard de Reszke were in London to perform at the Royal Opera House, she often entertained them during which she treated them like royal family members. She exerted great influence through the impresario Augustus Harris, because of her ability to persuade important people to purchase season tickets in advance.She died in October 1917, aged 58. Lord Ripon survived her by six years and died in September 1923, aged 71. They are buried together in the Ripon family tomb at Studley Royal Church.Constance\'s paternal grandparents were George Herbert, 11th Earl of Pembroke, and the Russian-born Countess Catherine Woronzow (or Vorontsov), daughter of the Russian ambassador to Britain, Semyon Romanovich Vorontsov.Her mother was the granddaughter of Sir William à Court, 1st Baronet.Most of her six siblings were notable:Mary Catherine (1849–1935), who married, in 1873, the modernist theologian, Baron Friedrich von Hügel.
George Robert Charles Herbert (1850–1895), who became the 13th Earl of Pembroke.
Elizabeth Maud (1851–1933), who married, in 1872, the composer, Sir Charles Hubert Parry.
Sidney Herbert (1853–1913), a Member of Parliament, who succeeded his brother as the 14th Earl of Pembroke.
Michael Henry Herbert (The Hon. Sir Michael Herbert, KCMG, CB, PC) (1857–1904), a diplomat who ended his career as British ambassador to the U.S. in Washington, D.C., after whom the town of Herbert in Saskatchewan, Canada, is named. One of his sons was Sir Sidney Herbert, 1st Baronet. (ref. wikipedia)Back has Photographer and Fry of London, England
Card size: 4.25\" x 6.5\". #20-2, 024-05

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)

If you have any questions about this item or anything I am saleing, please let me know.

Card Cond: EX-EX/MT, Please see scans for actual condition,(images 3isfor reference only).

This Cabinet Cardwould make a great addition to your collection or as a Gift (nice for Framing).

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