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Seller Store the_collector_md
(5197) 100.0%,
Location: Warsaw, Indiana
Ships to: US,
Item: 235782418896
All returns accepted:ReturnsNotAccepted
Featured Person/Artist:Carlo Alfredo Piatti (1822-1901) Italian Cellist
Photographer:Elliott and Fry of London, England
Antique:Yes
Country/Region of Manufacture:United Kingdom
Framing:Unframed
Image Color:Black & White
Image Orientation:Portrait
Material:Cardboard
Production Technique:Albumen Print
Theme:Celebrities,Fashion,Glamor,History,Music,People,Portrait,Theater
Time Period Manufactured:1850-1899
Type:Photograph
Unit of Sale:Single Piece
Vintage:Yes
Original/Licensed Reprint:Original
Format:Cabinet Card
Size:4.25 x 6.5
Number of Photographs:1
Subject:London,Italian Cellist
Unit Quantity:1
Features:One of a Kind (OOAK)
S11, 37-02, 1880s, Cabinet Card, Signor Piatti (1822-1901) Italian Cellist Click images to enlarge Description You are bidding on an original Antique 1880’s Cabinet Card Photograph, Carlo Alfredo Piatti (1822-1901) Italian Cellist, about 65 years old. To see all of my “Stereoview Cards” click here. To see all of my historical “Cabinet Cards” click here. More Info: Carlo Alfredo Piatti (8 January 1822 – 18 July 1901) was an Italian cellist, teacher and composer. Piatti was born at via Borgo Canale in Bergamo and died in Mozzo, 4 miles from Bergamo. From 1838, he journeyed over Europe, playing with extraordinary success in all the important cities of the continent. In 1844 he appeared before the London public at a Philharmonic Concert. In 1852 he premiered (and became the dedicatee of) a Sonata Duo for cello and piano, Op. 32, by William Sterndale Bennett, having been given the original manuscript of the music in the morning, studied it on a train then played it at the concert that same evening with the composer as pianist playing from memory. He married in 1855 Mary Ann Lucy Welsh, daughter of Thomas Welsh and his wife Mary Anne Wilson. In 1894 the fiftieth anniversary of his first appearance in London was celebrated by a reception given in honour of him and his lifelong friend Joachim. He retired from public life, owing to a severe illness, in 1897, and until his death at Bergamo on the 19th of July 1901 divided his time between his native town and Cadenabbia. (ref. Wikipedia) Compositions: Cello solo Capriccio on a theme from Niobe by Giovanni Pacini, Op. 22 for cello solo (on the aria, cavatina, I tuoi frequenti palpiti) Twelve Caprices for cello solo, Op. 25 Cello and piano Air Baskyrs, Op. 8 Am Meer, Serenade, Ave Maria (Franz Schubert / Alfredo Piatti) Canto di primavera for cello and piano Canzonetta for cello and piano Danza moresca for cello and piano Elegia per la morte di Cavour for cello and piano Entreaty / Supplication / Bitte for cello and piano Follia su un’aria di Geminiani for cello and piano Gagliarda for cello and piano Impromptu sopra un’aria di Purcell nella “Regina indiana” for cello and piano Introduction and Variations on a theme from Donizetti’s Lucia di Lammermoor for cello and piano, Op. 2 Introduzione e Allegro alla Spagnuola for cello and piano La Bergamasca for cello and piano, Op. 14 Gita in gondola / La Danza for cello and piano Les Fiancés for cello and piano, Op. 7 Mazurka Sentimentale for cello and piano, Op. 6 Notturno for cello and piano, Op. 20 Ossian’s song, Ballad for cello and piano Passetemps Sentimental, Op. 4 Pioggia d’Aprile for cello and piano Sérénade Italienne for cello and piano, Op. 17 Siciliana for cello and piano, Op. 19 Souvenir de la Sonnambula for cello and piano, Op. 5 Tarantella for cello and piano, Op. 23 Tema e Variazioni for cello and piano The race – La corsa for cello and piano Rimembranze del “Trovatore” di Verdi, Op. 20 Cello and orchestra Air Baskyrs Op.8 Entreaty / Supplication / Bitte Serenata for two cellos and orchestra Theme and Variations Two cellos Elegia per la morta di Anton Rubinstein Serenata for two cellos and orchestra Serenata for two cellos and piano Four cellos ln Vacanza (On Holiday) (1891) Transcriptions of works by other composers Brahms: Twenty-One Hungarian Dances (1881) Locateli: Sonata in D Major Haydn: Sonata in C Major Valentini: Sonata in E Major For more info, click here. Back has Photographer info. Photographer: Elliott and Fry of London, England Card size: 4.25″ x 6.5″. #S11, 37-02 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 auctioning, please let me know. The Last Image is for Information Only. Card Cond: VG/EX-EX (edge & corner wear, Surface wear, Staining), Please see scans for actual condition. This Cabinet Card would make a great addition to your collection or as a Gift (nice for Framing). 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