Posts Tagged ‘Disderi (photographer)’

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Alice Regnault

March 21, 2013

Alice Régnault (1849-1931), French actress
(photo: Disdéri, Paris, circa 1870)

‘A somewhat interesting sale of furniture, jewels, pictures, and objets d’art is to take place on Monday next at the Hôtel Druot, in Paris. The catalogue comprises the whole of the very luxurious belongings of the pretty and talented actress Mdlle. Alice R-, who, though not renouncing the stage, has resolved, nevertheless, to entirely change the life she has for years been leading. in speaking to a friend, who tried to dissuade her from this project, the young actress most emphatically said – ”No; I will keep nothing that can remind me of the past; furniture, jewels, and all shall go; and the thousands they will realise I shall, to the last penny, divide amongst charitable institutions.” The resolution, which is undoubtedly most praiseworthy, has been prompted by maternal love. May the child deserve well of such a mother is all we need say.’
(The Era, London, Saturday, 19 May 1883, p. 8b)

‘The sale by auction in Paris of Mdlle. Alice Regnault’s costly furniture and objets d’art, which we announced last week, duly took place on Monday last. A large crown of people assembled in the rooms of the Hotel Drouot, but the bidding was never very brisk. The silver fetched the best prices, as much as £42 being realised for a small pair of candelabra. A pretty marble statue of ”Paris Holding the Apple” was knocked down for the small sum of £7 4s.; and four pieces of tapestry went for £94, an amount much below their market value. The actress’s laces, some of which were very handsome, were bought, at a very low figure, by a lace merchant in the Rue Scribe. The entire proceeds reached only a little over £1,280. A report was current during the same that it is the artist’s intention to dispose of the long lease of her magnificent residence in the Avenue du Trocadero.’

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a carte de visite photograph of the French actress, Alice Régnault by Disdéri, Paris, circa 1870

March 21, 2013

Alice Régnault (1849-1931), French actress
(photo: Disdéri, Paris, circa 1870)

‘A somewhat interesting sale of furniture, jewels, pictures, and objets d’art is to take place on Monday next at the Hôtel Druot, in Paris. The catalogue comprises the whole of the very luxurious belongings of the pretty and talented actress Mdlle. Alice R-, who, though not renouncing the stage, has resolved, nevertheless, to entirely change the life she has for years been leading. in speaking to a friend, who tried to dissuade her from this project, the young actress most emphatically said – ”No; I will keep nothing that can remind me of the past; furniture, jewels, and all shall go; and the thousands they will realise I shall, to the last penny, divide amongst charitable institutions.” The resolution, which is undoubtedly most praiseworthy, has been prompted by maternal love. May the child deserve well of such a mother is all we need say.’
(The Era, London, Saturday, 19 May 1883, p. 8b)

‘The sale by auction in Paris of Mdlle. Alice Regnault’s costly furniture and objets d’art, which we announced last week, duly took place on Monday last. A large crown of people assembled in the rooms of the Hotel Drouot, but the bidding was never very brisk. The silver fetched the best prices, as much as £42 being realised for a small pair of candelabra. A pretty marble statue of ”Paris Holding the Apple” was knocked down for the small sum of £7 4s.; and four pieces of tapestry went for £94, an amount much below their market value. The actress’s laces, some of which were very handsome, were bought, at a very low figure, by a lace merchant in the Rue Scribe. The entire proceeds reached only a little over £1,280. A report was current during the same that it is the artist’s intention to dispose of the long lease of her magnificent residence in the Avenue du Trocadero.’

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March 21, 2013

Alice Régnault (1849-1931), French actress
(photo: Disdéri, Paris, circa 1870)

‘A somewhat interesting sale of furniture, jewels, pictures, and objets d’art is to take place on Monday next at the Hôtel Druot, in Paris. The catalogue comprises the whole of the very luxurious belongings of the pretty and talented actress Mdlle. Alice R-, who, though not renouncing the stage, has resolved, nevertheless, to entirely change the life she has for years been leading. in speaking to a friend, who tried to dissuade her from this project, the young actress most emphatically said – “No; I will keep nothing that can remind me of the past; furniture, jewels, and all shall go; and the thousands they will realise I shall, to the last penny, divide amongst charitable institutions.” The resolution, which is undoubtedly most praiseworthy, has been prompted by maternal love. May the child deserve well of such a mother is all we need say.’
(The Era, London, Saturday, 19 May 1883, p. 8b)

‘The sale by auction in Paris of Mdlle. Alice Regnault’s costly furniture and objets d’art, which we announced last week, duly took place on Monday last. A large crown of people assembled in the rooms of the Hotel Drouot, but the bidding was never very brisk. The silver fetched the best prices, as much as £42 being realised for a small pair of candelabra. A pretty marble statue of “Paris Holding the Apple” was knocked down for the small sum of £7 4s.; and four pieces of tapestry went for £94, an amount much below their market value. The actress’s laces, some of which were very handsome, were bought, at a very low figure, by a lace merchant in the Rue Scribe. The entire proceeds reached only a little over £1,280. A report was current during the same that it is the artist’s intention to dispose of the long lease of her magnificent residence in the Avenue du Trocadero.’

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Finette

February 12, 2013

Finette (Joséphine Durwend, fl. late 1850s-early 1870s),
French cancan dancer and celebrity of the Parisian public bals
(photo: Disdéri, London, probably 1868)

‘no woman should witness and no man applaud’ – Finette condemned by The Pall Mall Gazette, London, 1868
‘A controversy which crops up periodically as to the progress of morals has lately been revived. The kindred question of the progress of taste and refinement is painfully forced upon one by the predominant character of modern amusements. That even the grotesque silliness of the burlesques should fail to satisfy the appetite for vulgar fun, and should be apparently giving place to the drivelling ribaldry of the comic song, suggests melancholy conclusions as to the intellectual degradation of the multitude. But still worse is the favour openly accorded to exhibitions which lay claim to no other attraction that their immodesty. One notorious person, whom it would be an insult to the profession to which she affects to belong to call an actress, was lately advertised as appearing in certain parts which, ”in variety of character, action, and costume,” afforded great scope for the display of her ”remarkable personal beauty and statuesque grace.” ”The Faultless contour” of a young girl, as exhibited in the dangerous evolutions of the trapeze, is the enticement to another theatre. The entertainment which, under the title of poses plastiques, the more shameless order of fast men used to seek in obscure corners of the town are now flaunted on the stage of the public theatres. And, to crown all, a lewd dance, which the by no means prudish moral sense of the French has put under the ban of the police, is adopted as the great feature of a brilliant ballet at one of the most popular places of amusement in London. In the low dancing saloons of Paris the police wink at the vivacious obscenity of the Cancan, and those who wish to study it must follow it to its frowzy haunts; any theatre would be instantly closed which dared to put it on the stage. In London, however, where the public morals are under the enlightened an vigilant protection of the Lord Chamberlain and the justices of the peace, it is openly paraded in the bills of the Alhambra’s performance there is not the faintest redeeming feature of elegance or artistic skill. Among the common frequenters of the Closerie, or the Valentino, or any other of the Parisian casinos, better dancers might be discovered at any time. The characteristic immodesty of the Cancan is certainly toned down in Mdlle. Finette’s version, but her capers are nevertheless such as no woman should witness and no man applaud. A correspondent lately suggested that the low character of music-hall entertainments was due to the restraints imposed on them by the present law, which interdicts dramatic performances. If so, we can hardly imagine a stronger argument in favour of more liberal legislation in regard to this establishment from the Cancan ballet at the Alhambra.’
(The Pall Mall Gazette, London, Friday, 27 March 1868, p. 11b)

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February 12, 2013

Finette (Joséphine Durwend, fl. late 1850s-early 1870s),
French cancan dancer and celebrity of the Parisian public bals
(photo: Disdéri, London, probably 1868)

‘no woman should witness and no man applaud’ – Finette condemned by The Pall Mall Gazette, London, 1868
‘A controversy which crops up periodically as to the progress of morals has lately been revived. The kindred question of the progress of taste and refinement is painfully forced upon one by the predominant character of modern amusements. That even the grotesque silliness of the burlesques should fail to satisfy the appetite for vulgar fun, and should be apparently giving place to the drivelling ribaldry of the comic song, suggests melancholy conclusions as to the intellectual degradation of the multitude. But still worse is the favour openly accorded to exhibitions which lay claim to no other attraction that their immodesty. One notorious person, whom it would be an insult to the profession to which she affects to belong to call an actress, was lately advertised as appearing in certain parts which, ”in variety of character, action, and costume,” afforded great scope for the display of her ”remarkable personal beauty and statuesque grace.” ”The Faultless contour” of a young girl, as exhibited in the dangerous evolutions of the trapeze, is the enticement to another theatre. The entertainment which, under the title of poses plastiques, the more shameless order of fast men used to seek in obscure corners of the town are now flaunted on the stage of the public theatres. And, to crown all, a lewd dance, which the by no means prudish moral sense of the French has put under the ban of the police, is adopted as the great feature of a brilliant ballet at one of the most popular places of amusement in London. In the low dancing saloons of Paris the police wink at the vivacious obscenity of the Cancan, and those who wish to study it must follow it to its frowzy haunts; any theatre would be instantly closed which dared to put it on the stage. In London, however, where the public morals are under the enlightened an vigilant protection of the Lord Chamberlain and the justices of the peace, it is openly paraded in the bills of the Alhambra’s performance there is not the faintest redeeming feature of elegance or artistic skill. Among the common frequenters of the Closerie, or the Valentino, or any other of the Parisian casinos, better dancers might be discovered at any time. The characteristic immodesty of the Cancan is certainly toned down in Mdlle. Finette’s version, but her capers are nevertheless such as no woman should witness and no man applaud. A correspondent lately suggested that the low character of music-hall entertainments was due to the restraints imposed on them by the present law, which interdicts dramatic performances. If so, we can hardly imagine a stronger argument in favour of more liberal legislation in regard to this establishment from the Cancan ballet at the Alhambra.’
(The Pall Mall Gazette, London, Friday, 27 March 1868, p. 11b)

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February 12, 2013

Finette (Joséphine Durwend, fl. late 1850s-early 1870s),
French cancan dancer and celebrity of the Parisian public bals
(photo: Disdéri, London, probably 1868)

‘no woman should witness and no man applaud’ – Finette condemned by The Pall Mall Gazette, London, 1868
‘A controversy which crops up periodically as to the progress of morals has lately been revived. The kindred question of the progress of taste and refinement is painfully forced upon one by the predominant character of modern amusements. That even the grotesque silliness of the burlesques should fail to satisfy the appetite for vulgar fun, and should be apparently giving place to the drivelling ribaldry of the comic song, suggests melancholy conclusions as to the intellectual degradation of the multitude. But still worse is the favour openly accorded to exhibitions which lay claim to no other attraction that their immodesty. One notorious person, whom it would be an insult to the profession to which she affects to belong to call an actress, was lately advertised as appearing in certain parts which, “in variety of character, action, and costume,” afforded great scope for the display of her “remarkable personal beauty and statuesque grace.” “The Faultless contour” of a young girl, as exhibited in the dangerous evolutions of the trapeze, is the enticement to another theatre. The entertainment which, under the title of poses plastiques, the more shameless order of fast men used to seek in obscure corners of the town are now flaunted on the stage of the public theatres. And, to crown all, a lewd dance, which the by no means prudish moral sense of the French has put under the ban of the police, is adopted as the great feature of a brilliant ballet at one of the most popular places of amusement in London. In the low dancing saloons of Paris the police wink at the vivacious obscenity of the Cancan, and those who wish to study it must follow it to its frowzy haunts; any theatre would be instantly closed which dared to put it on the stage. In London, however, where the public morals are under the enlightened an vigilant protection of the Lord Chamberlain and the justices of the peace, it is openly paraded in the bills of the Alhambra’s performance there is not the faintest redeeming feature of elegance or artistic skill. Among the common frequenters of the Closerie, or the Valentino, or any other of the Parisian casinos, better dancers might be discovered at any time. The characteristic immodesty of the Cancan is certainly toned down in Mdlle. Finette’s version, but her capers are nevertheless such as no woman should witness and no man applaud. A correspondent lately suggested that the low character of music-hall entertainments was due to the restraints imposed on them by the present law, which interdicts dramatic performances. If so, we can hardly imagine a stronger argument in favour of more liberal legislation in regard to this establishment from the Cancan ballet at the Alhambra.’
(The Pall Mall Gazette, London, Friday, 27 March 1868, p. 11b)