GREAT 19TH CENTURY AMERICAN ACTRESS MARY ANDERSON 1859-1940 1880 TRADE CARD

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GREAT 19TH CENTURY AMERICAN ACTRESS MARY ANDERSON 1859-1940 1880 TRADE CARD:
$14.99

She was famous in the late 19th and early 20th centuries for her red haired beauty, superb voice, and intelligent interpretations. Her repertory included W S Gilbert\'s Pygmalion and Galatea and Comedy and Tragedy and a gallery of Shakespearean heroines. A rare original trade card circa 1880 of Mary Anderson.Dimensions four and a half by two and three quarters inches. Light wear otherwise good.

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From Wikipedia:

Mary Anderson (b. July 28, 1859 Sacramento, California d. May 29, 1940, Broadway, Worcestershire, U.K.) was an American stage actress.

Mary Antoinette Anderson was the daughter of Charles Henry Anderson, an Oxford-educated New Yorker, and his wife, Antonia Leugers; the latter had been disowned by her Philadelphia Catholic family after the couple had eloped to California.

Early life

Shortly after Mary was born, the couple moved to Louisville, Kentucky, where her father enlisted in the Confederate States Army in theAmerican Civil War. He was killed in action at Mobile when she was three.

Mary was educated at the Ursuline convent and the all-girl Presentation Academy n Louisville. She was an unenthusiastic pupil except for an interest in reading Shakespeare. Encouraged by her stepfather, Dr Hamilton Griffin, at 14 she was sent to New York for ten lessons with the actor George Vandenhoff, her only professional training.

Stage career

In 1875, she made her first stage appearance at a benefit performance at Macauley\'s Theatre in Louisville, Kentucky in the role of Shakespeare\'s Juliet. The manager, Barney Macauley, was sufficiently impressed to extend the booking to a week as Juliet and further roles including Julia in Sheridan Knowles\'s The Hunchback, Bianca in Henry Hart Milman\'s Fazio, and R. L. Sheil\'s Evadne.

Further engagements at St Louis, New Orleans and John McCullough\'s theatre in San Francisco led to a contract with John T. Ford. Starting as Lady Macbeth in his Washington theatre in 1877, she began an extensive US tour, culminating with a six-week engagement in Edward Bulwer Lytton\'s The Lady of Lyons at the 5th Avenue Theatre, New York. Critical review was mixed, but she was immediately popular with the public as \"Our Mary.\"

From this point she enjoyed a twelve-year career of unbroken success, with regular New York performances and US tours. In 1879 she went on a voyage to Europe, meeting Sarah Bernhardt and Adelaide Ristori.

In 1883, after starring in an American production of W. S. Gilbert\'s Pygmalion and Galatea, she went on the London stage at the Lyceum Theatre, remaining in England for six years to perform to much acclaim including at the Shakespeare Memorial Theatre in Stratford-on-Avon. Her first season there, she starred in Gilbert\'s Comedy and Tragedy.[1]

In 1887 in London she appeared in The Winter\'s Tale in the double role of Perdita and Hermione (the first actress to include this innovation). This production ran to 160 performances, and was taken back to the United States. She invited writer William Black o appear in the production, but, even in a non-speaking role, he froze up and interrupted the performance.[2] In 1889, however, she collapsed on stage due to severe nervous exhaustion during a performance at Albaugh\'s Theatre in Washington. Disbanding her company, she announced her retirement at the age of 30. Some commentators, particularly in the British press, ascribed this turn of events to hostile press reviews on her return to the U.S.[3]The author Willa Cather went further and blamed a specifically hurtful review from a close friend.[4]

Later life

Ordered to rest after her breakdown, Mary Anderson visited England. In 1890 she married Antonio Fernando de Navarro, an American sportsman and barrister of Basque extraction, who was a Papal Privy Chamberlain of the Sword and Cape. She became known as Mary Anderson de Navarro. They settled at Court Farm, Broadway, Worcestershire, where she cultivated an interest in music and became a noted hostess with a distinguished circle of musical, literary and ecclesiastical guests. She also gave birth to a son and a daughter in her happy marriage.[5][6]

A devout Roman Catholic, she had a chapel built in her attic, with stained-glass windows designed by Paul Woodroffe. She has been cited as a model for characters in the Lucianovels of E F Benson, either the operatic soprano Olga Bracely [7][8] or Lucia herself,[9][10] as well as the prototype for the heroine of William Black\'s novel The Strange Adventures of a House-Boat.[10]

She resisted encouragements to return to the theatre, but did a number of fund-raising performances during World War I in Worcester, Stratford and London. The latter included roles as Galatea, Juliet and Clarice in W. S. Gilbert\'s play Comedy and Tragedy.[11] She published two books of her memories, the 1896 A Few Memories and the 1936 A Few More Memories, and collaborated with Robert Smythe Hichens on a 1911 New York stage adaptation of his novel, The Garden of Allah.

Death

She died at her home in Broadway, Worcestershire, in 1940, aged 80.