You are bidding on one Extremely rare talbotype from around 1865.

Motive:"The famous opera singer Pauline Lucca" (1841-1908).

Studio: Elliott & Fry Talbotype Gallery, 55, Baker Street, Portman Square, London.

"Elliott & Fry was a Victorian photography studio founded in 1863 by Joseph John Elliott (14 October 1835 – 30 March 1903) and Clarence Edmund Fry (1840 – 12 April 1897). For a century the firm's core business was taking and publishing photographs of the Victorian public and social, artistic, scientific and political luminaries." (Source: English wikipedia.)

Format (cardboard): 10.4 x 6.3 cm.

There are numerous recordings of Pauline Lucca; I have not been able to prove this motive.

Condition: Stained, corners bumped, otherwise good. Please also note the pictures!

About Elliott & Fry, Pauline Lucca (source: wikipedia, NDB & BLKÖ):

Elliott & Fry was a Victorian photography studio founded in 1863 by Joseph John Elliott (14 October 1835 – 30 March 1903) and Clarence Edmund Fry (1840 – 12 April 1897).[1] For a century the firm's core business was taking and publishing photographs of the Victorian public and social, artistic, scientific and political luminaries. In the 1880s the company operated three studios and four large storage facilities for negatives, with a printing works at Barnet. The firm's first address was 55 & 56 Baker Street in London, premises they occupied until 1919. The studio employed a number of photographers, including Francis Henry Hart and Alfred James Philpott in the Edwardian era, Herbert Lambert and Walter Benington in the 1920s and 1930s and subsequently William Flowers. During World War II the studio was bombed and most of the early negatives were lost, the National Portrait Gallery holding all the surviving negatives. With the firm's centenary in 1963 it was taken over by Bassano & Vandyk.

Joseph John Elliott: Joseph John Elliott (14 October 1835 Croydon[3] – 30 March 1903 Hadley Heath, near Barnet) the son of John and Mary Elliott, he married Clarence's sister, Elizabeth Lucy Fry (24 June 1844 Plymouth – 23 February 1931 ), in Brighton on 20 August 1864, eventually producing 4 sons and 3 daughters. Elliott's partnership with Fry was dissolved on 31 July 1887, Elliott acquiring Fry's interest. Elliott's partnership with his own son, Ernest C. Elliott, was dissolved on 31 December 1892. Ernest went on to compile an album of 50 British sportsmen, Fifty Leaders of British Sport, published in 1904.

Clarence Edmund Fry: In 1865 Clarence Edmund Fry (Plymouth 1840 – 1897) married Sophia Dunkin Prideaux (*1838 Modbury, Devon), who was a photographic colourist. Clarence Edmund Fry was an early patron of Hubert von Herkomer, who in 1873 moved to Bushey apparently to be near his beneficiary, and to start the Herkomer Art School.[4]

Clarence was the eldest son of Edmund Fry and Caroline Mary Clarence (1809–1879),[3] both members of the Religious Society of Friends or Quakers, and related to Joseph Storrs Fry, founder of the Bristol chocolate factory.[5]

Clarence's siblings were:

Walter Henry Fry (born 1841, Plymouth)

Hubert Oswald Fry (born 1843, Plymouth)

Lucy Elizabeth Laughton Fry (born 1844, Plymouth)

Allen Hastings Fry (born 1847, Plymouth)

In 1867 the second eldest son, Walter Henry Fry, joined the youngest brother, Allen Hastings Fry, and started the photography firm of W. & AH Fry of 68 East Street, Brighton.

Pauline Lucca, sometimes also Pauline Lucka, (* 25. April 1841[1] in Vienna; † 28 February 1908 in Vienna) was an Austrian opera singer (soprano).

Life: Pauline was the daughter of the merchant Joseph Koppelmann and his wife Barbara Willer. In 1834 the family converted from the Jewish to the Catholic faith. She took on the name "Lucca". The doctor Samuel Lucka was her paternal uncle, the writers Emil Lucka and Mathilde Prager were her cousins ​​and cousins ​​respectively. her cousin.

Lucca received her first vocal training in the choir of the Vienna Karlskirche with Joseph Rupprecht. She later became a student of Otto Uffmann and Richard Lewy. Encouraged by her teachers, Lucca soon got smaller roles at the Vienna Court Opera and in 1859 at the age of 18 was engaged as a soloist at the theater in Olmütz. There she made her debut in the role of Elvira (in Ernani by Giuseppe Verdi). The following year Lucca was invited to Prague, where she sang Valentine (in Giacomo Meyerbeer's Les Huguenots) and the title role in Vincenzo Bellini's Norma, to great acclaim.

In 1861 Meyerbeer engaged her to the Royal Court Opera in Berlin, where she was still tutored. He succeeded in getting Lucca a lifetime engagement at the Berlin Court Opera. This was supported by the young Prussian King Wilhelm I and Otto von Bismarck, among others. Both were declared admirers of her singing and her acting skills.

In 1865 Lucca married Prussian officer and landowner Adolf von Rhaden, with whom she would have a daughter. On the occasion of a tour of the USA in 1873, she obtained a divorce in America in order to marry Matthias von Wallhofen in her second marriage.

From Berlin Lucca undertook many guest performances all over Germany, also to London and St. Petersburg. As Mathilde Mallinger from 1. October 1869 was committed to the Berlin Court Opera, Lucca saw in her a serious competitor and resigned after a dispute in April 1872 without notice. In the years that followed she made guest appearances, first in America, later in Vienna, and from 1880 again in Berlin, where she saw the earlier celebrated triumphs renewed.

In 1889 Lucca retired from the stage, withdrew into private life and settled at her country estate near Zurich.

Pauline Lucca died in Vienna in 1908;[1] after being cremated in Gotha, she was buried at St. Helena Cemetery, Baden near Vienna.[2]

roles (selection)

Audiences and official critics alike were enthusiastic about Lucca's portrayal. In addition, her expressive voice, which ranged from g-c''', is always praised. Her repertoire included over 60 roles in German, French and Italian operas.

Zerlina in Fra Diavolo by Daniel-François-Esprit Auber

Cherubino in Le nozze di Figaro by Wolfgang Amadeus Mozart

Selica in L'Africaine by Giacomo Meyerbeer

Margaret in Faust by Charles Gounod

Pamina in The Magic Flute by Wolfgang Amadeus Mozart

Agathe in Der Freischütz by Carl Maria von Weber

Leonora in Il trovatore by Giuseppe Verdi

the title role in Carmen by Georges Bizet

Farinelli in Carlo Broschi or the Devil's Share by Daniel-François-Esprit Auber

students (selection)

Ottilie Fellwock

miscellaneous

A contractual clause released her from any participation in operas by Richard Wagner.

Two dishes were created in honor of Pauline Lucca: the salty Lucca eyes (also Toast Lucca) and the sweet shortbread pastry of the same name. A marble bust of Pauline Lucca created by the sculptor Gustav Willgohs around 1866 is considered lost.

Life: L. received her first training at the singing school of the Karlskirche with Joseph Rupprecht. In 1856 she was accepted as a choir member at the Court Opera. She took further lessons from Otto Uffmann and Richard Lewy and soon received smaller solo roles. – In 1859 L. was engaged as a soloist in Olomouc, where she made her debut as Elvira in Verdi's “Ernani”. In 1860 she sang Valentine in Meyerbeer's "Huguenots" and Norma as a guest in Prague, which was followed by a permanent engagement for a year. In 1861, on the recommendation of G. Meyerbeer, she received a lifetime engagement at the Berlin Court Opera. Meyerbeer herself gave the singer the finishing touches to her singing culture. The role of Selica in his "Afrikanerin", which L. sang in 1865 at the first performances in London and Berlin, brought her one of her greatest triumphs. Within a short time she became the darling of Berlin audiences, an acclaimed and celebrated prima donna whose admirers and admirers included Kg. Wilhelm and Bismarck counted. Guest performances have taken her to the major German opera houses, repeatedly to London and in 1868/69 to St. Petersburg. In 1872 she broke her contract in Berlin, undertook a two-year tour of America and returned to her homeland in 1874, where she from then on – in addition to guest appearances throughout Europe – worked mainly at the Vienna Court Opera, of which she retired from the stage as an honorary member in 1889. Contemporary accounts especially praise L's outstanding stage presence. This was certainly one of the reasons for her extraordinary success, which she owed to her dramatic and lyrically expressive voice (range g – c''') and her role-covering, nuanced, realist-like performance art. L's repertoire included about 60 parts of the German, Italian. and french subject. She was considered the best Carmen of her time and was very successful as Marguerite, Selica, Leonora, Zerline, Cherubino, Elisabeth, Pamina and Agathe.

Lucca, Pauline[BN 1] (singer, b. to Vienna in 1841). Born in the suburb of Wieden, she attended the school there. She also received her first lessons in music from the schoolmaster, who was also a singing teacher and loved music enthusiastically. The girl's pure soprano soon became a source of quiet delight for the old musician Walter - that was the name of the teacher - who now took a very special pleasure in giving his darling the best possible education. At that time there was no thought of singing for artistic purposes - because the parents were wealthy. As an eight-year-old girl, Pauline sang her Austrian songs merrily in Walter's room, and it took misfortune to win her over to art. In 1848 her parents, like many others, lost their belongings. Meanwhile, Pauline came from Walter's school to Master Ruprecht's singing school in Wieden, where she was taught singing for several years. Then she brought Ruprecht to join the choir at high mass and in 1854 Pauline was already singing small solos at church services. In 1856, Pauline's parents succeeded in getting her accepted into the choir of the Vienna Court Opera Theater. Her graceful appearance, her eagerness and her diligence, combined with her healthy, metallic voice, soon drew the attention of connoisseurs and friends to the young chorist. The former tenor Otto Uffmann and the professor Richard Löwy now took on the seventeen-year-old girl and took over her training in what was actually dramatic singing. Only now did Pauline herself seem to realize the treasure she was hiding in her throat. During the day she practiced her beautiful voice in artistic songs, while in the evenings she sang along in the choir. At that time it happened that on a Sunday afternoon the unnoticed chorister, instead of making a projected outing in the same theater where she sang in the choir in the evening, in front of her parents, her teacher, the director Just, the baritone player Robinson and tenor player Dr. Gunz sang the Lucretia Borgia rehearsal, and her small circle of listeners began to suspect that she, now in a subordinate position, would soon shine forth as a star of the first rank. Soon she was to leave this stage, whose director did not recognize the gem they possessed. A guest performance in Olmütz was the first event in the life of the young artist. She sang Elvira in "Ernani" and was so well received that she was engaged. Now she devoted herself to restless study and in the space of five months had learned eleven opera roles, each of which was a triumph for her. Proposals soon came from Allen sides and she decided in favor of that of Prague, because singing in front of a musically educated audience, and that of Prague was always considered as such, had always been her highest wish. In Prague she actually joined the circle of the first in her field and mastered the most difficult roles with ease: Valentine, Norma, Jüdin, Lucia, Leonore in “Troubadur”, Bertha in “Propheten”, praised by Meyerbeer himself as the best . She sang them, as one critic aptly put it: with her powerful voice of spotless purity and ennobled by the deepest feeling of what she gives in tones. Pauline, who only three years ago had been a chorister at the Vienna Court Opera, went from Prague to Berlin as the prima donna of the Royal Opera. Since she had to terminate her engagement in Prague, which did not expire until April 1861, and as a result of the earlier concluded Berlin contract she assumed new obligations before she had dissolved the old ones, the Prague stage thereby gained the advantages of a compromise, according to which she after on the 1 April 1861 entering Berlin engagement, in the summer of the same year and in early 1862 received a three-month leave to sing in Prague, on which occasion she also appeared as a guest at the Vienna Court Opera Theater. In 1863 she sang as a guest at the Conventgarten Theater in London and achieved her successes alongside Patti, which she also excelled as a dramatic singer. When in the following year, in which the German-Danish conflict broke out and the English had not shamed themselves in presenting shameless attacks on Germany in their journals, she found herself again in guest roles in London, she was suddenly, after she had only sung three times . disappeared from London and on 5. Arrived back in Berlin in June. “I am an Austrian and employed by the King of Prussia for my entire life, so I can no longer stand to see how the Kaiser and the King, together with Allen the Germans, are mocked by this boring nation; I don't sing a note anymore"; spoke it and had left London. The brave singer lost a significant sum as a result of this honorable breach of contract. One in June from the Berlin Monday newspaper Fortunately, the news that Pauline Lucca had died in Reichenhall turned out to be false. In 1865 she performed smaller guest performances in Hanover and Hamburg. It is easy to understand that she soon became the declared favorite of the public in Berlin, industry also exploited her name and in the summer of 1865 Lucca hats, Lucca robes and mantillas, Lucca nets and the like were displayed in the shop windows of Berlin shops. m. On the 25th On November 1, 1865, she married the Prussian Lieutenant von Rhaden, on which occasion she received many tokens of favor from the royal court. However, the artist does not leave the stage. As significant as an artist, she is perky and lovely in life. The naturalness of the Austrian helps her to some victories and leads her to her goal more quickly. Her joke is apt when her photographed portrait, which shows her sitting next to Bismarck, was confiscated in Berlin. Schiller, she exclaimed, sings: "The singer should go with the king, why can't the singer sit with his minister"? In peacetime we let our neighbor kidnap a great treasure through carelessness, perhaps the latest “German war” – if we consider the genuinely patriotic nature of the artist – will bring it back to us again.