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1913 VICTOR TALKING MACHINE CAMDEN CARUSO MUSIC DANCE SING VINTAGE ART AD CQ17 Item Condition: « A » VERY GOOD, PERFECT FOR FRAMING AND DISPLAYING. **NOTE** : PAGES MAY SHOW AGE WEAR AND IMPERFECTIONS TO MARGINS, WITH CLOSED NICKS AND CUTS, WHICH DO NOT AFFECT AD IMAGE OR TEXT WHEN MATTED AND FRAMED. DATE OF THIS ** ORIGINAL ** ADVERTISEMENT / ADVERT / AD: 1913DATE PRINTED ON ITEM: YES GREAT DECOR / ART FOR: HOME OFFICE STUDIO SHOP LOFT SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS: The Victor Talking Machine Company was an American flagship record company headquartered in Camden, New Jersey. The company was founded by Eldridge R. Johnson, who had previously made gramophones to play Emile Berliner’s disc records.[1] After a series of legal wranglings between Berliner, Johnson and their former business partners, the two joined to form the Consolidated Talking Machine Co. in order to combine the patents for the record with Johnson’s patents improving its fidelity. Victor Talking Machine Co. was incorporated officially in 1901 shortly before agreeing to allow Columbia Records use of its disc record patent. Inception[edit] Victor had acquired the rights in the United States and Latin America to use the famous trademark of the fox terrier Nipper listening to a gramophone when Berliner and Johnson joined their fledgling companies. (See also His Master’s Voice.) The original painting was an oil on canvas by Francis Barraud in 1898 as a memorial to his deceased brother, a London photographer, who willed him his estate including his DC-powered Edison-Bell cylinder phonograph with a case of cylinderssome home-recordedand his dog Nipper. Barraud noticed that whenever he played a cylinder recorded by his brother, the little dog would run to the horn, cock his ear and listen intently. Barraud’s original depicts Nipper staring intently into the horn of an Edison-Bell while both sit on a polished wooden surface. The horn on the Edison-Bell machine was black and after a failed attempt at selling the painting to a cylinder record supplier of Edison Phonographs in the UK, a friend of Barraud’s suggested that the painting could be brightened up (and possibly made more marketable) by substituting one of the brass-belled horns on display in the window at the new gramophone shop on Maiden Lane. The London branch was managed by an American, William Barry Owen. Barraud paid a visit with a photograph of the painting and asked to borrow a horn. Owen gave Barraud an entire gramophone and asked him to paint it into the picture, offering to buy the result. The original painting still shows the contours of the Edison-Bell phonograph beneath the paint of the gramophone when viewed in the correct light.[1] Only 13 originally commissioned « His Master’s Voice » paintings were commissioned by the company[citation needed] and the original belongs to the archives at EMI (the successor company to Victor’s partner in the United Kingdom). In 1915, the « His Master’s Voice » logo was rendered in immense circular leaded-glass windows in the tower of the Victrola factory building. The tower remains today with replica windows installed during Radio Corporation of America’s ownership of the plant in its later years. Today, one of the original windows is located at the Smithsonian museum in Washington, D.C.[2] Enrico Caruso (Italian pronunciation: [en’ri?ko ka’ru?zo]; February 25, 1873 – August 2, 1921) was an Italian operatic tenor. He sang to great acclaim at the major opera houses of Europe and the Americas, appearing in a wide variety of roles from the Italian and French repertoires that ranged from the lyric to the dramatic. Caruso also made approximately 260 commercially released recordings from 1902 to 1920. All of these recordings, which span most of his stage career, are available today on CDs and as digital downloads. Life and career[edit] Early life[edit] Enrico Caruso in the role of Dick Johnson, 1910/1911 Enrico Caruso came from a poor but not destitute background. Born in Naples in the Via San Giovannello agli Ottocalli 7 on February 25, 1873, he was baptised the next day in the adjacent Church of San Giovanni e Paolo. Called Errico in accordance with the Neapolitan language, he would later adopt the formal Italian version of his given name, Enrico (the equivalent of « Henry » in English). This change came at the suggestion of a singing teacher, Guglielmo Vergine, with whom he began lessons at the age of 16. Caruso was the third of seven children and one of only three to survive infancy. There is a story of Caruso’s parents having had 21 children, 18 of whom died in infancy. However, on the basis of genealogical research (amongst others conducted by Caruso family friend Guido D’Onoforio), biographers Pierre Key,[2] Francis Robinson,[3] and Enrico Caruso Jr. & Andrew Farkas,[4] have proven this to be an urban legend. Caruso himself and his brother Giovanni may have been the source of the exaggerated number.[5] Caruso’s widow Dorothy also included the story in a memoir that she wrote about her husband. She quotes the tenor, speaking of his mother, Anna Caruso (ne Baldini): « She had twenty-one children. Twenty boys and one girl – too many. I am number nineteen boy. »[6] Caruso’s father, Marcellino, was a mechanic and foundry worker. Initially, Marcellino thought his son should adopt the same trade, and at the age of 11, the boy was apprenticed to a mechanical engineer named Palmieri who constructed public water fountains. (Whenever visiting Naples in future years, Caruso liked to point out a fountain that he had helped to install.) Caruso later worked alongside his father at the Meuricoffre factory in Naples. At his mother’s insistence, he also attended school for a time, receiving a basic education under the tutelage of a local priest. He learned to write in a handsome script and studied technical draftsmanship.[7] During this period he sang in his church choir, and his voice showed enough promise for him to contemplate a possible career in music. Caruso was encouraged in his early musical ambitions by his mother, who died in 1888. To raise cash for his family, he found work as a street singer in Naples and performed at cafes and soirees. Aged 18, he used the fees he had earned by singing at an Italian resort to buy his first pair of new shoes. His progress as a paid entertainer was interrupted, however, by 45 days of compulsory military service. He completed this in 1894, resuming his voice lessons with Vergine upon discharge from the army. Early career[edit] At the age of 22, Caruso made his professional stage debut. The date was March 15, 1895 at the Teatro Nuovo in Naples. The work in which he appeared was a now-forgotten opera, L’Amico Francesco, by the amateur composer Domenico Morelli. A string of further engagements in provincial opera houses followed, and he received instruction from the conductor and voice teacher Vincenzo Lombardi that improved his high notes and polished his style. Three other prominent Neapolitan singers taught by Lombardi were the baritones Antonio Scotti and Pasquale Amato, both of whom would go on to partner Caruso at the Met, and the tenor Fernando De Lucia, who would also appear at the Met and later sing at Caruso’s funeral. Money continued to be in short supply for the young Caruso. One of his first publicity photographs, taken on a visit to Sicily in 1896, depicts him wearing a bedspread draped like a toga since his sole dress shirt was away being laundered. At a notorious early performance in Naples, he was booed by a section of the audience because he failed to pay a claque to cheer for him. This incident hurt Caruso’s pride. He never appeared again on stage in his native city, stating later that he would return « only to eat spaghetti ». During the final few years of the 19th century, Caruso performed at a succession of theaters throughout Italy until, in 1900, he was rewarded with a contract to sing at La Scala in Milan, the country’s premier opera house. His La Scala debut occurred on December 26 of that year in the part of Rodolfo in Giacomo Puccini’s La bohme with Arturo Toscanini conducting. Audiences in Monte Carlo, Warsaw and Buenos Aires also heard Caruso sing during this pivotal phase of his career and, in 1899–1900, he appeared before the Tsar and the Russian aristocracy at the Mariinsky Theatre in Saint Petersburg and the Bolshoi Theatre in Moscow as part of a touring company of first-class Italian singers. The first major operatic role that Caruso was given the responsibility of creating was Loris in Umberto Giordano’s Fedora, at the Teatro Lirico, Milan, on November 17, 1898. At that same theater, on November 6, 1902, he would create the role of Maurizio in Francesco Cilea’s Adriana Lecouvreur. (Puccini considered casting the young Caruso in the role of Cavaradossi in Tosca at its premiere in 1900, but ultimately chose the older, more established Emilio De Marchi instead.) The medal that Enrico Caruso gave to Pasquale Simonelli,[8] his New York City impresarioObverse: Caruso facing left. Lower right: Salanto, medal maker’s signature. Reverse: Muse of musicwith lyre over PER RICORDO (memento). Around the rim:TIFFANY & Co. 24 CARAT GOLD Y (27 mm). Caruso took part in a « grand concert » at La Scala in February 1901 that Toscanini organised to mark the recent death of Giuseppe Verdi. Among those appearing with him at the concert were two other leading Italian tenors of the day, Francesco Tamagno (the creator of the protagonist’s role in Verdi’s Otello) andGiuseppe Borgatti (the creator of the protagonist’s role in Giordano’s Andrea Chnier). He embarked on his last series of La Scala performances in March 1902, creating along the way the principal tenor part inGermania by Alberto Franchetti. A month later, on April 11, he was engaged by the Gramophone & Typewriter Company to make his first group of acoustic recordings, in a Milan hotel room, for a fee of 100 pounds sterling. These ten discs swiftly became best-sellers. Among other things, they helped to spread 29-year-old Caruso’s fame throughout the English-speaking world. The management of London’s Royal Opera House, Covent Garden, signed him for a season of appearances in eight different operas ranging from Verdi’s Aida to Don Giovanni by Mozart. His successful debut at Covent Garden occurred on May 14, 1902, as the Duke of Mantua in Verdi’s Rigoletto. Covent Garden’s highest-paid diva, the Australian soprano Nellie Melba, partnered him as Gilda. They would sing together often during the early 1900s. In her memoirs, Melba praised Caruso’s voice but considered him to be a less sophisticated musician and interpretive artist than Jean de Reszkethe Met’s biggest tenor drawcard prior to Caruso. The Metropolitan Opera[edit] The following year, 1903, Caruso traveled to New York City to take up a contract with the Metropolitan Opera. (The gap between his London and New York engagements was filled by a series of performances in Italy, Portugal and South America.) Caruso’s Met contract had been negotiated by his agent, the banker and impresario Pasquale Simonelli. Caruso’s debut at the Met was in a new production of Rigoletto on November 23, 1903. This time, Marcella Sembrich sang opposite him as Gilda. A few months later, he began a lasting association with the Victor Talking Machine Company. He made his first American records on February 1, 1904, having signed a lucrative financial deal with Victor. Thereafter, his recording career ran in tandem with his Met career, the one bolstering the other, until his death in 1921. Caruso purchased the Villa Bellosguardo, a palatial country house near Florence, in 1904. The villa became his retreat away from the pressures of the operatic stage and the grind of travel. Caruso’s preferred address in New York City was a suite at Manhattan’s Knickerbocker Hotel. (The Knickerbocker was erected in 1906 on the corner of Broadway and 42nd Street.) Caruso commissioned the New York jewelers Tiffany & Co. to strike a 24-carat-gold medal adorned with the tenor’s profile. He presented the medal in gratitude to Simonelli as a souvenir of his many well-remunerated performances at the Met (see illustration, above). In addition to his regular New York engagements, Caruso gave recitals and operatic performances in a large number of cities across the United States and sang in Canada. He also continued to sing widely in Europe, appearing again at Covent Garden in 1904–07 and 1913–14; and undertaking a UK tour in 1909.[9] Audiences in France, Belgium, Monaco, Austria, Hungary and Germany heard him, too, prior to the outbreak of World War I. In 1909, Melba asked him to participate in her forthcoming tour of Australia; but he declined the invitation because of the significant amount of travel time that such a trip would entail. Members of the Met’s roster of artists, including Caruso, had visited San Francisco in April 1906 for a series of performances. Following an appearance as Don Jose in Carmen at the city’s Grand Opera House, a strong jolt awakened Caruso at 5:13 on the morning of the 18th in his suite at the Palace Hotel. He found himself in the middle of the San Francisco earthquake, which led to a series of fires that destroyed most of the city. The Met lost all the sets, costumes and musical instruments that it had brought on tour but none of the artists was harmed. Holding an autographed photo of President Theodore Roosevelt, Caruso ran from the hotel, but was composed enough to walk to the St. Francis Hotel for breakfast. Charlie Olson, the broiler cook, made the tenor bacon and eggs. Apparently the quake had no effect on Caruso’s appetite, as he cleaned his plate and tipped Olson $2.50.[10] Caruso made an ultimately successful effort to flee the city, first by boat and then by train. He vowed never to return to San Francisco and kept his word.[11][12] In November 1906, Caruso was charged with an indecent act allegedly committed in the monkey house of New York’s Central Park Zoo. The police accused him of pinching the buttocks of a married woman. Caruso claimed a monkey did the bottom-pinching. He was found guilty as charged, however, and fined 10 dollars, although suspicions linger that he may have been entrapped by the victim and the arresting officer. The leaders of New York’s opera-going high society were outraged initially by the incident, which received widespread newspaper coverage, but they soon forgot about it and continued to attend Caruso’s Met performances.[13] Caruso’s fan base at the Met was not restricted, however, to the wealthy. Members of America’s middle classes also paid to hear him singor buy copies of his recordingsand he enjoyed a substantial following among New York’s 500,000 Italian immigrants. Caruso created the role of Dick Johnson in the world premiere of Puccini’s La fanciulla del West on December 10, 1910. The composer conceived the music for the tenor hero with Caruso’s voice specifically in mind. With Caruso appeared two more of the Met’s star singers, the Czech soprano Emmy Destinn and baritone Pasquale Amato. Toscanini, then the Met’s principal conductor, presided in the orchestra pit. ILLUSTRATOR/ARTIST: BERT PARISADVERT SIZE: SEE PHOTO FOR DIMENSIONS (ALL DIMENSIONS IN INCHES) **For multiple purchases please wait for our combined invoice. Shipping discount are ONLY available with this method. Thank You. At BRANCHWATER BOOKS we look for rare & unusual ADVERTISING, COVERS + PRINTS of commercial graphics from throughout the world. ALL items we sell are ORIGINAL and 100% guaranteed — (we code all our items to insure authenticity) —- we stand behind this. As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past. PLEASE LOOK AT OUR PHOTO CLOSELY AS IT IS (ALBEIT LOWER RESOLUTION) THE PRODUCT BEING SOLD…..NOT STOCK IMAGES We ship via United States Postal Service. We have a 3 day handling time not including weekends or holidays. A Note to our international buyers (Including Canada). 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