Elisabeth Rachel Félix, widely known as Mademoiselle Rachel, was a seminal figure in 19th-century French theatre. Rachel was born on February 28, 1821, near Mumpf, Switzerland, to Jewish merchants Jacques and Thérèse-Esther Félix. The family settled in Paris's Marais district in 1831, where Rachel and her sister Sarah performed as street musicians. Their talents caught the attention of musician Étienne Choron, leading to formal training in acting and music. Rachel's early education included studies at the Théâtre Molière and the Conservatoire, where she honed her craft under the guidance of Joseph-Isidore Samson.

Rachel's professional debut occurred in 1837 at the Théâtre du Gymnase. The following year, she joined the prestigious Comédie-Française, debuting as Camille in Corneille's "Horace." Her performances were lauded for their emotional depth and adherence to classical styles, breathing new life into the works of Racine and Corneille during an era dominated by Romanticism.

In 1841, Rachel's performances in London garnered widespread acclaim, captivating audiences and critics alike. Her portrayal of Phèdre in Racine's tragedy was particularly celebrated, with contemporaries praising her intense emotional expression and commanding stage presence. Her influence extended beyond France, inspiring characters in literature, such as Vashti in Charlotte Brontë's "Villette".

Rachel's personal life was as notable as her professional achievements. She engaged in high-profile relationships, including with Louis-Napoléon Bonaparte (later Napoleon III) and Count Walewski, with whom she had a son. Despite societal prejudices, she remained a proud Jew and managed her career astutely, securing favorable contracts that allowed for international tours.
Her untimely death from tuberculosis on January 3, 1858, in Le Cannet, France, marked the end of a remarkable career. Rachel's contributions to theatre not only revitalized classical French drama but also paved the way for future generations of actors. She is interred at Père Lachaise Cemetery in Paris, her tomb a testament to her enduring legacy.

The sixth-plate daguerreotype on offer was made at the well-known New York City studio of Josiah Thompson, on Broadway, near Franklin Street while Rachel was on tour in America in 1855. She appears wrapped in a shawl with a simple, thin headband around her hair. The daguerreotype is delicately hand-tinted. While on tour in America, she fell ill, and was unable to continue her performances. She died three years later of tuberculosis.

She is buried in a mausoleum in the Jewish part of Père Lachaise Cemetery; Avenue Rachel in the Montmartre neighborhood of Paris was named after her. The English theatre critic James Agate published a biography of her in 1928.

Josiah W. Thompson (d. 1908) operated daguerreotype galleries at several locations in New York City, including 363 Broadway (near Franklin St) which he bought from esteemed photographer Marcus Aurelius Root. Thompson partnered with other accomplished practitioners over his career, including Samuel Root and Joseph D. Davis, the latter of whom he collaborated with from 1854 to 1855. Thompson may have continued active in photography as late as 1905, just a few years before his death.