Stage jewels of the Comédie-Française

Collective, under the direction of Guillaume Glorieux and Agathe Sanjuan

This book provides the public with an unprecedented look at around 40 of these stage jewels from the Parisian theater, dating from the late 18th century to the 1980s, enriched with costumes, graphic works, and archival documents, to understand both their historical and symbolic dimensions.

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Overview

Crowns, tiaras, jewel-ornaments, and bracelets: the unsuspected treasures of the illustrious Comédie-Française, founded in Paris in 1680, have been restored to their original splendor and are once again shining brightly. Worn by the greatest actors and actresses of their time, from Talma to Geneviève Casile and Sarah Bernhardt, they were designed to create an illusion on the head of an emperor, on the neck of a queen, or on the arms of a tragedienne: faux par excellence, these jewels embody an essential role that goes far beyond that of a simple stage accessory.

Crafted from cut or colored glass, copper and brass, pewter or silver-gilt, they are marvelous imitations of precious stones, diamonds, and antique cameos, as well as gold and silver. The extreme complexity and ingenuity of their workmanship bear witness to the unique skills of the jewelers of their time. This book provides the public with an unprecedented look at around 40 of these stage jewels from the Parisian theater, dating from the late 18th century to the 1980s, enriched with costumes, graphic works, and archival documents, to understand both their historical and symbolic dimensions.

Olivier Segura

Contributor to Stage Jewels, Gemologist and Director of L’ÉCOLE, School of Jewelry Arts Asia Pacific

Because it includes a large number of objects created to ‘perform like the real thing,’ the Comédie-Francaise’s collection of theatrical jewelry is a formidable repository of the materials used and the savoir-faire deployed between the 18th and 20th centuries.

Crown said to be that of Mademoiselle Raucourt as Cleopatra (Rodogune by Pierre Corneille), c. 1807, gilded copper alloy, blown glass pearls, leaded glass, textiles, Paris, Comédie-Française.

Édouard Dubufe, portrait of actress Rachel in the role of Camille (Horace by Pierre Corneille), 1850, Paris, Comédie-Française.

Jean-Pierre Barlier, tiara worn by Martine Chevallier and Véronique Vella in the role of Esther (Esther by Jean Racine), 1987, metal alloy, ceramic beads, lapis lazuli beads, black velvet, netting, and foam, Paris, Comédie-Française.

Pearl comb mounted on cannetille, 19th century, gilded copper alloy, imitation glass pearls, silver, Paris, Comédie-Francaise.

Pearl comb mounted on cannetille (detail), 19th century, gilded copper alloy, imitation glass pearls, silver, Paris, Comédie-Francaise.

Details

Authors: Collective, under the direction of Guillaume Glorieux and Agathe Sanjuan. With contributions from Thalia Bajon-Bouzid, Charlotte Bellando, Laura Caru, Sarah Dubuisson-Gonnet, Annaëlle Gobinet-Choukron, Claudette Joannis, Sabine Lubliner-Mattalia, Olivier Segura and Grégory Weinstock.

Publishers: L’ÉCOLE, School of Jewelry Arts - Gallimard

Publication: September 2023

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