Striking large format Dupont of Paris photograph the most famous actress of the 19th century, in her famous white costume, as Napoleon II in L'Aiglon. She signs in black ink, "Aux Villemins / deux etres charmantes que j'aime" ("two charming beings whom I love"). Gelatin silver print on cardboard, Aimé Dupont, circa 1900. Slight fading along the bottom edge, one small crease around Bernhardt's right boot, a few small spots of surface wear. Unexamined out of frame, overall fine. 13 x 10 inches (33 x 25 cm). Framed to 16.75 x 30 inches.
The inscription is to Cecile and Emile Villemin, who immigrated from France in 1914 to the US and together founded the Cercle des Annales. Emile was a well known author and lecturer and during the World War, Cecile fostered United States sympathy for France and was decorated by the French Academy for activities in the promotion of world peace.
Sarah Bernhardt was an actress in a category of her own. Mark Twain (quoted in the program for Bernhardt’s 1912-1913 American tour) famously said “There are five kinds of actresses: bad actresses, fair actresses, good actresses, great actresses, and Sarah Bernhardt.” She was also known for playing male characters, including Hamlet, and here, she is seen in "L'Aiglon" by Edmond Rostand. Written in 1900, the drama centers on Napoleon II, the son of Emperor Napoleon I, whose nickname "the Eaglet" gives the play its title. Created specifically for Bernhardt, she premiered it in Paris and the work became one of her signature roles.
Sometimes attributed to fashion designer Paul Poiret, it is unclear to what extent he actually contributed to this famous costume design. Palmer White says that Poiret designed the famous white uniform, but that a rude remark Poiret made during a rehearsal led Bernhardt to demand that his employer, Jacques Doucet, fire him, which White says he did (Poiret le Magnifique, Paris, 1986, p. 47). Yvonne Deslandres says he was "charged with creating the costumes for Sarah Bernhardt in L'Aiglon," but dis-missed because of an arrogant remark. (Paul Poiret, New York, 1986. p. 36).
Striking large format Dupont of Paris photograph the most famous actress of the 19th century, in her famous white costume, as Napoleon II in L'Aiglon. She signs in black ink, "Aux Villemins / deux etres charmantes que j'aime" ("two charming beings whom I love"). Gelatin silver print on cardboard, Aimé Dupont, circa 1900. Slight fading along the bottom edge, one small crease around Bernhardt's right boot, a few small spots of surface wear. Unexamined out of frame, overall fine. 13 x 10 inches (33 x 25 cm). Framed to 16.75 x 30 inches.
The inscription is to Cecile and Emile Villemin, who immigrated from France in 1914 to the US and together founded the Cercle des Annales. Emile was a well known author and lecturer and during the World War, Cecile fostered United States sympathy for France and was decorated by the French Academy for activities in the promotion of world peace.
Sarah Bernhardt was an actress in a category of her own. Mark Twain (quoted in the program for Bernhardt’s 1912-1913 American tour) famously said “There are five kinds of actresses: bad actresses, fair actresses, good actresses, great actresses, and Sarah Bernhardt.” She was also known for playing male characters, including Hamlet, and here, she is seen in "L'Aiglon" by Edmond Rostand. Written in 1900, the drama centers on Napoleon II, the son of Emperor Napoleon I, whose nickname "the Eaglet" gives the play its title. Created specifically for Bernhardt, she premiered it in Paris and the work became one of her signature roles.
Sometimes attributed to fashion designer Paul Poiret, it is unclear to what extent he actually contributed to this famous costume design. Palmer White says that Poiret designed the famous white uniform, but that a rude remark Poiret made during a rehearsal led Bernhardt to demand that his employer, Jacques Doucet, fire him, which White says he did (Poiret le Magnifique, Paris, 1986, p. 47). Yvonne Deslandres says he was "charged with creating the costumes for Sarah Bernhardt in L'Aiglon," but dis-missed because of an arrogant remark. (Paul Poiret, New York, 1986. p. 36).