The Duke and Duchess of Cambridge greeted by five-year-old, Mataawhio Matahaere-vieint, with a traditional Maori greeting as they arrive in Dunedin
Source: Daily Mail
TRAINED and JET BEADED HIGH NECK GOWN, c. 1899. 2-piece black net studded allover with jet beads over ivory silk satin, boned long sleeve bodice puffed high at shoulder, wired revers and small peplum, decorated with bands of black sequins and beads in a pattern of bows and flowers, lace high neck insert, skirt having decorated front panel and back band. Detroit label.
SILK BUSTLE DRESS with BEADED TRIM, c. 1880. 2-piece claret satin and taffeta having fringe, buttons and crescent ornament, boned polonaise bodice ruched into back bow, lace collar, underskirt decorated with bands of ruching and pleats, brown cotton lining.
Court dress panel
- Place of origin:
ca. 1780 (made)
- Materials and Techniques:
Embroidered silk satin with silks, velvet appliqué, chenille, metal purl, swansdown
This magnificent embroidered panel was intended for a woman’s Court mantua. It shows the high standard of French needlework and the sequence of decorating and sewing up these opulent formal garments. A length of cream silk satin has had the outline of a panel drawn onto it, which has then been decorated to shape. When cut out and sewn, it would have formed the left side of the wearer’s train at the back of the mantua. The matching petticoat would have been embroidered with the same pattern.
The rich labour-intensive work shows 18th century French embroidery at its most complex. The cream satin ground has pink, mauve and green silk appliqué, folded to create the illusion of swagged fabric drapes. Swansdown, coloured metal threads, chenille embroidery, and small beads of padded satin add further detail and texture. The flowers are cut out of velvet and appliquéd, whilst the leaves and peacock feathers are embroidered.
Courtesy of V&A Collections, UK
A Letter from My Beau. Konstantin Razumov (Russian, born 1974).
Razumov has painted all kinds of subjects, from nudes to landscapes. His bright colours, the smoothness of the skin in his nudes, the expressive features of his characters, distinguish his paintings. Razumov has a vibrant shimmering brushstroke plus a mastery of light and excellent draftmanship.
La Réponse à la lettre. Jean-Augustin Franquelin (French, 1798-1839). Oil on canvas. Musée du Louvre. Paris.
A young woman hastens to answer the letter from her lover. The woman reading and writing appears to be of high class based on her dress, the interior, and the fact that she has learned to read and write. Perhaps the second woman is a servant, awaiting the completion of the letter so she can mail it forthwith.
Waiting (c.1879-1882). Edgar Degas (French, 1834-1917). Pastel on beige laid paper. The J. Paul Getty Museum, Los Angeles.
By 1880 Degas was able to accomplish the beautiful details of the hands and slippers with the same brilliance as the varied texture of the feathery tulle and the coarse wooden floor. At the same time, the extreme opposites of black and white in the costumes of the dancer and her chaperone dominate the scene, and they reflect Degas’s adept plays of dark and light.
The Tsarina’s Fabergé Clock,
triangular, gold centred by a white enamel dial, with Arabic chapters and openwork gold hands held beneath glass in a half pearl set bezel, its corners enamelled translucent fuchsia over a sunburst guillochage and painted beneath the enamel with dendritic motifs, the edge enamelled with alternating leaves and berries, stoodon two ball feet and supported on a scrolled gold strut.
Chief Workmaster: Michael Evamplevitch Perchin,
Purchased by Tsar Nicholas II and Tsarina Alexandra Feodorovna on
4th December 1901 for 215 roubles.
Exhibited by The Tsarina in the exhibition of Artistic Objects and Miniatures by Fabergé held in March 1902 in the Von Dervise Mansion on the English Embankment, St. Petersburg. The exhibition was sponsored by the Tsarina and held in aid of the Imperial Women’s Patriotic Society Schools. Members of the Imperial Family, including the Tsar, Tsarina and Dowager Tsarina lent their personal treasures and it was the first exhibition of Fabergé ‘s work. The clock was placed by the Tsarina in its vitrine between a pair of Fabergé frames containing portraits of her husband and her daughter Grand Duchess Olga, now in the collection of the India Early Minshall Collection of the Cleveland Museum
of Art and in front of a gold mounted Fabergé book given by the Tsar to the Tsarina on the day of their coronation in May 1896, now in the collection of the Kremlin, Moscow.