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'Edwardian Opulence' At Yale Center For British Art
To make one, manufacturers had to run dozens of dull, drab, gray feathers through a lengthy cleansing and fluffing process to make them perfectly clean, light and floaty. They were bound together with a handle made from the shells of hundreds of tortoises. That handle was sometimes encrusted with diamonds from one of Africa's British owned diamond mines.
The fan that came out of this process was soft, feminine, exquisite, fragile, and cost a small fortune. "It was a profligate, almost inconceivable degree of elite consumption," says Angus Trumble.
Trumble, co curator of "Edwardian Opulence," the new exhibit at Yale Center for British Art, says things haven't changed much. "You go into Barney's and see $5,000 for a pair of shoes."
The exhibit, Trumble says, can be used as a "cultural mirror" to show comparisons between the lavish lifestyles of the rich and titled of 100 years ago and the world of today, where the gap between the rich and the poor gets wider every year. "This period and subject . have more to say to us than I think we realize at face value."
The period is even more relevant, he says, with the 100th anniversary of the start of World War I coming up in summer 2014 and the popularity of the Edwardian and post Edwardian era PBS TV show "Downton Abbey."
The exhibit features dozens of items that demonstrate how the wealthy lived in the decade after longtime monarch Queen Victoria died and her son, Edward, held the throne. Their lifestyles reflected the arrogance that was the inevitable result of being among the elite class in the hub of the world's largest empire, which, Trumble says, "had the imperial pretensions akin to the last days of the Roman Empire."
"Edwardian Opulence" also delves into the decline of this lifestyle. "This is a decade of social mobility, the aristocracy being infiltrated. . Their political power was being removed constitutionally,rolex date imitation," Trumble says. "Whatever this is, it is emphatical not Victorian. It's not modern either."
The exhibit opens in spectacular fashion, with a large display case featuring a dress owned by Mary Curzon. Curzon was the daughter of the founder of Marshall Fields department store in Chicago, and the wife of the Viceroy of India, a trendy Edwardian marriage of "American new money and impoverished aristocracy,rolex daytona watch imitation," Trumble says. After the white silk dress with the long train was delivered from House of Worth in Paris, Curzon had it embroidered with gold and silver thread by skilled Indian artisans.
"She very carefully cultivated her persona," Trumble says. "She combined exotic reverie with the English ruling stance. Her body transmitted these signals to people around her."
Another woman who carefully presented herself to the world was Evelyn Cavendish, Duchess of Devonshire. A painting of her by John Singer Sargent, in which she wears a diamond brooch and enormous diamond earrings, hangs behind a showcase of those very pieces of jewelry.
More diamonds on display are a pair of gorgeous fern brooches by Cartier, designed to be worn together or separately, and a tiara worn by Maria Consuelo, Duchess of Manchester.
"Diamonds are a thread that flow through this exhibit," Trumble says. In that era, diamonds were transported from Kimberley, South Africa, to processors in Amsterdam, who cut them and vastly increased their value.
Diamonds and other precious stones are seen on Faberg bell pushes, which were installed in homes of the wealthy at the same time electricity was installed,fake rolex daytona for ladies, to sound a bell to summon a servant.
Silver, too, is a focus of the exhibit, with several household items on display, including an 1899 centerpiece that is so ornate, in the style of the rococo revival of that period, that it borders on ugly. Another rococo revival item in the show is a chaise lounge,rolex daytona imitation, surrounded by wall hangings by Charles Corder being exhibited together for the first time in 110 years.
A variety of photographs show Edwardian ladies and gentlemen in the most extravagant of their clothings, including bridal gowns and crowns. A fascinating segment of the exhibit is made up of autochrome color photographs of aristocrats and average people, including one of King Edward VII himself, wearing a kilt and holding a cane.
Short silent film clips of life in London range from royal processionals to common street scenes. The latter which show motorcars piled together in some of the earliest ever traffic jams are a silly and charming respite from all the pageantry.
To make one, manufacturers had to run dozens of dull, drab, gray feathers through a lengthy cleansing and fluffing process to make them perfectly clean, light and floaty. They were bound together with a handle made from the shells of hundreds of tortoises. That handle was sometimes encrusted with diamonds from one of Africa's British owned diamond mines.
The fan that came out of this process was soft, feminine, exquisite, fragile, and cost a small fortune. "It was a profligate, almost inconceivable degree of elite consumption," says Angus Trumble.
Trumble, co curator of "Edwardian Opulence," the new exhibit at Yale Center for British Art, says things haven't changed much. "You go into Barney's and see $5,000 for a pair of shoes."
The exhibit, Trumble says, can be used as a "cultural mirror" to show comparisons between the lavish lifestyles of the rich and titled of 100 years ago and the world of today, where the gap between the rich and the poor gets wider every year. "This period and subject . have more to say to us than I think we realize at face value."
The period is even more relevant, he says, with the 100th anniversary of the start of World War I coming up in summer 2014 and the popularity of the Edwardian and post Edwardian era PBS TV show "Downton Abbey."
The exhibit features dozens of items that demonstrate how the wealthy lived in the decade after longtime monarch Queen Victoria died and her son, Edward, held the throne. Their lifestyles reflected the arrogance that was the inevitable result of being among the elite class in the hub of the world's largest empire, which, Trumble says, "had the imperial pretensions akin to the last days of the Roman Empire."
"Edwardian Opulence" also delves into the decline of this lifestyle. "This is a decade of social mobility, the aristocracy being infiltrated. . Their political power was being removed constitutionally,rolex date imitation," Trumble says. "Whatever this is, it is emphatical not Victorian. It's not modern either."
The exhibit opens in spectacular fashion, with a large display case featuring a dress owned by Mary Curzon. Curzon was the daughter of the founder of Marshall Fields department store in Chicago, and the wife of the Viceroy of India, a trendy Edwardian marriage of "American new money and impoverished aristocracy,rolex daytona watch imitation," Trumble says. After the white silk dress with the long train was delivered from House of Worth in Paris, Curzon had it embroidered with gold and silver thread by skilled Indian artisans.
"She very carefully cultivated her persona," Trumble says. "She combined exotic reverie with the English ruling stance. Her body transmitted these signals to people around her."
Another woman who carefully presented herself to the world was Evelyn Cavendish, Duchess of Devonshire. A painting of her by John Singer Sargent, in which she wears a diamond brooch and enormous diamond earrings, hangs behind a showcase of those very pieces of jewelry.
More diamonds on display are a pair of gorgeous fern brooches by Cartier, designed to be worn together or separately, and a tiara worn by Maria Consuelo, Duchess of Manchester.
"Diamonds are a thread that flow through this exhibit," Trumble says. In that era, diamonds were transported from Kimberley, South Africa, to processors in Amsterdam, who cut them and vastly increased their value.
Diamonds and other precious stones are seen on Faberg bell pushes, which were installed in homes of the wealthy at the same time electricity was installed,fake rolex daytona for ladies, to sound a bell to summon a servant.
Silver, too, is a focus of the exhibit, with several household items on display, including an 1899 centerpiece that is so ornate, in the style of the rococo revival of that period, that it borders on ugly. Another rococo revival item in the show is a chaise lounge,rolex daytona imitation, surrounded by wall hangings by Charles Corder being exhibited together for the first time in 110 years.
A variety of photographs show Edwardian ladies and gentlemen in the most extravagant of their clothings, including bridal gowns and crowns. A fascinating segment of the exhibit is made up of autochrome color photographs of aristocrats and average people, including one of King Edward VII himself, wearing a kilt and holding a cane.
Short silent film clips of life in London range from royal processionals to common street scenes. The latter which show motorcars piled together in some of the earliest ever traffic jams are a silly and charming respite from all the pageantry.
The Wall