Favorite decades: 1910's, 1800's, 1870's
Favorite artists: Anthony van Dyck, Giovanni Boldini, Henry Fuseli, Thomas Lawrence
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Women’s dressing gown by Iida Takashimaya, ca 1900 Japan (Kyoto, for the Western market), the Museum of Fine Arts, Boston
Pink silk taffeta dressing gown in kimono style with embroidered naturalistic chrysanthemums and butterflies in polychrome silks. Silk plain weave lining, padded hem and pleat in back of robe. Full sleeves gathered at shoulders and trimmed with braided silk cord and tassles. Matching sash of pink silk taffeta with double-sided embroidery of chrysanthemums in green brown and pink polychrome silk with knotted silk fringe. Gown labeled: S. Iida “Takashimaya” Silks and Embroideries. Kyoto.
Men’s formal suit, 1770’s France, the Museum of Fine Arts, Boston
Coat: purple silk satin embroidered with polychrome silk yarns in chain stitch in floral motif at front line, vents, collar, cuffs pockets and flaps, buttons; stand-up collar, round cuffs with three buttons, padded upper chest, white silk satin lining. Breeches: purple silk satin, small fall, two fob and side pockets, brace buttons, embroidered knee bands and buttons, white fustian lining.
Formal dress, 1770’s France (made of Chinese silk), the Museum of Fine Arts, Boston
Louis XVI-style formal dress and petticoat of Chinese white silk with polychrome painted serpentine floral motifs. Robe: round neckline trimmed with pleated ruffle and cording, fitted bodice, sack (Watteau) back with two panels of pleats, elbow length fitted sleeves with double asymmetrical ruffles trimmed as neckline, moderate panier accomodating skirt with fullness pleated over pnaier into V-front natural waistline, front panels trimmed with ruffled ruching and corded trim; white linen bodice and sleeve linings. Underskirt: appliqued ruffled ruching on front, drawstrings at waist. 3 trimmed bows. Panel of same fabric. (Cf. 43.1633)
Dress, ca 1745 (restyled ca 1760) England, the Museum of Fine Arts, Boston
Yellow silk brocaded with polychrome silks in floral motifs. Robe: neck and front lines with matching bands of ruching; sack (Watteau) back with stitched-down pleats; short fitted sleeves with double asymmetrical ruffles; panier accomodating skirt with slits at hipline, fullness knife-pleated into waistline; linen bodice lining. Underskirt: fullness pleated into tie-tape waistband; scallped ruffle and ruching in ribbon motif applied to front.
Anne Sophia, Countess of Carnarvon by Anthony van Dyck, unknown date (ca 1630’s?) UK
Sold in 2010 to an unknown collector for £1,609,250 ($2,442,842).
A Woman Standing at a Harpsichord, a Man Seated by Her by Jacob Ochtervelt, 1675-80 (probably), The National Gallery (London)
Lady Francis Fairfax by (or in the style of) Marcus Gheeraerts the Younger, 1605-15, York Museums Trust
A Lady in a Garden taking Coffee with some Children by Nicolas Lancret, 1742 (probably), The National Gallery (London)
This painting, one of Lancret’s most ambitious of the works and often considered his masterpiece, was exhibited at the Salon of 1742. The subject is a pastoral idyll in contemporary dress. It may have been intended as a portrait of a particular family taking its ease in the kind of idealised park setting popularised by prints after the paintings of Watteau.
Informality is the keynote of both the landscape and the figures, who occupy the left part of the composition. A woman, presumably the mother, offers a spoonful of coffee to the younger child, observed by a man (presumably the father) who holds out a tray to a servant holding a silver coffee pot. The traditional title of the painting, ‘The Cup of Chocolate’ is, therefore, a misnomer. Behind the mother is the focal point of the setting, a stone vase filled with roses on an elaborate pedestal, which forms the left pier of the fountain basin to the right. The informality of the scene is underlined by the doll lying on the ground beside the fountain and the dog on the right rooting among the hollyhocks.