Ghost
Marie Antoinette (1755–1793), Queen of France, in a Court Dress by François Hubert Drouais, 1773 France, the Victoria & Albert Museum


François Hubert Drouais (1727-1775) was born in Paris. He trained with his father, Hubert Drouais (1699-1767) and then with Donat Nonotte (1708-1785), Carle van Loo (1705-1765), Charles-Joseph Natoire (1700-1777) and François Boucher (1703-1770). He became a member of the Académie Royale in 1755 and achieved quickly a great success as a portrait painter, receiving prestigious commissions, especially from the court.
This painting is a portrait of the Dauphine Marie-Antoinette, consort of the future king of France, Louis XVI, at the age of 17. It depicts the princess in a lavish court dress adorned with sumptuous jewels. This portrait was used as a model for a tapestry made in the Royal manufactory of the Gobelins by the Cozette father and son in 1775. This portrait is a good example of French state portraits of the 18th century and the representation of an almighty royalty about to fail in a few years time.

Marie Antoinette (1755–1793), Queen of France, in a Court Dress by François Hubert Drouais, 1773 France, the Victoria & Albert Museum

François Hubert Drouais (1727-1775) was born in Paris. He trained with his father, Hubert Drouais (1699-1767) and then with Donat Nonotte (1708-1785), Carle van Loo (1705-1765), Charles-Joseph Natoire (1700-1777) and François Boucher (1703-1770). He became a member of the Académie Royale in 1755 and achieved quickly a great success as a portrait painter, receiving prestigious commissions, especially from the court.

This painting is a portrait of the Dauphine Marie-Antoinette, consort of the future king of France, Louis XVI, at the age of 17. It depicts the princess in a lavish court dress adorned with sumptuous jewels. This portrait was used as a model for a tapestry made in the Royal manufactory of the Gobelins by the Cozette father and son in 1775. This portrait is a good example of French state portraits of the 18th century and the representation of an almighty royalty about to fail in a few years time.

(Source: BBC)

Deborah, Dowager Duchess of Devonshire’s Peeress’s Robes, worn at the Coronation of H.M. The Queen in 1953, possibly late 18th century with later alterations, Chatsworth


Cecil Beaton called Deborah ‘the most beautiful of all’ the peeresses in this off-the-shoulder robe, believed to have been reworked from an original worn by Georgiana, wife of the 5th Duke of Devonshire. In her memoirs, Deborah describes how she came to wear it:
"…Moucher [Mary Devonshire] was to have the robes that had been carefully put away by Granny Evie in 1937 after King George VI’s coronation. Chatsworth, as always, came to the rescue. There were a number of tin boxes…In the vain hope of finding something for me, we started going through them and, lo and behold, from beneath a ton of tissue paper in the box that had held Moucher’s, appeared a second crimson peeress’s robe. The velvet is of exceptional quality, so soft your fingers hardly know they’re touching it, and of such pure brilliant crimson as to make you blink." Deborah Devonshire, Wait for me! (John Murray, 2010)

Deborah, Dowager Duchess of Devonshire’s Peeress’s Robes, worn at the Coronation of H.M. The Queen in 1953, possibly late 18th century with later alterations, Chatsworth

Cecil Beaton called Deborah ‘the most beautiful of all’ the peeresses in this off-the-shoulder robe, believed to have been reworked from an original worn by Georgiana, wife of the 5th Duke of Devonshire. In her memoirs, Deborah describes how she came to wear it:

"…Moucher [Mary Devonshire] was to have the robes that had been carefully put away by Granny Evie in 1937 after King George VI’s coronation. Chatsworth, as always, came to the rescue. There were a number of tin boxes…In the vain hope of finding something for me, we started going through them and, lo and behold, from beneath a ton of tissue paper in the box that had held Moucher’s, appeared a second crimson peeress’s robe. The velvet is of exceptional quality, so soft your fingers hardly know they’re touching it, and of such pure brilliant crimson as to make you blink."
Deborah Devonshire, Wait for me! (John Murray, 2010)

Court dress and petticoat (robe à la française), ca 1775 Italy, Museum of Fine Arts, Boston

Court dress and petticoat (robe à la française), ca 1775 Italy, Museum of Fine Arts, Boston

Court dress (robe à la française and petticoat) in four parts, 1770’s France, Museum of Fine Arts, Boston

Court dress (robe à la française and petticoat) in four parts, 1770’s France, Museum of Fine Arts, Boston

Evening dress, ca 1928 - Bust is 82-86cm/32-34in, about a size 4-8 UK/0-4 US.
(Below) Wedding or court presentation dress, ca 1922 - Bust is 92cm/36in, about a size 12 UK/8 US.
Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 2:00 PM GMT (9:00 AM EST).  You will need to register to bid ahead of time.

Evening dress, ca 1928 - Bust is 82-86cm/32-34in, about a size 4-8 UK/0-4 US.

(Below) Wedding or court presentation dress, ca 1922 - Bust is 92cm/36in, about a size 12 UK/8 US.

Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 2:00 PM GMT (9:00 AM EST).  You will need to register to bid ahead of time.

Wedding or court presentation dress, early 1930’s England - Bust is 81cm/32in, about a size 4 UK/0 US.
Below:
(Left) Evening dress, late 1930’s - Bust is 86cm/34in, about a size 8 UK/4 US.
(Right) Evening dress, ca 1940 - Measurements are the same as the other evening dress.
Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 2:00 PM GMT (9:00 AM EST).  You will need to register to bid ahead of time.

Wedding or court presentation dress, early 1930’s England - Bust is 81cm/32in, about a size 4 UK/0 US.

Below:

(Left) Evening dress, late 1930’s - Bust is 86cm/34in, about a size 8 UK/4 US.

(Right) Evening dress, ca 1940 - Measurements are the same as the other evening dress.

Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 2:00 PM GMT (9:00 AM EST).  You will need to register to bid ahead of time.

Court suit, 1770 France, The Mint Museum (Randolph Rd)
Worn to the wedding of King Louis XVI and Marie-Antoinette.  I’ve seen this suit a number of times in person, but I never knew this.

Court suit, 1770 France, The Mint Museum (Randolph Rd)

Worn to the wedding of King Louis XVI and Marie-Antoinette.  I’ve seen this suit a number of times in person, but I never knew this.

(Source: mintmuseum.org)

charlestonmuseum:

Light green satin evening dress, c. 1932. This stylish gown with a magnificent Art Deco design rhinestone ornamentation on the back was worn by the donor’s sister, Eleanor Middleton Rutledge Hanson (1894-1966) for her second court visit at Buckingham Palace in 1932. There is a matching shoulder cape.

Eleanor met Annapolis graduate Ralph Trowbridge Hanson at the Charleston Navy Yards and married him in 1915. His Naval service took him to many posts, including London where he served at the assistant naval attaché at the American Embassy. While in England, the Hansons were commanded to appear twice at the Court of St. James while Andrew W. Mellon was the American Ambassador.

This dress is currently on exhibit in Charleston Couture. Come visit it for yourself!

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection.  Some items have been on exhibit, some will eventually be shown in our new Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

omgthatdress:

Queen Elizabeth II’s Coronation Ensemble

Norman Hartnell, 1952

Anna of Austria by Bartolomé González y Serrano, 1616 Spain, Museo del Prado

Anna of Austria by Bartolomé González y Serrano, 1616 Spain, Museo del Prado

Maria Josepha of Austria by Anton Raphael Mengs, 1767, Museo del Prado

Maria Josepha of Austria by Anton Raphael Mengs, 1767, Museo del Prado

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