Diamond tiara circa 1826
Thank you to simonerein:
Eccezionale Antica Tiara in Diamanti
Christie’s Auction: CEPTIONAL ANTIQUE DIAMOND TIARA IN
composed of numerous flowers, buds, leaves and ears old cut diamonds in yellow gold, with seven marquise-cut diamonds mounted on ouches rolled back, beginning sec. XIX, within original box which also contained earrings in lot 470 natural pearls and natural pearls long necklace lot 471
From a document of the following are shown to us by the seller information we report only as a historical curiosity:
Tiara with group of flowers and natural ears with gold (topaz?) Which is divided into two pieces in order to “be able to have use of the notice and Boche performed in 1826 by jeweler Thomas Zamparo commissioned by the ND Co.ssa Dona Marina -Grimani on the occasion of the marriage of his son designed NHCO. Marco Antonio with NDCo.ssa Catherine Manin.
I think on Mondays we could all do with a quote to set the tone for our week ahead. So keep your heads high, the sun is out, flowers are blooming, and this place is more beautiful for having you in it.
I swear I had every intention of posting something relevant to my blog today but then this picture happened and I currently relate to it.
As I am entering into my final project as a student I thought it would be a good idea to record my thoughts on my project and share my work with you. Our final costume is meant to be a representation of who we are as makers and as creators. I have had a life-long love affair with ballet and with the 18th century so I saw no better way to express myself than to combine the two. My hopes are to re-create a historical ballet costume that could be found in a modern production. I have chosen an 18th century design by Jean-Baptiste Martin entitled Paysanne Galante (1722) used in the Ballet de la Provencale and other dances. The second portrait is one of my favourites because in my mind she represent Payanne as a real costume. It’s one thing to have a drawing of an idea but it’s another to find a living woman wearing something similar.
More information on this project can be found on The Mended Soul
My mother pointed out last night that this design I am bringing to life is the epitome of an Ornamented Being. I can’t explain the reason but that thought warms my heart.
My mother was the reason I was able to move to London. She gave me a gentle push out of the bird nest and on a great, giant bird with wings of metal she let me fly away. But unlike a real bird, I’ll always return home because I know my mom and my family will always be waiting for me.
I am so proud of all of my friends who were able to participate in this gorgeous event!
For more information on The Netherfield Ball (for those with access to BBC2 it’s on right now!) please click me.
‘Corps à baleines, vers 1760, en toile de lin bis et damas bicolore vert à dessin d’arabesques de fleurs et oiseaux, piqûres rectilignes soulignant les baleines. Découpe crantée en pointes devant et basques étroites. Laçage à oeillets dans le dos, (doublure déposée, usures)’.
My bad google translation: Whalebone bodies (stays), circa 1760, in linen and bis-color green damask design with arabesques of birds and flowers, straight stitching highlighting the whalebone. Cut into wedges notched front and narrow skirts. Lacing eyelets in the back (lining filed wear).
If you don’t mind the quick history lesson I find these to be one of the most interesting items for sale simply because of the decoration. If you will note like the previous pair of stays I posted from this site (where three tabs are left in plain in fabric) the only decorative fabric on this pair of stays is the center front where they would actually be seen. Covering the entire surface would have been considered a waste of money as the gown would have covered the fabric.
One of the things I talked about when I interned in the Margaret Hunter Millinery Shop in Colonial Williamsburg was about fabric. Everyone could dress the same but it was the fabric that was expensive. So in the 18th century (and previous centuries) the parts of your clothing that would never been seen would have been covered in a plain or different fabric.
Another good example of this is a petticoat from Whitaker Auctions here:
Corset griffé, Aux Iles Marquises, Mme Brédian, Paris, vers 1875, satin de soie crème entièrement baleiné, bordé de volants de tulle brodé, rubans rose et d’une fleur de ruban crème devant. Laçage à oeillets dans le dos, ouverture frontale par 4 fortes agrafes métalliques.
Google says: Corset scratched, the Marquesas Islands, Ms. Brédian, Paris, circa 1875, cream silk satin fully boned and lined with embroidered tulle ruffles, ribbons and a pink flower cream ribbon before. Lacing eyelets in the back, front opening by 4 strong metal clips.
I feel like I have seen quite a few of these items before.
Cape vers 1890, en velours de soie noir brodé en perles de jais ton sur ton d’un grand décor floral; col pèlerine montant garni d’autruche noire à découpe festonnée.
Google says: Cape 1890, black silk velvet embroidered with jet beads tonal a large floral decoration, cape collar trimmed with black ostrich scalloped cutout.
Paire de chaussures de dame, Second Empire, mules à bouts carrés et petits talons en maroquin rouge, garnies de ruchés de ruban framboise et de boucles en métal. (bon état).
My bad google translation: Pair of lady shoes, Second Empire, mules and small square-toed heels in red leather, trimmed with ruched raspberry ribbon and metal buckles. (good).
I love that description!