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The National Jewelry Institute in collaboration with the Museum of the City of New York present
A’Lelia Walker
Alice Tully
Amy Fine Collins
Angela Lansbury
Anita Loos
Ann Woodward
Annette de la Renta
Barbara “Babe” Paley
Barbara Taylor Bradford
20th Century Women of Style
Barbara Walters
Bella Abzug
Bernice Chrysler Garbisch
September 14, 2010 - January 3, 2011 / Museum of the City Of New York, 1220 Fifth Avenue, New York City Betsy Pickering Kaiser
Bette Midler
Betty Furness
Brooke Astor
Carmen DeLavallade
Babe Paley Carolina Herrera
Cathie Black
Clara Rockmore
“As her old friend Clare Booth-Luce
Corice Canton Arman
Tex McCrary once Diana Vreeland
Dina Merrill
exulted, ‘In a ball gown, Duchess of Windsor, Wallis Warfield Simpson
Edith Bouvier Beale
bikini, or ice pack Edith Rhinelander
Eleanor Butler Roosevelt
Babe Paley is the one Eleanor Elkins Rice
Eleanor Searle Whitney
Eleanor “Elly”Thomas Elliot
Above:
woman all wives Elsie Whelen Goelet Clews
Ethel Scull
Gloria Vanderbilt permit their husbands Eugenia Sheppard
Man in the Moon Earclips FannieHurst
Tiffany & Co., 1970’s to admire. It’s a waste of Florence Gould
Gold, milk chalcedony Frances “Fanny” Morgan
Tiffany & Co., Archives time to envy the utmost.”’ Frances “Peter” Loeb
Geraldine Stutz
Gloria Vanderbilt
Left: – The Sisters Grace Wilson Vanderbilt
Jacqueline Kennedy Onassis Gypsy Rose Lee
Helena Rubinstein
Duchess of Windsor, Hilary Geary Ross
Wallis Warfield Simpson Right: Barbara “Babe” Paley Ilka Chase
Imogene Wilson
Jackie Kennedy Onassis Fashion i mages B elow Iris Apfel
Isadora Duncan
“A newspaper reported that I Duchess of Windsor Ethel Scull Bernice Chrysler Garbisch Barbara “Babe” Paley Jacqueline Kennedy Onassis
Jane Engelhard
spent $300,000 a year buying Jayne Wrightsman
Jessye Norman
Paris clothes and that women Joan Crawford
hate me for it. I couldn’t spend Katherine Garrison Chapin Biddle
Kitty Carlisle Hart
that much unless I wore sable Lady Slim Keith
underwear.” Laura Johnson
Lauren Bacall
Lena Horne
Lilly Fallah Lawrence
Louise Nevelson
Louise Whitefield Carnegie
Marian Anderson
Marie Miller Kavanaugh
Marina Rust
Marjorie Merriweather Post
Mary Flagler Cary
Mary French Rockefeller
Mary Ann Blumenthal
Mercedesde Acosta
Above: Jacqueline Kennedy Onassis Christian Dior Paris Stephen Burrows’ World Christian Dior Paris Valentino Roma Mona Williams von Bismarck
Handbag, Maker Unknown, 1970’s, Yellow gold 1968 ca. 1970 1964 1969 Pat Buckley
Vartanian & Sons, Inc. Pauline Elizabeth Woolworth
Rosamund Bernier
Left: Ruth Draper
Ethel Scull Bernice Chrysler Garbisch Sophie Tucker
Sunny von Bulow
“Divorced and Alone, she understood the difficulty of Invisibly Set Ruby and Diamond Circle Earclips Susan Gutfreund
navigating the social waters of Manhattan without property.” Van Cleef & Arpels, 1941 Thelma “Teddy” Lansky
Ruby, diamonds Tina Chow
– Portrait of a Collection
Private Collection
Right:
Duchess of Windsor, Wallis Warfield Simpson Joan Crawford
Prince Edward to the future Duchess of Windsor,“Wallis, you’re
the only woman who’s ever been interested in my job. ”
Far Right:
– The Fortune Hunters Hilary Geary Ross
Necklace
Graff, 1990’s
Yellow diamonds,
white diamonds
Hilary Geary Ross
Above: Joan Crawford
Bracelet, Raymond Yard, 1932, Platinum, diamonds N2
Vartanian & Sons, Inc.
N4 NOTORIOUS & NOTABLE: 20th Century Women of Style
A dialogue about the exhibition between Judy Price, President of the National Jewelry
Institute, and Phyllis Magidson, Curator of Costumes and Textiles at the Museum of the
City of New York.
JP: You often refer to a woman who can afford the gowns or
JP: How were these notorious and Lady Slim Keith the jewels. What was the cost of the gowns or of the jewels at the
notable women selected? beginning of the century in today’s dollars?
“My celebrity was born less from
PM: We looked at several aspects of me than from others’ perception of PM: It is difficult to really come up with a cost on these items
their personal and professional status in because they were, certainly the pieces that you refer to, one-
New York City - stature in society, culture,
me. It was about good looks, brains,
of-a-kind pieces that required the foremost top couture houses
profession. These define their positions of taste, and style... The only ingredient working on possibly their most singular garments. Certainly we
prominence so that the public monitors I brought to this recipe was the know that even in the 19th century a typical afternoon toilette
their comings and goings, observing recognition that, while you have to produced by Maison Worth would have been equal in cost to a
nuances of their lives through the extensive year’s salary for a middle class worker. So it is very difficult to
be natural, you also have to be
media of New York City. These women imagine what an extravagant ball gown might have cost at that
coincidentally share unique aspects of different. If, that is, you want to time, but certainly at least equal to the $200,000+ cost of haute
appearance – attire, hair, jewelry – which make an impact.” couture gowns today. We also know that some of the jewelry
make them distinctive and recognizable – Slim: Memories of a Rich and Imperfect Life that Tiffany was producing at the turn of the 20th century would
either today or in their own time. Their have been equal in value to $1,000,000 now.
Left: Lady Slim Keith
names and faces are iconic in the social
history of New York City. JP: Do you think that these women’s
Right: Lady Slim Keith
JP: Which among all of these notorious and notable women Brooch, Tiffany & Co., 1950’s, 18k gold, platinum, husbands or gentleman friends had any
had the most complete sense of style? amethyst, diamonds, rubies, Tiffany & Co., Archives influence on what they wore?
PM: On a fashion level certainly Mrs. Harrison Williams - who was named the “Best-Dressed Woman in the World“- by a PM: It depended on the woman. Wallis
committee of Parisian couturiers. Mona’s was a memorable appearance simply by virtue of her own personal attributes – her Warfield Simpson, who became the Duchess
hair turned silver while she was a still a teenager; she had memorable aquamarine-colored eyes. Cecil Beaton referred to of Windsor, staged every aspect of her
her as a work of art, and literally worshipped her. She dressed magnificently simply by virtue of the fact that every time she existence – most especially her mode of dress
married - which she did five times - she succeeded in snagging someone more than financially capable of supporting her - around her husband Edward. The items of
extravagant tastes in couture clothing and jewelry. She herself became an artifact. There was no ambiguity as to her identity, whether she appeared on the pages of jewelry that were counted amongst her most
Vogue, in the society columns, or mentioned by Ed Sullivan. She was always iconic. She commanded all eyes when she entered a room at the numerous hubs of New memorable when she died were the ones that
York’s Café Society. Hers was a memorable presence, whether she was spotted at a New York night spot, or at leisure in Capri; it was a signature style which combined Edward had given her. Her iconic “garter” and
a fantasy wardrobe, fabulous jewels, and a pedigreed posture that could be interpreted as the archetypical debutante slouch charm bracelets, as well as other legendary
Babe Paley is another one. Barbara Cushing Paley– she married twice – first to Stanley G. Mortimer, Jr., the second time to William S. Paley, who again pieces produced by Cartier, Van Cleef and
indulged her extraordinary tastes, solidifying her position as a fashion persona. Originally a junior editor at Vogue she was always abreast with the fashions Arpels, and Harry Winston, were all items
of the day. She became, early on, a favorite model for Mainbocher. She was so frequently mentioned in and photographed for Vogue that periodically she for which he participated in their design or
would be used as a sketch model without even being identified – everyone knew who she was. Her style was always sophisticated, clean, epitomizing what purchased rare stones.
Mainbocher stood for as a couturier. She would be impeccably jeweled, not excessively, not in outlandish or vulgar objects of adornment, but simply in pieces
that contributed to her complete ensemble and, moreover, contributed to her persona. Q & A continued on N 6
JP: Who was the most “fashion forward” at the beginning of expression. I’m thinking specifically in terms of Isadora Duncan,
the 20th century? who defined the bohemian community - she was dressed by
PM: At the beginning of the 20th century it is difficult to Mariano Fortuny and would be wearing again the most artistic
really think in terms of our current vision of fashion forward. of garments – the tea gowns, the eponymous pleated Delphos -
I think that it would have been somebody who was dressing items of clothing that could never be mistaken for high fashion.
in the most costly, ostentatious clothing of the day; somebody They were conceived and worn to have perpetual relevance. So
who had the money to underwrite the indulgence of those in that respect she was beyond fashion. She was also certainly a
favorite client of Paul Poiret and the piece that we are featuring in
Frances “Fanny” Morgan / Mrs. JP Morgan the exhibition is a very rare Greek key-patterned, bone seed, bead-
embroidered, high-waisted Greco-Roman revival gown from about
“Fanny hated the press, stating:‘Publicity,’ Mrs. Morgan
1911-1912 by Poiret.
said, ‘is dreadful to a woman of refinement, and
frequently does a great deal of harm by giving out news
regarding future events before those connected with the
organization of these affairs are ready.’”
– The New York Times
tastes. It would have been someone like Mrs. JP Morgan who
was married to arguably the richest man in America in 1900.
She owned spectacular gowns made by the prominent Parisian
couturiers. Our exhibition piece is a magnificent gown designed Clare Booth-Luce
by Worth in Paris – by then, Charles Frederick’s son, Jean Philippe
Worth, who really created for her one of the most fabulous items
Left: Clare Booth-Luce Suite
in our permanent collection, black silk tulle frosted with iridescent Tiffany & Co., 1930’s
blue-green dragonflies and butterflies. 14k gold, platinum, diamonds, sapphires
There were also individuals who used fashion as a means of self Tiffany & Co., Archives
NOTORIOUS & NOTABLE : N6
20th Century Women of Style
The women themselves, like Mrs. Harrison
Williams who subsequently became the
Countess von Bismarck as well as the
Countess de Martini, collected jewelry the
way that other people collected stamps. It
was just sheer indulgence. Their men adored
these women and wanted to do anything to make them happy. Mona Williams
had books and books of orders that she had placed with
Balenciaga in the late 1950’s with documented details of Ann Woodward
each pésage number of the couture house, textile swatch for
Her mother-in-law said
each garment, and its description; hundreds and hundreds of her death, “Well that’s
of invoices from Roger Vivier who fabricated the matching that: she shot my son,
shoes. I don’t think that the men were not always involved and Truman just
in these transactions; it stands to reason that if the men murdered her”
were footing the bill the women certainly would not
– New York Magazine
consider buying something that the male in their life did
not endorse wholeheartedly.
JP: Many W magazine readers have gone to exhibitions of
fashion throughout the world – what makes this show unique?
PM: This show is our first opportunity to exhibit items of
clothing and theatrical costume juxtaposed with fabulous
examples of fine jewelry. Most museum collections of
VERTICAL
costume generally do not combine costume and fine
jewelry in one installation. Periodically if there is a
signature item of jewelry that is indelibly coupled with a
single personality they will be shown together. I love the
GRAFF
opportunity of showing the jewelry alongside the clothing
because these two categories of adornment constitute the
most expressive devices to visually communicate one’s
personality or one’s individualism. Jewelry is something
AD
that is almost talismanic for many people. Even women Fashion aBove:
who own many fabulous examples of jewelry, will have Ann Woodward
one or two pieces which they are rarely seen without - Balenciaga, 1965-66
either they are sentimental about the object or they have
worn it at some memorable moment in their lives - truly endearing that piece
to that individual. It is a very personal means of self expression. Most jewelry
historians really focus on jewelry and generally exclude the clothing, and
vice versa with people focused on clothing who don’t really cross over into
the realm of jeweled adornment. To me the two combine wonderfully as a
complete means of self expression.
Helena Rubenstein
“ There are no ugly women, only lazy ones.”
Fashion leFt:
Helena Rubinstein
Unattributed (Paris)
late 1950’s
Above: Helena Rubinstein
Belle Epoque Peacock Feather Brooch
Maker unknown, 1900’s
Yellow gold, white gold, diamonds,
cabochon emerald, sapphires
Historical Design, Inc.
N8 NOTORIOUS & NOTABLE: 20th Century Women of Style
Questions & Answers: Questions with AXA Art’s President and Chief Executive Officer, Christiane Fischer
Q: What is AXA Art?
A: AXA Art is the world’s leading fine arts and collectibles insurance specialist. With offices
located across North America, Europe and Asia, AXA Art protects clients’ cultural assets
including fine art, collectibles, antique furniture, rare books, manuscripts, stamps, coins,
vintage wine, classic cars - virtually anything that can be bought and sold at auction.
Q: Does AXA Art insure fine jewelry?
A: Yes, of course. We offer coverage on all categories of jewelry, from ancient to
vintage to contemporary. Many of our clients with fine art collections choose to
also insure their jewelry with AXA Art. We also have many collector clients that
focus exclusively on jewelry, many with museum-quality pieces.
Eugenia Sheppard
“To call a fashion wearable is the kiss of death. No fashion worth Fashions aBove: Lena Horne, Giorgio de St. Angelo, 1981 /
its salt is ever wearable.” – New York Herald Tribune Sunny von Bülow, Christian Dior, ca. 1968 / Eugenia Sheppard, Scassi, 1984
Sonny von Bülow (Martha Crawford)
Left: Diana Vreeland
Fish Lighter The author Dominick Dunne said she was a “beautiful and shy”
Schlumberger, 1940’s woman who “really did not like the social life, although she was
Gold, ruby, emerald totally associated with the social life”.” - New York Times
Private Collection
Q: Why is it important to insure fine art and jewelry separately
from other property covered under a homeowners’ policy?
A: Standard homeowners’ policies are not specifically designed to
Bette Midler adequately cover fine art, collectibles and jewelry. At AXA Art, our
“I wouldn’t say I invented tacky but I definitely policies are specifically written to cover valuable objects, fine
brought it to its present high popularity.” arts and collections. Every policy we write is evaluated by both
(Left) experienced insurance professionals
Marjorie Merriweather Post Hutton and fine art specialists to ensure proper
Rabbit Brooch, Raymond Yard, 1929 coverage and a custom insurance
Enamel, diamonds, rubies solution that fits the client’s specific needs.
Vartanian & Sons, Inc.
Q: What distinguishes AXA Art from generalist property insurance competitors?
A: A deep understanding and appreciation of objects of value is at the very center of our
business model. Our ultimate goal is to support collectors and stewards of the art world
in managing and caring for their collections. In addition to offering insurance products,
we concentrate on risk prevention. Our claims professionals are recognized leaders in
field of art and collectiblesloss adjustment and work with our clients to resolve claims
expeditiously and fairly. Finally,our global network of industry experts allows us to explore
new ways to protect and conserve valuable objects.
For more information on AXA Art Insurance and coverage for jewelry, fine art and collectibles,
please visit www.axa-art.com
Marjorie Merriweather Post Hutton
Section Photos courtesy of: Cecil Beaton, Condé Nast Publications, Inc., Graff, Hillwodd Museum, Historical Design, Inc., Museum of the City of New York, Patrick N. Pagnano, Tiffany & Co., Vartanian & Sons, Inc.
NOTORIOUS & NOTABLE: the exhibition is made possible by the generous support of:
Graff
20th Century Women of Style
AXA Art Insurance Corporation
can be viewed at the
Nespresso / DIOR Couture / LVMH / W magazine
Museum of the City of New York Moet et Chandon / Brian Frasca / Elizabeth Miller and James Dinan
1220 Fifth Avenue @ 103rd Street, New York City
Patron’s Council: UBS, Helena Rubinstein Foundation,
from September 14, 2010 through January 4, 2011 Nishan and Victoria Vartanian, Marianna and George Kaufman, Suzanne Slesin,
Installation Design: Wendy Evans Joseph Architecture Dr. Charlie and Claire Shaeffer, The William R. and Virginia F. Salomon Family Foundation
ABOUT THE MUSEUM OF THE CITY OFNEW YORK / www.mcny.org
THE MUSEUM OF THE CITY OF NEW YORK explores the past, present, and future of New York City and celebrates its heritage of diversity, opportunity, and perpetual transformation. Founded in 1923 as
a private non-profit corporation, the Museum serves the people of New York and visitors from across the country and around the world through exhibitions, collections, publications and school and public
programs. Susan Henshaw Jones, Ronay Menschel Director and James G. Dinan, Chair.
ABOUT THE NATIONAL JEWELRY INSTITUTE / www.nationaljewelryinstitute,org
THE NATIONAL JEWELRY INSTITUTE (NJI) was formed in 2002 as a not-for-profit institute whose mission is to preserve, research and exhibit fine jewelry. The National Jewelry Institute has staged over 15
exhibition in major cities around the world. Board: H. Aaron, A.Chervin, R. Esmerian, C. Fischer, C. Forbes, A. Hawkins C. Miller, and J. Price. Young Notables Council President: H. Heard.
