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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.
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