'Each man arrayed himself in a new rig from head to foot, and even such luxuries as soaps and perfumery were not despised'
Author and embroidery enthusiast Emma Batchelor shares her experience of joining a sewing circle with Portrait23: Identity artist Deborah Kelly.
In 1904, the Dowager Empress Marie Feodorovna of Russia purchased as a gift for her sister, Queen Alexandra, a fan composed of two-color gold, guilloché enamel, mother-of-pearl, blond tortoiseshell, gold sequins, silk, cabochon rubies, and rose diamonds from the House of Fabergé in Saint Petersburg.
This year (in March) we will celebrate the twentieth anniversary of the formal establishment of the National Portrait Gallery. In the life of institutions, twenty years is not a long time.
Just after 10.00 o'clock on 3 December 1879, four prisoners were brought from their cells at Darlinghurst Gaol and placed in the dock of a courtroom heaving with agitated spectators
I have been reading systematically through the ads in the earliest issues of the Sydney Gazette and New South Wales Advertiser, such a rich vein of information about certain aspects of daily life in Regency Sydney.
I keep going back to Cartier: The Exhibition at the National Gallery of Australia next door, and, within the exhibition, to Princess Marie Louise’s diamond, pearl and sapphire Indian tiara (1923), surely one of the most superb head ornaments ever conceived.
Penelope Grist charts an immersive path through Stuart Spence’s photography.
Where do we draw a line between the personal and the historical? Although she died in Melbourne in 1975, when I was not quite eleven years old, I have the vividest memories of my maternal grandmother Helen Borthwick.
Dr Helen Nugent AO, Chairman, National Portrait Gallery at the opening of 20/20: Celebrating twenty years with twenty new portrait commissions.