#philippe model paris

[chiaraferragniwardrobe]

What: Philippe Model Paris Multicolour 'Paris' sneakers (419.00€) Where: Instagram - October 28, 2023

Worn with: The Attico top, Philippe Model Paris shorts and socks

[kitsunetsuki]

Jean-Jacques Bugat - Dress by Philippe Laurent at Real (Vogue Paris 1970)

[11oh1]

[federer7]

Model. Paris. 1939

Photo: Philippe Halsman

[artsandculture]

Liberty Leading the People (1830) 🎨 Eugene Delacroix 🏛️ The Louvre 📍 Paris, France

Perhaps Delacroix’s most influential and most recognizable paintings, Liberty Leading the People was created to commemorate the July Revolution of 1830, which removed Charles X of France from power. Delacroix wrote in a letter to his brother that a bad mood that had been hold of him was lifting due to the painting on which he was embarking (the Liberty painting), and that if he could not fight for his country then at least he would paint for it. The French government bought the painting in 1831, with plans to hang it in the room of the new king Louis-Philippe, but it was soon taken down for its revolutionary content. Lady Liberty was eventually the model for the Statue of Liberty, which was given to the United States 50 years later, and has also been featured on the French banknote.

Peint de septembre à décembre 1830 dans l'atelier loué par Eugène Delacroix au 15 (actuel n°17 ?) quai Voltaire, à Paris ; envisagé pour la deuxième Exposition au profit des blessés de Juillet 1830, galerie de la Chambre des Pairs (palais du Luxembourg), Paris, janvier 1831 (n° 508 du livret sous le titre "Une Barricade"), en réalité non prêté ; admis par le jury le 13 avril 1831 et exposé au Salon de 1831 (ouvert du 1er mai au 15 août), Paris, Musée royal (Louvre), n° 511 du livret sous le titre "Le 28 juillet. La liberté guidant le peuple" (n° 1380 du registre d'entrée des ouvrages au Salon, sous le titre "La Liberté guidant le peuple au 29 juillet" [sic], aux dimensions de "293 x 358 cm" cadre compris) ; envisagé comme achat de la Liste civile du roi Louis-Philippe Ier, en juillet 1831, au prix de 2 000 francs, finalement acheté à l'artiste par le ministère du Commerce et des Travaux publics en août 1831, au prix de 3 000 francs (en remplacement de la commande à Delacroix, au même prix, d'un tableau d'histoire ayant pour sujet "Le roi Louis-Philippe Ier visitant la chaumière où il logea près de Valmy, le 8 juin 1831", annulée suite au désistement de Delacroix) ; présenté au musée du Luxembourg, Paris, en 1832 et en 1833 (n° 160 du supplément au catalogue du musée) ; mis en réserve vers 1833-1834 ; confié à l'artiste vers 1839 qui le met en dépôt au domicile de sa tante, Félicité Riesener, et de son cousin Léon Riesener, à Frépillon (Val-d'Oise) ; réclamé à l'artiste par la direction des Musées nationaux (ministère de l'Intérieur) en mars 1848 (Delacroix demande à cette occasion une augmentation du prix de 7 000 francs, soit un total de 10 000 francs ; cette augmentation lui est refusée) ; prêté par Delacroix au peintre et entrepreneur lyonnais Alphonse Jame entre mai 1848 et mars 1849, en vue d'être exposé à Lyon, contre 1000 francs (payés en deux versements de 500 francs, le 11 septembre 1849 et le 8 mars 1850) ; rentré à Paris et restitué à l'administration en mars 1849 ; possiblement présenté au musée du Luxembourg, Paris, à partir de juin 1849 jusqu'en 1850 (mais absent du catalogue du musée) ; mis en réserve dans les magasins du musée du Louvre de 1850 à 1855 ; présenté à l'Exposition universelle, Palais de l'Industrie et des Beaux-arts, Paris, 1855, n° 2926 du livret ; mis en réserve dans les magasins des Musées impériaux de 1856 à 1863 ; présenté au musée du Luxembourg, Paris, de 1863 à 1874 ; déplacé du musée du Luxembourg au musée du Louvre en novembre 1874 ; inventorié pour la première fois, sous le n° "R.F. 129", en 1875 et présenté à partir de cette date dans la salle des États au musée du Louvre ; mis en sécurité pendant la Première Guerre mondiale au couvent des Jacobins, à Toulouse (Haute-Garonne) de 1914 à 1918 ; restauré par Lucien Aubert (nettoyage et réintégration de la couche picturale) à Paris en 1920 ; mis en sécurité pendant la Seconde Guerre mondiale au château de Chambord (Loir-et-Cher) en 1939, puis déplacé au château de Sourches, Saint-Symphorien (Sarthe), le 29 septembre 1943 ; rentré du château de Sourches au musée du Louvre, Paris, le 16 juin 1945 ; restauré par Raymond Lepage et Paul Maridat (rentoilage) et par Georges Zezzos (allègement et réintégration de la couche picturale), au musée du Louvre durant l'été 1949 ; présenté au musée du Louvre dans la salle Mollien d'octobre 1949 à 1969, puis en salle Daru de juin 1969 à juin 1994, puis en salle Mollien depuis décembre 1995 ; restauré par David Cueco et Claire Bergeaud (remplacement du châssis, pose de bandes de tension sur les bords de la toile) au musée du Louvre en janvier-février 1999 ; restauré par Bénédicte Trémolières et Laurence Mugniot (nettoyage et réintégration de la couche picturale) au musée du Louvre, d'octobre 2023 à avril 2024.

[arch-obsessed]

Inside the Barbie Dreamhouse, a Fuchsia Fantasy Inspired by Palm Springs

Barbie’s Dreamhouse is no place for the bashful. “There are no walls and no doors,” says Greta Gerwig via email. “Dreamhouses assume that you never have anything you wish was private—there is no place to hide.” That layered domestic metaphor has proved rich fodder for the filmmaker, whose live-action homage to the iconic Mattel doll hits theaters July 21.

To translate this panopticon play world to the screen, Gerwig enlisted production designer Sarah Greenwood and set decorator Katie Spencer, the London-based team behind such period realms as Pride & Prejudice and Anna Karenina. The two took inspiration from Palm Springs midcentury modernism, including Richard Neutra’s 1946 Kaufmann House and other icons photographed by Slim Aarons. “Everything about that era was spot-on,” says Greenwood, who strove “to make Barbie real through this unreal world.”

Neither she nor Spencer had ever owned a Barbie before, so they ordered a Dreamhouse off Amazon to study. “The scale was quite strange,” recalls Spencer, explaining how they adjusted its rooms’ quirky proportions to 23 percent smaller than human size for the set. Says Gerwig: “The ceiling is actually quite close to one’s head, and it only takes a few paces to cross the room. It has the odd effect of making the actors seem big in the space but small overall.”

Erected at the Warner Bros. Studios lot outside London, Barbie’s cinematic home reinterprets Neutra’s work as a three-story fuchsia fantasy, with a slide that coils into a kidney-shaped pool. “I wanted to capture what was so ridiculously fun about the Dreamhouses,” says Gerwig, alluding to past incarnations like the bohemian 1970s model (outfitted with trompe l’oeil Tiffany lamps) and the 2000 Queen Anne Victorian manse, complete with Philippe Starck lounge chairs. “Why walk down stairs when you can slide into your pool? Why trudge up stairs when you take an elevator that matches your dress?” Her own references ranged from Pee-wee’s Big Adventure to Wayne Thiebaud’s paintings of pies to Gene Kelly’s tiny painter’s garret in An American in Paris.

For Barbie’s bedroom, the team paired a clamshell headboard upholstered in velvet with a sequined coverlet. Her closet, meanwhile, reveals coordinated outfits in toy-box vitrines. “It’s very definitely a house for a single woman,” says Greenwood, noting that when the first Dreamhouse (a cardboard foldout) was sold in 1962 it was rare for a woman to own her own home. Adds Spencer: “She is the ultimate feminist icon.”

In Barbie, as in previous films like Little Women and Lady Bird, Gerwig set out to realize a whole world. “We were literally creating the alternate universe of Barbie Land,” says the director, who aimed for “authentic artificiality” at every opportunity. As a case in point, she cites the use of a hand-painted backdrop rather than CGI to capture the sky and the San Jacinto Mountains. “Everything needed to be tactile, because toys are, above all, things you touch.”

Everything also needed to be pink. “Maintaining the ‘kid-ness’ was paramount,” Gerwig says. “I wanted the pinks to be very bright, and everything to be almost too much.” In other words, she continues, she didn’t want to “forget what made me love Barbie when I was a little girl.” Construction, Greenwood notes, caused an international run on the fluorescent shade of Rosco paint. “The world,” she laughs, “ran out of pink.”

[daily-coloring]

Anatole Goussev, Konig Diouma and Dima photographed by Emil Kosuge and styled by Jacopo Fiorentino, in exclusive for Fucking Young! Online.

BRANDS: Carne Bollente, C.r.e.o.l.e, Xander Zhou, Puma x Ottolinger, Torns, Puma, Dior, Celine, Prada, Puma x Coperni, Ami Paris, Marine Serre, Ludovid de Saint Sernin, Rm atu gelovani, Courrèges.

Photography: Emil Kosuge @emil_kosuge

Photo Assistant: Tomas Laporte @dodgycroissant

Styling: Jacopo Fiorentino @jacopofiorentin.o

Styling Assistant: Arthur Gyürü

Hair & Make-up: Sarah Wandee @sarahwandeemakeup

Set Design: Emma Philippe @phlppemma

Casting Director: Alan Breathaud @alanbrethaud

Models: Anatole Goussev (@anatole_goussev) at Mademoiselle (@mlleagency); Konig Diouma (@konigdiouma) at Bananas (@bananasmodels); and Dima (@hidden_sence) at Hakim Model (@hmmagency)

[ludmilachaibemachado]

Swinging London. Winter 1965 Men Fashion In London, on a sidewalk in Carnaby Street, four male models in jacket or pullover, with narrow pants, presenting the masculine Mod fashion of the winter of 1965, with Cathy Mcgowan (Ready Steady Go!) . Photo by Philippe Le Tellier, Paris Match🌸🎍🌸

Via @isabelfutre on Instagram🎍

[airasilver]

Paris Olympic organizers apologized Sunday to people offended during a tableau of the opening ceremony that critics said mocked "The Last Supper."

During Friday's ceremony, there was a moment on the Debilly Bridge over the Seine when the camera cut to French DJ and producer Barbara Butch, who describes herself as a "love activist." Butch wore a blue dress with a silver headdress and as the camera panned out, she was flanked by drag queens on both sides. Later appeared a nearly naked man painted in blue, on a dinner plate surrounded by food. He then sang as the people around him danced, and it turned into a runway scene where models walked across.

The scene has been met with backlash as people say it mocked "The Last Supper," the famous painting from Leonardo da Vinci that shows Jesus Christ with his 12 apostles at his last supper, where he announced that one of the apostles would betray him.

Several Christian and Catholic organizations around the world have denounced the moment since then. The French Bishops’ Conference, which represents the country's Catholic bishops, said in a statement that the scene was a "mockery and derision of Christianity" and it was thinking of religious followers who were "hurt by the outrageousness and provocation of certain scenes." Well-known Bishop Robert Barron in Minnesota said in a video that it mocked "a very central moment in Christianity."

U.S. Speaker of the House Mike Johnson said on social media that it was "shocking and insulting" to Christian people.

Telecommunications provider C Spire also said it was pulling all of its advertising from the Olympics as a result of the scene.

What did Paris Olympic organizers say about controversial segment?

Thomas Jolly, the opening ceremony’s artistic director, said at the International Olympic Committee's daily briefing at the Olympic Games on Saturday that the moment was not meant to "be subversive or shock people or mock people." During the opening ceremony, the official Olympic Games social media account said the blue person, played by French singer and actor Philippe Katerine, portrayed the Greek god Dionysus − known as the god of wine-making, vegetation, fertility and ecstasy − and it "makes us aware of the absurdity of violence between human beings."

Jolly also said on French TV station BFMTV on Sunday, "The Last Supper" was "not my inspiration" for the segment, and he also spoke about the meaning of Dionysus.

"The idea was to have a pagan celebration connected to the gods of Olympus. You will never find in me a desire to mock and denigrate anyone," he said.

Still, Paris 2024 spokesperson Anne Descamps apologized on Sunday for those offended by the scene.

"Clearly there was never an intention to show disrespect to any religious group. On the contrary, I think (with) Thomas Jolly, we really did try to celebrate community tolerance," Descamps said. “Looking at the result of the polls that we shared, we believe that this ambition was achieved. If people have taken any offense, we are, of course, really, really sorry.”

The IOC said on social media that it took note of the apology from Paris 2024.

The USA TODAY app gets you to the heart of the news — fast. Download for award-winning coverage, crosswords, audio storytelling, the eNewspaper and more.

This article originally appeared on USA TODAY: Paris Olympic organizers apologize after 'The Last Supper' backlash

They are only sorry because they need to be. They aren’t actually sorry.

[universalcovers]

“I’m more interested in looking for something transitory than in producing a conclusion.”

Pierre Huyghe

“I’m interested in contingency,” the French artist Pierre Huyghe has said. “Of what is not predictable. Of what is unknown. I think that has somehow been a core of my work.”1 Pursuing interests in contingency and unpredictability, Huyghe creates art forms that incorporate living organisms, such as dogs, turtles, spiders, peacocks, ants, and bees. Over the course of an exhibition, his living works of art grow, decay, and die. Huyghe said, “They are not made for us. They are not made to be looked at. They exist in themselves.��2

Throughout his career, Huyghe has experimented with many mediums and technologies, including film, sculpture, photography, music, and living ecosystems. At the outset of his career, Huyghe collaborated with artists whose work explored human relations and their social context; to describe their interests, the curator and art critic Nicolas Bourriaud coined the term Relational Aesthetics. In the late 1990s and early 2000s, Huyghe’s works often reenacted notable artworks or popular footage from mass media. In Silence Score (English Version), a musical notation of John Cage’s pivotal composition 4'33", he created a readable score for the silent piece using a computer algorithm.

In 1997, with artists Charles de Meaux, Philippe Parreno, and Dominique Gonzalez-Foerster and curators Xavier Douroux and Franck Gautherot, Huyghe cofounded a film production company called Anna Sanders Films. They named the company after a fictional character first developed in a magazine released in 1997. Blanche-Neige Lucie, the company’s first film, stars Lucie Doléne, the voice actor who dubbed the Disney character Snow White in French, and who won a lawsuit against the Walt Disney Corporation for the rights to the reproduction of her voice. The film features Doléne humming the melody of “Someday My Prince Will Come” in an empty film studio, facing the camera, while her story is told through the subtitles. The work explores how a voice can be used to create a character, and who then owns that product.

The Host and The Cloud fuses scripted action and improvised narratives generated by the actors. The yearlong project records theatrical events that took place in an abandoned museum in Paris on three holidays: the Day of the Dead, Valentine’s Day, and May Day. In a variety of fictional settings, 15 actors clad in LED masks perform alongside puppets and animation. These spontaneous elements reflect Huyghe’s interest in contingency and adding dynamic layers to his storylines.

Originally created for Documenta 13 in 2012, Huyghe’s Untilled (Liegender Frauenakt) is a reclining female nude whose head is covered by a live beehive. The work was part of an entire ecological system the artist created in a composting area in Karlsaue Park in Kassel, Germany. In a video Huyghe filmed during the exhibition, his camera captured a wide range of beings at different scales, including minute species that are barely visible to the naked eye. Huyghe aims to “intensify the presence of things, to find its own particular presentation, its own appearance and its own life, rather than subjecting it to pre-established models.”3 With interest in “the transitory state, in the in-between,” his complex worlds blur the boundaries between the natural and the artificial, the physical and the virtual, and the real and the fictional.4 In 2015 and again in 2023, the statue found itself in MoMA’s Sculpture Garden, placed in a new context and in conversation with other works of art. During the summer, the bees travel in and out of the garden to pollinate and build their hive.

Huyghe’s artistic practice reflects his belief that life is in constant flux, and that all beings exist beyond the perceivable realm of human senses and knowledge. By engaging with unconventional materials and technologies, he provides us with a way to see, feel, and experience the wild, untilled world we are living in.

Source: MoMA / Pic: YBCA

[chiaraferragniwardrobe]

What: Philippe Model Paris Antoine Cotton Socks in Blanc Noir (25.00€) Where: Instagram - October 28, 2023

Worn with: The Attico top, Philippe Model Paris shorts and sneakers

[kitsunetsuki]

Helmut Newton - Outfits by Jean Patou & Phillippe Venet (Vogue Paris 1970)

[loulucifer]

From my spotify wrapped and the player numbers associated

i just think its silly, I also included lyrics, if theres any numbers youre curious about ask and i will oblige

Will Borgen #3- Anti Hero by Taylor Swift "It's me! Hi! I'm the problem it's me!" Adam Larsson #6- Kick in the Teeth by Hippocampus "And a night without you is a kick in the teeth, so when you go home could you, think about me?"

Carson Soucy #7- Wendy by Maisie Peters "We could live off of magic and maybes" Conor Garland #8- All American Bitch by Olivia Rodrigo "I know my place and this is it!" Matty Beniers #10 - Easy by Catie Turner "Never was told how to be easy, easy on the eyes, easy on the mind, easy to keep around and an easy use of time. Easy for you to need me." Trevor Zegras #11- Dial Drunk by Noah Kahan "I ain't proud of all the punches that I've thrown, in the name of someone I no longer know," Nico Hischier #13- You belong with me by Taylor Swift "Think I know where you belong, think I know it's with me." Mitch Marner #16- Body Better by Maisie Peters "Was I just an idea you liked? a convenient use of time, with obedient blue eyes." Matty Tkachuk #19 - Bad Idea, right? by olivia rodrigo (THE WAY I SCREAMED BECAUSE OF THE COLLAGE I MADE TEH STARS ALIGNED) "Yes I know that he's my ex but can't two people reconnect, I only see him as a friend! (the biggest lie I've ever said.)" Vince Dunn #29 - Is it over now? by Taylor Swift "You dream of my mouth before it called you a lying traitor, you search in every models bed for something greater!"

Philipp Grubauer #31 - The Good Witch by Maisie Peters "Still wants to politely and properly warn you, this is Armageddon."

Auston Matthews #34 - Gossip by Maneskin "Welcome to the city of lies, Where everything's got a price, It's gonna be in your favorite place."

Thatcher Demko #35 - My Kink is Karma by Chapelle Roan "Wishing you the best in the worst way, Using your distress as foreplay." Yanni Gourde #37 - Look what you made me do by Taylor Swift "I don't just no body and no body trusts me, I'll be the actress starring in your bad dreams." Elias Pettersson #40 - Teenage Dream by Olivia Rodrigo "They all say that it gets better, it gets better, but what if I don't?" Quinn Hughes #43- Good Grief by Leanna Firestone "My pains a testament, to how much you meant to me, I know it wouldn't be this hard if it wasn't good grief." Jeff Skinner #53 - Cornelia Street by Taylor Swift "I hope I never lose you, hope it never ends." Kailer Yamamoto #56 - Run by Maisie Peters "I've been lied to, I've been cut and deleted." Anthony Beauvillier #72- Not another rockstar by Maisie peters "Pinky promised that I wouldn't love somebody if they didn't, I'm a girl with big ambitions, but did I listen? No, no, no, no," Jack Hughes #86 - Gaslighter by the Chicks "Gaslighter, I'm your mirror, Standin' right here until you can see how you broke me, yeah, I'm broken, You're still sorry, and there's still no apology." Andrei Kuzmenko #96 - The Fruits by Paris Paloma "I would worship you instead of him, I have no time for confession, For I'm too busy committing sins." Connor Mcdavid #97 - New Years Day by Taylor Swift "I'll be there if you're the toast of the town, babe, Or if you strike out and you're crawling home."

[byneddiedingo]

Simone Simon and Daniel Gélin in Le Plaisir (Max Ophüls, 1952)

Cast: Claude Dauphin, Gaby Morlay, Madeleine Renaud, Ginette Leclerc, Mila Parély, Danielle Darrieux, Pierre Brasseur, Jean Gabin, Jean Servais, Daniel Gélin, Simone Simon, Paul Azaïs. Screenplay: Jacques Natanson, Max Ophüls, based on stories by Guy de Maupassant. Cinematography: Philippe Agostini, Christian Matras. Production design: Jean d’Aubonne. Film editing: Léonide Azar. Music: Joe Hajos. 

Pleasure, as the poets never tire of telling us, is inextricable from pain.  Le Plaisir is an anthology film dramatizing three stories by Guy de Maupassant that center on what has been called the pleasure-pain perplex. An elderly man nearly dances himself to death in an attempt to recapture his youth. The patrons of a brothel quarrel and even come to blows when they discover that it is closed. An artist marries his mistress to atone for his cruelty to her. Max Ophüls brings all of his elegant technique to the stories, including his characteristic restless camera, which prowls around the wonderful sets by Jean d'Eaubonne, who received a well-deserved Oscar nomination for art direction. It's also, like Ophuls's La Ronde (1950), an all-star production -- if your stars are French. Claude Dauphin plays the doctor who treats the youth-seeking dancer; Madeleine Renaud is the madame of the brothel, Danielle Darrieux is one of her "girls," and Jean Gabin plays the madame's brother, who invites her to bring the girls to the country for his daughter's first communion, hence the temporary closure of the brothel; Daniel Gélin is the artist, Simone Simon his model/mistress, and Jean Servais his friend who also narrates the final section. Of the three segments of the film, the middle one is the longest and I think the most successful, moving from the raucous opening scene in which the men of the small Normandy town discover the brothel closed into a comic train ride to the country, which is as fetchingly pastoral a setting as you could wish. The sequence climaxes with the filles de joie dissolving in tears at the first communion -- the little church in which it takes place is one of d'Eaubonne's most inspired sets -- then returning to town and a joyous welcome. Ophuls never lets us inside the brothel: We see it only as voyeurs, through the windows. Nothing of this segment is "realistic" in the least, making the melancholy first and last segments more important in establishing the film's theme and tone. The first segment does its part to set up the course of the film as a whole, beginning with a riotous opening as tout Paris flocks to the opening of a dance hall, a pleasure palace, followed by scenes of lively dancing, then the collapse of the elderly patron, who is wearing a frozen and rather creepy mask of youth, and concluding with the bleakness of his normal existence, tended by his aging wife, who is fittingly played by Gaby Morlay, once a silent film gamine. The final segment is the bleakest of all, as the film concludes with the artist pushing his wheelchair-bound wife along the seashore, penance for having provoked her suicide attempt.

[indiscreetdiary]

Henry ‘Chips’ Channon: The Diaries (vol. 1), 1918-38, entry for Tuesday, 1st January 1918

There were no midnight Masses last night to celebrate ‘réveillon’.¹ Nor were the restaurants allowed to remain open after 9 p.m. I went to the Casino de Paris where Gaby Deslys² twice daily charms the most cosmopolitan audiences the world has ever seen. The promenoir³ during the entr’actes is enlivened by an American negro ‘jazz’ orchestra which amazes the hundreds of French and Italian officers as much as it delights the Americans, Canadian and English Tommies. The bar is the world’s rendezvous for all armies (even the ‘Boche’ if the cynics can be believed). There you find your tailor from Nevada turned colonel, pretending to enjoy the French. And ‘Antonio’ falls into the arms of his brother that he left in Sicily. Alone the cocottes and the English ‘red tab’ generals remain inscrutable. Later went for tea to the comtesse de la Béraudière’s⁴ whose salon has also become an international meeting place of a somewhat different class. English Guardsmen look vainly for the dancing partners of four years ago. The Duchess of Sutherland⁵ told us of her wonderful work in her barge hospitals that were floating ships of mercy and will be known in legend when forgotten in history. She is lovely in a wrecked Madonna way and most fascinating. Mme de la Béraudière is supposed to be the most hirsute woman in Paris; [she] was youngishly dressed, fat and gracious. She introduced me to HRH Prince Antoine d’Orléans,⁶ a son of the comte d’Eu.⁷ He is a typical Bourbon and looks like Louis XIV. He dances and speaks English well. He is in the Canadian army and wears their uniform, as the law in France forbids members of its oldest family from serving under its colours. He is the heir to the empty throne of Brazil, his mother being the last sovereign … one occasionally hears of royalist feeling as being still existent there. Dine with comtesse de Béarn,⁸ I am falling in love with her. I long for an affair in the grand manner.

New Year’s Eve.

Gaby Deslys (1881–1920), born Marie-Élise-Gabrielle Caire in Marseilles, was an internationally famous dancer, singer and actress who died of complications arising from the Spanish influenza epidemic.

Literally, a covered walkway under which a promenade takes place.

Marie-Thérèse Brocheton (1866–1952), wife of Jacques, comte de la Béraudière (1864–1949). She was mistress of comte Henry Greffulhe (1848–1932), who was said to be the model for the duc de Guermantes in Marcel Proust’s À la recherche du temps perdu.

Lady Millicent Fanny St Clair-Erskine (1867–1955), daughter of the 4th Earl of Rosslyn, was one of several British grandes dames nursing in France. Her husband, the 4th Duke of Sutherland, whom she had married in 1884, had died in 1913 and she had married the following year Major Percy FitzGerald (1873–1933), though was still widely known as Millicent, Duchess of Sutherland.

Prince Antônio Gastão de Orléans e Bragança (1881–1918). His mother was Princess Imperial of Brazil, daughter of Emperor Pedro II. He was aide-de-camp to Brigadier General John ‘Jack’ Seely (1868–1947), 1st Baron Mottistone, formerly Secretary for State for War and in 1918 Commander of the Canadian Cavalry Brigade. Prince Antonio died of injuries sustained in an air crash in Edmonton, Middlesex, on 29th November 1918.

Prince Gaston d’Orléans, comte d’Eu (1842–1922), Imperial Consort of Brazil, was son of Louis, duc de Nemours, and Princess Victoria of Saxe-Coburg-Gotha. He was a grandson of King Louis Philippe of France (1773–1850) and first cousin through his mother of both Queen Victoria of Great Britain and Ireland (1819–1901) and her husband Prince Albert of Saxe-Coburg-Gotha (1819–1861).

Married Henri de Galard de Brassac Béarn (1874–1947), comte de Béarn. His first wife, Beatrice Winans (1884–1907), had been from Baltimore.

[mhkeiger]

Check out this listing I just added to my Poshmark closet: NWT Philippe Model PRSX Low Veau Croco in White and Aquamarine- Size 40.