In planning the renovations for Hillwood in 1955, the forward-thinking collector requested that built-in, lighted display cases be included in almost every first floor room. The display cases in this room and others on the first floor were well-planned elements added by Post. Plates from the Kremlin Service, from the early to mid nineteenth century, reflect Nicholas I’s desire to return to a “traditional” Russian style. A soup plate from Her Majesty’s Own Service, produced for Elizabeth I of Russia in the late 1750s, was part of the first service made by the Imperial Porcelain Factory. Other important services from the Imperial Porcelain Factory are featured in this space. George Dessert Service, which contains the order’s star and ribbon on either side. An excellent example of a piece from one of these orders is the basket from the Order of St. This type of provenance was extremely attractive to Post, who embraced Russian porcelain for its beauty, craftsmanship, and direct association to the imperial families. Knights of the various orders honored for their government and military service used these pieces when they dined at the Winter Palace on the feast day of their patron saint. The most prominent pieces displayed in the Russian porcelain room belong to four order services commissioned by Catherine the Great in the late eighteenth century. While her acquisitions in the Soviet Union formed only the nucleus of her Russian collection, her experience there sparked a passion that lasted the rest of her life. Although she had been an avid collector of French porcelain since the 1920s, she fell in love with the beautiful Russian porcelain and glass for sale by the Soviets to fund their industrialization program. Davies, served as United States ambassador to the Soviet Union. In 19 Marjorie Post’s third husband, Joseph E. This imperial coat of arms sets the tone for the Russian glass and porcelain lining the walls, mostly produced in imperially owned or sponsored factories. These gifts offered proof of the maiden's skill and industriousness to her future family, and consisted mostly of towels with wide embroidered borders and chirinkas, or embroidered pocket handkerchiefs.When visitors enter the Russian porcelain room, they are welcomed by a majestic double-headed eagle inlaid in the center of the floor. Young women often began years before their marriage to produce the collection of textiles that would be presented as gifts to their future husband and his family. The traditional wedding customs that were practiced widely in the 16th century and lasted in some remote areas into the early 20th century placed great importance on needlework. These were sometimes worn with a headdress, or kokoshnik. (c) Married women were required to cover their hair entirely lest they be considered immodest they wore fatas, usually a white muslin veil woven with silk floral designs and gold embroidery such as this. Together with the traditional headdress the ensemble makes a bold statement with its contrasting red and blue and generous gold ornamentation. The shirt worn under the sarafan is unique for its extremely long sleeves gathered onto the wrist. (b) In the 18th century the sarafan, the long sleeveless dress seen here became the most prevalent form of women's clothing among the peasant class of Northern and Central Russia. The strawberry denotes purity and modesty, as well as fertility and abundance. The motif on this sarafan includes strawberries, a significant symbol in folklore. Beginning at the turn of the 18th century, the sarafan, a long, sleeveless dress, became the most popular article of peasant women's clothing in the Northern and Central regions of Russia. (a) Traditional Russian costume consists of straight, flowing lines. Portions of Shabelsky's collection are also housed at the Museum of Fine Arts, Boston, the Cleveland Art Museum, and the Russian Museum of Ethnography in St. The Brooklyn Museum holdings include many fine examples including the majority of the garments. From the 1870s until moving to France in 1902, Shabelsky amassed a large collection of intricately embroidered hand-woven household textiles and opulent festival garments with rich decoration and elaborate motifs. Traveling extensively throughout Great Russia, she collected many fine examples of textile art of the wealthy peasant class. This object is from the collection of Natalia de Shabelsky (1841-1905), a Russian noblewoman compelled to preserve what she perceived as the vanishing folk art traditions of her native country.
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