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Fancy dress costume entertainments uniquely suited identity games because they leveled the sartorial playing field, eschewing the dictates of conventional clothing.
On one occasion, hearing that someone else had chosen to impersonate his favorite French king at a forthcoming ball, he reportedly spent over 10,000 dollars on another costume, a suit of armor inlaid with gold. Salomons preserved these photographs, taken around 1869/1870, in an album he assembled decades later around 1900.On April 1, 1864, the last day of Passover, Brünn-born Sophie Todesco, salonnière wife of one of Vienna’s leading Jewish financiers, presented a tableau with a Jewish theme to her select audience of at least five princesses, two princes, dukes and duchesses, local politicians, literary figures, as well as distinguished Jewish guests in her salon. Grant feature in this caricature; the German-born Jew in the ruff, bowing to the hostess, may represent Joseph Seligman, the son of a poor weaver and a friend of Grant, who had business dealings with Gould and Vanderbilt, and died in 1880. Thus Jewish-born financier Achille Fould hosted grand fancy dress balls attended by all the beau monde of the era when in office as Minister of State (1852–1860). The earring reappeared in other self-depictions: a sexually ambiguous self-portrait (1876), his eyes bathed in shadow, and a painting of Christ preaching at Capernaum (1878–1879), where he wore Arab dress. Jean-Joseph Benjamin-Constant, Empress Theodora, 1887, oil on canvas, Museo Nacional de Bellas Artes, Buenos Aires.
The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. Ten of the revelers wore gaudy medieval doublets and the pointed Jewish hat, the Spitzhut, which served as a marker of Jewish identity and once stigmatized Jews. and 7), 63 The Beautiful Melusine (after Moritz von Schwind’s illustration of the medieval European legend), Romeo and Juliet (after Hans Makart’s Balcony Scene of Romeo and Juliet), Siesta at the Medici Court (after Hans Makart’s oil on canvas with the same title). The Montagus invested thought and effort in the production of images worthy of preservation for posterity as well as in their luxurious costumes.Jewish visual culture encompasses the practices through which Jews enjoy and/or make sense of such images.
Two family photograph albums reveal some of the Jews who dressed up impressively for the Montagu ball in 1887 (described above). His criticism did not cramp the style of the Princess, who continued to invite Jews to her costume balls. Hilde Spiel, Arnstein’s biographer, cited an informer who noted that Arnstein intended and succeeded in surpassing the tableaux of the court. His Christian children were invited to all the balls of the exclusive Four Hundred members of fashionable New York society in the last years of the century. The elegant fancy dress balls, hosted by twenty-eight-year-old bachelor Sir David Lionel Salomons (nephew and heir of Sir David Salomons, the alderman mentioned above) and Liberal Member of Parliament Samuel Montagu, detailed in the non-Jewish press, revealed their exemplary Britishness.Frankfurt-born James de Rothschild settled in Paris in 1811, made his first million francs in 1815, and later became the wealthiest man in France. Amateur shots, taken by David Lionel Salomons in his late teens in the privacy of the Broomhill estate, reveal uncensored enjoyment of dressing up, unlike the staid studio photographs discussed so far. g., soldier, sailor, shepherdess, dairymaid) or ecclesiastical costumes, or in “character dress,” impersonating a historical, literary, allegorical, or theatrical figure, often crossing class and gender boundaries. In France, there were publications such as Le Figaro, Le Gaulois, Le Monde Illustré, and several Parisian fashion journals; in England there was The Times, The Illustrated London News, provincial English newspapers, as well as The Jewish Chronicle; in the United States, there was The New York Times, The New York Herald, and the Jewish press; and in Austria there was the Morgen Post, Weiner Salonblatt, Die Debatte, and Fremden Blatt. The five Literary and Art Society fancy dress balls lacked Jewish character, and conformed to the norms and costume genres of non-Jewish balls.
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