DOCSLIB.ORG

Exhibition Checklist the Metropolitan Museum Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exhibition Checklist the Metropolitan Museum Of Exhibition Checklist ufanee The Metropolitan Museum of Art ufanee This exhibition has been made possible by Shiseido Cosmetics A checklist for the exhibition at the Costume Institute December 17, 1986, through September 6, 1987 Copyright ' 1987 by The Metropolitan Museum ol Art Published b\ The Metropolitan Museum ol Art John P. O'Neill, Editoi in Chiel Barbara Burn. Project Superviso) Michael Shroyer, Designei J o' r rc <rJ C oil t wit s Introduction 5 Entrance Galler} 6 Spanish Callen 7 1910s, 20s, 30s Gallerj 8 Waltz Galler) 11 Mimici Callen 13 Debutante Callen 15 Masquerade Callen 17 Vitrine 20 1960s Gallery 24 Credits 26 Introduction ance, the 1986-87 exhibition in the Costume Throughout the history of social dance, the DInstitute, is the fifteenth project guided by the imaginative masquerade has given participants the opportunity to vision of Diana Vreeland, Spedai Consultant for the diop their true identities—il only for a moment—and to Costume Institute. It has been our goal to evoke those vanish under somt disguise. In the seventh gallery we feelings of excitement and romance, of elegance and have sought to illustrate the most popular themes and femininity, associated with the grand occasions for images loi fancy chess halls: the oriental, the characters of social dancing that have spanned the centuries. Each eia Italian commedia dell'aite, the folk dress of various represented in the exhibition was replete with its own cultures, the impersonation ol historic characters, the etiquette, standard of feminine beauty, and music loi purely fantastic. This gal 1er) also contains in the vitrine dancing. many ol the special a< i essoi ¡es asso( iated with socTal As you enter the galleries, the procession of evening dancing. coats serves as a reminder of the elegance oí the occisión The eighth and final gallery contiasts \ i\ idly with in its entirety—from the dramatic entrance to the tmal those immediate!) preceding it by the stark comparison of dance. The coat is as important lor the whole eff« i as the the 1960s aesthetic with that of cai liei eras. Fully as dress underneath. The second gallery explores one of the- revolutionary as fashions and dances of the 1920s, those of major influences on the design of twentieth-centun the 1960s brought a new and different dynamic to the dresses for dancing: the ruffles and ornaments of the si K ial s( ene. Spanish flamenco tradition can he found again and again This checklist, which reproduces the label copy in the in the work of designers past and present. It is the aura of exhibition, M ts as a guide through the galleries and also vitality and passion associated with flamenco thai appeals provides the opportunity to thank the many donors—lx>th to designer and dancer alike. individual and organizational—who have made the The first three decades of the twentieth century saw a exhibition possible. Foremost of these is the Shiseido Co. revolution in fashion. Just before the tango swept Paris in Ltd.. whose most generous sponsorship oí Dance we 1912, the silhouette of women's clothing changed grateful!) a< knowledge. dramatically. Women no longer wanted clothing thai restricted movement, and in the third gallery are dresses Jean L. Druesedow worn to dance the new rhythms of music and society. Associate Cura tor-in-Charge By the late 1910s, the world seemed ready fot a return to the luxury and elegance it had of necessity forsaken during World War II, and in the spring of 1947 Christian Dior introduced his New Look. Women also seemed reach for a redefinition of femininity. The magnificent ballgowns of the 1950s are represented in the fourth gallery. As you wander across the dance floor notice the wonderful sweep of fabric and ornament reminiscent of earlier times, for in the fifth and sixth galleries you return to those earlier times, to the late eighteenth and early nineteenth centuries and then to the world of the second half of the nineteenth century. Strict systems of etiquette ruled the social occasion and organized the opportunities for young men and women to become acquainted. Entrance Gallery Red silk velvet evening coat Black wool evening coat trimmed embroidered with red-orange with white lace and silver-colored Black silk evening coat with chenille, rhinestones, and heads; metallic ribbon multicolored lamé fruit pattern trimmed with mink, cream-colored Worn by Mis. Caroline Schermerhom lace, and beaded tassels Asmi Wilson Designed by Poiret Label: Worth French, 1924-25 Anient an. ca. 1902-05 French. 1905-10 Gift of C. J. Vincente Mineiii. 1972 Gift of Mrs. Howard Crosby Brokaw. I960 Gift ol OIIIU Wilson and R. Thornton 1972.209..SO CI 60.42.1 Wilson, in memory ol theii mother, Mis. Caroline Schermerhom Astoi Wilson. 1919 CI 19.3.13 Black wool evening cape Yellow silk charmeuse evening coat Label: Saim Laurent, Rive Gauche, Paris lined with pale blue charmeuse and French, 1970 trimmed with gold-colored metallic Rose-colored silk faille and black silk Lent l>\ Valerian Stux-Rybar, New Yoik Guipere lace panels over blue-green velvet evening coat ornamented in an silk chiffon; black silk velvet collai oriental design with wool, silk, and gold-colored metallic thread, beads, Man's black wool and satin full Designed l>\ Paul l'onci French, 1912 colored stones, and gold leaf dress suit Pun hase, Irene I ewisohn Trust Gift, 1982 I .abel: Paquin Label: Gardner & Kreps, N.Y. 1982.350.2 French. 1912 American, 1934 Gift ol Mis. Edwin Stewart Wheeler. 1956 Gift ol Mr. and Mrs. Benjamin J. Lew. 1980 X56.2.1 1980.381 Orange silk evening coat, brocaded in gold, blue, and green; blue silk velvet collar trimmed with gold- Ramp right Ramp left colored metallic lace Label: Worth Black silk velvet evening cape with Salmon-pink silk velvet evening cape Fren« h, ca. 1910 phoenix design stenciled in gold and embroidered with gold-colored Gift of Mrs. Francis Coleman and silva metallic thread and sequins, beads; Mis Charles H. Filiali. Jr.. 1975 trimmed with bows and tassels, and 1975.383.1 Designed by Mane Gallenga Italian, early 1920s kolinsky fur Gift of Leafie Freda. 1980 Worn by Mrs. Cornelius Vanderbill Gray silk satin and tulle evening coat 1980.96 French, 1903-04 embroidered with gold-colored Gift of Cornelius Vanderbill and metallic thread, beads, and sequins Mrs. Roben L, Stevens, 1953 Eggshell-colored silk evening coat CI 53.32.) Label: Worth embroidered with gold-colored French, 1910 metallic thread, beads, and sequins Gift of Cornelia Van Anken Chapín, 1953 Ivory satin evening coat, weft CI 53.60.2 Label: Coppola Design, Deitsch, Werbsa patterned with silver-colored metallic & Coppola American, 1917 thread, ornamented with black lace, Magenta cut and voided velvet cream-colored chenille applique, Gift of Deitsch, Werbsa & Coppola, Inc., 1917 evening coat CI 47.46 sequins, and beads, and trimmed with pleated ivory chiffon Label: Revi lion Frères, Paris. New York, London Quilted gold lamé evening coat French, ca. 1898 French, ca. 1917 Gift of Mr. and Mrs. Maxime L. Hermanos, Gift of Mrs. Robert S. Kilbome. 1958 Designed l>\ Alix 1962 CI 58.67.14 French. 1935 CI 62.44.2 Gift of Miss Ellerbe Wood, 1910 CI 40.172 Beige uncut silk velvet evening coat, gold lamé ground, trimmed with fox and gold-colored metallic Black silk velvet evening cape with passementerie, and lined with gold- matching gloves colored velvet Designed by Balenciaga French. 1948-49 Label: Doucet French, ca. 1910 Gift of Mrs. Byron C. Fov, 1956 CI 56.60.3abc Gift of Olivia Constable, 1974 1974.242.1 Quilted silver lamé and black satin Spanish Gallery (clockwise) Ecru embroidered cotton eyelet evening coat trimmed with fox "flamenco" dress Label: Jeanne Lanvin Woman's ivory wool "flamenco" Label: Salao. Sevilla French, 1936-37 suit: jacket trimmed with Spanish. 1980 Gift of Mrs. Leon I.. Roos. 1966 passementerie; matching pants Lent by Manuela Vargas, Madrid CI 66.58.1 Worn b\ Carmen Amava Label: Sanche/ Vargas, Madrid Black and pink silk satin evening Spanish. mid-20th century Black silk velvet evening coat dress Lent by Instituí del Team- de la Diputa« io ili Label: An original design by Charles James, Ban clona. Musen de les Ails de L'EspectacIe Label: Cal lot Soeurs. Pans Lord &• Taylor. Fifth Avenue French, early 1930s American. 1956 Gift of Mrs. Russell W. Davenport, 1963 Gift of Lord fc Taylor, 1957 Man's red and black "flamenco" a 63.2.2 CI 57.27 costume: red velveteen jacket and vest trimmed with black velvet and passementerie; white cotton batiste Black wool and brown tulle evening Rose-colored ribbed silk evening coat shirt trimmed with eyelet lace and dress The silhouette of this coal has become known rhinestone buttons; black wool pants: Libel: Eisa as "Kabuki." Worn by Pauline de Rotbs< hild nav) wool cape embroidered with Designed by Baleni iaga Designed b\ Baleni iaga French, 1952 French, 1954-55 floral pattern, trimmed with black Gift ol Mis T. Wynyard Pasley, 1978 Gift of Baroness Philippe de Rothschild, 1973 cord, and lined with red velveteen; 1978.71 1973.21.3 black felt hat trimmed with grosgrain ribbon Woman's red velveteen evening Black silk velvet evening cape Spanish, mid-20ib century bolero jacket appliquéd with black embroidered with gold-colored Lent by Amonio Rui/. Madrid velvet and trimmed with black silk sequins, beads, metallic thread, and passementerie and jet embroiderv amber stones White cotton organdy evening dress Label: Balenciaga. 10avenue George V, Paiis Worn bv I.ad\ Menili (Elsie ile Wolfe) trimmed with black cotton piping; French, fall 1946-47 Designed by Elsa Schiaparelli yellow silk satin belt lit udì.
Load more

Recommended publications
  • Château Mouton Rothschild 2016 CSPC# 749529 750Mlx6 13.2% Alc./Vol
    Château Mouton Rothschild 2016 CSPC# 749529 750mlx6 13.2% alc./vol. Grape Variety 83% Cabernet Sauvignon, 15% Merlot, 1% Cabernet Franc, 1% Petit Verdot Appellation Pauillac Classification First Growth. Premier Grand Cru Classe in 1855 & in 1973 Website http://www.chateau-mouton-rothschild.com/ General Info Château Mouton Rothschild, owned by Baroness Philippine de Rothschild and her children, is regarded as one of the world’s greatest wines. The story of Mouton Rothschild is that of a magical combination of soil, climate and devotion of one man, Baron Philippe de Rothschild (1902-1988), Baroness Philippine’s father. In 1853, Baron Nathaniel de Rothschild, from the English branch of the family, bought Château Brane-Mouton and immediately renamed it in Mouton Rothschild. Baron Philippe de Rothschild, when he took over the estate in 1922, decided to devote his life to it and to make Mouton unique, producing the very best wine. In 1924, he was the first to introduce entire chateau bottling. In 1926, he built the majestic 100-metre barrel hall. In 1945, to celebrate the liberation of France, he had the idea of crowning the label of that year’s vintage with a V for Victory. Since then, a different label is created for each vintage by famous painters. In 1962, he opened the Museum of Wine in Art. In 1973, he obtained the revision of the 1855 classification so that Mouton would be officially recognized as a First Growth. Winemaker Philippe Dhalluin Vintage In 2016, there were two main trends in the weather as we experienced it in Pauillac: – a very wet winter and spring: more than half of the annual rainfall came in the first four months of the year, including a record 240 mm in January; – an extremely dry summer and autumn without any significant rainfall, resulting in a water deficit at the end of the year.
    [Show full text]
  • Cora Ginsburg Catalogue 2015
    CORA GINSBURG LLC TITI HALLE OWNER A Catalogue of exquisite & rare works of art including 17th to 20th century costume textiles & needlework 2015 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] NEEDLEWORK SWEET BAG OR SACHET English, third quarter of the 17th century For residents of seventeenth-century England, life was pungent. In order to combat the unpleasant odors emanating from open sewers, insufficiently bathed neighbors, and, from time to time, the bodies of plague victims, a variety of perfumed goods such as fans, handkerchiefs, gloves, and “sweet bags” were available for purchase. The tradition of offering embroidered sweet bags containing gifts of small scented objects, herbs, or money began in the mid-sixteenth century. Typically, they are about five inches square with a drawstring closure at the top and two to three covered drops at the bottom. Economical housewives could even create their own perfumed mixtures to put inside. A 1621 recipe “to make sweete bags with little cost” reads: Take the buttons of Roses dryed and watered with Rosewater three or foure times put them Muske powder of cloves Sinamon and a little mace mingle the roses and them together and putt them in little bags of Linnen with Powder. The present object has recently been identified as a rare surviving example of a large-format sweet bag, sometimes referred to as a “sachet.” Lined with blue silk taffeta, the verso of the central canvas section contains two flat slit pockets, opening on the long side, into which sprigs of herbs or sachets filled with perfumed powders could be slipped to scent a wardrobe or chest.
    [Show full text]
  • Catalogue of the Famous Blackborne Museum Collection of Laces
    'hladchorvS' The Famous Blackbome Collection The American Art Galleries Madison Square South New York j J ( o # I -legislation. BLACKB ORNE LA CE SALE. Metropolitan Museum Anxious to Acquire Rare Collection. ' The sale of laces by order of Vitail Benguiat at the American Art Galleries began j-esterday afternoon with low prices ranging from .$2 up. The sale will be continued to-day and to-morrow, when the famous Blackborne collection mil be sold, the entire 600 odd pieces In one lot. This collection, which was be- gun by the father of Arthur Blackborne In IS-W and ^ contmued by the son, shows the course of lace making for over 4(Xi ye^rs. It is valued at from .?40,fX)0 to $oO,0()0. It is a museum collection, and the Metropolitan Art Museum of this city would like to acciuire it, but hasnt the funds available. ' " With the addition of these laces the Metropolitan would probably have the finest collection of laces in the world," said the museum's lace authority, who has been studying the Blackborne laces since the collection opened, yesterday. " and there would be enough of much of it for the Washington and" Boston Mu- seums as well as our own. We have now a collection of lace that is probablv pqual to that of any in the world, "though other museums have better examples of some pieces than we have." Yesterday's sale brought SI. .350. ' ""• « mmov ON FREE VIEW AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK FROM SATURDAY, DECEMBER FIFTH UNTIL THE DATE OF SALE, INCLUSIVE THE FAMOUS ARTHUR BLACKBORNE COLLECTION TO BE SOLD ON THURSDAY, FRIDAY AND SATURDAY AFTERNOONS December 10th, 11th and 12th BEGINNING EACH AFTERNOON AT 2.30 o'CLOCK CATALOGUE OF THE FAMOUS BLACKBORNE Museum Collection of Laces BEAUTIFUL OLD TEXTILES HISTORICAL COSTUMES ANTIQUE JEWELRY AND FANS EXTRAORDINARY REGAL LACES RICH EMBROIDERIES ECCLESIASTICAL VESTMENTS AND OTHER INTERESTING OBJECTS OWNED BY AND TO BE SOLD BY ORDER OF MR.
    [Show full text]
  • Mes Chers Amis, It's My Pleasure to Welcome You To
    Mes Chers Amis, It's my pleasure to welcome you to Angler, with its dedication to Britain’s rich seafood heritage. As Executive Chef, Gary Foulkes, is showcasing the freshest fish in London in confident simplicity, I have selected wines that respect and compliment the delicate flavours of his dishes. Angler’s wine selection has been pared back to feature the best of the best; with the largest selection of whites, champagnes and sparkling wines available by the glass. In addition to light, fresh, classic and aromatic whites from the Loire Valley, Northern Spain and of course, Italy, you’ll find new growers by the glass completing our selection of champagne and sparkling counterparts. Our range of reds emphasises lighter wines to respect Gary Foulkes creations, but I have not forgotten some sultry reds for after dinner or sharing on our terrace. This wine list is a living and breathing collection that will evolve with the seasons and with your suggestions. My team of sommeliers and I are here to help you discover new favourites, please do not hesitate to ask for our advice or share your feedback. Santé! Benoit Allauzen Head Sommelier Mondays Love Wine list… Available every Monday, offering a chance to perk up the dullest day of the week, offering brilliant bottles available at Monday prices in all D&D London restaurants Normal Monday Price Angler NV Sanger, Cuvée Louise Eugenie, Avize 129.00 64.50 NV Billecart-Salmon, Cuvée Brut Sous Bois, Mareuil-sur-Ay 146.00 73.00 1995 Charles Heidsieck, Blanc des Millénaires, Reims 325.00 162.50 2014 Sancerre 'Cuvée d'Antan', Henri Bourgeois, Loire, France 102.00 51.00 2009 Riesling Cuvée Frédéric Emile, Domaine Trimbach, Alsace, France 136.00 68.00 2014 Terre Alte, Livio Felluga, Venezia Giulia, Italy 162.00 81.00 2005 Chardonnay, Montebello Vineyard, Ridge Estate, Santa Cruz, California 185.00 92.50 2012 Giaconda Estate Chardonnay, Beechworth, Australia 247.00 123.50 2007 Montrachet Grand Cru, Château de Puligny Montrachet, Burgundy, France 830.00 415.00 2001 Villa Corullon, Descendientes de J.
    [Show full text]
  • 10/2011 Dress with Galloon Lace Detail By: Burda Style Magazine
    10/2011 Dress with galloon lace detail By: burda style magazine http://www.burdastyle.com/projects/102011-dress-with-galloon-lace-detail Dress with galloon lace detail: Galloon lace is a double edge lace with a usable border on both sides that can be separated for matching border trim. burda style magazine patterns FAQ 1 Materials Wool crpe Step 1 — Preparation Paper cut for ANSI A (German DIN A4) prints: This pattern is printed on 8.5″ × 11″ sheets of plain paper. Do not scale or center pages before printing. Wait until all sheets are printed out before beginning to tape them together. Do not cut out pattern pieces yet— Arrange the sheets on a large, hard, flat surface so that they fit together, matching up like numbers and letters (i.e. 6A to 6A). To tape pattern together, fold under the margin of one piece (6A) and tape right against the line of it’s matching number/letter (6A). Trace the pattern pieces from the pattern sheet, follow lines for the respective sizes. The sizes for this dress is 76, 80, 84, 88, 92. 76 / EUR 38 / US 8 80 / EUR 40 / US 10 84 / EUR 42 / US 12 88 / EUR 44 / US 14 92 / EUR 46 / US 16 burda style magazine pattern do not have seam allowance included. Seam and hem allowances to be added: Seams and edges 1.5 cm (5/8 in). Step 2 — Cutting out 2 Cut the following pieces: Main fabric: Pattern piece number 1 – Center front piece, cut on fold x1 Pattern piece number 2 – Side front piece, cut x2 Pattern piece number 3 – Center back piece, cut x2 Pattern piece number 4 – Side back piece, cut x2 Pattern piece number 5 – Sleeve, cut x2 Pattern piece number 6 – Front neck facing, cut x2 Pattern piece number 7 – Back neck facing, cut x2 Lining: Pattern piece number 1 – Center front piece, cut on fold x1 Pattern piece number 2 – Side front piece, cut x2 Pattern piece number 3 – Center back piece, cut x2 Pattern piece number 4 – Side back piece, cut x2 Interfacing: Cut pieces for and iron onto all facing pieces.
    [Show full text]
  • Identifying Handmade and Machine Lace Identification
    Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audiences. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4.
    [Show full text]
  • The Rothschild Bibliography Caroline Shaw of the Rothschild Archive Describes Her Attempts to Chart the Family’S Countless Ventures Into Print
    The Rothschild Bibliography Caroline Shaw of The Rothschild Archive describes her attempts to chart the family’s countless ventures into print The ‘Dunottar Castle’ from the cover of Three weeks in South Africa by Ferdinand de Rothschild Has there ever been such a family as the Rothschilds for getting into print? For me, after working on this project for two years, the question is coloured by a mixture of wonder and exasperation. Will they never stop publishing? Of course, one hopes not; but is there to be no rest for the bibliographer? It has been a long-standing goal of The Rothschild Archive to compile a bibliography of publications by members of the Rothschild family and now, 1,840 entries by fifty-one individuals further on, we are perhaps ready to acknowledge that critical mass has been reached whilst accepting that completion may never be achieved. The initial motivation for producing The Rothschild bibliography was a desire to bring some kind of intellectual order to this not insignificant aspect of the activities of the Rothschild family. It has been a mapping of a wide and diverse terrain and revealed some previously uncharted areas. Beyond this, and the greater insight allowed into the lives and interests of many members of the family, the bibliography has brought some other benefits to the Archive. New acquisitions have followed from our greater knowledge and awareness of the publications; and the ever-expanding database of references has also built up into a guide for locating material, whether held at the Archive or at another institution.
    [Show full text]
  • The American Lady-Tailor Glove-Fitting System of Dress Making
    ' : - . fdfl . - . ... • • . 1 i , 1 • • • • i ft) '•-.; r i. # i ' ".. - i ! It r it ; . CvAMDkPS^ fedt Improved and Simplified. LIBRARY OF CONGRESS. ®|ap. - ®W'Sl l 1« # Slielf .vGr..2? fc UNITED STATES OF AMERICA. 4$ f. L Second Edition.] [Price, Five Dollars, THE AMERICAN Lady-Tailor Gloye-Fitting- System OP- DRESS-MAKING Invented and Taught by ^ • Mrs, Elizabeth Gartland IN HER SCIENTIFIC COLLEGE. KE^nSED, iLLTJSTBiLTED # SlIMIIF'IQjIIF'IEID- PHILADELPHIA, PA. 1884. Entered according to Act of Congress, in the year 1884, by Mrs. Elizabeth in the Office of the Librarian of Congress, at Washington, D. C. : IMPORTANT NOTICE. \K^ To all whom it may Concern : —Only those purchasing this Book from me or my authorized agents are hereby licensed to use my Systems of Cutting and Fitting, set forth in this work, the contents of which I have secured by copyright. And no person shall have any right whatever to sell or teach in any manner, my system, without first procuring from me or my duly authorized agents a license in writing, signed by me, specifying how and in what way it may be used. MRS. E. GARTLAND, 15 SOUTH 13th STREET, PHILADELPHIA, PA. LEADING PARIS FASHION MAGAZINES And they can be had at any time by the single number or by subscrip- tion; post-paid, at the prices given in the following list One Six Three Single Year. Months. Months. Copy. *Aquarelle Mode Weekly 9 16 20 9 9 00 $ 5 00 45c. *Album de la Toilette Semi-Monthly.. 7 25 4 00 2 25 45c. *Coquet Semi-Monthly.
    [Show full text]
  • The Great Room Sugar Beach a Viceroy Resort
    THE GREAT ROOM SUGAR BEACH A VICEROY RESORT WINE CELLAR * ITEMS MARKED WITH AN ASTERISK INDICATE SELECTIONS NOT INCLUDED IN ANY PLAN PRICES ARE SUBJECT TO 10% SERVICE CHARGE AND 8% SALES TAX ALL PRICES ARE QUOTED IN UNITED STATES DOLLARS 1 TABLE OF CONTENTS WINES BY THE GLASS Page 3 - 4 CHEF’S SPECIAL SELECTION Page 5 SPARKLING WINES SPARKLING Page 6 CHAMPAGNE Page 6 WHITE WINES ARGENTINA Page 7 AUSTRALIA Page 7 CHILE Page 7 ITALY Page 7 NEW ZEALAND Page 7 FRANCE Page 8 SOUTH AFRICA Page 9 SPAIN Page 9 USA Page 9 RED WINES ARGENTINA Page 10 AUSTRALIA Page 10 CHILE Page 11 FRANCE Page 11-12 ITALY Page 13 NEW ZEALAND Page 13 PORTUGAL Page 13 SOUTH AFRICA Page 13 SPAIN Page 14 USA Page 14 ROSE WINES Page 15 DESSERT WINES & PORT Page 15 2 WINE BY THE GLASS SPARKLING WINE and CHAMPAGNE MASCHIO DEI CAVALIERI, Prosecco, Valdobbiadene, Italy *VEUVE BONNEVAL, Brut, N/V *PIPER HEIDSIECK, Cuvee Brut, N/V WHITE WINE MONTES “Classic Series”, Sauvignon Blanc, Valle de Curico, Chile, 2011 JACOBS CREEK, Semillon – Chardonnay, Australia, 2010 CECCHI, Orvieto Classico DOCG, Italy, 2012 MARCHESINI, Pinot Grigio, Provincia di Pavia IGT, Italy, 2012 *SANTA CRISTINA, Pinot Grigio, Sicilia DOCG, Italy, 2010 *ESCUDO ROJO, Baron Philippe de Rothschild, Chardonnay, Valle Maipo, Chile, 2010 *ROSEMOUNT ESTATE, Sauvignon Blanc, South Eastern Australia, 2011 *CASA VINICOLA BERTOLDI, Pinot Grigio, Veneto Piave, Italy, 2011 *JORDAN 'Unoaked, Chardonnay, Stellenbosch, South Africa, 2011 *FERRARI CARANO, Fume Blanc, Sonoma County, USA, 2010 *SANTA RITA, "Floresta", Sauvignon Blanc, Valle de Leyda, Chile, 2007 *TINDALL, Chardonnay, Marlborough, New Zealand, 2009 *OXFORD LANDING ESTATE, Chardonnay, Riverland, AUSTRALIA, 2011 *AU BON CLIMAT, Chardonnay, Santa Barbara Valley, USA, 2011 3 WINE BY THE GLASS RED WINE NORTON, Barrel Select, Malbec, Mendoza, Argentina, 2010 SANTA RITA “120”, Cabernet Sauvignon, Valle Central, Chile, 2012 *ESCUDO ROJO, Baron Philippe de Rothschild, Bordeaux blend, Valle Maipo, Chile, 2010 *CALLABRIGA Tinto, Dao D.O, Portugal, 2008 *MASI, Bonacosta, Blend, D.O.C.
    [Show full text]
  • Westfield Has Just Such an Architec- Ficer Stated That Fanwood Allows One Mare." Mr
    SCOTCH PLAIT'S PW.'.LIC UBRAHl 1927 B.I: s'iU AVENUE SCOTCH PLAj.r; PJ f :r?ll7P PCB PLAINSTHE- Serving Scotch PlainsTIME and Fanwood Since 1959 — S fANWOOD IISPS ttSKN Published OUR 36th YEAR SKimd CIM PnUft Paid M Scotdi ftaim, N J. Thursday, January 26,1995 Every Thuraday 232-4407 FORTY CENTS COUNTY REJECTS $400.000 REQUEST FOR HOUSING FUNDS Appraisal Expected This Month On Proposed Site in Township For Second Complex for Seniors Five New Police Officers Hired Out of Academy; Judge Allows Advanced Recycling to Continue Pickups By GLENN R. KAPLINSKY Specially Written for Vie Timn The appraisal is being done by lenged in the court, officials noted. Russell Sterling from the firm of A private firm hired by the town- The council has asked the Union Schwartz and Sterling Associates. ship is expected to complete its County Community Development Mr. Sterling said he visited the Sub-Committee to reconsider its appraisal of a site located at Broad- site off Broadway and Jerusalem decision to deny the request of the way and Jerusalem Road, which Road on January 12. He also met township and the Senior Citizen has been proposed by a private with Township Manager Thomas Housing Corporation for developer for a second seniorciti- E. Atkins. Mr. Sterling said he has $400,000 in additional funds to zens complex in Scotch Plains, given the matter top priority. assist with financing the public later this month. The township's first senior com- senior citizens housing complex, Broadway Associates has pro- plex is expected to be completed which is slated for completion in ALI, ABOUT THE LAW...The Honorable R.
    [Show full text]
  • Wall Street Funding of the Rise of Hitler
    WALL STREET FUNDING OF THE RISE OF HITLER Antony Suttons’ Investigation Of Wall Street Funding Of World War II FOR RESEARCH PURPOSES ONLY FROM THE LIBRARY OF DR. MICHAEL SUNSTAR 2007 SUNSTAR COMMENTARY ON THE WALL STREET FUNDING OF HITLER BY ANTONY SUTTON: A question that has been on the minds of lots of researchers on the rise of Hitler is: 1. How did Hitler obtain such advanced technology? 2. Although Hitler seized the German military system, who funded him and how did he come up with so many different types of armor, equipment and machinery? 3. Were there any American corporations involved with Nazi manufacturing and corporate financing and if so, which ones? 4. Was the devil truly in the details, and if so, which of his companies assisted Hitler? 5. From fighter planes in the air, to submarines under the ocean, to tanks, armory, weaponry, and sophisticated chemical warfare, just how did Hitler obtain so much access to so much technology in such a short period of time? 6. Why did the U.S. Government take so much time in responding to Hitler’s takeover of European nations? 7. Was there a Project Paperclip already in effect in Nazi Germany, before PROJECT PAPERCLIP was reported to be recruited in the United States after World War II? 8. Why was Hitler so angry against the Jewish people? Was it because of his discovery of the Protocols of the Learned Elders of Zion and was it because he found out about a plot among Masonic Jews to take over the world? Could he have been angry as he looked around Germany and saw the Jewish people prosperous & successful, while the German workers were suffering poverty? Was Hitler truly the bastard son of a Rothschild, as his mother worked for a Rothschild who fancied young women? 9.
    [Show full text]
  • Haute Couture
    ARTS TALENTS ENCHÈRES Maison de vente aux enchères no 030-2012 LE BOUDOIR DES MUSES Audrey Hepburn, Coco Chanel, Gloria Swanson… & PASSION DE COLLECTIONS du comédien Pierre Stephen VENTE Dimanche 22 septembre 2013 ELEPHANT PANAME, 10, rue Volney, 75002 Paris ARTS TALENTS ENCHÈRES Maison de vente aux enchères no 030-2012 LE BOUDOIR DES MUSES Haute couture (Christian Dior, Balenciaga, Chanel…) L’univers de Coco Chanel Ensemble de 4 sculptures dadaïstes pouvant se rattacher au parfum Numéro 5, paravent de Misia Sert, mobilier de la chambre à coucher de Coco Chanel, vers 1920, du film Coco Chanel et Igor Stravinsky…) L’univers d’Audrey Hepburn Gouaches de Cecil Beaton pour My Fair Lady, déshabillé d’Audrey Hepburn, photographies… Bijoux, accessoires Collection de peignes, bijoux de Catherine Zeta-Jones dans Sheherazade, poudrier 1935 de Salvador Dali pour Schiaparelli, malles Vuitton…. Archives d’une brodeuse d’exception haute-couture : Madame Andrée Brossin de Méré Dessins d’Yves Saint Laurent, Christian Dior, Hubert de Givenchy, Paco Rabanne ; nombreuses archives photographiques notamment avec Christian Dior…, nombreux échantillons. Archives textiles haute-couture de la Maison Perrier press-books de 1948 à 1964, photographies des créations avec les tissus Perrier de 1947 à 1960 (Dior, Chanel, Lanvin, Balenciaga…). Objets de curiosité (documents XVIIIe sur la mode, pastel XVIIIe d’une élégante, cloisonnés et porcelaines de Chine), mobilier (table vers 1925 dans le goût de Poiret, rocking-chair du film Emmanuelle), photographies (William Klein, Paul Steinitz), jouets (collection de trains, de chevaux…). vvvvvvvvvvvvvvv PASSION DE COLLECTIONS Archives du comédien Pierre Stephen (1890-1980). Press-books, photographies cinéma du muet au parlant, érotiques vers 1900, lanternes de projection, perruques de Sacha Guitry, canotier de Maurice Chevalier, bijoux et strass de cinéma, théâtre et music-hall, correspondance (Marcel L’Herbier), actions de cinéma… Tableaux et gouaches (Eisenstein, Annenkov, Edel, Guitry, Gerbault, Soukoloff, Wittop, Delamare, Betout, Saradin…).
    [Show full text]