Masquerade Collection (page 8)

The Largo San Ferdinando, Naples, at Carnival Time with the Royal Carriage Approaching
659335 The Largo San Ferdinando, Naples, at Carnival Time with the Royal Carriage Approaching the Palazzo Reale, (oil on canvas) by Joli

The Stranger, 1894 (woodcut)
715064 The Stranger, 1894 (woodcut) by Vallotton, Felix Edouard (1865-1925); 22.4x17.9 cm; Private Collection; (add.info.: l Etranger); Photo eChristies Images; Swiss, out of copyright

The Masquerade Ball, (oil on canvas)
659111 The Masquerade Ball, (oil on canvas) by Migliaro, Vincenzo (1858-1938); 34.9x25.6 cm; Private Collection; (add.info.: The Masquerade Ball. Vincenzo Migliaro (1858-1938). Oil on canvas board

Portrait of Catherine Begon, 1746 (pastel on vellum)
4071449 Portrait of Catherine Begon, 1746 (pastel on vellum) by Liotard, Jean-Etienne (1702-89); 62.8x49 cm; Rijksmuseum, Amsterdam

Ticket for a Masked Ball at the Opera House on the 26th April
CWA124888 Ticket for a Masked Ball at the Opera House on the 26th April, engraved by Francesco Bartolozzi (1727-1815), 1770 (engraving) by Cipriani

The Temple of Apollo (pen & ink on paper)
CTS407592 The Temple of Apollo (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; (add.info)

Scene from an unidentified play in the Cockpit-in-Court, 1639 (pen & ink on paper)
CTS407589 Scene from an unidentified play in the Cockpit-in-Court, 1639 (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; (add.info.: Royal Cockpit theatre)

Tragic scene (pen & ink on paper)
CTS407554 Tragic scene (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; Reproduced by permission of Chatsworth Settlement Trustees; English, out of copyright

Cupidss Palace, c. 1619-23 (pen & ink on paper)
CTS407548 Cupidss Palace, c.1619-23 (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; Reproduced by permission of Chatsworth Settlement Trustees; English

Proscenium and hunt scene (pen & ink on paper)
CTS407546 Proscenium and hunt scene (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; Reproduced by permission of Chatsworth Settlement Trustees; English

A street in perspective, c. 1617 (pen & ink on paper)
CTS407543 A street in perspective, c.1617 (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; (add.info)

Penthesilea, c. 1609 (pen & ink on paper)
CTS407507 Penthesilea, c.1609 (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; (add.info.: Queen of the Amazons; worn by Lucy Russell)

The Ridotto, c. 1760 (oil on canvas)
873444 The Ridotto, c.1760 (oil on canvas) by Gobbis, Giuseppe (c.1730-after 1787); 83.82 x114.94 cm; San Diego Museum of Art, USA; eSan Diego Museum of Art; Gift of Anne R

The Foyer (sketch)
FTB60784 The Foyer (sketch) by Guardi, Francesco (1712-93); Private Collection; Italian, out of copyright

Return from the masked ball
Return from the ball: a young man flirts with several women undressing after a costume ball. During carnival you must be especially vigilant, old husbands of young wives, outdated lovers

A meeting at a masquerade ball
A meeting at a ball: A masked woman and Normandy girl flirt with a revolutionary man in bicorn and cockade, while a woman in drag as a Turkish man interrupts and a double bass player looks

Preparing for a masked ball, 1800s
Preparations for a masquerade. We no longer see harlequins and pierrots at masked balls, but instead costumes of Switzerland and Normandy

Masquerade party on the rollercoaster at the Salle de l Odeon, 1815. Fashionable society at a masked ball in the pleasure gardens, and women wearing the Swiss Bernese style

Masked Guests with Musicians (oil on panel) (see 254067)
BAT254068 Masked Guests with Musicians (oil on panel) (see 254067) by Flemish School, (16th century); Galleria Palatina & Appartamenti Reali di Palazzo Pitti, Florence, Tuscany

Lady in mask at a ball, reign of King Henry III of France, 1573-1575. She wears a hat decorated with pearls, a full-face black mask

Mlle. Judith as Isabelle in La Grisette de Qualite, 1844
Mlle. Judith or Judith Julie Bernat as Isabelle in La Grisette de Qualite, Theatre des Folies Dramatiques, 1844. Handcoloured lithograph after an illustration by Louis Lasalle from Victor Dollets

Mlle. Melcy as Amelie in Un Mari qui se Derange, 1846
Mlle. Melcy as Amelie at a masked ball in Un Mari qui se Derange by Cormon and Grange, Theatre du Gymnase Dramatique, 1846

Page from a souvenir album of the Juvenile Fancy Dress Ball, Leeds
3744837 Page from a souvenir album of the Juvenile Fancy Dress Ball, Leeds, 12th January 1891 (b/w photo) by English Photographer

Dressing for a Masquerade, Mr Disraeli as a Great Protectionist Leader (engraving)
2777175 Dressing for a Masquerade, Mr Disraeli as a Great Protectionist Leader (engraving) by English School, (19th century); Private Collection; (add.info.: Dressing for a Masquerade)

The Wife of the Period - Suffer No Little Children to Come Unto Me, 1869 (wood engraving)
1078675 The Wife of the Period - Suffer No Little Children to Come Unto Me, 1869 (wood engraving) by Nast, Thomas (1840-1902); Collection of the New-York Historical Society

Masquerade habits of the 15th Century (coloured engraving)
972957 Masquerade habits of the 15th Century (coloured engraving) by English School, (19th century); Private Collection; (add.info.: Masquerade habits of the 15th Century)

A Masquerade on Wheels (engraving)
1059723 A Masquerade on Wheels (engraving) by Ralston, William (1848-1911) (after); Private Collection; (add.info.: A Masquerade on Wheels)

The March of the Seasons, (oil on canvas)
659162 The March of the Seasons, (oil on canvas) by Halle, Charles Edward (1846-1914); 106x79.4 cm; Private Collection; (add.info.: The March of the Seasons. Charles Edward Halle (1846-1914)

Elegant company in masque costume taking coffee and playing cards (oil on canvas)
CH416894 Elegant company in masque costume taking coffee and playing cards (oil on canvas) by Longhi, Pietro (c.1701-85) (circle of); 49.5x72 cm; Private Collection; (add.info)

Art. Entertainment. Masquerade ball at the cabaret L Elysee Montmartre, Paris
3434494 Art. Entertainment. Masquerade ball at the cabaret L Elysee Montmartre, Paris. Poster by Jules Cheret, France, 1894. (poster) by Cheret, Jules (1836-1932); (add.info.: Art. Spectacle. Coll)

Design for a Costume of a Marquise for the ballerina Tamara Karsavina
1217597 Design for a Costume of a Marquise for the ballerina Tamara Karsavina, 1924 (watercolour and touches of bodycolour within a delineated border in black ink on white wove paper) by Somov

Masquerade (engraving)
3646761 Masquerade (engraving) by Gheyn, Jacques II de (1565-1629); Private Collection; (add.info.: Masquerade. Illustration for Kulturgeschichtliches Bilderbuch aus drei Jahrhunderten by Georg Hirth)

Masquerade (engraving)
3646755 Masquerade (engraving) by Gheyn, Jacques II de (1565-1629); Private Collection; (add.info.: Masquerade. Illustration for Kulturgeschichtliches Bilderbuch aus drei Jahrhunderten by Georg Hirth)

Advertisement for George Goulets Champagne, and a masquerade ball at the Academy of
695477 Advertisement for George Goulets Champagne, and a masquerade ball at the Academy of Music & Nilsson Hall, c.1876 (colour litho) by American School, (19th century); New York Public Library

Masquerading at the Argyle Rooms (coloured engraving)
608506 Masquerading at the Argyle Rooms (coloured engraving) by English School, (19th century); Private Collection; (add.info.: Masquerading at the Argyle Rooms)

Ranelagh Gardens. Masquerade for the Venetian Ambassador, 1749 (coloured engraving)
610684 Ranelagh Gardens. Masquerade for the Venetian Ambassador, 1749 (coloured engraving) by English School, (18th century); Private Collection; (add.info.: Ranelagh Gardens)

Girls fancy dress, 1897 (silk, cotton & satin)
HMP409867 Girls fancy dress, 1897 (silk, cotton & satin) by English School, (19th century); Harris Museum and Art Gallery, Preston, Lancashire

The Suburbs of a Great City, c. 1639 (pen & ink on paper)
CTS407588 The Suburbs of a Great City, c.1639 (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections

Atlas: back shutter or scene of relieve (pen & ink on paper)
CTS407568 Atlas: back shutter or scene of relieve (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; (add.info.: possibly a stage design for Hymenaei)

Oberons Palace, c. 1611 (pen & ink on paper)
CTS407533 Oberons Palace, c.1611 (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; (add.info.: stage design for Oberon)

St Georges Portico, c. 1610 (pen & ink on paper)
CTS407519 St Georges Portico, c.1610 (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; (add.info)

Queen Atalanta, 1609 (pen & ink on paper)
CTS407514 Queen Atalanta, 1609 (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; (add.info)

Queen Berenice of Egypt (pen & ink on paper)
CTS407511 Queen Berenice of Egypt (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; (add.info)

The Masque of Queens, scene 2: the House of Fame, c. 1609 (pen & ink on paper)
CTS407506 The Masque of Queens, scene 2: the House of Fame, c.1609 (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections

A throne (pen & ink on paper)
CTS407505 A throne (pen & ink on paper) by Jones, Inigo (1573-1652); eThe Devonshire Collections, Chatsworth; Reproduced by permission of Chatsworth Settlement Trustees; English, out of copyright

Waiting for a Train on the Elevated Railway after the Masquerade (engraving)
2812777 Waiting for a Train on the Elevated Railway after the Masquerade (engraving) by Sala, George Augustus (1828-95); Private Collection; (add.info)

Advertisement for the 1st Carnaval masked ball at the Theatre National de l Opera
1770055 Advertisement for the 1st Carnaval masked ball at the Theatre National de l Opera, in 1892, 1892 (colour lithograph) by Cheret

The Masquerade in Ranelagh gardens (engraving)
3652530 The Masquerade in Ranelagh gardens (engraving) by Cruikshank, George (1792-1878) (after); Private Collection; (add.info.: The Masquerade in Ranelagh gardens)

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"Unveiling the Enigma: Exploring the Allure of Masquerade" Step into a world of mystery and intrigue as two ladies adorned in resplendent blue and gold masks transport us to the enchanting Venice Carnival, a UNESCO World Heritage Site. This captivating Elspeth Phelps advertisement from 1920 captures the essence of this timeless tradition. The iconic Lon Chaney takes center stage in "Phantom of the Opera, " a 1925 film that epitomizes the allure and mystique surrounding masquerades. His haunting portrayal lingers in our minds, reminding us of the hidden identities concealed behind elaborate disguises. Venice, with its vibrant Venetian Carnival, has long been synonymous with masquerades. A lady and gentleman clad in red and white masks evoke an air of elegance against this picturesque backdrop. The city's rich history comes alive through these masked figures wandering its labyrinthine streets. Delving deeper into cultural customs, we encounter Native American hunters donning wolf-skins as clever camouflage during their hunts—a striking example of how masquerades transcend time and geography. Amidst Venice's architectural marvels stands The Church of Santa Maria della Salute, an embodiment of grandeur since 1740/41. Its opulence serves as a fitting setting for masked revelers who gather within its hallowed halls during extravagant balls. Traveling back to 1788, we witness a woman gracefully swathed in a ball gown while concealing her identity behind an exquisite mask—an emblematic image capturing society's fascination with anonymity at lavish gatherings. Queen Artemisia herself graces our narrative; her pen-and-ink portrait from c. 1609 showcases her regal poise combined with an enigmatic allure—proof that even royalty succumbs to the allure of masquerades' secrets. Yet not all is veiled beneath layers of disguise; some moments demand vulnerability.