Ostrich Feathers Collection (#8)

Prince Edward, later King Edward VI, c1540, (1902). Artist: Bruckmann
Prince Edward, later King Edward VI, c1540, (1902). The son of Henry VIII and Jane Seymour, Edward VI (1537-1553) became king in 1547 when just 9 years old

Henry VIII of England, (1491-1547). Artist: T Brown
Henry VIII of England, (1491-1547). Portrait of King Henry who acceded in 1509

Henry VIII of England, (1801). Portrait of King Henry (1491-1547) who acceded in 1509. Above is Trinity College

Henry VIII of England, (1491-1547). Portrait of King Henry who acceded in 1509

Henry VIII of England, (1806). Artist: E Bocquet
Henry VIII of England, (1806). Portrait of King Henry (1491-1547) who acceded in 1509

Henry VIII of England, (1491-1547). Artist: Edwards
Portrait of King Henry who acceded in 1509

Pearly Queen and Pearly Prince, London, 1926-1927. Artist: Hoppe
Pearly Queen and Pearly Prince, London, 1926-1927. Cockney Pearly kings (originally costermongers - fruit and vegetable sellers), wore suits covered in mother-of-pearl buttons

Queen Adelaide, queen consort of King William IV, 19th century. Artist: Roffe
Queen Adelaide, queen consort of King William IV, 19th century. Portrait of Adelaide (1792-1849)

Prince Leopold of Saxe-Coburg-Saalfeld, 1831. Artist: J Thomson
Prince Leopold of Saxe-Coburg-Saalfeld, 1831. Portrait of Leopold I of the Belgians, later of Saxe-Coburg and Gotha (1790-1865)

A French Family, 1790. Artist: Samuel Alken
A French Family, 1790. An anti-French view of our continental cousins: a dog wearing clothes, a man with an effete hairstyle, a child showing her legs

The New-fashioned Phaeton, 1776. Sic itur ad astra - Thus do we reach the stars. Illustration from Social Caricature in the Eighteenth Century

Phaetona, or Modern Female Taste, 1776. Artist: Colley
Phaetona, or Modern Female Taste, 1776. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds])

High Change in Bond Street - ou - la Politesse du Grand Monde, 1796. Illustration from Social Caricature in the Eighteenth Century

People of consequence, 1794. Artist: John O Keeffe
People of consequence, 1794. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)

Such things are, That such things are we must allow, but such things never were till now, 1787. A satire on the unflattering fashions of the day

And catch the living manners as they rise, 1794. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse

Shepherds, I have lost my waist! Have you seen my body?... 1795. Artist: Richard Newton
Shepherds, I have lost my waist! Have you seen my body? Sacrificed to modern taste, I m quite a hoddy doddy!, 1795. A satire on the unflattering fashions of the day

Exaltation of Faros daughters, 1796. Albinia, Countess of Buckinghamshire (left) and Lady Archer are ridiculed in the stocks, as the mob throw rotten vegetables at them

Characters in High Life... 1795
Characters in High Life sketched at The New Rooms Opera House - Delightful Task! to teach the young idea how to shoot, 1795. Illustration from Social Caricature in the Eighteenth Century

Modern Elegance: A Portrait, 1796. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London)

The Two Patriotic Duchesses on their canvass requesting the favour of an early poll, 1784. Artist: Thomas Rowlandson
The Two Patriotic Duchesses on their canvass requesting the favour of an early poll, 1784. Illustration from Social Caricature in the Eighteenth Century

The Optic Curls, 18th century. Gentleman theatre goers use one of their female companions elaborate curls as opera glasses. Illustration from Social Caricature in the Eighteenth Century

Hints to the ladies to take care of their heads, 1776. An elaborate hairdo catches fire. Illustration from Social Caricature in the Eighteenth Century

The Preposterous Head Dress or The Feathered Lady, 1776. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily

Ladies fashions, late 19th century. Illustration from Le Coquet fashion magazine

Lady Peel, early 19th century, (1912). Artist: C Coppier
Lady Peel, early 19th century, (1912). A print from The Connoisseur, (London, 1912)

Juvenile Retirement, 18th century, (1912). Artist: L Edwards
Juvenile Retirement, 18th century, (1912). A print from The Connoisseur, (London, 1912)

Ballet Costume, (1885). Artist: Martin
Ballet Costume, (1885). Illustration from 18th Century Institutions, Usages And Costumes, France 1700-1789, by Paul Lacroix, (Paris, 1885)

Neptune Costume, African Costume, 1885. Artist: Martin
Neptune Costume, African Queen Costume, 1885. Costumes from the Opera The Queen of Golconda by Gaetano Donizetti (1797-1848)

Dauberval with Mlle Allard in Sylvie, 1766, (1885). Artist: Louis de Carmontelle
Dauberval with Mlle Allard in Sylvie, 1766, (1885). French ballet dancer and choreographer Jean Dauberval (1742-1806) is widely credited with the invention of comic ballet

Costume From The French Theatre, (1885). Artist: Moreau
Costume From The French Theatre, (1885). Illustration from 18th Century Institutions, Usages And Costumes, France 1700-1789, by Paul Lacroix, (Paris, 1885)

The Queen At The Palace, (1885). Artist: Moreau
The Queen At The Palace, (1885). Illustration from 18th Century Institutions, Usages And Costumes, France 1700-1789, by Paul Lacroix, (Paris, 1885)

Marie Antoinette And Her Children, c1787, (1885). Queen Marie Antoinette (1755-1793), with Louis Joseph Francois, Louis Charles, and Marie Therese Charlotte

Barbara Villiers, Duchess of Cleveland, Countess of Castlemaine, c1660s. Artist: Peter Lely
Barbara Villiers, Duchess of Cleveland, Countess of Castlemaine, c1660s. Portrait of King Charles IIs mistress Barbara Palmer (1640-1709), one of the ladies of the court

French costume: Restoration, (1882). Illustration showing costume from the period of the restoration of the French monarchy, 1815-1830, from The History Of Fashion In France by Augustin Challamel

Anne of Denmark, early 17th century, (1910). Portrait of Anne (1574-1619), the queen of James I. Her clothing is similar to the costume at the end of Elizabeth Is reign

Queen Elizabeth I, c1580, (1910). A 19th-century rendition from the Penshurst portrait, presented to her by Sir Henry Sidney, painted by Zucchero

Edward Seymour, 1st Duke of Somerset, Lord Protector of England, (1823). Artist: R Cooper
Edward Seymour, 1st Duke of Somerset, Lord Protector of England, (1823). Seymour (c1506-1552) was the eldest brother of Jane Seymour, King Henry VIIIs third wife

Sir Nicholas Carew, (1823). Artist: E Scriven
Sir Nicholas Carew, (1823). Carew (c1490-1539) was a knight and ambassador to King Henry VIII

Lieutenant-Colonel Francois-Louis Lessard, Canadian Mounted Infantry, South Africa, 1902. Artist: Gray
Lieutenant-Colonel Francois-Louis Lessard, Canadian Mounted Infantry, South Africa, 1902. Portrait from Celebrities of the Army, published by George Newnes, (London, 1902)

Lieutenant-General Sir Archibald Hunter, commanding the 10th Division, South Africa, 1902. Artist: Alexander Bassano
Lieutenant-General Sir Archibald Hunter, commanding the 10th Division, South Africa, 1902. Hunter (1856-1936) was amongst those besieged by the Boers at Ladysmith

Major-General Sir John Carstairs McNeill, Equerry to HM the Queen, 1902. Artist: Elliott & Fry
Major-General Sir John Carstairs McNeill, Equerry to HM the Queen, 1902. McNeill (1831-1904) won the Victoria Cross in 1864 during the Waikato-Hauhau Maori War in New Zealand

Major-General John Talbot Coke, commanding 10th Brigade, South Africa Field Force, 1902. Portrait from Celebrities of the Army, published by George Newnes, (London, 1902)

Lieutenant-General Sir Frederick Carrington, on Special Service in South Africa, 1902. Artist: Maull & Fox
Lieutenant-General Sir Frederick Carrington, on Special Service in South Africa, 1902. Portrait from Celebrities of the Army, published by George Newnes, (London, 1902)

Sir William Lockhart, Commander in Chief in India, c1900 (1902). Artist: Alexander Bassano
Sir William Lockhart, Commander in Chief in India, c1900 (1902). Lockhart (1841-1900) served at the Khyber Pass and in Kabul, later being appointed Commander-in-Chief in India in 1898

Major-General Sir John C Ardagh, Director of Military Intelligence, 1902. Artist: Maull & Fox
Major-General Sir John C Ardagh, Director of Military Intelligence, 1902. Portrait of Ardagh (1856-1924) from Celebrities of the Army, published by George Newnes, (London, 1902)

Major-General GH Marshall, Commanding Royal Artillery, South Africa Field Force, 1902. Artist: C Knight
Major-General GH Marshall, Commanding Royal Artillery, South Africa Field Force, 1902. Portrait from Celebrities of the Army, published by George Newnes, (London, 1902)

Pocahontas, 1616. Pocahontas (c1595-1617) was a Native American princess who married an Englishman and came to London. Unfortunately

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"Captivating Ostrich Feathers: A Timeless Symbol of Elegance and Power" From the grand portraits of historical figures like Field Marshal Lord Roberts to the mythical heroes depicted by Hendrik Goltzius, they have long held a place in art and culture. These magnificent plumes, with their graceful curves and ethereal softness, have been used throughout history to adorn garments and accessories, symbolizing status, strength, and beauty. In Lucas Cranach the Elder's masterpiece "Saint Maurice, " we see the regal figure adorned with a majestic ostrich feather headdress, signifying his noble stature. Similarly, in the 19th-century depiction of "A Wellington Boot- or the Head of the Armye, " an imposing military leader proudly wears an ostentatious hat embellished with these luxurious feathers as a mark of authority. But they can not limited to formal occasions alone. In more lighthearted depictions such as "The Featherd Fair in a Fright" or Kate Carney's Lambeth Walk performance at London's music hall, they add a touch of whimsy and playfulness to entertain audiences. Beyond artistry lies cultural significance. The Pokot warriors celebrate their Atelo ceremony by adorning themselves with cheetah skin while surrounded by young women; here too, ostrich feathers find their place amidst this vibrant display of tradition and community spirit. Even fashion has embraced these enchanting plumes. Princess Charlotte Augusta dons them gracefully in her 19th-century portrait captured by Henry Thomas Ryall while Mrs. Bryan Cooke exudes elegance wearing an exquisite gown accentuated by delicate feather details created by George Romney. Throughout centuries and across continents, from Renaissance engravings depicting male costumes to pochoir prints showcasing Les Belles Sauvagesses de 1920 or Le Depart pour le Casino pub. , they have remained timeless symbols of allure and grandeur.