Lady Carnarvon by Paul César Helleu (c.1901)

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Paul César Helleu, Lady Carnarvon, ca. 1901.

Almina Victoria Marie Alexandra Wombell was the illegitimate child of Alfred de Rothschild, but grew up loved and pampered. She maintained a loving relationship with her father, who was exceptionally wealthy. The Carnarvon family needed an influx of money to maintain their estate at Highclere Castle. Almina, wealthy and accomplished, fell in love with George Edward Stanhope Molyneux Herbert, the future 5th Earl of Carnarvon. Later, he became famous for excavating Tutankhamon’s tomb. The two lived a glamorous life set against the increasing tensions of a pre-World War I. When it quickly became obvious England was entering the war, Almina used her influence and wealth to turn Highclere Castle into a hospital for wounded soldiers. Her approach of individual care, home cooked meals, and holistic ideas were revolutionary at that time, and she found a natural talent for nursing. For four years she worked at both Highclere and later in London, establishing another hospital and gathering the best equipment and talent to help heal the wounded soldiers via

Two Drawings of Louise Chéruit by Paul César Helleu

Madame Louise Chéruit (1866-1955) was among the foremost couturiers of her generation, and one of the first women to control a major French fashion house. Her salon operated in the Place Vendôme in Paris under the name Chéruit from 1906 to 1935.

Chéruit is best remembered today as the subject of a number of portraits by artist Paul César Helleu, with whom she conducted an affair before opening her couture house and for the appearance of her name in two celebrated works of literature, Marcel Proust’s Remembrance of Things Past (1910) and Evelyn Waugh’s Vile Bodies (1930).

Her name is also frequently associated with the fashion photography of Edward Steichen whose favorite model, Marion Morehouse, often wore gowns from the house of Chéruit for Vogue magazine in the 1920s. One particular Steichen image has become iconic: Morehouse in a jet-beaded black net Chéruit dress, first published in 1927.

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Louise Chéruit by  Paul César Helleu (1859-1927) via

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« Madame Chéruit », drypoint etching by Paul-César Helleu, reproduced as plate XXIX in: Montesquiou, Robert de (1913), Paul Helleu, Peintre et Graveur, Paris: H. Floury (circa 1900) via