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S. W. Laureys
| Name | S. W. Laureys |
| Ortssitz | New York City |
| Straße | Broadway 781 |
| Art des Unternehmens | Kostümgeschäft |
| Quellenangaben | [New Yorks great industries (1884) 92] |
| Zeit |
Ereignis |
| 1827 |
Gründung |
| Produkt |
ab |
Bem. |
bis |
Bem. |
Kommentar |
| Handel mit Kostümen |
1884 |
[New Yorks great ind. (1884)] |
1884 |
[New Yorks great ind. (1884)] |
Costumer |
| ZEIT | 1884 |
| THEMA | Firmendarstellung |
| TEXT | Mr. S. W. Laureys has long held the position of leading costumer in the great metropolis. He is the oldest man in the business in New York, and for that matter, we do not believe there is any one in Europe possessed of greater practical experience than he. Mr. Laureys has been identified with the costumer trade all his life, commencing to learn the business when only eight years of age, and has been established in it ever since 1827. He has had vast experience in connection with the largest and best theatres and opera houses in Europe ; we may name among others, the Opera Royal of Brussels, Porte St. Martin of Paris, the King's Opera of Holland, the King's Opera of Berlin, and Drury Lane Theatre, London. He was for sixteen consecutive years - -1851 to 1867 - in the Queen of England's service, during which time he made her regal robes and court dresses, as well as all the dresses for the Windsor Castle receptions and entertainments. He was also chief costumer to Her Majesty's Theatre during the same period. Prior to his engagement in England he was decorated by the Royal Society of Paris for magnificent dresses and costumes made for the Ambigu Opera Comique and Port St. Martin Theatres, during the years between 1835 and 1851, and holds medals from the Operas Royal of Brussels, Lyons, Helland, Berlin and Drury Lane, London. In the United States Mr. Laureys has been connected with Niblo's Garden of this city, and the Grand Opera House of San Francisco, Cal. He has costumed nearly all the great tragedy actors of the last thirty years, and among them are found the names of Macready, Kean, Davenport, Forrest, Booth, Fechter, and McCullough, in addition to the famous Ellen Tree, Adelaide Neilson, Christine Nilsson, Marie, Memes. Wagner, Piccolomini, Julia Grisi, and a hostof others. The strong point in Mr. Laureys' career, is the minute study that he gives the smallest detail, thus insuring a true representation in dress of the character portrayed. As illustrating this faithfulness to the subject, the following is clipped from an interview with him, by a representative of a leading daily journal: "How was it that Charles Kean was so true to character and period in all his plays?" "He and I and Ellen Tree, by permission of the English Government, visited the British Museum, and there saw the armors of the different old kings, as well as faithful copies of the dress worn in olden days. We found a number of them on horseback and in other positions, which enabled us to get everything correct and perfect. This was one of the secrets of his great success. I think one of the happiest moments of Kean's life was on one occasion ?when he took the part of Cardinal Wolsey, in ' Richelieu.' I made his silk robes, which were of cardinal red. The silk itself cost about fifteen dollars a yard, and was trimmed with real ermine. Her Majesty, who was present, waited longer than usual that evening, and after Kean got through with his part she sent one of the Lord Chamberlains to him and requested him to bring the robe to the Royal box so that she might examine it herself. The remark of her Majesty was: ' Oh, that is exquisite, Mr. Kean, exquisite.' " This characteristic of Mr. Laureys is as rigidly followed at this time as at any other in his experience. He is now the official costumer for the Union Square Theatre, and the Madison Square Theatre, than which no more refined and high toned places of amusement can be found in the world. Mr. Laureys makes to order any costume required for tragedies, comedies, operas, ballets, bouftes, carnivals, comiques, varieties, balls, children's parties, processions, lodges, church festivals, tableaux, etc., and informs actors and actresses in attempting new parts, whether their costumes are historically accurate. Any dress declared proper by Mr. Laureys is always endorsed by our best critics, as his many years experience as a costumer in Europe, makes him a recognized authority and master of his business. Mr. Laureys first came to New York to manage the "Black Crook," and at once stepped into public favor, and has permanently retained the reputation of being the leading costumer of New York, while socially he is one of our most popular citizens. Mr. Laureys is assisted by his son, who attends to the management of the business, while his father is the practical man. |
| QUELLE | [New Yorks great industries (1884) 92] |
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