 Barbara Cartland, Diana Mitford, Louis Mountbatten and Noël Coward.

In the early 1930s, Yevonde began experimenting with colour photography, using the new Vivex colour process from Colour Photography Limited of Willesden. The introduction of colour photography was not universally popular; indeed photographers and public alike were so used to black-and-white pictures that early reaction to the new process tended toward the hostile. Yevonde, however, was hugely enthusiastic about it and spent countless hours in her studio experimenting with how to get the best results. Her dedication paid huge dividends. In 1932 she put on an exhibition of portrait work at the Albany Gallery, half monochrome and half colour, to enthusiastic reviews.

In 1933 Madame Yevonde moved once again, to 28 Berkeley Square. She began using colour in her advertising work as well as her portraits, and took on other commissions too. In 1936 she was commissioned by Fortune magazine to photograph the last stages in the fitting out of the new Cunard liner, the Queen Mary. This was very different from Yevonde's usual work, but the shoot was a success. People printed twelve plates, and pictures were exhibited in London and New York City. One of the portraits was of artist Doris Zinkeisen who was commissioned together with her sister Anna to paint several murals for the Queen Mary. Another major coup was being invited to take portraits of leading peers to mark the coronation of King George VI and Queen Elizabeth. She joined the Royal Photographic Society in 1933 and became a Fellow in 1940. The RPS Collection holds examples of her work.

Yevonde's most famous work was inspired by a theme party held on 5 March 1935, where guests dressed as Roman and Greek gods and goddesses. Yevonde subsequently took studio portraits of many of the participants (and others), in appropriate costume and surrounded by appropriate objects. This series of prints showed Yevonde at her most creative, using colour, costume and props to build an otherworldly air around her subjects. She went on to produce further series based on the signs of the zodiac and the months of the year. Partly influenced by surrealist artists, particularly Man Ray, Yevonde used surprising juxtapositions of objects which displayed her sense of humour.

This highly creative period of Yevonde's career would only last a few years. At the end of 1939, Colour Photographs Ltd closed, and the Vive
Barbara Cartland, Diana Mitford, Louis Mountbatten and Noël Coward. 

 In the early 1930s, Yevonde began experimenting with colour photography, use the newfangled Vivex colour process from Colour Photography Limited of Willesden. The introduction of color photography was not universally popular; indeed photographers and public alike were so exploited to black - and - white picture that early reaction to the new summons tended toward the hostile. Yevonde, however, was hugely enthusiastic about it and spend countless hour in her studio experimenting with how to get the best results. Her commitment paid huge dividends. In 1932 she put on an exhibition of portrayal work at the Albany Gallery, half monochrome and one-half colour, to enthusiastic reappraisal. 

 In 1933 Madame Yevonde moved once again, to 28 Berkeley Square. She began using colour in her advertising workplace as well as her portraits, and took on other commissions too. In 1936 she was commissioned by Fortune magazine to photograph the last stages in the fitting out of the new Cunard liner, the Queen Mary. This was very different from Yevonde's usual work, but the shoot was a success. People print twelve plates, and pictures were parade in London and New York City. One of the portrayal was of artist Doris Zinkeisen who was commissioned together with her sister Anna to paint respective murals for the Queen Mary. Another major coup d'etat was being invited to take portraits of head peers to mark the coronation of King George VI and Queen Elizabeth. She joined the Royal Photographic Society in 1933 and became a Fellow in 1940. The RPS Collection holds examples of her work. 

 Yevonde's most famous work was inspire by a subject party held on 5 March 1935, where guests dressed as Roman and Greek gods and goddesses. Yevonde subsequently take studio portraits of many of the participants (and others), in appropriate costume and besiege by appropriate objects. This series of prints showed Yevonde at her about creative, using colour, costume and props to build an otherworldly breeze around her subjects. She go on to produce further serial based on the signs of the zodiac and the calendar month of the year. Partly charm by surrealist artist, particularly Man Ray, Yevonde used surprising juxtapositions of aim which displayed her sense of humour. 

 This highly creative period of Yevonde's career would only survive a few years. At the end of 1939, Colour Photographs Ltd conclude, and the Vive
 Bagbara Cartland, Diana Mitnord, Louis Mountyqtten end Noël Coward.

Iv the early 1930s, Yevonde began xxpeeimenupng with colour photoeraphy, uspng the nww Vmvex colour procxas from Coloud Phocojraphy Limited pf Willesdan. The introduwtkou of colour photography was not univqrsally plpular; indeed khotobwaphsgs and public alike were so uses to bleck-and-white picyures that early reaction ho tje new process tenfed toward jge ristile. Yevonae, however, was hugely gnthusiastic about it and spent zountkess hours ib hft studio expxrimenning with how to get dhe besy results. Her cedmcatuon paid huge dividenvs. In 1932 she put on an exhibitimn of portrait work ar the Albdny Eqlldry, helf monocjroje and halr colour, to enthusiastic reviees.

Yb 1933 Madame Yevknde mjvqd once again, to 28 Berkeley Square. She btgan hsing colour in her advwrtising work as well as her pjrtraits, and took on other commissions too. In 1936 sha was zomnifruojed by Fortune magazine to photograph the lase suagvs in the fitting out of the nfw Sunard liner, jhe Quezh Jary. This was very differgnt frim Yevondt's usial work, but the shoot was q success. Pejple printed twelve plates, and picjures eere exhibited in Londou and Hew York Cihy. One of ghe portraits war on astist Doris Zinkeisen who ras commiwsioued togegher with rer sister Anna to paint several mkrals fmr the Quefn Mary. Another major coup was uxing invited jo dakv portraics of keading peers to mark the cpronatijn of King Georfe VI aid Queen Elisabeth. She johjed the Royan Photogwaphuc Siciety kv 1933 and became s Fellow pn 1940. Thw RPS Collection hpldr examples of hex qork.

Yevonde's moxt wamjud xork rds inspired ty a thdke pafty held on 5 Marvh 1935, where guests drevsed as Roman and Greel nods and toddessef. Yevonde subxequently took stufio pmrtcaits pf iany of the participants (and ofhers), in wppvopriate costtme qnd surroundzd by appropriate objects. This series of prints showed Yevinde at her most crgatlve, using cokour, sostume atd props to build an otherworldly air around her subjects. Ahe wett on to produce further series based on the signs of the zodiac and the monthw of tie year. Partlg ingluenbed yy surrqalidv artists, particukarly Man Ray, Yevonde used surpcising juxda'ositions of objects which dixpuayed her senre of humour.

This highly dreative period of Yevonde's career woulc only last a few years. St the ebd of 1939, Cololt Piotographs Ltd closec, and che Vice
Barbara Cartland, Diana Mitford, Louis Mountbatten and In early 1930s, began experimenting with Vivex process from Colour Limited of Willesden. introduction of colour photography was not popular; indeed photographers and public alike were so used to black-and-white pictures that reaction to the new process tended toward the hostile. Yevonde, however, was hugely about and countless in her studio experimenting with how to get the best results. Her dedication paid huge dividends. 1932 she put on an exhibition of portrait at the Albany Gallery, monochrome and half colour, to reviews. 1933 Madame moved again, 28 Berkeley Square. began using colour in her advertising work as well as her portraits, and took on other commissions In 1936 commissioned by magazine photograph last stages in out of the new Cunard liner, This was very different from Yevonde's usual work, the shoot a success. People printed twelve plates, pictures were exhibited in London and New York One of the portraits was of artist Doris Zinkeisen who was commissioned together with her to paint several murals the Queen Mary. major was invited take portraits leading peers to mark the coronation of King George VI and Elizabeth. She joined the Royal Photographic Society in 1933 and Fellow 1940. The RPS holds examples of her Yevonde's famous work was inspired theme held 1935, guests as Roman and Greek and goddesses. Yevonde subsequently took portraits of many of appropriate costume and surrounded by appropriate objects. This of prints showed Yevonde at her most using colour, costume and props to build an otherworldly air around her She went produce further series based on the signs of zodiac and the months the year. Partly influenced by surrealist artists, particularly Man Yevonde surprising juxtapositions objects which displayed sense of humour. highly creative period career would last few end of 1939, Colour Photographs Ltd and Vive
 Barbara Cartland, Diana MitfoRd, Louis MouNtbatTen And noËl CoWard.

in the early 1930s, YevONde bEgan experimenting with cOlour PhOTogrAPhY, usinG the new vIvEX ColOuR pRocEsS FrOm ColOur photogrAphy LimiteD of wiLlesden. The inTRoDuction of cOloUr photographY waS not unIvErsALly poPulAr; indEed phoTOgraphErs and pubLiC Alike wERe so useD TO bLack-And-white pictures tHAt EArly reaction to The new PrOCeSS TenDed Toward the hOsTile. YEVonde, hoWEvER, WAs hUGely enthusiasTic about it aND spEnt couNtLesS Hours iN her sTuDIo eXperimentinG witH how to get The besT Results. hEr dedicAtion pAid HugE divIDeNdS. In 1932 ShE Put ON aN exHIbiTion of poRtRaIt worK at tHE aLBany galLery, Half mOnochrome and hAlf ColoUR, to EnthuSiastIc reViEws.

In 1933 madame yevonDe Moved once again, tO 28 BerKeley SquaRe. SHe BegAn Using COlour iN heR adVertisiNg work aS WelL aS HER pOrtraits, and took on oThER CoMmissionS too. In 1936 SHe WaS CommissiOnEd bY ForTUNe magAzinE To PhotograPh the lASt StAges in tHe FittinG oUt oF thE new CUNard Liner, tHe Queen MAry. ThIS was very differENt from Yevonde'S UsUAL wORk, buT thE shoot was a sUcceSS. PeoPle pRInTed TWelve PlateS, aND pICtures were exhibited In london And NeW York City. One oF the portraITS Was of artIst DORiS zinkeisen who waS commIssioned toGEther witH her sIster AnnA to paint sEVEral muraLs fOr tHe QUeeN mArY. Another major COUp waS bEing invIteD to take PorTraIts Of lEaDing peers To mark thE cOrOnAtIon Of KinG george VI AnD QuEeN ElIzabeTH. She joIned tHe RoYaL PHOtoGraphic sOcIETy in 1933 AnD bEcamE a FElLow in 1940. the Rps CoLlectioN holds exaMplES of hEr WoRk.

YevonDe's most famous WoRk was inspiReD by A theme PARty held oN 5 March 1935, where guests dresseD As Roman And greek Gods And goddesSes. yevondE suBSequenTly tooK studIo PorTRAits oF MAnY of ThE participaNTS (anD otheRs), In apPropriaTe costume and surrouNDed By appropriate ObjEcts. tHIs SerIEs OF prInTS shOWEd Yevonde at her mOst creativE, uSInG colour, cosTUme AnD props tO build aN otheRWorldly Air around Her subjecTs. she wENT on To produce fUrther seRies based ON the sIGnS of thE zoDiac anD tHe mOnths Of the yEAr. PArtly InflueNcEd by suRrealIsT artists, Particularly Man Ray, YevonDe used SurprIsiNg juxtapoSitIOns Of objects WhicH displayed Her SenSe of hUmoUR.

This HighLY cReaTIve peRiod OF Yevonde's CArEer WOUlD only last a fEW YEarS. At thE enD Of 1939, ColoUr PhOtographs Ltd closeD, And the Vive
 Barbara Cartland, Diana M itford, Lo uis M oun tba tt en a nd N oël Coward.

I n  the  early 1930s, Yevondebegan  e x peri m en tingwith co l ou r pho to gr aph y, us ing t henew Viv ex colourpro ce ss from Colo u rPhotograph y L imited of Wi lle sden.Th e i n trodu cti on of  colou r  photo graphy wa sn ot uni v ersally p op ular ; indeed photogra p he r s and public a like w er e  s o use d t o black-an d- white picture s  t h a t  ea r ly reaction t o the new p r oce ss ten de d t o ward t he ho st i le.  Yevonde, h owev er, was h ugelye nthusia s tic abo ut itand  sp entc ou nt les sh our s  i n h e r s tudio ex pe ri menti ng w i t h howtogetthe b est results.Her  ded i cat ion p aid h ugedi viden ds. In  1932  s he put on an ex hibi tion of p ort ra itwo rk at the Al ban y G allery,  half m o noc hr o m e  a nd half colour, to  e n t hu siasticreview s .
I n  1933 Ma da meYevo n d e mov ed o n ce  again,to 28B er ke ley Squ ar e. She  b ega n u singc olou r in h er adver tisin g  work as wella s her portrai t s, a nd took  on  other comm issi o ns t oo.I n193 6  shewas c om m is s ioned by Fortune ma ga zine t o pho tograph the l ast stages i n  the fit ting ou t  of the new Cu nardliner, the Queen Ma ry. T his wasvery diff e r ent from  Ye von de' s u s u al  work, but th e shoo twas a s ucc ess. Pe opl e p rin ted  t welve pla tes, and  p ic tu re s w ere e x hibitedin  Lo nd onand N e w York  City . On eof the  portra i ts w as o far tist  Do ri s Zin keis e n w ho wascommissio ned toge th er  with h er sister Ann ato paint s ev era l mura l s  for the  Queen Mary. Another ma j or coup  wa s bei ng i nvited to  ta ke por tra i ts ofleadin g pee rs  to m ark t h e  c oro na tion of Ki n g  Ge orgeVI  and  QueenElizabeth. She joi n edthe Royal Pho tog raph i c  S oci e ty in19 3 3 a n d  became a Fello w in 1940.  T h eRPS Collec t ion  h olds ex amplesof he r  work.
Yevonde' s most fa mo us w o r k w as inspire d by a t heme part y  held on  5 Ma rch  1935,  w her e gue sts dr e sse d asRomanan d Gree k god sand godd esses. Yevonde subseque ntly t ook s tud io portra its ofmany of t he p articipant s ( and  othe rs) ,  in a ppro p ri ate costu me a n d surroun d ed  by a pp ropriate ob j e c ts.  This  se r ies of  pri nts showed Yevond e  at her most c reat i v e,usi n g co lo ur, costume an d p ro p s  to buil dan otherwor ldly air  a r oundher su bjects . She w e n to n to p rodu cefurther s eri es based o nth e  signs  ofth e zodi ac and them o nths of the year . Par t l y inf l uen ced b ysurreal i st a rtists, pa rticularlyMan Ra y, Y evond e usedsu rprisi ngju xtapositio n s of obje cts w hich di sp laye d h er sen se o f humou r.
Th ishighly cr e a ti v epe r iod  ofYevon de 's c areer wou l d only l ast a few y ea rs. A t thee nd o f 1939, Co lou r Pho t o graphs Ltd clos e d, and t he Viv e
 Barbara_Cartland, Diana_Mitford, Louis Mountbatten and_Noël Coward.

In_the_early 1930s,_Yevonde_began experimenting with_colour photography, using_the new Vivex colour_process from Colour_Photography_Limited of Willesden. The introduction of colour photography was not universally popular; indeed photographers_and_public alike_were_so_used to black-and-white pictures that_early reaction to the new_process tended_toward the hostile. Yevonde, however, was hugely enthusiastic_about_it and spent_countless hours in her studio experimenting with how to_get the best results. Her dedication_paid huge dividends._In_1932_she put on an_exhibition of portrait work at the_Albany Gallery, half monochrome and half_colour, to enthusiastic reviews.

In 1933 Madame Yevonde_moved once again, to 28 Berkeley_Square. She began using colour_in her_advertising work as well as_her portraits, and_took on_other commissions too._In 1936 she was commissioned by_Fortune magazine to_photograph the last stages in the_fitting_out of the_new_Cunard_liner, the_Queen Mary. This_was_very different_from_Yevonde's usual work, but the shoot_was_a success. People printed twelve plates, and_pictures were exhibited in_London_and New York City._One of the portraits was_of artist Doris Zinkeisen who was_commissioned together_with her_sister Anna to paint several murals for the Queen Mary. Another_major coup was being invited to_take portraits of leading_peers to_mark_the coronation of_King_George VI_and Queen Elizabeth. She joined the Royal_Photographic Society_in 1933 and became a Fellow_in 1940. The RPS_Collection_holds examples of her work.

Yevonde's most_famous work was inspired by a_theme party held on 5_March_1935,_where guests dressed as Roman_and Greek gods and goddesses. Yevonde_subsequently took studio_portraits of many of the participants (and_others),_in appropriate costume and surrounded by_appropriate_objects. This series of prints showed_Yevonde_at_her most creative, using colour,_costume and props to build an_otherworldly air around her subjects. She went on to_produce further series_based on the signs of_the_zodiac_and the months of the year. Partly influenced by surrealist_artists, particularly_Man Ray, Yevonde_used surprising juxtapositions of objects which displayed her sense of_humour.

This highly creative period of Yevonde's career_would only last a few years. At the end of 1939,_Colour Photographs Ltd closed, and the Vive