Colour Photography Limited of Willesden. The introduction of colour photography was not universally popular; indeed photographers and the public alike were so used to black-and-white pictures that early reactions 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, this time 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 Vivex process was no more. It was the second major blow to Yevonde that year—her husband, the playwright Edgar Middleton, had died in April. Yevonde returned to