1815 Long Blue Overcoat with brown fur trim, white trousers, scarf, top hat and a cane. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien. I can picture Jane Austen’s male friends and family and the Bridgerton men wearing this gorgeous coat when out walking or driving in the park.
1800-1815 ca. Vest, Or Waistcoat, French. Embroidery with spangles and a standing collar. Vests gave a layer of protection from the elements and a fashion arena, as early 1800s coats were either cutaway or designed to be left open in the front. Typical Style of Early 1800s Vest: Standing collar, straight cut, front pockets, heavily embroidered and with tiny spangles to accentuate. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
Typical of a gentleman’s waistcoat, or vest, worn during the early 1800s, or Regency Era, or Jane Austen’s times with a standing collar, straight cut, front pockets, and heavily embroidered with tiny spangles to accentuate.
1795-1805 ca. Green Silk and Metal Vest, Or Waistcoat, Probably French. The style of waistcoat worn by men in Jane Austen’s times. Interesting cross-over front and tasteful embroidery, standing collar, back has ties to adjust the fit. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
1850–1859 ca. Silk Whalebone and Steel Corset, French. Pale green watered silk corset with black flossing and contrast stitching. via Fine Arts Museums Of San Francisco https://art.famsf.org
1908 Silk and Rubber Corset, French. Front fastening, front suspenders, and back lacing. Made For C. F. Hovey & Co., Boston. Label: The Paris. Marking: label “7.50, Made in France, Véritable Baleine, Brévété S.G.D.G., Best Whalebone THE PARIS, Made in France, expressly or C.F. Hovey and Co., Boston.” stamped on bone lining of corset]; “Corset de Paris” paper label via Metropolitan Museum, NYC, USA Credit Line: Gift of Mrs. Earl Rowe, 1951 Accession Number: C.I.51.15.25a, b
An overview of women’s fashions in the first twenty years of the 19th century. What was fashionable for women in Jane Austen’s times, or the early 1800s. Wars were being fought around the globe so women’s fashion adopted a military look in support of soldiers. In Britain, the Prince Regent ruled instead of his father, King George III, so fashions, like the lifestyle, became more extravagant and accessories went from pretty to opulent.
Reader Or Writer of Regency Era? Love Jane Austen and Bridgerton fashions? What was fashionable for women in Jane Austen’s times, or 1800s, or Regency Era. High-waisted dresses were extravagantly accessorized and hats, shoes, parasols and bags were added. Set includes History Notes Books 12, 25, 26, 27 and 28. https://books2read.com/SuziLoveFashionWomenBoxSet
Ladies clothing in the early 1800’s featured a high waist line called an Empire Line, or Empire style dress, with a waist line just under the natural bust line and much higher than the natural waist. The high-waisted, or short-bodied, Regency styles shifted focus away from the natural waist and so left the natural waist unconstricted, in direct contrast to previous and future styles. Britain took these simple European styles and progressively made them more elaborate by adding more and more complicated embroidery onto white fabrics to create the white on white look popular for many years.
The empire look of fine muslin dresses left women more exposed than in the Georgian Era when fabrics had been thicker and styles bulkier. Women, especially in England, preserved their modesty by adding lace, frills, flounces, ruches, and fabric plaits to dresses to adequately cover any parts that might inadvertently be exposed. Outer layers, such as Spencers, Redingotes or Pelisses or coats, and shawls, were also added for warmth and to brighten outfits. This Empire fashion was totally dependent on a supply of fine, translucent cotton muslin – at first imported from India, then later, less exclusive imitations often woven and printed or embroidered in Britain. Fabrics were soft and lightweight and muslins and other cotton fabrics from India and other Asian countries were in high demand.
1820 Gentleman’s Cream Redingote, Or Long Overcoat, French. Long pants, or trousers, buttoned at the ankles, frilled shirt, high cravat, vest, red fob hanging at his waist. via L’Observateur des Modes, French.
1811 Walking Dress, French. High-waisted lavender Redingote over a white dress, paisley shawl, white gloves, slippers, and a ruched, or gathered fabric, hat to match the high ruched neck frill. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien.
1725-1730 ca. Gold Double-Opening Snuffbox, France. Two tortoiseshell pique panels and two miniatures inside, of Louis XV of France and his wife Marie Leczinska. Made by Jean Baptiste Massé, painter.
Varicolored gold seascape of dolphin and ship with beach littered with shells and rocks, plus ruins, birds,
and an island. Inside the box are miniature portraits of Louis XV of France and his wife Marie Leczinska. It has been suggested that the box commemorates the birth of the ‘dauphin’ Louis in 1729, the royal couple’s fourth child, and first son, heir to the throne. A few elements contradict this suggestion: the dolphin does not bear any regal symbol such as a crown, the marks that date the box indicate that it was initiated before the birth of Louis, when the arrival of a son was unknown.
It is most probable that these delicate panels, together with the miniature of Louis XV, date from 1725-1730 and have been associated later into this gold snuffbox, and a later miniature of Queen Marie Leczinska.The miniature of the king may have been painted by Jean-Baptiste Massé – he is recorded as supplying miniatures of the king for boxes intended as diplomatic gifts from 1720-26-, or by his lesser known contemporary Jean-Baptiste Ducanel.
The lid is hinged to reveal a miniature, under glass, of Marie Leczinska, queen of France, probably 19th century or heavily restored, wearing a cloak of blue embroidered with gold fleurs-de-lis and lined with ermine overa lace-trimmed dress of red embroidered with gold. In the base is a panel of tortoiseshell pique with a cornucopia of small shells, also hinged to reveal a contemporary miniature of Louis XV of France in armour, wearing a whitestock and the sash of the Order of the Holy Ghost. The gold box, probably early 19th century or later, has plain walls, reeded borders, and a double thumbpiece.
Sir Arthur Gilbert and his wife Rosalinde formed one of the world’s great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.
via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
Snuff Boxes: Decorative boxes of all types were prized, especially in the 18th Century when everything decorative and extravagant was in vogue and taking a pinch of snuff was fashionable. Snuff is made from ground or pulverized tobacco leaves, flavorings added, and then a pinch of snuff is placed on the back of the hand and sniffed.
1725-1730 ca. Gold Double-Opening Snuffbox With Miniature Portraits, France. #antiques #snuffbox #GeorgianEra #France. https://books2read.com/suziloveBoxesCases Share on X
1815 Blue Dress Bodice, French. Layers of frills on dress back. Hairstyle and Various Bonnets as Jane Austen would have worn. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien.
