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Textile of block-printed white cotton in madder colours with pencilled blue. The cotton is printed with 9.5 octagonal panels intended to be cut out and applied to patchwork quilts. Each panels contains a bunch of flowers. Around the inner border is an inscription of Princess Charlotte of Wales married to Leopold Prince of Saxe-Coburg May 2, 1816. In the borders are three Prince of Wales feathers, the Royal Arms, and a crown on each side. At the end of the textile is printed a rectangular panel containing the manufacturers name and in a corner is the name ‘G. Swindels’.
This quilt has an excise stamp for 1816 and is inscribed ‘John Lowe and Co. Furniture Printers, Shepley Hall’, providing the name of the only identifiable manufacturer of these panels, although there are likely to have been others. John Lowe was a well-known firm of calico printers with large cotton factories and extensive bleaching grounds close to the River Tame near Ashton-under-Lyne in Lancashire.
Hand-quilting is done on a frame using needles called ‘betweens’. The stitches are executed with one hand; the other hand is kept underneath the quilt to feel for the needle. Small, uniform stitches (usually a ‘running stitch’) are taken through the three layers to form a decorative design. In ‘piecing’ or ‘patchwork’, small pieces of fabric are sewn together to produce a decorative design. The most enduring method in Britain is done by hand, and is known as ‘piecing over paper’. The pattern is first drawn onto paper and then accurately cut. Small pieces of fabric are tacked round each of the shapes, and then joined together from the back using overstitch. Most of the quilt top visible here has been pieced over paper, but in some areas the fabrics have been applied directly on to the earlier quilt that forms the wadding.
Victoria and Albert Museum, London, England.
Are you a reader or writer of Regency Romance? Love Jane Austen’s books? Want to know more about the mourning, riding, underclothing and other Regency Era women’s fashions in Regency romances? What was fashionable for women in Jane Austen’s times? Mourning, riding, daytime, evening clothing, plus underclothing, corsets and accessories. This book looks at what was fashionable for women in Jane Austen’s times, or the early 1800s, or the Regency Era in Britain. Wars were being fought around the globe so women’s fashion adopted a military look in support of soldiers. Fashions, like the lifestyle, became progressively more extravagant and accessories went from colorful to over-the-top.
https://books2read.com/SuziLoveFashion1810-1814
1819 January Two Fashion Plates By Dean and Mundy For Mourning: Winter Carriage and Evening Dresses. High-waisted carriage dress, cuffs edged with white lace and trimmed with gray frog closures, matching plumed hat and shawl. Empire style evening dress with short sleeves and wide neckline trimmed with scallops of white lace, skirt trimmed with white rosettes, evening upswept hairstyle. Fashion Plates Published by Dean and Munday, 1819, London.
Mourning wear was worn in Britain during the regency Era, firstly for Princess Charlotte who died in England on November 6th, 1817, or then for Queen Charlotte, wife of King George III and grandmother of Princess Charlotte, who died on November 17th, 1818. All the fashion magazines featured numerous outfits in black suitable for mourning, followed by many for half mourning in colors of grey, black with touches of white, and later mauve or lavender.
Black was worn for full mourning with various other colors were worn during the months of half mourning, including grey and mauve. However, as black dresses, black tunics, and black lace shawls were popular throughout the Regency years, it is often hard to decide what was definitely made for mourning and what was simply fashionable wear.
After the death of H.R. H. Princess Charlotte on November 7th, 1817, official court mourning was ordered. ‘The ladies to wear black bombazines, plain muslin or long lawn crape hoods, shamoy shoes and gloves, and crape fans. The gentlemen to wear black cloth without buttons on the sleeves or pockets, plain muslin or long lawn cravats and weepers, shamoy shoes and gloves, crape hat bands, and black swords and buckles.’ Two months later, a change of mourning attire was ordered.
