1788 Armchair or bergère en cabriolet. Part of a set by Jean-Baptiste-Claude Sené (French, 1748–1803). Made for Marie Antoinette, Queen of France, for her Cabinet de Toilette in Palace of Saint-Cloud, France. Carved, painted and gilded walnut; modern cotton twill embroidered in silk. Made for Marie-Antoinette’s dressing room at the château de Saint Cloud. The queen’s initials are carved on the top rail.
The Palace of St. Cloud belongs to the Duke of Orleans, is situated on the declivity of a mountain washed by the Seine. . . . The view from the house is delightful. By Harry Peckham, A Tour through Holland and Part of France
Louis XVI purchased the country residence of the duc d’Orléans a few miles west of Paris for Marie-Antoinette in 1785. Being in need of renovation, the palace was enlarged and altered for the queen, and many pieces of furniture were commissioned from Jean-Baptiste-Claude Sené. A member of an important dynasty of Parisian chairmakers, Sené had been appointed menuisier to the Crown in 1784.
A 1788 description of this set, four matching armchairs and a stool, shows that it was for one of Marie-Antoinette’s private rooms at Saint-Cloud, her Cabinet Particulier. Frame of the daybed embellished with carving of ivy and garlands of roses, ionic capitals on the short legs and Egyptian female half-figures on tapering supports. These figures express the queen’s taste for ornaments from ancient Egyptian art, well before Napoléon’s North African campaign made it fashionable. The bergère, or armchairs, has a medallion on top with Marie-Antoinette’s initials framed by myrtle branches and roses. The matching screen has classical female figures on its feet and top rail.
The 1789 inventory of Saint-Cloud records the entire suite in the queen’s Cabinet de Toilette, or dressing room. The set is upholstered in white cotton twill, embroidered with a small floral ornament in silk. Known to have worked on needlepoint projects all her life, Marie-Antoinette did the embroidery herself. The colorful floral embroidery on the light cotton ground conveys a sense of summer, the season Marie-Antoinette preferred to spend at Saint-Cloud. via Epigraph. Peckham 1788, p. 199.
1770-1790 ca. Child’s Stays, American. Linen plain weave, baleen, or whalebone, silk braided tape. Dimensions: Center Front Length: 5 3/4 inches (14.6 cm) Waist: 18 inches (45.7 cm). Made in United States of America. This pair of stays is only eighteen inches around, and might have been worn by a small child of eighteen months to two years old. Putting stays on young girls and boys was not seen as harsh, but rather as insurance that their figures would develop the correct form, with chest out and shoulders down. While boys usually wore stays only in early childhood, they were considered essential for females throughout their lives. via Philadelphia Museum of Art philamuseum.org Accession Number: 1988-15-1Credit Line: Purchased with the Bloomfield Moore Fund, 198
1770-1790 ca. Stays, or Corset, English. Pink silk damask, lined with linen, reinforced with whalebone, fingers spread over hips. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk. https://books2read.com/SuziLoveCorsetBook15
1770-1790 ca. Front View. Pink Silk Damask Stays, Or Corset, English. via Victoria and Albert Museum, London, UK.
collections.vam.ac.uk.1770-1790 ca. Side View. Pink Silk Damask Stays, Or Corset, English. via Victoria and Albert Museum, London, UK.
collections.vam.ac.uk.1770-1790 ca. Back View. Pink Silk Damask Stays, Or Corset, English. via Victoria and Albert Museum, London, UK.
collections.vam.ac.uk.1770-1790 ca. Open View. Pink Silk Damask Stays, Or Corset, English. via Victoria and Albert Museum, London, UK.
collections.vam.ac.uk.1770-1790 ca. Side and Back Views. Pink Silk Damask Stays, Or Corset, English. via Victoria and Albert Museum, London, UK.
collections.vam.ac.uk.1770-1790 ca. Collage View. Pink Silk Damask Stays, Or Corset, English. via Victoria and Albert Museum, London, UK.
collections.vam.ac.uk.1770-1790 Pink Silk Damask Stays, Or Corset, English. #Georgian #Corset #BritishHistory1770-1790 Pink Silk Damask Stays, Or Corset, English. #Georgian #Corset #BritishHistory https://books2read.com/SuziLoveCorsetBook15 Share on XHN_15_D2D_Corsets 1700-1790
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1750-1760 ca. Brown Silk Brocade Stays With Both Front and Back Lacings.
These silk stays have a small repeat floral brocade in rose, white, and green. There are cream, leather-backed waist tabs, stitched eyelets, and pink and tan linings. These stays, or corset, are unusual because they have both front and back lacings. This means that a lady could step in and out of her stays and then tighten the front lacing herself, thereby eliminating the need for assistance from a maid or dresser.
Women of the middle and lower classes needed to be able to dress themselves as they have no one to assist in tightening their lacings when they dressed. Most upper class ladies would be able to call upon a maid to help and would therefore generally use back lacing stays.
1750-1760 ca. Brown Silk Brocade Stays With Front and Back Lacings. Front Lacing View. via Augusta Auctions. augusta-auction.com1750-1760 ca. Brown Brocade Stays With Front and Back Lacings. Back Lacing View. via Augusta Auctions. augusta-auction.com1750-1760 ca. Brown Silk Brocade Stays With Front and Back Lacings. Side View. via Augusta Auctions. augusta-auction.com1750-1760 ca. Brown Silk Brocade Stays With Front and Back Lacings. Eyelet View. via Augusta Auctions. augusta-auction.com1750-1760 ca. Brown Silk Brocade Stays With Front and Back Lacings. Fabric View. via Augusta Auctions. augusta-auction.com1750-1760 ca. Brown Silk Brocade Stays With Both Front and Back Lacings #Georgian #History #Corset https://books2read.com/SuziLoveCorsetBook15 Share on X Corsets 1700-1790 History Notes Book 15 By Suzi Love ~ Award Winning Writer and Researcher. https://books2read.com/SuziLoveCorsetBook15
1798 Woman’s Light Blue Douillette, Or Housecoat, French. Trimmed with pink velvet, pink fan, black slave sandals, apricot hat with black trim. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien.
Description Douillette: A coat or housecoat, sometimes quilted, worn in France.
Cheltenham Spa, England: Pittville Pump Room: Cheltenham is a famous spa town within easy reach of the Cotswolds in in the county of Gloucestershire, England, and was a popular Georgian and Regency spa town where one could rest and recuperate. It became famous as a Spa town following the discovery of mineral springs in 1716, and claims to be the most complete Regency town in Britain. The Pittville Pump Room is an elegant Grade 1 listed Regency building and perhaps the most famous example of Regency architecture in Cheltenham, despite the town being filled Regency buildings. The Pittville Pump Room was the last and largest of the spa buildings to be built in Cheltenham.
Location: The Pump Room stands at one end of Pittville Park, about two miles from Cheltenham’s town centre, and is a monument to more than 100 years of fame which Cheltenham enjoyed as a Spa town. The building is set in beautiful parkland and is surrounded on three sides by a grand colonnade of ionic columns opening into the impressive hall with its domed ceiling and original crystal chandeliers. The park has extensive open lawns surrounded by trees and ornate bridges and pathways lead around the lakes where swans and ducks swim.
Cheltenham Tour Map. Pittville Pump House, Cheltenham, Gloucestershire, England.
History: The waters were first discovered in around 1715 on a site now occupied by Cheltenham Ladies’ College. In 1788 George III and Queen Charlotte came to take the waters and it was their visit that set the seal on Cheltenham’s future. After a visit to Cheltenham, a banker named Joseph Pitt commissioned the architect John Forbes to design a pump room that was to act as the centrepiece to his vision of a town to rival Cheltenham – a town he would call Pittville.
The foundation stone was laid on 4 May 1825 and the work completed in 1830. The laying of the foundation was celebrated by the ringing of the bells, firing of cannons, as well as a Masonic Procession which set out from the Masonic Hall in Portland Street. In the evening banquets were held at two of the town’s hotels and grand fireworks display was to be seen at Pittville. The building took five years to complete. Following disagreements between Forbes and the builder, a second architect, John Clement Mead from London, was employed to finish the interior. He designed the elaborate stoves which heated the building. The original official opening on 6th July, 1830 was postponed until 20th July, 1830 because of the death of George IV. A grand public breakfast and ball marked the occasion.
1830 Pittville Park. Pittville Pump House, Cheltenham, Gloucestershire, England. 1831 Pittville Park. Pittville Pump House, Cheltenham, Gloucestershire, England. 1834 View Of Pump House Outside Cheltenham. Pittville Pump House, Cheltenham, Gloucestershire, England. Pittville Pump House, Cheltenham, Gloucestershire, England. Pittville Pump House, Cheltenham, Gloucestershire, England. Poster: Pittville Pump Room latest and grandest water spas built in Cheltenham.1820s Early Joseph Pitt, Banker.
Commissioned architect John Forbes to design a pump room
as centrepiece to his vision of a town to rival Cheltenham,
a town he would call Pittville.1825 May Foundation Stone laid for Pittville.
1830 Pittville completed.Pittville Pump House, Cheltenham, Gloucestershire, England.
Building the Pump Room: The total cost of the project was over £40,000, and incredible price for that time. Like many bankers of his time, Pitt ran into financial difficulties, the building went out of favour and was sold in 1890 to the Borough of Cheltenham for £5,400, a fraction of the original cost. The building is decorated in Ionic style and the great hail reflects the genius of John Forbes with the spa opening on the north side and the gallery and dome surmounting the hall.
The grand building is 92 feet long by 43 feet, surrounded by a colonnade 13 feet wide the roof of which are supported by fluted Ionic columns 22 feet high. Along the facade stand three figures representing Aesculapius, Hygeia and Hippocrates, originally made by Lucius Gahagan of Bath. In its design, the building combines elements of both Greek and Roman architecture. It was modelled on the temple on Illisus in Athens, the engravings of which appeared in Stuart and Revett’s Antiquities of Athens (1762).
The inspiration for the dome probably came from the Panthenon in Rome. A large ballroom was situated on the ground floor where even today visitors can attend music concerts, dances and other events. With a capacity of 400 and remarkable acoustics, it is Cheltenham’s finest concert venue. The spa with an oval pump room to the rear of the building are still there for the visitors to enjoy, available from a marbled pump and counter. A reading room, library and billiard room occupied the first floor.
Third well pumped surface water and housed
the many pipes running the other wells. Pittville Pump House, Cheltenham, Gloucestershire, England. Pump, Or Tabernacle, Opened in 1830.
Dispensed unique salty mineral rich water. Pittville Pump House, Cheltenham, Gloucestershire, England. Looking down the well. Pittville Pump House, Cheltenham, Gloucestershire, England. Two wells with side tunnels supplied spa water. Pittville Pump House, Cheltenham, Gloucestershire, England. Diagram of the pump.Pittville Pump House, Cheltenham, Gloucestershire, England. View from pump house upper level.Side View. Pittville Pump House, Cheltenham, Gloucestershire, England. Rotunda. Pittville Pump House, Cheltenham, Gloucestershire, England. Rotunda and exterior of building. Rotunda. Pittville Pump House, Cheltenham, Gloucestershire, England. Ionic columns surrounding the Pump House. Pittville Pump House, Cheltenham, Gloucestershire, England. Exterior with Ionic columns. Pittville Pump House, Cheltenham, Gloucestershire, England. Exterior Brick and Windows. Pittville Pump House, Cheltenham, Gloucestershire, England.
Fashion History: “Cheltenham will be the summer village of all that is fashionable and all that is dignified; the residence of the royal ” family being a thing quite new so far from the metropolis . Already we hear of nothing but Cheltenham modes — the Cheltenham cap — the Cheltenham bonnets — the Cheltenham buttons — the Cheltenham buckles , in short all the fashions are completely Cheltenhamized throughout Great Britain.” via 1826 Griffith’s New Historical Description of Cheltenham and Its Vicinity.
Second World War: The Pump Room housed British and American army personnel, when dry rot was allowed to creep through the structure unchecked, and only after the war was the full extent of the damage revealed. Plaster, brickwork, timber: nearly everything had been affected. The dome was only held in position by a shell of plaster; the timber had been eaten away by the fungus.
The Duke of Wellington: Public subscriptions carne to the rescue, which were accompanied by Public Works grants and Historic Building Council contributions. A total of £43,250 was raised and by 1960 the building was partially restored to its former glory and reopened in 1960 by the Duke of Wellington. The old card room had been replaced by a new foyer, cloakrooms and second staircase, and heating and new lighting were in stalled.
Recent History: In 2003, the old Victorian wells were leaking and allowing ground water to dilute the natural mineral water so Pittville Pump Room no longer qualified as a spa and the well was shut down. The spa was then repaired and reopened so visitors can taste the only alkaline spa water in the country. The Pump Room’s old maple-strip floor was replaced with a stunning English oak floor, better flooring found for the ball room, and old pipes replaced. Nowadays the Pittville Pump Room is in use most days of the year for private and public functions and is one of Cheltenham’s most popular wedding venues. The venue is also used frequently by orchestras, choirs and chamber groups because it has stunning acoustics.
1790-1810 ca. Linen and Metal Corset, American Or European. Front Lacing. #Corset #RegencyEra #GeorgianEra #JaneAusten. https://books2read.com/SuziLoveCorsetBook16
18th Century Late – 19th Century Early Bodice and Corset Ensemble, European. Cranberry silk faille with polychrome floral brocade, the square-neck bodice having folded front collar, narrow double breast and short sleeve with pleated and pointed cuff, peplum back. Corset front pieced with cranberry brocade and a tan dotted sawtooth stripe, the back in a similar dotted stripe. Both pieces trimmed in aqua ribbon and lined in linen. via Whitaker Auctions. whitakerauction.smugmug.com
Do you need more factual and visual information for your historical fiction? History of fashion, music, peerage and customs in 18th and 19th centuries. Non-fiction series full of gorgeous pictures and engraved fashion plates. A visual history of fashion, music, peerage, social manners and customs from late 1700s to late 1800s, or 18th and 19th centuries.
There has been some discussion on the names for Corset Makers. I’ve seen lots of names, including Stay Maker, Stay Manufacturer, Corset Maker, Body Tailor and Milliner. It was mainly men who were Stay Makers, but there were also some women who included stay making with their millinery.
Corsets Overview History Notes Nonfiction Book 14. This book shows how body wraps, stays, and corsets were worn to create a variety of fashionable silhouettes through past centuries. Corsets flattened breasts and accentuated rounded hips or pushed up breasts and showed off the bust line depending on the fashions of the time and the desired silhouette. Includes corsets through the Georgian, Regency, Victorian and Edwardian Eras and Jane Austen’s lifetime. Overview of corsets through history, including the Georgian, Regency, Victorian and Edwardian Eras and Jane Austen’s lifetime.
1776 April 28th John McQueen, Stay Maker., New York. At the sign of the White Stays in Smith Street,near the Mayor’s baths, New York. Making all sorts of stays in the newest fashion that is worn by the ladies of Great Britain or France. Packthread stays for babies from one month to seven years, stays for children of Tabby, Ruffled Canvas, Or Buckram, and for older girls an assortment of thin boned stays of different sorts and sizes.1835 Milliner, Dress and Corset Maker to the Royal Family. Mrs. Langdon. 37 Milson Street, Bath, U.K. Local Trade Advertisements. From 1835 The Historical and Local New Bath Guide By C. Duffield. via Google Books (PD- 150)18th Century Interior of the shop of a body tailor, or corset maker. From 1893 The Art of the Tailor of the Bodies of Women and Children.1835 Fashionable Long and Short Stay Manufacturer. Robert Drew & Co. Local Trade Advertisements. From- 1835 The Historical and Local New Bath Guide. Published by C. Duffield via Google Books (PD-150)18th Century Corset Maker From 1893 Le Corset, A Travers Les Ages.18th Century Corsetieres cutting out and fitting. From Saint-Elme Gautier, Le Corset a Travers les Ages. en.wikipedia.org18th-19th Century Names For Corset Makers? Lots of them including Stay Maker, Corset Maker, Body Tailor and Milliner. #Corset #Fashion #History. https://books2read.com/SuziLoveCorsetBook14 Share on X