1829 July 4th George Shillibeer’s Omnibus, London, U.K. First Omnibus between Paddington and Bank of England via the New Road, now Marylebone Rd., Somers Town and City Rd. Via Wikimedia Commons. books2read.com/SuziLoveTravel
1800s Late. Doctor’s Traveling Apothecary Cabinet. 29 Single bottle compartments and instrument tray. Original bottles with labels: Hamamelis, or Witch Hazel.
“There was a moment when I changed from an amateur to a professional. I assumed the burden of a profession, which is to write even when you don’t want to, don’t much like what you’re writing, and aren’t writing particularly well. “Agatha Christie
1800-1830 ca. Reticule, or Bag, American. Bottom of bag shaped like basket and made of stiff deep cream colored mohair with minute blue figure, two panels of light blue painted silk moiré, upper part of bag of deep cream colored figured silk, blue silk ribbon, drawstring and bows trimming lower part of bag. via Museum of Fine Arts, Boston, U.S.A. mfa.org
Definition Reticule Or Ridicule Or Bag or Purse: Often with a drawstring to pull closed and usually made of cloth or covered cardboard and often decorated with beading or embroidery. A reticule, or purse, or handbag, was usually carried by a woman during the Regency period to carry all their daily necessities. Earlier, women used pockets that tied at the waistline and were hidden in the folds of their skirts. Empire style, or early 1800s, high-waisted dresses made it impossible to either sewn in a pocket or to tie on a pocket. So women began carrying small, decorated bags called Reticules, or ridicules, which generally pulled close at the top with a drawstring.
19th Century Early Cotton Trousers, British. Buttons at waist, drop down front flap with buttons and cut with excess material to allow easy movement. via Metropolitan Museum New York City, U.S.A. metmuseum.org.
Trousers: In the early 19th century, trousers were sewn with a flap in front called a fall front and was held in place by two or three buttons. Trousers were held up by tight-fitting waists which were adjusted by gusset ties in back of the waist. Seats were baggy to allow a man to rise comfortably from a sitting position.
1817 June Morning Dress as worn in Bridgerton and Jane Austen’s times in England. A round dress composed of jaconet muslin; the bottom of the skirt is trimmed with an intermixture of tucks and embroidery. The body is perfectly novel, it is a three-quarter height, and displays the whole of the throat and a little of the neck: it is composed of the same material as the dress, and is formed to the shape, in a manner at once singular and becoming, by bands of letting-in lace; it is also profusely ornamented with lace, which is set on very full. Long full sleeve, the fullness confined by a tasteful cuff, which is finished by a lace ruffle. Head-dress the Marlborough cap, composed of white lace, ornamented with full-blown roses and blush colored satin ribbon. For the form of this elegant cap, which is perfectly in the English style, we refer our readers to our print. The hair is parted in front so as to display a little of the forehead, and curled lightly over the temples. Necklace and ear-rings white cornelian mixed with gold. White kid slippers and gloves. We are indebted to the elegant taste of Mrs. Marchant of 40, Gerrard-street, Soho, for both our dresses this month. Fashion Plate via Rudolph Ackermann’s ‘The Repository of Arts’.
Definition Morning or At-Home Dress: Loose and comfortable dress and soft lace cap to be worn at home for reading, painting, sewing or for walking in the garden. To be seen by family, servants and close friends. Not accessorized enough to be out in the wider public, although the pretty pink roses and trim on the cap suggest this outfit may have been worn for receiving visitors at home.
1620-1635 ca. Pin For Fastening Clothing, Made In Gloucestershire, England, U.K. Pins were a necessity for the fastening of clothing and the arrangement of dress accessories in the 16th and 17th centuries. Their importance for women as a personal requirement and expense is reflected in the term pin-money, the sum originally allocated to meet this essential cost. Ordinary people would have a small number of pins, the wealthy thousands.Pins were carefully looked after and sharpened periodically. They were extracted after use so as not to tarnish the fabric and placed in a pincushion.
. Victoria and Albert Museum, London, U.K.
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Before the mid-16th century the finest pins were imported from France, but their manufacture in England was encouraged under Henry VIII, and an Act for the True Making of Pynnes was passed in 1543, controlling their quality and price. Gloucestershire and London became the main centres of the pin-making industry.
Materials & Making
As the industry developed in the 16th century the major advance in the manufacture of pins came with the use of a steel draw-plate with a graduated series of holes. Wire, which was usually brass, could be drawn through this to any gauge, permitting standardisation of the size of the pins. The heads were made from fine coils of wire that were soldered in place.
Enormous quantities of pins were used for the fastening of clothing. Elizabeth I was supplied with 24,000 ‘pynnes of diverse sorts’ just for her coronation. Pins secured the petticoat in a ruffle above the farthingale (hoops that supported a skirt), and held the curves of the ruff in place around the neck. Several dozen might be used for one ensemble. Such a quantity required large pincushions. These pins were found in written documents that were dated between 1620 and 1635.
1620-1635 ca. Pin For Fastening Clothing, England. #BritishHistory #Sewing http://books2read.com/suziloveFashWomen1700s Share on X
1790 British Consul’s Tan Leather Pants, Boston. Tan buckskin, fall front, brass and self covered buttons, breeches have leather ties at waist and at leg hems. via Augusta Auction ~ augusta-auction.com
1780-1789 Pale Pink Linen Stays Or Corset, Great Britain. Stays, 1780-1789 (made). Pale pink linen, lined with linen and reinforced with whalebone, trimmed with pale blue silk ribbon. Hand sewn with linen thread, applied ribbon, chamois and whalebone. Stays were an essential item of underwear for women during the 18th century. By the 1780s, the fashionable torso consisted of an inverted cone shape. Achieving smoothness of profile and firmness of contour were the primary function of 18th-century stays, rather than emphasising the bust or constricting the waist. Although custom-made and very intricately designed, stays were usually very plain. In this example a narrow blue ribbon covering the seams is the only decoration.
The narrow rows of very fine, even hand-stitching form the compartments into which thin strips of whalebone were inserted. Although the stays appear very rigid, whalebone was quite flexible. It had the added advantage of softening with the heat of the wearer’s body, allowing the stays to mould to her shape. When worn, the shaped and boned tabs at the lower edge would splay over the wearer’s hips, giving further fullness to the petticoat tied at the waist over the stays. Given by Mrs Strachan. Museum Number T.172-1914. Victoria and Albert Museum, London, U.K.
1820-1835 ca. Woman’s Underwear Combination, English. Petticoat: 1820-1829 ca. Cotton with double row of piping round hem. Frontless with looped shoulder pieces. Corset: 1835: Cotton reinforced with whalebone and cording, hand-sewn. Shift Or Chemise:1830s Worn under corset. Drawers: Sheer clinging fabrics needed drawers underneath for modesty. via Victoria and Albert Museum, London, UK.
collections.vam.ac.uk.
