Tag Archives: Paris

1806 Waiting For the St. Cloud Coach, Place de la Concorde, Paris. #RegencyEra #JaneAusten #Paris #Art

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1806 Waiting For the St. Cloud Coach, Place de la Concorde, Paris. Illustrations by Francis Courboin. via Les Modes de Paris. (PD-Art) This couple is depicted waiting for the coach, which was a passenger vehicle drawn by four horses. The woman is wearing a fashionable hat or “capote” that covers her face. Her dress maintains the empire waist and has very long sleeves that also have a ‘mancheron’ or a gathered sleeve at the shoulders. The man is wearing a ‘habit du gagé’ or a coat with tails, buttoned at the waist. His hat is a ‘haut-de-forme’ or what is commonly known in English as a top hat. He wears tight, short pants tucked into large, riding boots, as was the fashion for men. Illustrations by François Courboin from Octave Uzanne‘s Les Modes de Paris. Variations du goût et de l’esthétique de la femme, 1797-1897, L. Henry May, Paris, 1898, or from the English translation of the same work: Fashion in Paris : the various phases of feminine taste and aesthetics from 1797 to 1897, William Heinemann, London, 1898. Modes de Paris VIa Brown University Library .

1806 Waiting for the Saint-Cloud Coach, Place de la Concorde, France. Couple waits for the coach, a passenger vehicle drawn by four horses. Woman wears a fashionable hat, or capote, that covers her face, an Empire style, or high-waisted blue Redingote or Pelisse, with long sleeves with a mancheron, or gathered sleeve, at the shoulders. Man in tailcoat buttoned at the waist, breeches tucked into fashionable riding boots with tan tops and wearing a 'haut-de-forme', or top hat. via Suzi Love ~ suzilove.com & Illustrations by François Courboin, French librarian (1865-1926) From Octave Uzanne's 'Les Modes de Paris, or Fashion in Paris,' the various phases of feminine taste and aesthetics from 1797 to 1897. (PD-Art) via Brown University Library, U.S.A.
1806 Waiting For the St. Cloud Coach, Place de la Concorde, Paris. #RegencyEra #JaneAusten #Paris #Art https://books2read.com/suziloveYGD Share on X
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1788 Set Of Furniture For Marie Antoinette by Jean-Baptiste-Claude Sené. #Furniture #GeorgianEra #Europe

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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.

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1788 Room View Paris France.1788 Set Of Furniture Made For Marie Antoinette, Paris, by Jean-Baptiste-Claude Sené.
1788 Set Of Furniture For Marie Antoinette by Jean-Baptiste-Claude Sené. #Furniture #GeorgianEra #Europe. https://books2read.com/suziloveFashWomen1700s Share on X
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HN_1 Fashion Women Late 1700s History Notes Book 1 by Suzi Love. What was fashionable for women in the late 1700s? Extravagant colors and fabrics and outrageous styles were all seen in these flamboyant fashions. books2read.com/suziloveFashWomen1700s

1808 A Dandy Walking in the Tuileries Gardens, Paris, France. #Regencyera #Dandy #JaneAusten #art

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1808 Walk in the Tuileries Gardens. A dandy of the Year VIII. According to Baudelaire, a dandy was, “no profession other than elegance…no other status but that of cultivating the idea of beauty in their own persons….The dandy must aspire to be sublime without interruption; he must live and sleep before a mirror.” Dandies tried to imitate the aristocracy in manner and appearance. This man wears short breeches, usually worn by the aristocracy, that were out of fashion and had been replaced by the ‘more-democratic’ ankle-length pants. His outfit and manners are a throwback to a pre-Revolutionary era. llustrations by François Courboin from Octave Uzanne’s Les Modes de Paris. Fashion in Paris : the various phases of feminine taste and aesthetics from 1797 to 1897, William Heinemann, London, 1898. (PD-Art) via Brown University Library.

1808 Walk in the Tuileries Gardens. A dandy of the Year VIII. Wearing short breeches typical of aristocracy that had already gone out of style in favor of 'more-democratic' ankle-length pants. His outfit and manners are a throwback to a pre-Revolutionary era. (PD-Art) Illustrations by François Courboin from Octave Uzanne's Les Modes de Paris. Variations du goût et de l'esthétique de la femme, 1797-1897, L. Henry May, Paris, 1898, or from the English translation of the same work: Fashion in Paris : the various phases of feminine taste and aesthetics from 1797 to 1897, William Heinemann, London, 1898. Modes De Paris.
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From the finish of the 18th century until 1820, men’s fashions in European and European-influenced countries moved away from the formal wear of brocades, lace, wigs and powder to more informal and relaxed styles. Focus was on undress rather than formal dress. Typical menswear in the early 1800s included a tailcoat, a vest or waistcoat, either breeches, pants, or the newer trousers, stockings, shoes or boots, all worn with an overcoat and hat. This basic ensemble was accessorized with some form of neckcloth or cravat, gloves, walking stick, cane or riding crop, handkerchief, fobs, watch and perhaps a quizzing glass or eye glass. 

Skirted coats were replaced with short-fronted, or cutaway, tailcoats worn over fitted waistcoats and plain, white linen shirts. Knee breeches were gradually replaced by tight-fitting pantaloons and later trousers, decorative shoes with buckles were replaced with a variety of boot styles, and fussy and ruffled neckwear gave way to intricately tied, white linen neck cloths. A Regency Era, or early 1800s, gentleman was outfitted in more practical fabrics, such as wool, cotton and buckskin rather than the fussy brocades and silks of the late 1700s. 

1804 Men's Fashions In The Time Of Jane Austen. #Regency #Fashion #JaneAusten Share on X
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1816 Two Women Crossing The Pont Des Arts, Paris. #regencyera #regencyfashion #bridgerton

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1816 Crossing The Pont des Arts, Paris. Illustrations by Francis Courboin. via Les Modes de Paris. (PD-Art) suzilove.comThis plate depicts two women crossing the Pont des Arts, which is also known as the Passerelle des Arts. The women wear very high-waisted dresses. Both women wear a large white feather in their hats, symbolic of the white plume of Henri IV’s famous battle cry, “Ralliez-vous à mon panache blanc!” and made popular by the 1814 restoration of Louis XVIII on the throne. Restoration also brought back various styles, especially those denoting luxury, from the Ancien Regime. The woman on the left wears an ‘old-fashioned’ lace collar and the resurgence of luxury materials, such as fur are indicative of feminine styles of the Restoration period. (PD-Art) Illustrations by François Courboin from Octave Uzanne’s Les Modes de Paris. Variations du goût et de l’esthétique de la femme, 1797-1897, L. Henry May, Paris, 1898, or from the English translation of the same work: Fashion in Paris : the various phases of feminine taste and aesthetics from 1797 to 1897, William Heinemann, London, 1898. Modes De Paris

1816 Crossing the Pont des Arts, Paris. Two women cross Pont des Arts, known as Passerelle des Arts, built from 1802 to 1804, first Parisian bridge of iron, and first bridge in Paris exclusively reserved for pedestrians. Women wear Redingotes or coats, one with 'old-fashioned' lace collar and fur indicating resurgence of luxury and feminine styles. From: Illustrations by François Courboin from Octave Uzanne's Les Modes de Paris. (PD-Art)
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