1760-1800 ca. Pink Enamel and Copper Necessaire Or Etui, Staffordshire, England. Dimensions: 3 3/4 x 1 5/8 in. (9.5 x 4.1 cm) Credit Line: Gift of J. Pierpont Morgan, 1917 via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
Definition Necessaire Or Etui: Small toiletry, writing, or sewing containers were called Necessaire or Etui: Tiny boxes or containers were carried in large castles or sprawling manor houses so a lady or gentleman had their essentials with them all day. They were also important when traveling by coach, trains, or ships where space was always limited. A necessaire or Etui was easily carried in a bag, reticule, or pocket so essentials were on hand for personal grooming, to repair a ripped hem, replace a button, to embroider, or to write a note or letter.
1808 Richard Trevithick’s Steam Circus, Bloomsbury, London, U.K. Site where Trevithick ran his locomotive ‘Catch Me Who Can’. Trevithick wanted to prove that traveling by train was faster than on horseback. Locomotive ran at top speed of 19 km per hour and people paid a shilling to sit in an attached car and be pulled around. Via Wikimedia Commons commons.wikimedia.org (PD-ART) This was the start of the railway expansions across England in Jane Austen’s time.
1930-1939 ca. Louis Vuitton Wardrobe Trunk. Monogrammed coat hangers, leather handle.1930-19391930-1939 ca. Louis Vuitton Steamer Trunk.18th Century Late – 19th Century Early. Hide covered, two tier traveling chest or box. Via Bonham’s Auctions.17th Century Iron Trunk With Locking Mechanism. 1900s Early Bags and Suitcases.
1st Dibs Auctions. 1859 ca. Packing Case or Trunk By Louis Vuitton, French. Iron trim, wooden slats, brass studs and locks.17th – 20th Centuries Luggage For Travel. #RegencyEra #VictorianEra #EdwardianEra books2read.com/SuziLoveTravel Share on XHN_10_D2D_RetailerBuyLink_ History Notes Book 10 books2read.com/SuziLoveTravel
Music history from the 17th, 18th, and 19th Centuries. Pianos, pianofortes, harps, viols, violins played during Jane Austen’s times. Musical Instruments were so important in most of the more affluent households in history that large industries grew all around the world to manufacture instruments, musical accessories, and to print sheet music. Musical instruction and encouragement could be found everywhere and both young ladies and gentlemen were encouraged to have musical appreciation. And of course, playing music was on the list of social requirements for all young ladies desirous of becoming a wife and homemaker.
London became Europe’s leading centre for the manufacture of scientific instruments and this led to the manufacture of more musical instruments as well as factories developed and rail transport helped the faster distribution of goods to regional areas. One of the first places that music was used to tell stories and to share enjoyment was in Christmas music. Because music was such an integral part of households, music was always a feature in Magazines. There were advertisements everywhere for musical instruments for sale, for sheet music, and for music lessons. And of course, of most interest to the ladies were the hundreds of fashion plates included in magazines where people were depicted with their musical instruments.
Between 1820 and 1840 textile printers began to produce designs that were based on the woven silk dress fabrics of the 1750’s. Designs showing curving trails of lace or ribbons between bouquets of flowers became as popular in the 1830s as they had been in the 18th century.
Roller Printed Cotton.
The pattern on printed cotton was made with an engraved metal roller and additional colors were built up by wooden surface roller. Roller printing on textiles was introduced in the late 18th century and at first used mainly for small-patterned dress fabrics. By the 1830s, roller printing was highly mechanized process and had largely replaced block printing for fashionable furnishings.
Materials and Making The development of roller printing coincided with a radical transformation in the dyestuffs available for printing on cotton. Until the beginning of the 19th century printing had been based on the use of vegetable dyes. In Britain, France and Germany new chemical processes were developed and mineral colors produced that transformed the palette of colors available to the printer and made combinations such as shades of pink and orange possible.
Design and Designing The false trails of lace and bouquets of flowers in the fabric are inspired by the patterns of woven silks from nearly a century earlier. Changing taste made this design suitable for furnishing a room in the 1830s, while the 18th-century silk that was its inspiration would have been intended for a woman’s gown.
Time The styles considered fashionable in 1830s furnishings were widely diverse. Among the more recognisable historical references were Rococo, Elizabethan and Gothic. A design such as this seems to be relying on novelty of effect for its success.
Fan of Regency London in the times of Jane Austen and Bridgertons? Regency Overview Book 1 Regency Life Series #JaneAusten #RegencyEra #Bridgerton #Nonfiction #amwriting https://books2read.com/ROver
19th Century Food For The Upper Classes In Bridgerton and Jane Austen Times.
Typical Meals Served for the upper classes in the Georgian and Regency Eras. For the Upper classes in the 18th and through to the end of the 19th century, meals were elaborate affairs. and served by well-trained staff anticipated their every need. Women prided themselves on hosting dinners for 50-60 people which often consisted of numerous courses, and all served with the best wines and followed, for the men at least, by expensive port.
An older lady usually controlled the servants and the serving of meals. For more about this, take a look at Older Lady’s Day Regency Life Series Book 5 by Suzi Love. Overview of what an older lady did, wore, and how she lived in the early 19th Century. Information for history buffs and pictures for readers and writers of historical fiction. books2read.com/suziloveOLD
1816 Block Printed Quilt Panel made to celebrate the Marriage of Princess Charlotte to Prince Leopold of Saxe-Coburg.
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.
