1800s Early A Lady’s Phaeton. Drop-front phaeton with folding hood suitable for a fashionable lady as lightweight, comfortable and easy to manoeuvre. Mudguards over the back wheels, rear elliptical springs and transverse elliptical spring fitted to the front. via Cobb and Co. Museum, Toowoomba, Australia.
Definition Carriage Lady’s Phaeton: Low set comfortable carriages easier to enter than most vehicles. Favored by ladies and portly gentlemen from the time of George IV 1820-1830.
Definition Phaeton: Open, four-wheeled, doorless carriage, popular in the 18th and 19th centuries. One or two seats, usually a folding or falling top, and owner-driven. The type of carriage liked by young ladies in Jane Austen’s times as the lady could drive herself, The most spectacular phaeton was the English four-wheeled high-flyer was the top phaeton, with body of a light seat for two resting on two sets of springs and reached by a ladder.
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 .
A portrait from 1810-1814 of Rudolph Ackermann, shop owner and founder of ‘The Repository Of Arts’ magazine, The Strand, London. via National Portrait Gallery, London. Plus, an image of Ackermann’s premises in 1809. His ‘Repository of Arts, Literature, Fashion, Manufactures, etc.’ was published from 1809 to 1829 with images of Regency London, Regency furnishings and grand homes as well as beautiful fashion prints and descriptions every month. Ackermann originally supplied artists, amateur and professional, with supplies for watercolor painting. In 1799, he began manufacturing and selling his own watercolor paint blocks which were supplied by other colourmen, although at least three colors were his own mixture – Ackermann’s Green, White and Yellow. From 1817, his eldest son Rudolph Ackermann junior was responsible for the watercolor manufacturing. Ackermann also trained as a carriage designer. He began publishing prints and colour-plate books like ‘The Microcosm of London’ and ‘Doctor Syntax’ in the early 1800s.
The Repository of Arts was one the most popular magazines in Jane Austen’s time as it displayed everything ladies wanted to learn e.g. history, important country seats and houses in England, music, current events such as theatre plays, plus fashion plates and embroidery patterns. Ackermann’s shop in The Strand, London, was one of the fashionable places to shop during the Regency Era. The Repository also included poetry, travel reports, society reports and upcoming lectures. It also included serious subjects e.g. politics, legal matters, medicine and agriculture, a meteorological journal and details of the London markets. In 1817, the price of the magazine was 4 Shillings, so quite expensive for the time.
In the first issue, published for January 1809, Ackermann included an ‘introduction to the history of the useful and polite arts’ which said: “It is universally admitted, that to cultivate a taste for the arts, and an acquaintance with the sciences, is a pleasure of the most refined nature; but to do this without regard to its influence upon the passions and affections, is to ‘tear a tree for its blossoms, which is capable of yielding the richest and most valuable fruit.’ The cultivation of this taste may and ought to be subservient to higher and more important purposes: it should dignify and exalt our affections, and elevate them to the admiration and love of that Being who is the author of every thing that is fair, sublime, and good in nature.”
1815 The First Quadrille at Almack’s Assembly Rooms, London. Left to Right: Marquis of Worcester, Lady Jersey, Clanronald MacDonald and Lady Worcester. “It was not until 1815 that Lady Jersey introduced from Paris the favourite quadrille, which has so long remained popular. I recollect the persons who formed the very first quadrille that was ever danced at Almack’s: they were Lady Jersey, Lady Harriett Butler, Lady Susan Ryde, and Miss Montgomery; the men being the Count St Aldegonde, Mr Montgomery, Mr Montague, and Charles Standish.” From The Reminiscences of Captain Gronow 1810-1860.
The patronesses of Almack’s controlled a lot of a young lady’s acceptance into English society in Jane Austen’s times. To be given a voucher and admitted to an assembly, there was an introduction into London’s polite society.
1815-1825 ca. Back lacing, hand embroidered cotton sateen corset. The type of corset worn by Jane Austen and her female friends and family. Entirely hand sewn, cotton cord bones, dark cream embroidered flowers, centre front busk channel, bone eyelets and with the monogram ‘MS’ embroidered twice. via Augusta Auctions. augusta-auction.com
1815-1825 ca. Cream cotton sateen back lacing corset. Entirely hand sewn, cotton cord, boning, dark cream embroidered flowers, centre front busk and busk channel, bone eyelets, embroidered with ‘MS’ twice. via Augusta Auctions.1815-1825 ca. Cream cotton sateen back lacing corset. Entirely hand sewn, cotton cord, boning, dark cream embroidered flowers, centre front busk and busk channel, bone eyelets, embroidered with ‘MS’ twice. via Augusta Auctions.1815-1825 ca. Cream cotton sateen back lacing corset. Entirely hand sewn, cotton cord, boning, dark cream embroidered flowers, centre front busk and busk channel, bone eyelets, embroidered with ‘MS’ twice. via Augusta Auctions.1815-1825 ca. Cream cotton sateen back lacing corset. Entirely hand sewn, cotton cord, boning, dark cream embroidered flowers, centre front busk and busk channel, bone eyelets, embroidered with ‘MS’ twice. via Augusta Auctions.1815-1825 ca. Cream cotton sateen back lacing corset. Entirely hand sewn, cotton cord, boning, dark cream embroidered flowers, centre front busk and busk channel, bone eyelets, embroidered with ‘MS’ twice. via Augusta Auctions.1815-1825 ca. Cream cotton sateen back lacing corset. Entirely hand sewn, cotton cord, boning, dark cream embroidered flowers, centre front busk and busk channel, bone eyelets, embroidered with ‘MS’ twice. via Augusta Auctions.1815-1825 ca. Back Lacing Embroidered Cotton Sateen Corset As Worn By Jane Austen. #RegencyEra #Corset #JaneAusten. https://books2read.com/SuziLoveCorsetBook17 Share on XHN_17_D2D_Corset_1810-1830
Light-hearted look at Young Lady in Jane Austen’s times, or early 1800s. A glimpse into both the frivolous and more serious occupations filling a young lady’s day in the lifetime of Jane Austen, or the Regency Era, or the early 19th Century. Historic images and historical information show her fashions and frolics. https://books2read.com/suziloveYLD
1825-1835 ca. Cotton Corset, Possibly American. Waist shaping at the almost natural waistline, flared hips, cording, widely spaced shoulder straps with front ties. Via Winterthur Museum Collection museumcollection.winterthur.org. https://books2read.com/SuziLoveCorsetBook17
1825-1835 ca. Cotton Corset, Possibly American. Waist shaping at the almost natural waistline, flared hips, cording, widely spaced shoulder straps with front ties. 1825-1835 ca. Cotton Corset, Possibly American. Waist shaping at the almost natural waistline, flared hips, cording, widely spaced shoulder straps with front ties. 1825-1835 ca. Cotton Corset, Possibly American. Waist shaping at the almost natural waistline, flared hips, cording, widely spaced shoulder straps with front ties. 1825-1835 ca. Cotton Corset With Cording And Widely Spaced Straps #Regency #Corset #Romantic books2read.com/SuziLoveCorsetBook17 Share on X
1806 Two Ladies In White Walking Dresses, French. Puffed sleeves, extra long gloves, bonnets tied under chins and decorated with flowers, walking boots, green cashmere shawl. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien. These fashionable ensembles with a variety of fashionable and practical accessories would have been worn by Jane Austen and her family and friends during the day when out walking in the park or visiting village shops. Hats were a necessity to protect fair skin from the sun and scarfs and shawls added color and warmth to an outfit.
1817 April Ladies’ Voucher for all the Wednesday balls at Almack’s Assembly Rooms, London, U.K. in April 1817. The voucher is for the Marchioness of Buckingham to attend the balls at Almack’s “on the Wednesdays in April 1817.” There are initials in the lower right hand corner marked, “MD”. These initials might be for Mary Marchioness of Downshire who may briefly have been a patroness ca. 1816-1817. The red wax seal is also intact on the front. “Pall Mall” is written on the back of the card.Via Huntington Museum, California, U.S.A. https://hdl.huntington.org/digital/collection/p15150coll7/id/10672/
Subscribers to Almack’s were allowed to bring a guest to a Ball, if they were approved first. They called at the Rooms in person and were either granted a Strangers Ticket of admission or were banned. Rooms were open for supper, gaming dancing lasting the night. At eleven o’clock, doors were closed and no one, not even celebrities were admitted. Once a young lady making her debut during the London Season had been granted a ticket to Almack’s, her social standing was assured. The Patronesses introduced the debutante to people of importance and selected her dance partners.
1809 Messrs. Harding Howell and Co., London, UK. View of interior of Harding Howell and Co., draper’s shop on Pall Mall. Ladies examine latest fashions and fabrics which they could then request of their dressmakers. This house extended 150 feet from front to back and was divided by glass petitions into four departments, furs and fans, haberdashery, jewellery, ornaments and perfumes, and millinery. bl.uk
