1804 Royal Mint, Stamping Room, London, U.K. As Jane Austen would have known it. From Ackermann’s Microcosm of London by A.C. Pugin and Thomas Rowlandson.
“It is particularly incumbent on those who never change their opinion, to be secure of judging properly at first.” Jane Austen Pride and Prejudice (1813) .#JaneAusten #Regency #Quote
1798 Two ladies in Jane Austen style white walking dresses. Left: Dress has gold trim, white bonnet, green Parasol. Right: Stand up collar, short puffed sleeves, brown shawl and coiled head dresses, both with necklaces. via Rijks Museum, Amsterdam, Netherlands. rijksmuseum.nl
19th Century Early Green Silk Stockings With Gold Embroidery, French. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
In Jane Austen’s times, women, men, and children wore silk stockings, often embroidered in silk. In the Eighteenth Century, clocks had fallen out of fashion, but they were still being worn by wealthy aristocrats during the early 1800s.
In 1815, Rudolph Ackermann’s Repository Of Arts had an advertisement for silk stockings. ‘The cheapest and by far the largest stock ever produced by any one house now on Sale at the Manufacturer’s Warehouse, 51, Cheapside. The patterns are of the richest and most elegant description, beginning at the extraordinary low price of 8 shillings, usually sold for 10 shillings and 6 pence, to the very best and finest quality at 12 shillings 6 pence, usually sold for 16 shillings.’
“No, she was a very sober- minded young lady, sufficiently well-read in novels to supply her imagination with amusement, but not at all
unreasonably influenced by them.” Jane Austen ~ Sanditon (1817)
1804-1814 ca. Breeches, French. Cream silk and linen. Buttoned waist, drop down front flap, or fall, extra fullness in the back for ease of movement, ties at the knees to keep in place. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
Definition Pants – Breeches: Men’s close-fitting pants that fastened just below the knees or above the ankles with buttons, drawstrings, or buckles. They had a horizontal front flap called a ‘fall’ which unbuttoned to drop down. Some falls were narrow and some wide. Breeches were worn with stockings. In Jane Austen’s times, or the Regency Era, breeches were worn tighter to show off a gentleman’s manly physique, often leaving nothing to the imagination.
The name Faberge is associated with the Russian Imperial family for whom most of the world’s most famous eggs were created. In 1870, Faberge inherited his father’s jewelry business and quickly became known for his brilliant designs. A display of his work and the gold medal he was awarded in Moscow’s Pan-Russian Exhibition of 1882 brought him to the attention of the Russian nobility.
In 1885, Faberge was commissioned by Tsar Alexander III of Russia to create an Easter egg for his wife, the Empress Maria Fedorovna. This became known as The Hen Egg, the first Imperial Faberge Egg, and is made of gold. The Empress was so happy with the gift that Alexander appointed Fabergé a ‘Goldsmith by Special Appointment to the Imperial Crown’ and the following year commissioned another egg. From then on, Faberge was given complete freedom with future Imperial designs which become even more elaborate every year. A famous Fabergé egg is one of sixty eight jeweled eggs made by Fabergé and his assistants for the Russian Tzars and private collectors between 1885 and 1917.
After the Russian Revolution, the House of Faberge was nationalized by the Bolsheviks and the Faberge family fled to Switzerland where Peter Carl Faberge died in 1920. Several of the Faberge Imperial eggs are still missing.
1900 Cockerel Faberge Easter Egg, or, Cuckoo Clock Egg was given by Tsar Nicholas II to Empress Maria Feodoronova. Mechanism on top rear enables its bird to come out and move. The egg is part of the Viktor Vekselberg Collection, owned by The Link of Times Foundation, and housed in the Fabergé Museum in Saint Petersburg, Russia. Faberge Easter Egg, Russia.
1912 Imperial Napoleonic Faberge Surprise Egg. Made by Henrik Emanuel Wigström, miniatures by Vassily Ivanovich Zuiev. Gold, guilloch enamel, rose-cut diamond, platinum, gold, ivory, gouache, velvet, silk. For Tsar Nicholas II Alexandrovich Romanov to give to Empress Maria Feodorovna. via suzilove.com and Metropolitan Museum New York City, U.S.A. metmuseum.org
1900s Early Gorgeous Faberge Eggs From Russia. 4.
The name Faberge is associated with the Russian Imperial family for whom most of the world’s most famous eggs were created. In 1870, Faberge inherited his father’s jewelry business and quickly became known for his brilliant designs. A display of his work and the gold medal he was awarded in Moscow’s Pan-Russian Exhibition of 1882 brought him to the attention of the Russian nobility.
In 1885, Faberge was commissioned by Tsar Alexander III of Russia to create an Easter egg for his wife, the Empress Maria Fedorovna. This became known as The Hen Egg, the first Imperial Faberge Egg, and is made of gold. The Empress was so happy with the gift that Alexander appointed Fabergé a ‘Goldsmith by Special Appointment to the Imperial Crown’ and the following year commissioned another egg. From then on, Faberge was given complete freedom with future Imperial designs which become even more elaborate every year. A famous Fabergé egg is one of sixty eight jeweled eggs made by Fabergé and his assistants for the Russian Tzars and private collectors between 1885 and 1917.
After the Russian Revolution, the House of Faberge was nationalized by the Bolsheviks and the Faberge family fled to Switzerland where Peter Carl Faberge died in 1920. Several of the Faberge Imperial eggs are still missing.
Ordinary people began to celebrate Easter by sending postcards as gifts. At first, mainly religious pictures appeared on postcards. Then postcards images became more about real life and people. In the early 1900s, postcards became more fanciful and pretty for young children. Religious images were gradually replaced by images that children could understand and relate to about Easter
. Postcards then concentrated on images of chickens and eggs, symbolic of birth and rebirth such as chickens emerging from cracked shells as Christ emerged from the tomb. Children were then added to the images so cards became for something for the whole family. Children with chickens and eggs became very popular on postcards. Bunny rabbits became associated with Easter and children could relate to these as it fitted with their idea of the Easter bunny.
Ellen Clapsaddle (1865 – 1934). An American illustrator from the late 19th and early 20th centuries and recognized as the most prolific postcard and greeting card artist of her time. Her greatest success was single-faced cards that could be kept as souvenirs or mailed as postcards. These cards were highly prized particularly during the peak of the golden age of souvenir postcards from 1898 to 1915. She is credited with over 1000 designs in post cards and souvenir cards. Cards in the mid 1900s were created to send personal Easter messages to loved ones such as mothers and fathers, grandparents, aunts and uncles and siblings. Artists from around the world began creating beautiful cards to share at Easter. Jenny Eugenia Nyström (1854 – 1946) was a Swedish painter and illustrator who illustrated Easter postcards for, and about, children and happy images.
Vintage Easter Egg Cards. Suzi Love – suzilove.com
Jenny Nystrom (1884-1946) Vintage Easter Cards. Jenny Eugenia Nyström (1854 – 1946) was a Swedish painter and illustrator who illustrated Easter postcards for, and about, children and happy images.
