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Голова женщине для того, чтобы носить на ней что-нибудь красивое:) Turkana bride carrying fish (in Kenya) Три штуки сзади на бусах означают. что девушка готова выйти замуж и рассматривает предложения. Очень нравится мне идея украшать шляпку изнутри полей. Так и к лицу всегда что-то прелестное, и в…
Выставка «Мечты о свободе. Романтизм в Германии и России» в Новой Третьяковке на Крымском Валу уже признана одним из главных культурных событий 2021 года. Об этой яркой выставке и о российском и не…
A fantastic Victorian antique gown dating to the 1840s - super pretty and in remarkably good condition - almost pristine ! One piece, in wool or a wool silk blend - pale yellow with an undulating all over floral print, delicate flowers and tendrils in reds, pinks, greens, blues , yellows...( slightly yellower than it looks in the images )The bodice is fitted to the classic narrow, elongated forties silhouette, with a piped waistline tapering to a point at the front. The wide round neck is also piped, and the bodice fastens at the back with brass hooks, with a small self bow at the top. Elbow length fitted sleeves, the cuffs made in horizontal panels with ruched detail. The skirt forms a dome, cartridge pleated all around in to the waist, with an opening on one hip that would have allowed access to a pocket. In places the panelling on the dress looks as though the dressmaker was using available fabric, possibly older CONDITION Excellent - every so often a piece comes along that has been stored in such optimal conditions that it looks like it was made yesterday - this is one of those. The fabric has a couple of very tiny nibbles, the centre front bone is missing ( the channel remains ) and the bow is partially loose. Possibly the back of the bodice has been made bigger with the addition of a narrow band of fabric - not sure if this is the original construction - if it is an alteration it is hand done in the original fabric, so most probably period. Approx measurements - bust 34 waist 23.5 shoulder 14.5 IMPORTANT INFORMATION - The pieces i sell are often over 100 years old and rarely in perfect condition, i make every effort to describe and show any faults, so PLEASE READ THE DESCRIPTION, READ THE CONDITION REPORT, STUDY THE IMAGES AND ASK ANY QUESTIONS before buying. If you receive your item and there is a problem that wasn't mentioned in the listing please contact me and i will be happy to rectify the situation. Measurements are approximate, and usually taken on the stand on the outside of the garment, please ask if you need accurate measurements.I sell all pieces as i find them, as a result vintage / antique items may have a musty odour. Colours on your screen may not be 100% accurate to the item.
by Catherine Scholar, First published for the September/October 2008 issue of Finery The fashionable silhouette of the 1830s included a bell or dome shaped skirt, which was supported by multiple starched white cotton petticoats. This simple garment is difficult to research, as there isn’t much helpful information available, and few extant garments. In The History of Underclothes, authors Willet and […]
Stieler Joseph Karl Portrait of the Galerie of beauties. Marie of Prussia (German: Marie Friederike Franziska Hedwig von Preußen; October 15, 1825 - May 17, 1889) was Queen of Bavaria, and the mother of kings Ludwig II and Otto. Born and raised in Berlin, she was the daughter of Prince Wilhelm of Prussia, a younger brother of King Friedrich Wilhelm III of Prussia, and his wife Marie Anna of Hesse-Homburg. On October 12, 1842, she married the Crown Prince, and later King of Bavaria, Maximilian II. Marie was loved equally by both the Evangelical and Roman Catholic populations. (At that time, Prussia was mostly Lutheran, whilst Bavaria was mostly Roman Catholic.) A specific emphasis of her 'great social engagement' was a reactivation of the Bavarian Women's Association, which took place on December 18, 1869 with the aid of her son, Ludwig II. Its aim was "Pflege und Unterstützung der im Felde verwundeten und erkrankten Krieger" (Care and support of soldiers wounded and injured in the field). The Bavarian Red Cross was officially founded as a result of the Bavarian Women's Association. The Red Cross eventually took over for the Queen. With the sudden death of Maximilian II on March 10, 1864, Marie became a widow. On October 12, 1874, she converted to Roman Catholicism. In later years, she lived a secluded existence at her country estate in Elbigenalp in the Lechtal Alps and at Schloss Hohenschwangau near Füssen. Marie outlived her elder son, Ludwig II, by several years. He died on June 13, 1886. Marie died in 1889 in Hohenschwangau. She is interred in the Theatinerkirche in a side chapel opposite her husband.
Huzzah!! With the bonnet complete for my 1840s Mourning ensemble, I now only have to tackle the dress before next Saturday! I think I can to it! I really admire the gorgeous bonnet from the Museum of Fine Arts in Boston, and so decided that it was what I would use for my ensemble. It is simple and elegant and conveys mourning perfectly. I used all fabrics from my stash! Huzzah for that! I think this ensemble is going to all come from my stash! Anyhoo, it is made of black cotton, black silk crape, silk tulle and silk dupioni. I was happy to find some vintage flat black satin ribbon today for the ties! Inspiration: Museum of Fine Arts Boston The original is made of silk and silk crape. The ties are also made of crape, but I didn't want to use that for my ties as it seemed like they would have been a bit flimsy. The website for the original doesn't have a view of the inside of the bonnet so I don't know what that looks like. I decided I wanted to make the bonnet appropriate for half or second mourning as I have a really fabulous antique hair brooch I will be wearing with this ensemble. Plus I want to use my cashmere shawl with the dress, so white on the inside it is! I had seen on a few examples that there is a ruffle around the brim and thought it rather sweet and soft. The curtain on the original is trimmed in crape, a fun accent! I was sort of stressing about the non-smoothness of the cotton on the top, sort of like wavey wrinkles. Then I noticed that the original has them so I feel much better! If the Victorians could have non smooth bonnets, so can I!! I hope you have all had a really marvelous week so far! I am going to sit back and relax and give my grouchy fingers a break! Blessings! g
