Becoming Laura 860’s/70’s Bonnets and Hair Nets shares historical images, ads and photographs as well as step by step how to make a bonnet.
Half of a genre stereoview, maybe a theatrical performance. (ca. 1860/70) Unidentified photographer.
Написано Taty_Amici Прочитать цитируемое сообщение Старинные платья и костюмы с выкройками. Часть 2 1. 2. 3. Серия сообщений " Для КУКОЛЬНИКОВ - полезности. ": Часть 1 - Статьи о куклах. Часть 2 - Бирочки (лейблы) для своих изделий, своими руками. Часть 3 - История в костюмах. Пригодится для…
Jean-Baptiste-Camille Corot (1796 – 1875) was a French landscape and portrait painter, as well as printmaker. He is regarded as a pivotal figure in landscape painting; his vast output simultaneously referencing the Neo-Classical tradition and anticipating the ‘plein-air’ innovations of Impressionism. For full biographical notes see Part 1, and for earlier works see Parts 1 to 8 also. This is part 9 of a 16-part series on the works of Camille Corot: 1859 Dante and Virgil Oil on canvas 171 x 260 cm 1859 Fête Antique Oil on canvas 162.5 x 130 cm Palais des Beaux Arts de Lille, France 1859 La Toilette Oil on canvas 173 x 87 cm Private Collection 1860 Auvers-sur-Oise, Daubigny's Pond Oil on canvas 17 x 26 cm Fitzwilliam Museum, University of Cambridge, UK 1860 Bacchante with a Panther Oil on canvas Shelburne Museum, Vermont 1860 Dancing Tyrolean Shepherds by Lake Albano Oil on canvas 49 x 66 cm Amgueddfa Cymru, Cardiff, UK 1860 Mother and Child on the Beach Oil on canvas Philadelphia Museum of Art, PA 1860 Repose Oil on canvas 84 x 127 cm Corcoran Gallery of Art, Washington, DC 1860-61 Souvenir de Pierrefonds Oil on canvas 46 x 38 cm The Pushkin State Museum of Fine Arts, Moscow 1860-64 The Curious Little Girl Oil on wood 41.3 x 28.6 cm The Metropolitan Museum of Art, New York City 1860-65 Fishermen in a Boat Oil on canvas Private Collection 1860-65 Girl with Mandolin Oil on canvas 51.4 x 40.3 cm St Louis Museum, MO 1860-65 Rocks in the Forest of Fontainebleau Oil on canvas 46 x 59 cm National Gallery of Art, Washington, DC 1860-65 The Eel Gatherers Oil on canvas 60.5 x 81.5 cm National Gallery of Art, Washington, DC 1860-65 Women in a Field of Willows Oil on canvas Private Collection 1860-65 Young Girl Seated in a Meadow Oil on canvas 39.4 x 54.6 cm Private Collection 1860-65c Evening - Distant Tower Oil on canvas Musée d'Orsay, Paris 1860-65c Large Sharecropping Farm Oil on canvas 55.2 x 80.8 cm Private Collection 1860-65c Morning - Woman Herding Cows Oil on canvas Musée d'Orsay, Paris 1860-65c Near Arras, the Banks of the Scarpe Oil on panel 31.7 x 40.6 cm Private Collection 1860-65c Reverie Oil on wood 49.8 x 36.5 cm Metropolitan Museum of Art, New York City 1860-65c Shepherd with Two Goats Oil on board 41.3 x 27.6 cm Palais des Beaux Arts de Lille, France 1860-65c The Leaning Tree Trunk Oil on canvas 49.7 x 60.7 cm The National Gallery, London 1860-65c The Verdant Bank Oil on canvas Private Collection 1860-65c Two Women Talking by a Gate Oil on canvas 33 x 24.1 cm Private Collection 1860-65c Ville d'Avray - The Horses Watering Place Oil on canvas 38.3 x 70.1 cm Private Collection 1860-69c Mother and Child Oil on wood 32.4 x 22.5 cm The Metropolitan Museum of Art, New York City 1860-69c The Environs of Paris Oil on wood 34.3 x 51.4 cm The Metropolitan Museum of Art, New York City 1860-70 ( attributed to ) Landscape and Farm Buildings Oil on panel 16.5 x 32.3 cm Museums Sheffield, UK 1860-70 Bent Tree by the Water Charcoal with stumping and erasing on cream wove paper 45.4 x 55.2 cm Art Institute of Chicago, IL 1860-70 Cows in a Marshy Landscape Oil on canvas 24.1 x 34.9 cm The National Gallery, London 1860-70 Landscape Oil on canvas 34.6 x 52 cm York Museums Trust, UK 1860-70 Seated Young Woman with Mandolin Oil on canvas 55 x 39.5 cm Private Collection 1860-70 The Beech Tree Oil on canvas 46.8 x 56 cm National Museum Wales, Cardiff 1860-70c A Cow Grazing beneath a Birch Tree Oil on canvas 40.5 x 32 cm Private Collection 1860-70c A Pond in Mortain Oil on canvas 38.2 x 46.3 cm Yale University Art Gallery, New Haven, CT 1860-70c Daydreaming at the Fountain Oil on canvas 64.5 x 44.2 cm Private Collection 1860-70c La Sente aux vaches Oil on canvas 38.1 x 54.6 cm Private Collection 1860-70c Mother Breast Feeding Her Child Oil on canvas Private Collection 1860-70c Plains near Beauvais Oil on canvas mounted on board Chateau-Musée de Boulogne-sur-Mer, France 1860-70c The Haycart Oil on canvas 32 x 45 cm The Pushkin State Museum of Fine Arts, Moscow 1860-73 Landscape with Lake Oil on canvas 53 x 65.5 cm The State Hermitage Museum, St Petersburg 1860-75c The Pond at the Entrance to the Woods Oil on canvas 46 x 61 cm Cleveland Museum of Art, Ohio 1860c Fisherman Boating along a Wooded Landscape Oil on canvas Private Collection 1860c Voisinlieu, House by the Water Oil on canvas Private Collection 1860c Young Woman in a Red Dress, Sitting in Front of an Easel, Holding a Mandolin Oil on canvas Private Collection 1861 Orpheus Leading Eurydice from the Underworld Oil on canvas 112.3 x 137.1 cm Museum of Fine Arts, Houston, Texas 1861 The Lake Oil on canvas 157 x 133 cm Frick Collection, New York City 1862 L'Etang Etching and drypoint 121 x 72 cm Hermitage Museum and Gardens, Norfolk, VA 1862 Orpheus Greeting the Dawn or Hymn to the Sun oil on canvas 1865 Hymn to the Sun Charcoal with stumping, highlights in white, on buff paper Musée du Louvre, Paris 1862 Richmond, près de Londres Oil on canvas 20.5 x 34 cm Orleans House Gallery, Richmond, London
Ferrotype (tintype). 1/9e de plaque. États-Unis, entre 1860 et 1870.
Charlotte Crawshay (n.d., ca. late 1860s-70s) Alexander Bassano (1829–1913) Cyfarthfa Castle Museum & Art Gallery (Wales) Charlotte...
Thank you for visiting Back In Time Textiles! Here is a very nice early piece of Antique 1860-70 copper toned madder brown print. So much detail, it is amazing! These types of fabrics often found their way into quilts and fancy dresses. It is a generous piece, measures, 9 " inches wide and is 23". It is in very good crisp, unwashed condition! It was a thrill to find such nice early prints. Ready to use for all of your quilting projects, crafts...so many possibilities! Very nice authentic period fabric!
Girl's party dress, silk taffeta, 1865-70, American, MFA Boston
A Civil War Era Cross-Over Bodice I have been admiring pictures of Early and Mid-Victorian dresses with a cross-over bodice. They are unique and not seen much at Civil War reenactments. …
This is a customized item, could be shipped out in 3-4 working daysSKU: LIN00185Fabric: CottonStyle types: Gothic LolitaSeason: Spring, Summer, Autumn, WinterNotice: Any of the accessory is not included. Size(IN) Bust Waist Height S 33.86-35.04 25.98-27.17 62.99-64.96 M 35.83-37.01 27.95-29.92 64.96-66.93 L 38.19-40.94 31.10-33.07 66.93-68.90 XL 42.13-44.09 33.86-35.83 68.90-70.87 2XL 46.46 37.80 70.87-72.83
~ Circa/Date: 1979 ~ Details: TWO STYLE VARIATION HALTER DRESS By VOGUE AMERICAN DESIGNER – Designed by Jerry Silverman ~ Size/Measurements: 14 ~ Bust: 36″ ~ Waist: 28″ ~ Hip: 38” (Inches) ~ Please Note: ~ You are buying a ‘Professional Reproduced’ copy of this sewing pattern. Copied from the original sewing pattern. Produced in Full Scale Pattern Pieces ready to cut with full instructions included. Reproduced on high quality 50 gm paper with black ink, durable and easier for reuse. Printed by a Professional Printing Company. ~ With this product comes an accompanying ‘Booklet’ and inside the Booklet it includes: ~ A 2-page Instructions and Illustrations on ‘How to Adjust Your pattern to your Personal Measurement.’ ~ Personal Measurement Chart ~ Body Form Illustrations ~ Fitting Checklist ~ Metric Equivalency Chart ~ Note Pages ~ Fabric Worksheet ~ Garment History Page ~ ‘Grandma Told Me’ – Historical facts related to that year or era ~ WOVEN SEW-IN-LABEL ~ We have THREE PATTERN OFFERS: 1 – Select 6 patterns, only pay for 5 = 1 FREE 2 – Select 13 patterns, only pay for 10 = 3 FREE 3 – Select 27 patterns, only pay for 20 = 7 FREE (FREE pattern/s are the lowest price of your selection)
The Governess, C.1865-70 (Oil on Canvas) Giclee Print by Alexandre Cabanel. Find art you love and shop high-quality art prints, photographs, framed artworks and posters at Art.com. 100% satisfaction guaranteed.
~ Circa/Date: 1979 ~ Details: TWO STYLE VARIATION HALTER DRESS By VOGUE AMERICAN DESIGNER – Designed by Jerry Silverman ~ Size/Measurements: 14 ~ Bust: 36″ ~ Waist: 28″ ~ Hip: 38” (Inches) ~ Please Note: ~ You are buying a ‘Professional Reproduced’ copy of this sewing pattern. Copied from the original sewing pattern. Produced in Full Scale Pattern Pieces ready to cut with full instructions included. Reproduced on high quality 50 gm paper with black ink, durable and easier for reuse. Printed by a Professional Printing Company. ~ With this product comes an accompanying ‘Booklet’ and inside the Booklet it includes: ~ A 2-page Instructions and Illustrations on ‘How to Adjust Your pattern to your Personal Measurement.’ ~ Personal Measurement Chart ~ Body Form Illustrations ~ Fitting Checklist ~ Metric Equivalency Chart ~ Note Pages ~ Fabric Worksheet ~ Garment History Page ~ ‘Grandma Told Me’ – Historical facts related to that year or era ~ WOVEN SEW-IN-LABEL ~ We have THREE PATTERN OFFERS: 1 – Select 6 patterns, only pay for 5 = 1 FREE 2 – Select 13 patterns, only pay for 10 = 3 FREE 3 – Select 27 patterns, only pay for 20 = 7 FREE (FREE pattern/s are the lowest price of your selection)
Made-To-Order: This is a Made-To-Measure item which is produced one by one. Selling Points 1. Material: Satin 2. Style: Rococo Victorian 3. Special Size: Plus Size Customized Specifications Gender: Women's, Types: Dress, Party Costume, Masquerade, Prom Dress, Material: Satin, Style: Rococo, Vintage Dress, Cocktail Dress, 18th Century, Victorian, Hemline / Train: Floor Length, Sleeve Length: Long Sleeve, Sleeve Type: Cap Sleeve, Look After Me: Dry clean only, Includes: Dress, Pattern: Vintage, Product Dimensions (cm): 0.000*0.000*0.000, Net Weight (kg): 1.25, Waist (cm): XXS:58;XS:61;S:64;M:67;L:70;XL:73;XXL:76;3XL:79;4XL:82;5XL:85;6XL:95;7XL:110, Special Size: Plus Size, Customized, Normal, Occasion: Party, Prom, EU Size: XXS:30;XS:30;S:32;M:34;L:36-38;XL:40;XXL:40-42;3XL:42;4XL:44;5XL:44-46;6XL:46-48;7XL:50-52, UK Size: XXS:2;XS:4;S:6;M:8;L:10-12;XL:14;XXL:14-16;3XL:16;4XL:18;5XL:20;6XL:20-22;7XL:24-26, US Size: XXS:00;XS:0;S:2;M:4;L:6-8;XL:10;XXL:10-12;3XL:12;4XL:14;5XL:14W;6XL:16W-18W;7XL:20W-22W, products source: supplier, Production mode: Self-produce, Photos Size Chart ID: 96Please Note: Listed size charts may vary according to different Size Chart IDs. Inches Centimeters Size Height Waist Bust Hollow to Floor US Size UK Size EU Size XXS 145-155 58 77 145 00 2 30 XS 150-160 61 80 145 0 4 30 S 155-165 64 83 145 2 6 32 M 160-170 67 86 150 4 8 34 L 165-175 70 89 150 6-8 10-12 36-38 XL 170-180 73 92 150 10 14 40 XXL 175-185 76 95 155 10-12 14-16 40-42 3XL 175-185 79 98 155 12 16 42 4XL 175-185 82 101 155 14 18 44 5XL 175-185 85 104 155 14W 20 44-46 6XL 175-185 95 113 155 16W-18W 20-22 46-48 7XL 175-185 110 125 155 20W-22W 24-26 50-52 How to Measure
Purple silk dress designed by Piero Tosi, made by Sartoria Tirelli in 1972 and worn by Romy Schneider in the role of the Empress Elisabeth of Austria in the movie Ludwig directed by Luchino Visconti.
It's been a while, but I'm picking up where I left off in my series of posts on tartan in women's fashion! If you're new to the party and interested in pre-1840s, you can check out my earlier two posts on the Regency and Walter Scott revival at the links. The Waverly novels by Sir Walter Scott romanticized life in the Scottish Highlands and created an image of brave clan members and determined heroines all bedecked in tartan. While tartans, or woven plaids, had been a part of Highland culture, Scott's novels and the tartan fashions that followed brought a relatively small, rural, old (medieval even) pattern to the heights of London fashion. As Scotland struggled politically and economically to maintain a national identity within the quickly industrializing mid-19th century British Empire, the romantic image of clan members in kilts and maidens in fields of heather enchanted English ladies. One particularly influential lady to be enchanted by the romantic promise of the Scottish countryside was Queen Victoria herself. portrait of Victoria in tartan sash Queen Victoria and Prince Albert were so charmed by the Scottish highlands that they built a castle there, called Balmoral, in 1853 (the estate was purchased in 1848). While decorating, Albert designed several different tartan setts, and Balmoral was tartan from floor to curtain. Balmoral Castle, circa 1860s--you can see more images here illustration of Balmoral interior, 1857 watercolor of Queen Victoria's dressing room, 1857 Balmoral (Green), 1853 Balmoral (Lavender), 1853 Balmoral, 1853 Balmoral became a vacation playground for the monarchs and their friends, and the appropriation of many elements of Scottish tradition (such as the wearing of the kilt) were adopted by Balmoral residents during their stay. According to the Scottish Registry of Tartans, Queen Victoria had a skirt in the Balmoral tartan, and a similar sett was woven for her children's clothes. Victoria was also quite fond of the "Dress Stuart (or Stewart)" tartan, and had her own version created with a red stripe added. Victoria Stuart tartan, a variation of Dress Stuart This particular tartan was featured in both Victoria's clothes as well as her friends--the Princess of Wales wore it to a ball at Balmoral Castle in 1863 (which was the inspiration for my '60s ballgown last year): photo from a later auction catalogue showing a dress in dress stuart tartan with black lace trim (likely altered from its original version) Really, though, Queen Victoria started a trend for all kinds of tartan, not just her chosen few. Even before Balmoral, Victoria was already a fan. dress belonging to Princess Victoria, 1835 The incorporation of tartan (or really, plaids in general) into women's fashion is evident in extant garments, photographs, and fashion plates from the period, which demonstrate a range of applications for the pattern. While Victoria was certainly a trendsetter, the use of tartan spread to America, too; its roots in Queen Victoria's Scottish infatuation (or the "Balmorality" cultural appropriation, as scholars have called it), is still referenced in the popularity of the Royal Stuart tartan. Dress in royal stuart tartan with green fringe, c. late 1860s (whitaker auctions) Wool day dress in royal stuart tartan, 1860s plaid taffeta silk, 1860 lady in fancy dress (probably Scottish), 1840-60 girl in plaid mourning dress, holding picture of father dressed as a cavalry man, 1860s fashion plate depicting plaid sash, 1863 Carte de Visite, 1860s, from San Fransisco via pinterest 1861-65, via pinterest 1858. Townsend's monthly selection of Parisian costumes. Looks like royal stuart to me! While tartan must be woven, and can therefore be a variety of fabrics, it is most commonly wool or silk. Silk being so fabulous for dresses, it is most likely that was what Victoria favored. However, we do know the woolen variety of tartan had another use at Balmoral: keeping ladies warm! A fabulous anecdote from one of Queen Victoria's ladies' maids reveals that the Duchess of Manchester, at least, owned a pair of scarlet tartan drawers. How fabulously scandalous! Plaid was not new in the mid-19th century, but Queen Victoria's status as a trendsetter, combined with her infatuation with the romanticized Scottish Highlands, were a dynamic pair, and it's no surprise that tartan (and plaid in general) was so popular during her reign. I bet those ladies on picnics at Balmoral were quite a sight!
A while ago an internet friend asked if anyone would be willing to trim a bonnet for her. I eagerly volunteered for this project! Making hats and bonnets from scratch is fiddly, but just putting the trims on is the fun part! Katie sent me a delightful box of goodies. A pre-made, silk-covered blank bonnet from Timely Tresses was the base. Loads of lovely flowers and ribbons from Etsy! I consulted several fashion plates for design inspiration, including these. Katie asked me to just be creative with the design, and also said that more is more! I started with a double layer of gathered cotton net. This was easily the most challenging part. It's very hard to do any sewing on the tight inner curves inside the bonnet. I tacked the net at the far back, the edge of the brim, and at the midway point. Flowers were next! I had several bunches of flowers, velvet leaves, glass berries, and golden and green sprigs to work with. I started with the ones for the inside of the brim. I gathered a few flowers and things into tiny bunches like so: Then I wrapped their wire ends together and covered them with floral tape. If you've never used floral tape, you should know it's amazing. It has a papery texture, it stretches, and it only sticks to itself. Perfect for covering up all the wire and locking everything in place. Several of the finished sprigs, before taping. I sewed them down with white thread at the edge of the inside brim. As I went along, I pulled the net over the stems and tacked it down to hide the stem ends. I played with the layout a lot before committing. A lot of 1860s bonnets have just a few flowers, or one central bunch, or a bunch off to one side. Katie told me more is more, so I just went ahead and filled the whole inside brim! Then I started the bunch for the top. First I made a flat base of velvet leaves. Then I made some larger sprigs of flowers. I thought keeping the glass berries together would have the best effect. I started sewing them to the leaf base, crossing their stems. All sewn down! Finally, I bent the stems back up to cover all the sewing. The finished piece! I cut several loops of ribbon to pleat and lay under the flower piece. To trim the outside, first I sewed two pieces of ribbon over the crown, pleated the long way to give them texture and help them shape over the curve. Then I added the loops and the floral piece right on top. The last step was to add the chin ties. I used two lengths of ribbon, cut the ends at angles, and sewed tiny hems. Then I pleated up the other end into a little fat stack of pleats so it was only about 1/2" wide, and sewed it to the pointy tip of the bonnet brim. The ties are about a yard long to make a nice full bow. Here's Katie wearing this bonnet at an event in Gettysburg! I love the way it coordinates with her dress! This was a super fun project. Trimming hats is definitely my cup of tea!
