Yo, waddup, my peasants? It’s ur gurl with a bonnet so big it has its own area code.

Carrington Bowles Wantonness Mask'd 1771 hand-colored mezzotint British Museum Carrington Bowles (1724-1793) inherited a family publishing business and ran it successfully enough all his life to be able to pass it on to his own son, who later became a successful politician. The firm specialized in maps. The production of popular prints drawn from actual everyday life became lucrative in England toward the end of the 18th century, and Bowles participated in the boom. For these mezzotints he probably recruited many of the same craftspeople already employed by the firm in designing, drafting, printing, and hand-coloring maps. The names of such subordinate artists are mostly unknown. The series sampled here exploits the figure of the contemporary urban prostitute both as fashion-plate and as sexual titillation. Carrington Bowles The Light Guinea, or, the Blade in the Dumps 1773-74 hand-colored mezzotint British Museum Carrington Bowles The Last Shift 1792-93 hand-colored mezzotint British Museum Carrington Bowles A St Giles's Beauty 1784 hand-colored mezzotint British Museum Carrington Bowles A St James's Beauty 1784 hand-colored mezzotint British Museum Carrington Bowles The Bargain Struck, or, Virtue Conquer'd by Temptation 1773 hand-colored mezzotint British Museum Carrington Bowles A Bagnigge Wells Scene, or, No Resisting Temptation 1776 hand-colored mezzotint British Museum Carrington Bowles A Nettle between Two Roses 1790 hand-colored mezzotint British Museum Carrington Bowles Two Privateers Attacking a Man of War 1782-84 hand-colored mezzotint British Museum Carrington Bowles An Evening's Invitation, with a Wink from the Bagnio 1773 hand-colored mezzotint British Museum Carrington Bowles A Decoy for the Old as well as the Young 1773 hand-colored mezzotint British Museum Carrington Bowles A Foolish Woman (for she sitteth at the door of her house ...) 1780 hand-colored mezzotint British Museum Carrington Bowles The Stay-maker taking a Pleasing Circumference 1784 hand-colored mezzotint British Museum Carrington Bowles Ho! Ho! These late hours will soon destroy me! 1770-72 hand-colored mezzotint British Museum I am grateful to the British Museum for making these images available.

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A survey of extant 18th century garments, paintings, and fashion plates showing fabrics in shades of purple.

Sometime ago a friend of mine has asked me to make her an 18th century bonnet. We are still working out the details as far as color and trim but I'm pretty sure it will be made of black silk as black was by far the most common color. That being said, let's take a look at bonnets and color variations in the 18th century. There are several examples of bonnets on the 18th Century Notebook, and also at Dames a la Mode. I think most people will be familiar with the example in the collections of Colonial Williamsburg. That black silk bonnet, so far, is the only known 18th century bonnet that survives. In this post I would like to show some images of bonnets that will hopefully be less familiar to people. I always get excited when I come across new sources or period images. The image below by Daniel Chodowiecki is one of the earliest known images of a bonnet. 'A Lady Standing' by Daniel Chodowiecki, 1758 'Returning from the Market' Adriaan de Lelie, 1795 'A Market Scene' by Francis Wheatley, 1770s I'm in love with this print which I think is from The Lewis Walpole Library. Look at that huge bonnet! This print has some other lovely details as well. Note the spotted handkerchief and print on her gown. It looks as though her shoes might have a contrasting binding too. :) Another HUGH black bonnet. Of course, not all black bonnets were completely black. Sometimes you see them with trim in a contrasting color. Blue, pink, and white are just a few examples I've seen in period prints. The French Macaroni Led Astray - black with contrast trim The Beautiful Fruit Gatherer, 1782 - black with blue trim. Occasionally you will see white bonnets. Miss Palmer by Joshuah Reynolds is one a lovely example. Other examples of a white or light colored bonnet can be see in The Fortune Teller and The Fair Quaker. Also see The Young Mendicant. Miss Palmer by Joshuah Reynolds, 1780 Here are a few interesting color combinations. Charles Bretherton, 1782, via the British Museum From Cristies, 1770s Below is another example of a green bonnet from the Lewis Walpole Library. At Rev War events I often see this one lady with an enormous green bonnet made from emeroid green silk. I don't know who she is but her bonnet is to die for! This print is called Cat in Pattens. Cute, isn't she? You sometimes see blue worn by children. The little girl below wears a blue bonnet with the wide brim and simple bow. She is also wearing a nice example of a check handkerchief. This is a much later image, dating to the 1790s that shows a little girl in a pink bonnet. Even with all the above examples, and there are others out there I'm sure, black bonnets were still the most common in the 18th century. They show up the most in period advertisements, writings, and in art work. One should take into account an artist's freedom in adding color to prints. There is a great article about bonnets on the Hive website written by Sue Felshin.

I've been busy busy making 18th century headwear for my adventures with Royal Blue Traders. I've also been on the hunt for decent evidence of colored silk 18th century market bonnets, and met with some success. So far, from what I have been able to turn up, the brighter colors, which tended toward blues and greens, were popular in the 1780s, and especially popular for younger wearers. Blue Bonnets A Lady and Her Children Relieving a Cottager (1781) by William Redmore Bigg, English, 1755 - 1828 Some very interesting hats in general in this painting. A Market Girl Holding a Mallard Duck (1787) by John Russell, English, 1745-1806 I made my own version with less fullness, and more of bill-shaped brim in some lovely teal silk taffeta I picked up at Affordable Fabrics in Rocky Hill, CT. That place is a treasure, but it's real hit-or-miss as to what gems you can find hidden away on the flat-fold remnants tables. You also really need to know what you're looking for, and have a good handle on how to identify fibers, as nothing is labeled. My version Green Bonnets A Girl Gathering Filberts (1782) by William Redmore Bigg This spring-ey little piece is a very similar shape to the ones I have been making. I think I need to re-create one from this portrait with that pink ribbon. Mrs Ogee, satirical print published by Matthew Darly, 1775 This one features an older lady in a more olive green with blue puffed trim and a wider brim shape. There is an extremely helpful, extensive list of sources a the Buzz at the Hive. Especially helpful for the American Revolution period. Now, on to cranking out more hats in time for the season before the baby arrives! My version

The more you look, the harder things get. That’s usually cause for celebration, but I’m starting to feel the pressure of more ideas and commitments than time. Here’s a question: i…

Many of us have at least one apron, how often it’s worn will vary greatly. Today they are usually colourful with motifs, some plastic, some cotton. Protection for clothing has been used for centuri…

John Raphael Smith 1752-1812, Two Women Seated on a Sofa, III, 45k

Above... 1777: 'Bachelor's fare' [note what he is passing her] East Indiaman gone native note: This is an reworking of text from both main text and image descriptions. I selected just a fraction of the images. 17th century - Ratcliffe Highway During the 17th century, the most notorious area for prostitution in the port of London was Ratcliffe Highway. This was a road lying to the north of the Wapping waterfront, on the north bank of the Thames. It was described in 1600 by John Stow as 'a continual street, or filthy straight passage, with alleys of small tenements or cottages builded, inhabited by sailors and victuallers'. Sailors from ships moored in the Pool of London flocked to the Highway. Most were single men with plenty of cash to spare after long voyages. They were looking for drink and women, and the taverns and brothels along its length provided for their every need. At first, society regarded this as harmless fun. Above...1781: 'An English sloop engaging a Dutch Man of War' Shanties Songs and shanties were written in celebration of the Highway. This bawdy example is actually called 'The Ratcliffe Highway'. [Portcities.org webiste has a link to allow readers to listen] As I wuz a roll-in' down the High-way one morn, I spied a flash pack-et from ol' Wapping town As soon as I seed her I slacked me main brace, An' I hoist-ed me stun-sl's an' to her gave chase, Oh, me rig-gin's slack, Aye me ratt-lin's are fray'd, I've ratt-led me rig-gin' down Rat-cliffe High-way! Her flag wuz three colours, her masthead wuz low, She wuz round at the counter an’ bluff at the bow; From larboard to starboard an’ so rolled she, She wuz sailin’ at large, she wuz runnin’ free. [I skipped a verse for brevity] I entered her little cabin, an' swore, "Damn your eyes!" She wuz nothin' but a fireship rigged up in disguise; She had a foul bottom, from sternpost to fore; 'Tween the wind and water she ran me ashore. She set fire to me riggin', as well as me hull, An' away to the lazareet I had to scull. Wid me helm hard-a-starboard as I rolled along, Me shipmates cried, "Hey, Jack, yer mainyard is sprung!" An international trade During the 17th century the area around the Highway attracted prostitutes of several nationalities. There was an influx of Flemish women who had a reputation for their sexual expertise, and Venetian courtesans. The Venetians were too expensive for most sailors and were patronized by aristocrats and members of the royal court. Damaris Page One of the most notorious women in the 1650s was Damaris Page. Samuel Pepys described her as 'the great bawd of the seamen'. She was born in Stepney around 1620, became a teenage prostitute and married a man called William Baker in 1640. During the following 15 years she moved from being a prostitute to running brothels. She owned two. The one on the Ratcliffe Highway catered for ordinary seamen. The second, in Rosemary Lane, was for naval officers and those who could afford more expensive prostitutes. A spell in Newgate failed to persuade Page not to resume her career in the vice trade. In 1653 Damaris married a second husband and two years later was brought before Clerkenwell Magistrates. The first charge of bigamy was dismissed on the grounds that her first marriage had not been sanctified. But the second charge, of killing one Eleanor Pooley while attempting to carry out an abortion with a fork, was far more serious. She was convicted of manslaughter and sentenced to hang. Luckily, she was pregnant at the time and was instead given three years in Newgate. On her release she resumed her career as a madam and died a rich woman in her house on Ratcliffe Highway in 1669. Above: 'The young wanton privateer bringing his Spanish prize into the port of love' The 18th century - a booming business The growth in the capital's maritime trade during the 18th century, along with the presence of the Royal Navy's dockyards at Woolwich and Deptford, brought more and more ships to the Port of London. With the ships came sailors and inevitably there was an increase in the supply of prostitutes to meet the growing demand. Many women were forced into prostitution by poverty. Others decided that they would rather sell their bodies than work long hours as laundresses, servants or seamstresses. According to one contemporary estimate, almost a sixth of the total population of the capital were engaged in the vice-trade, often on a part-time basis. Defoe's view According to Daniel Defoe, writing in 1725, many prostitutes came from the huge army of maidservants in London and took to prostitution to support themselves when they were out of work. Others were young women who decided that they would rather sell their bodies than work 16 hours a day as laundresses or seamstresses. Covent Garden Prostitution was not confined to the maritime districts of the East End. It was also endemic in the West End. By the middle of the 18th century Covent Garden was full of seedy lodging houses and an astonishing number of Turkish baths, many of which were brothels. They tended to cater for wealthier clients than the establishments in Wapping and were frequented by ships' captains and rich merchants involved in the East India trade. Sir John Fielding, the magistrate, called Covent Garden 'the great square of Venus'. He said, 'One would imagine that all the prostitutes in the kingdom had picked upon the rendezvous'. Covent Garden brothel keepers like Molly King and Mother Douglas were familiar figures in contemporary novels and prints. They were often depicted enticing innocent young country girls into their employment. Independence? Although many prostitutes were clearly downtrodden victims exposed to disease and violence, it is clear that a minority at least had some control over their lives. Women such as this had a higher standard of living than others of a similar background. They had money, clothing and could afford their own rooms. Some even became wealthy lodging-house keepers. They also had access to the tavern. This was a focus of social and political life, but was off limits to the more 'virtuous' woman. Prostitution made few women rich, but it did give some a measure of social and economic independence. According to one contemporary estimate, almost a sixth of the total population of the capital were engaged in the vice-trade, often on a part-time basis. Although many prostitutes were streetwalkers, others worked from home or could be approached in public places such as taverns, theatres or pleasure gardens. Above... 'Jack got safe into port with his prize' Guides to prostitution The names of the higher end prostitutes, along with their addresses, a description of their appearance and their particular talents, could be found in publications such as The Covent Garden Magazine or Amorous Repository, The Man of Fashion’s Companion and The Rangers Magazine. Above... 1791: 'An Englishman privateer bringing in 'La Monsieur' a French prize' John Harris The first lists, produced in the 1740s, were handwritten. They were complied by John Harris of the Shakespeare’s Head, a Covent Garden tavern frequented by sea captains and the directors of the East India Company. Demand for the lists was so great that Harris eventually went into print, publishing Harris’s List of Covent Garden Ladies or Man of Pleasure’s Kalendar (1758). More than 8000 copies of the first edition were sold. Harris died in 1765, but his list was issued, and updated, on an annual basis until the 1790s. The descriptions in the lists make interesting reading: Miss B____rn. No. 18 Old Compton Street, Soho….This accomplished nymph has just attained her 18th year, and fraught with every perfection, enters a volunteer in the field of Venus. She plays on the pianoforte, sings, dances, and is mistress of every manoeuver in the amorous contest that can enhance the coming pleasure; is of the middle stature, fine auburn hair, dark eyes and very inviting countenance...In bed she is all the heart can wish; her price two pounds. Above... 1791 'Men of War bound for the port of pleasure' Preference for sailors Other women had a preference for sailors. Mrs Crosby of 24 George Street, for example, 'being particularly attached to the sons of neptune', had married an elderly sea captain. When he died he left her a small annuity. This was enough to keep her off the streets, but not enough to live on - so she worked as a part-time prostitute. According to Harris’s List, she could be contacted at home during the day or in the theatre at night. She was described as having dark hair flowing in ringlets down her back, languishing grey eyes and a tolerable complexion. She charged one guinea (£1.05). Mrs Grafton of Wapping was also fond of sailors. Her 'best customers are sea officers, who she particularly likes, as they do not stay long at home, and always return fraught with love and presents'. Miss Devonshire Harris used nautical terminology when describing the charms of the women. Miss Devonshire of Queen Ann Street had 'a fair complexion, cerulean eyes and fine teeth.' However, the reader is also told that: "many a man of war hath been her willing prisoner, and paid a proper ransom…she is so brave, that she is ever ready for an engagement, cares not how soon she comes to close quarters, and loves to fight yard arm and yard arm, and be briskly boarded" * Note: The artist Thomas Rowlandson (1756-1827) was an astute observer of life on the waterfront and in the taverns of maritime London. The prostitutes in Rowlandson’s pictures are young, pretty and buxom. [horseshit] Above... 1809: 'Launching a frigate' source: www.portcities.org.uk

I know Brown technically isn't part of the "rainbow" of colors (neither is pink), but it's variety of tones were still quite popular in the 18th century. It also seems a very practical color. I have a chocolate brown wool gown, and it never shows dust or dirt. I wore it all winter and it doesn't look dirty (trust me, it is). And while it may not be exciting, it is flattering. Again, definitions from Elephant's Breath & London Smoke. Brown: fun-burnt, of a colour which may be made of a mixture of black with any other colour. Royal English Dictionary, 1775. Chocolate: Mitella; ...commonly call'd Anotto or Arnotta in America. ... The Seeds of this Plant are ufed for dying a Chocolate Colour. Gardiners Dictionary, 1735. Chesnut: Chesnut Brown is a deep reddish brown and yellowish brown. Werner's Nomenclature of Colours, 1814. Cinnamon & Musk: Red and Brown. Dictionarium Polygraphicum, 1735. Coffee: To give a browning, ftuff which has been juft dyed, is dipped in a folution of fulphat of iron. Elements of the Art of Dyeing, 1791. Nut Brown: Nutbrown, brown as, or of the colour of a nut kept long. Royal English Dictionary, 1775. Russet: of a reddifh brown; ufed by Sir Isaac Newton for grey. Coarfe, ruftic, or homefpun. Royal English Dictionary, 1775. Snuff: a yellow-brown, the color of snuff. Primary Object Lessons, 1871. Tawny: that is of a tanned, yellowifh, or dusky Colour. Dictionarium Anglo-Britannicum, 1708. Umber: Umber Brown. Is a light Brown, a mixture of Yellowifh Brown and Grey. Philosophy of Mineralogy, 1798. A note that while the first reference in the book to Coffee or Cafe au Lait is 1791, there were coffee shops even in the Colonies by the 1750s (broke ground in Wmsburg in 1747 for one). Met Riding Habit Jacket, 1760 MFA Cotton Round Gown, late 18th c. MFA Silk Damask Gown, 1770-80 CWF Silk Damask Gown, 1775-80 CWF Ribbed Silk Gown, 1760-80 Met Stays, 1780 V&A Riding Habit Jacket, 1750-59 V&A Riding Habit Jacket, 1750-59

Artist: Nathaniel Dance-Holland | Drawing: An Elegant Lady Playing a Cittern | Original Medium: graphite on laid paper

The more you look, the harder things get. That’s usually cause for celebration, but I’m starting to feel the pressure of more ideas and commitments than time. Here’s a question: i…

.css-1sgivba{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;gap:0.5rem;margin-bottom:var(--chakra-space-2);} .css-cosgki{font-size:16px;font-weight:var(--chakra-fontWeights-bold);} Product Type: Giclee Print Print Size: 18" x 24" Finished Size: 18" x 24" .css-1336n79{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;gap:0.5rem;margin-top:var(--chakra-space-8);margin-bottom:var(--chakra-space-8);} Product ID: 34933114214A