18th Century Bergamot Pomatum Hair Pomade 1oz Adbeker 1696, 1714, 1756,1772,1779,1833, 1840, 1850,1856, and 1898 Bergamot Pomatum was also documented as being used in 1714 as well and being used throughout the 18th century as it was very popular. In fact, we have documentation in an English Housekeeping Book from 1840 with a recipe for Bergamot pomatum. Quite a popular scent as it was still being made and used 120 years later. The scent of bergamot is similar to a sweet light orange peel oil with a floral note. Pomatum is a perfumed ointment used for the hair, face, and skin. It can be a salve made with beeswax and oils (like spermaceti or almond), which produces a more stable compound, particularly in the heat and for traveling. It can also be made from a combination of scented waters, fats, and oils. After trying various recipes, I settled on a general recipe, "To Make Pomatum" from 1739. This recipe for pomatum ( pomade) has been used for over 300 years with minor changes. These pomatums are exceptional because they are great for the hair, face, and skin while also traveling well. According to the Dictionary of Traded Goods and Commodities, 1550-1820- Pomatums were mainly found in pots among the stocks of apothecaries, as in 'Pomatu' in 2 potts 4 li di att 20d' [Inventories (1624)]. Later it was advertised in two forms; as 'Hard pomatum' in the ROLL or 'Soft pomatum' in a POT [Newspapers (1787)]. We had to take out a lot of research: It's a great topical ointment for all sorts of skin things. Please check out our reviews for more info, and if you would like more complete listing information, please email us. We have lots of historical information to share!

“Fashionable” hairstyles for women began their vertical climb in the late 1760s, and with them rose the ire of social critics, writes Paul K. Editorials appearing in London periodicals immediately decried the large headdresses that English ladies were all too eager to copy from their French counterparts. Chronicling the rise and fall of the fashion … Continue reading "Ridiculous Hair – 18th Century Skyscrapers"

Watteau, Toilet articles chez Gersaint ......(1720) An 18th-century lady might a spent several hours a day in dressing, surrounded by ...

Item specificsConditionNew: A brand-new, unused, unopened and undamaged item in original retail packaging (where packaging ... Read moreabout the conditionNew: A brand-new, unused, unopened and undamaged item in original retail packaging (where packaging is applicable). If the item comes direct from a manufacturer, it may be delivered in non-retail packaging, such as a plain or unprinted box or plastic bag. See the seller's listing for full details. See all condition definitionsopens in a new window or tab BrandYARDLEYFragrance NamePOPPY AND VIOLETTypeEau de ToiletteVolume50MLFormulationSprayPersonaliseNoSize TypeRegular SizeFeaturesLong LastingMPNDoes not applyCustom BundleNoEAN5056179301214

If you’ve been in the costuming community for a while, then you’d know how difficult it is to find resources that show you how make your own reproductions for period appropriate clothes…

A little blog about historical beauty and makeup

Editor’s Note: Looking back in time, people’s personal hygiene, fashion choices, medical treatments, and more sometimes look, at the very least, bizarre, if not outright disgusting. When confronte…

I have a house full of people here for The Wedding, so forgive me for being quite absent. It's all a bit mad here! So in honor of the Historical Sew Fortnightly Challenge #21, and my light green wedding gown, here are some gorgeous 18th century

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You may have noticed that the mythological ladies primping themselves are gion ein the 18th century. There are, of course, plently of allergorcal nakedness elsewhere, but the vanity is now for the ordinary lady, with or without an entourage of maids and friends. This charming lady has a small pot of rouge on her table and either a swandowns puff for application, or perhaps just some crumpled fabric. Portrait of Madame Courcelles by Jean-Baptiste Greuze Alexander Roslin, 1755-1760 The Toilet, 1760 A lady at her toilet in an interior by Abraham Hendrick van Beesten, 1762 Van Loo Powder box with a powderpuff with a handle as well as a cabinet that sems to contain bottles of various kinds. Source Powderbox with puff and a small brush beside it. I winder to what? Powdering face, rouge, clothes? A family scene by Johann Heinrich Wilhelm Tischbein, 1778 A Woman at her Toilet with a Maid, a Boy, a Dog and a Young Soldier; verso: A Sketch for a Similar Composition by Johann Eleazar Zeissig, called Schenau, 1770 The Morning Toilet by Pehr Hilleström The lady and her maidservant at the morning toilet Not an ordinary toilet room but an actress dressing room, but it is worth noting that she has just about the same thing on it as other ladies. An Actress at Her Toilet, or Miss Brazen just Breecht, anonymous artist after John Collet, 1779 Pehr Hilleström My favourite pictures are those were you get a glimpse on how the hairstyle is constructed. Here you get a view on both the front and the side. Mademoiselle Du T... by Jean-François Janinet, 1779 Source A hair that has completely broken down. The Broken Mirror by Jean-Baptiste Greuze, 1763 Two back views that clearly shows how hairstyles was worked in sections, first the front, and then one could arrange the backhair in curls, braids, etc. An Interior With A Young Lady At Her Toilet, Combing Her Hair Before A Mirror by Johann Anton de Peters A woman combing her hair in front of the mirror by Pehr Hilleström What to do when one hasn't got a special powder room. Protect the furniture with a screen and draped curtains and protect the floor with a piece of cloth.The lady herself is swathed in a powder cape. La Coiffure by Baptiste Mallet The Toilet by Robert Sayer, London. 1786 The English Dressing Room, Stipple engraving by P. W. Tomkins after Chas. Ansell published 1789 Lady with attendant, engraving by Jean Francois Janinet after Nicolas Lawrence The Coquette at her Toilet, after George Morland Dressing for a ball, 1797 There is an abundance of satirical drawings depicting vain men and women in the 18th century, but the items of the dressing table looks just about the same as in more serious paintings. Frontispiece to Anstey's election ball, 1776 The Lady's Maid or Toilet Head Dress, 1776 Source The English Shaver of Frenchman in the Suds, 1772 Source The Coiffure, model attributed to Gottlieb Friedrich Riedel, c. 1770

A little blog about historical beauty and makeup

Portrait bracelets were, like the ruff collar or the simple strand of beads, a common accessory in the 18th century world. They served as a lovely place to display the image of a loved one, a lock of hair from the deceased, or the symbol of one's status. In the portrait above Mme de Pompadour prominently displays a large cameo of Louis XV, her lover, King, and keeper. Attached to strands of pearls most commonly, or sometimes wide ribbon, these bracelets show up in many paintings of the period, and were exclusively worn by women. To the left Boucher paints Mme Bergeret. Note her wide, flat hat known as a "Bergere" Coincidence? Play on her name? Another example of the prominent display of a portrait miniature within a portrait is this Lady in Blue by Gainsborough (late 1770s). The actual image is a little blurry, but there's no mistaking what it is. In this portrait of Maria Carolina, sister of Marie Antoinette, it looks as if we may have double portrait bracelets, if only we could see the front of the one on her right hand. If indeed they are both portrait bracelets, then the unbroken strands of pearls must mean that the clasp is somewhere close to the portrait itself. Painted in 1755, this portrait of Mary Barnardiston shows a small portrait bracelet on her left wrist, upon which she leans wistfully. Who is she pining after? Unlike the last three, this one is attached to a ribbon or wide band of some kind, as opposed to pearls. These are by no means the only paintings featuring portrait bracelets, there are many, many more. Most commonly they seem to be found on multiple pearl strands, from as few as two to as many as six, with three being common. They are worn in pairs or singularly, on either the left or the right wrist. So why is this part 1? In part two we'll look at how to make one.

Unlike our modern society in which beauty and cosmetics seem to be clearly gendered and rather reserved to women, in the eighteenth century, men did wear make-up. Indeed, the eighteenth-century Eng…

FRANCOIS EISEN 1695 Brüssel - nach 1778 Paris INTERIEURSZENE Öl auf Holztafel. 36,5 cm x 27 cm. Rechts unten sign. 'F. Eisen Le pere 1762'. Min. besch. und altrest. Rahmen. Provenienz: Privatsammlung Rheinland.

I'm back after having been distracted by such trifles as pneumonia and marriage. The upcoming weekend will be spent in the 18th century and ...

One of the things we really enjoy doing during our research is to look at the advertisements in the newspapers of the day to see what sort of items were for sale. Don’t you just wonder what it woul…

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Высокие прически 18-го века. Про эти фантастические прически можно почитать мою статью здесь . Автор картинки- Андрей Потеряйло andryik А все картинки в большом размере и полный комплект очаровательных рисунков с моделями причесок 1877-80гг. из Бостонского Музея- под катом. Самые сложные прически…

I did this hair on a friend a couple of years ago. It's a rather easy way to get a 1770-1780's hair. The model's hair was thick and long, somewhere between BSL and waist and a dream to work with. She had curled the front hair and then I teased it quite a lot, adding extra strength hairspray. I tried to make a little diagram- I hope it's understandable. I combed the front hair over the pouf the teased hair made. It would, of course, be perfectly possible to use a rat instead, to achieve height. It would necessarily if one wanted even bigger hair. I pinned the hair behind the hair, where the blue line is. Then I rolled the rest of the combed over hair in the opposite direction to hide the pins, and then pinned that roll invisible. After that I rolled three smaller sections of hair in a row. I used a pencil to roll around, but one can also make tubes in stiff paper and let that tube remain in the hair. Then I did two bigger rolls at the temples, this time using the can of the hairspray to roll around. Then I collected all but one strand of hair into a ribbon very close to the tips, which I then folded under and pinned to the base of the neck. The remaining strand was curled, again with the help of the pencil and hairspray. I also sprayed every section while I worked on them and then sprayed it all when it was done. Lastly I used white hairspray to finish, and put in some decorations. I was a bit pressed for time and I would have liked to be able to give it a more finished look. As a variation one could have done more rows of small rolls down the head. I don't think I could have done this style on myself, but it was not complicated to do on someone else.

Eliza Smith’s Compleat Housewife, or Accomplish’d Gentlewoman’s Companion, 1727 After my post on hair powder I really had to look ...

One thing you notice when you visit Williamsburg after visiting Jamestown is how much things have changed. Small wonder. For those living ...

Isabella reporting, Sometimes everyday objects from the past are instantly recognizable to modern eyes, while others are completely mys...

Femme galante à sa toilette ployant un billet.

I grew a bit tired of reading about the 18th century and took a little break into the 17th instead. It is one of my favourite periods, and I think it is a pity that it isn't better loved. This is meant as an overview over makeup and hairstyles, which means that there are things I don't mention. The focus is on European upper class ladies, the gentlemen will get their own post. I have chosen paintings that are good examples, but also from known beauties, to give a sense of what kind of looks that were popular. Click on the links under each picture to see the whole painting. Black and rowling is her eye, Double chinn’d and forehead high: Lips she has, all Rubie red Cheeks like Creame Enclaritéd: And a nose that is the grace And Procenium of her face. /Robert Herrick Detail from a portrait of Anna Margareta von Haugwitz, by Anselm van Hulle, 1649. Anna Margareta, an impoverished German noblewoman embodies the 17th century beauty ideal well. With nothing but her looks she didn't have much of a prospect, until she met and wed Count Carl Gustaf Wrangel, the richest man in Sweden. A mutual love match and a very happy marriage. The ideal beauty of the 17th century should have a fair, round or oval face with a well-proportioned nose. A high forehead and a small double chin. Dimples in chin and cheek . The eyes should be large and dark, the mouth quite small, but with full lips, the lower one should be fuller than the upper. The teeth should be white and clean and in equal size. The hair could be any colour, but brunettes seem to have been very popular, but regardless of colour it should be long, thick, curly and cleanly kept. Pale skin was considered attractive and upper class ladies took care not to be sun-burned. Makeup was also used to make the skin appear as fair as possible. Corson makes a distinction between enamelled and powdered ladies where the first category painted themselves with thick layers of makeup, which gave the skin a slight sheen. Powdered ladies had a more matte skin-tone and probably a more natural look. A late 17th century recommendation was to rub the face with poppy seed oil and then use a white powder made of calcinated bone. There were also pink and flesh-coloured powders, which perhaps didn’t look natural, but indicates that a dead white face wasn’t always wanted. White paint could be made of talk or pearl powder, with is quite harmless, and Bismuth could be used as well. But the number one white pigment was Ceruse, made of lead, which is very harmful, and mercury which is possibly even worse. There are, for example, a recipe were equal parts of lead white and mercury chloride ( also a white powder) are mixed with lemon juice and rose water to whiten the face. As both pigments are extremely poisonous, it can hardly have been a good idea to use that! Detail from a portrait of Lady Anne Pope by Robert Peake, 1615 Heavy and shiny white makeup. The shone is quite similar to Bismuth. When studying portraits from the period, those from the first two decades seems to have the thickest layers of white makeup, none, or very faint rouge and lip colour and the eyebrows are left in their natural state. As the century progresses the white makeup looks less heavily applied and rouge came into more use. It is usually sparingly applied, aiming for a quite natural looks, though the mouth is often very red. A bit bizarre, but not harmful, unless one was allergic to shellfish, was rouge made from boiled crabs. Vermillion, red pigment derived from mercury was common, but there were safer alternatives as well. Tinctures coloured with sandalwood, brazil wood, carnation, cloves, or cardamoms would provide a safe rouge. Cochineal were also used, which meant that rouge could be found in both warm and cold red tones. For ladies not belonging to the upper classes, cheaper rouge pigmented with ochre were available, which they evidently used quite liberally. Detail from a portrait of Alathea Talbot Countess of Arundel by Cornelius Janssen van Ceulen, 1619 White makeup and cheeks and lips very delicately shaded with rouge. The eyebrows seems unpainted. Eyebrows are kept groomed and though there are recipes for blackening them, they usually look quite natural on portraits. There also seem to have been some use of eye shadow. There are portraits were eyes seems to be shaded with brown or grey and Bulwer rages against the fashion of “painting circles around the eyes” in the mid-17th century. He also mentions tawny as one of the colours used in facial makeup, which is a yellow brown shade which seems more suitable for eye shadow than anything else. Detail from a portrait of Mary Bankes, Lady Jenkinson by Peter Lely Her eyes seems to be shaded with brownish shade. Experiments with a matte taupe eyeshadow gives a very similar look. For ladies not wanting to paint, there were a number of washes aimed for giving the skin an even a lustrous looks. Some contained talc or ceruse, which would help whiten the face without making it look painted. Regardless if makeup were used or not, the advice for facial care was to wash the face with warm water and a wash ball (soap mixed with herbs and spices), dry it use a wash of some kind like bran water and rub in some pomatum. A beauty regime quite close to modern standards. A lady who steered clear of lead and mercury could probably have a quite nice skin with such habits. The fashion of patches became huge during the 17th century and ladies could wear many of them at once, all over the face. The black patches were made from satin, taffeta and, for a cheaper alternative, paper, and were gummed to make sure they stuck. At the end of the century, they were used more sparingly, but they were still very popular. Detail from an engraving Femme de Qualité en Habit d'Hyver by Nichollas Arnault, 1672-1686 Perfumes were very popular, most of them quite heavy with musk, ambergris and civet. As a comparison, today a perfume has one, or possibly two, of those ingredients (synthetics today) acting as base notes, which grounds the perfume and makes it long-lasting, but very little is used as to not make it too over-whelming. In the 17th century you could find perfumes which solely contained these three very overpowering scents in equal amounts. There were also perfumed made of ox dung which to my modern nose seems rather disgusting. Perfumes could be similarly made to modern ones, but they could also be found as powder, oils, and hard pomades, wax mixed essential oil. One recipes in Plocacosmos, for example, contains wax and oil of musk and cinnamon. Gloves were usually scented and powder could be sewn into small bags for scenting linens or kept in clothes. Detail from an engraving English Lady in Winter Costume by Wenceslaus Hollar, 1644 To protect the skin from wind and sun, a lady could wear a mask for protection. Dental medical care was practically non-existent, so even if the ideal was a full mouth of white teeth, it must have been an ideal that few possessed. There were various recipes for dentifrice powders and though some contained abrasive powders like pumice stone, not all of them were and shows that there were an interest in at least trying to keep the teeth nice. The fashion for hair powder took the first wobbly steps in the 17th century and provided an easy way to change the colour of the hair, but it doesn’t seem to have been universally used. Hair in portraits are often depicted as glossy, something that powder effectively remove. There were also various recipes for hair dye, promising tresses in gold, white as silver, yellow, red, black and green! I wonder who wanted green hair. To keep the curls in place Gummi Arabicum of egg-white were used. The first two decades or so, the popular hairstyle was rather high, the hair were brushed over a padded form to form a kind of halo around the face. It was smooth and often decorated at the highest point. Originally quite high at the top, it gradually became more rounded around the face. Setail from a portrait of Catherine Henriette de de Balzac d'Entragues by an unknown artist, 1600 Aged around ten, the princess is dressed and styled as an adult. Detail from a portrait of Elizabeth Stuart, Princess of England, Scotlan and Ireland by an unknown artist, ca. 1606 Newly wed at the age of 17, the former princess' hair is several shades darker than when she was ten. Detail from a portrait of Elizabeth Stuart, wife of Frederick V, Elector Palatine by an unknown artist, 1613 This lady wears a shiny white makeup and more rouge than usual in this period. Detail from a portrait of an unknown lady by Marcus Gheeraerts the younger, 1615-1618 The Swedish queen is quite pale, but doesn't seem to be using either rouge or lip paint. Maria Eleonora of Brandenburg, Queen consort to Gustaf II Adolf of Sweden by an unknown artist, 1619 This fashion doll from around 1600 gives a glimpse of how it may have looked from other angles. More pictures of the doll can be found here. Around 1620 the big hair disappears and during a transitional period hair gets flatter and looks quite short around the face. Detail from Three young girls by a follower of William Larkin, ca. 1620 Detail from a portrait of Anne of Austria, Queen of France by Pedro Pablo Rubens, 1622 Eventually a style develops that with some variations remains fashionable for the next 50 years. The hair on the top of the head and the back is drawn into a knot, while the hair on the sides is hanging down, either frizzed or curled. During the 1630's a short fringe, or curls over the forehad, were popular. Details from a portraits of Amalia van Solms by Gerrit van Honthorst, 1630's Detail from a portrait of Amalia de Solms-Braunfels, by Anthony van Dyck, 1632 Detail from a portrait of Anne Sophia, Countess of Carnarvon by Anthony van Dyck, 1633-1635 Detail from a portrait of Elisabeth of Bohemia, Princess Palatine by an unknown artist, 1636 During the 1640-50's the hair is often parted round the crown of the head and the front hair is parted in the middle and curled. Detail from a portrait of Elisabeth of Bohemia, Princess Palatine by Gerrit van Honthorst, early 1640's Detail from a portrait of Elizabeth Stuart wife of Frederick V, Elector Palatine by Gerrit van Honthorst, 1650 At 54 the Winter Queen is still quite beautiful. Not considered a beauty, Queen Kristina seem to have had a beautiful hair. Detail from a portrait of Kristina, Queen of Sweden by David Beck, ca. 1650 Detail from a portrait of Mary Stuart Princess of Orange and Countess of Nassau as the wife of Prince William II by Bartholomeus van der Helst, 1652 Detail from a portrait of Maria Eufrosyne and her husband Count Magnus Gabriel de la Gardie by Hendrik Münnichhoven, 1653 The portrait is rife with symbolics meanings. Maria Eufrosyne, first cousin of Queen Kristina is standing one step higher than her husband to show his lowlier birth, but he is stepping one step before her to show his superiority as man and husband. And if her loose gown wasn't enough to indicate pregnancy, she is also holding a bean pod in her hand. The arrangement of curls grow more complicated. Detail from a portrait of Jeanne Parmentier by Bartholomeus van der Helst, 1656 Detail from a portrait of Princess Henrietta Anne of England by Jan Mytens, 1665 When the curls got wider around the face, it sometimes had to rely on wire to keep the shape. Detail from a portrait of Adriana Jacobusdr Hinlopen by Lodewijk van der Helst, 1667 Around 1670 the hurluberlu, or hurly-burly, becomes popular. Dense curls were clustered over the ears, sometimes with longer curls hanging down from them. Detail from a portrait of Suzanna Doublet-Huygens by Caspar Netscher, 1667-1669 Detail from a miniature, possibly of Frances Jennings by Richard Gibson, 1672-1675 Detail from a portrait of Hortense Mancini, duchesse Mazarin as Aphrodite by Jacob Ferdinand Voet, ca. 1675 Detail from a portrait of Anna Caffarelli Minuttiba by Jacob Ferdinand Voet, 1675 There were also a hairstyle were the curls were kept more close to the head around the head and flat on the sides, with a large, low chignon at the back. Hedvig Eleonora of Holstein-Gottorp, Queen consort of Karl XI of Sweden by David von Kraft, before 1682 Mary of Modena, Queen consort of James II of England, Scotland and Ireland by William Wissig, 1685 In the 1680’s the hairstyles started to become higher again, with or without the fontange, a layered starched and wired linen structure, to achieve even higher heights. Detail of a portrait of Electress Anna Maria Luisa de'Medici by Jan Frans van Douven,1690's Detail from a portrait of Madame de Noailles by Hyacinthe Rigaud,1692 Detail from an engraving Costume a la Francaise,1693 Then, of course, there was the Spanish influence, doing its own thing, both when it came to fashion and hairstyling. Detail of a portrait of Maria of Austria, Queen of Hungary by Frans Luycks, 1635 Detail from a portrait of The Infanta Maria Theresa, daughter of Philip IV of Spain by Diego Velazquez, 1651 Detail from a portrait of Catherine of Braganze by Dirk Stoop, 1660-1661 Detail from a painting of Marie Louise of Orleans, Queen of Spain by Jose Garcia Hidalgo, ca. 1682 Sources Corson, Richard, Fashions In Makeup, 1972 Fashion Encyclopaedia Kipar, Nicole, Female Hairstyles Pointer, Sally, The Artifice of Beauty, 2005 Salmon, William, Polygraphice: Or the Arts of Drawing, Engraving, Etching, Limming, Painting, Washing, Varnishing, Gilding, Colouring, Dying, Beautifying and Perfuming : in Seven Books. 1685 Wecker, Johann Jacob, http://books.google.se/books/about/Polygraphice.html?id=h_sC9X95PT0CEighteen books of the secrets of art and nature: being the summe and substance of natural philosophy, methodology digested, 1661 http://books.google.se/books/about/Eighteen_books_of_the_secrets_of_art_and.html?id=nDYVAAAAQAAJ Read more The 17th century women’s guide tolooking good Beauty in the 17th century Courtly beauty secrets from the 17thcentury Evils of Artifice Sweet HoneyWater, perfume recipe from the 17th century Engraving Fille de Marchand, estant à Sa Toilette by Nicholas arnoult, 1687

Ever wondered what it would have been like to be a domestic? To slave over your mistress or master in the hopes of earning a few measly pounds a year? You would have been…