Original 1700’s Folder of Vintage French handwritten official papers Dossier 22 pages. documents. I recently came across this amazing looking folder with stained paper, but what I love is that some of the documents are tied with twine so obviously a collection of related documents dates from 1777’s, some older. An assortment of different sized pages most written on. Dated from 1600-1700’s. One or two earlier. There are approximately 22 pages some with wonderful official stamps at the top ofdocument. The writing is absolutely beautiful, in bold black ink. Some crossed out, some typed. Assorted sizes, stunning. Condition fair some very shabby & some stains but I love the shabby look to it. Too lovely to be discarded as love the colours of the staining. Beautiful French script, still taught in school in France today. The paper has wonderful handmade feel to it. Would be great for decoupage, or art projects or simply a conversation piece. Size 24 cm x 19 cm is the largest. Please check out my other Etsy shop Foreverfrenchpaper, shipping can be combined.

Med en I FORM Kostplan taber du dig sikkert og sundt. Her får du 1600-1700 kcal pr. dag fordelt på 4 måltider – med plads til fx kage hver uge. Tjek her!

 17th century woodcut Cowley 　 Abraham was living in Maine in 1656. Ambrose was in Boston in 1660. Henry, brother of Ambrose, was at Marblehead, Mass. in 1660. John was of Ipswich, Mass. in 1641. William was a resident of Newport, R.I. in 1639. 　 Cox or Coxe Edward was a mariner at Boston in 1672. George was married at Salem in 1671. John was an inhabitant of Boston in 1674. John took the oath of fidelity at Pemaquid, Maine in 1674. Joseph was living in Boston in 1673. Moses was at Hampton, H.H. in 1639. Richard was at Salem in 1645. Robert was also a mariner at Boston in 1666. 　 Coy James was a resident of Boston in 1695. Corp. John is found to have died during the King Philips War. Matthew is found in Boston in 1638 at the age of 15 years. Richard, brother of Matthew, was 13 years old when he arrived in Boston in 1638. By 1650, he is found in Salisbury, Mass.. William was one of the first settlers in Taunton, Mass. in 1637. 　  17th century woodcut of infamous "bundling" Coytemore Thomas was a merchant at Charlestown, Mass. in 1636 and was lost at sea in 1645 on his way to Spain. 　 Crabb Henry is found to have married at Boston in 1658. Richard is found at Wethersfield, Conn. in 1639 before removing to Stamford, Conn. by 1639. He then went to Greenwich, Conn. by 1655. 　 Crackbone Gilbert was living at Dorchester, Mass. in 1636 and went to Cambridge, Mass. a few years later. 　 Cradding William was at Taunton, Mass. in 1638. 　 Craford or Crafford John was at Dover, N.H. in 1671. Mordecai is found living in Salem by 1663. Mungo, a Scotchman, is at Boston in 1686. Stephen is found at Kittery, Maine in 1640. 　 Crafts Griffin is found in Roxbury, Mass. in 1630. Thomas was a resident of Hadley, Mass. in 1678. 　 Craggan John was married in Woburn, Mass. in 1661. 　 Cram John, son of Burkhard of New Castle-on-Tyne, England, was born in 1607. He was at Boston in 1635, Exeter, N.H. in 1639 and Hampton, N.H. by 1650. 　 Crampton or Cramton Dennis was married at Guilford, Conn. in 1656. John is found at Fairfield, Conn. in 1661 and at Norwalk, Conn. in 1672. 　 Crandall Rev. John is found in Boston in 1634, Providence, R.I. in 1637, Newport, R.I. in 1655 and finally at Westerly, R.I. by 1667. 　 17th century woodcut of men tending their apple orchard Crane Benjamin was born in England in 1630 and is found at Medfield, Mass. by 1649. He then went to Wethersfield, Conn. in 1655 and there is some texts saying he ended up in Taunton, Mass. later in life. Henry, tanner and currier, was born in England in 1635 before settling at Dorchester, Mass. in 1658. He then is found at Milton, Mass. in 1667. Henry, an ironmaker and brother of Benjamin, was born in 1621 at England and settled at Wethersfield, Conn. in 1655 before removing to Guilford, Conn. in 1664. He was one of the first planters of Clinton, Conn.. Jasper was at New Haven, Conn. in 1639 and then at Branford, Conn. in 1668. Jonathan was married at Norwich, Conn. in 1680. 　 Craniver Gov. John was a physician at Portsmouth, R.I. in 1644 and then at Newport, R.I. in 1655. Walter was married at Woburn, Mass. in 1683. 　 Cranwell John is at Boston in 1630. 　 Crapo Peter was a Frenchman at Rehoboth, Mass. in 1680. 　 Crary Peter settled at New London, Conn. in 1663. 　 Craw Robert was a resident of Newport, R.I. in 1651. 　  18th century woodcut of a log cabin in Connecticut. This would have been the same type of dwelling other New England colonies would have utilized, despite other Historians conjectures. Crawley Thomas at at Exeter, N.H. in 1651. 　 Crehore Teague was an Irishman at Dorchester, Mass. at least as early as 1650. 　 Cressy or Crissey Mighill (or Michael) is at Salem in 1649, then at Ipswich in 1660. William, brother of preceding, was born in 1630 at England and is found at Stamford, Conn. in 1649. 　 Crick or Creek Andrew died at Topsfield, Mass. in 1658. Edward is at Boston in 1674. 　 17th century woodcut from a New England primer Crisp Benjamin was a freeman at Watertown, Mass. in 1630 and then removed to Groton, Mass. later in life. Richard was a merchant at Boston in 1666. 　 Critchley or Crutchley Richard was a blacksmith at Boston in 1642 and Chelsea a few years later. 　 Crittenden Abraham was a first year settler of Guilford, Conn.. 　 Croade John was married at Salem in 1659. Richard was the son of Richard of Frampton, Dorsetshire, England and a merchant of both Hingham and Boston by 1664. 　  1780 dollar from Rhode Island Crocker Daniel was married at Boston in 1660. Francis is found at Barnstable, Mass. in 1643. John, brother of Francis, is at Scituate, Mass. in 1636, Braintree in 1638 and Barnstable, Mass. after. Thomas is at New London, Conn. in 1660. William, brother to Francis and John, is at Scitutate and Barnstable as well. 　 Crockett Thomas was born in 1611 and is found at Little Harbor, N.H. in 1633. By 1648, he is at Kittery, Maine and at York, Maine by 1652. 　 Croft Geroge is at Wickford, R.I. in 1674. Thomas was married at Hadley, Mass. in 1683. William was a resident of Lynn by 1650.  17th century woodcut of Witch dowsing in Salem Cromwell Giles was at Newbury, Mass. pre-1648. John was at Boston in 1654. Philip is found at Dover, N.H. in 1657. Samuel was a freeman of Mass. in 1634. Thomas was a mariner of Boston in 1646. 　 Crooker Francis was married at Scituate in 1647. 　 Crosby Anthony was a surgeon at Rowley by 1643. Simon was born in 1608 at England and came to Cambridge by 1634. Thomas was the 5th generation from John Crosby of Tikehall, Yorkshire, England. Thomas was a mariner at Boston in 1646. 　 Croscum George was a fisherman at Marblehead, Mass. in 1653. 　 Cross Henry was a carpenter at Mass. in 1635. John was born in 1584 at England and is found at Watertown, Mass. in 1634. He died in 1640, leaving no male issue. John is found at Ipswich in 1635, Hampton, N.H. in 1639, Dover, N.H. in 1642 and finally back at Ipswich by 1652. John was at Windsor, Conn. in 1645 before removing to Stamford, Conn. later in life. John was a brewer at Boston in 1663. Joseph was at Plymouth in 1638 and is found in Wells, Maine by 1670. Robert, brother of John of Ipswich, was at Ipswich in 1639. Samuel is found at Stamford, Conn. pre-1677, when he is found at Windsor, Conn. William was a seafarer at Wethersfield, Conn. sometime pre-1637. He is found at both Windsor and Fairfield, Conn. in 1649.

Pattern: 1775-80 Robe a l'Anglaise, from The Cut of Women's Clothes, by Norah Waugh. Diagram XXII. HIGHLY RECOMMENDED. I love this pattern and will definitely be making it up again =) Fabric: 100% Cotton, drapery weight. Pattern is a dark blue background with a pattern of orchids and small birds in shades of blue, grey, and white. Alterations: None. I added seam allowances to the pieces (which you have to do for all the Waugh patterns, but otherwise this is made true to the size and specifications in the book. The gown is surprisingly large for an extant piece *see size below Finished Measurements: Chest: 39" Waist: 34" Hip: Free Hem: 45" at back, drag length. Upper arm circumference: 13" There was no much information in the Waugh book on construction methods, so I went with methods I'm already familiar with when making this style dress. The description does state that the original was flat-lined in the bodice, so I did that (even though I don't really like exposed seams. The original diagram in the book does not have a grid. I added the grid to make drafting easier. So what's up with the dart? In the original pattern, it shows the front section of the skirt with a rather deep dart. I questions some of the experts in one of my Facebook groups, and many were also confused at it's presence. It's certainly not standard, but it was on the original garment, so I decided to go with it. In the final result, I think the dart actually helped with the rounded shaping over the hip at that point. I might be imaging it, but it certainly didn't harm anything, so I see no reason not to do it =) The top of the skirt is shaped to accommodate the curve in the hip and the point at the center back of the bodice. I attached the skirt is small backward facing pleats I hand stitched the boning channels over the back seams so that I could have visible top-stitching on the outside. I could have just sewn the channels to the seam allowances, but I wanted the more defined look at the back that comes with top stitching through all layers The Ruching This was actually the first time I ever made rushing with the "unruffled edge". Meaning, with the stitching right at the very edge. I love the result, but it was a lot of work. I didn't want machine stitching showing anywhere, so I had to apply it all by hand. All told, making the ruching and applying it by hand was about 15 solid hours of labor. The ruching is 100% silk dupioni, but the weave is pretty tight and you can't see much slubbing when it's all ruffled up this way. The Petticoat There's really nothing special about the petticoat. It's a unshaped panel of silver-white silk, laundered, with a drawstring waist. It isn't as wide as it should be for the period, but since only the front of the petticoat is visible during wear, it really wasn't an issue. I considered making a matching petticoat for this dress, but since the pattern is already so bold and busy, I felt it would be too much visually. LOL. Below you can see my rather shoddy methods for giving my modern dress form a more 18th century silhouette. The ideal method would have been to put stays on the dress form, but I don't happen to have any at the moment, so felt and pieces of form had to do. =) As for the foundation garments, this dress is shown over a padded rump/hip pad I devised some time back. It wasn't quite full enough for this small dress form (which lacks the hips and backside of an actual wearer), so I compensating by stuffing some foam pieces under the rump pad. ~Finished!~ The fichu shown here is 100% silk gauze. I was very lucky to run across this fabric years ago. It is so delicate, it's like working with spider webs. If I had to guess, I would say the thread I used to hem the edges weighs more than the fichu itself!

Elaine Meinel Supkis The other day I had some thoughts about the graphs for the Hubbert Oil Peak. Namely, it is very much like a typical boom/bust stock market graph. Then I thought of other things that fit into that...

JF Ptak Science Books Post 1754 Nicolas de Larmessin (1640-1725) was an enormously creative and productive artist, and in his way created a genre similar to the great and ancient Dance of Death/.Danse Macabre/Totentanz--though his was the Dance of Life....

Learn about early American clothing in the 17th and 18th century, including the fashions and styles of the time.

As the Puritans set about eking out their survival in Massachusetts in the early 1600s, they naturally had to conquer some major problems: managing to obtain food, fighting their enemies…

Cross-posted to own journal The shirt is nearing its completion, the only thing left are the cuffs. The sleeves are very wide with only a portion of that gathered at the top of the shoulder. As with the collar, the body of the shirt is top-stitched to the sleeves. The seam allowance…

Early-Style Hardanger By Yvette Stanton Early-style Hardanger is not often seen outside of Norway, but is quite distinct from contemporary Hardanger. This historical style of embroidery has traditionally been used on the women’s clothing in the Hardangerfjord region, and was designed to emulate needle-made lace of the 1600s and 1700s. To research for "Early-Style Hardanger", Yvette Stanton travelled to Norway, studying historical examples of Hardanger at the Norsk Folkemuseum and the Hardanger Folkemuseum. In Bergen, she joined in the celebration of Syttende Mai (17th May) or Norwegian Constitution Day. On this occasion, many Norwegians dress in bunad, or folk costume, to enjoy the festivities. Because of this, Yvette also saw many examples of early-style Hardanger in current use on traditional-style clothing. This book inspires you to create traditional-style Norwegian whitework embroidery, and demonstrates how to do it in bite-size portions, thereby allowing you to feel the satisfaction and sense of accomplishment of making your own beautiful embroideries.

An officer and a young lady are sitting at a table playing backgammon. Just as she is about to throw the dice, a messenger appears holding a letter. Is he bringing good news or bad? The concerned look on the officer’s face suggests the worst. Verkolje was a master at depicting gleaming satin. The back of this beautiful dress, full of pleats, seams and creases, is a good example of his skill.

Discover a mouthwatering 1700 calorie high protein meal plan! From strawberry protein overnight oats to grilled caprese chicken, this plan has it all.

Era of the Rococo. Fashion and costume in the 18th century. The Farthingale. Caraco à l'française. Costume de Bal. Robe Ronde. The Pourpoint.

Med en I FORM-kostplan går du ner i vikt på ett säkert och hälsosamt sätt. Här får du 1600-1700 kcal per dag fördelat på 4 måltider - med plats för något extra gott varje vecka. Kolla här!

Voir l’article pour en savoir plus.

Add an elegant finishing touch to your bathroom with Kartell stylish and functional. This will inspire and give eye-catching look which adds a unique character to your bathroom and can also be a cost effective way of refreshing your bathroom.

1700s PART 2 - WOMEN Lace as a luxury was carried over from the 17th century, used as a status simple for the wealthy to flaunt. From the mid-century on it migrated to the neck in the form of delica…

Blir din mage också uppblåst? Få I FORMs bästa råd för att bli av med ballongmagen här!

Cosa vedere a Bergamo in un giorno, ecco le 10 cose da non perdere

Bring some moody french countryside flair into your home with "Verdure with Château and Garden" (Katharine Ghuys 1738–1778) Tapestries showing scenes of country houses set amid gardens and wooded hillsides, were known as "verdures". This tapestry is dominated by dark greens, earthy browns and pops of red. During the 1600s and early 1700s, verdures effectively brought "nature" into the home and were enormously popular with prosperous customers who could afford luxurious decor. With its deep perspective, verdures like this one also created a sense of space within the domestic interior. ✧ Lightweight and renter friendly The lightweight material allows you to hang the tapestry even without using nails. The large sizes are a great renter friendly alternative to wallpaper. ✧ Made to last Made with highly durable polyester: this tapestry stays like new for a long time. ✧ Made in the USA All wall hangings are made-to-order and printed in the USA by a family-owned business in the beautiful mountains of North Carolina. ✧ Like this print? Check out the rest of our shop! We offer many a variety of products that complement each other perfectly. ✧ Mashine washable Wash the item only cold machine wash with similar colors garments using a gentle cycle. Tumble dry on low settings or hang dry. Do not bleach or dry clean. ✧ Please keep in mind! - different kinds of products could be shipped seperately - Color on screen may vary slightly in print - Due to everything in the shop being made to order we can only offer replacements for misprinted, damaged, or defective items. Please contact us within 14 days if you have a problem with your order. COPYRIGHT: © All designs are copyrights of Gilden Home. This item is for personal use only. May not be used commercially or resold. By ordering you agree to shop's terms and conditions.

Janet Arnold Patterns of Fashion Award For this project I had to choose a pattern from Janet Arnold’s ‘Patterns of Fashion’ and produce...

Voir l’article pour en savoir plus.