A webpage about common sailors in the 18th century
News, information, random musings, and occasional Deep Thoughts about Diana Gabaldon's books and the OUTLANDER TV series.
"The Artist's Studio," by Johann Georg Platzer (1740s-1750s) DIMENSIONS • 9" x 12" (Image: 7.38" x 10.5") • 12" x 16" (Image: 9.81" x 14") • 16" x 20" (Image: 12" x 17") • 20" x 30" (Image: 16" x 22.75") • 24" x 36" (Image: 19" x 27") Archival Inkjet on Fine Art Paper Smooth Surface - Matte Finish - Inset Borders ABOUT THE ARTWORK ----------------------------- Johann Georg Platzer specialized in small, highly detailed paintings scaled for a connoisseur’s cabinet. At the center of this composition is an idealized portrait of the artist himself, clad in a fur-lined robe and holding a painting for the inspection of a visiting connoisseur. This work makes a statement about painting as a noble and intellectual pursuit, and the importance of rigorous training and practice: the artist at the easel is surrounded by a studio teeming with live models, pupils, assistants, and inspiring examples of art from earlier eras. The paintings on the wall, easel, and floor not only reference great artists of the past, but together present an allegory of the five senses. Credit Line: Text courtesy of The Cleveland Museum of Art. ART-CENTRIC DESIGN ----------------------------- Vintage art is not standardized. The original works are usually too long, or too short, to neatly fill a store-bought frame. Most shops arbitrarily crop the artwork to match, leading to claustrophobic prints with missing or partial elements. These modifications — sometimes trivial, sometimes ludicrous — are not always shown in the product photos. We believe that the purpose of art is not to fill a frame; it is the purpose of a frame to showcase the art. Our prints have inset borders that make up any differences in proportion between the artwork and a standard frame, so that you can experience the art as the artist intended. They look sharp in beveled mats, may be float mounted, or inserted directly into standard frames; the borders providing a mat-like accent around the image. There are many styles from which to choose. Framing is a fun, creative process that enhances the artwork and livens your space for years to come. Should you like any advice, feel free to reach out. CUSTOMIZATION AND IMAGE REQUESTS ----------------------------- We are happy to customize our prints to fit your frame. Borderless prints may require the artwork to be cropped to fit a new aspect ratio. In such cases, we will provide a mockup to ensure that the final product meets with your approval. If you’re looking for an artwork that is not in our catalog, feel free to ask if we can provide it. We will print any public domain or openly licensed image that is available in high resolution. MUSEUM QUALITY ----------------------------- Giclée process prints are the gold standard in fine art reproduction. We use a matte finish, cotton fiber paper to maximize detail while eliminating glare. Our prints display a wide color gamut, deep blacks and beautiful tonal transitions. Produced using only archival materials, they will not fade or yellow, but maintain their original quality for as long as you own them. HANDMADE DECLARATION ----------------------------- To assure artistic quality, all of our production and design is strictly in-house. Every print has been proofed, calibrated and inspected for defects. We do not drop ship, resell or make use of third-party production partners. SHIPPING AND PACKAGING ----------------------------- All orders ship within one business day via USPS First Class, Priority Mail or Priority Mail Express. Sizes 9” x 12” and 12” x 16” ship in a flat configuration, unless combined with larger prints, which require tubes. We will replace any lost or damaged items at no expense to you. HAPPINESS GUARANTEE ----------------------------- We will promptly address any issues that may arise with your order. If you are unhappy with your print for any reason, you are welcome to return it for a full refund.
Everything you need to make a commonwoman's wardrobe: a lined mantelet with two sleeves versions, "French" and "English" style shifts, plus instructions for petticoat, neckerchief and apron with two bib styles. 4 sizes included from bust size 36"-42" = 90-105 cm included. Adriaan de Lelie, Woman baking pancakes, c. 1790 Jean-Baptiste Greuze, The Wedding Contract (1761). Jean-Baptiste Greuze, The drunken cobbler (1780-85). Merken Merken
Entre les fanatiques de cafetières à l’italienne et les incollables des typologies de thés, on a tous nos petites habitudes avec nos boissons chaudes. Personnellement, je rêve de jolies théières. L…
Courtesy of The Mariners’ Museum and Park, Newport News, VA Captain Andrew Wilkinson, Gabriel Mathias, 1755, Mariners' Museum. As I have said before, the focus of this blog is the clothing of common sailors, and so I tend to filter out images of officers. Thank goodness that Jeanne Willoz-Egnor, Director of Collections Management for the Mariners' Museum and Park in Newport News, VA brought this to my attention! Officers of all ranks were required to know the art of the mariner, and it was not uncommon in the eighteenth century to see officers aboard ship in clothes that were not unlike that of the sailor. What is less common is to see those practical and low class clothes being worn in a portrait! Wilkinson was certainly a skilled captain, and his portrait is a reflection of that. He was proud of his ability to manage a ship and her crew. As such, this image is an indication of how an officer would distinguish himself as visibly superior to the average tarpawlin, while adapting the undeniably more advantageous aspects of sailor's garb into their own wardrobe. A close-up of Captain Wilkinson's head really throws the blend of fancy and practical into relief. His cap is striped, much in the same fashion as the knit caps sailors and watermen were known to wear. Yet on closer inspection, the nature of the cap is probably more akin to a gentleman's banyan cap. It appears that his cap is fur lined! Both more comfortable and more expensive than your average sailor would have. Captain Wilkinson's torso likewise demonstrates the conflict between his class and his trade. The cravat is of a fancy pattern, and neatly tied at that. It is tucked into a fancy brocade waistcoat with matching fabric buttons. The only concession this gentry waistcoat makes to our Captain's profession is that it is somewhat shorter than the average mid 1750's waistcoat. While the waistcoat and cravat scream his station in life, the simple checked shirt and short jacket betray the salt in Captain Wilkinson's veins. The simple jacket is without a collar or lapels, and his simple flap pockets have no buttons. A closeup of his sleeves is particularly enlightening. Firstly, his left hand (the one supporting the frayed line) comes from a sleeve that shows its seam: right along the underside of the arm. Secondly, his right arm is clad in an open mariner's cuff, but with a twist. Common sailors are often depicted as simply leaving the cuffs open, but this jacket is designed to leave its cuff open. There is fully space for two more buttons on that cuff, yet there are neither buttons nor even buttonholes. Unless my eyes deceive me, there aren't even buttonholes for the outermost buttons. What we do see in the gap is another strip of fabric intended to provide warmth or protection in the open space, while still allowing the freedom of movement that sailors treasured from open cuffs. Absolutely fascinating piece!
A man's night gown, 1720-50, Dutch or British; of Chinese blue silk damask, 1650-1700
Jean-Baptiste van Loo (Aix-en-Provence, France, 14th January 1684 – Aix-en-Provence, France, 19th December 1745) Self Portrait We welcome our second van Loo today in the estimable form of Jean-Baptiste. Like his son he was a noted painter and virtually artistic royalty, enjoying a long and illustrious career that spanned the continent of Europe and England too. Margaret ('Peg') Woffington by Jean-Baptiste van Loo, 1738 As the son of Louis-Abraham van Loo and grandson of Jacob van Loo, the young man could not have asked for a better education in art. He showed a natural aptitude for the subject and in his early twenties wealthy patrons paid for van Loo to undertake a trip to Rome, where he entered the tutelage of the celebrated Benedetto Luti and mastered his skills. He travelled Italy producing religious paintings and upon his visit to Turin became immensely popular at the court of Charles Emmanuel II, Duke of Savoy, for whom he executed several works. Portrait of an Unknown Gentleman by Jean-Baptiste van Loo, 1740 Riding high on his Italian successes, the celebrated van Loo returned home to France and took up residence in Paris where he became a member of the Académie Royale de Peinture et de Sculpture. However, not content to rest on these considerable triumphs in 1737 he took up his travels again, visiting London to paint any number of illustrious clients including Walpole and members of the royal court. Van Loo was noted for the accuracy of his likenesses yet he did not believe in flattering his subjects, presenting sitters as they truly were, not as fashion might wish them to be. Sir Robert Walpole, Earl of Orford, Prime Minister by Jean-Baptiste van Loo, 1740 His health in decline, van Loo moved back to Paris just five years later with his wife, Marguerite Le Brun. He did not settle in the capital though and instead returned to his hometown, where he died peacefully in 1745.
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