Burglary couple Most of us believe that Victorian era was a grim and serious era, full of hardworking people, so that they didn’t even have time to enjoy their
Introducing our exquisite high-quality print of the artwork The Souls At The Acheron (1898) by Adolf Hirémy-Hirschl, the perfect addition to elevate the ambiance of your bedroom or living room. Designed to grace the space over your bed, sofa, or dining table, this captivating work of art embodies a mystical fusion of witchy gothic Victorian inspiration and timeless elegance. Crafted with superior quality by Wolf Kult, the vivid colors and intricate details are printed on a premium canvas, ensuring long-lasting beauty. Immerse yourself in the enchantment of this magical print, bringing a dash of sophistication to your interior decor. Choose a wrapped canvas print on a wooden subframe (ready to hang, professional look, no need to frame it) or a poster (printed on photo paper with satin finish 240g/m², unframed). Choose what size canvas (or poster) you want. If you choose this image as a poster, it may be positioned with a little bit of white background around it (or be cropped a little), because the image may not be not equal to the paper dimensions. DETAILS: • Textured canvas 260g density. • We use an ultra-high-quality wide-format printer, so the colors look very vivid and realistic. • Non-toxic water-based inks so you can hang the canvas in your or your child's bedroom. • The canvas prints are coated with high-quality non-toxic matte lacquer for even better durability. • Canvas is wrapped on a wooden subframe (pine subframe thickness – 2 cm | 0.8 inches). • Our canvases are ready to hang and packed in several layers of packing material, so they can't be damaged. • Colors do not fade. Canvases by default are unframed, but we can frame them for you (please select it in the Personalization tab). Framing costs extra and all the details will be arranged via personal message after you order. IMPORTANT: We DO NOT frame posters. NOTE: The print can contain some slightly visible grain, texture, or cracks due to the old age of the painting. Care instructions will be sent together with your order. You can additionally read them in our FAQ section.
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I thought I'd share a fantastic Victorian portrait which I've been restoring from the archives of Dr Barnardos childrens' homes. His name was James Alex Lindsay & this would have been the young man's leaving portrait in 1887, ready to face the big bad world #Blacklivesmatter
sailors & soldiers & cowboys & circles & pyramids using tintype & cabinet card & early photography mostly.
Women are notoriously underrepresented in the judiciary and government, but are workplace quotas the way to address the issue? Read our latest blog for more.
At the time, a true man of science would not be caught dead discovering new ways to make clothes pretty. But this “stain” proved to be...
Outlander shawl, Victorian style woman, handmade knitted colors: brown and black composition: 50% wool 50% acrylic - very soft and warm wool beautiful outfit. wool and threads from France. dimensions: L/XL - 40/42 - back height 70 cm - wingspan 220/280 cm - US size = 34" back height 70 cm = 27.5591 inch 290 cm = 114.173 inches 250 cm = 98.4252 inches S - 36/38 - back height 50 cm - wingspan 190/200 The smallest length of the wingspan corresponds to the position of the neckband, crossing on the chest and attachment in the back. easy care: wash at 20°, dry flat preferably Made in France - Creation/production: jacquote-tricote I knit in a healthy environment, non-smoking house, and without animals..... ..I do not accept returns during this pandemic period.
Downloads Free Images : woman, female, portrait, artistic, lady, painting, artistry, impressionist, oil on canvas, human positions, art model, antoni caba 3103x5017,1353664
Highlights from two exhibitions showcasing 19th century photographic art by Cameron.
Victorian style women's shawl, inspired by Outlander, handmade knitted colors: Bottle green and Mauve composition: Wool and acrylic - very soft and warm baby wool beautiful outfit. wool and threads from France. dimensions: S - 36/38 - back height 58 cm - wingspan 180/225 cm - L/XL - 40/42 - back height 70 cm - wingspan 220/270 cm The smallest length of the wingspan corresponds to the position of the neckband, crossing on the chest and attachment in the back. easy care: wash at 20°, dry flat preferably Made in France - Creation/production: jacquote-tricote I knit in a healthy environment, non-smoking house, and without animals..... ..I do not accept returns during this pandemic period.
In July 1854 at the unlicensed Druid’s Hall in London two men were grabbed by the police. George Campbell (35) and John Challis (60) were at a masked ball, dressed up to the nines in lovely women’s clothes. They were hauled up before the magistrate and charged with "being found disguised as women in an unlicensed dancing-room, for the purpose of exciting others to commit an unnatural offence". Naturally homosexuality was illegal then and naturally the newspapers were very excited by the trial and the associated scandal. For the men to be completely equipped in 1854, they would have had to be wearing corsets and layers of crinolines. The case later revealed Campbell allegedly sported the season’s other must-have accessory of a white veil. The older Challis displayed an even more stunning outfit: the “pastoral garb of a shepherdess of the golden age.” Campbell claimed he’d only gone to the party in a dress so he could witness the vice for himself and later preach against it. The court noted that drag balls had been hosted for over a year at Druid’s Hall, so why did the police choose to arrest Campbell and Challis that particular night? And what did the court make of both men having character witnesses who painted impeccable pictures? While the case against Challis was dismissed on account of his poor health, Campbell mounted a spirited defence and gained the begrudging support of prosecutor Sir RW Corden. As they joined forces to outwit the police, the court must have been transfixed and laughing behind their hands. The two men were let off with stern warnings. Ernest Boulton and Frederick Park aka Stella and Fanny c1870 photo credit: BBC History Magazine Any other public knowledge about Victorian drag balls came from similar cases of regulation and persecution eg a raid in Manchester in 1880 where a man dressed as a nun unknowingly let the police into a fancy dress party. All 47 attendees were men, 20 of whom were attired in character as females. Alas the patterns of regulation and prosecution dominated historical knowledge of same-sex relations and sexual deviance, especially prior to the evolution of more coherent sub-cultures and the coining of the term homo-sexuality at the end of the C19th. But the 1850s was a golden age of theatre and pantomime, so if Challis and other men wanted costumes for a drag ball, what were the police doing invading dress-up parties. Now Barbara Ewing has written a new novel about the case called The Petticoat Men (published by Head of Zeus 2015). It is an historical novel, loosely based on contemporary newspaper and trial reports, and filled with factual detail. Ernest Boulton and Frederick Parks were popular people in London in 1870. Found at dancing parties across the city, Ernest and Freddie were welcomed and admired. However soon things go awry as Ernest and Freddie/aka Fanny and Stella, were arrested and charged with several offences that caused outrage across the streets of London. The life and examination of Boulton and Park, the men in women's clothes, published 1870. Police News Edition was a newspaper that concentrated on murder and sleaze. The Stacey family, running a boarding house near Kings Cross, suddenly became involved in what the newspapers were calling a huge scandal: two of their boarders were arrested, dressed as society women, in the audience at a London theatre. For landlady Mattie Stacey, Ernest and Freddie’s beautiful dresses, gorgeous hairdos and lively songs had always been a positive entertainment. Nevertheless when her family’s income was likely to be threatened by the men’s activities, Mattie had to examine the situation in close detail. She realised that Ernest and Freddie were not the only cross dressers in London and were not even the most important cross dressers. In fact the scene was one that involved many important figures including royalty (eg the Prince of Wales), members of parliament (including the Prime Minister) and members of the nobility. How far would Mattie have to go to protect her family and how far would aristocratic families go to keep their names out of the papers? We know that 1870s citizens were shocked by the rumours of cross dressing balls, but would the response be very different in 2015? Would the paparazzi not hound any minister of the crown caught in frilly knickers at a nightclub, even in these uber cool days?
It's a bleak journey.
These bizarre images show the exhibits from a Victorian museum, which included dioramas of squirrels playing cards, birds at a funeral and a goat-riding monkey.
Kissing, embracing and reclining in intimate positions, these incredible photographs provide a rare glimpse into women who dared to display physical love in the 1800s and early 1900s.
Chestnut vermicelli - a traditional Austrian dessert - made with chestnuts, vanilla sugar and whipped cream. This recipe is from the Victorian era.
During the early and mid-Victorian era, a great many health and beauty books echoed the popular 19th century sentiment that plumpness equaled good health. It was leanness, not heaviness, to which beauty experts directed the majority of their criticism. For example, in his 1870 book Personal Beauty: How to Cultivate and Preserve it in Accordance with the Laws of Health, author Daniel Brinton states that a “scrawny bony figure” is “intolerable to gods and men.” According to Brinton, the only occasion on which excessive leanness had ever been beneficial to a lady was in an encounter with a cannibal. As he explains:
A Georgian townhouse in Bath with a serene, modern interior (and a colorful surprise)
Our comprehensive guide to understanding photographic prints, how archival they are, how they're made, and why artists like to use them.
The sisters Florence and Mary Martin were "employees" of P.T. Barnum of New York during the 1800s. en.wikipedia.org/wiki/P._T._Barnum 6 months after posting this image, Flickr commenter Lyneille made positive ID. A thumbnail of these two is found here : www.sideshowworld.com/BL-History-Albinos.html A web search will turn up more info. Thanks, Lyneille !
Take heed of these 38 vintage conversation rules from 1875, and you'll get through every conversation with grace and poise.
"For a generation America succumbed to the Anna Held craze. There were Anna Held corsets, facial powders, pomades, Anna Held Girls, Anna Held eyes and even Anna Held cigars. She toured the country like a conqueror and no matter where her private car stopped, she had to step out on the observation platform and greet laborers and shop girls who waited since daybreak to catch a glimpse of her before reporting for work. Anna Held was the most buoyant and cheerful spirit that ever swept across the stage. To this day stage hands throughout America doff their hats at the mention of her name." ~~ Eddie Cantor in 1934 "The season before last it was Maude Adams; last season it was Mrs. Carter; and now it is Anna Held...Hitherto she has been regarded as a petted and spoiled child of the music hall - a piquant feather brain with no deep emotional substrata. But presto change! All at once she reveals herself as an artist of wide range and admiral skill!" ~~ newspaper critic in 1899 "Anna Held was a woman's favorite from the start. She was soft and winsome, with...the exuberant spirits and harmlessness of a playful white kitten. The harshness, audacity and strident assertiveness of the typical chantant singer did not enter into her method." ~~ newspaper critic in 1901 "I love to see 'Anna Held' in the papers. I read them every day just to discover if one mentions Anna Held. And if I do not find it I am no longer interested. The papers seem very dull if I do not see my name in them." ~~ Anna Held "One moment I am all emotion, another is all sympathy, and then again I am just gay, and I am Anna Held." ~~ Anna Held "There are few actresses of the day who understand as well as she how to get the best possible results from any given pose. Again and again she makes a posture of herself that an artist would be only too glad to paint could be have the opportunity." newspaper critic around 1905 "Stop crying hard times - get busy and you will do as well as Anna Held!" ~~ St. Louis newspaper in 1907 "[Anna was] as piquant as ever, and as she was in splendid voice all her songs went with a vim. It is worth going miles to see her alone, but thanks to her liberal ways of doing things, she allowed others to share in the honors." ~ newspaper critic in 1908 "It seems to me that the whole tendency of modern fashion is not to make women beautiful, but only to martyr them. Big hats are not comfortable. Yet all women wear them. I myself have worse hats than anybody." ~~ Anna Held "Why be jealous? It makes a woman ugly. If there is one who loves you truly he will love you without giving you anxiety; and if he is not of that sort...why give yourself trouble about him?" ~~ Anna Held ** All of the above quotes were taken from the book Anna Held and the Birth of Ziegfeld's Broadway by Eve Golden **
During the early and mid-Victorian era, a great many health and beauty books echoed the popular 19th century sentiment that plumpness equaled good health. It was leanness, not heaviness, to which beauty experts directed the majority of their criticism. For example, in his 1870 book Personal Beauty: How to Cultivate and Preserve it in Accordance with the Laws of Health, author Daniel Brinton states that a “scrawny bony figure” is “intolerable to gods and men.” According to Brinton, the only occasion on which excessive leanness had ever been beneficial to a lady was in an encounter with a cannibal. As he explains:
