These chairs are after a model and drawings by Thomas Hope, the famous neoclassic designer of the late 18th and early 19th century England. One of his chairs you can find at the V&A website, another model is homed at the Chicago Art Museum. Both these chairs are more detailed and refined compared to the models offered here. However the design is clearly taken from the Thomas Hope Models. Thomas Hope published his sketches of furniture in a Folio volume, titled " Household Furniture and Interior Decoration in 1807. His publication had considerable influence and brought about a change in the upholstery and interior decoration of houses of that period. The pseudo-classical manner was generally called "regency revival". The chairs offered, interpret the design by Thomas Hope in a very stylish way. less
.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: 12" x 18" Finished Size: 12" x 18" .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: 55987914735A
Regency Core fashion, inspired by the Regency era of the early 19th century, encapsulates an aesthetic of refined elegance and grace.
Built as a Regency style mansion in 1819, the Owens-Thomas House and slave quarters allows visitors to explore the history of Savannah, GA in the early 19th century.
Download Image of Thomas Rowlandson, Modern Antiques, probably 1811, NGA 31965. Free for commercial use, no attribution required. Thomas Rowlandson - English caricaturist of the 18th and early 19th centuries Britain, known for his humor, caricatures, satirical drawings, and watercolors, a popular artist in the Regency period in England.. Dated: 1811. Topics: images from the national gallery of art, prints in the national gallery of art washington d c, thomas rowlandson, ultra high resolution, high resolution, nga
A sewing Pattern for a Regency Style Chemisette, used under a dress or jacket to fill in the low neckline, or add more style to gowns of the early 19th century. No lady would have been without several of these to wear by day, or even evening. Pattern gives multiple Collar options: for single, double, or triple ruffled neckline! Fashions Revisited Patterns TM are based on surviving garments, and pictorial documentation such as period satires, paintings, and other sources. Whether you are a Reenactor looking to make your own clothing, a seamstress producing clothing for a theatrical production, or you simply want a unique garment for a special occasion our patterns will help you on your way! Pattern includes all sizes from small to x-large, full size paper pattern, historical notes and instructions. (Images of the chemisettes shown in this listing are examples of the finished product using this pattern, and are not included)
From the seller: For your consideration is a Superb RARE Ladies pocket from New England and is late 18th or Early 19th C. I swore I would never sell this but here it is.. I know I will regret it! Ladies pockets were used to keep their sewing scissors, thimbles, keys, thread and other household and sewing necessities close at hand underneath their outerskirt and petticoats. A handwoven tape attached this to her waist. The tape is missing from this piece long ago.. I can't stress how rare these are and the roller printed bittersweet fabric is to DIE FOR! the binding roller printed calico is fragile and has split but most of it there. The backing is hand woven linen , stitching is 12 to 14 stitches per inch.. If you love early fabrics , clothing and accessories this is for you. I bought this from a dealer friend in CA , she bought it many years ago I believe in New England. I paid A LOT for this so will be monitoring interest . I start my auctions with low $10 starting bid. I reserve the right to end the auction if not enough interest in the piece. size : 15" long 10.5" wide Date: Late 18th C to early 19h C Condition: -Exceptional! the roller printed fabric is in great condition! some slight fading.. edge binding is fragile and frayed at the edges.. there is slight soiling to hand woven linen backing and small 1mm hole lower left corner. From Me: Pockets, like this, were worn well into the 19th C in rural areas where fashion wasn't as important as function. The prints look late Regency to my eye and I think this is more 1820s.
Happy Bastille Day! To celebrate, Refinery29 is rounding up the chicest French fashion icons in history!
PDF PATTERN Authentic pattern for Regency era short stays. Our pattern for Regency era short stays with front lacing is based on contemporary illustrations from around 1803-1820. They are designed to separate and lift the bust, creating the perfect fashionable Regency silhouette! The pattern comes with two shoulder strap options: choose from fixed or adjustable straps with eyelets. Includes 9 Sizes: 34-50 (= Bust: 84-122 cm =33 1/2-49″) This listing is for the PDF version! Your files will be available for immediate download after purchase! The pattern consists of 5 pages to print at home, sizes are marked in different colours. You will receive full instruction manuals in english and german language!
Country Mouse Wool Throws Inspired by Bridgerton The world of Bridgerton has transported us to a wonderful time of elegance, romance and beautiful aesthetics. The timeless elegance of the Regency period can easily be blended with the charm of a country lifestyle, this will ensure a perfect mix of sophistication and comfort. In this blog, we will explore how Country Mouse wool throws and blankets, inspired by Bridgerton, can bring a touch of Regency-era refinement to your home, creating a haven of warmth and texture. . Country Living meets Regency Elegance. Country Living, from my favourite lifestyle magazine, is all about warmth, style and simplicity. Enjoying a close connection to nature, connecting to nature can mean many different things, however, it can involve bringing aspects of the natural world into your home décor. An easy way to do this is through the use of colour. Introducing wool blankets and throws inspired by Bridgerton into your home is another simple and cosy way to do this. Not only will wool throws add colour, but they will also add texture, warmth and interest. This is quite straightforward to achieve. To do this, use soft classic colours such as duck egg, soft sage greens and powder blues. Adding a hint of soft pink will also add a touch of regency opulence. To achieve the desired regency feel, think about soft textures and delicate patterns, you can even incorporate delicate florals and botanicals. To add regency colours to your home, duck egg, sage green, delicate blues and soft dusty pinks are perfect colours. Wool Throws are Timeless. Wool throws and blankets are, in my opinion, an essential item.in any home but especially in a country home and for anyone wanting to add a hint of Regency colour. Wool throws, offer unmatched warmth and comfort. Wool throws, by their very nature, are made from natural fibres. This makes them very durable, breathable, and perfect for snuggling under on cool evenings. With a little care, a wool throw will last for many years. Choosing the perfect pattern and colours. Country Mouse has a wide range of wool throws to choose from, so choosing a wool throw may seem a daunting task. However, when choosing your perfect Bridgerton-inspired throw, focus on details that will compliment your home. Look for subtle patterns, such as Harald, herringbones, velvet or knut patterns. Plaids may be too bold or busy for the Regency style. The aim here is subtle and understated elegance. In terms of colours, look for dusty rose, soft pale pinks, pastel pinks, dusty blue throws sage greens, and of course the classic duck egg wool throw. These colours are quintessential regency colours that will also blend well with other elements in your home. Layering for a cosy regency vibe Layering is key to creating a cosy and inviting atmosphere in your home. Drape wool throws over sofas, armchairs, and beds to add depth and texture. Mixing different patterns and colours can create a visually appealing look that is both charming and elegant. Imagine a soft velvet duck egg wool throw paired with a Harald sage green one—each piece tells its own story while contributing to the overall warmth and beauty of the space. Where to shop for Bridgerton Inspired Wool Throws When searching for the perfect wool throws. Country Mouse offers wool throws that are made from high-quality wool and are available in a wide range of patterns and colours all of which work well within a regency-inspired home décor. By incorporating Country Mouse wool throws into your home, you can create a space that exudes both charm and refined elegance. These throws provide the perfect blend of comfort and style, making them a versatile and timeless addition to any room. Whether you're a dedicated fan of the series or simply appreciate the beauty of classic design, these wool throws are sure to enhance the cosy, inviting atmosphere of your home. .
Zunächst einmal möchte ich mich herzlich bei meinen werten Lesern für ihre Geduld bedanken, die hoffentlich heute reich belohnt wird. Ich...
This is not a printed pattern. This is a digital download. Pattern # 115 Laughing Moon Mercantile - Celebrating our 30th Year Ladies' Regency & Romantic Era Corset 1805 - 1840 with corded & Theatrical Versions of the Corset with Chemise Misses Sizes 4 - 40 - 19 Sizes Included All in the Download - Size Layers and Garment Selectable Ladies' Regency and Romantic Era Corset, Corded and Theatrical Versions, with Chemise, approximately 1805-1840. Taken from a real period corset and chemise. You can choose to print only the garment you want in the size you want. This pattern includes two versions of the corset: full traditional corset with cording, an easier theatrical version, with a short option for both. The chemise is also included. This corset has all sizes 4 - 40, both in color and black/white patterns, with size choices in the layers, so you can print out only the garment you want in the size you want. All versions of the corset can be made with front opening. View A is a traditional lightly boned, corded corset with slashed and inserted gussets. The corset is lined and corded with cotton string. It is constructed with 5 major pieces, shoulder straps, and eight gussets. The corset is bound on top and bottom. Metal eyelets were invented in 1828 and can be used, or the eyelets can be hand worked. View B is a theatrical version designed to give the same relative silhouette with a simpler construction. It has seven major pieces, shoulder straps, and two gussets. Suggestions are given for boning. Chemise: It is constructed of two major pieces with shoulder straps, sleeves, and sleeve gussets. It has a drawstring neckline all the way around. An addendum has been added to the pattern to make the short version of the corset. This is a digital download that contains multiple files. There are files for the instructions, the front and back cover of the pattern, and one Read Me First file that describes how to print the pattern. The A0 size pages are meant to be printed at your online or local copy shop that has wide format printers, or you can print them on your home printer by using the "poster" option in Acrobat. You must have Adobe ACROBAT Reader (it is free) installed on your computer in order to be able to open these pattern files. You can get the free program here: https://get.adobe.com/reader/
19th Century antique rectangular pier mirror, the central mirror plate surrounded on all sides by four panels of verre églomisé designs on a green and gilded background. The frames outer border is a carved egg and dart pattern, the inner border is in a spiral design. It can also be hung horizontally as an overmantel mirror. There is one panel with broken glass but it is hardly noticeable. See photo. Verre églomisé is a French term referring to the hand-painted process of applying a design, color and gilding onto the back of the glass to produce a mirror finish. The technique dates back to the Roman era. The name is derived from the 18th-century French decorator and art-dealer Jean-Baptiste Glomy (1711-1786), who was responsible for its revival. less
Corded 1820s corset is supposed to be a brilliant part of biedermeier costume. It lifts the bust, creating early 19th century shape, reduces waist a bit and make the figure gracer. The frontal busk panel doesn't allow to avoid slouchig. The corset is made of satin cotton fabric and lined with cotton. It's decorated with between layers cord rows and embroidery. The busk is wooden, it can be replaced by the custom one, if you hae yours. The corset is closed on back lacing. Customization of colour, decoration and fabric is possible!
Tono Maria was a South American woman who was displayed at freak shows in London during the early 19th century. She was an Aimoré woman who was born in the Minas Gerais region of Brazil and eventually moved to London at some point in her life. Marketed as the “Venus of South America”, Maria was displayed on numerous freak shows throughout the city, where her body scars (which were claimed to signify a sexual transgression she had committed), large figure, lip and ear plugs became objects of fascination for numerous spectators who viewed her.
This blog post aims to give you a brief outline of how a Regency woman would be dressed. The thing is, so many authors assume their readers know what a spencer jacket is, what a shift is, what stay…
Design*Sponge had a quick post about valentines that Hello Handmade is making this year inspired by Jane Austen. It mentioned that these valentines are folded in the regency style. So, if you read my featured seller interview, you know that...
The Famous Writer and Popular Novelist Charles Dickens seated at his desk writing, in this instance using an earlier quill pen [Source : Wikipedia] There is something very personal and satisfying about writing and actually receiving a letter. But in this high-tech age the art of writing a traditional letter has increasingly fallen victim to the ubiquitous and informal email or simply writing a short and often hurried message inside a Christmas, gift or condolence card. "The Imperial Letter Writer", including examples of letters to titled persons [from my own collection] By the Victorian era letter writing was truly an art and high standards were expected. As with so many other things, there was a correct and proper way to do things and no one should be in any doubt as to how this should be achieved. The etiquette around how to compose a letter, be it either for personal or business mail, was clearly laid out in popular letter writing manuals which covered the general format of most commonly written letters. While most examples are terribly verbose or overly effusive by today's standards one should always take such things in the context of the time. From an early age all educated children would have the basics of letter writing instilled in them simply because there was no other means of communication available to them should a personal visit not be possible. It was a source of great pride to be able to write a good letter and indeed such was expected of all well educated people. "The Art of Traditional Letter Writing" So, as a little bit of period entertainment, let me personally guide you through the process of writing a personal letter using items from my own collections which would have differed very little from the first few decades of the 19th century. Our intended recipient is the Father of a women to whom he wishes to express his close affections - but etiquette dictates that this requires her Father's permission. If in any doubt as to the standard format and wording we should consult our helpful letter writing manual. Our paper will be one - and only one - sheet of English A4 sized (210mm by 197mm) good quality white un-lined paper (US A4 sized paper can be used and folded to suit final sizing later). The reason for the size and the limit of one sheet of paper will become very apparent later. The paper, which is hand-made, will ordinarily have a visible watermark and will have been made of recycled and bleached fibre extracted from cotton and linen rags. This actually produced an excellent acid-free paper which has thus lasted extremely well, especially when it was used for printing newspapers. In fact it was the then commonly used and corrosive "iron gall" inks which have caused the most damage to surviving early letters. Acidic wood pulp for manufacturing paper did not commence until after 1843 but good quality "rag" paper generally continued to be used with formal letters for many years after this date. My mid 19th century Coromandel Wood "Writing Slope" We shall also need our writing slope which normally holds all our writing requisites in various compartments. The general design of writing slopes had changed very little since the late 18th century, the Novelist Jane Austen having a very similar one which still survives, being preserved at the British Library. My own circa 150 year old brass-bound coromandel wood writing slope with interior mahogany joinery dates from the era 1840's to 1870's, having been brought to New Zealand in early 1879 by my 28 year old Scottish Grandfather on the 100 day non-stop voyage of the sailing ship "Dunnottar Castle". But it most likely originally belonged to his own Grandfather who died in 1870 or his parents who died in 1862 and 1865 respectively. As with many writing slopes, this one includes a secret compartment with small drawers to hold valuable items. A Selection of Steel Nibs for Dip Pens. Steel nibs were mass-produced from 1822 [Source : Wikipedia] We shall next need a steel nib "dip" pen along with a bottle or container of ink. New mass-produced steel nib pens became very popular after 1822, prior to this quill pens were in commonly use. The latter were long feathers which had the end cut to form a fine point but required frequent sharpening, this process being called "dressing". My writing slope contains two small glass ink-wells with both black and dark brown ink. But black would be the standard colour to use for our purposes. Blue ink appears not to have been in common use at this time. We shall however use our earthenware ink-well, being of a type in common usage as the ink would be sold in these stoppered containers which also came in a larger size. Dip pens, using removable nibs and which were required to be frequently dipped into the ink, came in fine, medium and wide variations. Some types of nibs were more suitable for particular styles of writing than others and gave more control over the amount of ink applied, just as with ball-point pens today. Fountain pens were not in general use until the 1850's although early variations on this theme existed. "Routledge's" Letter Writing Manual To compose our letter, let us consult our letter writing manual. A flowing style of handwriting was fairly standard, partly on account of nib pens being more suitable for this style of writing lest the ink dribble and cause unsightly ink spots. To avoid smudging we occasionally need to carefully "blot" the writing with a "blotter", being absorbent card used to remove any excess ink. This could either be a flat card or a "hand blotter" with a blotting card attached to a curved block of wood with a handle which we would place over the writing with a rolling motion. The latter could be quite elegantly detailed in brass or silver and perhaps even forming part of a full gentleman's or lady's writing set. The "Sheridan Improved" Dictionary, 1813 [Source : Wikipedia] A dictionary will guide us in regards to correct spelling and even grammar, the revised version of Thomas Sheridan's popular English Dictionary of 1780 being very helpful. An Example of "Cross-Writing" [Source : Paperblanks.com] Should we run out of room on our page, and remembering that we should only write on one side, we could as a somewhat casual but convenient expedient turn the page 90% and "cross-write" sideways. This practice would have been considered as more appropriate for personal mail to a family member or close friend and would normally be kept to a minimum due to the likely loss of legibility. But this did not stop some well-known Novelists in indulging in "cross-writing" whole pages of their letters, even those sent in envelopes. One could however write on the rear of the two side "flaps" of the letter (explained below) but that portion of the letter could be viewed during transit so would not be confidential. The format of our letter Finally, upon completing and signing our letter we can move onto the final stage of creating our "envelope". A letter from 1840 showing the position of the four folds. Note that the reverse of one side flap has been written on. [Source : Regency Stamps] Now with a ruler and holding the page length-ways with the writing facing toward us, we fold the two sides edges almost vertically inwards so that the two folds just touch each other. Next, holding down the two side folds and again using your ruler, fold the letter horizontally upwards about 76mm from the bottom of the page. Now, again with your ruler, fold the very top of the letter horizontally downwards about 30mm from the top of the page. This now enables us to tuck the top fold into the bottom of the letter to form a self-made envelope measuring around 148mm by 100mm. Finally, ensuring that where the two parts are slipped into each other on the reverse of our "envelope" is at the bottom, write the recipients name and address on the front but leaving room for the postal stamp impression at the top. The wax seal on a letter from 1836 [Source : Grosvenor Auctions] The last part of the process would be to seal our letter in order firstly that it did not burst open in transit and secondly that it was not fully opened by prying eyes, either in transit or upon delivery. Even now, by pushing apart the top and bottom sides you will see that our writing is fairly well obscured by the original folded side flaps. While hand made envelopes as we know them today were in fact available these were generally only used by the aristocracy and the very well to do. Prior to 1839 the use of an additional envelope meant that the letter was then counted as two sheets of paper rather than one thus an additional postal charge would be levied. Gold Wax Seal with Carnelian Intaglio (in middle foreground) with sealing wax and another family owned gold seal at rear [From my own collection] We now make use of our wax seal by using a candle or preferably a wax taper (used to light oil lamps) to melt one end of our stick of sealing wax, allowing a sufficient amount to dribble onto the centre of the join on the reverse of our "envelope". We must ensure that we do not heat the red wax so much that it blackens or worse still, catches fire. By my own experience this only comes with practice! Alternatively, granules of the red wax could be melted in a spoon over a candle and placed on the paper. Very quickly before the wax dries we place our wax seal firmly over the soft wax thereby leaving an impression from the seal and ensuring the wax has adhered firmly to the paper. The letter cannot be fully opened without breaking this quite effective seal and signs of any tampering would now be very evident. By keeping the seal at the same side as the bottom of the address on the reverse (front) side this should ensure that the Post Office hand stamp impression will not be placed anywhere near the wax seal, either cracking it or risking an indistinct stamp impression. The family owned gold seal I have used holds an inset carnelian intaglio bearing the engraved intials,"J.H." in a Flemish style script, being for my Great Great Great Grandfather Mr John Hall, a "portioner" [land-owner] residing in Roslin village, Midlothian in Scotland and who died in 1835. The second gold seal at rear belonged to my Great Grandfather, a Merchant in Edinburgh, who died in 1862. Most individuals of reasonable means owned personalised seals. This mid-directed letter from 1835 is proof that mis-sent mail was then a common problem [Source : "British Postal Museum & Archives"] Finally we must entrust our sealed letter to the postal system although we could not guarantee a speedy delivery. Letters prior to 1840 were carried by means of a rather archaic postal system which the great Post Office Reforms of 1839 and 1840 sought to address. Up to this date local Post Office Agencies took a fee and stamped the letter with a rubber stamp, each town or post office having their own unique stamp which might be the name of the town, a number, or the date or a combination of all. This or another stamp may also show that the required postage had been paid although, quite oddly, it was much more common for the recipient to pay the postage charge upon delivery of the letter. Post Office Postal Charges from the 10th Jan 1840 [Source : Wikipedia] An aged family relative wrote in 1883 that a good many old buildings were still standing in the Candlemaker Row in Edinburgh, "...notably the Harrow Inn, where in the times of our Fathers, was the place where all the letters for Roslin [village] were left till they were called for by some one who happened to be going out…" Such a haphazard payment and delivery system was inefficient and no longer appropriate as the amount of postal mail increased exponentially. The famous "Penny Black", introduced in 1840 [Source : Wikipedia] Under the reforms proposed by Rowland Hill, and upon the introduction in Great Britain of the famous adhesive "Penny Black" in 1840, postage was now based on weight. Slowly a more ordered postal system evolved, an efficient postal system also aided commerce and the general transaction of business. Image Copyright : Unless otherwise stated, all images are from my personal collections and may be freely copied provided this site is acknowledged. Bibliography / Rārangi Pukapuka : Personal family archives and artefacts Various Internet Resources
Built as a Regency style mansion in 1819, the Owens-Thomas House and slave quarters allows visitors to explore the history of Savannah, GA in the early 19th century.
Birch timber frames come with a Ten Year guarantee Handmade in Britain Super soft feather fibre seat Available in full fabric Fibre Feather Mix Standard Back Available in Castor or Tapered Antique feet without Castor
