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Galavant 2x10

#galavant #to watch

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«Девушка с цветами» (1873)

Венгерский художник József Borsos (1821-1883).

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Fairytale core 🌹

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Brooch

Marcus & Co. (New York City, New York)

c.1900

This exquisite brooch is one of the few extant examples of plique-à-jour jewelry made by the New York firm of Marcus & Co., whose reputation at its prime rivaled that of Tiffany & Co. Herman Marcus (1828–99), a German–born and Dresden–trained jeweler, arrived in New York in 1850 and worked for a number of prestigious firms before establishing Marcus & Co. in 1892. Following his death, the company continued under the direction of his two sons, George Elder Marcus and William Marcus.

The brooch is a superb example of Marcus & Co.’s work in plique-à-jour enameling, in which the "cells" of color have no backing, allowing light to shine through the transparent enamel, thereby creating the effect of stained glass. One of the only jewelry firms of its day to succeed at this challenging technique, Marcus & Co. followed the lead of such innovative French designers as René Lalique. The sensitive 3-dimensional sculpting of the sweet pea blossoms and leaves, as well as the naturalistic coloring of the enamels, reflects the Art Nouveau aesthetic that prevailed at the turn of the century. Indeed, close parallels can be drawn with the brilliant naturalistic work of Louis Comfort Tiffany, whose oeuvre is so well represented in the Met’s collection.

The MET (Accession Number: Accession Number: 2016.107)

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Dress, ca. 1860

European, cotton

The MET Museum

#victorian #victorian era #victorian fashion #fashion history #historical fashion #19th century

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Maternity dress, 1875-1880

Australia

Maternity dress of white printed pattern of logs in green and brown. Two rows of wide ruching down front and on sleeve cuffs. Fastens center front with thirty-five spherical plum coloured buttons. Adjustable cotton tape casing under bust. Full gathered panel centre back. Waist tie attached at centre back. One patch pocket on right side.

National Gallery of Victoria, Melbourne

Gift of Miss Irene Mitchell, 1975

Photo: National Gallery of Victoria, Melbourne

#victorian #victorian era #victorian fashion #fashion history #historical fashion #19th century #maternity dress

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READ IN 2021 ➼ mansfield park by jane austen

He was evidently oppressed, and Fanny must grieve for him, though hoping she might never see him again till he were the husband of some other woman.

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A Girl with a Basket of Flowers John Opie (1761–1807) National Trust for Scotland, Leith Hall Garden & Estate

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Rag doll with face, body and hands in white cotton stuffed with cotton waste and clothed in patterned coloured cottons, representing a woman in everyday indoor working dress of the type worn by the maker: Iran, Kerman, made by a female house servant of the donor's parents, c. 1920.

Image © National Museums Scotland

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Muff, late 19th century. Source.

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Personal hygiene in the Victorian Era

The Victorian Era was filthy by modern standards. The well-known maxim 'Cleanliness is next to Godliness' was coined by the preacher John Wesley in 1778, but London had certainly not taken his words to heart. The upper classes generally bathed only a few times a month (and the lower classes even less frequently) and usually not at home. Instead, they headed to the Turkish baths that had become popular from the 1850s, particularly among upper-class men. By the end of Victoria's reign over 600 Turkish baths had been built across the country. For women, costly bathhouses offered arsenic and lime washes to chemically burn off body hair if they did not want to shave, as the vogue for sleeveless evening gowns meant that upper-class women had to depilate.

(x x x x)

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"Eye" brooch, early 19th century, English

Portrait miniature possibly on ivory; pearls; rock crystal; gold

So-called Lover’s Eye jewelry was fashionable between 1780s and 1830s both in England, on the Continent and in America. This fashion seems to have been initiated by the Prince of Wales (the future George IV), who sent a miniature of his own eye to his lover, Mrs. Mary Fitzherbert. Such miniatures were mounted as rings, pendants or brooches and were worn by the beloved. Associated with purity and tears, pearls are frequently set into the frame of this kind of jewelry and might have added a commemorative aspect to the jewelry, to remember a deceased loved one.

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wheeled animals from antiquity

Buffalo - terracotta - Greek, Magna Graecia, Archaic Period,1200-800 BCE

Horse - terracotta - Indus Valley civilazation, Pakistan - circa 3300-1700 BCE

Jaguar on wheels doubled as a whistle - terracotta - Tres Zapotes (Gulf Coast region of Mexico), circa 600-900 CE

Horse - painted wood - Akhmim,  Egypt - Roman Period, 1st-3rd century CE

Bull - terracotta - Cucuteni-Tripolye culture of western Ukraine - circa 3950-3900 BCE

Horse - terracotta - from a Greek tomb - 950-900 BCE

Jaguar - terracotta - Tula, Yautepec Valley (Central Mexico) - Toltec period, 900-1100 CE

Mouflon Ram - terracotta - Elamite - circa 2500 BCE

Deer or Dog - terracotta with bitumen eye and nose - Remojadas (Veracruz Gulf Coast)  - 100 BCE to 800 CE

Horse or possibly Camel - terracotta - Altyn-Depe, Turkmenistan -  3rd to 2nd millennia BCE (abandoned around 1600 BCE)

Porcupine pottery - Inshushinak in Susa, Elamic Empire - 1500-1200 BCE

Cock - terracotta - Ephesus,Turkey - 3rd century BCE

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Dress, Australia, 1857-1865

MAAS Museum

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Gown, circa 1790-1810, silk, linen, cotton.

Rijks Museum

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Tennis gown with long sleeves and wide waistband, of transparent woven white cotton, decorated with stitched and open seams, white embroidered flower and leaf branches and lace, 1900 - 1910. Rijks Museum.