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| Peterson's Magazine, June 1864. NYPL Digital Gallery. |
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Peterson's Magazine, June 1864.
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Border in Russian embroidery ; Young misses' and children's fashions. Peterson's Magazine, December 1864
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| Border in Russian embroidery ; Young misses' and children's fashions. Peterson's Magazine, December 1864. NYPL Digital Gallery. |
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The Brighton. Peterson's Magazine, October 1864.
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| The Brighton. Peterson's Magazine, October 1864. NYPL Digital Gallery. |
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Canezou Bodice. Harper's Magazine, June 1861.
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| Harper's Magazine, June 1861. NYPL Digital Gallery. |
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Anne Emily Sophia Grant (known as 'Daisy' Grant), Mrs William Markham, 1857
Anne Emily Sophia Grant (known as 'Daisy' Grant), Mrs William Markham (1836 - 1880)
Sir Francis Grant
1857
Acc. No. NG 2783
Medium Oil on canvas
Size 223.50 x 132.30 cm (framed: 260.20 x 169.20 x 13.00 cm)
Credit Purchased 2005
National Galleries of Scotland
Sir Francis Grant’s affectionate depiction of his daughter ‘Daisy’ was painted in February 1857, and first shown in Scotland at the Royal Scottish Academy in 1859. This portrait is in excellent condition, and shows the artist at the height of his powers. It was painted just before Daisy’s marriage to Colonel William Markham. In depicting his daughter, Grant was unconstrained by the demands of a commission. For a mid-century portrait by a painter at the heart of the artistic and social establishment, it is startlingly direct.
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Joséphine Bowes, Countess of Montalbo, 1850
Joséphine Bowes, Countess of Montalbo
Collection:Bowes Museum, Barnard Castle
Artist:Dury, Antoine (French painter, 1819-after 1878)
Date:1850 (dated)
Signed:yes
Description:Joséphine Coffin-Chevalier met John Bowes in 1847 in Paris. Together, they were to found the Bowes Museum, and this painting, even though made well before the museum took shape, shows the young woman with all the appearance of a benefactress. A young actress, she became John's mistress and they were married in 1852. This portrait shows her at the age of twenty five, in her Paris home, with her dog Bernardine. It was retouched by Eugène Feyen afterwards, but it is not clear why. Joséphine became Countess Montalbo in 1868, the coat of arms with the countess's coronet is therefore a later addition.
Current Accession Number:B.M.297
Former Accession Number:No. 40
Inscription:front cr 'TONY DURY 1850'
Measurements:196 x 128 cm (estimate)
Material: oil on canvas
Acquisition Details:Bequeathed by the founders John and Joséphine Bowes 1885.
Provenance:Bought from the artist by John and Joséphine Bowes.
This painting was listed as no. 40 in John Bowes' catalogue, under the title Portrait of Madame Bowes when about thirty (?) years of age. John Bowes adds: 'This picture was painted by a young Artist - §A.Dury§, about 1850. Retouched by §Eugène Feyen§ - some years afterwards.' Joséphine's arm leans on a Boulle table, and a Boulle bookcase can be seen in the background. On the table rest the text of several plays in which Joséphine appeared when an actress at the Théâtre des Variétés on the Boulevard Montmartre in Paris, under the stage name Mademoiselle Delorme. John Bowes was the owner of this theatre, which he had purchased in 1847. There is what appears to be another painting representing Joséphine Bowes, very similar to this. It is by Alfred de Dreux and is kept in a private collection in France.
The Bowes Museum, Barnard Castle, Co. Durham (UK)
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Woman Taking Snuff, ca. 1855.
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| Woman Taking Snuff, ca. 1855. Image via Retronaut. |
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CDV, Minnie Rosenbaum & Friend (mourning) 1866
CDV - 2 3/8 x 4 inches - dated on reverse Jan. 1866 - logo Mansfield & Cos. City Gallery. Meine (Minnie) Rosenbaum (on left) born 25 December 1843, younger sister to Lieut. Henry A. Rosenbaum with an unidentified friend. Minnie is wearing deep mourning for her father Jacob Rosembaum, who died 21 Dec. 1865. Minnie married Walter Jewett in 1873, and the family lived in Cumberland, Maryland.
via smugmug; user Jamieos
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Charles Augustus Maertz and his wife Ottelia Obert Maertz, image tax stamped
CDV, 2 3/8 x 4 inches - logo on reverse G. & A. Moses, Quincy, IL and also a tax stamp - 1860s. This has been identified as Charles Augustus Maertz and his wife Ottelia Obert Maertz, born 16 May 1811 in Burbach, Baden, Germany, immigrated with her brothers to the US in 1828, and died in Quincy, IL 18 August, 1903. Charles Maertz, born in 1811 in Prussia, died in Quincy in 1890.
via smugmug; user Jamieos
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CDV: Margaret Roxburgh McLennan, n.d.
Margaret Roxburgh McLennan (Glasgow, Scotland)
Margaret in the 1860s, when hoop skirts were the height of fashion. Margaret seems to have been very clever with a needle, as her clothes through the years were very modish, beyond what she could have afforded without her sewing talent.
via smugmug; user Jamieos
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McLennan Family of Glasgow, mid-1860s.
The McLennan Family in Glasgow in the 1860s: identified are, back row, left to right, William with dark hair and beard, and to his left and balding, James Bowman, William's brother-in-law and at one time his business partner, and at the end in profile, James Bowman's wife and William's sister.
Seated in the front row, behind the table, Donald McLennan, Kenneth's younger brother, and to his left, possibly Janet McLennan, Kenneth and Donald's sister.
The rest are certainly all either William's sisters and spouses, or perhaps Donald's children. Sadly we will never know.
via smugmug; user Jamieos
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French cameo brooch of Flora, ca. 1840
Camée néo-classique en agate. Flore. (Neo-classical agate cameo depicting Flora)
Broche en or ciselé, ornée d'un camée en agate rubannée à 3 couches (alternativement onyx, calcédoine blanche et sardoine brune), d'une exceptionnelle qualité, représentant un buste de Flore, déesse du printemps, de profil à droite. (Cameo is in an engraved gold setting, and is a banded agate, alternating onyx, white chalcedony and brown sardonyx. In exceptional condition, profile faces to the right.)
Très charmant sujet de Flore, déesse du printemps et de la végétation, reconnaissable aux fleurs qui ornent ses cheveux. (Very nice depiction of Flora, goddess of spring and vegetation, recognizable by the flowers that are in her hair. )
Très belle qualité de la gravure et sensualité du sujet. (Very fine quality carving that captures the spirit of the subject.)
Parfait état. (Mint condition)
France, époque romantique, vers 1840. (French, Romantic Era, ca. 1840.)
Dimensions de la broche : 43 x 43 mms (Overall dimensions)
Dimensions du camée : 32 x 21 mms (Dimensions of cameo itself)
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Garnet & Pearl Pendant Earrings, British ca. 1820-40
Antique Georgian - very early Victorian pendant earrings. 15ct gold, garnets and pearls. Made in England circa 1820 - 1840.
Measurements: Length is approx 33.5mm, not including the wires. Note: ruler in pictures in inches. Total weight 12.7grams.
Pendant earrings in two parts: the surmounts are round with concentric rings of garnets and pearls, with a larger garnet in the center of each. Garnets are flat on top with delicate faceting around the edges. Both pearls and garnets are well matched. Pearls are presumed natural since they predate cultured pearls by 80 years. A tear-shaped drop is suspended from the surmount by a loop, allowing it to swing as the wearer moves. The drop also consists of alternating garnets and pearl rings. Rounded gold closed backs, typical of the Georgian era. Gold wires easy to insert and comfortable to wear, possibly later replacements. Workmanship of the highest order. Aesthetically magnificent.
Brenda Ginsberg Antiques
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Video: Women in the Civil War
Jeanie Attie, professor of history at the C.W. Post Campus of Long Island University, provides a sweeping overview of the roles and images of women during the Civil War. She discusses northern and southern women and the ways the war shifted notions of domesticity and women's public space. This talk took place on July 17, 2012, as part of The Visual Culture of the American Civil War, an NEH Summer Institute for College and University Teachers.
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PURPLE STRIPE DAY DRESS, 1860s
1-piece, light weight wool woven in alternating dark & light purple stripes w/ orange pin stripes, jet F buttons & trims, cap sleeve w/ jet tassels, brown cotton bodice lining, B 35", W 27.5", L 54"-59"
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SILK MOIRE AFTERNOON GOWN, 1850
SILK MOIRE AFTERNOON GOWN, 1850
Chocolate faille, satin trim bands & silk fringes.
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Ladies' Archery Jacket, 1855
(Actually, I'd kinda like one of these for SCA archery...)
A side view of a three quarter length white cotton Marcella archery jacket with pagoda sleeves, trimmed in military style with braid and covered conical buttons. Worn by Mrs. Fanny Giveen (1833-1863), the wife of Captain Xavier Giveen.
Artist/Photographer/Maker
Unknown
Date
1855 AD - 1855 AD
Museum of London (via Print Division)
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Zouave Jacket, ca. 1863
Zouave Jacket
A black wool Zouave jacket, embroidered in chain stitch in arabeque patterns with pink silks, retailed by Peter Robinson.
The short, collarless, open fronted, Zouave jacket was fashionable between 1859 and 1865. It was inspired by the jackets worn by the French Zouave regiments who served in the Crimean War (1854-1855) and in 1859, when France, allied with Piedmont and Sardinia, fought Austria for control of northern Italy. In the battle of Magenta the Zouaves of the Imperial Guard won ten crosses of the Legion of Honour and fifty military medals. Shortly afterwards they led the assault at the battle of Solferino which broke through the Austrian lines and led to an Allied victory. The original Zouave troops came from the Kabyli tribe who lived in Algeria and Morocco.
This black wool jacket is embroidered in chain stitch with pink silks in an arabesque pattern. Other surviving examples are made in scarlet wool trimmed with braid or decorated with embroidery. The jackets were usually worn with a habit shirt or Garibaldi blouse and a skirt. This example was sold by Peter Robinson, who by 1860 had transformed his single drapery outlet into one of London's largest department stores, situated at 103-108 Oxford Street. The shop sold millinery, made-to-measure outfits and mourning clothes alongside loose-fitting, ready-made garments such as mantles and flounced silk skirts.
Production Date:
c. 1863
- See more at: http://collections.museumoflondon.org.uk/Online/object.aspx?objectID=object-81104&start=8&rows=1#sthash.h7ecZLWa.dpuf (Museum of London)
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Another Zouave Jacket, ca. 1865
Zouave Jacket
This type of open-fronted, short jacket became popular in the mid-19th century. It was often called a 'Zouave' jacket after the uniform of French army regiments first raised in 1831 in Algeria and recruited from the Zouaoua (or Zwāwa), a tribe of Berbers, the indigenous ethnic groups living in North Africa. During the Crimean War (1853 – 1856) the Zoaves first fought outside of Algeria.
The jacket was part of a group of objects donated by two sisters in 1937. According to a note in the file, one of them remembered
'this worn during the sixties with a loose thin white blouse, called a Garribaldi & dark skirt, probably merino, which was a popular material then, finished with a wide lace collar, brooch and long gold watch chain.
I think the jacket may be French and date 1864-6 as Clara Pitt then journeyed to San Remo and used to return with French outfits, & French presents and gay things for small nieces and nephews.'
Clara Pitt (1824-1910) was the daughter of George Ashby Pitt (c. 1782-1832) and Ann Lonsdale (1786-1860) and presumably was the aunt of the two sisters donating the jacket.
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Production Date:
c. 1865
- See more at: http://collections.museumoflondon.org.uk/Online/object.aspx?objectID=object-484465&start=9&rows=1#sthash.1ExL3ECv.dpuf (Museum of London)
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Wounded Feelings, 1861
Alice Walker (British)
Title: Wounded feelings , 1861–1861
Medium: Oil on Canvas
Size: 101.6 x 76.5 cm. (40 x 30.1 in.)
Repository unknown
image via Wikigallery
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