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A photograph of a blue 1840s ensemble consisting of a long skirt pleated at the waist worn with a short sleeved evening bodice. An alternative long sleeved bodice is shown in front with a magnifying glass to focus on some of the details

A photograph of a blue 1840s ensemble consisting of a long skirt pleated at the waist worn with a short sleeved evening bodice. An alternative long sleeved bodice is shown in front with a magnifying glass to focus on some of the details

Ooh look at this new exhibition @rijksmuseum.bsky.social called Worn showcasing garments from the collection along with a more forensic way of looking at them, understanding some of the clues as to their past lives. Here an #1840s ensemble under the magnifier #FashionHistory 🗃️🪡

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Tuesday Dreaming

Thomas Fell & Company 1840 Nuneham Courtenay &
"Wild Rose" transferware

#blueandwhite #antiques #antique #vintageceramics #langtrygallery #wildrose #thomasfell #staffordshirepottery #19thcentury #interiordesign #antiquario #antiquités #1840s #capabilitybrown #nunehamcourtenay

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Louis Nicolas Adolphe Rinck 1841 "Creole gentleman"

#adolpherinck #creoleart #rinck #art #antiqueart #neworleansart #louisianaart #langtrygallery #creole #creoleportrait #1840s #19thcenturyart #nineteenthcenturyart #louisianacreole #adolphrinck #antique #antiquario #arte #antiquités #kunst

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1840. “The Death and Burial of Cock Robin”

#illustration #woodcut #1840s #CockRobin

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A long printed cotton dress with tight sleeves and bodice and a repeat printed in a green, pink and red motif against a cream background

A long printed cotton dress with tight sleeves and bodice and a repeat printed in a green, pink and red motif against a cream background

A closer detail of the pattern covering the 1840s cotton dress with a complex design of stylised florals

A closer detail of the pattern covering the 1840s cotton dress with a complex design of stylised florals

An engraving from the 1840s that shows a calico printing workshop with the large expanse of cotton that was able to be roller printed in longer lengths

An engraving from the 1840s that shows a calico printing workshop with the large expanse of cotton that was able to be roller printed in longer lengths

Cutting edge technologies are always at the heart of textile manufacture. In the 1840s that involved roller printing, the process that replaced wood block textile prints with a faster method and more complex patterns. I do love an #1840s printed cotton @ngvmelbourne.bsky.social #FashionHistory 🗃️🪡

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New trend dropped! "Victoria" (2016-19) #1830s or #1840s #allegedly #DoiliesAreNotcaps #SnarkWeek buff.ly/sINTeQp

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Ford Madox Brown, 1842. “Manfred on the Jungfrau”

#painting #1840s #FordMadoxBrown

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Utagawa Hiroshige, 1845. “Tiger and Bamboo in Rain.”

#printmaking #woodblockprint #ukiyo-e #UtagawaHiroshige #1840s #Tiger

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Sunday Stroll in blue & white

George F Smith 1860s "Eton College" / North Shore Pottery, Stockon-on-Tees, Staffordshire

#antique #antiqueart #blueandwhite #antiques #langtrygallery #classicdecor #artforyourhome #etoncollege #interior #design #georgefsmith #1840s #antiquario #arte #antiquités

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"The Dreadful Story about Harriet and the Matches."
By Heinrich Hoffmann from The English Struwwelpeter 1845.
#WyrdWednesday #Fire #1840s

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Side view of the top half of an 1840s ballgown of grey green silk with multi coloured floral pattern. The bodice is decorated with silk bows and flounces with a pointed waistline

Side view of the top half of an 1840s ballgown of grey green silk with multi coloured floral pattern. The bodice is decorated with silk bows and flounces with a pointed waistline

Fabric detail of the 1840s silk brocade dress showing the grey green background an colourful floral motif

Fabric detail of the 1840s silk brocade dress showing the grey green background an colourful floral motif

Muted shades in an #1840s ballgown recycled from 18th century silk brocade. The grey green silk sits quietly behind the brighter florals and foliage, fashioned into decorative bodice bows #KSUMuseum #FashionHistory 🗃️🪡

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Provincial Lunatic Asylum, Toronto, 1844

Artist: John George Howard (1803-1890)
Medium: Watercolour
Credit: Toronto Public Library

Notes: Queen St. West, south side, opposite Ossington Ave.

#1840s #CAMH #painting #torontoart #art #artist #watercolor #watercolour #toronto #canada #jeremyhopkin

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We've returned to our center

Louis Nicolas Adolphe Rinck 1841 portrait of a Creole gentleman of Louisiana

#LouisNicolasAdolpheRinck #rinck #art #vintageart #antiqueart #neworleansart #langtrygallery #creole #1840s #19thcenturyart #nineteenthcenturyart #louisianacreole #adolphrinck #adolphdrinck

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Photograph of a small shallow cardboard box filled with a printed paper doll and her colourful paper wardrobe. The lid is stamped with the name Jenny Lind, famous c19th singer

Photograph of a small shallow cardboard box filled with a printed paper doll and her colourful paper wardrobe. The lid is stamped with the name Jenny Lind, famous c19th singer

A photograph of the cover of the book Making Matters by Clare Hunter

A photograph of the cover of the book Making Matters by Clare Hunter

In a mad world, simple creative pleasures are golden. I still have many of the paper dolls I collected as a child and Clare Hunter writes about this amongst other things in her wonderful new book Making Matters. I love this late #1840s Jenny Lind set #cooperhewitt #FashionHistory 🗃️🪡

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Frances Samuel arrived in Sydney, Australia in 1832 with her widowed mother Lydia; younger brother Saul; and an uncle, Abraham Lyons to join her other uncles Samuel and Saul Lyons, both of whom had become prominent businessmen in the 1820s. Saul Lyons had come to Sydney a free settler; Samuel Lyons had arrived as a convict after receiving a life sentence for theft in 1814. Newspaper references about Frances indicate that she enjoyed a genteel existence in Australia for several years before returning to England with her mother in March 1841.

She appears in this portrait by English artist Maurice Felton as a light-skinned young woman with dark hair styled in ringlets framing her face and pulled back. She wears a dark, possibly velvet, off-the-shoulder gown and a long thin gold necklace. Her expression is serious and composed, and her gaze is directed to our left. The background is a muted, dark brown. The overall feel is one of quiet dignity and sophistication.

Felton, artist and doctor, traveled to Australia as the surgeon on a ship called the Royal Admiral which arrived in Sydney in September 1839. Felton enjoyed more success as a painter than a medical practitioner earning praise from the "The Australian" newspaper for his portraiture, "for faithfulness of likeness and brilliancy of execution, they rival the productions of many of our best artists at home." His work soon attracted the attention of arts patrons. In late 1841, Felton exhibited a number of portraits and "some beautiful views of the interior of the country." with a lottery, for one pound, whereby subscribers that won could own an example of "Mr Felton’s talents in the delightful art of painting." He passed away shortly thereafter at 39 in March 1842. Meanwhile, Frances Samuel returned to England that same month. She lived life there with her first husband and child passing away by 1861 and marrying again. She lived in Earl's Court until around 1900.

Frances Samuel arrived in Sydney, Australia in 1832 with her widowed mother Lydia; younger brother Saul; and an uncle, Abraham Lyons to join her other uncles Samuel and Saul Lyons, both of whom had become prominent businessmen in the 1820s. Saul Lyons had come to Sydney a free settler; Samuel Lyons had arrived as a convict after receiving a life sentence for theft in 1814. Newspaper references about Frances indicate that she enjoyed a genteel existence in Australia for several years before returning to England with her mother in March 1841. She appears in this portrait by English artist Maurice Felton as a light-skinned young woman with dark hair styled in ringlets framing her face and pulled back. She wears a dark, possibly velvet, off-the-shoulder gown and a long thin gold necklace. Her expression is serious and composed, and her gaze is directed to our left. The background is a muted, dark brown. The overall feel is one of quiet dignity and sophistication. Felton, artist and doctor, traveled to Australia as the surgeon on a ship called the Royal Admiral which arrived in Sydney in September 1839. Felton enjoyed more success as a painter than a medical practitioner earning praise from the "The Australian" newspaper for his portraiture, "for faithfulness of likeness and brilliancy of execution, they rival the productions of many of our best artists at home." His work soon attracted the attention of arts patrons. In late 1841, Felton exhibited a number of portraits and "some beautiful views of the interior of the country." with a lottery, for one pound, whereby subscribers that won could own an example of "Mr Felton’s talents in the delightful art of painting." He passed away shortly thereafter at 39 in March 1842. Meanwhile, Frances Samuel returned to England that same month. She lived life there with her first husband and child passing away by 1861 and marrying again. She lived in Earl's Court until around 1900.

"Miss Frances Samuel" by Maurice Felton (English) - Oil on canvas / 1840 - National Portrait Gallery (Canberra, Australia) #WomenInArt #art #Felton #MauriceFelton #artwork #PortraitofaWoman #AustralianArt #NPG #NationalPortraitGallery #OilPainting #artText #EnglishArtist #BlueskyArt #1840s #hair

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Side view of the upper half of an 1840s cream silk gown. It has a warp printed floral pattern in red and green and the edges are trimmed with cream silk fringe. It has a short matching shoulder cape

Side view of the upper half of an 1840s cream silk gown. It has a warp printed floral pattern in red and green and the edges are trimmed with cream silk fringe. It has a short matching shoulder cape

I spent a long time thinking about #1840s fashion when I was writing The Dress Diary & I miss it! It is a transitional decade but the fabric techniques were amazing. This is a warp printed silk creating blurry florals bordered by silk fringe @jbrightcollection.bsky.social #FashionHistory 🗃️🪡

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Clémentine Dondey, 1847. “Devineresse Étudiant un Livre de Nécromancie, ou Tireuse de Cartes (Fortune Teller Studying a Book of Necromancy, or Card Reader)”

#painting #1840s #cats #ClémentineDondey

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J.D. Nargeot after H. Bruyères, 1847. “The devil examines with complete satisfaction the head of a boy full of evil.”

#illustration #engraving #1840s #devil #J.D.Nargeot

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#norwegianfolkcostume #norwegianhistory #1840s

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Top half of a blue and white figured silk dress showing the softly pleated V bodice, tightly smocked waist and fringed pagoda style sleeves. It has a blue background with white floral pattern

Top half of a blue and white figured silk dress showing the softly pleated V bodice, tightly smocked waist and fringed pagoda style sleeves. It has a blue background with white floral pattern

Softly draped and tightly pleated. The contrasts between fabric treatments ebb and flow from the gentle V of the bodice to the minutely pinched smocking at the waist in a blue and white figured silk dating to the late #1840s #kelvingroveartgallery #FashionHistory 🗃️🪡

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A close up of the bodice of an 1840s evening dress focusing on the grey green silk brocade with colourful floral motifs. It is self trimmed with bows and flounces

A close up of the bodice of an 1840s evening dress focusing on the grey green silk brocade with colourful floral motifs. It is self trimmed with bows and flounces

Full length view of the 1840s evening dress showing the grey green silk brocade with floral pattern, the pointed V waist and the long skirt pleated into the waistband

Full length view of the 1840s evening dress showing the grey green silk brocade with floral pattern, the pointed V waist and the long skirt pleated into the waistband

There was a resurgence of interest in the baroque during the #1840s, often manifested through the reuse of cloth. This brocade dates to the mid c18th, recycled into a fashionable evening dress eighty years later #ksumuseum #FashionHistory 🗃️🪡

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wishing you a dreamy relaxing weekend

Thomas Fell & Company 1840
"Wild Rose" pattern

#blueandwhite #antiques #antique #vintageceramics #langtrygallery #wildrose #thomasfell #staffordshirepottery #antiquepottery #19thcentury #19thcenturyantiques #1840s #capabilitybrown #nunehamcourtenay

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Panoramic watercolour painting from 1849 showing a waterfront view of early Toronto, Ontario, as seen from across the harbour on Lake Ontario. The skyline stretches across the entire scene, depicted in meticulous detail. The painting captures the city’s low-rise 19th-century buildings, including churches with tall spires, red-brick institutional structures, mills, warehouses, and clusters of wooden houses interspersed with trees and greenery.

On the far right, a large wooden structure with a gabled roof and external staircase juts over the lake on piers. Nearby, a windmill and various red-roofed homes suggest the eastern edge of the city. A numbered key beneath the shoreline corresponds to buildings in the view, identifying locations and landmarks (though the numbers themselves aren’t explained in the image). The shoreline curves gently, giving a sense of depth and space, while the water in the foreground is calm and smooth, softly reflecting the pale buildings and vast sky.

Above the city, a pastel wash of clouds fills the sky in soft tones of blue, pink, and grey, adding a dreamlike atmosphere to the historical scene. A few factory chimneys produce light plumes of smoke, indicating industrial growth. This detailed painting captures the modest but growing colonial city of Toronto in the mid-19th century, before the modern skyline took shape.

Panoramic watercolour painting from 1849 showing a waterfront view of early Toronto, Ontario, as seen from across the harbour on Lake Ontario. The skyline stretches across the entire scene, depicted in meticulous detail. The painting captures the city’s low-rise 19th-century buildings, including churches with tall spires, red-brick institutional structures, mills, warehouses, and clusters of wooden houses interspersed with trees and greenery. On the far right, a large wooden structure with a gabled roof and external staircase juts over the lake on piers. Nearby, a windmill and various red-roofed homes suggest the eastern edge of the city. A numbered key beneath the shoreline corresponds to buildings in the view, identifying locations and landmarks (though the numbers themselves aren’t explained in the image). The shoreline curves gently, giving a sense of depth and space, while the water in the foreground is calm and smooth, softly reflecting the pale buildings and vast sky. Above the city, a pastel wash of clouds fills the sky in soft tones of blue, pink, and grey, adding a dreamlike atmosphere to the historical scene. A few factory chimneys produce light plumes of smoke, indicating industrial growth. This detailed painting captures the modest but growing colonial city of Toronto in the mid-19th century, before the modern skyline took shape.

Toronto in 1849

Artist: unknown
Medium: watercolour
Credit: Baldwin Collection of Canadiana, Toronto Public Library

#1840s #watercolour #watercolor #landscapepainting #torontoart #art #torontohistory #toronto #canada #jeremyhopkin

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Oil painting from the circa 1840s depicting the early Gooderham and Worts distillery complex in Toronto, Ontario. The focal point is a tall, cylindrical red-brick windmill structure with small rectangular windows and a conical cap, set against a softly glowing sky at either sunrise or sunset. A thin wisp of smoke rises from a nearby chimney, suggesting industrial activity. The mill is attached to several interconnected, low-slung wooden buildings, forming a sprawling industrial site along the waterfront.

In the foreground, two small figures stand beside one of the buildings, and a lone man in a red cap paddles a canoe or flat-bottomed boat across the calm water, which reflects the soft light of the sky. To the left, additional mill or warehouse buildings rise in the background, rendered in pale tones that suggest distance or haze.

The palette is warm and muted, dominated by shades of reddish brown, salmon pink, and soft grey, giving the scene a tranquil, nostalgic atmosphere. The painting captures an early moment in Toronto’s industrial development, portraying the historic distillery site that would become a landmark of the city.

Oil painting from the circa 1840s depicting the early Gooderham and Worts distillery complex in Toronto, Ontario. The focal point is a tall, cylindrical red-brick windmill structure with small rectangular windows and a conical cap, set against a softly glowing sky at either sunrise or sunset. A thin wisp of smoke rises from a nearby chimney, suggesting industrial activity. The mill is attached to several interconnected, low-slung wooden buildings, forming a sprawling industrial site along the waterfront. In the foreground, two small figures stand beside one of the buildings, and a lone man in a red cap paddles a canoe or flat-bottomed boat across the calm water, which reflects the soft light of the sky. To the left, additional mill or warehouse buildings rise in the background, rendered in pale tones that suggest distance or haze. The palette is warm and muted, dominated by shades of reddish brown, salmon pink, and soft grey, giving the scene a tranquil, nostalgic atmosphere. The painting captures an early moment in Toronto’s industrial development, portraying the historic distillery site that would become a landmark of the city.

Gooderham & Worts distillery, Toronto, 1840s

Artist: unknown
Medium: Oil painting
Credit: Baldwin Collection of Canadiana, Toronto Public Library

#1840s #distillerydistricttoronto #oilpainting #painting #business #torontoart #art #torontohistory #toronto #canada #jeremyhopkin

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Highlight of a pink silk dress focusing on the bodice featuring different areas of pleating. There are horizontal bands across the low neckline with short ruched sleeves and sharp regular pleats creating fullness at the waist to the skirt

Highlight of a pink silk dress focusing on the bodice featuring different areas of pleating. There are horizontal bands across the low neckline with short ruched sleeves and sharp regular pleats creating fullness at the waist to the skirt

Had there been a world championship in pleating competition in the #1840s then I would propose this unknown maker as a contender. The colour might be vivid but it is the manipulation of the silk that is so striking #ksumuseum #FashionHistory 🗃️🪡

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Emily Brontë, 1842. “Fir Tree” (Yes, that Emily Brontë.)

#drawing #1840s #EmilyBrontë

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A short sleeved pink dress with pleated bodice and a long ruffled skirt trimmed with self coloured floral embroidery

A short sleeved pink dress with pleated bodice and a long ruffled skirt trimmed with self coloured floral embroidery

Close up of the pink floral satin stitch embroidery detail

Close up of the pink floral satin stitch embroidery detail

Pink in all senses of the word in this #1840s evening dress. Not only is the fabric itself a vibrant pink but the edges of the ruffles are ‘pinked’ or punched into the distinctive clipped edges, trimmed with self coloured satin stitch embroidery @historicdeerfield.bsky.social #FashionHistory 🗃️🪡

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Camille Rogier

Camille Rogier

🐎 A Turkish Stable, 1846 #Stable #Horses #1840s

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🥈 Ottoman Silver Bosnia Medal, 1849 #Bosnia #Medal #1840s

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