A compilation of 18 covers of books about the 18th century. You find the whole list by following the link in the skeet
Look forward to April!
Here is a list of new #non_fiction #books about the #18thcentury scheduled for next month:
regency-explorer.net/new-releases/
#Regency #Napoleon #history #18thc #Bridgerton
A compilation of 15 covers of books about the 18th century. You find the whole list by following the link in the skeet
Enjoy reading in March!
Here is a list of new #non_fiction #books about the #18thcentury scheduled for this month: regency-explorer.net/new-releases/
- updated -
#Regency #Napoleon #history #JaneAusten #Waterloo #18thc
Exhibition poster with a blue, white and gold Sèvres covered vase , a tea cup with portraits of three children and a porcelain spaniel on a neo-classical pedestal with the name Fidélité written it; in the background à view of the Côte d’Azur
A good reason to be in Paris www.mobiliernational.culture.gouv.fr/fr/expositio...
#c18 #c18th #18thc
a blossom of a pelargonium praemorsum: white-and lilac. This plant was available in Britain during the time of Jane Austen.
Does Fanny Price own a geranium or a pelargonium - and why does it matter?
The meaning of geraniums in Jane Austen’s “Mansfield Park”:
regency-explorer.net/pelaronium/
#JaneAusten #18thc #18thcentury #flowers
Festoons of large diamonds and trailing bits ending in diamond and pearl tassels (replica of the broken-up original)
Replica of the diamond necklace (1772-74) that Queen Marie-Antoinette did _not_ buy, but which sank her reputation. In the V&A’s Marie Antoinette Style exhibition with Sutherland and Anglesey pieces containing stones from the original #c18 #c18th #18thc
Bateman is because she farmed out large quantities of mediocre work to jobbing smiths. There were much better female silversmiths in the 18C, like Louisa Courtauld and Anne Tanqueray. Dealer's description: 'Ovoid with straight sides; cover hinged and domed with stained-wood finial. Diagonal spout and high-looping and capped stained-wood handle. Beaded mouth and base rims. Bright-cut ornament including garlands, leafing scrollwork, and pendant flowers; two oval frames of which one engraved with interlaced script monogram. Pointille, wavy, scalloped and meandering borders.'
Silver teapot with the mark of (the overrated - see the alt text) Hester Bateman (London, 1788), with Nelson & Nelson, NYC #c18 #c18th #18thc
Un numéro à lire ! #18thc
Happy to field any questions. Please share!
#c18 #18thc #bookhistory
For this #theaterthursday, we're taking it easy (in line with Restoration Era tradition, of course)
Read about it here: blogs.uoregon.edu/londonstage/...
#digitalhumanities #18thc #theaterhistory
ONLY A FEW DAYS LEFT TO GO!
#CFP #skystorians #18thC
If only travel to the Untidy States were not off-limits for me (for obvious reasons I shall not mention): Gainsborough and 'The Fashion of Portraiture' at the Frick in NYC www.frick.org/exhibitions/... #c18 #c18th #18thc
Silver medal. Obverse: 'James III and VIII' in profile in full-bottomed wig, laureate, armoured and draped. Legend: NIHIL EFFICIENS ('Accomplishing nothing').
Reverse: map of Great Britain and Ireland; marked SCOTIA 1708. M. MART. 1716. M. FEBR. BRITANNIA, HIBERNIA; ships about the coast. Legend: BIS VENIT VIDIT NON VICIT FLENSQVE RECESSIT ('Twice he came, he saw, he did not conquer and he retired in tears'). A couple of light surface marks to obverse, toned and with a flashy lustre, extremely fine.
Satirical medal (1716) on the repeated failures of the #Jacobite claimant to regain his ancestral thrones (1708 and 1715; more lay ahead), at Spink (est. £1,500-2,000) The Latin is catty: see the alt #c18 #c18th #18thc
The cover of the novel, pride and prejudice. Characters wearing yellow clothing are amusing themselves.
We are starting the season of "lasts." Reading Pride & Prejudice. Teach the first half of it tomorrow (World of #JaneAusten Freshman Seminar). This will be the last time I teach that novel at #Emory. Have loved teaching it. Look forward to seeing what the students do w it. #18thc #19thc
Small, bulbous cup with handle and lid with finial, painted with floral sprigs in underglaze blue. Height (incl. cover): 8.4cm (3.3in); width (incl. handle): 8.4cm (3.3in)
Base with hunting horn mark in underglaze blue
Custard cup with cover, hunting horn mark on the base (Chantilly, c1750) #c18 #c18th #18thc
Queen, monster, icon: Marie Antoinette at the V&A - my review of the museum's latest blockbuster show., in my free newsletter.
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#earlymodern #monsters #politics #18thC #prints 🗃
buttondown.com/surekhadavie...
Oval black basalt with a bust of Pope with characteristic sharp nose and longish, natural hair, no drapery, in relatively high relief, looking left. Less than an inch at its longest
Tiny Wedgwood & Bentley portrait of Alexander Pope (c1770), perhaps intended to be mounted on a ring #c18 #c18th #18thc
After these came a second set; among the most come-at-able of whom were Mrs. and Miss Bates and Mrs. Goddard, three ladies almost always at the service of an invitation from Hartfield, and who were fetched and carried home so often that Mr. Woodhouse thought it no hardship for either James or the horses. Had it taken place only once a year, it would have been a grievance.
Mezzotint trimmed within the plate and laid on album paper. Oval portrait of Pribce Charles Edwrad's helper after Culloden. She wears a tartan shawl and has a rose in her hair and two more fastened to her bodice; she holds a flower garland in her left hand. ‘Mrs Flora Macdonald’ in flowing script in a panel beneath the portrait. Apologies for the crappy scan :)
James McArdell after Alan Ramsay, Flora Macdonald (c1765), with Grosvernor Prints, London #Jacobite #c18 #c18th #18thc
![Dealer's description: 'Measurements5.0 × 4.5 cm (silver mount), excluding chain. Weight: 17.5 g. Mounted in a later silver mount with suspension chain at the top. A large, finely executed carnelian intaglio [in orangey red] depicting the poignant farewell of Hektor to his wife and child at the Scaean Gate. The composition shows the helmeted hero, armed with spear and shield, moving rightward toward an attendant holding two horses; to the left stand Andromache and the infant Astyanax, attended by a female figure. The iconography derives from the climactic episode in the Iliad by Homer and is rendered here with calm economy of line and confident, shallow cutting suited to gems of substantial scale. The cutting is clearly executed in the refined neoclassical manner associated with late-18th/early-19th-century workshop models and is faithful to a well-known [Luigi] Pichler composition after a drawing by Vincenzo Camuccini (see references). The scale of the present gem—unusually large for the subject—allows a composed, almost sculptural arrangement of figures and a readable narrative in a single register; the workmanship of the figures’ drapery, the treatment of the shield and horses, and the measured use of incision point to a superior workshop execution “in the Pichler manner.” Condition: a set of breaks to the right side of the gem (visible in the photographs). These fractures are consolidated and stable; there is no loss of material and they do not materially interrupt the readability or aesthetic presence of the engraving. The silver mount and suspension are later and in good condition.'](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:iecuzvb72xfdwlum2pc5ggj2/bafkreib3nq4mr7cyzevutx4tec7huuvjdej4pfiupjbngg7djxg7ukpq7i)
Dealer's description: 'Measurements5.0 × 4.5 cm (silver mount), excluding chain. Weight: 17.5 g. Mounted in a later silver mount with suspension chain at the top. A large, finely executed carnelian intaglio [in orangey red] depicting the poignant farewell of Hektor to his wife and child at the Scaean Gate. The composition shows the helmeted hero, armed with spear and shield, moving rightward toward an attendant holding two horses; to the left stand Andromache and the infant Astyanax, attended by a female figure. The iconography derives from the climactic episode in the Iliad by Homer and is rendered here with calm economy of line and confident, shallow cutting suited to gems of substantial scale. The cutting is clearly executed in the refined neoclassical manner associated with late-18th/early-19th-century workshop models and is faithful to a well-known [Luigi] Pichler composition after a drawing by Vincenzo Camuccini (see references). The scale of the present gem—unusually large for the subject—allows a composed, almost sculptural arrangement of figures and a readable narrative in a single register; the workmanship of the figures’ drapery, the treatment of the shield and horses, and the measured use of incision point to a superior workshop execution “in the Pichler manner.” Condition: a set of breaks to the right side of the gem (visible in the photographs). These fractures are consolidated and stable; there is no loss of material and they do not materially interrupt the readability or aesthetic presence of the engraving. The silver mount and suspension are later and in good condition.'
Carnelian intaglio depicting the departure of Hector (Italian, #c18 #c18th #18thc), with Matthew Holder, London
Back view of an 18th century (c. 1760) fashion doll or "pandora". The doll has grey hair, done up in a chignon, with some hair left loose falling down in soft curls near the nape of the neck. The gown that the doll wears is a robe à la française made of chintz. The fabric of the gown falls from the shoulders into the skirt in a loose pleat (pli Watteau) typical for this style of dress. Horizontally the skirt is very wide, exaggerating the shape of the hips. The skirt is made out of three panels of fabric. The chintz fabric has a light brownish background, with printed onto it a design of vines and flowers with red, green and blue colours. Rijksmuseum Amsterdam, object number BK-NM-3396
The same pandora, this time from a 3/4 view. The bodice of the gown is open and filled in with a stomacher (piece d'estomac) of brown linnen, decorated with pink silk ribbon that has largely disintigrated. The skirt of the gown opens in the front, showing a petticoat of the same chintz fabric. Accessories: small collar of pink silk ribbon around the neck, tied in a bow at the front. Mitaines of white goat leather. Shoes of silk brocade.
At last the @rijksmuseum.bsky.social has made pictures from multiple angles available for some of the objects in their collection, which means I finally get to see the pli watteau of the chintz gown my favourite fashion doll wears in high resolution. #18thc #dresshistory
![Dealer's description: 'A small, single-block wood carving of a [rather sad-looking] lion’s head, probably made as a furniture mount. The face is simply modelled with rounded brows, a pronounced muzzle and a flowing, stylised mane; the mouth is slightly parted.'](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:iecuzvb72xfdwlum2pc5ggj2/bafkreibobjbem6azi65uzdy7a4apu3rhy3wndcljvolbejgmunhwru5cre)
Dealer's description: 'A small, single-block wood carving of a [rather sad-looking] lion’s head, probably made as a furniture mount. The face is simply modelled with rounded brows, a pronounced muzzle and a flowing, stylised mane; the mouth is slightly parted.'
Carved wood lion mask mount (English, #c18 #c18th #18thc), with Matthew Holder, London
Young black woman in turquoise silk gown, with lace sleeves, lace cap, and fichu, double strands of pearls around her neck and her wrists. She is holding a white flower. in one hand, and a ribbon in the other. A tropical looking tree is behind her. She looks right at the viewer with an assessing look.
It is lovely that the Art Gallery of Ontario can now name the Black woman in the gorgeous #18thc portrait they acquired 6 yrs ago & also date the painting. It's from 1775. She is Eleonora Susette, enslaved by the Dutch governor of Guyana, accompanying his widow on her return to the Netherlands.
Today we're spotlighting a celebrity of the London Stage-- one SO famous that even her nights out were the subject of public interest.
Check out this week's #theaterthursday to read about the Restoration icon, Nell Gwyn: blogs.uoregon.edu/londonstage/...
#digitalhumanities #18thc #theaterhistory
Dealer's description: 'The bezel comprises a graduated group of rose-cut diamonds set in closed silver collets, the large central stone flanked to either side by smaller rose cuts arranged in a bow-like formation. The use of silver mounts is a deliberate optical practice: the pale metal increases the apparent brilliance and perceived size of the rose cuts when viewed from the table, while the closed (backed) settings protect the culets and stabilise the stones within the bezel. The plain gold shank is engraved with lightly modelled foliate ornament and retains traces of black enamel. The reverse of the bezel is set with black enamel applied within a series of recessed cells — a concealed polychrome treatment commonly reserved for fine work of the period and a mark of careful finishing. The gold shank bears the France ‘Hibou’ (owl) duty mark, indicating 18-carat gold and importation. The ring’s combination of rose-cut diamonds in silver collets, concealed enamel on the reverse and the restrained foliate engraving situates it firmly within the ornamental vocabulary of the Baroque jeweller in the late 17th century.'
Rose-cut diamond and black enamel ring in high-carat gold with silver collets (western Europe, late 17C or early #c18 #c18th #18thc), with Matthew Holder, London
Each of the 4 has an urn socket with detachable drip-pan; tapering pillar on stepped and raised foot. Low relief goat head-mounted garlands and paterae of which one vacant and the others inset with mask in petal surround. Beading, reeding, fluting, and leaf-and-dart.
Set of silver candlesticks by William Abdy (London, 1779), with Nelson & Nelson, NYC #c18 #c18th #18thc
Mahoney serving table: ‘oblong banded top with serpentine front and outset corners, chamfered at the front, the frieze broken above the pilasters and inlaid with pairs of twin oval paterae in small panels, the top resting on ten tapering legs with carved acanthus leaf capitals, all joined by two pairs of arched x-stretchers, ht. 36, lg. 72 in.’
Georgian inlaid mahogany serpentine-front serving table (English, late #c18 #c18th #18thc), at Skinner Marlborough, Boston (est. US$6,000-8,000)
If you find yourself in Paris on the 10-12 June 2026, you might like to attend @isecs-sieds.bsky.social 'Reframing the Enlightenment: intellectual & political disputes today', at the Deutsches Historisches Institut Paris
Details ⬇️
#skystorians #18thC 🗃️
Anyone interested in #18thC Quakers or alternatives to swearing on oath in testimony? A couple of them "affirming" in LL Pauper exams www.londonlives.org/record/GLBAEP1… and www.londonlives.org/record/GLBAEP1…
The database features fully searchable membership lists, catalogues & borrowing records from membership subscription libraries across the Anglophone Atlantic - over 220,000 individual records about books, borrowers and their relationship with each other.
#ECLO #18thC #skystorians🗃️
CONGRATULATIONS 🎉 to the winner of our Digital Prize 2026: Eighteenth-Century Libraries Online (ECLO). The project is the result of a 5yr AHRC-funded project on the role of books in social, cultural & political change across the #18thC Atlantic.
www.liverpool.ac.uk/history/rese...
#skystorians 🗃️
