Ghost
Une Tapissiere. Eine Tapesierin. (Upholsterer) by Martin Engelbrecht and Johann J Stelzer, 1700-56 (ca 1730’s?) Germany (Augsburg), Winterthur Museum

Une Tapissiere. Eine Tapesierin. (Upholsterer) by Martin Engelbrecht and Johann J Stelzer, 1700-56 (ca 1730’s?) Germany (Augsburg), Winterthur Museum

Ouvrier en Porcelaine. Ein Porcelain macher. (Porcelain maker) and Ouvriere en Porcelaine. Eine Porcelain macherin. (Porcelain maker’s wife) by Martin Engelbrecht, 1700-56 (ca 1730’s?) Germany (Augsburg), Winterthur Museum

Here and here.

Un Cofretier. Ein Flaschner. (Tinsmith) and Une Cofretiere. Eine Flaschnerin. (Tinsmith’s wife) by Martin Engelbrecht, 1700-56 (ca 1730’s?) Germany (Augsburg), Winterthur Museum

Here and here.

Un Peruquier. Ein Peruquenmacher. (Perukemaker) and Feme de Peruquier. Eine Peruquenmacherin. (Perukemaker’s wife) by Martin Engelbrecht, 1700-56 (ca 1730’s?) Germany (Augsburg), Winterthur Museum

A perukemaker made wigs.

Here and here.

Un Tailleur. Ein Schneider. (Tailor) and Femme de Tailleur. Ein Schneiderin. (Tailor’s wife) by Martin Engelbrecht, 1700-56 (ca 1730’s?) Germany (Augsburg), Winterthur Museum

Here and here.

Formal day dress, ca 1735 England (Spitalfields) (altered 1740’s and 1780’s), the Victoria and Albert Museum

By the 1730s the open robe was beginning to replace the mantua as formal day wear. The beautifully patterned Spitalfields silk indicates a degree of luxury. The accompanying quilted petticoat suggests that the ensemble was probably worn for afternoon tea parties rather than in the evening at the opera or theatre. The pattern of the silk, with pear-shaped fruits and exotic flowers, is typical of the 1730s. The gown itself was altered in the 1740s and probably again in the 1780s.

Formal day dress, ca 1735 England (Spitalfields) (altered 1740’s and 1780’s), the Victoria and Albert Museum

By the 1730s the open robe was beginning to replace the mantua as formal day wear. The beautifully patterned Spitalfields silk indicates a degree of luxury. The accompanying quilted petticoat suggests that the ensemble was probably worn for afternoon tea parties rather than in the evening at the opera or theatre. The pattern of the silk, with pear-shaped fruits and exotic flowers, is typical of the 1730s. The gown itself was altered in the 1740s and probably again in the 1780s.

Dress, ca 1735 the Netherlands? (restyled ca 1770), Museum of Fine Arts, Boston
Shame there’s no more pictures of this.

Dress, ca 1735 the Netherlands? (restyled ca 1770), Museum of Fine Arts, Boston

Shame there’s no more pictures of this.

Morning dress in two parts (robe à la français), ca 1740 France (altered at a later date), Museum of Fine Arts, Boston

Morning dress in two parts (robe à la français), ca 1740 France (altered at a later date), Museum of Fine Arts, Boston

Dance of the Milkmaids by Francis Hayman, ca 1735 London, the V&A Museum
Working class and country people were popular subjects in rococo art, although they were not depicted as anywhere near true to life.
Also, check out the guy with the peg leg.
(From here on out, I’ll be tagging ALL decades of the 18th century.  I’ll continue to tag them with “1700-69”, but I’ll also tag them with their respective decade and specific year.  I know some of you have been wanting this.)

Dance of the Milkmaids by Francis Hayman, ca 1735 London, the V&A Museum

Working class and country people were popular subjects in rococo art, although they were not depicted as anywhere near true to life.

Also, check out the guy with the peg leg.

(From here on out, I’ll be tagging ALL decades of the 18th century.  I’ll continue to tag them with “1700-69”, but I’ll also tag them with their respective decade and specific year.  I know some of you have been wanting this.)

Robe à la française, ca 1740 France, Les Arts Décoratifs

Robe à la française, ca 1740 France, Les Arts Décoratifs

Men’s vest, 1730’s France, Les Arts Décoratifs

Men’s vest, 1730’s France, Les Arts Décoratifs

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