Ghost
Mrs John Prescott Knight and Her Children by John Prescott Knight, ca 1837 England, the Shire Hall Gallery

A portrait by the Stafford-born artist probably of his wife, Clarissa Isabella Knight (nee Hague,) and their two sons Albert Stanley (1832–1917) and Julian Miles (1835–1871).

Mrs John Prescott Knight and Her Children by John Prescott Knight, ca 1837 England, the Shire Hall Gallery

A portrait by the Stafford-born artist probably of his wife, Clarissa Isabella Knight (nee Hague,) and their two sons Albert Stanley (1832–1917) and Julian Miles (1835–1871).

(Source: BBC)

Mourning poke bonnet, ca 1840 US, the Metropolitan Museum of Art

The style of the poke bonnet manifests the demure and modest style that followed the young Queen Victoria’s accession to the throne in 1838. This severe all-black example was probably worn for mourning, a long-standing custom that the Queen elevated to a social institution, especially after the death of her beloved husband, Prince Albert.

Mourning poke bonnet, ca 1840 US, the Metropolitan Museum of Art

The style of the poke bonnet manifests the demure and modest style that followed the young Queen Victoria’s accession to the throne in 1838. This severe all-black example was probably worn for mourning, a long-standing custom that the Queen elevated to a social institution, especially after the death of her beloved husband, Prince Albert.

(Source: metmuseum.org)

Stays, 1825-35 US (possibly), Winterthur Museum

Stays, 1825-35 US (possibly), Winterthur Museum

Doll’s bonnet, ca 1840 France, the Museum of Fine Arts, Boston

Doll’s bonnet of dark blue satin faced with yellow taffeta with light blue ribbon ties, trimmed on top with wreath of artificial flowers, dark blue velvet ribbon, and blonde lace.

Doll’s bonnet, ca 1840 France, the Museum of Fine Arts, Boston

Doll’s bonnet of dark blue satin faced with yellow taffeta with light blue ribbon ties, trimmed on top with wreath of artificial flowers, dark blue velvet ribbon, and blonde lace.

Bonnet by A Partridge & Co, ca 1840 Boston, the Museum of Fine Arts, Boston

White silk bonnet, trimmed with net and lace in zig-zag pattern around edges, with pink silk ribbon arranged inside and forming ties. Label: “A Partridge and Co./Mode de Paris, 201 Washington St., Boston.”

Bonnet by A Partridge & Co, ca 1840 Boston, the Museum of Fine Arts, Boston

White silk bonnet, trimmed with net and lace in zig-zag pattern around edges, with pink silk ribbon arranged inside and forming ties. Label: “A Partridge and Co./Mode de Paris, 201 Washington St., Boston.”

Bonnet, ca 1830 US, the Museum of Fine Arts, Boston

Woman’s green silk hat with wide poke bonnet brim and high crown.

Bonnet, ca 1830 US, the Museum of Fine Arts, Boston

Woman’s green silk hat with wide poke bonnet brim and high crown.

Poke bonnet, ca 1840 France, the Museum of Fine Arts, Boston

Poke bonnet, ca 1840 France, the Museum of Fine Arts, Boston

Leghorn bonnet, 1835-40 US, the Museum of Fine Arts, Boston

A black leghorn bonnet, with wide poke brim, black taffeta bonnet skirt at back, brim lined with black crêpe.

Leghorn bonnet, 1835-40 US, the Museum of Fine Arts, Boston

A black leghorn bonnet, with wide poke brim, black taffeta bonnet skirt at back, brim lined with black crêpe.

Bonnet, 1835, the Museum of Fine Arts, Boston

Black and yellow herringbone straw bonnet, plaid taffeta ribbons.

Bonnet, 1835, the Museum of Fine Arts, Boston

Black and yellow herringbone straw bonnet, plaid taffeta ribbons.

Leghorn bonnet, ca 1840 US, the Museum of Fine Arts, Boston

Yellow leghorn; brim and crown in one piece; designed so that brim frames face closely; short cape of leghorn, trimmed with green ribbon divided down back so that one half is ribbed and the other half ombré; brim lined with cream colored georgette crepe; cluster of artificial flowers including white violets, on each side of brim facing.

Leghorn bonnet, ca 1840 US, the Museum of Fine Arts, Boston

Yellow leghorn; brim and crown in one piece; designed so that brim frames face closely; short cape of leghorn, trimmed with green ribbon divided down back so that one half is ribbed and the other half ombré; brim lined with cream colored georgette crepe; cluster of artificial flowers including white violets, on each side of brim facing.

Wedding dress and matching cape, 1839 US (New Hampshire), the Museum of Fine Arts, Boston

Dress worn by Elizabeth Richards at her marriage to John S. Parmelee in Newport, New Hampshire, January 19, 1839. Wedding dress of light gray green figured silk having all-over small dot and powder of two different stylized blossoms; bodice fitted and boned coming to V at waistline at center front, hooked down center back, bodice front trimmed with folds of self material and row of self covered small buttons, V neck, leg-of-mutton sleeves with top fullness caught down by lines of piping and self covered buttons, skirt full all the way around with fullness in pleats in front and on sides, in gathers center back; (b) matching short round shoulder cape; bodice lined with unbleached heavy cotton twill; skirt faced with cream colored cotton, and cape lined with cream colored cotton.

Wedding dress and matching cape, 1839 US (New Hampshire), the Museum of Fine Arts, Boston

Dress worn by Elizabeth Richards at her marriage to John S. Parmelee in Newport, New Hampshire, January 19, 1839. Wedding dress of light gray green figured silk having all-over small dot and powder of two different stylized blossoms; bodice fitted and boned coming to V at waistline at center front, hooked down center back, bodice front trimmed with folds of self material and row of self covered small buttons, V neck, leg-of-mutton sleeves with top fullness caught down by lines of piping and self covered buttons, skirt full all the way around with fullness in pleats in front and on sides, in gathers center back; (b) matching short round shoulder cape; bodice lined with unbleached heavy cotton twill; skirt faced with cream colored cotton, and cape lined with cream colored cotton.

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