Ghost
fripperiesandfobs:

Dress, 1880
From the Musee du Costume et de la Dentelle

stellar-raven:

Animal Locomotion, Vol. 7 (1872-1885) - Eadweard Muybridge, photographer.

It’s interesting to be able to see these outfits in motion.

highvictoriana:

historiful:

Unknown woman, c. 1880s. 
tuesday-johnson:

ca. 1840-1860, [daguerreotype portrait of a dramatically posed lady in an elaborate dress, possibly Scottish, with a star pattern, tartan sash and hat]
via the Harvard University’s Houghton Library, Department of Printing and Graphic Arts, Harrison D. Horblit Collection of Early Photography

Wow!  A super rare look at shoes from the time.

tuesday-johnson:

ca. 1840-1860, [daguerreotype portrait of a dramatically posed lady in an elaborate dress, possibly Scottish, with a star pattern, tartan sash and hat]

via the Harvard University’s Houghton Library, Department of Printing and Graphic Arts, Harrison D. Horblit Collection of Early Photography

Wow!  A super rare look at shoes from the time.

Evening dress of silk brocade, ca 1841-46, Sudley House
See some bigger images here.

Evening dress of silk brocade, ca 1841-46, Sudley House

See some bigger images here.

(Source: liverpoolmuseums.org.uk)

Day dress of silk brocade, ca 1841-46, Sudley House
See some bigger images here.

Day dress of silk brocade, ca 1841-46, Sudley House

See some bigger images here.

(Source: liverpoolmuseums.org.uk)

Adelina Patti by James Sant, ca 1886, National Portrait Gallery, London

The Italian opera singer Adelina Patti, the last of the line of great coloratura sopranos, made her London debut on 14 May 1861 at the Royal Italian Opera, Covent Garden, as Amina in Bellini’s La Sonnambula. In this and other roles, particularly that of Rosina in The Barber of Seville, she delighted audiences throughout Europe and in North and South America. Her public career lasted nearly sixty years and is virtually without parallel.

Adelina Patti by James Sant, ca 1886, National Portrait Gallery, London

The Italian opera singer Adelina Patti, the last of the line of great coloratura sopranos, made her London debut on 14 May 1861 at the Royal Italian Opera, Covent Garden, as Amina in Bellini’s La Sonnambula. In this and other roles, particularly that of Rosina in The Barber of Seville, she delighted audiences throughout Europe and in North and South America. Her public career lasted nearly sixty years and is virtually without parallel.

(Source: npg.org.uk)

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)

Half-mourning dress, 1855-65 (ca 1860-63?), the North Carolina Museum of History

TWO-PIECE HAND-SEWN, BLACK SILK DRESS, FITTED, LINED, BONED BODICE, PLAIN ROUND NECKLINE, EIGHT PURPLE/BLACK SQUARE DECORATIVE BUTTONS ABOVE HOOK AND EYE CLOSURE AT CENTER FRONT, DROPPED SHOULDER, PURPLE PIPING, SHAPED SLEEVES W/PURPLE CUFFS, LACE BASTED ON CUFF EDGES; UNLINED, BELL-SHAPED, BOX PLEATED SKIRT W/WIDE PURPLE BAND AT HEMLINE (TOP OF BAND IS SINUOUS AND FINISHED W/TWISTED CORDING), LOWER EDGE OF HEM FINISHED W/URPLE WOOL BRAID, SLIGHT TRAIN, UNLINED EXCEPT FOR GLAZED BROWN COTTON AT HEM, PAIRS OF NARROW, BRAIDED TIES AT INSIDE SEAMLINES NEAR HEM, HOOK AND EYE ON WAISTBAND.

Half-mourning dress, 1855-65 (ca 1860-63?), the North Carolina Museum of History

TWO-PIECE HAND-SEWN, BLACK SILK DRESS, FITTED, LINED, BONED BODICE, PLAIN ROUND NECKLINE, EIGHT PURPLE/BLACK SQUARE DECORATIVE BUTTONS ABOVE HOOK AND EYE CLOSURE AT CENTER FRONT, DROPPED SHOULDER, PURPLE PIPING, SHAPED SLEEVES W/PURPLE CUFFS, LACE BASTED ON CUFF EDGES; UNLINED, BELL-SHAPED, BOX PLEATED SKIRT W/WIDE PURPLE BAND AT HEMLINE (TOP OF BAND IS SINUOUS AND FINISHED W/TWISTED CORDING), LOWER EDGE OF HEM FINISHED W/URPLE WOOL BRAID, SLIGHT TRAIN, UNLINED EXCEPT FOR GLAZED BROWN COTTON AT HEM, PAIRS OF NARROW, BRAIDED TIES AT INSIDE SEAMLINES NEAR HEM, HOOK AND EYE ON WAISTBAND.

Woman’s dress in two parts by Jean-Philippe Worth, 1896 Paris, the Museum of Fine Arts Boston

Midnight blue/black velvet 2-pc. dress (possibly for mourning) with large puffed-sleeve bodice and trained skirt

Woman’s dress in two parts by Jean-Philippe Worth, 1896 Paris, the Museum of Fine Arts Boston

Midnight blue/black velvet 2-pc. dress (possibly for mourning) with large puffed-sleeve bodice and trained skirt

Mourning earrings, 1899-1902 US (Old Salem, NC), the North Carolina Museum of History

EARRINGS, TEARDROPS OF WOVEN BROWN HAIR ATTACHED TO DECORATIVE VERMEIL TRIANGLE, ATTACHED IN TURN TO VERMEIL MEDALLION MOUNTED ON CIRCLE OF WOVEN HAIR; FRENCH HOOKS FOR PIERCED EARS.
HAIR JEWELRY AND ART WERE POPULAR FROM THE LATE 18TH UNTIL THE EARLY 20TH CENTURIES FOR COMMEMORATIVE, MEMORIAL (MOURNING), SENTIMENTAL, AND DECORATIVE PURPOSES. DURING THE MID-19TH CENTURY MANY WOMEN TOOK UP THE HOBBY OF MAKING HAIR JEWELRY AT HOME. EARRINGS OF THIS STYLE (TABLE-WORKED DANGLES) WERE PARTICULARLY POPULAR 1850-1870. THIS PIECE WAS MADE A LITTLE LATER THAN TYPICAL FOR THIS FORM.

Mourning earrings, 1899-1902 US (Old Salem, NC), the North Carolina Museum of History

EARRINGS, TEARDROPS OF WOVEN BROWN HAIR ATTACHED TO DECORATIVE VERMEIL TRIANGLE, ATTACHED IN TURN TO VERMEIL MEDALLION MOUNTED ON CIRCLE OF WOVEN HAIR; FRENCH HOOKS FOR PIERCED EARS.


HAIR JEWELRY AND ART WERE POPULAR FROM THE LATE 18TH UNTIL THE EARLY 20TH CENTURIES FOR COMMEMORATIVE, MEMORIAL (MOURNING), SENTIMENTAL, AND DECORATIVE PURPOSES. DURING THE MID-19TH CENTURY MANY WOMEN TOOK UP THE HOBBY OF MAKING HAIR JEWELRY AT HOME. EARRINGS OF THIS STYLE (TABLE-WORKED DANGLES) WERE PARTICULARLY POPULAR 1850-1870. THIS PIECE WAS MADE A LITTLE LATER THAN TYPICAL FOR THIS FORM.

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