#Compagnie des Indes

[chic-a-gigot]

La Mode illustrée, no. 17, 28 avril 1867, Paris. Toilettes de Foulard et de soie de la Compagnie des Indes, 129 Boul.d. Sébastopol. Collection of the Rijksmuseum, Netherlands

Jupon en taffetas violet clair, garni de biais en satin violet, disposés en lignes droites et en losanges. Robe courte en poil de chèvre, relevée sur le jupon par des bandes recouvertes de biais de satin, terminées par des losanges; paletot pareil à la robe, garni de la même façon. Chapeau en crêpe violet clair, garni de pendeloques en perles blanches et de petites plumes violettes, disposées en bordure.

Robe en poult-de-soie nuance tendre. Le bord de la jupe est garni avec un volant plissé, découpé de chaque côté; un galon de perles blanches à pendeloques sépare ce volant, de façon à former une tête; sur chaque couture se trouve un léger galon de perles blanches; depuis le col jusqu'aux pieds de gros boutons ferment la robe; sur le corsage de la robe, coupée en forme de fourreau, un galon frangé en perles blanches dessine une berthe carrée; la partie supérieure du corsage (jusqu'à la berthe) et les manches sont brodées d'un semé de perles blanches. Chapeau de paille jaune, garnie de plumes bleues et de rubans bleus.

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Light purple taffeta petticoat, trimmed with purple satin bias, arranged in straight lines and diamonds. Short goat hair dress, raised on the petticoat by bands covered with satin bias, ending in diamonds; overcoat similar to the dress, trimmed in the same way. Light purple crepe hat, garnished with white pearl pendants and small purple feathers, arranged at the edge.

Soft shade poult-de-silk dress. The edge of the skirt is trimmed with a pleated ruffle, cut out on each side; a braid of white pearls with pendants separates this ruffle, so as to form a head; on each seam there is a light braid of white pearls; from the collar to the feet large buttons close the dress; on the bodice of the dress, cut in the shape of a sheath, a fringed braid of white pearls outlines a square bertha; the upper part of the bodice (up to the bertha) and the sleeves are embroidered with a scattering of white pearls. Yellow straw hat, trimmed with blue feathers and blue ribbons.

[erwan-soyer]

Le marin

[astipaxvancizbu]

Rhum West Indies de la Compagnie des Indes. C'est un assemblage de quatre rhums, deux de type anglais (Barbade et Guyana) et deux de type espagnol (Panama et République Dominicaine), il est vieillit huit ans en barrique de chêne 🥃

[kris33390]

Stuart Turton, L'etrange traversée du Saardam

Résumé 1634. Le Saardam quitte les Indes orientales pour Amsterdam. À son bord : le gouverneur de l’île de Batavia, sa femme et sa fille. Au fond de la cale, un prisonnier : le célèbre détective Samuel Pipps, victime d’une sombre affaire. Alors que la traversée s’avère difficile et périlleuse, les voyageurs doivent faire face à d’étranges événements. Un symbole de cendres apparaît sur la…

[erinsvintageemporium]

Featured Plate: 1888-02 JDM4662b

Fashion plate from Journal des Demoiselles from February of 1888, signed P. Deferneville.

Toilettes de Mme Pelletier-Vidal, 17 rue Duphot. Etoffes en foulard de la Compagnie Des Indes, 27 rue du 4 Septembre. Machines à coudre de la Mon. H. Vigneron, 10 Bd. Sebastopol. Chaussures [rest of text cut off]

GRAVURE No. 4662 bis. Toilettes de bal de Mme Pelletier-Vidal, rue Duphot. 17.

PREMIÈRE TOILETTE. Robe à traine en pékin florentin aurore alternant une raie de moire unie et une de satin, avec dessin broché en peluche. Jupe ouverte devant sur un panneau en peau de soie avec broderie d'or et d'argent. Corsage Medicis en satin uni, de même teinte que la jupe, ouvert sur un gilet de peau de soie blanche, traversé par des brandebourgs brodés; col de dentelle; manche bouillonnée avec crevé dans le haut; manchette mousquetaire en dentelle.

TOILETTE DE JEUNE FILLE. - Jupe en gaze blanche à trois volants plissés devant, les deux du haut bordés de pétales de roses effeuillées; tunique arrêtée au haut des volants; sur le bord du bouillonné sont posés des pétales effeuillés; pouf plat en gaze satinee rose; écharpe nouée de côté. Corsage plissé, décolleté à la vierge, garni d'un cordon de pétales de roses; ceinture nouée et petite draperie formant manche relevée sur l'épaule et retenue par un nœud de satin. Petit piqué de roses dans la coiffure.

[alchemyfire]

Extracts from the book

Robespierre in power was, externally, the same polite and proper provincial lawyer who had come up to Versailles in the wonderful springtime of 1789. Colchen found him "extremely polite" and dressed "in a suit that came from an earlier time." His hair was carefully combed and powdered. "He called me Monsieur and not citizen, and refrained from using the familiar you (tu)." Robespierre listened carefully to Colchen's report, without interruption, for forty-five minutes. The division chief remarks, with obvious satisfaction, that he had been heard "with interest and pleasure." A second interview was then arranged, and it, too, passed with politeness, attention, a flattering interest directed to the reporter, and a formal yet easy sociability made a bit charming by the manners of the ancien régime. The information thus gathered from Colchen, as well as others, would serve as the basis for Robespierre's formidable Rapport of November 17 (27 Brumaire) on "the political situation of the republic". The episode also reveals the conscientiousness with which he worked...

(Jean-Victor Colchen, head of a division in the Ministry of Foreign Affairs, a functionary of the ancien régime who stayed on to serve both the Revolution and Napoleon faithfully - had an interview with Robespierre in November 1793).

...By early December, after nearly five years of struggle, he was in a position to oversee the creation of a republic. Part of the act of creation was returning the government to a constitution, replacing the emergency government he had helped create with the government men had dreamed of, certainly since August 10, perhaps from the beginning of the Revolution. The Revolutionary Government declared by Saint-Just and Robespierre he now conceived as the instrument for the transfer of sovereignty to the people. But the times were not right, the omens were inauspicious. The Revolution had passed, unnoticed by those guiding it, into a juggernaut phase. Its course was determined less and less by the will and reason of men, more and more by la force des choses, complex circumstances set in motion and bound to run their caourse. When this shift occured is a matter of dispute. From the point of view of Robespierre's revolutionary career, October 12, 1793 is a plausible moment.

Shortly after the Convention had determined to try the Girondin deputies long under house arrest in Paris - those who fled would be condemned in absentia - and Marie Antoinette, but before the trials began, Fabre d'Eglantine, a poetaster (and one of the creators of the new revolutionary calendar with its heavy natural symbolism), a dandy, a figure of some importance on the left, a friend of Danton's, and, in Robespierre's bitter characterization, "that artisan of intrigue," began unfolding a "Foreign Plot." Much of the plot derived from Fabre's imagination and exaggeration, much of it from his growing fear that he himself would be found out, his thefts and pettifoggery and connivance at the wholesale misuse of funds belonging to the Compagnie des Indes, the old trading company being dissolved by the Revolution, discovered. If caught, he would go to the guillotine. Rather than lose his own head, Fabre was willing to see others killed, and he provided, through his vile fabrications, a good deal of the fatal evidence. His disclosures inaugurated the war between the factions and, more significantly, revealed the Mountain - the sacred Mountain, in the exalted language of the day - as riddled with scandal. These revelations were profoundly shocking, especially to Robespierre. The discovery of corruption on the Mountain deprived the Revolution of virtue. The people, of course, remained virtuous, but their virtue was passive and dependent upon the Montagnard vanguard for realization. Enlightenment and education and the creation of a democratic republic were the necessary means for releasing this vast potential. Now Fabre had undermined the vanguard.

(Extracts from the book The Revolutionary Career of Maximilien Robespierre by David P. Jordan)

[lacewise]

One of the most interesting things to me is the reason I can (usually) tell point de gaze and Alençon needle lace apart is not because of the difference in stitches (which there *are*)—but the difference in designs. Alençon frequently uses a cohesive pattern featuring one, maybe two, types of motifs. Point de gaze tends to value ‘fineness’ or ‘opulence’ over ‘cohesion’. I’m somewhat curious how that would’ve impacted point de gaze’s development if it had more time to evolve (it’s heyday only lasted a couple decades).

(There was a third point de gaze example but I couldn’t figure out how to describe it)

[fatehbaz]

Vidal [...] emphasizes the close relationship that existed between the Louisiana settlement [at New Orleans] and the Caribbean island [Haiti, the colony of Saint-Domingue] during the former’s French colonial period (1718-69). It has become a bit of a popular adage to describe New Orleans as the northernmost port of the Caribbean, but Vidal’s Caribbean New Orleans: Empire, Race, and the Making of a Slave Society demonstrates the substance behind these claims. [...] New Orleans is the missing link, a late-forming city that largely inherited its founding ideas, practices, peoples, plants, and laws from its longer-established imperial neighbors [France, Spain, Britain, and what would become the United States]. It thus offers the ideal case study in which to consider how colonies around the Americas developed in conversation with one another [...].

Vidal convincingly argues that New Orleans was a “slave society,” or a settlement in which racialized slavery informed every part of everyday life from its inception, whose physical construction was done alongside the “construction of racial categories” (p. 1).

This is an important shift within Louisiana historiography, which has long stood by [...] [the] argument that early New Orleans offered the semi-unique example of a “slave society” devolving into a “society with slaves.” Abandoned by the French following the spectacular failure of the Compagnie des Indes, the standard story goes, New Orleans became an isolated backwater until the 1770s, struggling to survive and permitting, out of sheer need, less disciplined contact between residents of European, Indigenous, and African birth and descent. [But] Vidal, in contrast, shows that, while Louisiana struggled to create a full-fledged plantation economy during the French era, this did not prevent its capital from organizing itself along the highly stratified lines of the Caribbean islands.

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Furthermore, she argues, because New Orleans did not see many new residents after 1731, free or enslaved, and because it was a smaller settlement, white inhabitants were able to build upon these ideas in a relatively stable environment - focusing much of their energies on surveilling, containing, and disciplining the enslaved and free persons of color (p. 26). [...]

Vidal especially points to the 1729 Natchez attack and ensuing Natchez Wars [against Indigenous peoples] as pivotal moments in the militarization of white New Orleanians [...].

Subsequently, a scrupulous supervision of racial boundaries became the norm for the rest of the French era and fostered “a sense of community among white urbanites” (p. 141). Chapter 3 takes readers to the streets, levees, and other public spaces of New Orleans, where whites sought to sculpt the privileges of “whiteness” against both residents of African birth and descent as well as one another. Elite men and their wives scuffled over the best seating at church in an effort to recreate France’s ancien régime culture; socially lower [...] nonslaveholders, meanwhile, carefully guarded their weaker claims at mastery through street violence [...]. Beginning with a careful reading of census categories, Vidal traces how distinctions between European settlers [...] were increasingly replaced with those centered exclusively on race by 1763. [...] [Vidal then] follows the ways in which the demographically diverse workforce of the early colony made up of white indentured servants, convicts, and soldiers in addition to enslaved Africans - gave way to associations of difficult and degrading labor limitedly with the enslaved. [...]

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French Louisiana inherited racial categories from the Caribbean but adjusted them to fit local needs, experiencing “not so much a loosening, but a more complex transformation” of its racial regime, largely through violence (p. 371).

Vidal documents how the Superior Council utilized targeted prosecutions and punishments to increasingly “imprint terror and instill obedience” on the enslaved (p. 390). [...] [The book] thus details a society in which racial hierarchies were asserted and supported through both top-down and bottom-up policies and practices, as “no social institution or relationship was left untouched by race” (p. 504).

To this end, Vidal speaks to important conversations by historians of enslaved women in the British Caribbean, including Jennifer Morgan and Marissa Fuentes. These authors have used a similarly wide range of sources [...] [and] archives to underscore the invasive nature of colonial racism. [...] [I]n part [...] Vidal’s [chapters work] to decouple lower Louisiana history from the fur traders of New France [Ontario, Quebec, and the watershed of the Mississippi River] and to reattach it to the planters of Saint-Domingue [in Haiti and the Caribbean]. [...] Combing through administrative papers, censuses, laws, parish registers, correspondence, and judicial records from both sides of the Atlantic, readers will get a sense that there is little Cécile Vidal has not seen or considered. [...] Her book [...] hopefully will convince an even wider audience [...] [to engage with] comparative, cis-Atlantic, and transatlantic studies of imperialism, race, and slavery.

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All text above by: Kristin C. Lee. "Review of Vidal, Cécile, Caribbean New Orleans: Empire, Race, and the Making of a Slave Society". H-Atlantic, H-Net Reviews. January 2022. URL at: h-net dot org/reviews/showrev.php?id=56913 [Bold emphasis and some paragraph breaks/contractions added by me. Presented here for commentary, teaching, criticism purposes.]

[whencyclopedfr]

Dix Pirates Néerlandais Célèbres

S'il y eut des pirates et des corsaires de toutes nationalités, certains navigateurs néerlandais furent particulièrement gênants au début de la période moderne, ciblant en particulier la mer des Caraïbes, mais aussi la navigation dans l'Atlantique Est et l'océan Indien. Connus sous le nom de zee-roovers, ces pirates et corsaires agissaient souvent pour le compte de consortiums privés, de la Compagnie néerlandaise des Indes occidentales, voire du gouvernement néerlandais, et étaient financés par ces derniers. Voici dix Néerlandais qui sévirent en haute mer aux XVIe et XVIIe siècles.

Lire la suite...

[detournementsmineurs]

La "Demeure de Corsaire" visite-guidée de l'hôtel particulier de François Auguste Magon de la Lande, corsaire de Louis XV, directeur de la Compagnie des Indes et armateur (1725) , Saint-Malo, Bretagne, septembre 2023.

[aforcedelire]

Miniaturiste, Jessie Burton

En 1686 alors qu’elle est âgée de 18 ans, la jeune Nella quitte le domicile familial pour rejoindre à Amsterdam son futur époux, Johannes Brandt. Homme d’âge mûr, il est un des marchands les plus prospères de la VOC (la compagnie néerlandaise des Indes orientales), et il vit avec deux domestiques et sa sœur Marin, qui accueille Nella de façon plus que froide. Pour l’occuper lors de son absence due à ses nombreux voyages, Johannes offre à Nella la réplique miniature de leur demeure, qu’elle va se faire une joie de meubler auprès d’un miniaturiste de la ville. Mais très vite, ses commandes vont mettre au jour de dangereux secrets…

J’ai adoré ce roman ! Une ancienne collègue m’en avait vanté les mérites et m’avait assuré que j’allais aimer, et maintenant que je l’ai (enfin) lu, je peux dire qu’elle avait raison ! D’abord, j’ai adoré l’histoire : cette jeune fille d’à peine 18 ans, propulsée dans une nouvelle et grande ville, qui est accueillie de façon très étrange dans sa nouvelle demeure. Qui ne comprend pas pourquoi l’ambiance reste sombre et cachottière. Ça m’a beaucoup rappelé Rebecca, j’ai vraiment aimé l’aspect gothique et incertain qui se dégage de Miniaturiste. Surtout lorsqu’entre en scène l’artiste, avec son envoi mystérieux et indésirable ; d’autant plus quand Nella commence à découvrir les secrets de sa nouvelle famille… J’ai beaucoup aimé la suivre ! Tout m’a vraiment plu, je le recommande chaudement. Je l’ai dévoré, et passée la moitié, je l’ai englouti, je voulais vraiment avoir le fin mot de l’histoire. (Et au moment où j’écris cet avis, je suis déjà à la moitié de la suite 🤭)

19/12/2023 - 28/12/2023

[chic-a-gigot]

Le Figaro-modes : à la ville, au théâtre, arts décoratifs, no. 8, août 1903, Paris. Les arbitres de l'élégance. Interview de Mlle Marguerite Deval du Théâtre des Mathurins. Photo Reutlinger. Ville de Paris / Bibliothèque Forney

Ses réponses

Couturier: VOYEZ… TAILLEUR. Modiste: UN RIEN DE CHEZ LEWIS. Tailleur: OLD ENGLAND, UNE HEURE AVANT LE DÉPART DU TRAIN. Lingère: UNE TOILE D'ARAIGNÉE. Corset: QU'EST-CE QUE C'EST QUE ÇA? Dentelles: LA COMPAGNIE DES INDES. Fourreur: GRUNWALDT. Chapelier: LÉON. Chaussures: COSTA. Éventails: JE N'EN JOUE JAMAIS. Ombrelles: CHEZ BRTGG. Magasins de Nouveautés: L'HOTEL DES VENTES. Parfumeur: MA PEAU. Dentifrice: BÉNÉDICTINS DE L'ABBAYE DE SOULAC. VIVE LA LIBERTÉ! Ameubl: LA VENTE LELONG. SI J'AVAIS PU! Orfèvre: ROUKHOMOVSKI. Objets de Voyage: TROIS SACS, 15 MALLES DE CHEZ LOUIS VUITTON ET 3O CARTONS A CHAPEAUX. Carrossier: LES CERCLES. Automobiles: JE COMPTAIS SUR MA DE DION-BOUTON DE LA REVUE DES FOLIES-BERGÈRE. Restaurant: MON BON POT-AU-FEU. Champagne: DU KATINKA BRUT. Confiseur: J'AI HORREUR DES BONBONS. Où goûtez-vous? JAMAIS.

A Marguerite Deval

ENVOI

Menue, effrontée, aguichante, Du rêve… et du geste à la fois, Dans sa toute petite voix C'est tout le grand Paris qui chante.

Francis de Croisset.

Petite, cheeky, alluring, Dream… and gesture at the same time, In her tiny voice It's all of great Paris that sings.

[percehaies]

Vue des magasins de la Compagnie des Indes à Pondichéry, de l'Amirauté et de la maison du Gouverneur.

18ème siècle

[maltrunners]

CDI Hampden 9 Year 2009

Review by: The Auditor Review #1300; Rum #605 This rum was distilled from molasses on a pot still at the Hampden distillery in Jamaica. It was placed into what was likely an ex-bourbon cask and aged for 9 years, likely mostly in Europe, before being bottled at cask strength with no additives by compagnie de indes. Distillery: Hampden Estate Bottler: Compagnie de…

[rajasthanaveckhusipal]

Explorez le désert du Rajasthan avec un guide francophone Vivez une expérience unique au cœur du désert du Thar avec Rajasthan avec Khusipal, votre agence locale spécialisée dans les voyages authentiques en Inde. Découvrez les dunes dorées de Jaisalmer, les villages traditionnels et les forts majestueux en compagnie d’un guide francophone pour visite du désert. Profitez d’une balade à dos de chameau au coucher du soleil, passez une nuit sous les étoiles dans un campement typique et plongez dans la culture locale grâce aux danses folkloriques et aux spécialités culinaires du Rajasthan. Que vous soyez passionné d’aventure, de nature ou de traditions, ce voyage vous promet une immersion inoubliable. Réservez dès maintenant votre escapade dans le désert du Rajasthan et laissez-vous envoûter par sa beauté envoûtante !

[erinsvintageemporium]

Featured Plate: 1876-03 JDD4038bis

Fashion plate from the Journal des Demoisellies (et Petit Courrier Des Dames Réunis) from March of 1876, signed A. Chaillot and Rigolet. Uncoloured version.

Toilettes du Petit St. Thomas, Rue du Bac, 27 á 35. Foulards de la Compagnie des Indes, rue de Grenelle St. Germain, 42. Mouchoirs de la Compagnie Irlandaise, rue Tronchet, 36. Machines à coudre Wheeler et Wilson, Boulevard Sébastopol, 70.

DEUXIÈME GRAVURE.

Première toilette. Robe en taffetas, ornée de deux draperies plissées formant le tablier devant et retenues en arrière par de larges nœuds. - Corsage avec bande en biais au milieu du dos. Manche ornée de draperie et nœud. - Chapeau en faille et foulard avec plume et nœud.

Toilette de mariée. Robe en faille, forme princesse devant, ornée de deux plissés dans le bas, et fermée par des nœuds en ruban et des agrafes en fleurs d'oranger. Corsage plat dans le dos et descendant plus bas que la taille; jupe à plis larges derrière; sur le côté, nœuds et bouquets en fleurs d'oranger.- Manche ouverte, garnie de plissés en faille et dentelle. - Coiffure en fleurs d'oranger, pouff avec traine. - Voile en tulle illusion.

Scan of fashion plate from my personal collection, description transcribed from digitised copy held by Harvard.