#ca. 1820

[lookingbackatfashionhistory]

• Hard tartan kilt decorated with silk rosettes and matching pink silk ribbon ties, part of a man's kilt suit.

Place of origin: Great Britain, United Kingdom, Northern Europe

Date: ca. 1820

Medium: Tartan, silk, cotton

[craftycollectorpizzame]

[the-chomsky-hash]

[ghw-archive]

Riding Ensemble • ca. 1820 • Silk • American • Philadelphia Museum of Art (1936-12-3a,b--e) .

[random-brushstrokes]

Robert Léopold Leprince - Study of Trees (ca. 1820)

[psikonauti]

James Peale (American,1749-1831)

Still Life: Balsam Apple and Vegetables, ca. 1820-1829

Oil on canvas

[paletapessoal]

Wool and cotton pelisse, ca. 1810-1820

[unapologeticallygay]

Love-a-la-Mode, or Two Dear Friends

Lady Strachan and Lady Warwick Making Love in a Park, While Their Husbands Look on with Disapproval. Coloured Etching, ca. 1820. via JSTOR

Text says:

"Little does he imagine that he has a female rival"

"What is to be done to put a stop to this disgraceful business?"

"Take her from Warwick"

[japaneseaesthetics]

Kitagawa Utamaro: Travels Looking at Mt. Fuji, ca. 1805-1820

[lionofchaeronea]

African Mounted Soldier, colored aquatint by W. Hutton and I. Clark, ca. 1820

[hildegardavon]

Tommaso Solari, 1820-1889

Bacchante [Omphale], ca.1850/60, marble, 172x55x62 cm

Museo e Real Bosco di Capodimonte, Napoli

Called Bacchante, the young woman has her head encircled by a crown of vine leaves and raises a cup of wine. The relaxed attitude of the figure, leaning against a tree trunk, almost entirely covered by the skin of a feline, would more likely lead to identifying the image with that of Omphale.(¿?)

[metmuseum]

Panel. ca. 1820s. Credit line: Rogers Fund, 1968 https://www.metmuseum.org/art/collection/search/229250

[milksockets]

american evening dress, ca. 1820 in high style: masterworks from the brooklyn museum costume collection at the metropolitan museum of art - jan glier reeder (2010)

[ozzgin]

“Every few weeks you emerge from your burrows to make some unhinged, perverted statement and then vanish again.” -Ozzgin

You’re making me feel like some cryptid being studied by Steve Irwin 🥰

So for my sporadic sermon this time around, let us remember these teachings from yours truly…🙏

Your body is a temple

Allow all to enter

Cum so plenty

The balls are always empty

Be not afraid

Take that cock

Big and hard

Bounce up and down

Shake side to side

Sing that glug-glug sound

Loud and proud

Stuffed so full

Round and taut

For there is no shame

With gallons gushing out

-👘

Title: Kimono Anon About to Write a Poem

Artist: Yashima Gakutei (Japanese, 1786?–1868)

Period: Edo period (1615–1868)

Date: ca. 1820

Medium: Woodblock print (surimono); ink and color on paper

Dimensions: 8 5/16 x 7 5/16 in. (21.1 x 18.6 cm)

[random-brushstrokes]

Antonie Sminck Pitloo - A Boy Sitting under a Pergola, Capri, (ca. 1820)

[jewellery-box]

Printed cotton day dress with sleeve inserts

American, ca. 1833

Frequently satirized by caricaturists, enormous gigot, or leg-of-mutton, sleeves were the defining characteristic of women's fashionable dress at the height of the Romantic period around 1830.   Ballooning out from the shoulder and tapering tightly at the wrist, their exaggerated proportions deliberately evoked similarly voluminous sleeves of the late sixteenth century and enhanced the ideal hourglass silhouette with its small waist and full, rounded skirts. Crescent-shaped down-filled pads often kept the sleeves properly expanded; pinned to the corset underneath, they could be used interchangeably with different gowns.

Most unusually, this floral-printed cotton day dress retains its sized linen sleeve supports that were clearly intended to be worn with this dress. Attached to the interior shoulder seams with tape ties, they are an exceptionally rare survival of an undergarment with its original attire.

Although British cottons continued to be imported into the United States in the post-Revolutionary years, it may be that this sturdy twilled cotton with pink, blue, and green blossoms and meandering vines set off against a rich, brown ground is of American manufacture. By the 1820s, the domestic printed cotton industry had increased significantly from its tentative beginnings in late eighteenth and early nineteenth centuries, with large firms established in New England and along the Hudson River.  Floral-patterned cottons were a perennial favorite for day dresses in the 1820s and 1830s, especially for the warmer months from spring to early fall. Probably made by the wearer herself rather than a professional seamstress, the gown and its sleeve inserts demonstrate that American women were well aware of, and followed as closely as possible, current fashions from abroad.

Cora Ginsburg