#ca. 1820
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• 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
#fashion history#history of fashion#fashion#19th century fashion#19th century#men's fashion#menswear#traditional#traditional wear#kilt#great britain#tartan#ca. 1820
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Riding Ensemble • ca. 1820 • Silk • American • Philadelphia Museum of Art (1936-12-3a,b--e) .
#1820s#regency#coats#menswear inspired fashion#historical fashion#frogging#buttons#sleeves#vintage athletics#era: 1800s
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Carl Gustav Carus - Moonlight over pine trees (ca. 1820s)
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Wool and cotton pelisse, ca. 1810-1820
#1810s fashion#1820s fashion#early 19th century#pelisse#coat#purple#black#empire fashion#regency fashion#historical fashion#paleta post
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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"
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Kitagawa Utamaro: Travels Looking at Mt. Fuji, ca. 1805-1820
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African Mounted Soldier, colored aquatint by W. Hutton and I. Clark, ca. 1820
#art#art history#Africa#poc in art#portrait#equestrian portrait#military history#W. Hutton#I. Clark#aquatint#British art#English art#19th century art
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'bad ending' solas and rook
an oresteia tr. by anne carson / hriscia / more and more by margaret atwood / detail from 'dante and virgil in hell' (1850) by william-adolphe bouguereau / 'ten of swords' by david palumbo / we will not be lovers by the waterboys / 'chains' (2024) by konstantin korobov / hey by the pixies / detail from 'dante and virgil in hell' (1850) / 'bradamante at merlin's tomb' (ca. 1820) by alexandre-evariste fragonard / the truth about grief by fortesa latifi
#*giggling* the vibes would be so bleak on their way into the black city#solrook#solas x rook#dragon age spoilers#dragon age veilguard spoilers#dragon age#spoilers#web weaving
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Pg 24,
[Sarah] Hale [...] dedicated her Ladies' Magazine to the modest goal of educating women, "not that they may usurp the station, or encroach on the prerogatives of man; but that each individual may lend her aid to the intellectual and moral character of those within her sphere." [...] It was a career that revealed all the ambiguities of image-making as a means of self-advancement. Hale was a businesswoman anxious for success, but she gained respectability by advising a domestic role for women.
We have never stopped having to critique housewife influencers I see
Pg 26,
"Starve us to prevent us from getting drunk!" union leaders bitterly commented on the temperance argument for low wages
The "poor people are buying drugs instead of food" discourse has been around for at least 200 years too, in this case borne out of overt calls for wage suppression as tactic to indirectly enforce sobriety‽
Unitarianism stressed the value of intellectual liberty and social harmony, thus reflecting the interests of well-educated people too committed to Enlightenment ideals to govern willingly by visible authority.
The THIRD thing on page FIVE alone that makes me go 👀
I should not have held off reading this book for so long this is already so totally compelling. But also this is quite a statement to make in the history/premise chapter. As just like a given apparently? Fuck em up Anne
#im probably not gonna liveblog the whole book but.#i just didn't expect the first chapter to make me go !!! so much#(i had heard of sarah hale before in history classes it had just been A While and id forgotten abt her)#(in her case fwiw her housewife influencer job was only possible bc she was widowed and really leaned into that as a persona)#(she would Not have been able to have that degree of control over a magazine ca 1820 in this social context w an alive husband)
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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)
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“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)
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Carl Gustav Carus - Stone Age Mound (ca. 1820)
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Natale Schiavoni (Italian, 1777 - 1858) Portrait of a lady, ca. 1820
#art#fine art#fine arts#best quality online#Natale Schiavoni#italian art#classical art#female#portrait#european art#female portrait#woman#portrait of a lady#italy#europe#european#mediterranean
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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
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