18th century ladies

18th century paintings, fashion plates and dresses.

mimic-of-modes:

The young Elvire playing with her cat. She is Dressed in a galant Pierrot and Coiffed with a Hat à la d’Hericort.- Galerie des Modes, 61e Cahier, 1ere Figure


Le Magasin des Modes, 20 May 1787

mimic-of-modes:

The young Elvire playing with her cat. She is Dressed in a galant Pierrot and Coiffed with a Hat à la d’Hericort.- Galerie des Modes, 61e Cahier, 1ere Figure

Le Magasin des Modes, 20 May 1787

Madame Sophie de France François-Hubert Drouais.
Date unknown, probably 1770s
Jane, née Belchier, Wife of Richard Huddleston by Jean-Marc Nattier.
1766
Archduchess Maria Antonia of Austria, the later Queen Marie Antoinette of France, at the age of 16 years, by Joseph Kreutzinger.
1771
Journal de la mode et du goût, 25th of July, 1790.
A woman wearing a caraco of white linen with floral embroidery. 
a-l-ancien-regime:

Marie Antoinette and her children in front of a tree by François Dumont.
1790
A -contemporary of the Revolution- representation of the royal family 
Any representation of royalty was prohibited by the Revolution. Since August 10, 1792, the royal statues in public places were removed. The Convention directed in 1793 the destruction of royal portraits. For any image, however small it may was, had a dangerous power of evocation. The fury of the revolutionary regime to destroy and prohibit any representation of the royalty and any portrait of a member of the dynasty, continued long beyond the Terror and is explained as a profound necessity to ensure the grip of the new ideas.
Despite his awkwardness, this miniature portrait bears witness to the attachment of the people’s feelings to the royal family. The portrait in its simplicity,  evokes a vanished world  a far cry from the revolutionary era atmosphere.
© Photo RMN-Grand Palais - M. Bellot
(via Louis XVI et sa famille - L’Histoire par l’image - Plein cadre)

a-l-ancien-regime:

Marie Antoinette and her children in front of a tree by François Dumont.

1790

A -contemporary of the Revolution- representation of the royal family 

Any representation of royalty was prohibited by the Revolution. Since August 10, 1792, the royal statues in public places were removed. The Convention directed in 1793 the destruction of royal portraits. For any image, however small it may was, had a dangerous power of evocation. The fury of the revolutionary regime to destroy and prohibit any representation of the royalty and any portrait of a member of the dynasty, continued long beyond the Terror and is explained as a profound necessity to ensure the grip of the new ideas.

Despite his awkwardness, this miniature portrait bears witness to the attachment of the people’s feelings to the royal family. The portrait in its simplicity,  evokes a vanished world  a far cry from the revolutionary era atmosphere.

© Photo RMN-Grand Palais - M. Bellot

(via Louis XVI et sa famille - L’Histoire par l’image - Plein cadre)

Madame de Pompadour by François Boucher.
Circa 1750
mimic-of-modes:

The Gown that the Woman represented in the 1st Plate wears is a Robe à la Turque of blue Pekin. The Petticoat is of the same fabric and in the same color. The Sleeves of the Gown are of white Gros-de-Naples, or another white fabric, to the sabot, which varies, and which is of the same fabric and the same color as the Gown. The Trimming of the Gown is in white crêpe, in the form of bows. In the middle of each bow is a bouquet of artificial roses. The flounce of the Petticoat is also of white crêpe, and it is surmounted by bows matching those trimming the Gown. The Manchettes attached to the Gown Sleeves are of pinked white gauze. - Cabinet des Modes, 13e Cahier, 1ere Planche

May 15, 1786.

mimic-of-modes:

The Gown that the Woman represented in the 1st Plate wears is a Robe à la Turque of blue Pekin. The Petticoat is of the same fabric and in the same color. The Sleeves of the Gown are of white Gros-de-Naples, or another white fabric, to the sabot, which varies, and which is of the same fabric and the same color as the Gown. The Trimming of the Gown is in white crêpe, in the form of bows. In the middle of each bow is a bouquet of artificial roses. The flounce of the Petticoat is also of white crêpe, and it is surmounted by bows matching those trimming the Gown. The Manchettes attached to the Gown Sleeves are of pinked white gauze. - Cabinet des Modes, 13e Cahier, 1ere Planche

May 15, 1786.

mimic-of-modes:

Sky blue caracos are also worn, with unbleached linen petticoats; caracos with waving green stripes, and with white stripes, with puce petticoats; caracos with sequined stripes and with moiré puce stripes, with water green petticoats.Under her puce caraco, our Woman is dressed in a corset of white taffeta, tabbed on the bottom, and fastened in front with a number of puce ribbons, tied in bows. - Cabinet des Modes, 19e Cahier. 2e Figure

August 15, 1786

mimic-of-modes:

Sky blue caracos are also worn, with unbleached linen petticoats; caracos with waving green stripes, and with white stripes, with puce petticoats; caracos with sequined stripes and with moiré puce stripes, with water green petticoats.

Under her puce caraco, our Woman is dressed in a corset of white taffeta, tabbed on the bottom, and fastened in front with a number of puce ribbons, tied in bows. - Cabinet des Modes, 19e Cahier. 2e Figure

August 15, 1786

Frédérique Louise Wilhelmine, Princesse d’Orange-Nassau, by Johann Friedrich August Tischbein.
 1788