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This file contains links to some illustrations from the "extended Regency" period (see notes on chronology and periodization) which are not primarily illustrations of women's fashions. Click on the thumbnails to view the full-size images. Links labelled "[Large]" or "[Huge]" lead to images which may take longer to download, due to relatively large file sizes (approaching or exceeding 200 kilobytes).
Portraits of men, and illustrations and specific caricatures of men's fashions
Portrait of the painter J.B. Isabey and daughter, by Gerard, 1795:
George "Beau" Brummell, watercolor by Richard Dighton (1805):
Sketch of Lord Grantham by J.A.D. Ingres, 1816:
"Portrait at 29 Well Street", a watercolor depiction of my 2nd cousin 4 times removed, the lawyer and artist Thomas Churchyard of Woodbridge, Suffolk, England, in his home, by an unknown artist, ca. 1825.
Here are two pieces painted by Thomas Churchyard of Woodbridge (who was an artist in his own right):
1810 watercolor portrait of Allan Melville, by John Rubens Smith:
"The Comforts of a Rumford Stove", a June 12th 1800 Gillray caricature of Rumford (who was an American, Benjamin Thompson, awarded the title of "Count Rumford" by the elector of Bavaria), standing before his famous invention, the Rumford grate (popularized by his 1796 essay on "Chimney fireplaces", and mentioned in Northanger Abbey):
For portraits of women, see the Regency women's clothing page.
Impressive haberdashery from "La Mésangère", Paris, 1800:
"Full and half-dress for April", fashion plate ca. 1809:
Outfit with men's redingote, Costumes Parisiens, 1813
Male fashion caricatures:
"The Dandy Club", Dec. 29th 1818 caricature drawn and etched by Richard Dighton:
Illustration and partial text from "Neckclothitania or Tietania, being an essay on Starchers, by One of the Cloth", published by J.J. Stockdale, Sept. 1st. 1818, engraved by George Cruikshank:
"Dandies Dressing", 1818 caricature by George Cruikshank on the artificial Regency beau:
"Les Modernes Incroyables", satire on would-be fashionable young bucks of the day, from Caricatures Parisiennes, 1810
"Les Invisibles", an 1810 caricature of how various fashions (including women's bonnets, along with male hats and high collars) seemed to hide the face ("Invisible" is the French word for a poke bonnet):
Detail from the above 1810 caricature, redrawn as simple line art for the Caricature History of the Georges, 1867:
"Le Goût du Jour", late 1790's fashion satire:
For an 1824 satire of immediately post-Regency dandyism, prefiguring certain Victorian trends, see the 1824 smoking and moustaches caricature below.
Miscellaneous (unclassified) images
(Some of these images may be slightly humorous, but are not exaggerated caricatures.)
"Young Ladies at Home" (idealized classicized engraving by Henry Moses, 1823):
Another classicized idealized engraving, of ladies at their instrument, by Henry Moses (originally drawn 1812?; published by 1823):
Making him useful (my caption for this slightly humorous drawing-room picture of a young lady and a soldier):
"La Promenade publique du Palais-Royal" by Louis Philibert Debucourt (after Bosio), ca. 1798:
"Passer Payez", a painting by Louis-Leopold Boilly, ca. 1803:
Gambling at roulette, ca. 1800:
The character of Rosara in "The grand melodrama of The Broken Sword (by W. Domind), as performed at the Theatre Royal, Covent Garden." -- (published November 4th 1816):
"The Devil to Pay, or the Elopement":
A circulating library, from Poetical Sketches of Scarborough, 1813:
Trade card advertising Sloan House, a boarding school for young ladies, 1797:
"Ceremonial at a Young Ladies Seminary", United States ca. 1810:
Regency young lady playing the pianoforte:
"Trade card" of Miss Dietrichsen, music teacher (ca. 1798), showing two young ladies playing the harp and piano:
Will Wander's Walk, first page of an 1806 children's book:
Dr. Syntax plays billiards with the ladies of Tulip Hall ("The Billiard Table" by Rowlandson, from The Third Tour of Dr. Syntax In Search of a Wife, 1821):
Woodcut of a mother and daughter in a confectioner's shop (i.e. candy store; 1810's):
Regency woodcut of a proposal scene ("Vignette auf einem Dresdener Liebesbriefbogen mit Goldschnitt. Um 1815"):
"Postman", part of a series showing street cries, engraved by Rowlandson, 1810:
Walking Costume 1812 (Fashion plate redrawn as simple line drawing for Social England under the Regency by John Ashton, 1899):
Ca. 1811 image showing a couple in Portsmouth kissing right out in the open on the street (gasp!):
Advertisement for Gowlands' Lotion, from Ackermann's Repository 1809 (for ladies who want to carry away their freckles):
Detail of a broadside published in New York in 1810 on Dutch customs celebrated in connection with Dec. 6th (the day of St. Nicholas or "Sancte Claus"), showing a depiction of a good child who has gotten gifts and a bad child who has been punished, engraved by Alexander Anderson:
A daughter summoned to appear before her parents, because of an unexpected and suspicious flower that has been found (the assumed topic of this sketch by Isaac Cruikshank, apparently drawn about 1790):
(Images without thumbnails:)
Nelson's famous flag signal at the battle of Trafalgar (1805)
See also an image of Regency ladies consulting a menu with the assistance of the waiter (low-quality newspaper scan).
Architecture and interior decor illustrations
A contrast between "Grecian" vs. "Gothic" styles of landscape and architecture; a Feb. 1st 1816 plate accompanying Humphry Repton's Fragments on the Theory and Practice of Landscape Gardening (it might be just possible that Marianne Dashwood of Sense and Sensibility would prefer one of these to the other!):
An example of what Repton can do on the inside of the house (as well as the garden) for his five-guinea-a-day retainer: The "Modern Living Room" contrasted with the "Ancient Cedar Parlour", from Humphry Reptons's Fragments of the Theory and Practice of Landscape Gardening (1816):
A Cottage Orneé, From J.B. Papworth's Rural Residences (1818), perhaps resembling Sir Edward Denham's effort in Sanditon:
Ackermann's Art Library lit by the new invention of gaslight, detail of aquatint by J. Bluck after Augustus Charles Pugin, ca. 1812-1815:
Another view of Ackermann's enterprise, "Ackermann's Repository of Arts, 101 Strand", an illustration by Pugin and Rowlandson to the magazine Ackermann's Repository of Arts, Literature, Commerce, January 1809
"Night Bason Stand" from The Cabinet Dictionary by Thomas Sheraton (1803):
Sporting, transportation, and outdoors games and pastimes scenes
An illustration of a balloon journey, from the Journal des Dames et des Modes, 1797-1798 (the lady seems none too warmly attired for the occasion):
Coach(?) and six, with a "box" in front and "basket" behind (Rowlandson, 1798):
"The Arrival of the Diligence (stagecoach) in the Courtyard of the Messageries" by Louis-Léopold Boilly, 1803 (detail):
(For further coaching scenes, see the illustrations from William Henry Pyne's Microcosm below.)
Henry Angelo's Fencing Academy (watercolor by Rowlandson, 1787):
Trevithick's steam locomotive as an attraction for paying customers in London's Euston Square; watercolour by Rowlandson, 1809:
Skating couple ca. 1800 -- the sly gentleman knows that under cover of teaching her to ice-skate, he can hold her and clasp her hand without being thought improper or forward. (Plate re-colored when printed in Fischel and Boehn's Modes and Manners of the Nineteenth Century, 1909.)
Another ice-skating scene, "January", print from an early 1820's series of prints of the months:
Roller Skates of 1790 (with a brief history of the invention of wheeled skates):
Bathing-machines in Bridlington Bay, Yorkshire, from The Costume of Yorkshire by George Walker, 1814:
Print of the 1822 meeting of the "Royal British Bowmen" archery club (1823 print engraved after J. Townshend):
An outdoors game (1815):
A crowd watching a horse-race, print by Rowlandson ("The High Mettled Racer"), July 20 1789:
Custom playing card illustrations
Four of spades from an 1832 card deck by Baron Louis Athalin (published in Paris), depicting a Regency lady consulting her gardener (apparently):
Two of spades, depicting a mother-daughter dialogue, from an 1803 draft design by John Nixon for the "Metastasis Transformation" pack of playing cards (London):
The queen of spades from an 1810 deck of cards by Vincenz Raimund Grüner (Vienna):
General family portraits
The family of José de Iturrigaray, Spanish Viceroy of Mexico, about 1805:
Detail of portrait of members of the Ruspoli family breakfasting in their Italian palazzo, 1807:
Ingres' family portraits
Portrait of Alexandre Lethière, wife Rosina Meli, and their daughter Letizia (1815):
La Famille Stamaty, 1818 sketch by Ingres:
Sketch of the family of Lucien Bonaparte (1815):
Portrait sketch of Joseph Woodhead, wife Harriet, and brother-in-law Henry George Wadesford Comber (1816):
To see some of Ingres' portraits of women, go to the portrait section of the women's fashion illustrations page, and to see his portrait of Lord Grantham, see above on this page.
General images of dancing
"Highest Life in London -- Tom and Jerry "Sporting a Toe" among the Corinthians at Almacks in the West" by Robert and George Cruikshank, from Pierce Egan's Life in London (1821):
Dancing the Quadrille at Almack's
Rather lively dancing of the "La Trénis" figure of the Contredanse, from Le Bon Genre, Paris, 1805:
Children dancing(?) in the grounds of a country house ca. 1820:
The five "Positions of Dancing", from Wilson's Analysis of Country Dancing, 1811:
Music and (somewhat illegible) instructions for the Boulanger ("baker") dance ("Co:" is an abbreviation for "couple", and apparent "f" without a crossbar is an "s"):
Frontispiece to Thomas Wilson's Correct Method of German and French Waltzing (1816), showing the nine positions of the waltz:
A clearer scan of Regency waltzers in the eighth position, from Thomas Wilson's Correct Method of German and French Waltzing (1816):
Waltzing scene from La Belle Assemblée, February 1, 1817:
Curtseying (?) for the Devonshire Minuet:
Dr. Syntax plays the fiddle at a village dance ("Rural Sports" by Rowlandson, from The Tour of Dr. Syntax In Search of the Picturesque, 1810):
Village harvest procession, by Rowlandson, 1823
Illustration of quadrille steps from Carlo Blasis's Code of Terpsichore (1830):
"Tom, Jerry, and Logic Making the Most of an Evening in Vauxhall" by Robert and George Cruikshank, from Pierce Egan's Life in London (1821):
"Danse Bolèro", from Delineations of the Most Remarkable Costumes of the Different Provinces of Spain (ca. 1820?):
The "L'été" figure of the quadrille, early 1820's (engraved by Lebas):
English print of ca. 1820 showing dancers executing the "three forward and back" section of the pastourelle figure of a quadrille:
Home-made Entertainment in the Drawing-Room (1810 anonymous sketch of semi-informal dancing, such as that at Sir William Lucas's in Pride and Prejudice):
Caricatures or strongly satirical drawings
(Other than specific fashion caricatures; see above for male fashion caricatures, and the the Regency women's fashions page for female fashion caricatures.)
Here's a series of adaptations of a caricature of the Walz:
"La Walse", caricature from Le Bon Genre, Paris, 1801 (probably the original caricature; at this time the Waltz was unknown in England, and in Germany and France still had not entirely shed its connotations of being a German peasant dance):
"La Walse"; 1810 adaptation by Gillray of the above French caricature:
Engraved illustration for the 3rd. edition of Washington Irving's Salmagundi (1820) by Alexander Anderson
"La Sauteuse" (different caricature from the above three), from Le Bon Genre, Paris, 1806:
"Waltzing" (detail from another early 19th century English caricature, redrawn for Social England under the Regency by John Ashton, 1899):
A larger scan of this redrawn caricature is also available:
(The preceding two caricatures make sly insinuations by showing a vagrant fold of the woman's skirts going between the man's legs...)
"Longitude and Latitude of St. Petersburgh", caricature of Countess Lieven waltzing at Almack's, by George Cruikshank, May 13th 1813:
Some dance caricatures were actually not about walzing... The Quadrille was also a new dance in England in the 1810's:
"Dos à Dos -- Accidents in Quadrille Dancing", caricature print engraved by George Cruikshank, 1817 ("Other way, Mr. Collins!"):
"Bobbin' about to the Fiddle -- a Familly Rehersal of Quadrille Dancing, or Polishing for a trip to Margate", a caricature of a "cit" (bourgeois) family preparing for their vacation, by Charles Williams, May 1817:
Detail of an early 19th-century French engraving depicting a semi-raucous peasant dance...
A semi-satirical drawing used as the basis for a colored engraving (print), titled "Academie et Salle de Danse. Les Graces Parisiennes". A mild parody of a French dancing school -- the man on the left is in a contraption to accustom him to turn out his toes at the proper angle, and the next guy is on wedges that enforce the proper angle of bending for the knees. The ladies' skirts are slightly shorter and more diaphanous than they would have been in real life, the dancing master's small "kit" fiddle (pochette in French) is even smaller than it would have been in real life, and the demi-beau in the middle is earnestly scrutinizing his appearance in the mirror when he should be practicing dancing with his partner...
"Dottator et Lineator Loquitur", 1817 engraving showing the stages of a ball in rather schematic form: "Asking to dance", "Leading out", "Hands four round", "Down the middle", "Right and Left", "Setting", "Cross hands", "Poussette", "Hornpipe", "Tête à Tête", "Fainting", "Taking home royal".
"Fast" parlour games from Le Bon Genre, Paris
Semi-satirical illustrations, some or all of which were published in Le Bon Genre, Paris, during approximately the first decade and a half of the nineteenth century; not to be taken entirely seriously...
A game of blind man's buff -- it looks like the gentleman is, ahem, taking advantage of the situation... The French caption is "Colin Maillard assis -- MONSIEUR ON NE TÂTE PAS" (Translation: "Seated blindman's-buff -- Sir, no groping!")
Another Regency parlour game, of uncertain nature but faintly scandalous appearance (by Schenker, from Le Bon Genre?). French Caption: "Le Baiser à la Capucine".
"Guessing the Kiss" (Le Bon Genre, 1811):
Another unknown game; engraved by Bosio, 1816 (from Le Bon Genre?)
Some info on this publication is available on Cathy's Le Bon Genre page.
General (unclassified) caricatures
"The inconveniences of a crowded drawing room", famous caricature by George Cruikshank, May 6th 1818
A valuable historical document of the Regency period! (Facial expression study by Louis-Léopold Boilly; chalk sketch, probably from the early 1820's):
A detail from a ca. 1820 engraving, showing an event that was not out of place or incongruous with everyday life in the U.S. at that time, even in the large eastern seaboard cities: an elegant young lady who has been knocked over by a pig in the streets of New York City:
"`At Home' in the Nursery, or the Masters & Misses Twoshoes' Christmas Party", an 1826 caricature by George Cruikshank, that shows children of several different families having a "party" (or play session) attended by servants, while the adults are no doubt eating, drinking, and making merry in another part of the house.
"Learning to Drive Tandem", 1823 Caricature by Henry Alken:
"Luxe et Indigence", French satirical print, 1818. The young lady's chamber is furnished extremely sparsely (bandboxes used as bedside table, shawl used as curtain, and not much else) -- but she has a ball ticket stuck in the corner of the mirror, and a fashionable ball dress laid out on the chairs.
"Leaving Off Powder, or A Frugal Family Saving the Guinea", March 10th 1795 caricature by James Gillray, on the results of the new tax on hair-powder. The mother is trying on a new unpowdered wig, the daughter is disconsolately surveying in a mirror the effect of her new unpowdered hair style, the father is standing with his back to the fire in an unpowdered wig and reading a Gazette -- the first page of which says "New Taxes", and the second page "Bankruptcies" -- and the extremely dandified son isn't wearing a wig at all. The very powdered Charles II looks down from the wall:
"A Peep at the Gas-lights in Pall Mall", caricature of reactions to installation of the new invention of gas-lighting on Pall-Mall, London, by Rowlandson, 1809 (mediocre-quality image):
Since the classical world was held up as a model, why not go all the way in your emulation?
The Regency Cat Lady (caricature published in Vienna, 1815):
"Squatting plump on an unexpected cat in your chair!!", detail of an engraving by Isaac Cruikshank after a drawing by Woodward, ca. 1808 (part of a series on "Miseries of Human Life"):
Detail of a caricature depicting connoisseurs being shown an Italian painting:
"An Elegant Establishment for Young Ladies", by Edward Francis Burney, a fantastic farrago which depicts a multitude of outlandish goings-on imagined to occur at a trendy lady's "seminary":
Englishmen after dinner ("L'après-Dinée des Anglais"), a slightly naughty 1814 French satire on gentlemen taking liberties in the dining room after the ladies have withdrawn to the drawing room:
English ladies after dinner ("Les Dames Anglaises Après-Diné"), 1814 French satire of ladies in the drawing room:
"The English Ladies' Dandy Toy", somewhat symbolic caricature by Robert Cruikshank, 1818, showing a type of toy popular at the time:
A satirical engraving of the quaint English custom of "wife-selling", which wasn't quite what it sounds like, but was more a ritual among the non-genteel classes (who couldn't possibly obtain a full parliamentary divorce, allowing remarriage, according to the pre-1857 laws), to publicly proclaim a dissolution of marriage (though not one that was really recognized by the authorities of Church and State). 1820 English caricature (even though the sign says "Marché de Bêtes à Cornes")
"Boeuf à la Mode", an anonymous French caricature of the beginning of the 19th century which pretends to interpret the name of the menu item "Boeuf à la Mode" as meaning "The Fashionable Ox" (instead of "Stewed Beef"):
"The celebration [fête] of the Order of Cuckoldry before the throne of her majesty, Infidelity", satirical colored French print, ca. 1815. (A parody of knightly orders such as the English order of the Garter, which traditionally held annual celebrations on the day of the patron-Saint of the order.)
"Love-à-la-mode, or Two dear friends", early 19th-century caricature by Gillray, reportedly depicting a scandalous rumour told about Emma, Lady Hamilton (Nelson's mistress), and Queen Maria Carolina of Naples (presumably the the lady on the left, who seems to be wearing some kind of coronet or crown beneath the feathers in her headdress). Two men spy out the situation in some distate, from behind some bushes.
"Modern Antiques" by Rowlandson, 1806 (a satire on the craze for imitations of things ancient-Egyptian):
"Farmer Giles"; this 1809 caricature by Gillray satirizes a prosperous farmer's family aspiring to female musical "accomplishments" and other middle class refinements:
Smaller wider view of 1809 engraving by Gillray satirizing young ladies' "accomplishments" in the family of a prosperous farmer:
The following 1843 poem, in much the same spirit as the Gillray caricature, summarizes the difference between the lifestyles of the "genteel" vs. the tenant-farmer classes, and predicts that the latter will come to an impecunious end if they imitate those of the former:
Caricature by (George or Robert?) Cruikshank, 1816 (probably an allusion to some specific event or gossip):
For pictures which are primarily satires of women's fashions see the caricatures section of the Regency women's fashions page.
Caricatures which involve soldiers or sailors in some way (even though they may not be the main target of the satire).
"An Interesting scene, on board an East-Indiaman, showing the Effects of a heavy Lurch, after dinner", print by George Cruikshank, Nov. 9th 1818, after a drawing by Captain Frederick Marryat (Large JPEG image):
A print that will make you wish you lived in the Regency, when things were decorous and elegant!
"The Merry Ship's Crew, or Nautical Philosophers" a satirical caricature on severe naval discipline, from the late 1810's, signed by "Williams":
"For all the happiness mankind can gain,
"Is not in pleasure, but in rest from pain." -- Dryden
"Portsmouth Point" by Thomas Rowlandson, ca. 1811 mainly satirizing various types of lower-class boisteriousness and carousing in Portsmouth harbor:
A Natural Curiosity... (my caption for this slightly naughty caricature of 1815):
"Stretchit", a slightly naughty English caricature of the early 19th century, commenting on a few young females who were daring enough to ride astride, rather than sidesaddle (gasp!):
A hobby horse built for four (English caricature, ca. 1817):
"Female Opinions on Military Tactics", Sept. 30 1790 caricature engraved by Isaac Cruikshank. Despite the title, this doesn't really mock feminine ignorance of military matters, but instead derives its humor from situations involving inexperienced soldiers of the militia or volunteers -- and adds in a good number of double entendres:
"The Comforts -- and -- Curse of a Military Life" by T. Colley, a 1781 print which expresses indignation that military benefits (promotions, staying on active duty at full pay, etc.) weren't distributed according to merit, but rather according to connections, political influence, bribery, etc.
A caricature of Napoleon and his officers reviewing their troops on the retreat from Moscow in November 1812; a detail of a May 27th 1813 print by George Cruikshank, based on a Russian print.
"Crying for a New Toy", a Jan. 25th 1803 caricature attributed to Isaac Cruikshank which portrays Napoleon's planned coronation in a rather undignified light:
"A Swarm of English Bees hiving in the Imperial Carriage!! -- Who would have thought it! -- A Scene at the London Museum, Piccadilly, or a peep at the spoils of ambition taken at the battle of Waterloo, being a new tax on John Bull, &c. &c.", caricature by George Cruikshank, Jan. 1816. (Of course, the "Museum" would have been a private business, charging admission to curiosity-seekers.):
Detail of "1812 or Regency À la Mode", caricature of the Prince Regent as an aging dandy or "fat Adonis of fifty" by W. Heath, redrawn for Social England under the Regency by John Ashton, 1899:
A caricature of the Prince Regent by George Cruickshank illustrating "The Political House that Jack Built" by William Hone (1819):
Colored engraving of Peterloo Massacre (1819) by George Cruikshank:
"The March of Roguery", 1830 caricature by C. J. Grant:
A ca. 1833 caricature of the political establishment from a Radical point of view, suggesting that the Whigs were not all that different from the Tories (see further information at top of image):
Post-Regency but Pre-Victorian Caricatures and Satirical Drawings
A few humorous pictures from the mid 1820's to the early 1830's (not including political caricatures from this period, which are in the immediately preceding section -- nor women's fashion caricatures, which are on the Victorian page):
"Corinthian Steamers, or Costumes and Customs of 1824", Feb. 26 1824 caricature by W. Heath. This shows the very beginnings of the transition from Regency to Victorian with respect to facial hair and smoking (both of which were considered outlandish and un-English during the Regency, and are ridiculed here, but later would come to be considered highly respectable during the Victorian period):
At the right of the image a dandy is blowing smoke in a lady's face, in flagrant violation of the etiquette of the time (in which smoking was mostly not done indoors at all, and never in the presence of ladies). Caption is "Fond of Steaming Ladies! do you smoke it, eh!" (The steam engine was a shiny new technology in 1824, so smokers are jocularly compared to steam-engines...) Moustaches were associated with foreign (continental European) and military influences at the time (and so had a secondary association with conspicuous dandyism), while beards were totally out of fashion (generally only a few elderly working-class people and invalids would have had them).
"Term Time", satire on lawyers, from "Illustrations of Time" by George Cruikshank, 1827:
[This was an old joke -- in 1791 a caricature engraved by Bowles after Dighton, with the title "A Sharp between Two Flats", showed a legal gentleman (the "sharp") dividing an oyster among the opposing parties in a lawsuit, with the caption "A Pearly Shell for HIM and THEE -- the OYSTER is the Lawyer's Fee".]
Teaching one's aged progenitress the proper way in which to do the thing ("The Age of Intellect", humorous illustration on a proverbial phrase by George Cruikshank, 1829):
"Locomotion", a late 1820's satire by George Cruikshank on the coming of the Age of Steam; the inventions to be expected in the wake of the newfangled steam railroad are, from left to right: a steam walker ("Walking by Steam"), a steam carriage ("Riding by Steam"), and a steam ornithopter ("Flying by Steam") --
Satire on the coming age of steam ("A View in Whitechapel Road", after H. T. Alken, 1831):
For Victorian caricatures, see my Victorian page.
William Henry Pyne's vignettes of working-class life and traveling
The following scans are mainly taken from the 1806 book Microcosm, which contains William Henry Pyne's engravings of rural and working-class life, with an accompanying commentary.
"Mower's family travelling" (original uncolored engraving):
A hand-colored version of "Mower's family travelling" (larger scan):
"Man and woman washing linen in a brook", from William Henry Pyne's Microcosm, 1806:
"Woman and Child with a cat", "Cottager and Child" from "Cottagers Plate 2" in William Henry Pyne's Microcosm (1806):
Merry-go-round in an English village (probably part of a village fair), by W. H. Pyne, ca. 1810. (It doesn't conspicuously seem to be an enjoyment of the genteel classes.)
"Chaise and pair loading" from William Henry Pyne's Microcosm (1806). Travel speed: 7 to 8 miles an hour.
"Chaise and four in full gallop" in William Henry Pyne's Microcosm (1806). Travel speed: 10 miles an hour.
"A stage-coach with four horses coming down hill" from William Henry Pyne's Microcosm (1806):
Pavel Petrovich Svinin watercolors (now attributed to John Lewis Krimmel)
Pavel Petrovich Svinin was a Russian who visited the United States (as secretary to the Russian diplomatic representative) in the early 1810's, during which he painted a number of watercolors of life in America. Later he published the book Voyage Pittoresque Aux Etats-Unis de l'Amérique par Paul Svignine en 1811, 1812, et 1813. A German translation of the book is available on-line here. Later scholars agree that the paintings are not Svinin's but those of John Lewis Krimmel.
Note: These paintings belong to The Metropolitan Museum of Art
Pavel Petrovich Svinin, Merrymaking at a Wayside Inn (watercolor):
Pavel Petrovich Svinin, Oyster Barrow in front of the Chestnut Street Theater, Philadelphia, Watercolor 1811-1812:
Pavel Petrovich Svinin, "Worldly Folk" [i.e. non-Quakers] Questioning Chimney Sweeps and their master before Christ Church, Philadelphia, Watercolor, early 1810's:
John Lewis Krimmel
(John Lewis Krimmel was a painter active in Pennsylvania during the 1810's.)
Painting of Celebration of July 4th 1819, Philadelphia:
"The Country Wedding" by John Lewis Krimmel, 1820 painting depicting the marriage of the daughter of a moderately prosperous Pennsylvania farmer in the 1810's (the bride's wedding dress will probably be used as her regular "Sunday best" dress for the next year or so):
Sketch of a Christmas celebration among German immigrants to Pennsylvania in the 1810's:
[More to come.]
Diana Sperling watercolors:
"Mrs. Van [Hagen] and Harry Sperling fighting for the shuttlecock" -- watercolor by Diana Sperling, about 1812:
"The Review at Dynes Hall [Essex]: June 1816" -- watercolor by Diana Sperling:
"Mrs. Van [Hagen] murdering a Spider. Sept. 10th 1816. Tickford." -- watercolor by Diana Sperling:
"Newport Pagnell. Mrs. Hurst dancing. Sept. 17 1816." -- watercolor by Diana Sperling:
Walking through the mud: "Nov. 2nd. 1816. Tickford -- Dinner waiting at a neighbour's house." -- watercolor by Diana Sperling:
Playing around with static electricity -- watercolor by Diana Sperling, 1817 or 1818. -- Caption: "May 25th. Henry Van [Hagen] electrifying -- Mrs. Van, Diana, Isabella, Harry, Isabella, Mum and HGS. Dynes Hall."
For some reason, semi-sentimentalized depictions of Regency young ladies or children were popular in the late Victorian and the first decades of this century (on Valentines and such); here's a few examples of this genre (provenance generally uncertain):
Hmmm, wonder what she's thinking....
Humorous light caricature of Regency dancing, drawn by one "W. G. Baxter" (if I'm reading the signatures correctly), probably in the late Victorian or early twentieth century:
Picture of Regency young lady smelling the coffee, by Alphonse Mucha:
In The Wood-carver's Shop, illustration by Howard Pyle for "By Land and Sea", published in Harper's Monthly, December 1895:
Illustration of a Regency mother and daughter sewing, from the 1920's(?):
"Greeting from Cupid" (detail of Valentine)
"Two Strings To Her Bow", a Victorian "genre" painting by John Pettie, 1882 ("two strings to one's bow" is a traditional English proverb):
A more recent example:
A retouched woodcut purporting to depict a Regency lady using a personal computer:
Contrariwise, below is an "Anti-Regency" picture (i.e. one depicting conspicuously non-Regency fashions in a context where Regency styles should have been shown to be historically accurate). It seems that in the mid-Victorian period (when Kate Greenaway was still unknown) the Victorians often preferred to draw a discreet veil over Regency fashions -- since at the time some thought that such styles had been shamelessly indecent; many would have felt slightly uncomfortable to be reminded that their mothers or grandmothers had once promenaded about in such fashions (see this 1857 cartoon); and perhaps the majority would have found it somewhat difficult to really empathize with (or take seriously) the struggles of a heroine of art or literature if they were being constantly reminded that she was wearing Regency styles. (This is why Thackeray drew the women wearing 1840's fashions in his illustrations to his 1847 novel Vanity Fair, set in the 1810's. And in her account of her childhood in post-Civil War Kansas, Kate Stephens wrote: "We were past the hoop-skirt era. But the idea which brought the hoop-skirt forward still survived -- the idea that skirts are to conceal and let escape no suggestion of women's nether extremities; not even the line of the knee to show. For a woman's dress to hint that the wearer had legs was, in that mid-Victorian day, immodest.") See the women's Regency fashion and women's Victorian fashion pages on this site for more discussions and illustrations on Regency styles, and the differences between Victorian and Regency styles.
"Before Waterloo", by Henry Nelson O'Neil (1868); this presumably attempts to depict the Duchess of Richmond's famous ball on the eve of the battle of Waterloo:
Other Regency sites:
(For sites with on-line illustrations of Regency women's clothing styles specifically, see the links section of my page on the subject.)
Return to Jane Austen info page table of contents
Go to notes and illustrations of Regency women's clothing styles
Go to links to depictions of Jane Austen and her family
Go to illustrations to Pride and Prejudice by C.E. Brock and others
Go to illustrations to Jane Austen's other novels, by C.E. Brock and others
If you have the stomach for it, you can also visit my slightly silly Victorian page
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