A Plantation Family Wardrobe, 1825 - 1835
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Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Replica Styles from 1795–1929
Replica Styles from 1795–1929 AVENDERS L REEN GHistoric Clothing $2.00 AVENDERS L REEN GHistoric Clothing Replica Styles from 1795–1929 Published by Lavender’s Green © 2010 Lavender’s Green January 2010 About Our Historic Clothing To our customers ... Lavender’s Green makes clothing for people who reenact the past. You will meet the public with confidence, knowing that you present an ac- curate picture of your historic era. If you volunteer at historic sites or participate in festivals, home tours, or other historic-based activities, you’ll find that the right clothing—comfortable, well made, and accu- rate in details—will add so much to the event. Use this catalog as a guide in planning your period clothing. For most time periods, we show a work dress, or “house dress.” These would have been worn for everyday by servants, shop girls, and farm wives across America. We also show at least one Sunday gown or “best” dress, which a middle-class woman would save for church, weddings, parties, photos, and special events. Throughout the catalog you will see drawings of hats and bonnets. Each one is individually designed and hand-made; please ask for a bid on a hat to wear with your new clothing. Although we do not show children’s clothing on most of these pages, we can design and make authentic clothing for your young people for any of these time periods. Generally, these prices will be 40% less than the similar adult styles. The prices given are for a semi-custom garment with a dressmaker- quality finish. -
A Brief History of the Evolution of Operating Room Attire
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 1 From formalwear and frocks to scrubs and gowns: A brief history of the evolution of operating room attire AUTHORS Jessica L. Buicko, MD1 Michael A. Lopez, DO1 Miguel A. Lopez-Viego, MD, FACS1 1Department of Surgery, University of Miami-JFK Medical Center, Atlantis, FL CORRESPONDING AUTHOR Jessica L. Buicko 225 NE 1st St #209 Delray Beach, FL 33444 518-229-7711 [email protected] ©2016 by the American College of Surgeons. All rights reserved. CC2016 Poster Competition • From formal wear and frocks to scrubs and gowns • 6 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Most of the knowledge of the history of surgical Introduction attire is derived from drawings, paintings and Stroll into any operating room and you will find surgeons anecdotal reports. Although conventional adorned in various shades of blues and greens along with their today, “scrubs” were not routinely worn until masks, scrub hats, and surgical gowns. The surgical attire that has become commonplace throughout operating rooms around the mid-20th century. In the 19th century, it the world, has only been around for less than a century. would be commonplace for a surgeon to shrug off his suit jacket, roll up his sleeves, throw on A brief surgical timeline a frock or apron, and begin operating. Over the Prior to 19th century - Surgeons performed operations in their years, surgical garb continues to evolve to make street clothes with the only concessions being the removal of procedures safer for both the patient and the coats and rolling-up of shirt-sleeves during bloody procedures. -
Volume 2, Issue 3, Autumn 2018
The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit. -
The Bread-Winners
READWINN'^t' -\ ^^?^!lr^^ <^.li i^w LaXi Digitized by the Internet Arcinive in 2011 with funding from The Institute of Museum and Library Services through an Indiana State Library LSTA Grant http://www.archive.org/details/breadwinnerssociOOhayj THE BREAD-WINNERS 21 Social Sttttra NEW YORK HARPER & BROTHERS, FRANKLIN SQUARE Ck)p7right, 1883, by The Century Company. Entered according to Act of Congress, in the year 1883, by HARPER & BROTHERS, In the Oflace of the Librarian of Congress, at "Washingtoa All righit teterved. THE BREAD-WINNEUS. A MORNING CALL. A French clock on the mantel-piece, framed of brass and crystal, wliicli betrayed its inner structure as tlie transparent sides of some insects betray tlieir vital processes, struck ten with the mellow and lingering clangor of a distant cathedral bell. A gentleman, who was seated in front of the lire read- ing a newspaper, looked up at the clock to see what hour it was, to save himself the trouble of counting the slow, musical strokes. The eyes he raised were light gray, with a blue glint of steel in them, shaded by lashes as black as jet. The hair was also as black as hair can be, and was parted near the middle of his forehead. It was inclined to curl, but had not the length required by this inclination. The dark brown mustache was the only ornament the razor had spared on the wholesome face, the outline of which was clear and keen. The face suited the hands—it had the refinement and gentle- ness of one delicately bred, and the vigorous lines and color of one equally at home in field and court; 6 THE BREAD-WINNERS. -
Anne Lister's Use of and Contributions to British Romanticism
THE CLOSET ROMANTIC: ANNE LISTER’S USE OF AND CONTRIBUTIONS TO BRITISH ROMANTICISM ___________ A Thesis Presented to The Faculty of the Department English Sam Houston State University ___________ In Partial Fulfillment of the Requirements for the Degree of Master of Arts ___________ by Michelina Olivieri May, 2021 THE CLOSET ROMANTIC: ANNE LISTER’S USE OF AND CONTRIBUTIONS TO BRITISH ROMANTICISM by Michelina Olivieri ___________ APPROVED: Kandi Tayebi, PhD Committee Director Audrey Murfin, PhD Committee Member Evelyn Soto, PhD Committee Member Chien-Pin Li, PhD Dean, College of Humanities and Social Sciences DEDICATION For Jasmine, who never gave up on me, even when I did. We made it. iii ABSTRACT Olivieri, Michelina, The closet romantic: Anne Lister’s use of and contributions to British romanticism. Master of Arts (English), May, 2021, Sam Houston State University, Huntsville, Texas. In this thesis, I explore Anne Lister as a Romantic writer. While much criticism has focused on Lister’s place in queer history, comparatively little has examined her writing itself. Thus, this thesis aims to place Lister’s writings within popular Romantic genres and in conversation with other Romantic writers. Chapter I is an introduction to Anne Lister and the scholarship that has surrounded her since the first collection of her diaries was published in the 1980s and establishes the arguments that will be made in each chapter. In Chapter II, I examine how Lister uses Romantic works and their writers to construct her own personal identity despite her lack of participation in either the written tradition or in the major social movements of the period during her lifetime. -
The James River Plantations
98 Harrisonburg 99 Live here. The Live creatively. James River Plantations Sunday, April 22, 2018 Monday, April 23, 2018 Tuesday, April 24, 2018 Photo courtesy of Westover Plantation Photo courtesy of Westover 10 a.m. to 4:30 p.m. Open together, three historic properties and a church that dates back to the 1630s celebrate Historic Garden Week on three consecutive days. A special combo ticket allows access to the extensive grounds, numerous outbuildings and interiors of all three sites. In addition, afternoon tea will be offered by reservation at Shirley. All are located along scenic Route 5 in Charles City between Richmond and Williamsburg. In addition, lunch is offered on all three tour days at Westover Episcopal Church, which is also open for At Bridgewater Retirement Community, creative energy makes us who touring. Berkeley, Shirley and Westover Plantations are Virginia and National Historic Landmarks, working plantations, private family homes and living links to our country’s past. we are. People were meant to create. We create art and music. We create families. We create lives. Retirement is not the end of creativity—it’s the beginning. Through classes, activities and outings, our residents immerse themselves in new experiences and refine old skills. You’ve spent your life creating good things. Join us in keeping the creative spirit alive. Hosted by the owners of Ticket information: $45 pp. www.vagar- Berkeley, Shirley and Westover Plantations denweek.org. Combo ticket allows access to the grounds and gardens at Berkeley and Contact information at tour sites guided house tours of the mansion’s first Simple pleasures. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
Concession Contract Format
SAMPLE CONCESSION CONTRACT FOR Historic-Style Candy Store AT Columbia State Historic Park STATE OF CALIFORNIA – NATURAL RESOURCES AGENCY DEPARTMENT OF PARKS AND RECREATION PARTNERSHIPS OFFICE 1416 NINTH STREET, 14TH FLOOR SACRAMENTO, CA 95814 Historic-Style Candy Store Concession Contract Columbia State Historic Park Historic-Style Candy Store SAMPLE CONCESSION CONTRACT INDEX 1. DESCRIPTION OF PREMISES ............................................................................ 2 2. CONDITION OF PREMISES ................................................................................ 2 3. TERM ................................................................................................................... 2 4. RENT .................................................................................................................... 3 5. GROSS RECEIPTS .............................................................................................. 5 6. USE OF PREMISES ............................................................................................. 6 7. INTERPRETIVE SETTINGS AND COSTUME ..................................................... 7 8. RATES, CHARGES AND QUALITY OF GOODS AND SERVICES ..................... 8 10. ALCOHOLIC BEVERAGES .................................................................................. 9 11. HOUSEKEEPING, MAINTENANCE, REPAIR AND REMOVAL........................... 9 12. RESOURCE CONSERVATION .......................................................................... 11 13. HAZARDOUS SUBSTANCES -
Miss Lisa Brown's Guide to Dressing for a Regency Ball – Gentlemen's
MMiissss LLiissaa BBrroowwnn’’ss GGuuiiddee ttoo DDrreessssiinngg ffoorr aa RReeggeennccyy BBaallll –– GGeennttlleemmeenn’’ss EEddiittiioonn (and remove string!) Shave Jane Austen & the Regency face every Wednesday and The term “Regency” refers to years between 1811 Sunday as per regulations. and 1820 when George III of the United Kingdom was deemed unfit to rule and his son, later George Other types of facial hair IV, was installed as his proxy with the title of were not popular and were “Prince Regent”. However, “Regency Era” is often not allowed in the military. applied to the years between 1795 and 1830. This No beards, mustaches, period is often called the “Extended Regency” goatees, soul patches or because the time shared the same distinctive culture, Van Dykes. fashion, architecture, politics and the continuing Napoleonic War. If you have short hair, brush it forward into a Caesar cut style The author most closely associated with the with no discernable part. If your Regency is Jane Austen (1775-1817). Her witty and hair is long, put it into a pony tail engaging novels are a window into the manners, at the neck with a bow. lifestyle and society of the English gentry. She is the ideal connexion to English Country Dancing as Curly hair for both men and each of her six books: Pride and Prejudice , Sense women was favored over straight and Sensibility , Emma , Persuasion , Mansfield Par k hair. Individual curls were made and Northanger Abbey, feature balls and dances. with pomade (hair gel) and curling papers. Hair If you are unable to assemble much of a Regency wardrobe, you can still look the part by growing your sideburns The Minimum and getting a Caesar cut If you wish to dress the part of a country gentleman hairstyle. -
The Difficult Plantation Past: Operational and Leadership Mechanisms and Their Impact on Racialized Narratives at Tourist Plantations
THE DIFFICULT PLANTATION PAST: OPERATIONAL AND LEADERSHIP MECHANISMS AND THEIR IMPACT ON RACIALIZED NARRATIVES AT TOURIST PLANTATIONS by Jennifer Allison Harris A Dissertation SubmitteD in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Public History Middle Tennessee State University May 2019 Dissertation Committee: Dr. Kathryn Sikes, Chair Dr. Mary Hoffschwelle Dr. C. Brendan Martin Dr. Carroll Van West To F. ii ACKNOWLEDGEMENTS I cannot begin to express my thanks to my dissertation committee chairperson, Dr. Kathryn Sikes. Without her encouragement and advice this project would not have been possible. I would like to express my deepest appreciation to my dissertation committee members Drs. Mary Hoffschwelle, Carroll Van West, and Brendan Martin. My very deepest gratitude extends to Dr. Martin and the Public History Program for graciously and generously funding my research site visits. I’m deeply indebted to the National Science Foundation project research team, Drs. Derek H. Alderman, Perry L. Carter, Stephen P. Hanna, David Butler, and Amy E. Potter. However, I owe special thanks to Dr. Butler who introduced me to the project data and offered ongoing mentorship through my research and writing process. I would also like to extend my deepest gratitude to Dr. Kimberly Douglass for her continued professional sponsorship and friendship. The completion of my dissertation would not have been possible without the loving support and nurturing of Frederick Kristopher Koehn, whose patience cannot be underestimated. I must also thank my MTSU colleagues Drs. Bob Beatty and Ginna Foster Cannon for their supportive insights. My friend Dr. Jody Hankins was also incredibly helpful and reassuring throughout the last five years, and I owe additional gratitude to the “Low Brow CrowD,” for stress relief and weekend distractions. -
Shirley Plantation As a Historic House Museum, 1894–2013
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 "To Preserve, Protect, and Pass On:" Shirley Plantation as a Historic House Museum, 1894–2013 Kerry Dahm Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3282 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Kerry A. Dahm 2013 All Rights Reserved “To Preserve, Protect, and Pass On:” Shirley Plantation as a Historic House Museum, 1894–2013 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. by Kerry Anne Dahm Bachelor of Arts, Virginia Commonwealth University, 2009 Director: Dr. John T. Kneebone Associate Professor, Virginia Commonwealth University Department of History Virginia Commonwealth University Richmond, Virginia December 2013 ii Acknowledgements My journey through graduate school and my ability to write and finish this thesis is due to the many people who have supported and encouraged me in the last two years. Each one of them has helped me pursue this once unthinkable goal of getting a graduate degree in History. I would like to thank… • Dr. Norrece T. Jones for helping me to develop critical thinking and historical research skills while I was an undergraduate student at VCU. • The staff at the Library of Virginia, particularly John Deal, Brent Tarter, Mari Julienne, and Gregg Kimball for listening to me talk about my thesis and offering advice as well as encouragement for pursuing my topic.