Gowns and Wraps from Fren Ibit World's Fair Y"

Total Page:16

File Type:pdf, Size:1020Kb

Gowns and Wraps from Fren Ibit World's Fair Y THE ST. LOUIS REPUBLIC: SUNDAY. DECEMRER 18. 1004. GRAND-LEADE- RAND-LEADE- R. GRAND-LEADE- j GRAND-LEADER- . GRAND LEADER. GRAND-LEADE- GRAND-LEADE- G u- - The Sale St. Louis Society Women Have Been Waiting For Begins Monday Morning at 8 O Clock. Gowns and Wraps From Fren ibit World's Fair y" n.'S'amsrjsi--St SA 'VS L- - V .JJ aiif'j 5 . fv fc r ar.f V w P V- -' MV H cOiSC?-!E- 2s i. a r.11 x i w;s !"! nr-;5?- '.; t SA vsa.ja liMIJv : j "I l ii - . 7) o. " irr ?.wa mr - - i:.r-.,-' S3SSS ts: L K N m$m :d &J&rf, Jl?W -- E& m M ':m ryixysuj-t- . wu m.qy..gry j.tj-w- w A so ? ft ORE than U.l per cent of the fashionable St. Louis women are well I A 1 acquainted with the character and general appearance of these gar- ments that thev can picture to themselves the various styles, therefore it will hardly be necessary to describe them nor dwell upon their beauty and f charm. St. Louis women also know these garments are the products of the foremost dressmaking establishments in the world including Patiuin. Doucet, Redfern, J?r Dreeoll, Bechoff David. Reverdot. Perdoux and others equally noted. Furthermore they Co.-tum- Grand-Leader- arc aware that the es and Wraps ''bought by the " received Grand Prizes. These facts are firmly established now tney will be delighted to learn that These UltraFashionab!e Garments Will Be Sold at Value. v r rV OneHa!f OneThird and OneFourth Their y 11 tffi'.i iv my BEFORE we go further let us impres you with the fact that H'e bought more than threefifths of all the Gowns, V etc., in the hrench Exhibit (the remainder being divided among several different concerns'): also that we secured the handsomest garments. These statement can readily be affirmed bv taxing th? memory of any woman 1 74 who visited the Fair to any extent. Wc believe this to be the greatest opportunity you have ever had to buy a beauti- ful Evening or Reception Gown. Carriage or Evening Wrap or Tea Gown. The selling prices are marvelously low, 5S considering that these garments attain the highest art in women's apparel. 5Gii m &ffi?aw IN conjunction with this sale of World's Fair Gowns and Wraps we offer every imported garment from our regular ii !' 1 price. reductions hhN r o?j stock at a greatly reduced These price are imperative, for unless they were made the garments - :.v-..,- r- -- . ye-- would appear outrageously high compared to prices on the Exposition garments. i&ihP LvSS i .? r. 3N joining of forces gives vou a collection of model garments without a parallel in the annals of St. Louis s THIS The woman who yields to temptation witii such an array of Gowns and Wraps priced so invitingly can & hardly be blamed. We mention examples to show how the prices run. Make selections early, as the Gown or Wrap --K. vou want mav sell first. .SWfei l -- i x or c, l tu ')nr CM to Our V ksi lurTn iim f.nt. ImiHtrt I'ri' f DESCniFTIOX OF GAKJinNT. Import. Price. :q) Mc-salir.- S :ss White e Decollete Gown. S?200. 0 59. 75 Champagne Colored Chiffon Opera Coat $250.00 S 75.00 tWmmm 2(M).iM) 75 no 49.75 YiXWki X.c-- ro VQ? Nile Green Mescaline Uero'lele Gown. Tan Colored Cloth Carriage Wrap 105.00 Pompadour Chiffon and Velvet Gown.. lot) no j'5 CO i White Cloth Coat. Leather Trimmed 75.00 39 75 m Three-Piec- e Yetto Colored Cbtli Costume li'dO S9.00 White Cloth Evening Wrap 75.01 39.75 Dollv Vardcn Decollete Gown IfD.tin 62.50 White Cloth Evening Coat, Velvet Trimmed (.5.00 29.75 sju'-- M5 flef White Unifies Lace Gown, .ill handmade ti On 150.00 White Damascus Lace Gown . 325.00 125.00 tW sg Three-Piec- e White Licrre Lace Costume 475.00 269.00 Handmade Marshal Niel Chiffon Gown 275.00 150.00 Champagne Colored Moire Antique Evening Wrap. 275.00 95 00 White Mechlin Lace Gown 2S0.00 145.00 Blue Eolian Reception Gown 25O.O0 09.75 WhiteWash Blonde Embroidered Gown 200.00 125.00 White Taffeta Hand-Embroider- Evening Gown.. 450.00 125 00 Three-Piec- e White Chantilly Lace Gown 225 00 125.00 Pink ChiiToti Evening Viap (soiled' ."00.00 59.75 Pink Hand-Painte- d Chiffon Gown 175.00 92.50 ! t White Cloth Reception Gown, 250.00 75.00 Light Blue Eolienne Gown Uo.OO 87.50 : Parsifal Blue Chiffon Velvet Opera Coat 5UO.00 US 00 Lavender Mescaline Gown 225.00 UO.OO -- -; Light Blue Cre 'e de Chine Decollete Gown .. 00 M Combination Suit, Taffeta Bodice. Lace Skirt 175.00 87.50 M-0- Hand-Embroidere- ."in'.no 0 White Cloth Afternoon Gown. d. White Chiffon Voile Gown, with Real Lace 550.00 125.00 Champagne Colored Evening Wrap tO 00 H5.00 Black and White Lace Reception Gown 175.00 95.00 White Cloth Evening Wrap. Emb. in Lavender. - 265.00 95.00 Gown Black Chantilly Lace over while 400.00 165 0 Handmade White Gown 500.00 139.00 White Voi e Reception Gown 100.00 39.75 Unmounted Robes, Garnitures, Whitv Cloth Evening Wrap. Venetian Embroidery. i-- 5 oo 110.00 White Cloth Gown. Irish Cro'chet Lace 200.00 119 00 175.' 9 00 Champagne Taffeta Evening Wrap. Embroidered- - Of) J Green Chiffon Velvet Afternoon Gown 350.00 169.00 Hand Panned Chiffon Evening Gown oo 99.00 Marshinelle Messalinc Evening Gown 205.00 145 00 Laces, Etc., From World's Fair. 00 On Sale on Main Floor in Robs Department. Black Crepe de Chin-- - Gown. Real Lace Trimming., 175.00 89 Champagne Crepe de Chine Gown, with Real Lace 300.00 115.00 Pink-Broadclo-th Opera Coat (soiled) 49.75 Champagne Bruges Reception Gown 375.00 145 00 125.00 Hand-Embroider- exhibits of Marescot, Bequet Ancelot and A. Reichenbach. of Paris, White Lace Eveirng Coat. Han .made.. 225.00 I Sage Eolienne Gown 250.00 99.00 THE all sorts of Laces, Trimmings, unmade Robes, Garnitures, Motifs, etc. Y c Navy Blue Broadcloth Street Costume 77.50 39.75 Blue eivet Street Costume 150.00 59.75 purchased the entire exhibits, but have not been able to get all the goods from the Green Vel vet Street Costume 1.00 49.75 Brown Vei ver Evening Gown 275.00 99.00 Tan Colored 2(iil. oil 87 50 Castor Chiffon Velvet Afternoon Gown 200.00 110.00 Custom-house- . However, we received quite a large quantity, enough to make a big Cloth Street Suit Red Velvet Street Costume 125.00 42.50 Parsifal Blue Taffeta Embroidered Gown 210.00 115.00 display, and offer them Monday at exceptionally low prices. Navy Blue Chiffon Velvet Street Suit 125.'"'0 69 75 Champagne Chiffon Taffeta Gown 175.00 99.00 MARESCOT, Bequet, Ancelot and Reichenbach are classed among the foremost Brown Cloth Street Costume 175.0 J 69 7S Hand-Embroider- Green Chiffon Taffeta Gown... 225.00 89.00 as model makers they design and make trimming, novelties, White Crepe de Chine Tea Gown 255.01 75.09 Green el vet Street Costume. 110.00 49.75 Pink Crepe de Chine Tea Gown 210.00 69.75 Champagne-Colore- d Crushed Velvet Suit 100.00 49.75 laces, etc., that are used by the leading dressmakers of the world. The French Gray I White Chiffon Tea Gown 150.00 623Jl Velvet Street Suit 90.00 49.75 i Gowns Exposition, which we will place on sale were construct- i at the White Fancy Swiss Tea Gown 100. no 49.75 Green Chiffon Velvet Street Suit.. S5.00 39.75 ed of a good deal of material furnished by the above concerns, and their exhibits Blue Eiderdown Tea Gown (damaged) 57.50 995 Combination Suit Velvet Coat. Cloth Skirt 75.00 35.00 included duplicates of the laces, trimmings, etc. Thus it will be very easy to obtain Combination Sacque and Skirt 55.00 16 50 Green Cloth Street Costume 110.00 69.75 fi9 75 st3-le-s will be Allover White Lace Tea Gown 175.00 Black Velvet Evening Wrap 175.00 67.50 the. same and effects. We mention below a few of the articles that 85.00 on sale Monday. White Crepe Tea Gown .. 250.00 Black Velvet Evening Wrap 105.00 89.00 White Mackriinarv Allover Lace Evening Wrap-- - 250.00 75.00 Embroidered Batiste Robe champagne color with Repousse Lace Robe three-flounc- e ?Q Cfl black Poin$. d'lencon silk lace (QQ effect worth $100.00 for Pis .OU north $00.00 for ps?O.OUCl Handmade allover Lace Coat with $50, $60 $75 Gowns for $35.00 $50 to $75 Handmade Lace Coats Cape worth $100.00 and $29.75 Embroidered Batiste Robe In white wltt for... $49.50 black lace worth $200.00 for J)S?O.OUrtflO cf Messalinc Silk Evening Coat with hand embroid- thirty evening and street costumes of Crepe de Chine, CTRICTLY handmade Lace Coats and Evening Wraps 30 to ery, net medallion vq ABOUT lace, spangled robes, black and -, 36 inches long designs A of gorgeous Robes in spangled, embroid- rfi black and white exquisite in white, cream, black number and real lace j Messaline, French Voiles.
Recommended publications
  • Dressing for the Times: Fashion in Tang Dynasty China (618-907)
    Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks.
    [Show full text]
  • The Morgue File 2010
    the morgue file 2010 DONE BY: ASSIL DIAB 1850 1900 1850 to 1900 was known as the Victorian Era. Early 1850 bodices had a Basque opening over a che- misette, the bodice continued to be very close fitting, the waist sharp and the shoulder less slanted, during the 1850s to 1866. During the 1850s the dresses were cut without a waist seam and during the 1860s the round waist was raised to some extent. The decade of the 1870s is one of the most intricate era of women’s fashion. The style of the early 1870s relied on the renewal of the polonaise, strained on the back, gath- ered and puffed up into an detailed arrangement at the rear, above a sustaining bustle, to somewhat broaden at the wrist. The underskirt, trimmed with pleated fragments, inserting ribbon bands. An abundance of puffs, borders, rib- bons, drapes, and an outlandish mixture of fabric and colors besieged the past proposal for minimalism and looseness. women’s daywear Victorian women received their first corset at the age of 3. A typical Victorian Silhouette consisted of a two piece dress with bodice & skirt, a high neckline, armholes cut under high arm, full sleeves, small waist (17 inch waist), full skirt with petticoats and crinoline, and a floor length skirt. 1894/1896 Walking Suit the essential “tailor suit” for the active and energetic Victorian woman, The jacket and bodice are one piece, but provide the look of two separate pieces. 1859 zouave jacket Zouave jacket is a collarless, waist length braid trimmed bolero style jacket with three quarter length sleeves.
    [Show full text]
  • The Victorian Age: a History of Dress, Textiles, and Accessories, 1819–1901
    The Victorian Age: A History of Dress, Textiles, and Accessories, 1819–1901 International Conference of Dress Historians Friday, 25 October 2019 and Saturday, 26 October 2019 Convened By: The Association of Dress Historians www.dresshistorians.org Conference Venue: The Art Workers’ Guild 6 Queen Square London, WC1N 3AT England The Association of Dress Historians (ADH) supports and promotes the study and professional practice of dress and textile history. The ADH is proud to support scholarship in dress and textile history through its international conferences, the publication of The Journal of Dress History, prizes and awards for students and researchers, and ADH members’ events such as curators’ tours. The ADH is passionate about sharing knowledge. The mission of the ADH is to start conversations, encourage the exchange of ideas, and expose new and exciting research in the field. The ADH is Registered Charity #1014876 of The Charity Commission for England and Wales. As with all ADH publications, this conference programme is circulated solely for educational purposes, completely free of charge, and not for sale or profit. To view all ADH information, including events, Calls For Papers, and complete issues of The Journal of Dress History for free viewing and downloading, please visit www.dresshistorians.org. In the interest of the environment, this conference programme will not be printed on paper. We advise reading the programme digitally. Also in the interest of the environment, at the end of the conference please return plastic name badges to the name badge table, so the badges can be recycled. Thank you. If you are attending both days of the conference, you must retrieve your new name badge when you enter the venue on the second morning.
    [Show full text]
  • Apparel and Fashion Design, St.Teresa’S College(Autonomous),Ernakulam
    B.Sc. Programme in Apparel and Fashion Design, St.Teresa’s College(Autonomous),Ernakulam ST.TERESA’S COLLEGE (AUTONOMOUS) ERNAKULAM 1 Curriculum and Syllabus 2015 onwards B.Sc. Programme in Apparel and Fashion Design, St.Teresa’s College(Autonomous),Ernakulam ST TERESA’S COLLEGE (AUTONOMOUS) ERNAKULAM, WOMEN’S STUDY CENTRE DEPARTMENT OF FASHION DESIGNING B.Sc PROGRAMME FOR APPAREL AND FASHION DESIGN (C.B.C.S.S) 2015 ADMISSION ONWARDS 1. PREAMBLE: B.Sc.in Apparel and Fashion Design is a 6semesters full time program with an ultimate aim to produce a Responsible Fashion Designers AIMS AND OBJECTIVES OF THE PROGRAMME B.Sc.in Apparel and Fashion Design is a six semester full time programme with an ultimate aim to create a responsible designer who will serve the country and society by innovation, education, technology and research. The course falls under an emerging area of design necessity. The yesteryear fashion designing course churned out designers for the field of clothing and its related industry but without a thorough understanding of the society, environment or technologies around them. The course is based on the core subject – “Design Thinking” with an aim of creating a ‘Responsible Designer’. This programme provides a perspective of society, environment, education, technology and innovation so that a fresh and unique approach in the fields of clothing, accessories and furnishings may be developed thereby creating more meaningful products and experiences. The syllabus of the course is designed in such a way that it provides skill development required to be a successful fashion designer along with entrepreneurial skills to set up their own venture.
    [Show full text]
  • The Morgue File
    1850-1900 1901-1919 1920 The Morgue File Bailey Lovell 1930 1940 1950 1960 Victorian Era (1850-1900) The Victorian Era was quite literally named after Queen Victoria who reigned from 1837-1901. During this time, the British empire abolished slavery which freed more than 800,000 slaves at the time. Travel was revolutionized by the invention of the steam powered railway. Queen Victoria led London into a sixteen year long mourning after the death of her husband which revolutionized the way civilians dressed. The style of dress was very muted colors with no shine to the jewelry worn and London was very somber during this time. Corsets were very important during this time and shaped the way the woman’s body would be for the rest of her life. Many women during the day would keep themselves occupied by changing up to seven times throughout the day for their daily activities including horseback riding and tea time. The fashion world was revolutionized by the invention of the sewing machine which led to the first every fashion designer, Charles Worth.Charles Worth was the inventor of the polonaise skirt and began to use real women as models which he called mannequins. He also designed for Queen Victoria herself and other royalty. The crinoline was also invented during the Victorian Era which created the full skirt which needed lots of assistance to put on and take off. Women's Daywear Zouave Jacket: The zouave jacket is a bolero Crinoline Skirt: The crinoline skirt was a cage The Corset: The corset was one of the most style jacket that is tighter at the sleeve and style hooped underskirt that used stiff netting.
    [Show full text]
  • Las Vegas Daily Optic, 10-23-1899 the Optic Publishing Co
    University of New Mexico UNM Digital Repository Las Vegas Daily Optic, 1896-1907 New Mexico Historical Newspapers 10-23-1899 Las Vegas Daily Optic, 10-23-1899 The Optic Publishing Co. Follow this and additional works at: https://digitalrepository.unm.edu/lvdo_news Recommended Citation The Optic Publishing Co.. "Las Vegas Daily Optic, 10-23-1899." (1899). https://digitalrepository.unm.edu/lvdo_news/3793 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Las Vegas Daily Optic, 1896-1907 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. 11 CITY EDITION. HE ..Lab Vegas Daily OPT G 4:30 P. fl VOL. XX. EAST LAS VEGAS, NEW MEXICO MONDAY EVENING, OCTOBER 23. 1890 NO. 25 dragging itself out of the snow heavy Filipinos Pass Through. ( BRITON AND that has been falling for several days. Three feet on level. TROUBLES Fifteen Filipinos passed through ou Nothing like it . in October for twenty years, 20 per Sa nrday's No. IT for. Kin Franci-p- First National Bank. sons lost their lives and bad bsen at the Omsha . BOER 20,000 sheep OF OUR OWN They exposi- perished. tion, in charga of Alfredo Solema, of LAS VEGAS, NEW MEXICO. HAD ItOW NEAlt DISBEE. Old Mexico, who was emp'oyed by the The new 10 . xpodtion people to seeura them as "Normal," a cents Cigai-- ' one and JOSHUA S. RAYNOLDS, President. a drawing card. The men wera small Tiy yon will have no other.
    [Show full text]
  • Sicilian Chinese Art Collections and Chinoiserie
    ARCHITETTURA, ARTI E PIANIFICAZIONE DIPARTIMENTO DI ARCHITETTURA L-ART 04 – MUSEOLOGIA E CRITICA ARTISTICA E DEL RESTAURO SICILIAN CHINESE ART COLLECTIONS AND CHINOISERIE IL DOTTORE IL COORDINATORE Mei Xiaoxue Prof. Marco Rosario Nobile IL TUTOR CO TUTOR Prof. Pierfrancesco Palazzotto Dr. Alexander Auf der Heyde CICLO XXX 2018 ABSTRACT L'Europa ha creato uno stile unico di design decorativo nei secoli XVII-XVIII che è stato profondamente ispirato allo stile orientale di Cina, Giappone e India. Lo stile europeo è rimasto sconosciuto alla Cina in quel momento, ed è anche raramente menzionato nella storia dell'arte moderna e del design cinese. Tuttavia, la Chinoiserie ha rappresentato un tema ricorrente all'interno degli stili artistici europei, che non si presenta come una moda regionale, ma bensì come un movimento d'arte complesso e variabile in tutta Europa. La significativa ricerca sul design Chinoiserie è stata intrapresa nei XX-XXI secoli, con centinaia di monografie e articoli pubblicati in inglese, francese, tedesco e italiano, discutendo direttamente e indirettamente della Chinoiserie. La Sicilia, la più grande isola del Mediterraneo, ha un brillante patrimonio storico e culturale. Nella prima metà del XIX secolo, la Sicilia e il Regno di Napoli furono uniti nel Regno delle Due Sicilie dalla Casa di Borbone. La Chinoiserie fu introdotta in Sicilia un po' più tardi come stile decorativo ben sviluppato dopo essere stato influenzato in un certo grado negli altri paesi europei. Nonostante il numero limitato di prodotti orientali in Sicilia, le opere d'arte uniche qui sono encomiabili. Questa tesi interpreta la Chinoiserie Siciliana in quattro aspetti principali: le opere d‘arte tradizionali della Cina, i prodotti cinesi di esportazione, i prodotti mimetici dell‘Europa e la Chinoiserie siciliana all'interno del movimento d'arte europeo.
    [Show full text]
  • Anne Bissonnette
    Anne Bissonnette, PhD Associate Professor, Material Culture and Curatorship Curator, Anne Lambert Clothing and Textiles Collection University of Alberta 325 Human Ecology, Edmonton, AB T6G 2N1 Phone: (780) 492-3604 [email protected] ACADEMIC CREDENTIALS Ph.D. ARTS AND SCIENCES: MUSEUM STUDIES & HISTORY Union Institute & University, Cincinnati, Ohio, 2001-2004. Dissertation: “Fashion on the Ohio Frontier 1790-1840.” M.A. MUSEUM STUDIES IN COSTUMES AND TEXTILES State University of New York, Fashion Institute of Technology, New York, New York, 1991-1993. Thesis: “Costume Mounting Guide for Women's Dresses from 1860 to 1910.” B.A. ART HISTORY Université de Montréal, Montreal, Quebec, 1988-1991. D.E.C.* FASHION DESIGN Collège LaSalle, Montreal, Quebec, 1985-1988. *Diplôme d'études collégiales (Diploma of College Studies) D.E.C. SCIENCES Collège Bois-de-Boulogne, Montreal, Quebec, 1983-1985. CITIZENSHIPS Canadian and American LANGUAGES Fluent in French and English Reading knowledge of Italian and Spanish PROFESSIONAL EXPERIENCES UNIVERSITY OF ALBERTA, EDMONTON, ALBERTA (CANADA) Curator, Anne Lambert Clothing and Textiles Collection, Associate Professor, Material Culture and Curatorship (tenured) Aug. 2009 – present Curator of the Clothing and Textiles Collection, a teaching and research resource of over 23,000 artifacts representing more than 350 years of history from Western and non-Western cultures. Responsible for the development of a long-term vision and a national and international research profile for the collection. Promotes and facilitates the use of the collection for interdisciplinary research, teaching, and public outreach. Secures supplementary funding for maintenance and exhibitions. Develops policies regarding the collection’s growth and mandate. Receives inquiries from donors, recommends acquisitions, and makes direct requests for donations to collectors and creators.
    [Show full text]
  • By LIANBIN DAI BA, Nankai University, China, 1992 A
    LI MINGRUI'S PRIVATE TROUPE AND ITS SPECTATORS (1644-62) by LIANBIN DAI B.A., Nankai University, China, 1992 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Asian Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2004 © Lianbin Dai 2004 Library Authorization In presenting this thesis in partial fulfillment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Lianbin Dai 21/04/2004 Name of Author (please print) Date (dd/mm/yyyy) Title of Thesis: Li Mingrui's Private Troupe and Its Spectators (1644-62) Degree: Master of Arts Year: 2004 Department of Asian Studies The University of British Columbia Vancouver, BC Canada ABSTRACT Scholars of vernacular Chinese plays such as Mudan ting (Peony Pavillion) by Tang Xianzu (1550-1616) have paid much attention to the texts of the plays, their readership, and the historical development of performances of them, but their studies to date have revealed little about the spectatorship of performances. In this thesis, I will explore the private troupe of Li Mingrui (1585-1671)—known for performing Mudan ting and Moling chun (Spring in Moling) by Wu Weiye (1609-71)—and endeavor to discover how the spectators interpreted performances by this troupe.
    [Show full text]
  • THE UNIVMITY of SHEFFIEM Vol=E One Jack L-Scott
    THE UNIVMITY OF SHEFFIEM Department of Music The Evolution of the Brass Band and its Repertoire in Northern England Vol=e One Thesis presented for the degree of Ph. D. Jack L-Scott 1970 t(I Acknowledgments IV The time spent in research on this project has been invaluably enriched by the willing assistance of so many. I am grateful for the opportunity of being able to examine the instrument and music collections of the Sheffield., York Castlep Keighley,, Cyfarthfa and East Yorkshire Regimental museums. Acknowledgment is also given for the assistance received from the Sheffield Central Library (commerce and science and local history departments), Eanchester Central Librarys and espec- ially for the British Museum Reading Room and the University of Sheffield Main Library staff. From a practical point, acknowledgment is given to Boosey and Hawkes for a generous research grant as well as an extended personal tour of their facilities and to the University of S%effield research fund. Visits to 'Wright and Round, publishers of brass band music, have also been rewarding. Active partici- pation with the Stocksbridgep Sheffield Recreation and Staveley Works brass'bands has also proved valuable as well as the associ- ation with mmerous other bands,, notably Stalybridges and countless bandsmen. Finallys appreciation is expressed to the faculty, staff and students of the music department. The loss of Dr. Phillip Lord was a personal loss; the guidance of Professor Deane has been an inspiration. To my vifep Jan. and the childrenp go my special thanks for their patience and understanding. Jack L. Scott Sunmar7 vil The initial English amateur wind bands were reed bands which developed from the numerous military and militia bands prevalent during the beginning of the nineteenth century.
    [Show full text]
  • Table of Contents
    Contents 1. Introduction 1 Using This Book 1 The National Garment Cutter System 2 The Patterns and Instructions 2 Using Apportioning Scales 3 Drafting the Pattern 4 Finishing the Pattern 4 Drafting a Ladies’ Basque 4 Taking the Measures 4 Drafting the Bodice 5 Correcting the Waist Length 6 Correcting the Waist Size 8 Drafting the Sleeve 8 Correcting the Sleeve Length 10 Determining Seam Allowances 10 2. Under-Garments, Négligé Wear, And Night-Gowns 13 Drawers with Yoke 16 Drawers with Yoke 17 Pompadour Chemise 18 Ladies’ Chemise 19 Night-Gown with Yoke Front 20 Night-Gown with Yoke Front 23 Sack Night-Gown 24 Sack Night-Gown 26 Short Sack Night-Wrapper 27 Morning Dress 28 Négligé Toilette 31 Ladies’ Négligé 32 3. Wrappers and Tea Gowns 34 Tea Gown 35 Wrapper or Tea Gown 38 vii Contents Tea Gown 40 Spanish Girdle 46 Trained Wrapper 47 Tea Gown 51 Tea Gown 57 Wrapper or Tea Gown 62 Tea Gown 64 Tea Gown in the Directoire Style 69 Tea Gown with Angel Sleeves 71 Watteau Wrapper 73 Ladies’ Wrapper 78 Ladies’ Wrapper 79 Watteau Wrapper 80 Ladies’ Wrapper 82 Tea Gown 83 4. Skirts and Over-Skirts 88 Plain Skirt with Drapery 90 Walking Skirt 94 Walking Skirt 95 Skirt with Scarf Drapery 96 Walking Skirt 99 Walking Skirt 100 5. Ensembles with Bodices, Skirts, And Draperies 101 Street Costume with Wrap 103 Ladies’ Wrap 112 Street Costume with Wrap 113 Ladies’ Wrap 121 Walking-Length Skirt 122 Ladies’ Costume 123 French Basque 131 Ladies’ Costume 132 Basque That Buttons at the Back 138 Peasant Bodice 139 House Dress 140 Street Costume 148 Jacket with Bell Sleeves 154 Wrap with Bell Sleeves 155 Street Costume 156 Ladies’ Basque 163 Ladies’ Basque 164 viii Contents Street Costume 165 Ladies’ Jacket 174 Street Costume 175 Round Bodice 180 Walking Skirt 181 Street Costume 182 Walking Skirt 188 Street Costume 189 Ladies’ Basque 197 Walking Skirt 198 Ladies’ Costume 199 Walking Skirt 205 Petticoat with Yoke 205 Petticoat at Full-Train, Demi-Train, or Walking Length 206 Costume with Prince Albert Coat 207 6.
    [Show full text]
  • A Century of Style
    Evening Dress Tea Dress 1 1850–1860 6 1930–1935 Silk, Cotton Silk, Lace Gift of Lindsay Alston Gift of Mrs. Alfred Birch This two-piece Victorian evening dress has a ‘Bertha’ collar, The Great Depression impacted fashion just as it affected a low neckline style that began in the 1830s and grew every aspect of American life. The care-free optimism of the increasingly popular the middle of the 19th Century. The previous decade was replaced by more reserved and tight waist of the bodice works with the wide skirt to create sophisticated fashion. This tea gown demonstrates the longer a bell shape. Dresses of the 1850s saw the skirts grow wider skirt length of the period, as well as the popular ‘handkerchief than previous decades, frequently assisted by the develop- hem’, an asymmetric hem with several hanging pointed ment of inner crinoline cages as well as tiered flounces sewn corners. Also noticeable is the ‘bias cut’, a style created by into the skirt. Note the wide ‘Pagoda’ sleeves which were French designer Madeleine Vionnet, where dresses would briefly popular in the 1850s and imitated the flared roofs cling to the wearer and accentuate feminine curves. of East Asian buildings. Special Occasion Dress Tea Gown 7 1941 2 1870–1890 Chiffon Velvet, Silk Embroidery Cotton Gift of Mrs. Alfred Birch Gift of Fran Andrews This luxurious dress was created in 1941, shortly before war Fashionable women wore a tea gown such as this example time rationing affected both the quantity and quality of to slightly less formal events, and when hosting afternoon textiles available to the fashion industry.
    [Show full text]