#1874

[mote-historie]

William-Adolphe Bouguereau, Child Braiding A Crown, detail, 1874.

[nemfrog]

Fossils of fish fins, showing their evolution. La terre avant le déluge. 1874.

Internet Archive

[fleursscaptives]

okay i know alot of people dont like the 1870s and i find that so insane cause have you SEEN the hair

[zegalba]

Alfonso Balzico: Cleopatra (1874)

[digitalfashionmuseum]

Green taffeta wedding dress, 1874, American.

Worn by Harriet Elder.

Chicago Historical Society.

[walzerjahrhundert]

Josef Albert

Maria Josepha of Portugal, Duchess of Bavaria

circa 1874

[pixiedeadbeat]

Lisbeth Lindeborg, Mayfair Magazine, January 1974.

[lookingbackatfashionhistory]

• Corset.

Date : 1868-1874

Medium: Silk, baleen & cotton

[coolthingsguyslike]

[agelessphotography]

Sir Galahad and the Pale Nun, Julia Margaret Cameron, 1874

[chic-a-gigot]

La Mode illustrée, no. 24, 15 juin 1873, Paris. Toilettes de Mme Bréant-Castel, 19 rue du 4, Septembre. Ville de Paris / Bibliothèque Forney

Description de toilettes:

Jupon de mousseline blanche, uni par devant, garni de bouillonnés disposés en diagonale sur tout le côté de derrière et la queue. Entre ces bouillonnés, çà et là, nœuds en ruban bleu turquoise. Le devant du jupon est garni de six volants plissés, disposés par séries de deux volants. Chaque deuxième volant est surmonté d'une torsade en ruban bleu turquoise disposé en torsade. Polonaise en même mousseline, disposée en pouff par derrière, ouverte par devant et se rattachant à chaque torsade du tablier par un nœud de même ruban. Les devants de la polonaise sont garnis d'un volant plissé surmonté d'un ruban bleu. Larges, rubans bleus sous le pouff. Grand nœud bleu fixé sur la polonaise et se rattachant à l'épaule du corsage décolleté.

Robe en faye vert-de-gris. Chaque lé forme un gros bouillonné perpendiculaire, lequel se résout en deux plis, depuis la hauteur du genou par devant, puis graduellement à une hauteur moins élevée pour le tour de la robe. Ruban et nœuds en faye de teinte plus foncée, placés sur le point de départ de ces plis. Mêmes rubans et nœuds sur le corsage ouvert en carré. Manche à gros plis ne dépassant pas le coude.

—

White muslin petticoat, plain in front, trimmed with swirls arranged diagonally on the entire back side and the tail. Between these swirls, here and there, turquoise blue ribbon bows. The front of the petticoat is trimmed with six pleated flounces, arranged in sets of two flounces. Each second ruffle is topped with a twist in turquoise blue ribbon arranged in a twist. Polonaise in the same muslin, arranged in a pouff from behind, open in front and attached to each twist of the apron by a bow of the same ribbon. The fronts of the polonaise are trimmed with a pleated flounce topped with a blue ribbon. Wide, blue ribbons under the pouff. Large blue bow attached to the polonaise and attaching to the shoulder of the low-cut bodice.

Verdigris faye dress. Each length forms a large perpendicular swirl, which resolves into two folds, from knee height in front, then gradually to a lower height around the dress. Faye ribbon and bows of darker shade, placed on the starting point of these folds. Same ribbons and bows on the open square bodice. Large pleated sleeve not exceeding the elbow.

[fashionsfromhistory]

Dress

John J. Stevens

1874-1875

Museum of Fine Arts, Boston

[nemfrog]

PLate XVII. Naga tripundians, the cobra. Indian snakes. 1874.

Internet Archive

[vintage-sweden]

Mugshot of Carl Johan Abrahamsson, 1874, Sweden. He had been arrested for theft.

Carl Johan worked as a farmhand and was described as "a very dangerous person".

[zegalba]

Jules Louis Machard: Selene (1874)

[mote-historie]

Alfred Stevens, After the Ball. 1874

This painting, also known as Confidence, is one of several by Stevens to treat the theme of consolation. As in his other works from the 1870s, here the anecdotal content of a letter containing distressing news asserts itself in a glimpse of the life of fashionable Parisian women in their elegant interiors. Stevens's subject matter and his meticulous attention to contemporary dress and decor elicited analogies to seventeenth-century Dutch and Flemish art; in fact, one critic called him the Gerard ter Borch of France.

The Metropolitan Museum of Art