#françois courboin

[clove-pinks]

The Great Longchamps Day (1820) by François Courboin, 1898.

On higher rungs of the social ladder, English dandies and their French counterparts provoked similar shock within Paris salons. Even more than England, France was caught up in an orgy of accessories such as trinkets, charms, signet rings, seals, lorgnettes, collar buckles, breech buckles and gold slides for suspenders. Commentators observed, often with alarm, the increasing use of “little round mirrors with mother-of-pearl handles for cleaning your teeth, curling your hair, darkening your eyebrows.” Dandies spent “entire hours in the morning gazing at themselves and preening,” noted Le Journal des dames et des modes in 1820, concluding in the following year that “as women become more straightforward in their dress, young men are becoming more clothes-conscious.”

— Farid Chenoune, A History of Men’s Fashion (translated by Deke Dusinberre)

[cmonbartender]

François Courboin (1903)

[museoillogique]

François Courboin - À la bibliothèque, 1906

[chic-a-gigot]

Le jour du grand prix de Paris. Les courses (1895). Monument esthématique du XIXe siècle : les modes de Paris, variations du goût et de l'esthétique de la femme, 1797-1897. By Octave Uzanne. Illustrations by François Courboin. Paris, 1898. Bibliothèque nationale de France

[queenofthenihil]

La tentation de St. Antoine (1895 / Etching) - François Courboin after Félicien Rops

[tamarabeck]

Full spa treatment

Vigier’s baths, Year V- 1797: François Courboin [Public domain], via Wikimedia Commons

via Daily Prompt: Pamper

It does not come naturally to me, taking care of myself as if I were a porcelain doll.

Or perhaps some fragile nymph in need of solicitude. Perhaps I am being overly censorious. I do mean to demean those who take an interest in such things.

I am admiring but too stoical, perhaps even…

[chic-a-gigot]

The Challenge Etching by François Courboin, after Félicien Rops, 1895.

Two women in long white dress on a stair, the woman up the stairs pointing at the one below, a group of people behind; illustration to Erastène Ramiro's Supplément au catalogue de l'oeuvre gravé de Félicien Rops (Paris: Floury, 1895); after a watercolour by Rops.

© The Trustees of the British Museum

[chic-a-gigot]

Le nouveau sport de la fin du siècle. Mesdames les Bicyclistes (1896). Monument esthématique du XIXe siècle : les modes de Paris, variations du goût et de l'esthétique de la femme, 1797-1897. By Octave Uzanne. Illustrations by François Courboin. Paris, 1898. Bibliothèque nationale de France

[chic-a-gigot]

Le square du palais des tuileries (1870). Monument esthématique du XIXe siècle : les modes de Paris, variations du goût et de l'esthétique de la femme, 1797-1897. By Octave Uzanne. Illustrations by François Courboin. Paris, 1898. Bibliothèque nationale de France

[chic-a-gigot]

Aux Tuileries en 1802 — En contre-bas de la Terrasse du bord de l'eau. (1802). Monument esthématique du XIXe siècle : les modes de Paris, variations du goût et de l'esthétique de la femme, 1797-1897. By Octave Uzanne. Illustrations by François Courboin. Paris, 1898. Bibliothèque nationale de France

Journal des Dames et des Modes, Costume Parisien, 5 mai 1802, An 10, (382). Chapeau Retroussé sur le Côte. Publisher: Pierre de la Mésangère; Paris. Collection of the Rijksmuseum, Netherlands

Fashionista with a hat on the head, the brim of which is held up at the side with a button and loop. She wears an apron with pockets on a short-sleeved gown and train. Further accessories: long gloves, flat shoes with pointy toes. Under the right arm a strip of cloth (?) and in the right hand a hat box. The print is part of the fashion magazine Journal des Dames et des Modes, published by Pierre de la Mésangère, Paris, 1797-1839. 

[chic-a-gigot]

Les Spectateurs de la Comète — Sur les boulevards (1857). Monument esthématique du XIXe siècle : les modes de Paris, variations du goût et de l'esthétique de la femme, 1797-1897. By Octave Uzanne. Illustrations by François Courboin. Paris, 1898. Bibliothèque nationale de France

“- Adelaide, Adelaide.. I think I can see the comet coming!!… - Oh my God… this is the end of the world…. how annoying. They promised it wouldn’t come until June 13!,” plate 31 from Croquis Parisiens, lithograph by Honoré Victorin Daumier, France. February 18,1857. The Art Institute of Chicago

After the Comet of Charles V failed to reappear in the 1840s, as astronomers predicted, a Belgian almanac writer announced that it would arrive on June 13, 1857, when it would collide with the earth and end all life. The prediction spread across Europe, but its effect was particularly pronounced in Paris, where terrified families began to prepare for the end. The situation was ripe for mockery, and it also enabled Daumier to compose a variety of night scenes, which he particularly enjoyed drawing. In this print, he devotes particular care to depicting how the candle illuminates his panicked Parisians.

Text from The Art Institute of Chicago

[chic-a-gigot]

La terrasse du Luxembourg (1885). Monument esthématique du XIXe siècle : les modes de Paris, variations du goût et de l'esthétique de la femme, 1797-1897. By Octave Uzanne. Illustrations by François Courboin. Paris, 1898. Bibliothèque nationale de France

[chic-a-gigot]

L'avenue du bois de Boulogne (1856). Monument esthématique du XIXe siècle : les modes de Paris, variations du goût et de l'esthétique de la femme, 1797-1897. By Octave Uzanne. Illustrations by François Courboin. Paris, 1898. Bibliothèque nationale de France

[chic-a-gigot]

A la bibliothèque Etching and drypoint, with plate tone, by François Courboin. Impression before lettered production detail, of a plate executed for L'Art, LXVI, 1906, page 152.

A woman looking at an album at the Bibliothèque Nationale; she is seen full-length, turned to the right, sitting at a table with the album set on an easel before her.

© The Trustees of the British Museum

[chic-a-gigot]

Au cabinet des estampes. A la recherche des modes d'autrefois (1897). Monument esthématique du XIXe siècle : les modes de Paris, variations du goût et de l'esthétique de la femme, 1797-1897. By Octave Uzanne. Illustrations by François Courboin. Paris, 1898. Bibliothèque nationale de France

[chic-a-gigot]

Le charmeur d'oiseaux. Le Nouveau Jardin des Tuileries (1880). Monument esthématique du XIXe siècle : les modes de Paris, variations du goût et de l'esthétique de la femme, 1797-1897. By Octave Uzanne. Illustrations by François Courboin. Paris, 1898. Bibliothèque nationale de France