Regency Fabrics, Part 31

Here’s another post in our ongoing series on Regency fabrics.

As I have in previous posts, I’ll be examining actual fabric samples glued into several earlier editions of Ackermann’s Repository, samples supplied by the manufacturers and published by Ackermann in order to boost the British cloth-making industry at a time when exporting British goods to Europe was almost impossible because of the Napoleonic war. I'll give you a close-up scan of each sample, the published description if available, and my own observations of the color, weight, condition, and similarity to present-day materials, to give you as close a picture as possible of what these fabrics are like.

Today’s three samples are from the June 1813 issue of Ackermann’s Repository. The overall condition of my copy is excellent; the page itself is free of foxing and is only slightly toned. The samples have not fared quite as well: the chintz seems to have suffered some toning (I think), and the patterned one has frayed.

No. 1 and 2. A neat and useful article, from Allen’s celebrated furniture warehouse, Pall-Mall, where may be seen the most extensive and elegant assortment of chintz, and other articles of furniture in this line. Mr. Allen has recently built and opened a most spacious and elegant saloon, where, by a very ingenious invention, the printed and cotton furniture is displayed at one view, to the greatest advantage, and so as to afford an easy decision as to effect. The present specimen, though very neat, is by no means on a par with those displayed at this celebrated warehouse. Light blue, bright yellow, and full pink, or rose-colour, with corresponding fringes, are the linings best calculated to exhibit this print to advantage.

My comments: This is a very heavily glazed chintz, to the point that it feels almost like vinyl shelf paper. I’m not quite able to decide whether the somewhat mottled background behind the printed designs is intentional or not: all the other versions I’ve seen of this page are similar, so it is either intentional or they all have faded or toned in the same fashion. The fabric itself is finely and tightly woven, with evenly spun threads. And I would like to know exactly what the “ingenious invention” was for the display of their fabrics!

No. 3 A specimen of British King Cobb; a new article with which we have been favoured by Mr. Milland, of the East India warehouse, Cheapside. It is an exact imitation of that splendid article worn by the Great Mogul. It is calculated for evening robes, producing a most pleasing effect by candle-light. Pelisses, à la Persian, lined with sarsnet, of a tastefully contrasted shade, and ornamented with feather-trimming, and worn with Asiatic turbans of the same, produce a very unique and becoming effect.

My comments:  I’ve not been able to discover what “King Cobb” is, but this is a lovely piece of fabric—a very handsome twill woven silk with a raised diagonal stripe, printed with a floral pattern (unfortunately, the stripes aren’t showing up well in this scan.) It is light in weight but reasonably opaque due to the fine, tight weave.

No. 4 is a sample of the new Imperial cotton twine shirting. Many of our readers having wished to obtain specimens, together with the price of this very useful article, we have procured one from the proprietor, just as it comes from the bleach-field. It is sold, stamped, at Millard’s East India warehouse, Cheapside, and at no other house. The present quality is 2s. 6d. per yard; and, in due proportion, at 3s. 6d., 3s.,2s., and 1s. 6d., being not more than half the price of Irish linens, &c. and of equal fineness of texture. It is wove in 7-8^th widths for ladies, and 4-4ths for gentlemen’s wear, and is particularly well adapted for slips.—At this warehouse may also be purchased, muslins of the lowest value, for draperies only, up to the Indian shawl of 100 guineas. The most curious Indian muslins, up to the exquisitely fine Saccarallie, are regularly selling at this extensive establishment, where the ingenious manufactures of Valenciennes, Brussels, Germany, Russia, China, the Indies, and the sister kingdoms (both for use and ornament), are to be met with.

My comments: This is, to me, the most interesting of the fabric samples this month, just because it was used for such basic garments as men’s shirts and ladies’ slips and underdresses. In close-up it greatly resembles linen as the threads are just slightly unevenly spun, giving it more of a texture. It feels quite sturdy, which only makes sense considering its use.

What do you think of this month’s fabrics?

Regency Fabrics, Part 29

Here’s another post in our ongoing series on Regency fabrics.

As I have in previous posts, I’ll be examining actual fabric samples glued into several earlier editions of Ackermann’s Repository, samples supplied by the manufacturers and published by Ackermann in order to boost the British cloth-making industry at a time when exporting British goods to Europe was almost impossible because of the Napoleonic war. I'll give you a close-up scan of each sample, the published description if available, and my own observations of the color, weight, condition, and similarity to present-day materials, to give you as close a picture as possible of what these fabrics are like. So here we go!

Today’s four samples are from the March 1813 issue of Ackermann’s Repository. The overall condition of my copy is very good, with just some toning around the edges of the page. The samples are in overall good shape as well, with perhaps a bit of toning on sample No. 4 and some white staining on No. 2.

No. 1, a celestial blue figured sarsnet, adapted equally for the dress robe, bodice, and spencer, as for the spring mantle or pelisse. Trimmings of swansdown, thread lace, fancy gimp, or the new imperial shag, are appropriate decorations for articles composed of this material. It is sold by Messrs. George and Bradley, Holywell-st. Strand.

My comments: This has faded until it’s almost impossible to see that it was once blue, alas, but it remains a very pretty fabric, of a finely woven silk with a twill background and a floral-like pattern scattered over it. It seems too light in weight to be used for a pelisse, but would indeed have made a lovely dress robe.

No. 2, a figured taffety, from the house of Messrs. Layton and Shears. This unique article is calculated for the intermediate order of costume, and is to be purchased of various shades; and when contrasted with trimmings of coloured satin or ribband, forms a most pleasing domestic habit.—To be purchased of Messrs. Layton and Shears, Bedford House, Henrietta-street, Covent-Garden.

My comments: It’s a little hard to see it in the scan because of the whitish staining, but this has a stylized leaf pattern woven into it, with an overall twill weave. It feels like a light but sturdy cotton.

No. 3, a fashionable small patterned printed cambric, for morning dresses or domestic wear.—Dresses composed of this simple material, are either formed in plain wraps, high gowns, buttoned or trimmed down the front; or in the cottage jacket and petticoat. These small patterned printed cambrics are considered even more genteel than the white robe, for morning wear. The article here exhibited is sold by T. and J. Smith, No. 3, Tavistock-street, Covent-Garden.

My comments: Well, my preference would be for “white robes” for morning wear (some of the white muslin morning dresses in Ackermann are just charming) but to each her own. This looks like quilting cotton, but is a bit heavier in weight; the threads are tightly and evenly woven.

No. 4 is a sample of the imperial patent cotton-thread shirting, brought out by Mr. Millard, the proprietor of the East India Warehouse, No. 16, Cheapside. Its excellence consists in its desirable property of preventing the taking of cold, its superior durability, and its great economy, being of a fineness of quality equal to, and nearly half the price of, Irish and foreign linens. The most skilful and eminent of the faculty will hold it in high estimation, being of a nature to prevent a too profuse perspiration, which flannel is liable to create, at the same time that it does not too severely check that vital principle of health. We, therefore, fell much pleasure in recommending the article to the particular attention of our readers, on account of its superior comfort and utility. It is sold, whole-sale and by the piece, at the before-mentioned warehouse, No. 16, Cheapside, and at no other house in London. The quality of 2s. per yard is equal to that of linen at 3s. 6d. and that of 2s. 6d.to linen of 4s. 6d. and so on in progressive advancement.—Foreign orders, and merchants purchasing for exportation, are treated on the usual liberal terms peculiar to this house.

My comments: This is interesting stuff. The thread in this fabric is fairly fine but not as evenly spun as some of the other cotton fabrics we see here for ladies’ dresses; it’s a tad heavier than the cotton of today’s pinpoint oxford cloth. The true selling point seems to be the idea that cotton prevented one from catching colds because of its breathability. Note that it is Indian cotton, which was just on the upswing in terms of sales.

Any thoughts on this month’s fabrics?

Regency Fabrics, Part 28

Here’s another post in our ongoing series on Regency fabrics.

As I have in previous posts, I’ll be examining actual fabric samples glued into several earlier editions of Ackermann’s Repository, samples supplied by the manufacturers and published by Ackermann in order to boost the British cloth-making industry at a time when exporting British goods to Europe was almost impossible because of the Napoleonic war. I'll give you a close-up scan of each sample, the published description if available, and my own observations of the color, weight, condition, and similarity to present-day materials, to give you as close a picture as possible of what these fabrics are like.

Today’s three samples are from the September 1811 issue of Ackermann’s Repository. The overall condition of my copy is excellent; the page itself is free of foxing and is only slightly toned. One of the samples shows some foxing, but overall they’re in very good condition.

Here we go!

No. 1 and 2. A striped Persian dove-coloured chintz for window-curtains and bed furniture. The colour of this article is so chaste, and at the same time so perfectly neutral, that fringed trimming of any hue will suit it; a rich gold yellow, however, is particularly adapted to shew it to the greatest advantage. This pattern is supplied by Mr. Allen, 61, Pall-Mall, whose taste as a designer and printer of furniture is so conspicuously displayed in the elegance of all his productions, as to have procured him the most flattering patronage of His Royal Highness the Prince Regent.

My comments: Hmm. I’d always thought “dove-coloured” to be a grayish color, but this sample is decidedly brown; either it has changed over the years, or the definition has. It’s a nicely evenly-woven, not-too-heavily glazed chintz, which would drape well but would likely need lining to give it sufficient body for curtains.

No. 2. is a celestial blue waved gauze for evening dress. This article, equally novel and graceful, should be worn over white satin or sarsnet, and may be had of Messrs. Cooper and Co. silk-mercers, 28, Pall-Mall.

My comments:  Oops—some mis-numbering here. This is an airy net-like fabric, beautifully silky, with a pattern of zig-zags to give it visual interest. The pale sky blue would be lovely over white satin as suggested in the text.

No. 3. A sprigged chintz, designed for morning dresses. It combines a high degree of elegance with a pleasing simplicity; and is sold by Cooper and Co. 113, New-Bond-street.

My comments: Ah, another morning dress print fabric, perhaps for a Morning Dress like this one at left from Ackermann in February 1810. This chintz is woven of very fine thread which makes it sturdy yet supple, and the printing is neatly and accurately done.

What do you think of this month’s fabrics?

Regency Fabrics, Part 25

Here’s another post in our ongoing series on Regency fabrics.

As I have in previous posts, I’ll be examining actual fabric samples glued into several earlier editions of Ackermann’s Repository, samples supplied by the manufacturers and published by Ackermann in order to boost the British cloth-making industry at a time when exporting British goods to Europe was almost impossible because of the Napoleonic war. I'll give you a close-up scan of each sample, the published description if available, and my own observations of the color, weight, condition, and similarity to present-day materials, to give you as close a picture as possible of what these fabrics are like.

Today’s three samples are from the April 1812 issue of Ackermann’s Repository. The overall condition of my copy is excellent; the page itself is free of foxing and is only slightly toned; one of the samples shows some foxing and another some toning, but overall they’re in very good condition.

Here we go!

No. 1 and 2. An elegant and unique pattern, resembling tambour work, for gentlemen’s waistcoats, associating most pleasingly and happily with the puce or blue riding-coat. This truly spring-like and fashionable article is now in great request; and several members of the Whip Club have lately distinguished themselves by double-breasted waistcoats of this attractive article. It is furnished by Messrs. Maund and Co. wholesale and retail men’s-mercers, Cornhill; a house most justly celebrated for taste and variety in stuffs and manufactures for ladies’ habits, as well as gentlemen’s attire.

We are sorry that we could not, in this number, introduce another very elegant and chaste pattern from the same respectable house; but, as it is calculated for either winter or summer, we shall give it in out next number.

My comments: This is a heavy, very sturdy twill-woven fabric, probably of cotton, printed with stylized flowery things...though I shudder to think of this print paired with a puce riding coat!

No. 3. A cerulean blue imperial gauze, calculated for evening or dinner parties. Dresses of this article are usually constructed plain, and with little superficial decoration; they are worn over a white sarsnet or satin slip. Thread lace, white beads, or swansdown (when seasonable) are its usual ornaments. It is furnished by Mr. Wm. King, silk mercer, 44, Pall-Mall.

My comments: Very dainty stripes of solid and net weaving, in a lustrous pale blue silk, very smooth; I can’t (unfortunately) discern if this pale color is original, or if it has faded from a more intense hue. Very pretty in an evening dress.

No. 4. A most delicately printed cambric for morning or domestic wear. Robes of this article are usually formed in plain high dresses, or Grecian wraps, with no other ornament than a high plaited ruff, or Armenian collar, or muslin or lace. –This article is sold by Messrs. Hodgkinson & Co. 91, New Bond-street.

My comments: More quilting fabric! ;) This is a tightly woven cotton with nice even threads and good quality printing, with only a little bit of bleed on the colors. The tight weave means the fabric is sufficiently opaque to not require an underdress or slip.

What do you think of this month’s fabrics?

Regency Fabrics, Part 24

Here’s another post in our ongoing series on Regency fabrics.

As I have in previous posts, I’ll be examining actual fabric samples glued into several earlier editions of Ackermann’s Repository, samples supplied by the manufacturers and published by Ackermann in order to boost the British cloth-making industry at a time when exporting British goods to Europe was almost impossible because of the Napoleonic war. I'll give you a close-up scan of each sample, the published description if available, and my own observations of the color, weight, condition, and similarity to present-day materials, to give you as close a picture as possible of what these fabrics are like. So here we go!

Today’s four samples are from the January 1812 issue of Ackermann’s Repository. The overall condition of my copy is very; the page itself is free of foxing and is only slightly toned; two of the samples (in white) have suffered some foxing.

No. 1. is an article of peculiar neatness and of great durability, particularly appropriated for ladies’ morning dresses, and children’s frocks and trowsers, the figure never being removed by washing. We are favored with this delicate article from the house of Millard, in Cheapside, where it may be obtained; and where it forms a part of the many elegant articles peculiar to that celebrated establishment, which certainly is unrivalled, both in the variety, richness, and elegance of its supplies; and possesses, at the same time, the advantages of a superior economy. We believe our fair fashionables are well acquainted with this Repository of foreign and British manufactures; but for the information of our correspondents who reside in the country or in distant climes, we must observe, that this house furnishes the greatest choice of fashionable articles for ladies’ wear and household use, as well as rich furniture for drawing-rooms, bed-rooms, &c. These may be purchased from the singularly low price of one shilling per yard, and upwards. The most costly and best productions of India are to be found here. Their Indian shawls, we understand, are offered from eight, to one hundred and fifty guineas each. Their linens of Russia, Irish, German, and Valenciennes manufacture, are of the first fabric. Their printed silks, bettillas, and muslins are of a unique description. Their white chintz, anjengos, and long cloths for children’s wear, are of singular durability and beauty. This house is of the first respectability, each article is warranted, and all goods purchased by the piece, or demi, are obtained at the wholesale price, as well as those purchased by the entire case of package.

My comments: Wow, that was quite a puff-piece, Mr. Ackermann! As the for fabric sample itself, it’s an attractive corded weave, with a pattern woven into the cording. It’s a little hard to judge how long-wearing this might be for children’s clothes, as the ground fabric is of very fine thread, like a muslin, though the threads are evenly spun. But it’s certainly pretty. A couple of definitions, by the way: bettilla is a muslin woven in southern India, and anjego appears to be a similar product of India; I found references to anjengo and anjengo longcloth.

Oh—and 150 guineas for one shawl?!

No. 2. is a delicate and animated printed cambric, for morning or domestic wear. The style of this article must be necessarily simple and plain, as will be obvious to the purchasers. It is sold by Messrs. Smith and Co. Tavistock-street, Covent-Garden.

My comments: More quilting fabric. ☺ The cambric is tightly and evenly woven, and the printing clear and well done...and, um, yeah, definitely no trimming needed on a dress made from this!

No. 3. A white cotton velvet of a peculiarly delicate fabric, designed for the fashionable amusement of painting, an art now particularly in vogue with our fair fashionables, who have wisely relinquished the inelegant and unprofitable employ of shoe-making and book-binding in favour of their industrious, half-ruined, and more humble brethren*. This article, as well as the colours for painting, are sold at Ackermann’s Repository, No.101, Strand; and it is a peculiar advantage to the public, that they may obtain at this house drawings and patterns for copying on the following terms:
Yearly subscriptions, 4 guineas.
Half-year do............ 2 do.
Quarterly do............1 do.
The money to be paid at the time of subscribing, &c. &c. Printed particulars may be had at the Repository of Arts, 101, Strand.

*See the speech of PETER CORDOVAN, vol.4, page 16, Repository of Arts, &c.

My comments: Oh my word, more painting on velvet. I think I feel a blog post coming on...and a little research into the footnote as well! As for the sample of velvet itself, it’s very like what we would call cotton velveteen, with a short, plush nap.

No. 4. A fine Merino cloth, of Wellington bronze, a colour in the highest esteem in fashionable circles. It may be termed the orange colour sobered. It is adapted for robes, pelisses, and mantles, and should be trimmed with a tastefully contrasted fur, variegated chenille, or swansdown. We have seen the Carmelite mantle composed of this material, lined with white sarsnet, with white raised chenille borders, and confined at the throat with rich correspondent cord and tassels, to have a very tasteful effect. This cloth is furnished by Mess. Ghrimes, of Ludgate-hill, whose house is famed for producing the most brilliant in-grain colours in cloth ever exhibited. The present article measures two yards wide, and the price 36s. per yard.

My comments: Ooh, nice fabric! The color is a dark pumpkin—a brownish orange—but it’s the fine twill weave that makes this noteworthy—pliable and nicely drape-able, but sturdy. It would make a cozy winter gown, if a slightly scratchy one (so definitely a lining would be needed in the bodice.)

Any comments on this month's fabrics?

Prints in Prints?

I’ve been rather puzzled by something over the last several months as I’ve posted the fabric samples advertisements that appeared in  Ackermann's Repository: if patterned fabrics, be they prints or jacquards, were so popular (after all, we've seen a lot of them in the samples), why do we almost never see dresses in Ackermann’s Repository made from them?*

A recent acquisition, however, has finally addressed that issue. I already own and, indeed, had blogged about this plate from the February 1809 issue, depicting a buxom lady in a Half Dress (and no, that's not half a dress—"half dress" meant garb in a slighter more casual, less formal vein, perhaps for attending a smaller private party--as opposed to "full dress.") It is described as an Egyptian head-dress of silver and pearls, one point falling on the left shoulder, finished with a tassel; the hair in loose ringlets; pearl ear-rings, bracelets, and necklace; a train dress of brocaded sarsnet, trimmed with silver and vandyked; [I rather suspect this semi-colon should not be here] lace round the neck in form of a tucker, long sleeves of Mecklin or Brussels lace; white gloves and fan; shoes the same as the dress, of brocaded silk, with silver bows.

But looking at this print, it's not easy to see that the fabric is supposed to be a brocade. Which is why I was delighted recently to run across another copy of this print, which was colorized very differently as you can see at left. The sparing touches of red make it much easier to see that the original engraving was doing its best to depict a patterned fabric.

For whatever reason, as you can see in this close-up, the colorist handled adding the color to it very differently...and it's plain to see that this dress was indeed made of a patterned fabric, perhaps like some of the sarsnets we've already seen.

And now I feel a little bit less puzzled. ☺

And speaking of prints...I'm very happy to report that Between Silk and Sand is a finalist in the young adult category of the I Heart Indie Contest, sponsored by the Las Vegas Romance Writers of America, which judges the cover presentation of indie and small press books. Category winners and the Best of the Best will be announced later this fall--keep your fingers crossed!

*I'm sure this question has kept you all awake at night as well. Right?