THE VINTAGE THIMBLE

Royal Naval uniform Royal Naval uniform: pattern 1795-1812. 18th-19th century. English. Brass; gold alloy; linen; silk & wool. This uniform, which belonged to Admiral Sir William Cornwallis (1744-1819) illustrates the principal changes to uniform regulations for the year 1795. These include the change in colour of the lapels and cuffs from white to blue and the inclusion of epaulettes. Epaulettes were a military fashion that came from France, and although they were not mentioned in uniform regulations until 1795, some officers wore them anyway. In terms of contemporary fashion, this uniform reflects popular styles with its narrow sleeves, cuffs and lapels, and illustrates the leaner silhouette that was popular in male dress towards the end of the 18th century. | Royal Museums Greenwich

Nelson’s Trafalgar coat. Royal Naval uniform: pattern 1795-1812 (Nelson’s Trafalgar coat). Made before 1805. England. Materials brass; gold alloy; metal thread; silk & wool.

Vice-admiral’s undress coat worn by Nelson (1758-1805) at the Battle of Trafalgar. There is a bullet hole on the left shoulder, close to the epaulette. The damage to the epaulette itself is also apparent. There are blood stains on tails and left sleeve, which is probably that of Nelson’s secretary, John Scott, killed earlier in the action. The coat is of blue wool cloth with a stand-up collar and button-back lapels. On the left side, Nelson’s four orders of chilvary - Knight of the Bath, Order of the Crescent, Order of Ferdinand & Merit and Order of St Joachim - are sewn to the front of the coat and over the edge of the lapel so that it could not be unbuttoned. The sleeves terminate in an extremely narrow round cuff with two rows of gold distinction lace and three flag officers buttons. The left sleeve is line with black silk twill, but the right is lined with the same fabric only as far as the elbow. At the end of the right sleeve is a small black silk loop which would have secured the sleeve to a lapel button. The tails and breast are lined with white silk twill and the shoulders are quilted with running stitch. | Royal Museums Greenwich

1800s Northern Vietnamese woman dressed in Áo tứ thân, with the “Quai Thao” hat characteristic of northern Vietnam. [source]

Vest 1800–1810, American or European. Silk & linen. | THE MET

Necklace Europe (West). Ca. 1660 (bow) 1800-1900 (chain and pendant). Enamelled gold set with table-cut diamonds, hung with a pearl and a large polished sapphire.

Necklace based on the bow motif. Small bows in alternating turquoise/black and white/turquoise enamel are linked together to form the chain; at the front is a large diamond-set bow with flowers and sapphire and pearl drop. The bow made in Western Europe, about 1660, the chain and pendant probably made 1800-1900. | V&A

The Coronation uniform of Alexander I, 1801 Alexander I came to the throne in 1801 after the assassination of his father, Paul I. He had been given a liberal education at the court of his grandmother Catherine the Great and once he became emperor he modernised many aspects of Russian society. Like his father, Alexander was fascinated by military uniform. He designed new ones for Russian regiments and wore the uniform of the Preobrazhensky Regiment for his coronation. A courtier noted that ‘the Emperor’s court came to resemble soldiers’ barracks. The emperor’s office was full of orderlies, messengers and lance-corporals modelling the uniforms of various troops, and the emperor would spend hours with them, making chalk marks on their tunics and undergarments amidst samples of moustache brushes, boot brushes, button-polishing boards and other similar sundries.’ Coat - Russia, 1801. Cloth, poplin, linen, weaving, embroidery. The chest bears the star of the Order of St. Andrew the First-Called, embroidered in silk and gold. The ink inscription on the inner side of the left sleeve tells that the coat has been sewn by Alexander Golitsyn in 1801. Painting - Russia, the second quarter of the XIXth century. Unknown painter. Canvas, oils. Boots - Russia, the early XIXth century. Leather; silver-plated spurs. The boots of black leather were a part of the Alexander I's coronation costume. They served as a symbol of the Tsar's role as a powerful military commander. The leather fitted closely at the back of the ankle to hold a metal spur which was used for controlling the horse when riding. Waistcoat - Russia, 1801. Cloth, linen, non precious metal, weaving. The short single-breasted waistcoat has a low stand-up collar and two set-in pockets with flaps. Fastened with buttons. The same pieces are on the pocket flaps. Hat - Russia, 1801. Felt, lace, plume, weaving. The hat of the coronation costume is executed of black felt with plumes of black ostrich feathers. It is edged with plume of white feathers which was the only sign of the generalship in those times. Sources ↳ The Moscow Kremlin | V&A

Man's Bicorn Silk Hat. Possibly made in Great Britain or France, ca. 1800 Man's bicorn hat in black silk trimmed with a silk button, black silk braid and a pleated silk cockade. High and semi-circular with one brim wider than the other. Trimmed with a loop of plaited silk braid stitched around a black silk covered button and over a stitched black grosgrain bow with van dyked edges. Lined with black silk. | V&A

Shoes c. 1800, | Worthing Museum and Art Gallery Costume Collection

Dress, ca 1800-1805. Linen dress. Closed center front with two bodkins. It is decorated with embroidery with gold thread and sequins forming a broad border with floral decoration and pavilions. | Museo Del Traje

Illustration, 1802. Different back styles and head wear.

Emma, Lady Hamilton by Johann Heinrich Schmidt, circa 1800. This miniature was painted in Dresden at the request of Horatio Nelso when he, Emma and Sir William Hamilton were traveling en route to England from Palermo 1800-01. In it Emma wears the Cross of Malta, given her for deeds of charity for the Maltese nation. Lady Hamilton wears a scarf that encloses her entire neck and a dress without a separate bodice. Nelson kept this portrait always and called in Santa Emma. During the time it was painted Emma was carrying her and Nelson's first child, Horatia. He had it with him when in died during the Battle of Trafalgar in 1805. | National Maritime Museum

Formal Egyptian-Silk Overdress, English, c. 1801. | ROM

Spencer, early 19th century | IMATEX

Evening Dress, French, 1805 - 1810 | The MET

Woman's Dress, c. 1800. Sheer cotton plain weave with cotton embroidery in satin and cable stitches | Philadelphia Museum of Art

Dress, 1804 - 1814. Cotton. French. | THE MET"

Evening dress, 1807-1811 Materials and Techniques: Machine made silk net, embroidered with chenille thread, with silk ribbon & hand-sewn. V&A