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  • Costumes d’Ivanhoe au bal donné par... le prince et princesse d’Orange à Bruxelles, mercredi le 5 février 1823]. by [SCOTT, Sir Walter. Félicité LAGARENNE, artist. [SCOTT, Sir Walter. Félicité LAGARENNE, artist. ~ Costumes d’Ivanhoe au bal donné par... le prince et princesse d’Orange à Bruxelles, mercredi le 5 février 1823]. Brussels, 1823.
    Sole edition of this rare suite of ten hand-coloured lithographs commemorating a ball inspired by Ivanhoe, held in Brussels on 5 February 1823 by the… (more)

    Sole edition of this rare suite of ten hand-coloured lithographs commemorating a ball inspired by Ivanhoe, held in Brussels on 5 February 1823 by the Prince and Princess of Orange in honour of the British community in that city. The ball was an early expression of ‘Scottomania’, and of the revival of interest in medieval pageantry, that occupied European high society following the publication of Ivanhoe in 1819. There were thirty-two guests at the ball, all attending in elaborate costume and dancing a special quadrille which became the talk of the town and remained ‘the principal topic of conversation at Brussels’ several months later (according to the The Repository of Arts, May 1823). The additional printed programme (not necessarily issued with the plates) tells us that Lord Danlo was Ivanhoe, while the Black Knight was played by Mr de Janti, and Mrs Berkley taking the role of Rowena. Further down the list is Mrs Fielden (sic), as Alicia, wife of the Joseph Ffeilden who owned this copy – she can be seen on the left in Plate VII. Jowers, Theatrical Costume 3126. COPAC shows copies at NLS, Edinburgh, and V&A. Worldcat adds Paris-INHA only.

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  • Theatru[m] mulierum sive Varietas atq[ue] differentia habituum foeminei sexus diversorum Europae nationum hodierno tempore vulgo in usu... Londini Ao 1643. by HOLLAR, Wenceslaus. Robert SAYER, publisher. HOLLAR, Wenceslaus. Robert SAYER, publisher. ~ Theatru[m] mulierum sive Varietas atq[ue] differentia habituum foeminei sexus diversorum Europae nationum hodierno tempore vulgo in usu... Londini Ao 1643. London: Robert Sayer, [n.d., c 1795].
    Hollar’s small format plates of European women and their costume are dated from 1642-4 and followed his successful series Ornatus muliebris Anglicanus of 1640. The… (more)

    Hollar’s small format plates of European women and their costume are dated from 1642-4 and followed his successful series Ornatus muliebris Anglicanus of 1640. The plates were obtained by eighteenth-century printseller Robert Sayer, who issued them several times (with captions in English added) right up until his death in 1794. His widow may also have continued issuing and selling them into the early nineteenth-century. They are one of the best sources for seventeenth-century lay female dress and include several English subjects (A Noble Woman, a Merchant’s Wife of London, an English Gentlewoman, A Merchant’s Daughter, Lady of the Court, a Countrywoman etc) together with women of France, Ireland, Holland, Germany, Denmark, Belgium and Austria. Three of the plates at the end depict men of religious orders. cf. Colas 1466 (second edition of 1643); Lipperheide 30.

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  • Hoedemaekers Rekening Boeck. by (HATMAKERS, Antwerp Guild of.) (HATMAKERS, Antwerp Guild of.) ~ Hoedemaekers Rekening Boeck. [Antwerp, 1707-1776].
    An eighteenth-century account book of the guild of hatmakers in the city of Antwerp, covering nearly 70 years. The Antwerp hatmakers were an important craft… (more)

    An eighteenth-century account book of the guild of hatmakers in the city of Antwerp, covering nearly 70 years. The Antwerp hatmakers were an important craft organization with a well-regulated structure. Their accounts were overseen by aldermen, each serving for several years, who recorded income (usually in the the form of entry fines for new members) and expenditure (usually payment for the guilds officials). One of the major expenditures was the payment of the ‘proefmeesters’ who exercised quality control by examining the products of prospective entrants before admitting them to membership.

    The accounts provide a detailed record of the names of entrants to the guild and of guild officials. They also provide much incidental detail of the position of the craft within the regional economy, with frequent expenditures recording contact with the neighbouring towns of Brussels, Mechelen and Bruges.

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