Context is Critical

Context: it’s everything, right? We so dislike our statements taken out of context. But what about our clothes? They make statements, too, and so do our accessories.

A friend noticed that market baskets were fairly prominent carriers used by reenactors portraying the Boston gentry greeting L’Hermione this past weekend, and asked, “What gives? Is there something I missed?”

There are two images that people often turn to in documenting these baskets:

The Farmer’s Return, by Zoffany

Johan Joseph Zoffany RA, 1733–1810, German, active in Britain (from 1760), David Garrick and Mary Bradshaw in David Garrick’s “The Farmer’s Return”, ca. 1762, Oil on canvas, Yale Center for British Art, Paul Mellon Collection

and

The Harlot’s Progress, Plate 1

The Harlot's Progress, Plate 1. William Hogarth.
The Harlot’s Progress, Plate 1. William Hogarth.

In both of these, the context is working class and food-oriented. As my friend asked, “Are these floppy baskets for floppy birds?”

Two images from 1740 to 1760 aren’t a lot of documentation to go on for 1775-1783, so I checked the Rhode Island newspapers for 1770-1790, searching for “basket.” No mention in ads, but “baskets of grapes” appeared in stories, and a mention of Chinese dogs in cotton-lined baskets (apparently the “basket dog” is the 18th century equivalent of today’s purse dog).

As satisfying as basket-dogs might be, they’re not helpful in this instance.

The Yale Center for British Art helpfully adds keywords or tags to their catalog records, which allows one to look for “basket.” Aside from The Farmer’s Return, this ovoid, market-basket form isn’t really seen. What is seen?

For one thing, not many upper-class women carrying baskets, or any kind of burden or bundle. A woman carrying a kind of ovoid basket over her arm is shopping for food, not perambulating.

The upper class girl with her father has an open basket full of flowers (hint: probably symbolic) which appears to be made of what we lump into “wicker,” in an open design. (BTW, that’s not a pinner apron; zoom in and you will see shoulder straps. Fight at your leisure.)

Arthur Devis, 1712–1787, British, An Unknown Man with His Daughter, between 1746 and 1748, Oil on canvas, Yale Center for British Art, Paul Mellon Collection

In the most class-appropriate image, The Virtuous Comforted by Sympathy, the workbasket at the woman’s feet is a tidy, round form with a lid, more similar to Nantucket baskets* than to market baskets. It really doesn’t look like the kind of thing you’d leave home with. It’s a sewing basket.

Edward Penny RA, 1714–1791, British, The Virtuous Comforted by Sympathy, 1774, Oil on canvas, Yale Center for British Art, Paul Mellon Collection
Edward Penny RA, 1714–1791, British, The Virtuous Comforted by Sympathy, 1774, Oil on canvas, Yale Center for British Art, Paul Mellon Collection

On balance, I think it appears that public basket carrying is more suited to carrying foodstuffs than personal items, and that the most common use of baskets in this period is to collect and carry food, whether from a greengrocer, fish stall, or gathering apples— at least if you are trying to be quite precise in the use of documented accessories. If you’re using a market basket to carry food, you do so knowing that it’s only (thus far) documented to England, and that the handles must be woven and not leather riveted to the side.

The material from which the baskets are made is another question altogether, along with the proper woven form. As I noted to my friend, I don’t care that much. And why?

Balthazar Nebot, active 1730–1762, Spanish, active in Britain (from 1729), Fishmonger's stall, 1737, Oil on copper, Yale Center for British Art, Paul Mellon Collection
Balthazar Nebot, active 1730–1762, Spanish, active in Britain (from 1729), Fishmonger’s stall, 1737, Oil on copper, Yale Center for British Art, Paul Mellon Collection

Pockets, of course. My enormous pockets contain multitudes, sometimes even camera and water bottle along with wallet and phone, even if that much stuff distorts the line of my skirts somewhat. I can also fit my knitting in a pocket, and a slim, if dangerous novel (perhaps Moll Flanders). For carrying more than that, a wallet is probably best, or a cloth bag, or a portmanteau. But for a day in town, even if you’re a lady, you can carry quite as much in your pockets as I can as Bridget, though of course of a better quality.

* I am not advocating carrying Nantucket baskets, to be quite clear.

The Boarding Party, or, Trip to the Wrong Ship

Three gentlemen at the Providence Station
Three gentlemen at the Providence Station

L’Hermione, remember her? That French ship? We were asked back in January if we wanted to be part of a group of Citizens of Boston in 1780 who came out to greet L’Hermione when she arrived in port. Yesterday (July 11) was the day she finally came to town, and most of the Rhode Island contingent of our Massachusetts group went up on the MBTA to see her. The train was totally the way to go, though Mr Hiwell did consume three Diet Cokes before we even got to the ship. Turns out the Henry Cooke frock coat pattern pockets can each hold three cans– a full six pack per coat, should you care for such a thing.

Walk fast, it's the city!
Walk fast, it’s the city!

We got to Rowe’s Wharf in time for the national anthem– or, as we like to call it, The Anacreontic Song. There was much speechifying, and though we were not talking too much, water was required. Those pockets came in handy again, as did my own capacious pockets. Good thing, too: the line was long and the sun was hot. One woman offered to let us go ahead of her in line, but that seemed wrong: if you have to wait in line, you have to wait, and the rule we have absorbed is that the public comes before reenactors. But, since we’d been asked to come, we decided to check the situation, and went to inquire. The “bouncer” at the head of the line told us to come back later, so we decided it was time for some lunch.

Lead, follow, get out of the way, or take another photo of backs.
Lead, follow, get out of the way, or take another photo of backs.

By lunch, things were a little surreal as we sat at a table with people I never imagined sitting down with. No worries: it was all good, just a little weird that you have to leave Rhode Island to meet Rhode Islanders. The Young Mr inhaled his lunch, and probably made a lasting, if Hooverish, impression on our new acquaintances. The fact that the entire new contingent of the 10th Massachusetts sat on one side of the table, and that 80% of us were from RI, also made an impression. We are why you can’t have nice things.

Refreshed, we journeyed back to the ship, meeting more friends along the way. To be fair, Mr S and I had agreed beforehand that going up to Boston was as much about seeing our very dear and far-away friends as it was about the ship, and we were delighted to see every one of them. But at last, we thought, we can get on board.

Totally justified.
Totally justified.

No soap, as they say. The line was closing at 1:00 and we were too late to make it into the last crowd that would get on– it was the longest line I’d ever seen– and, even worse, many members of the public waited in the hot sun and failed to board. For us, five and a half months of anticipation were dashed in a moment.

But wait! Well found again, Mr and Mrs B and Baby B. Mr S was delighted to meet Georgiana (he has a thing for babies, and an uncanny ability to guess their ages, and to tease and delight them), whom he had very much wanted to see. L’Hermione was not the only tall ship in the sea: we considered the dry-docked USS Constitution, but chose the Sagres instead, as she is only in port for a few days. Off we went on another trek, waylaid often for photos. The Young Mr in particular kept getting stopped.

Gulliveresque, relly.
Gulliveresque, relly.

At least there was some shade here, and a bench. We took it in turns to go on the Sagres. Mr and Mrs B and I watched from the shore, and could see this happening. I don’t know how they trapped Mr S in this, but they did.

SagresSelfie

After an excursion to the ICA (which we are, as temporal performance art) for water, bathrooms, and some AC, the second shift got to visit the boat. We must have been cursed, because there was another line! At least this one moved, and however slowly and carefully in leather-soled shoes, we managed to go aboard.

Hey, it's got masts.
Hey, it’s got masts.

Mr B was right: oversized yacht. Still very happy to have gone on a ship and to have seen many interesting things, including a very specific kind of display.

Portugal. The Best Fish in the World.
Portugal. The Best Fish in the World.

Mmmm, fish. All the packages were, in fact, empty. At this point we decided it was time for ice cream, and headed back. The Rhode Island Party ended up back at South Station for frozen yogurt and a bit of a rest. I don’t normally wear heels– ever– so a day in 18th century women’s shoes was a pedal workout. (We considered renting bikes, because if you have to be anachronistic, you might as well go all the way.)

Mr Hiwell and I considered the day: it wasn’t bad. We didn’t even get close to achieving what we thought was our goal. But we made our own fun with wonderful friends, had an adventure, and went at least three places we did not expect to go and had not been  to before. All in all, success, even in failure to board.

If they sleep on the way home, it wasn't a bad day.
If they sleep on the way home, it wasn’t a bad day.

Itching for Style

Dress Date: 1830s Culture: American Medium: wool Dimensions: Length at CB: 53 1/2 in. (135.9 cm) Credit Line: Gift of John Eastman and Gerard L. Eastman, 1976 Accession Number: 1976.209.2
Dress, 1830s. American, wool.
Gift of John Eastman and Gerard L. Eastman, 1976.209.2 Metropolitan Museum of Art

Wool. It’s a thing. This dress from the Met has many of the markers of everyday fashion– a vernacular form, if you will, of what Deliverance Mapes Waldo is wearing in this portrait

Deliverance Mapes Waldo and Her Son about 1830 Samuel Lovett Waldo (American, 1783–1861 American) DIMENSIONS 77.15 x 64.45 cm (30 3/8 x 25 3/8 in.) ACCESSION NUMBER 45.891 MFA Boston
Deliverance Mapes Waldo and Her Son, about 1830
Samuel Lovett Waldo. 45.891 MFA Boston

Of course, dating these things is never a science when they don’t come with a clearly labeled tag you can affirm with research. The extant garment first. The sleeves say 1820s, the waistline says 1830s. Could it be 1840s? Perhaps. Without provenance, it’s really hard to know.

Mrs Waldo’s sleeves are clearly 1830s sleeves: full on gigot, sloped shoulder. It’s the contrast between her sleeves and the Met’s dress that makes me question their date (along with the fashion plates we saw yesterday).

Here’s a wool gown from England, land of the fabulous wools.

Dress, England, Great Britain.  1836-1838. Printed wool, trimmed with printed wool, lined with cotton, hand-sewn Given by Mrs H. M. Shepherd, T.11-1935. Victoria & Albert Museum.
Dress, England, Great Britain. 1836-1838.
Printed wool, trimmed with printed wool, lined with cotton, hand-sewn
Given by Mrs H. M. Shepherd, T.11-1935. Victoria & Albert Museum.

Here the sleeves are starting to be narrowed at the shoulder, taming the gigot. That places this 1836 or later, which is helpful. The bodice style is still not the pleated or smocked front of the 1840s, so that’s another marker for mid-to-late 1830s.

What will I do? I don’t know. I’ve ordered two patterns (and one for a new chemise, sigh). The Past Patterns Lowell Mill Girl dress appears to make up quite nicely, but I also ordered the Wisconsin Historical Society pattern for comparison. (Hey, when you can’t examine originals, you have to use the patterns.) Fabric is always a question, but if I’m feeling plain wool, there’s always Burnley & Trowbridge’s “Virginia Cloth.” I’ve worked with it before, so I know how it handles, and while the color looks itchy, it’s actually pretty soft.

Gigot or Gigantic?

Carriage and Morning Dress, 1832. LAPL Fashion Plate Collection
Carriage and Morning Dress, 1832. LAPL Fashion Plate Collection

So, about that 1833 thing…

No, it’s not that I’m reconsidering. It is merely that as I consider the options, the fashion plates are a bit overwhelming. On the other hand, I am getting really good at recognizing the look of the 1830s in undated portraits. There’s an upside to everything.

Extant garments are fairly plentiful in the Usual Suspects’ Collections; there’s even a Tumblr. There’s a Tumblr for everything.

Woman's Green, Tan, Yellow and Blue Striped/Plaid Gown. OSV, 26.33.63
Woman’s Green, Tan, Yellow and Blue Striped/Plaid Gown. OSV, 26.33.63

Fortunately, there are some tamer garments out there, with sleeves less likely to result in flight in a high wind. Bonus: not floral, and not silk. Printed wool seems to have been fairly common, but the weight is just impossible to find. I did some looking in New York, but nothing convinced me with print or price.

This is a milita muster, so there will be time outside. I’m toying with a habit or Amazone (hard to resist a garment with that name) though the most I know about horses is that they have four legs. It’s tailoring that attracts me, not use. Also, wool. Mid-September might warrant wool, even if that’s hard to imagine today. (The downside, of course, is that there’s menswear to be made, too, so a simple dress is surely the best option.)