portrait-photo

The Wunderkammer of the Mild Colonial Boy, Esq., a Reactionary Tory Gentleman, who armed only with a Steampowered Babbage Engine and Pure Intentions, wanders the Time Streams and Aetheric Plane gathering an Eccentric Hodgepodge of Curiousities, Frivolities, Whimsicalities and Nonsense.

Q. Why is your Tumblelog called "My Ear-Trumpet Has Been Struck by Lightning"?

A. Because "My Grandmother's Ear-Trumpet Has Been Struck by Lightning" wouldn't fit in the available space.

questionableadvice: ~ Etiquette For Ladies: A Manual Of The Most Approved Rules Of Conduct In Polished Society For Married And Unmarried Ladies, by a Lady of New York, 1845

questionableadvice:

~ Etiquette For Ladies: A Manual Of The Most Approved Rules Of Conduct In Polished Society For Married And Unmarried Ladies, by a Lady of New York, 1845

books0977: Louise de Broglie, Contesse d’Haussonville , 1845. Jean-Auguste-Dominique Ingres (French, Neoclassical, 1780–1867). Oil on canvas. The Frick Collection, New York. Ingres’s portraits, both painted and drawn, that were recognized as his greatest legacy. He assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style. His exemplars, he once explained, were “the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art … I am thus a conservator of good doctrine, and not an innovator.”

books0977:

Louise de Broglie, Contesse d’Haussonville , 1845. Jean-Auguste-Dominique Ingres (French, Neoclassical, 1780–1867). Oil on canvas. The Frick Collection, New York.

Ingres’s portraits, both painted and drawn, that were recognized as his greatest legacy. He assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style. His exemplars, he once explained, were “the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art … I am thus a conservator of good doctrine, and not an innovator.”

oldbookillustrations: Chat ganté n’a jamais pris de souris (A cat in gloves catches no mice). Jean-Jacques Grandville, from Cent proverbes (one hundred proverbs), collective work, Paris, 1845. (Source: archive.org)

oldbookillustrations:

Chat ganté n’a jamais pris de souris (A cat in gloves catches no mice).

Jean-Jacques Grandville, from Cent proverbes (one hundred proverbs), collective work, Paris, 1845.

(Source: archive.org)

books0977: The Virgin and Child (1845). William Dyce (1806-1864). Oil on canvas. Royal Collection, Windsor. The painting has compositional affinities with Raphael. It was acquired by Prince Albert in 1845. The pleasure that the Virgin and Child gave to Queen Victoria and Prince Albert resulted in the commission a year later of Saint Joseph to form a pair. Both pictures were hung after Prince Albert’s death in the Queen’s Bedroom at Osborne House, Isle of Wight.

books0977:

The Virgin and Child (1845). William Dyce (1806-1864). Oil on canvas. Royal Collection, Windsor.

The painting has compositional affinities with Raphael. It was acquired by Prince Albert in 1845. The pleasure that the Virgin and Child gave to Queen Victoria and Prince Albert resulted in the commission a year later of Saint Joseph to form a pair. Both pictures were hung after Prince Albert’s death in the Queen’s Bedroom at Osborne House, Isle of Wight.

misshonoriaglossop: Eliza Rosanna Gilbert, Countess of Landsfeld aka Lola Montez Lola Montes’ [sic] (c. 1845) by Friedrich Dürck (attr.).

misshonoriaglossop:

Eliza Rosanna Gilbert, Countess of Landsfeld aka Lola Montez

Lola Montes’ [sic] (c. 1845) by Friedrich Dürck (attr.).

oldbookillustrations: Julie Dorus-Gras as Marguerite de Valois. Frotispiece to Les beautés de l’opéra (The beauties of the Opera), by Théophile Gautier, Paris, 1845.

oldbookillustrations:

Julie Dorus-Gras as Marguerite de Valois.

Frotispiece to Les beautés de l’opéra (The beauties of the Opera), by Théophile Gautier, Paris, 1845.

(via notwiselybuttoowell)

secretcinema1: The Branded Hand of Captain Jonathan Walker by Southworth and Hawes, 1845  Jonathan Walker gained international fame in November 1844 when convicted by a Florida jury of “aiding and inducing two slaves to run away, and stealing two others.”  Walker was known in Pensacola for his unusual determination to treat the slaves and free blacks around him with respect. In June, he embarked on a more radical path, consenting to the request of seven enslaved men to sail them to freedom in the Bahamas. Unfortunately his small boat was discovered after fourteen days at sea by a passing American sloop suspicious of seven blacks sailing with one white man in a cramped boat. Walker was immediately arrested… Abolitionists hailed Walker as a hero…but even for northerners less committed to the abolitionist struggle, Walker’s story was deemed remarkable for the cruelty of the punishment he endured. A Florida judge sentenced Walker “to be placed in the pillory for one hour; then brought into court, and branded in the right hand with the letters SS…which stood for “slave stealer,” intended as a punishment…and as a warning to like-minded whites not to act on their political convictions. For several years after his release Walker was a sought-after speaker on the abolitionist lecture circuit who frequently shared the stage with former slaves…Sometime in 1845, he agreed to the request of a prominent Boston physician, Henry Ingersoll Bowditch, to have a commemorative daguerreotype taken of his hand in the fashionable Boston studio of Southworth & Hawes…It became one of the best-known symbols of the American abolitionist movement. An engraving was printed in newspaper accounts of Walker’s ordeal, abolitionist pamphlets, Walker’s bestselling autobiography, and even carved into the imposing funerary obelisk erected to mark his grave upon his death in 1878.

secretcinema1:

The Branded Hand of Captain Jonathan Walker by Southworth and Hawes, 1845 

Jonathan Walker gained international fame in November 1844 when convicted by a Florida jury of “aiding and inducing two slaves to run away, and stealing two others.”  Walker was known in Pensacola for his unusual determination to treat the slaves and free blacks around him with respect. In June, he embarked on a more radical path, consenting to the request of seven enslaved men to sail them to freedom in the Bahamas. Unfortunately his small boat was discovered after fourteen days at sea by a passing American sloop suspicious of seven blacks sailing with one white man in a cramped boat. Walker was immediately arrested…

Abolitionists hailed Walker as a hero…but even for northerners less committed to the abolitionist struggle, Walker’s story was deemed remarkable for the cruelty of the punishment he endured. A Florida judge sentenced Walker “to be placed in the pillory for one hour; then brought into court, and branded in the right hand with the letters SS…which stood for “slave stealer,” intended as a punishment…and as a warning to like-minded whites not to act on their political convictions.

For several years after his release Walker was a sought-after speaker on the abolitionist lecture circuit who frequently shared the stage with former slaves…Sometime in 1845, he agreed to the request of a prominent Boston physician, Henry Ingersoll Bowditch, to have a commemorative daguerreotype taken of his hand in the fashionable Boston studio of Southworth & Hawes…It became one of the best-known symbols of the American abolitionist movement. An engraving was printed in newspaper accounts of Walker’s ordeal, abolitionist pamphlets, Walker’s bestselling autobiography, and even carved into the imposing funerary obelisk erected to mark his grave upon his death in 1878.