The Met says: It gradually became more acceptable for women to participate in sporting activities throughout the second half of the 19th century. Clothing requirements for most sporting remained strict towards retaining foundation garments such as corsets and bustle, which were thought to stabilize women’s frail and weak forms. This example would have been worn for tennis, yachting or general seaside walking. Striped textiles were fashionable for such activities, probably due to the nautical theme and their jaunty air which inspires vigor*. Although the silhouette remained the same, with the exception of the shorter, more maneuverable length, the trimmings were reduced. This is a striking example of this type of dress, which is fairly rare in museum collections. The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.
Bone, horse hair, metal pins
Provenance: Ex Collection of the Younge Family, Puslinch House, Yealmpton,
Devon, England. The House in the ownership of the Family Since 1709
See Finch & Co catalogue no. 13, item no. 59, for a Napoleonic Prisoner of War Model of a 16 Gun Three Masted Merchant Vessel
One can only be filled with wonder and amazement at the skill, patience, ingenuity and fortitude displayed by the unknown French seamen of the Napoleonic era who produced these accomplished works of art in the most sordid and terrible conditions of the prison ‘hulks’ with primitive tools and equipment.
Stripped of all masts, rigging, sails, decorations and embellishments these ‘hulks’ were moored in estuaries and harbours around the coast of Britain. Some were moored off Plymouth housing the captured Napoleonic prisoners of war and it is possible that this model was purchased by a member of the Younge family at that time as a memento or souvenir of the Napoleonic period.
Description / Expertise
A Fine Detailed Napoleonic Prisoner of War Bone Model of a 78 Gun Ship
With Standing and Running Rigging above a Detailed Deck the Planked and Pinned Hull with Open Gun Ports and Cannon. A fine arched, curved and galleried transom and a carved horse figurehead
Excellent condition, contained in a later mahogany and glass case