“Boulevard du Temple” by Louis Daguerre (1838)

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“Boulevard du Temple”, taken by Louis Daguerre in 1838 in Paris, includes the earliest known candid photograph of a person. The image shows a busy street, but because the exposure had to continue for several minutes the moving traffic is not visible. At the lower left, however, a man apparently having his boots polished, and the bootblack polishing them, were motionless enough for their images to be captured via

 

Three portraits of Princess Victoria, Duchess of Kent and Strathearn (1820s-1830s)

Princess Victoria of Saxe-Coburg-Saalfeld (17 August 1786 – 16 March 1861), later Duchess of Kent and Strathearn, was a German princess and the mother of Queen Victoria of the United Kingdom.

In 1818 she married Prince Edward, Duke of Kent and Strathearn (1767–1820 ). The couple were married on 29 May at Amorbach and on 11 July at Kew, a joint ceremony at which Edward’s brother, the Duke of Clarence, later King William IV, married Adelaide of Saxe-Meiningen.

Shortly after the marriages, the Kents moved to Germany, where the cost of living would be cheaper.

Soon after, Victoria became pregnant, and the Duke and Duchess, determined to have their child born in England, raced back, arriving at Dover on 23 April 1819, and moved into Kensington Palace, where she soon gave birth to a daughter, Princess Alexandrina Victoria of Kent.

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Princess Victoria, Duchess of Kent and Strathearn by Richard James Lane, published by Thomas Boys, after Alfred Edward Chalon lithograph, published 1838 © National Portrait Gallery, London via

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Princess Victoria, Duchess of Kent and Strathearn by Thomas Woolnoth, after George Dawe stipple engraving, published 1820 © National Portrait Gallery, London via

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Princess Victoria, Duchess of Kent and Strathearn by James Bromley, published by Paul and Dominic Colnaghi & Co, after Sir George Hayter mezzotint, published 1835 © National Portrait Gallery, London via

Three Portraits of Queen Adelaide (Princess Adelaide of Saxe-Meiningen) (1830s)

Adelaide of Saxe-Meiningen (1792 – 1849) was the queen consort of the United Kingdom and of Hanover as spouse of William IV of the United Kingdom. William IV was King of the United Kingdom and King of Hanover from 26 June 1830 until his death. The third son of George III, William succeeded his elder brother George IV, as the last king and penultimate monarch of Britain’s House of Hanover.

Adelaide was beloved by the British people for her piety, modesty, charity, and her tragic childbirth history. A large portion of her household income was given to charitable causes. She also treated the young Princess Victoria of Kent (William’s heir presumptive and later Queen Victoria) with kindness, despite her own inability to produce an heir and the open hostility between William and Victoria’s mother, the Dowager Duchess of Kent.

She died during the reign of her niece on 2 December 1849 of natural causes at Bentley Priory in Middlesex and was buried at St. George’s Chapel, Windsor.

Adelaide, the capital city of South Australia, is named after her

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Queen Adelaide (Princess Adelaide of Saxe-Meiningen) by John Cochran, after Fanny Corbaux stipple engraving, 1820s-1830s. © National Portrait Gallery, London via

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Queen Adelaide (Princess Adelaide of Saxe-Meiningen) by Thomas Goff Lupton, after Sir William Beechey, mezzotint, published 1834 © National Portrait Gallery, London via

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Queen Adelaide (Princess Adelaide of Saxe-Meiningen) by Samuel William Reynolds, published by Martin Colnaghi, after Sir William Beechey, mezzotint, published September 1831 © National Portrait Gallery, London via

 

Outstanding Engraving of Scene in Jane Austen’s Pride and Prejudice (1833)

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Elizabeth tells her father that Darcy was responsible for uniting Lydia and Wickham, one of the two earliest illustrations of Pride and Prejudice. The clothing styles reflect the time the illustration was engraved (the 1830s), not the time in which the novel was written or set

(Pickering & Greatbatch – Pride and Prejudice A Novel by Jane Austen London: Richard Bentley. (Successor to H. Colburn) Cumming, Dublin, Bell & Bradfute, Edinburgh Galignani, Paris 1833.via 

Portraits of the Legendary Ballerina Marie Taglioni (1804-1884)

Marie Taglioni (1804 – 1884) was an Italian/Swedish ballet dancer of the Romantic ballet era, a central figure in the history of European dance. Her fragile, delicate dancing typified the early 19th-century Romantic style. She became one of the first women to dance on the extreme tips, or points, of the toes; she created a new style marked by floating leaps, such balanced poses as the arabesque, and a delicate, restrained use of the points.

Trained chiefly by her father, Filippo Taglioni, she made her debut in Vienna in 1822. In her father’s ballet La Sylphide, introduced at the Paris Opéra, March 12, 1832.

In the performance of La Sylphide Taglioni was also known for shortening her skirt, which was considered highly scandalous at the time. The diaphanous dress she wore, with its fitted bodice and airy, bell-like skirt, was the prototype of the tutu. She shortened all of her skirts to show off her excellent pointe work, which the long skirts hid. Her father was approving of the shortening of the skirt because he also wanted everyone to see how good his daughter was en pointe.

In London Taglioni commanded £100 a performance and she filled the St. Petersburg Bolshoi Theatre to capacity when she played in La Sylphide. The Russians loved her so much that they named cakes and caramels after her. A group of her fans even ate a pair of her ballet shoes after her last performance in 1842. These were cooked, garnished, and served with a special sauce so one hopes that they tasted good! – See more at: http://www.lifeinitaly.com/heroes-villains/marie-taglioni.asp#sthash.zwYUhCJE.dpuf

Not only did she have Paris at her feet but audiences in London, Milan, Vienna, Berlin, and St. Petersburg hailed her as one of the greatest dancers ballet had ever produced.

In London Taglioni commanded £100 a performance and she filled the St. Petersburg Bolshoi Theatre to capacity when she played in La Sylphide. The Russians loved her so much that they named cakes and caramels after her. A group of her fans even ate a pair of her ballet shoes after her last performance in 1842. These were cooked, garnished, and served with a special sauce (Source).

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Maria Taglioni in “La Sylphide”, © Bettmann/CORBIS via

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Marie Taglioni by Richard James Lane, printed by Graf & Soret, published by Rudolph Ackermann Jr lithograph, circa 1825-1850 25 1/8 in. x 18 3/4 in. (638 mm x 475 mm) paper size Given by Austin Lane Poole, 1956 © National Portrait Gallery, London via

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Marie Taglioni by Richard James Lane, printed by M & N Hanhart, after Alfred Edward Chalon lithograph, 1845 21 1/2 in. x 15 in. (545 mm x 382 mm) paper size Given by Austin Lane Poole, © National Portrait Gallery, London, 1956 via

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Marie Taglioni by Richard James Lane, printed by M & N Hanhart, after Alfred Edward Chalon lithograph, 1845 21 1/2 in. x 15 in. (545 mm x 382 mm) paper size Given by Austin Lane Poole, © National Portrait Gallery, London, 1956 via