Edwardian Women & their Beautiful Giant Hats.

Looking at the favourite Fashion Style of Women From the early Years of the 20th Century one feels that women from the Edwardian era favoured very weighty looking-fashion styles, from big gowns to giant hats.
Although diverse in shapes, it’s really hard to wear these hats now.
Beautiful? Take a look…edwardian-giant-hats-1900s-10s-25edwardian-giant-hats-1900s-10s-13


Source: vintage everyday: Giant Hats: The Favorite Fashion Style of Women From the early Years of the 20th Century

‘Fill it up Cobber.’

I miss the days where either the Garage owner or pump attendant would wander out to “pull” petrol for you when you pulled up on the garage driveway.
Here are some old Aussie Servos to have a gander at.
But first, you’ll note there are no self serve servos.
I hated them with a passion, mainly because it meant people losing jobs all around the industry.
I avoided self serve garages for a long time (just like ATM’s) right up until 1993, when I couldn’t find anyone to serve me unless I pretended that I just had a heart attack.




‘My work pony was so good, I’d give him my lunch,’.

Joseph McQuiggan, far right, at Nettlesworth Colliery, County Durham in 1965. Image Credit: Photograph by John Bulmer
I was 15 when I began mining. I had my heart set on it, and left school on the Friday and started on the Monday. I began with screen work, separating the stones from the coal.
Before long, I’d been trained to go underground. It wasn’t claustrophobic – even when you’re working a seam that’s only 18 inches high. Typically, I’d work at the face, up against the rock, chiselling the coal out.
We’d go down clean and come back up covered in coal. Every 18 months, you got a chest x-ray to make sure you had no dust on your lungs. I was OK; I always wore a mask at the coalface.
When this photo was taken, I was around 23 years old; I’m on the far right, looking cheeky. I remember the photographer, John Bulmer – he was a young man, a lot like us. He’d say: “Forget I’m here, get on with your normal day,” and we did.
We’d go to the stables with the ponies from the pit and wash them down with a hosepipe, put them in their stalls and make sure they were fed and brushed; all the while, John was snapping away.
They are the most intelligent animals in the world – just marvellous to work with. The ponies helped carry the coal out to a landing point above ground.
I had a little one called Anchor. He was small and white. He led me a dance for about a month, but I persevered, and by the end, he’d do anything for me.
He was that good, sometimes I’d give him my sandwiches. I’d give him both of them and go without lunch, because he was earning the money for me.
Source: ‘My pony was that good, I’d give him my lunch – he was earning the money’ | Art and design | The Guardian

Drawings of Tetradons and Diodons circa 1838–42.

These wonderful drawings of balloonfish and pufferfish were made during, or shortly after, the United States Exploring Expedition, 1838-1842.
Known as “U.S. Ex. Ex.” for short, or the “Wilkes Expedition” after its commanding officer Charles Wilkes, the exploratory voyage traveled the Pacific Ocean and collected more than 60,000 plant and bird specimens and the seeds of 648 species.
This sheer volume of data collected was of major importance to the growth of science in the United States, in particular the emerging field of oceanography.
Accompanying the naval officers and the many scientists were two artists, Joseph Drayton and Alfred Agate, who are behind the images presented here, along with a man named John Richard who was hired upon the expedition’s return to prepare the illustrative plates for the work on ichthyology.

According to the Smithsonian Institution Archives, which house the works, this particular set of images didn’t quite make the grade, however, as they were found in envelopes marked as “rejected” or “rejected for publication”.
Source: Housed at: Biodiversity Heritage Library | From: Smithsonian Institution Archives
See more via Drawings of Tetradons and Diodons (ca. 1838–42) – The Public Domain Review

‘Phenakistoscope’ a popular Victorian Toy, 1833.

phenakistoscope_houseThe Phenakistoscope — a popular Victorian parlour toy, generally marketed for children — is widely considered to be among the earliest forms of animation and the precursor to modern cinema.
The device was operated by spinning the cardboard disc, and viewing the reflection of the image in a mirror through a series of moving slits. Through the distortion and flicker, the disc created the illusion that the image was moving.
Women danced, men bowed, and animals leapt in short, repeating animations.
Many scientists of the era had been experimenting with optical illusions, photography, and image projections, and there was something inevitable about the creation of this device, having been simultaneously invented in 1832, by Joseph Plateau in Brussels and by Simon von Stampfer in Berlin.
Plateau was a physicist, but his father had been a painter and illustrator who had enrolled his son at the Academy of Design in Brussels. Although Plateau eventually ended up pursuing science instead, he retained an interest in art and design that proved useful when creating the prototype Phenakistoscope.
Plateau’s original designs were hand-painted by himself, an example of the frequent intersection of Victorian artistry with experimental scientific media that defined the period.
Only weeks later, unaware of Plateau’s creation, von Stampfer, a mathematician, developed a near-identical device that he named the Stroboscope.
The device proved popular, and was soon mass-produced and marketed under some more easily-pronounceable names, including Phantasmascope, Fantoscope, and even the prosaic “Magic Wheel”.
Read further via Phenakistoscopes (1833) | The Public Domain Review