c.1865

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Monet on the Run - 33. A few words about Daubigny
Monet, Pissarro, Sisley, Renoir, Morisot… they all knew Daubigny’s work very well. He was a kindred spirit and we can now see him as one of their precursors.

I use this illustration to show how close they were at one point. It’s just a small step to go from Daubigny to the 30 year old Monet, isn’t it?

Charles-François Daubigny, Soleil couchant sur l’Oise (Sunset over the river Oise), c.1865. Oil on canvas, 23 x 33 cm. Musée des Beaux Arts de Dijon, France
Claude Monet, La Seine à Bougival, le soir (The Seine at Bougival in the Evening), 1870. Oil on wood, 60 x 73 cm. Museum of Art, Northampton, Massachusetts

Book Smuggler Vincas Juska - 19th c Lithuania

From 1865-1904, the Russian empire banned the publication or distribution of any all Lithuanian-language publications printed in the Latin alphabet. This was done encourage the adoption of the Russian  Cyrillic alphabet. 

Opposing imperial Russian authorities’ efforts to replace the traditional Latin orthography with Cyrillic, and transporting printed matter from as far away as the United States to do so, the book smugglers (Lithuanian: knygnešys, or plural knygnešiai) became a symbol of Lithuanians’ resistance to Russification.

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Mle1836 French Gendarmerie officer pistol

Made by the Manufacture d’Armes de Châtellerault c.1865 under the Second French Empire.
15mm/.69 cap and ball, single shot muzzleloader, stock compartment for cleaning kit.

The French army, like other European nations, kept single shot caplock pistols long after revolvers were around. This one would only be replaced in 1873 by the MAS Chamelot-Delvigne design, a double action centerfire revolver infinitely more modern in concept than this here firearm.

Scene in Regent Street. –Philanthropic Divine: ‘May I beg you to accept this good little book. Take it home and read it attentively. I am sure it will benefit you.’ –Lady: ‘Bless me, Sir, you’re mistaken. I am not a social evil, I am only waiting for a bus.’

[C.J. Culliford, coloured lithograph, c.1865 – in Lynda Nead, Victorian Babylon (2005): p.63.]

Writes historian Judy Walkowitz,

The polarization of womanhood into two categories, the fallen and the virtuous, observes Lynda Nead, ideologically depended on sustaining clear, visible differences between them. Faded looks, painted faces, gaudy, seedy clothes supposedly marked off the streetwalkers from respectable ladies, dressed in muted colors, tailor-made jackers and waistcoats. Nonetheless, in the mid- and late-Victorian period, even as police cleared the streets and theaters of prostitutes to make room for respectable women, these two categories constantly overlapped and intersected at the juncture of [public] commerce and femininity. Although Victorians expected to see the vices and vitures of femininity “written on the body,” confusions over identity frequently occurred. In the elegant shopping districts around Regent Street, prostitutes, dressed in “meretricious finery,” could and did pass as respectable, while virtuous ladies wandering through the streets, “window gazing at their leisure,” often found themselves accosted as streetwalkers. [City of Dreadful Delight, p.50] 

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Monet on the Run - 23. A few words about Eugène Boudin
Boudin, a lifelong friend to Monet, was a man of the sea, a marine painter. He earned his money mostly by painting harbours and seascapes, but also numerous beach scenes with fashionable people enjoying the sun and each others’ company. 
Princess Pauline von Metternich was perhaps the most famous beach guest that he ever immortalized. She was the wife of an Austrian diplomat to the imperial french court in Paris, a socialite if ever there was one, promotor of Richard Wagner, Franz Liszt and Bedřich Smetana, a fashionista avant-la-lettre and a ruthless gossiper.
She had to leave France after the Franco-Prussian war, but not after helping the Empress Eugénie by secretly sending her juwelry to London in a diplomatic bag.

A few years after the Princess’s appearence on the Trouville beach, recorded by Boudin, Monet was at that same spot, perhaps even in the company of Boudin, making sketches of his own more modest Camille.

Eugène Boudin,
- La plage près de Trouville (Beach near Trouville), 1864. Oil on canvas, 67.5 x 104 cm. Art Gallery of Ontario, Toronto, Canada
- Princess Pauline von Metternich on the Beach, c. 1865-87. Oil on cardboard, laid down on wood, 29.5 x 23.5 cm. The MET, New York

Claude Monet, Camille sur la plage (Camille Monet on the Beach at Trouville), 1870. Oil on canvas, 30x 15 cm. Musée Marmottan Monet, Paris

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Triplett and Scott 1864 Patent carbine

Made by Meriden Manufacturing Company for the Kentucky militia c.1865 - serial number 1239.
.56-50 rimfire Spencer ~7 round tubular magazine - in the stock, unique rotating breech action.

The magazine is located off-center in the stock, and sticks out above the trigger guard as seen in the very last picture above. To cycle the gun, the militiaman would rotate the front part of the gun to the right, up from the breech - clockwise, which ejects the spent round, open up the magazine’s mouth until the breech is in line with it, popping a round in the chamber and allowing the gun to be turned back into place, counter-clockwise.
Although it was not that complicated to use, it was complicated to manufacture and not a whole lot of people were interested.

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Remington 1865 Patent ‘Model 95′ derringer

Designed by Elliot c.1865, manufactured by E. Remington and sons in Ilion, New York c.1866-1935, this one is a post-1880 model - serial number 516.
.41RF over-under barrels, bottom-break single action, spur trigger, manual ejector with checkered tab.

I really need to get my hands on one of those one day.

Medical woodblock prints from 19th-century - Japan

The University of California, San Francisco (UCSF) maintains a collection of 400 health-themed woodblock prints from 19th-century Japan. The collection – which includes drug advertisements, illustrated instructions for treating and preventing contagious diseases, and visual guides to the human body – offers a unique look at Japanese medical knowledge in the late Edo and early Meiji periods.

Illustration c. 1865 : “Eye, ear, nose and hand” by 

Utagawa Yoshiiku 歌川芳幾  (1833-1904) ou Ochiai Yoshiiku 落合 芳幾.

Illustration c.1860: “Foods that can be eaten by measles patients” by

Utagawa Yoshimori  歌川芳盛 (1830-1884)