Because the entire site was deleted in June 2018, this gallery has been reconstructed from backups. This means that the credits and background information are woefully incomplete. If you have any information or are the owner of any of these images, please contact me!
The Books
Cover Art
Unless otherwise noted, all cover art is by Geoff Hunt and courtesy of Lawrence Edwards.
The History
Well Dressed Ladies
“It was a good dress, a light, flimsy version of the naval blue, with white about it – no black, no concessions to Mrs Williams, for it was understood that at a ball any woman was allowed to make the best of herself; but where taste, figure and carriage are equal, a woman who can spend fifty guineas on her dress will look better than one who can only spend ten pounds.” – A description of Diana Villers’ dress, Post Captain
Round Gown, Italy, circa 1795
Red figured silk satin with floral motif; blue and yellow silk embroidery at hem; fly fringe and tassel ornamentation. Courtesy of the Kyoto Costume Institute.
Round Gown, Italy, c. 1795
White silk taffeta brocade one-piece dress; green silk and gold embroidery and sequins; pin-tucks at top of front; fly fringe and tassel ornamentation. Courtesy of the Kyoto Costume Institute.
Round Gown, Italy, c. 1795
White muslin one-piece dress with long train; blue and brown cotton and silver embroidery of plant patterns; shirring at top of front; lace decoration around neckline. Courtesy of the Kyoto Costume Institute.
Transitional Empire Dress, Britain, 1795-97
For all its classicized details and shape, this gown retains vestiges of the ancien régime in its open-robe construction. Courtesy of the Metropolitan Museum of Art.
Transitional Empire Dress, Britain, 1795-97
Back view. Courtesy of the Metropolitan Museum of Art.
Gown, Britain, 1795-1800
Cotton and linen.
Gown, Britain, 1795-1800
Cotton and linen.
Gown, Britain, 1795-1800
Cotton and linen.
Gown, Britain, 1795-1800
Cotton and linen.
Round Gown, 1795-1800
Round Gown, 1795-1800
Linen.
Wrap Dress, 1795-1800
Muslin wrap dress.
Block Printed Dress, 1797-98
Block printed cotton and flax with a "sprigged" pattern. Courtesy of the Metropolitan Museum of Art.
Block Printed Dress, 1797-98
Block printed cotton and flax with a "sprigged" pattern. Courtesy of the Metropolitan Museum of Art.
Block Printed Dress, 1797-98
Block printed cotton and flax with a "sprigged" pattern. Courtesy of the Metropolitan Museum of Art.
Block Printed Dress, 1797-98
Detail of the "sprigged pattern" on this cotton and flax dress. Courtesy of the Metropolitan Museum of Art.
Evening Overdress, Britain, 1797-99
Silk and linen Ikat print overdress. Courtesy of the Metropolitan Museum of Art.
Evening Overdress, Britain, 1797-99
Silk and linen Ikat print overdress. Courtesy of the Metropolitan Museum of Art.
Evening Overdress, Britain, 1797-99
Silk and linen Ikat print overdress. Courtesy of the Metropolitan Museum of Art.
Evening Overdress, Britain, 1797-99
Detail of fabric and buttons. Courtesy of the Metropolitan Museum of Art.
Stockings, England, early 19th century
Yellow silk knit with embroidered blue knit clock. Courtesy of the Kyoto Costume Institute
Fan, China, c. 1800
Reticule, England, c. 1800
Yellow and green silk knit; pineapple shape with trimming of silver beads and tassels. Courtesy of the Kyoto Costume Institute.
Gown, America, c. 1800
Silk and linen. Courtesy of the Metropolitan Museum of Art.
Dress, America, c. 1800
American silk dress with shawl and fichu.
Dress, America, c. 1800
American silk dress with shawl and fichu, back view.
Evening Dress, France, 1804-05
White cotton mull with whitework embroidery. Originally thought to have been worn by Elizabeth Patterson at her wedding to Jerome Bonaparte, the style dates it as slightly later. Courtesy of the Metropolitan Museum of Art.
Evening Dress, France, 1804-05
Detail view of whitework embroidery on sheer cotton mull. Courtesy of the Metropolitan Museum of Art.
Chemise Dress, France, c. 1802
White cotton muslin dress with train; floral embroidery at front panel and hem; drawn work at center front, sleeves and neckline. Courtesy of the Kyoto Costume Institute
Dress, England, c. 1805
White muslin one-piece dress with long train; white-work with small motif. Courtesy of the Kyoto Costume Institute.
Gala Dress, c. 1805
Figured silk with leaf-shaped motif; dress with train; shawl of white silk gauze with woven wool floral pattern, yarn fringe. Courtesy of the Kyoto Costume Institute.
Dress, France, 1805-10
Cotton with silver gilt embroidery, tarnished by age. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1805-10
Cotton with silver gilt embroidery, tarnished by age. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1805-10
Cotton with silver gilt embroidery, tarnished by age. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1805-10
Detail of tarnished silver gilt embroidery. Courtesy of the Metropolitan Museum of Art.
Evening Gown, France, 1805-1810
Cotton and metallic thread. Courtesy of the Metropolitan Museum of Art.
Evening Gown, France, 1805-1810
Courtesy of the Metropolitan Museum of Art.
Evening Gown, France, 1805-1810
Courtesy of the Metropolitan Museum of Art.
Evening Gown, France, 1805-1810
Courtesy of the Metropolitan Museum of Art.
Evening Gown, France, 1805-1810
Courtesy of the Metropolitan Museum of Art.
Evening Gown, France, 1805-1810
Courtesy of the Metropolitan Museum of Art.
Evening Gown, France, 1805-1810
Courtesy of the Metropolitan Museum of Art.
Evening Dress, America, 1809
Sheer cotton muslin with woven checkered bodice, train and rows of pintucks at hem. Courtesy of the Metropolitan Museum of Art.
Evening Dress, America, 1809
Courtesy of the Metropolitan Museum of Art.
Evening Dress, America, 1809
Courtesy of the Metropolitan Museum of Art.
Evening Dress, America, 1809
Bodice detail. Courtesy of the Metropolitan Museum of Art.
Evening Dress, America, 1809
Woven check cotton fabric detail. Courtesy of the Metropolitan Museum of Art.
Evening Gown, France, 1809
India mull with tambour embroidery. Courtesy of the Metropolitan Museum of Art.
Evening Gown, France, 1809
India mull with tambour embroidery. Courtesy of the Metropolitan Museum of Art.
Evening Gown, France, 1809
India mull with tambour embroidery. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1804-1814
Heavily embroidered cotton. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1804-1814
Heavily embroidered cotton. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1804-1814
Heavily embroidered cotton. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1804-1814
Embroidery detail. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1804-1814
Hints of nature in the embroidery detail. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1804-1814
Heavily embroidered cotton. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1804-1814
Heavily embroidered cotton. Courtesy of the Metropolitan Museum of Art.
Dress, France, 1804-1814
Heavily embroidered cotton. Courtesy of the Metropolitan Museum of Art.
Riding Costume ("Amazone"), France, c. 1810
Black wool broadcloth; set of tailored jacket and skirt of appropriate length for horse riding.. Courtesy of the Kyoto Costume Institute
Military Style Redingote, England, c. 1810
Red wool flannel "redingote" with braid and wrapped buttons in Brandenburg style; bag of beige velvet, hand-painted with floral and scenic motif, chain strap; muff and palatine of swans-down. Courtesy of the Kyoto Costume Institute.
Dress, 1808-1812
Olive green wool. Photograph by Mandy Reynolds of Fotoforum.
Day Dress, America, 1810
Cotton with wool thread embroidery. Courtesy of the Metropolitan Museum of Art.
Day Dress, America, 1810
Cotton with wool thread embroidery. Courtesy of the Metropolitan Museum of Art.
Day Dress, America, 1810
Cotton with wool thread embroidery. Courtesy of the Metropolitan Museum of Art.
Day Dress, America, 1810
Cotton with wool thread embroidery. Courtesy of the Metropolitan Museum of Art.
Cotton Boy's Suit, American, c. 1810
Boy's cream muslin jabot. Courtesy of the Metropolitan Museum of Art.
Striped Redingote, France, 1810-15
Yellow ocher and cardinal red strip printed plain-weave cotton with matching belt. Courtesy of the Kyoto Costume Institute.
Morning Dress, America, 1806-19
Silk. Courtesy of the Metropolitan Museum of Art.
Morning Dress, America, 1806-19
Silk. Courtesy of the Metropolitan Museum of Art.
Morning Dress, America, 1806-19
Silk. Courtesy of the Metropolitan Museum of Art.
Morning Dress, America, 1806-19
Silk. Courtesy of the Metropolitan Museum of Art.
Dress, France, c. 1814
Cotton and silk. Courtesy of the Metropolitan Museum of Art.
Dress, France, c. 1814
Cotton and silk. Courtesy of the Metropolitan Museum of Art.
Dress, France, c. 1814
Cotton and silk. Courtesy of the Metropolitan Museum of Art.
Dress, France, c. 1814
Detail of embroidered hem. Courtesy of the Metropolitan Museum of Art.
Dress, France, c. 1814
With bonnet and spencer. Courtesy of the Metropolitan Museum of Art.
Spencer, Underbodice and Skirt, c. 1815
Jacket and skirt of red cut velvet with piping and wrapped buttons in hussar style; beige silk satin underbodice. Courtesy of the Kyoto Costume Institute.
Redingote "a la Hussarde", England, c. 1815
White plain-weave cotton; hussar-style Brandenburg piping and pompoms. Courtesy of the Kyoto Costume Institute.
Cashmere Shawl, India, 1810-20
Red cashmere twill, rectangular shape. Courtesy of the Kyoto Costume Institute.
Dress, Europe, c. 1818
The elaborate puffing and dropped shoulders reflect the fashion forward nature of clothing from the Continent. Courtesy of the Metropolitan Museum of Art.
Dress, Europe, c. 1818
Elaborately puffed cotton. Courtesy of the Metropolitan Museum of Art.
Dress, Europe, c. 1818
Elaborately puffed cotton. Courtesy of the Metropolitan Museum of Art.
Dress, Europe, c. 1818
Elaborately puffed cotton. Courtesy of the Metropolitan Museum of Art.
Dress, Europe, c. 1818
OMG. So puffy! Courtesy of the Metropolitan Museum of Art.
Dress, America, c. 1818
This dress, of Clarence-blue silk twill, reveals the international influences on American fashion, in both its color and the disposition of its finely applied satin trimming. Courtesy of the Metropolitan Museum of Art.
Dress, America, c. 1818
Courtesy of the Metropolitan Museum of Art.
Dress, America, c. 1818
Courtesy of the Metropolitan Museum of Art.
Dress, America, c. 1818
Courtesy of the Metropolitan Museum of Art.
Dress, America, c. 1818
Courtesy of the Metropolitan Museum of Art.
Dress, America, c. 1818
Courtesy of the Metropolitan Museum of Art.
Silk Ball Gown, America, c. 1820
The puffed sleeves of this dress, a reinterpretation of 16th-century slashing, are an indication to the historicism in dress at the time. Courtesy of the Metropolitan Museum of Art.
Silk Ball Gown, America, c. 1820
Detail of the elaborate Renaissance inspired sleeves. Courtesy of the Metropolitan Museum of Art.
Dinner Dress, Britain, c. 1820
Silk and cotton. Courtesy of the Metropolitan Museum of Art.
Dinner Dress, Britain, c. 1820
Silk and cotton. Courtesy of the Metropolitan Museum of Art.
Evening Dress, America, 1820
Cotton with intricate puff detailing and removable long sleeves (one surviving). Courtesy of the Metropolitan Museum of Art.
Evening Dress, America, 1820
Cotton with intricate puff detailing and removable long sleeves (one surviving). Courtesy of the Metropolitan Museum of Art.
Evening Dress, America, 1820
Cotton with intricate puff detailing and removable long sleeves (one surviving). Courtesy of the Metropolitan Museum of Art.
Dress, Britain, c. 1820
There are indications that the dress was remade from an earlier costume (late 18th century). The implicit luxury of the chiné silk and the small repeat in the neo-classical taste allowed the textile’s persistence into new dress forms. Courtesy of the Metropolitan Museum of Art.
Dress, Britain, c. 1820
Courtesy of the Metropolitan Museum of Art.
Dress, Britain, c. 1820
Courtesy of the Metropolitan Museum of Art.
Dress, Britain, c. 1820
Detail of pattern in the silk. Courtesy of the Metropolitan Museum of Art.
Dress, Britain, c. 1820
Detail of sculptural hem detail, a hallmark of late Regency style. Courtesy of the Metropolitan Museum of Art.
Dress, Britain, c. 1820
Courtesy of the Metropolitan Museum of Art.
Dress, Britain, c. 1820
Detachable sleeves. Courtesy of the Metropolitan Museum of Art.
Mourning Dress, Britain, 1820
This silk mourning dress incorporates the puffed sleeves and ornate hem details that defined 1820s fashions. Silk satins, taffetas, and velvet, considered too glossy and sumptuous for the first stage of mourning, were permitted later. Courtesy of the Metropolitan Museum of Art.
Mourning Dress, Britain, 1820
Courtesy of the Metropolitan Museum of Art.
Mourning Dress, Britain, 1820
Courtesy of the Metropolitan Museum of Art.
Picture 009
Picture 009
Picture 005
Picture 005
Picture 006
Picture 006
[#Beginning of Shooting Data Section]
Nikon D50
2006/12/21 15:52:00.2
Compressed RAW (12-bit)
Image Size: Large (3008 x 2000)
Lens: 18-55mm F/3.5-5.6 G
Focal Length: 48mm
Exposure Mode: Manual
Metering Mode: Center-Weighted
1/125 sec - F/9
Exposure Comp.: 0 EV
Sensitivity: ISO 800
Optimize Image: Custom
White Balance: Auto
AF Mode: AF-A
Flash Sync Mode: Not Attached
Color Mode: Mode II (Adobe RGB)
Tone Comp.: User-Defined Custom Curve
Hue Adjustment: 0°
Saturation: Enhanced
Sharpening: None
Image Comment: Brooklyn Museum Costume Project
Long Exposure NR: Off
[#End of Shooting Data Section]
[#Beginning of Shooting Data Section]
Nikon D50
2006/12/21 15:52:00.2
Compressed RAW (12-bit)
Image Size: Large (3008 x 2000)
Lens: 18-55mm F/3.5-5.6 G
Focal Length: 48mm
Exposure Mode: Manual
Metering Mode: Center-Weighted
1/125 sec - F/9
Exposure Comp.: 0 EV
Sensitivity: ISO 800
Optimize Image: Custom
White Balance: Auto
AF Mode: AF-A
Flash Sync Mode: Not Attached
Color Mode: Mode II (Adobe RGB)
Tone Comp.: User-Defined Custom Curve
Hue Adjustment: 0°
Saturation: Enhanced
Sharpening: None
Image Comment: Brooklyn Museum Costume Project
Long Exposure NR: Off
[#End of Shooting Data Section]
[#Beginning of Shooting Data Section]
Nikon D50
2007/03/15 13:46:32.9
Compressed RAW (12-bit)
Image Size: Large (3008 x 2000)
Lens: 55-200mm F/4-5.6 G
Focal Length: 80mm
Exposure Mode: Manual
Metering Mode: Multi-Pattern
1/100 sec - F/10
Exposure Comp.: 0 EV
Sensitivity: ISO 800
Optimize Image: Normal
White Balance: Auto
AF Mode: AF-S
Flash Sync Mode:
Flash Mode:
Auto Flash Comp:
Color Mode: Mode IIIa (sRGB)
Tone Comp.: Auto
Hue Adjustment: 0°
Saturation: Normal
Sharpening: Auto
Image Comment:
Long Exposure NR: Off
[#End of Shooting Data Section]
[#Beginning of Shooting Data Section]
Nikon D50
2007/03/15 13:46:32.9
Compressed RAW (12-bit)
Image Size: Large (3008 x 2000)
Lens: 55-200mm F/4-5.6 G
Focal Length: 80mm
Exposure Mode: Manual
Metering Mode: Multi-Pattern
1/100 sec - F/10
Exposure Comp.: 0 EV
Sensitivity: ISO 800
Optimize Image: Normal
White Balance: Auto
AF Mode: AF-S
Flash Sync Mode:
Flash Mode:
Auto Flash Comp:
Color Mode: Mode IIIa (sRGB)
Tone Comp.: Auto
Hue Adjustment: 0°
Saturation: Normal
Sharpening: Auto
Image Comment:
Long Exposure NR: Off
[#End of Shooting Data Section]
Picture 006
Picture 006
Picture 004
Picture 004
Cloak and Dress, 1813-1817
Brown silk cloak over an embroidered white dress. Photograph by Mandy Reynolds of Fotoforum.
Well Dressed Men Civilian Extant Garments
“Dr Maturin is waiting for you, Di,” said Cecilia. “He is walking his horse up and down in a fine new bottle-green coat with a black collar. And he has a new tie-wig. I suppose that is why he went up to London.” – Cecilia Williams to Diana Villers, Post Captain
Embroidered Suit, France, c. 1790
Coat of blue and green striped silk taffeta and satin; fold-back standing collar; cut-away from hem; waistcoat of silk faille with Roman-like arch embroidered showing a country scene; wing collar. Courtesy of the Kyoto Costume Institute.
Man's Suit (Habit à la Française), France, c. 1790
Three piece set of coat, waistcoat, and breeches; coat and waistcoat of blue striped uncut velvet with sequins and glass jewels; embroidery of metallic thread, self-fabric-wrapped buttons; waistcoat of white figured silk. Courtesy of the Kyoto Costume Institute.
Dress Coat, England or Spain, 1790-1800
Blue silk coat with cutaway front, embroidered with sprays of stylized flowers and leaves in yellow, green, pink and cream silk. Courtesy of the Victoria and Albert Museum.
Dress Coat, England or Spain, 1790-1800
Blue silk coat with cutaway front, embroidered with sprays of stylized flowers and leaves in yellow, green, pink and cream silk. Courtesy of the Victoria and Albert Museum.
Dress Coat, England or Spain, 1790-1800
Blue silk coat with cutaway front, embroidered with sprays of stylized flowers and leaves in yellow, green, pink and cream silk. Courtesy of the Victoria and Albert Museum.
Coat, France, 1790's
Green silk, double breasted. Courtesy of the Victoria and Albert Museum.
Coat, France, 1790's
Green silk, double breasted. Courtesy of the Victoria and Albert Museum.
Coat, France, 1790's
Standing collar detail. Courtesy of the Victoria and Albert Museum.
Court Suit, England or Scotland, c. 1800
Silk, cotton, chenille and silk thread, pleated, hand-sewn, hand-embroidered, and later machine stitched, and with linen pockets and lined with satin. Courtesy of the Victoria and Albert Museum.
Court Suit, England or Scotland, c. 1800
Courtesy of the Victoria and Albert Museum.
Court Suit, England or Scotland, c. 1800
Courtesy of the Victoria and Albert Museum.
Court Suit, England or Scotland, c. 1800
Courtesy of the Victoria and Albert Museum.
Court Suit, England or Scotland, c. 1800
Courtesy of the Victoria and Albert Museum.
Court Suit, England or Scotland, c. 1800
Elaborate embroidery finishes a court suit, c. 1800. Courtesy of the Victoria and Albert Museum.
Hat, Britain or France, c. 1800
Hat, Britain or France, c. 1800
Suit, England, 1795-1800
Black wool with cut steel buttons. Courtesy of the Victoria and Albert Museum.
Suit, England, 1795-1800
Black wool with cut steel buttons. Courtesy of the Victoria and Albert Museum.
Suit, England, 1795-1800
Black wool with cut steel buttons. Courtesy of the Victoria and Albert Museum.
Coat and Waistcoat, England, 1795-1805
Mauve woolen broadcloth, linen, silk. Courtesy of the Victoria and Albert Museum.
Coat and Waistcoat, England, 1795-1805
Mauve woolen broadcloth, linen, silk. Courtesy of the Victoria and Albert Museum.
Coat and Waistcoat, England, 1795-1805
Mauve woolen broadcloth, linen, silk. Courtesy of the Victoria and Albert Museum.
Coat and Waistcoat, England, 1795-1805
Mauve woolen broadcloth, linen, silk. Courtesy of the Victoria and Albert Museum.
Court Coat and Waistcoat, England, c. 1800
Purple silk velvet coat and cream silk satin waistcoat embroidered in colored silks, possibly worn by the actor Tate Wilkinson. Courtesy of the Victoria and Albert Museum.
Court Coat and Waistcoat, England, c. 1800
Courtesy of the Victoria and Albert Museum.
Court Coat and Waistcoat, England, c. 1800
Courtesy of the Victoria and Albert Museum.
"Incroyable" Ensemble, France, 1795-1805
This double-breasted coat, with its high collar, large revers and oversized buttons, demonstrates the exaggerated style of the late 1790s. Poplin, lined with cotton, with cut-steel buttons, hand-sewn. Courtesy of the Victoria and Albert Museum.
"Incroyable" Ensemble, France, 1795-1805
Courtesy of the Victoria and Albert Museum.
Boy's Skeleton Suit, England, 1800-05
Boy's skeleton suit of a pale yellowish cloth known as nankeen. The jacket has elbow length sleeves and a button through front, the trousers ankle length legs and a button through small fall front. Courtesy of the Victoria and Albert Museum.
Boy's Skeleton Suit, England, 1800-05
Courtesy of the Victoria and Albert Museum.
Embroidered Court Suit, France, c. 1810
This three piece suit is exemplary of skilled French embroidery and the silhouette of men's court wear during the time of Napoleon Bonaparte. Courtesy of the Metropolitan Museum of Art.
Embroidered Court Suit, France, c. 1810
This three piece suit is exemplary of skilled French embroidery and the silhouette of men's court wear during the time of Napoleon Bonaparte. Courtesy of the Metropolitan Museum of Art.
Embroidered Court Suit, France, c. 1810
Matching embroidery on the wasitcoat and coat emphasize that this is a suit of clothes. Courtesy of the Metropolitan Museum of Art.
Cotton Boy's Suit, American, c. 1810
Small in scale, rich as documentation, this boy's suit in the New Republic double-breasted, cutaway style with trousers (not breeches) and with cream muslin jabot echoes the male style for new citizens. Courtesy of the Metropolitan Museum of Art.
Cotton Boy's Suit, American, c. 1810
Courtesy of the Metropolitan Museum of Art.
Cotton Boy's Suit, American, c. 1810
Courtesy of the Metropolitan Museum of Art.
Cotton Boy's Suit, American, c. 1810
Boy's striped waistcoat. Courtesy of the Metropolitan Museum of Art.
Cotton Boy's Suit, American, c. 1810
Boy's cream muslin jabot. Courtesy of the Metropolitan Museum of Art.
Summer Coat, America, c. 1815
The shaping of this linen cutaway tailcoat is the counterpart of womenswear of the period with its high waist, breadth at the shoulders, and emphasis on the chest. As many have observed, menswear of this period, just before the Great Male Renunciation when men spurned any of the ostensible signs of fashion, was acutely responsive to womenswear. Courtesy of the Metropolitan Museum of Art.
Summer Coat, America, c. 1815
Courtesy of the Metropolitan Museum of Art.
Summer Coat, America, c. 1815
Courtesy of the Metropolitan Museum of Art.
Summer Coat, America, c. 1815
Detail of the woven linen fabric. Courtesy of the Metropolitan Museum of Art.
Hunting Coat, Britain, 1810-20
Woolen superfine cloth and metal buttons, part-lined with woven sateen and cotton, hand-sewn. Courtesy of the Victoria and Albert Museum.
Hunting Coat, Britain, 1810-20
Courtesy of the Victoria and Albert Museum.
Day suit, 1800-17
The sombre colour of this suit befits the sober profession of its wearer, Thomas Coutts, the founder of Coutts Bank. Courtesy of the Victoria and Albert Museum.
Day suit, 1800-17
Courtesy of the Victoria and Albert Museum.
Day suit, 1800-17
Courtesy of the Victoria and Albert Museum.
Day suit, 1800-17
Courtesy of the Victoria and Albert Museum.
Coat, Waistcoat and Cravat, Britain, 1815-20
Wool cutaway coat with long tight sleeves, puffed at the shoulder, a style typical of the period 1815-20. The roll collar has an M-shape notch, introduced about 1803, and a waist seam. Courtesy of the Victoria and Albert museum.
Daywear, Britain, 1815-20
Wool cutaway coat with long tight sleeves, puffed at the shoulder, a style typical of the period 1815-20. The roll collar has an M-shape notch, introduced about 1803, and a waist seam. Courtesy of the Victoria and Albert museum.
Court Suit, 1810-20
Court Suit, 1810-20
Court Suit, 1810-20
Cut-steel buttons on a court suit, 1810-1820
Court Suit, France or Italy, 1800-10
Court dress for men in the early 19th century retained many features of 18th-century dress. Silk velvet lined with silk, quilted. Courtesy of the Victoria and Albert Museum.
Bonus! Out of Context Cuffs, Collars and Buttons from the V&A
Waistcoat, France and England, 1780-89
Silk, silver thread, silver-gilt spangles, glass beads; hand-sewn and hand-embroidered. Courtesy of the Victoria and Albert Museum.
Frock Coat Cuff, Britain, 1785-90
Iridescent blue and green ribbed silk. These cuffs have a slit with an attached flap, but the buttons have been stitched through to the sleeve and there are no buttonholes. By the 1780s, slit cuffs were no longer functional but this decorative sleeve finishing remains a feature of men's suit jackets today. Courtesy of the Victoria and Albert Museum.
Coat Cuff, Britain, 1785-90
Silk and satin. The buttons were worked in embroidery silks matching the colours of the coat, probably over a wooden base. The design is quartered; each quartering is created by a type of needle-weaving where the silk threads are laid side-by-side, then passed over and under each other. Courtesy of the Victoria and Albert Museum.
Coat, France, 1795-1800
Striped pink silk, steel buttons. Courtesy of the Victoria and Albert Museum.
Court Dress Coat, France, 1800
A court dress coat consisting of a coat constructed of blue ribbed silk with silver embroidery forming flowers along the front edges and buttons. Courtesy of the Victoria and Albert Museum.
Coat, Europe, 1800-10
White wool coat with silver lustre porcelain buttons. Courtesy of the Victoria and Albert Museum.
Coat, Europe, 1800-1810
White wool coat with silver lustre porcelain buttons. Courtesy of the Victoria and Albert Museum.
Jackal Hunting Coat, Britain, 1800-20
Jackal hunting was popular among British soldiers and administrators living in India during the nineteenth century. Linen, with velvet collar embroidered with metal thread, trimmed with silk cord. Courtesy of the Victoria and Albert Museum.
All images and background information courtesy of the Victoria and Albert Museum unless otherwise noted.
The Movie
Production Stills
Behind The Scenes
A look at the making of what many have called the most historically accurate Napoleonic era movie ever filmed on land or sea. May God set a flower upon Peter Weir’s head!
Courtesy of Cinephilia & Beyond
Courtesy of Cinephilia & Beyond
Courtesy of Cinephilia & Beyond
Courtesy of Cinephilia & Beyond
Courtesy of Cinephilia & Beyond
Courtesy of Cinephilia & Beyond
Courtesy of Russell Boyd, ASC, ACS and the ASC Archives
Courtesy of Russell Boyd, ASC, ACS and the ASC Archives
Courtesy of Russell Boyd, ASC, ACS and the ASC Archives
Courtesy of Russell Boyd, ASC, ACS and the ASC Archives
Courtesy of Russell Boyd, ASC, ACS and the ASC Archives
Courtesy of Russell Boyd, ASC, ACS and the ASC Archives
Masochist Commander: On The Farce Side of the World
Scans from the March 2004 issue of MAD Magazine, featuring the nautical exploits of Captain Jock and Dr. Steepan!
Courtesy of PaulBettany.net.
The Royal Navy
Royal Navy Uniforms in Caricatures and Paintings
A Marine and a Sailor of the Pallas
By Lieutenant Gabriel Bray, c. 1776
A Seaman of the Pallas Leaning on a Bowchaser
By Lieutenant Gabriel Bray, c. 1776
"Jack Tar"
Cabin Boy, c. 1799
By Thomas Rowlandson
Sailor, c. 1799
By Thomas Rowlandson
Carpenter, c. 1799
By Thomas Rowlandson
Cook, c. 1799
By Thomas Rowlandson
Purser, c. 1799
By Thomas Rowlandson
Midshipman, c. 1799
By Thomas Rowlandson
Lieutenant, c. 1799
By Thomas Rowlandson
Marine Captain, c. 1799
By Thomas Rowlandson
Captain, c. 1799
By Thomas Rowlandson
Admiral, c. 1799
By Thomas Rowlandson
Bosun's Mate
Warrant Officer
Royal Navy Uniforms Extant Garments
Royal Marine's Dress Coat, Pattern 1782
This Royal Marines dress coat of a Major General Arthur Tooker Collins (1718-93), is constructed of red wool with cuffs and lapels faced with blue.
Royal Marine's Dress Coat, Pattern 1782
Royal Marine's Dress Coat, Pattern 1782
Royal Marine's Dress Coat, Pattern 1782
Flag Officer's Full Dress Coat, Pattern 1795-1812
This uniform, which belonged to Admiral Sir William Cornwallis (1744-1819), illustrates the principal changes to uniform regulations for the year 1795. These include the change in colour of the lapels and cuffs from white to blue and the inclusion of epaulettes.
Flag Officer's Full Dress Coat, Pattern 1795-1812
Flag Officer's Full Dress Coat, Pattern 1795-1812
Flag Officer's Full Dress Coat, Pattern 1795-1812
Epaulettes were a military fashion that came from France, and although they were not mentioned in uniform regulations until 1795, some officers wore them anyway.
Captain's Full Dress Coat, Pattern 1795-1812
This full dress coat for a captain over three years seniority once belonged to Alexander Hood.
Captain's Full Dress Coat, Pattern 1795-1812
Captain's Full Dress Coat, Pattern 1795-1812
Flag Officer's Waistcoat, Pattern 1795
On this white wool waistcoat of the 1795 pattern, the rank and status of the wearer is indicated by the pattern of the button. It is interesting to note that the waistcoat retains the three-point pocket flap, which would have been considered old fashioned in 1795.
Flag Officer's Waistcoat, Pattern 1795
Boat Cloak, Green Wool, c. 1805
Rare surviving example of outdoor protective clothing from the era. Made of a hard wearing, coarse weave green wool and lined with a similar brown wool, it gathers into a stand or fall collar and fastens with a small Royal Naval button at the neck. Said to have belonged to Captain Thomas Masterman Hardy.
Boat Cloak, Green Wool, c. 1805
Boat Cloak, Green Wool, c. 1805
Surgeon's Full Dress Coat, Pattern 1805
Full dress coat of naval surgeon Joshua Horwood, who served as surgeon's mate in HMS Prince at Trafalgar, and was promoted to surgeon in 1807. The coat features a stand-up collar, and rank is indicated by the embroidered twist motifs in metal thread on both sides of the collar, and by the buttons which are those of a warrant officer.
Surgeon's Full Dress Coat, Pattern 1805
Surgeon's Full Dress Coat, Pattern 1805
Surgeon's Waistcoat, Pattern 1805
Surgeon's Waistcoat, Pattern 1805
Lieutenant's Uniform, Pattern 1812-25
This uniform belonging to Lieutenant William Hicks is the only known surviving example of a Royal Navy lieutenant’s uniform from the Napoleonic Era (1812-25 regulation pattern).
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Breeches, Pattern 1812-25
Lieutenant's Waistcoat, Pattern 1812-25
Rear Admiral's Full Dress Coat, Pattern 1812-25
Rear Admiral's Full Dress Coat, Pattern 1812-25
Rear Admiral's Full Dress Coat, Pattern 1812-25
The crown over the anchor on the buttons was introduced in the regulations for 1812.
Captain's Dress Coat, Pattern 1812-25
This dress coat of a captain or commander clearly shows the impact of contemporary fashions on naval uniform.
Captain's Dress Coat, Pattern 1812-25
American Sailor's Sea Bag
An early example of a sea bag possibly dating as far back as 1795. It is embroidered in gold, navy and beige thread with traditional symbols of the period. Courtesy of Land and Sea Collection
American Sailor's Sea Bag, c. 1795
Courtesy of Land and Sea Collection
American Sailor's Sea Bag, c. 1795
The nineteen star, fifteen stripe flag dates from 1795 when the number of stars and stripes were increased to reflect the entry of Kentucky and Vermont into the Union. This arrangement was not changed until April 1818. Courtesy of Land and Sea Collection
American Sailor's Sea Bag, c. 1795
This handwritten name is difficult to read, possibly S.B. Haywood or R.B. Raymond. Courtesy of Land and Sea Collection
American Sailor's Sea Bag, c. 1795
Courtesy of Land and Sea Collection
American Sailor's Sea Bag, c. 1795
Courtesy of Land and Sea Collection
Sailor's Trousers
Sailor's Trousers
Sailor's Hat and Vest, Possible "Shore Going Rig"
Sailor's Hat and Vest, Possible "Shore Going Rig"
Sailor's Vest, Possible "Shore Going Rig"
Sailor's Vest, Possible "Shore Going Rig"
Sailor's Hat, Possible "Shore Going Rig"
Sailor's Hat, Possible "Shore Going Rig"
Bonus! An in-depth look at the only surviving lieutenant’s uniform from the Napoleonic era (1812-25 regulation pattern), courtesy of the NMM and the 1805 Club.
Lieutenant's Uniform Coat, Pattern 1812-25 (pre conservation)
Courtesy of the 1805 Club.
Lieutenant's Epaulette, Pattern 1812-25 (pre conservation)
Courtesy of the 1805 Club.
Lieutenant's Uniform, Pattern 1812-25
This uniform belonging to Lieutenant William Hicks is the only known surviving example of a Royal Navy lieutenant’s uniform from the Napoleonic Era (1812-25 regulation pattern).
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Uniform, Pattern 1812-25
Lieutenant's Breeches, Pattern 1812-25
Lieutenant's Waistcoat, Pattern 1812-25
Lieutenant's Epaulette, Pattern 1812-25
All images courtesy of the National Maritime Museum unless otherwise noted.
Admiral Lord Nelson Extant Garments
Rear Admiral's Undress Coat, Pattern 1795-1812
This coat was worn by Lord Nelson at the Battle of the Nile in 1798. The cuff of the right sleeve features a small black silk loop which was used to secure it to the front buttons of the lapels.
Rear Admiral's Undress Coat, Pattern 1795-1812
Rear Admiral's Undress Coat, Pattern 1795-1812
The back of the collar and shoulders are stained with pomatum or pig-tail grease.
Rear Admiral's Undress Coat, Pattern 1795-1812
Bicorne Hat
Worn by Lord Nelson at the Battle of Copenhagen. This hat, given by Nelson to his sword cutler, Mr Salter of 73 The Strand, was displayed in the shop window with a black card cut out, which indicated where the chelengk, a gift from the Ottoman sultan, was worn.
Bicorne Hat
Vice-Admiral's Full Dress Coat, Pattern 1795-1812
Vice-Admiral's full dress coat belonging to Lord Nelson. The coat is of blue wool cloth with blue stand-up collar, lapels and cuffs.
Vice-Admiral's Full Dress Coat, Pattern 1795-1812
Vice-Admiral's Full Dress Coat, Pattern 1795-1812
Vice-Admiral's Full Dress Coat, Pattern 1795-1812
Breeches, Pattern 1795-1812
These breeches were worn by Lord Nelson when he was mortally wounded at the Battle of Trafalgar. They were cut by surgeons scissors to be removed for treatment.
Vice-Admiral's Undress Coat, Pattern 1795-1812
Vice-admiral's undress coat worn by Lord Nelson at the Battle of Trafalgar. There is a bullet hole on the left shoulder, close to the epaulette. The damage to the epaulette itself is also apparent. There are blood stains on tails and left sleeve, which is probably that of Nelson's secretary, John Scott, killed earlier in the action.
Vice-Admiral's Undress Coat, Pattern 1795-1812
Vice-Admiral's Undress Coat, Pattern 1795-1812
Site of the fatal bullet's entry.
Vice-Admiral's Undress Coat, Pattern 1795-1812
Nelson's four orders of chivalry - Knight of the Bath, Order of the Crescent, Order of Ferdinand & Merit and Order of St Joachim - are sewn to the front of the coat and over the edge of the lapel so that it could not be unbuttoned.
Vice-Admiral's Undress Coat, Pattern 1795-1812
Vice-Admiral's Undress Coat, Pattern 1795-1812
Non-Regulation Stockings
Stockings worn by Lord Nelson at the Battle of Trafalgar.
Nelson's laundry mark, the numeral 'II' below an 'N', underneath a coronet.
Non-Regulation Wasitcoat
Waistcoat worn by Lord Nelson at the Battle of Trafalgar. The waistcoat is a non-regulation garment of white cotton marcella, woven in a diaper pattern, heavily blood stained at the left shoulder where he was mortally wounded.
Non-Regulation Wasitcoat
Non-Regulation Wasitcoat
Non-Regulation Wasitcoat
Non-Regulation Wasitcoat
Lord Nelson's Wool Flannel Undershirt
This undershirt was part of the effects returned to Lord Nelson's family after his death at Trafalgar. Though it was amongst his belongings at the time, it was not worn during the battle.
Lord Nelson's Wool Flannel Undershirt
Lord Nelson's Wool Flannel Undershirt
Right sleeve cut short and finished with a blanket stitch.
Lord Nelson's Wool Flannel Undershirt
Lord Nelson's Wool Flannel Undershirt
Lord Nelson's laundry mark, the letter N under a coronet, cross stitched at the back of the neck.
Lord Nelson's Wool Flannel Undershirt
Lord Nelson's laundry mark, the letter N under a coronet, cross stitched at the back of the neck.
All images courtesy of the National Maritime Museum unless otherwise noted.
The Secret Diary of a Midshipman
Mr. Midshipman Marryat prepares to leave home.
From The Secret Diary of a Midshipman caricatures by Capt. Frederick A. Marryat
Mr. Midshipman Marryat arrives on his new ship.
From The Secret Diary of a Midshipman caricatures by Capt. Frederick A. Marryat
Mr. Midshipman Marryat is masted as punishment.
From The Secret Diary of a Midshipman caricatures by Capt. Frederick A. Marryat
Chaos on deck!
From The Secret Diary of a Midshipman caricatures by Capt. Frederick A. Marryat
Mr. Midshipman Marryat freezes without a coat.
From The Secret Diary of a Midshipman caricatures by Capt. Frederick A. Marryat
Mr. Midshipman Marryat serves tea.
From The Secret Diary of a Midshipman caricatures by Capt. Frederick A. Marryat
Mr. Midshipman Marryat becomes Lieutenant Marryat and joins the officer's mess.
From The Secret Diary of a Midshipman caricatures by Capt. Frederick A. Marryat
Courtesy of Joyful Molly.
WWI
WWI in Photos: War at Sea
The former German submarine UB 148 at sea, after having been surrendered to the Allies. UB-148, a small coastal submarine, was laid down during the winter of 1917 and 1918 at Bremen, Germany, but never commissioned in the Imperial German Navy. She was completing preparations for commissioning when the armistice of November 11 ended hostilities. On November 26, UB-148 was surrendered to the British at Harwich, England. Later, when the United States Navy expressed an interest in acquiring several former U-boats to use in conjunction with a Victory Bond drive, UB-148 was one of the six boats allocated for that purpose.
US National Archives
US National Archives
Interior view of a British Navy submarine under construction, Clyde and Newcastle.
Nationaal Archief
Nationaal Archief
Evacuation of Suvla Bay, Dardanelles, Gallipoli Peninsula, on January 1916. The Gallipoli campaign was part of an Allied effort to capture the Ottoman capital of Constantinople (modern-day Istanbul). After eight bloody months on the peninsula, Allied troops withdrew in defeat, under cover of fire from the sea.
Bibliotheque Nationale de France
Bibliotheque Nationale de France
In the Dardanelles, the allied fleet blows up a disabled ship that interfered with navigation.
Bibliotheque Nationale de France
Bibliotheque Nationale de France
The British Aircraft Carrier HMS Argus. Converted from an ocean liner, the Argus could carry 15-18 aircraft. Commissioned at the very end of WWI, the Argus did not see any combat. The ship's hull is painted in Dazzle camouflage. Dazzle camouflage was widely used during the war years, designed to make it difficult for an enemy to estimate the range, heading, or speed of a ship, and make it a harder target - especially as seen from a submarine's periscope.
National World War I Museum, Kansas City, Missouri, USA
National World War I Museum, Kansas City, Missouri, USA
United States Marines and Sailors posing on unidentified ship (likely either the USS Pennsylvania or USS Arizona), in 1918.
National World War I Museum, Kansas City, Missouri, USA
National World War I Museum, Kansas City, Missouri, USA
A mine is dragged ashore on Heligoland, in the North Sea, on October 29, 1918.
U.S. national Archives
U.S. national Archives
A Curtiss Model AB-2 airplane catapulted off the deck of the USS North Carolina on July 12, 1916. The first time an aircraft was ever launched by catapult from a warship while underway was from the North Carolina on November 5, 1915.
US Navy
US Navy
The USS Fulton (AS-1), an American submarine tender painted in Dazzle camouflage, in the Charleston South Carolina Navy Yard on November 1, 1918.
US Navy
US Navy
Men on deck of a ship removing ice. Original caption: "On a winters morning returning from France".
National World War I Museum, Kansas City, Missouri, USA
National World War I Museum, Kansas City, Missouri, USA
The Rocks of Andromeda, Jaffa, and transports laden with war supplies headed out to sea in 1918. This image was taken using the Paget process, an early experiment in color photography.
Frank Hurley / State Library of New South Wales
Frank Hurley / State Library of New South Wales
Landing a 155 mm gun at Sedd-el Bahr. Warships near the Gallipoli Penninsula, Turkey during the Gallipoli Campaign.
Library of Congress
Library of Congress
Sailors aboard the French cruiser Amiral Aube pose for a photograph at an anvil attached to the deck.
Library of Congress
Library of Congress
The German battleship SMS Kaiser on parade for Kaiser Wilhelm II at Kiel, Germany, circa 1911-14.
U.S. National Archives
U.S. National Archives
British submarine HMS A5. The A5 was part of the first British A-class of submarines, used in World War I for harbor defense. The A5, however, suffered an explosion only days after its commissioning in 1905, and did not participate in the war.
Library of Congress
Library of Congress
U.S. Navy Yard, Washington, D.C., the Big Gun section of the shops, in 1917.
Library of Congress
Library of Congress
A cat, the mascot of the HMS Queen Elizabeth, walks along the barrel of a 15-inch gun on deck, in 1915.
Bibliotheque Nationale de France
Bibliotheque Nationale de France
The USS Pocahontas, a U.S. Navy transport ship, photographed in Dazzle camouflage, in 1918. The ship was originally a German passenger liner named the Prinzess Irene. She was docked in New York at the start of the war, and seized by the U.S. when it entered the conflict in April 1917, and re-christened Pocahontas.
San Diego Air and Space Museum
San Diego Air and Space Museum
Last minute escape from a vessel torpedoed by a German sub. The vessel has already sunk its bow into the waves, and her stern is slowly lifting out of the water. Men can be seen sliding down ropes as the last boat is pulling away. Ca. 1917.
NARA / Underwood & Underwood / U.S. Army
NARA / Underwood & Underwood / U.S. Army
The Burgess Seaplane, a variant of the Dunne D.8, a tailless swept-wing biplane, in New York, being used by the New York Naval Militia, ca 1918.
Library of Congress
Library of Congress
German submarines in a harbor, the caption, in German, says "Our U-Boats in a harbor". Front row (left to right): U-22, U-20 (the sub that sank the Lusitania), U-19 and U-21. Back row (left to right): U-14, U-10 and U-12.
Library of Congress
Library of Congress
The USS New Jersey (BB-16), a Virginia-class battleship, in camouflage coat, ca 1918.
US Navy
US Navy
Launching a torpedo, British Royal Navy, 1917.
Bibliotheque Nationale de France
Bibliotheque Nationale de France
British cargo ship SS Maplewood under attack by German submarine SM U-35 on April 7, 1917, 47 nautical miles/87 km southwest of Sardinia. The U-35 participated in the entire war, becoming the most successful U-boat in WWI, sinking 224 ships, killing thousands.
Deutsches Bundesarchiv
Deutsches Bundesarchiv
Crowds on a wharf at Outer Harbour, South Australia, welcoming camouflaged troop ships bringing men home from service overseas, circa 1918.
State Library of South Australia
State Library of South Australia
The German cruiser SMS Emden, beached on Cocos Island in 1914. The Emden, a part of the German East Asia Squadron, attacked and sank a Russian cruiser and a French destroyer in Penang, Malaysia, in October of 1914. The Emden then set out to destroy a British radio station on Cocos Island in the Indian Ocean. During that raid, the Australian cruiser HMAS Sydney attacked and damaged the Emden, forcing it to run aground.
State Library of New South Wales
State Library of New South Wales
The German battle cruiser Seydlitz burns in the Battle of Jutland, May 31, 1916. Seydlitz was the flagship of German Vice Admiral von Hipper, who left the ship during the battle. The battle cruiser reached the port of Wilhelmshaven on own power.
AP
AP
A German U-boat stranded on the South Coast of England, after surrender.
Keystone View Company
Keystone View Company
Surrender of the German fleet at Harwich, on November 20, 1918.
Bibliotheque Nationale de France
Bibliotheque Nationale de France
German Submarine "U-10" at full speed.
Library of Congress
Library of Congress
Imperial German Navy's battle ship SMS Schleswig-Holstein fires a salvo during the Battle of Jutland on May 31, 1916 in the North Sea.
AP
AP
"Life in the Navy", Fencing aboard a Japanese battleship, ca 1910-15.
Library of Congress
Library of Congress
The "Leviathan", formerly the German passenger liner "Vaterland", leaving Hoboken, New Jersey, for France. The hull of the ship is covered in Dazzle camouflage. In the spring and summer of 1918, Leviathan averaged 27 days for the round trip across the Atlantic, carrying 12,000 soldiers at a time.
U.S. Army Signal Corps
U.S. Army Signal Corps
Portside view of the camouflaged USS K-2 (SS-33), a K-class submarine, off Pensacola, Florida on April 12, 1916.
U.S. Navy
U.S. Navy
The complex inner machinery of a U.S. Submarine, amidships, looking aft.
Library of Congress
Library of Congress
The Zeebrugge Raid took place on April 23, 1918. The Royal Navy attempted to block the Belgian port of Bruges-Zeebrugge by sinking older ships in the canal entrance, to prevent German vessels from leaving port. Two ships were successfully sunk in the canal, at the cost of 583 lives. Unfortunately, the ships were sunk in the wrong place, and the canal was re-opened in days. Photograph taken in May of 1918.
National Archive / Official German Photograph of WWI
National Archive / Official German Photograph of WWI
Allied warships at sea, a seaplane flyby, 1915.
Bibliotheque nationale de France
Bibliotheque nationale de France
Russian battleship Tsesarevich, a pre-dreadnought battleship of the Imperial Russian Navy, docked, ca. 1915.
Library of Congress
Library of Congress
The British Grand Fleet under admiral John Jellicoe on her way to meet the Imperial German Navy's fleet for the Battle of Jutland in the North Sea on May 31, 1916.
AP
AP
HMS Audacious crew board lifeboats to be taken aboard RMS Olympic, October, 1914. The Audacious was a British battleship, sunk by a German naval mine off the northern coast of Donegal, Ireland.
CC BY-SA Nigel Aspdin
CC BY-SA Nigel Aspdin
Wreck of the SMS Konigsberg, after the Battle of Rufiji Delta. The German cruiser was scuttled in the Rufiji Delta Tanzania River, navigable for more than 100 km before emptying into the Indian Ocean about 200 km south of Dar es Salaam.
Deutsches Bundesarchiv
Deutsches Bundesarchiv
Troop transport Sardinia, in dazzle camouflage, at a wharf during World War I.
Australian National Maritime Museum / Samuel J. Hood Studio Collection
Australian National Maritime Museum / Samuel J. Hood Studio Collection
The Russian flagship Tsarevitch passing HMS Victory, ca. 1915.
Library of Congress
Library of Congress
German submarine surrendering to the US Navy.
Library of Congress
Library of Congress
Sinking of the German Cruiser SMS Bluecher, in the Battle of Dogger Bank, in the North Sea, between German and British dreadnoughts, on January 24, 1915. The Bluecher sank with the loss of nearly a thousand sailors. This photo was taken from the deck of the British Cruiser Arethusia.
U.S. National Archives
U.S. National Archives
Photos sourced and commentary by Alan Taylor, courtesy of The Atlantic.