victorian travel chest

Sew Historically

Live a sustainable life, victorian & edwardian travel accessories.

-> Edwardian Bicycle Costume

So Victorians and Edwardians needed many travel accessories. Some Victorians and Edwardians bought their travel accessories while some made their own. Below you’ll find a round-up of Victorian & Edwardian travel accessories with instructions on how to make your own!

Victorian Travel Bags

‘The old-fashioned carpet bag (Fig. 1) is still unsurpassed by any, where rough wear is the principal thing to be studied. Such a bag, if constructed of good Brussels carpeting and unquestionable workmanship, will last a lifetime, provided always that a substantial frame is used.’ ( Scientific American Supplement, 1888 )

‘Carpet bags should be purchased with large gores at the sides, as when thus made, they contain many more articles, and more conveniently than when they are only two plain pieces of carpet. They should also have a brass plate.

When gentlemen travel much between two places, it is well to have the brass plate moveable, and engraved with one address on each side, so that nothing is necessary but to turn it, thereby preventing the necessity of constantly renewing the written directions: this plate is fastened at one end by a pivot, which is secured between the two locks (every bag should have two locks), at the mouth of the bag, and at the other end of the plate is a brass loop, which is fastened to the lock at either side. […]

When the party sleep several nights on the road, it is advisable to have a large carpet bag containing the night-dress of each individual packed up in night-gown bags, dressing tidies (see Plate 24), marked with the initials of the persons; by this means much trouble is saved. It is a good plan to sew a camphor bag in the night-gown to prevent the attack of fleas and bugs.’ ( The Workwoman’s Guide, 1840, p. 121 )

NIGHT-GOWN BAG

‘This is made of Holland, calico, or thick cambric, or glazed muslin, and sometimes trimmed all round with a frill, or piped with coloured calico. It is intended to contain the night-gown, cap, also the dressing-gown, and perhaps a change of linen, and the tidy or dressing-case, and may be made to any size, according to the number of things it is intended to contain.

Its chief use is in travelling, especially in a large family, when the separate case, containing each individual’s night things are easily found together, and as easily put up in a large carpet bag. Each bag should bear either the name or the initials of the person to whom it belongs.’ ( The Workwoman’s Guide, 1840, p. 208 )

‘In packing for a large family it is a good plan to keep the linen separate by putting a towel between the layers of linen, letting each layer consist only of the clothes of one person, so that on unpacking, the towel containing the linen of each individual is simply lifted out, without the trouble of looking at the marks.’ ( The Workwoman’s Guide, 1840, p. 121 )

SAILOR’S CANVAS BAG

‘In commencing to make a canvas bag as used by sailors, a double seam is sewn down the side of the bag, and it is then a canvas cylinder. To get the radius of the circle for the canvas bottom, measure the width of the bag while flat on a table and add 2 in., and divide by 3.

Make a loop of twine to this size, stick a sail needle into a piece of canvas, and with pencil and twine describe a circle about 2 in. greater in diameter than the bag. Now shorten the twine 1 in. and make another circle, cut out the canvas bottom to the outer circle, turn in 1/2 in. of the edge of the bag and sew a round seam with needle and twine, keeping the doubled edge to the inner pencilled circle; turn the bag inside out, and flat-seam the bottom edge to the side; this makes a neater job, though the one seam alone will suffice.

For securing the top of the bag, sew a leather strip on the top edge of the canvas just as braid is put on cloth; then to the side seam, just below the leather, sew a strap to encircle the neck tightly and fasten with a padlock, the strap being furnished at its ends with hasp, etc., to take the padlock; the leather edging cannot be pulled under the strap.

Another plan is to sew a tabling or hem round the top edge, then sew canvas beckets about 6 in. apart round the neck, and through these pass the strap and lock as before. A piece of brass chain is sometimes used in place of the strap, the end links taking the lock. A strap with buckle can, of course, be used if a lock is not wanted.’ ( Cassell’s Cyclopaedia Of Mechanics, 1900 )

Edwardian Travel Purses

Regulation traveling bag.

‘The regulation traveling bag is one of the most serviceable of the chain purses, and it is beautifully neat as well, which counts for so much these days. Besides all that, it kills two birds with one stone, as it serves as a handbag and a purse all in one.

It is rather large and is generally divided into two parts, one for money and the larger one for any of the numerous little odds and ends that, one needs for a short trip. The outside pocket is a fit and fine place for tickets, as they are easily got at, and nine times out of ten when the conductor comes along everything else is in evidence but the thing most needed.

These purses, by the way, have a safety clasp. The steel piece which slips over the belt has a claw-shaped piece which can be fastened into the band, and unless the cloth is torn into strips no one can possibly get it off and it is absolutely safe, although all you have to do is to stop on any corner and listen to the private opinion of one man telling another how absurd it is for women to invite pickpockets in such a reckless fashion.’ ( San Francisco Call, 1903 )

TRAVELING PURSE

‘Woman is a strange personage and she is very apt to carry her valuables in a peculiar place, to say the least. It is no once-a-year sight to see a woman moving about in a mysterious fashion, and if you are one of the initiated you know that her little horde is securely fastened with a huge pin at the top of her hosiery. Unless she is careful you might see a powder puff and an extra handkerchief, for that is the one place where everything and anything may be carried with all possible safety.

Or again, she may carry a chamois skin fastened to the top of her corset, another secure place, but one that is rather difficult to get at in a crowded shop. Trouble, trouble! There has always been plenty of it and there always will be just as long as women try to shop or travel with something that lies in the palm of their hands and that may be put down and forgotten.’ ( San Francisco Call, 1903 )

Victorian & Edwardian Toiletry Bags

Toiletry bag.

‘Every one has among the unmade odds and ends in the attic or store room for which a use is expected to be found some day a number of pieces of cotton goods which have been left over from summer dresses or the curtaining and upholstering of summer parlors or bedrooms.

They are not so valuable as the pieces of silk and velvet from which sofa pillows , hand bags and numerous dainty costume accessories may be made, nor is it of much use to keep them to mend the gown or curtain of which they have been a part, because cotton things are not expected to last many seasons in the first place, and in the second because making them over with new goods to help out is usually impossible as the difference caused by fading is too apparent. Still, the pieces accumulate, and the patterns are so pretty and the coloring so fetching that one treasures them long after the costumes which they match have gone into the rag bag.

It is possible, if one has time to sew, to make the most attractive toilet bags and cases of these pieces. One can create one’s entire outlay of Christmas gifts from them with a very small expenditure of money. For many purposes they are far more appropriate than silk. In this season of flowered organdies and embroidered batistes for gowns and flowered chintzes and cretonnes for bedroom furnishings the pieces of cotton goods available in most houses are particularly suited. […]

‘One of the most useful articles of this nature, which will be greatly appreciated as a gift or will be of much use in your own boudoir or trunk, is a case which may be used either at home or in traveling for holding sponges , wet brushes , cloths, etc. It is made of striped Dresden chintz of quite a heavy quality and is lined throughout with rubber, so that the toilet articles may be put in directly after using while one is traveling.’ ( Los Angeles Herald, 1905 )

A TRAVELING DRESSING-CASE OR TIDY

‘These are most useful things, and no one who has once used them will travel without them, unless they can conveniently carry a dressing-case with them. They are made of Russia duck, ticking, or stamped cloth, or any other firm material. In making up, the greatest exactness is required to make the parts fit truly. The back, which is all in one piece, is lined with strong calico, and the various pockets are then laid on, the bottom of one being sewed a little below where the top of the next will come, so that the whole has a neat appearance: the sizes of the pockets, given in the Plate, allow for this wrapping over.

The top of each pocket is bound with purple or other coloured galloon, and the divisions for the smaller ones are formed by stitching a piece of narrow galloon neatly down upon them. The whole is then bound round with galloon, and strings of the same colour fastened to the pointed end, so as to tie round the dressing-case when it is full. As purple galloon will wash well, it is best for this purpose, as most other colours fade.

On each pocket is written with marking ink, the name of the article to be contained in it; these of course differ according to the fancy of the owner, but the most usual are curl papers in the triangular pocket at the top, H for hair-pins, W for thread, tapes, buttons, &c., S for soap, P for tooth-powder, T for tooth-brush, which ought also to be enclosed in an oil silk bag; C for comb, and B for hair brush.’ ( The Workwoman’s Guide, 1840, p. 208f. )

‘A collapsible dressing bag that is well adapted for travelling is made of six half yard strips of wide taffeta ribbon joined with cable cording and shirred to a circular cardboard bottom. A satin lining is tacked to the seams of the ribbon panels and the sections thus formed make convenient pockets. Each receptacle has its individual baby ribbon drawstring, and a wider ribbon at the top of the bag pulls it together.’ ( Los Angeles Herald, 1909 )

RAZOR CASE & GENTLEMAN’S TRAVELING DRESSING CASE

‘In making razor cases use soft leather, which may be purchased in skins of any color. Use a strip about 10 by 14 inches. Make a lining of double-faced outing flannel a trifle longer to allow for the turning in of the raw edges. Featherstitch to this in pocket form, pockets to be an inch wide, a strip 7 by 14 inches. Then stitch the lining to the leather along all the edges. An initial can be embroidered on the case, the color to match the feather stitching. The sides double over as in a spoon case, to protect the razors.’ ( Sacramento Union, 1909 )

‘Gentleman’s travelling dressing case. This is made of leather of any length, according to the number of things put in. It should be the width of the longest of the articles to be put in (say the razors). A row of divisions of the proper sizes are made by a strap of leather carried all along the case in which the razor strop, boot hooks, razors, scissors, knife, tweezers, pencil, tooth brush case, shaving brush, and soap case are put. The flaps fold over, and the whole wraps up and ties round. The articles should be bought before the case is made, as the divisions can then be formed exactly to fit.’ ( The Workwoman’s Guide, 1840, p. 215f. )

HATPIN CASE

‘A hatpin case is a useful present for the woman who travels, as it keeps the pins together and prevents their loss – a great consideration in these days of elaborate and expensive hatpins. The case may be carried out in any material you like. Its measurement is that of the ordinary hatpin, allowing an inch for the reception of any extra long ones.

The design in the cut shows the case open and closed, and as it may contain as many pins as you like your own discretion must be the guide as to its width. A ribbon strip inserted down the middle and divided into sections serves as a receptacle for the pins, which are prevented from slipping out by the flaps on the ends. The top comes down over the case when folded and is fastened with a small button and loop. The edges are bound with ribbon, silk cord or braid, according to the material used for the case. The initials of the owner and the word “Hatpins” embroidered on the front give a pretty finishing touch to a charming little gift.’ ( Marin Journal, 1906 )

Victorian Shoe, Shawl & Nursery Bags

‘Shoe cases. These are meant to hold shoes in travelling, and to take the place of wrapping-paper. As each case holds but one pair of shoes, it is well to make two of them, or more, as a present. Cut out of brown linen a case or bag which will easily hold a pair of shoes. Bind the edges with braid, and fasten strings about the mouth to tie it with; or make the end long enough to fold over, shaping it like an envelope, and fastening it with a button and buttonhole.’ ( The American Girl’s Home Book of Work And Play, 1890 )

‘Slipper bags are made of six half yard strips of satin, taffeta or ribbon, with gracefully rounded points that project over the shirring casing at the top. These points are lace edged or herringbone embroidered and faced with plain silk or with all-over muslin embroidery. Small pockets set on the outer side of each panel are for handkerchiefs, talcum powder, vanity mirror and manicure tools.’ ( Los Angeles Herald, 1909 )

‘Shoe or brush and comb bag. These are very convenient in travelling, as they save much paper, and take up little room, they are made of different materials, according to the shoe to be put in. If for walking shoes, a coarse brown canvas called earn, is the most suitable. For house shoes, calico or Holland, and for satin slippers, old silk.

The bags are made to draw up at one end in the usual way, and should be just wide enough to contain the shoes, but as they are useful to put in one’s muff, or to carry in the hand when going out to dine or spend the day, it is as well to leave sufficient space at the top for a pair of stockings above the shoe. The name of the owner, and the quality of the shoe, should be put outside. […]

Boot bags. These are very useful for gentlemen whose boots take much room when wrapped in paper, which they often burst, and soil the clean linen; a boot when packed is generally rolled up from the top about half the leg, the bag should be made to fit it when thus rolled, and is on an average, about the following size: The width at the top of the case, about three nails. The width at the bottom, about five nails. The length of the case when doubled, about four nails in front, sloped down at the top to three nails and a quarter.’ ( The Workwoman’s Guide, 1840, p. 209f. )

‘Probably most of the girls who read this book know what shawl-bags are like, and also know their usefulness. They are not only capital things to protect shawls from dust and cinders in travelling, but may be used as another hand-bag, to carry small articles in case of need.

Stout brown Holland is the best material. Cut two round end-pieces eight inches across, and a piece half a yard wide by twenty-four inches long. Sew the sides of the piece around the two end-pieces, making a cylinder with a long slit, which is to be the mouth of the bag. Face the edges of the slit, and bind them and the seams at the ends with worsted braid. Close the opening with five buttons and buttonholes, and sew on a stout strip of doubled linen by way of handle, like that of a shawl-strap. The bag may be ornamented on one side with the initials of its owner.’ ( The American Girl’s Home Book of Work And Play, 1890 )

NURSERY BAG

‘This is used by nurses while travelling, and is very convenient for the purpose of carrying infants’ soiled linen. The bag should be of dark coloured silk, or washing material, made in two divisions, and lined throughout with oiled silk, or Indian rubber cloth, so as to be waterproof . They should be six nails wide, and five or six nails deep. The oil silk bag should be made to draw out of the silk or outer bag. The one pocket or division holds the soiled linen, and the other pocket contains a damp sponge.’ ( The Workwoman’s Guide, 1840, p. 210 )

Victorian Portable Travel Desks

Travelling porte folio.

‘This is convenient for travelling, when there is not sufficient room for a desk; it is made of card or book board, and covered with black silk or paper. Under the part marked A, is a porte folio for paper, the two parts being connected together by means of a wide ribbon all round. The four flaps lay over and tie across with ribbon. On the part, A, are places for sealing wax, pencil, pens, knife and paper knife, all in one, and at the corner a piece of ribbon sewed on in a circle, and made to draw up like a bag, to contain wafers.’ ( The Workwoman’s Guide, 1840, p. 215 )

SEAMAN’S OR TRAVELLER’S CASE

‘This sort of case is very useful for men in all classes when travelling, and for school boys, and is usually made of Russia duck, or of leather; it is one yard long, and about one nail and a half or two nails wide. The pockets and thread-case must all be prepared before sewing them to the back. A is divided, according to the Plate, for the thread case as in a housewife , it is about four nails long, and has two flaps, C and B, at the ends, to keep the thread neat. The flap, C, is finished inside, as seen in Fig. 43, with boot-hooks, &c., &c. The thread should be strong white, strong black, whity brown, carpet thread, pack thread, and other kinds, also white and black silk.

D is a square pincushion with divisions for scissors, tweezers, stiletto, &c. Inside this pocket should slip a needle book and sticking plaister case, both in one; the flaps of E F G H, all hook and eye down to their respective pockets, which contain fish-hooks, buttons, hooks and eyes, &c., &c.’ ( The Workwoman’s Guide, 1840, p. 215 )

LADIES’ TRAVELING BAG

‘A travelling bag is very useful for ladies, when taking long journeys, especially when they are fond of working or sketching while in the carriage. The Fig. represents both sides of the bag complete, excepting that it requires the sides to be sewed up. It is thus laid open, or unsewed, in order to explain the plan more clearly.

The bag should be made of rich strong silk, and on one side pockets are made to contain as follows: A. Needle book or housewife.  B. Scissors. C. Work and cotton. D. Pocket for money. E. Ditto for watch, or gold, &c. On the other side, the pockets are as follows: F. For a note book, or journal. G. For two pencils. H. Sketch book. I. Rules. J. Knife.

A piece of Indian rubber is fastened to a bit of galloon and confined to one end of the bag. The pockets should be put in rather lower from the top than is represented in the Plate, else the bag will not close neatly, when the strings are drawn.’ ( The Workwoman’s Guide, 1840, p. 214 )

Victorian Accessories For The Trunk

Scent case for trunks.

‘ Scent-cases for trunks. These are useful gifts for a friend who travels often. Clothing packed away in trunks is apt to contract a smell of leather; and a large case of silk or muslin, scented with delicate powder, and made to fit the top of the trunk, will be sure to be appreciated.’ ( The American Girl’s Home Book of Work And Play, 1890 )

‘It is a good plan to sew a camphor bag in the night-gown to prevent the attack of fleas and bugs.’ ( The Workwoman’s Guide, 1840, p. 121 )

‘This is made of coarse sacking or earn, and is most useful for covering large trunks, and is composed simply of two lengths of the stuff, laid one across the other, and stitched firmly together, exactly where they fall upon each other, forming an oblong or square of back-stitching, as in the plate, of the size of the bottom of the trunk. Four holes should be made in one of the sides, on which the direction card may be more easily fastened (see A). The ends are turned down with a broad hem, and buttonholes made on the hems of the two ends, B and C, and at two or more nails from the hem at the opposite sides.

In packing up the trunk, it is simply laid upon the back-stitched square of the sacking, and the sides being turned up, two at a time, they are laced up with cord, without the trouble of getting a packing needle and sewing it up every time.’ ( The Workwoman’s Guide, 1840, p. 211 )

-> More about Victorian & Edwardian Traveling Dresses, Sea Voyages & How To Pack The Trunk

Related posts:

20 thoughts on “ victorian & edwardian travel accessories ”.

So nice to see your article on traveling accessories of the Victorian and Edwardian era! Happily pinning to my Road Trip! Plane Trip! and Period Dress boards for our readers.

Thank you, Barb 🙂

Thanks for stopping by and pinning, Barbara! 🙂

I love history and this was a delight to read. Thank you for sharing, Kippi

Thanks, Kippi!

My goodness everything was a lot of trouble… and separating everyone’s nightclothes? I did like the idea of the scented bag in the nightgown to prevent an attack of fleas and bugs. They were made of stout stuff, that’s for sure! Brenda

Thanks, Brenda! 😀

I thought packing was difficult now. Love learning about new things. Found you on Blogger’s Pit Stop link Party

Thanks for stopping by, Candy! 🙂

Absolutely loving this great historical traveling info. So helpful for those of us who write about days gone by.

Thanks, Barb! So glad you found it helpful!

What struck me about this post is that many of the same items are still available today, the only thing that’s changed is the materials. I guess a backpack has replaced the carpet bag, but I have seen similar shaped bags (great for weekends.) My husband has packed a ditty bag for prolonged trips. They hold a surprising amount of things when packed correctly. Lots of fun! Thanks for sharing with us at Creatively Crafty #ccbg 🙂

Thanks for stopping by, Lydia! 😀

How interesting! I agree with Lydia that a lot of the items do seem to be the same as many people take with them today! Thanks for sharing with us at the Blogger’s Pit Stop! Roseann from This Autoimmune Life

Thanks, Roseann!

I like the Edwardian Travel bag but I didn’t know they had so many other different ones, like the nightgown bag. That’s interesting! Those were the days:) #MMBC

Thanks so much, Michelle! 😀

Such a cool post, I never knew about some of the travel accessories. So glad I saw this!

Thanks, Christine! 🙂

I always look forward to your posts. You offer a unique perspective and I love all things vintage. Thanks for sharing at Reader Tip Tuesday. We can’t wait to see what you have to share at this week’s party. xo

Thanks for stopping by!

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

The Allure of the 19th Century Chest: History, Design, and Function

Welcome to 19th Century , a blog dedicated to exploring the fascinating world of the 1800s. In this article, we delve into the intricate beauty and historical significance of the 19th century chest — a timeless piece that held secrets, treasures, and stories from a bygone era. Join us as we uncover the allure and craftsmanship of this exquisite furniture.

Table of Contents

The Evolution of 19th Century Chests: Uncovering the Treasures of the Past

During the 19th century , chests played a significant role in households, serving as both functional storage solutions and decorative pieces. The evolution of these chests throughout the century reveals fascinating insights into the changing styles and preferences of the time.

At the beginning of the 19th century, chests were primarily made of solid wood, reflecting the craftsmanship and durability that was highly valued. These sturdy structures were often adorned with intricate carvings and embellishments, showcasing the artistic skills of the period.

However, as the 19th century progressed, there was a shift towards more ornate designs . Influenced by the Victorian era, chests started to feature delicate inlays, veneers, and even marquetry techniques. The use of exotic woods also became more prevalent, adding an element of luxury to these chests.

Another notable transformation in 19th century chests was the incorporation of new materials such as metal and leather. This expansion of materials allowed for greater versatility in design, resulting in unique and eclectic chests that catered to diverse tastes.

Additionally, the rise of the industrial revolution during this period had a significant impact on chest production. With advancements in machinery and manufacturing techniques, chests became more affordable and accessible to a wider population. This democratization of design allowed individuals from different social classes to own and appreciate these pieces of furniture.

As the 19th century drew to a close, a sense of nostalgia for earlier times emerged, leading to the revival of traditional styles. Neo-Gothic and Renaissance-inspired chests regained popularity, showcasing a desire to preserve the heritage and history of past centuries.

Today, 19th century chests continue to be cherished as valuable tangible artifacts that offer a glimpse into the past. Whether it’s the intricate carvings, the exquisite craftsmanship, or the fusion of materials, these chests represent more than just functional storage; they embody the rich cultural and design heritage of the 19th century.

Uncovering the treasures of the past through the study and appreciation of 19th century chests allows us to connect with history in a tangible way, preserving and celebrating the legacy of this remarkable era.

19th Century Swiss Walnut Chest Of Drawers .

Travel suitcase restoration. found 20 000 💲 under a secret bottom., how can i determine the identification of my victorian chest of drawers.

If you want to determine the identification of your Victorian chest of drawers from the 19th century, here are some steps to follow:

1. Examine the style: Look closely at the design elements of the chest of drawers. Victorian furniture styles evolved over time, and there were different influences and sub-styles within the period. Pay attention to details such as the shape of the legs, the type of carving or ornamentation, and the overall silhouette. This can give you clues about the specific era and style of your piece.

2. Check for labels or markings: Look for any labels, stamps, or markings on the chest of drawers. These could be located on the back, inside the drawers, or underneath the piece. Manufacturers often labeled their furniture during the Victorian era, and finding such identification marks can help narrow down the potential maker or retailer.

3. Research online: Utilize online resources and databases that specialize in Victorian furniture identification. Websites, forums, and virtual communities dedicated to antique furniture can provide valuable information and discussions about specific manufacturers, styles, and even specific pieces. Upload clear photos of your chest of drawers and ask for assistance in identifying it.

4. Consult reference books: Visit libraries or research online for books and catalogs that focus on Victorian furniture. These resources can provide detailed information about popular furniture makers, their trademarks, and specific identifying characteristics of different styles. Look for books that cover the 19th century and specifically focus on Victorian furniture.

5. Seek professional appraisal: If you have exhausted all other options and still cannot identify your Victorian chest of drawers, consider seeking a professional appraisal. Antique appraisers specialize in determining the age, origin, and value of furniture and can provide expert guidance based on their knowledge and experience.

Remember, identifying antique furniture can sometimes be challenging, and it may require a combination of research, expert advice, and patience.

How can one determine if a chest is antique?

In order to determine if a chest is antique from the 19th century, there are several factors to consider:

1. Materials and Construction: Examine the materials used in the construction of the chest. Many authentic antique chests from the 19th century were crafted using hardwoods such as mahogany, oak, or walnut. Look for signs of aging, like patina, wear, and color variations, which can indicate authenticity.

2. Style and Design: Familiarize yourself with the styles and designs popular during the 19th century, as this can help you identify an authentic piece. Look for characteristic features such as carved details, decorative moldings, brass handles, and inlays. Researching and comparing similar styles can provide valuable insights.

3. Marks and Labels: Search for any marks, labels, or stamps on the chest. Some pieces may have manufacturer’s marks or labels indicating the origin or maker. These markings can provide important clues about the piece’s authenticity and age. Consult reference books or online resources to identify specific marks or labels.

4. Construction Techniques: Analyze the construction techniques used in the chest. Authentic antique pieces were typically made with traditional joinery methods such as dovetail joints, mortise and tenon joints, or pegged construction. Modern construction techniques such as screws or nails may suggest a more recent reproduction.

5. Provenance and History: Try to gather information about the chest’s provenance and history. Look for any documentation, receipts, or family stories associated with the piece. Consult with experts or appraisers who specialize in antique furniture to assess its authenticity and determine its historical significance.

It is important to note that determining the authenticity and age of an antique chest can be challenging, and it is always advisable to consult with professionals or experts in the field of antique furniture to ensure an accurate assessment.

What is the oldest known chest of drawers?

The oldest known chest of drawers from the 19th century dates back to the early part of the century. It is believed to have been made in England around 1800. This particular chest of drawers features a classic Georgian design, characterized by straight lines, simple ornamentation, and sturdy construction. It is made of high-quality mahogany wood and boasts exquisite craftsmanship. The chest consists of two small drawers on top, followed by three larger drawers below, providing ample storage space. Its elegant proportions and timeless design make it a desirable piece of furniture even to this day.

How can one determine the age of an antique chest of drawers?

Determining the age of an antique chest of drawers from the 19th century can be a challenging task but there are several key factors to consider. Here are some steps you can take:

1. Examine the construction techniques: Look for signs of handcrafted details such as dovetail joints, mortise and tenon joints, and wooden pegs. These are indicative of older pieces made before the advent of mechanized production methods.

2. Inspect the materials: Examine the type of wood used. Prior to the mid-19th century, oak, mahogany, and walnut were commonly employed. In later years, furniture makers started incorporating other woods like pine or oak veneers due to cost and availability. Identifying the type of wood can provide clues about the age.

3. Observe the hardware: Pay attention to the style and design of the hardware, such as handles, pulls, hinges, and locks. Different periods had distinct hardware styles that evolved over time. For example, in the early 19th century, brass hardware with intricate motifs was popular, while in the late 19th century , simpler designs and mass-produced hardware became more common.

4. Check for clues in the design: Look for decorative elements that were popular during specific periods. For instance, the Empire style was prevalent in the early 19th century and featured bold, geometric shapes, while the Victorian era saw the rise of ornate carvings and elaborate details.

5. Research and compare: Utilize reference books, online resources, and antique dealers to gather information about similar pieces from the same era. By comparing your chest of drawers to known examples, you can get a better idea of its age.

Remember that dating an antique chest of drawers requires a combination of knowledge, experience, and research. If in doubt, consult with experts or appraisers who specialize in furniture from the 19th century to get a more accurate assessment of its age.

Frequently Asked Questions

What were the common features and characteristics of 19th-century chests.

During the 19th century, chests were commonly used for storage purposes and were an essential piece of furniture in many households. They were crafted with various materials such as wood, metal, or leather, depending on the region and socio-economic status of the owner.

One of the notable features of 19th-century chests was their sturdy construction. They were built to be durable and long-lasting, often using solid wood, such as oak or mahogany, for the exterior. The corners were reinforced with metal brackets or braces to add extra strength.

The size of the chests could vary, but they were typically large and rectangular in shape. This allowed for ample storage space inside, accommodating a wide range of items such as clothing, linens, documents, or personal belongings.

Ornamentation was also a common characteristic of 19th-century chests. Depending on the style and period, chests could feature intricate carvings, inlays, brass or iron hardware, and decorative motifs. These embellishments varied from simple designs to more elaborate and detailed ones, reflecting the tastes and preferences of the time.

Many 19th-century chests also had locks and keys. This allowed the owners to secure their belongings inside, providing a sense of privacy and security. The locks were often made of brass or iron and had intricately designed keyholes.

Lastly, mobility was an important consideration in the design of 19th-century chests. They were often constructed with sturdy handles on the sides to facilitate transportation, as people frequently moved or traveled with their belongings.

Overall, 19th-century chests were not only functional but also served as decorative pieces, adding charm and elegance to the interiors of homes during that era.

How were 19th-century chests used and what types of items were typically stored in them?

19th-century chests were commonly used for storage purposes in households during that time period. These chests, typically made of wood and often adorned with intricate carvings or designs, served as functional and decorative pieces of furniture.

These chests were used to store various types of items. One common use was for clothing storage. People would store their clothes, including dresses, shirts, pants, and undergarments, in these chests. This was particularly important as 19th-century wardrobes were often smaller and had limited space compared to modern closets.

In addition to clothing, 19th-century chests were also used to store bedding such as blankets, sheets, and pillowcases. It was common for households to have multiple sets of bedding, and these items would be neatly folded and stored in the chest when not in use.

Other items that could be found in these chests included linens, towels, tablecloths, and napkins. These items were typically made of fabric and were often passed down through generations, so they were carefully stored in chests to prevent damage and preserve their quality.

Moreover, important documents and personal belongings were sometimes stored in these chests. Birth certificates, marriage licenses, wills, and other legal papers could be kept in the locked compartments of the chest for safekeeping.

Overall, 19th-century chests were versatile storage solutions that allowed people to keep their belongings organized and protected. They served as both practical storage units and beautiful pieces of furniture in homes during that time period.

How did the design and construction techniques of 19th-century chests evolve throughout the century? Please note that the above questions are not exhaustive, but they cover some significant aspects related to 19th-century chests.

Throughout the 19th century, the design and construction techniques of chests underwent significant changes. At the beginning of the century, chests were typically made from solid wood and had a simple rectangular shape with flat or curved tops. They were often very heavy and had sturdy metal hardware for security.

As the century progressed, new materials and production methods became available, influencing the design and construction of chests. One notable development was the use of veneers, which allowed for more intricate designs and patterns on the exterior of the chests. Veneers were thin layers of expensive and exotic woods, such as mahogany or rosewood, which were applied to cheaper and more readily available woods like pine or oak.

In the mid-19th century, the Industrial Revolution brought about significant changes in manufacturing processes. Factories started producing furniture using machines rather than relying solely on handcrafted techniques. This led to the mass production of lower-cost furniture, including chests. Machine-cut dovetail joints, for example, became more common, as they provided strength and durability while reducing production time and cost.

Another influential design change in the 19th century was the introduction of the “campaigned” style, which featured chests with brass or iron banding. These bands not only added decorative elements but also increased the strength and stability of the chests, making them more suitable for travel and military campaigns.

Towards the end of the century, chests began to incorporate more ornate and decorative elements due to the influence of the Victorian era. Carvings, inlays, and elaborate brass hardware became popular, reflecting the opulence and luxury associated with this period.

Overall, the evolution of design and construction techniques of 19th-century chests can be attributed to advancements in materials, manufacturing processes, and changing tastes and styles. From simple solid wood chests to veneered designs, machine-cut dovetail joints, campaigned style, and ornate Victorian pieces, each decade of the century brought new advancements and styles to the world of chest making.

The 19th-century chest holds a significant place in history as a symbol of craftsmanship and elegance during this era. Its intricate design and use of high-quality materials showcased the attention to detail and artistic skills of craftsmen from this time period. Whether used for storing personal belongings or as a statement piece in a grand room, these chests were not only functional but also served as a reflection of the owner’s social status and taste. The 19th-century chest captures the essence of this time period, serving as a tangible reminder of the intricate craftsmanship and exquisite design that defined the 19th century.

To learn more about this topic, we recommend some related articles:

The Glorious History of 19th Century St. Petersburg: Unveiling the Jewel of the Russian Empire

The Curious World of Hysteria Cures in the 19th Century

Reviving the Past: Exploring 19th Century Restaurants and Culinary Delights

Etiquette and Elegance: Unveiling the Manners of the 19th Century Dining Table

The 19th Century in Korea: A Journey Through Time

Building a Minecraft 19th Century City: Tips, Tricks, and Historical Inspiration

Problem with this page?

You can contact us with the problem you are having and we will investigate., sending report... please wait  , thank you ... we have received your message.  our team will investigate the problem.

Stripe Online Payments

Sellingantiques have now partnered with stripe card processing to give you a seamless purchase experience of antiques on sellingantiques. millions of companies of all sizes use stripe online to accept payments and is the worlds no.1 payment gateway. so how does it work: look for the button in the antique details page to instantly purchase antiques from dealers who have activated stripe online payments. purchase antique you can now easily filter and show antiques that only have this option enabled. using this button notifies us immediately that you have purchased this item. once you have made the payment we will instantly mark it as sold to ensure that no one else can buy it. discounts can also be made available. we are always improving the purchase experience for both buyer and seller and more and more dealers are enabling this option each week..

• Antiques Categories
• Our Antiques Dealers

Antique Victorian Travel Chests

Choose from 5  antique victorian travel chests for sale - priced from £245 to £1,895 ..

• All Antiques 73,865  
• Antique English Victorian 567  
• Antique Large Victorian 586  
• Antique Leather Travel 23  
• Antique Pairs Victorian 751  
• Antique Quality Victorian 1,045  
• Antique Travel Boxes 33  
• Antique Travel Case 27  
• Antique Travel Chests 45  
• Antique Travel Silver 24  
• Antique Travel Trunks 36  
• Antique Travelling Travel 148  
• Antique Victorian 9,665  
• Antique Victorian Brass 609  
• Antique Victorian Chairs 857  
• Antique Victorian Gold 598  
• Antique Victorian Gold Jewellery 587  
• Antique Victorian Jewellery 1,106  
• Antique Victorian Mahogany 1,495  
• Antique Victorian Miscellaneous 782  
• Antique Victorian Oak 592  
• Antique Victorian Silver 1,215  
• Antique Victorian Tables 1,288  
• Antique Victorian Travel 31  
• Antique Victorian Walnut 1,299  
• Victorian Boxes 538  
• Antiques Under £100 1,039  
• SOLD Antiques 610,308  

Dealers with the most listings for Antique Victorian Travel Chests

• London Fine Antiques 2  
• Affordable Old Furniture 1  
• Pareglio & Ayres Antiques Interiors 1  
• Lincoln Restorations 1  

Your comment has been sent to Sellingantiques.

Your rating and comment have been sent to sellingantiques., your score has been recieved., thanks. but what can we do better, if you would like to be contacted to discuss your feedback then please leave a phone number or email address in your message., thanks for your great feedback, we love it when our wonderful visitors are happy with us, live daily database information for 12 may 2024.

Victorian Travel Times

So you are writing something set in the Victorian era? How long will it take your characters to get from one place to another?

Below I calculate travel times by horse, train, dirigible, and werewolf.

Gentle Reader, occasionally the curious ask me how I calculate travel times, sooo… I wrote this blog post!

Before writing Changeless in late 2008, I knew there would be travel involved. I began by asking myself:

• How efficient were trains back in 1874?
• How long would it take to get from London to Scotland?
• How might dirigible travel compare to this?

There seemed no simple answer on the net, so I had to draw my own conclusions. And here is how…

Horse Travel Base-line in the Victorian Era

A horse at a forced pace can cover c. 50 miles a day, depending on terrain and weather. A desperate man in very good physical condition can handle the same distance on foot. One horse, one rider could do 200 miles in 24 hours but the horse would probably die. Let’s call that 4 mph normal, and 8.5 mph at a push.

Victorian Train Travel Times

In 1956, the 789-mile Madras-Bombay stretch was done in c. 29 hours by the Madras Express mail carrier (the fastest train on its route). That’s about 27 mph.

My characters in Changeless were traveling north of Glasgow into the Highlands towards Dunblane, I only needed a lose estimate.

It’s 414 miles from London to Glasgow.

So a train of a similar type to the Madras Express would take 16 hours or so. (Modern direct fast trains from London take about 6 hours to get Scotland, meaning we are now over 2x faster than the Victorians.) But no passenger trains of the Victorian Era traveled that quickly within the UK (in my steampunk Victorian time period or the real one). There would be stopovers and passenger pick ups.

So let us, for the sake of argument, double the time it would take to cross England into Scotland from 16 to 32 hours.

After all, this is my universe I get to make adjustments as I see fit.

Victorian Werewolf Travel Times

In my world werewolves in wolf form can move faster than horses at a run, giving them about a 10 mph, but they can only do so at night.

Travel Times in The Parasol Protectorate Series

So from london to glasgow.

• By train : 32 hours, or a day and a half. But given Victorian leisure ideals, it’d probably take more like 2 full days or 48 hours on a fancy sleeper train.
• By horse: 103 hrs or 4 full days, but with resting each night, detours, and other stops, I’d say it’d take a little over 8 days .
• By horse at top speed: 49 hours (switching mounts 2x), lowering that to save the horse to around 60 hours, that’s 2.5 full days, adding in overnights to sleep, a fast messenger would arrive at the end of day 3 with a winded horse.
• By werewolf: 41.5 hours, but he only has darkness, which is about 8 hours each night in September. So it would take him 5 days  (and he can’t travel on or around full moon)
• By dirigible: in my world, these are said to move at about half the speed of a train , so it would take 4 days . But they are safer than ground transportation, as neither vampires or werewolves will travel by air, so people opt for them over trains if they have the time. Also they are considered more fashionable.

My estimates are probably a little high given weather and terrain.

The interesting thing is, of course, that the advent of the steam engine would have eliminated a major advantage initially held by werewolves, namely that they could move across the landscape faster than daylight folk.

Coincidence?

Or is this the reason humans are so strongly in favor of increased transport speeds?

Travel Times in The Finishing School Series

Older technology.

My original post concerned London to Glasgow, a little over 400 miles. Then I calculated Exeter to London or thereabouts, which is 200 miles driving in modern times (because there is no direct route, as the crow flies it’s more like 160).

So in 1874 it would take 4 days (96 hrs) get 400 miles by dirigible (c. 4 mph). (Ugh, that’s slow. Why did I write myself into that corner? Oh yes, Alexia had to be on board for a while.)

“Giffard’s first flight took place on September 24, 1852. He traveled almost 17 miles (27 kilometers) from the Paris racecourse to Trappes moving approximately 6 miles per hour (10 kilometers/hour).”

But that was with the wind and untroubled by weather.

My travel tech is more advanced in Sophronia’s 1850s world than in real Victorian 1850s (although still less so than in Alexia’s 1870s).

In the second book of the Finishing School Series, Giffard is flying the first aetherographic dirigible in the spring of 1852 instead of the first working dirigible ever. However, before he came along, floating had to be slower. So I made my Finishing School dirigible fly at a max of 2 mph.

That’s about 80 hours, plus some extras for shilly-shallying to get to London. So . . . 4 days to get from London to Exeter by dirigible in 1852.

It’s amazing how much time it took me to figure this out. But it gave me some good idea on plot and action, and that’s the important bit.

Just goes to show, pay attention in math, you never know when you are going to need it!

Travel Times in The Custard Protocol Series

Newer travel technology of the 1890s.

Then of course, I worked on the Custard Protocol Series , which is well into the future, about 20 years after the Alexia books, or the mid 1890s.

So everything has advanced again.

The aetherosphere has been conquered completely as a means of travel, and once people can get inside it, in my universe, it looks and acts in an entirely different manner than Sophronia or Alexia might have guessed.

Since I’m conceptualizing aether as the Victorians scientists did, neither air nor water but some other “elemental phase” (much in the same way light is both particle and wave) I get to have lots of fun with this fantastical part of my world.

Above the atmosphere and beyond!

In the case of more complicated world travel I based my calculations on the approximate speed of trains in the 1890s, combined with those of late pre-WWI steamer ships.

I decided that 1890s dirigible travel inside the aetherosphere is slighter faster than a combo of both, and, of course, you don’t have to transfer at ports. But there is a weight limit to dirigibles, so it’s no good for freight transport, only mortal human passengers. And, of course, the aetherosphere has other issues and concerns in terms of navigation, current predictability, and so forth.

That’s why everyone needs a Percy!

There are beacon ports and other stopovers because refueling is required.

That’s why everyone needs a Quesnel!

Ah travel, these days I’m either thinking about it, calculating it, or engaging in it myself .

More on Victorian Travel

• The Landau Carriage
• The Omnibus Comes to London from Two Nerdy History Girls
• Thomas Cook’S Victorian Tours

Find my books

Directly from Me | Amazon | Kobo | Apple | Bookshop.org | Barnes & Noble | Chapters – !ndigo | Foyles

• Did you miss my latest release announcement? Want more sneak peeks, free goodies, gossip, behind the scenes info?  This stuff goes to my Chirrup members, because I love them bestest. Sign up here.
• Not into newsletters? Get only new releases by following Gail on Goodreads , Amazon  or BookBub !

BOOK DE JOUR!

Soulless: Parasol Protectorate Book 1

PICK YOUR VENDOR!

Alexia Tarabotti, now Lady Woolsey, awakens in the wee hours of the mid-afternoon to find her husband, who should be decently asleep like any normal werewolf, yelling at the top of his lungs. Then he disappears – leaving her to deal with a regiment of supernatural soldiers encamped on her doorstep, a plethora of exorcised ghosts, and an angry Queen Victoria.

Quote of the Day:

“What is meant by Highland clans? Tribes of Scotch Highlanders, who bore the names, and anciently lives upon the lands, of their respective chieftains, to whom they showed every mark of attachment, and cheerfully she their blood in their defense: these chieftains, in return, bestowed a protection upon their clans, equally founded on gratitude and a sense of their own interest.”

~ Mangnall’s Questions, 1830

Find my books 

Direct  | Amazon | Kobo |  Bookshop.org | B&N | Apple | Foyles |  Mcnally Robinson | Angus Robertson

Here’s a printable Downloadable Checklist of ALL my books!

• Did you miss my latest release? Want more sneak peeks, free goodies, gossip, behind the scenes info? This goes to my Chirrup members, because I love them bestest. Sign up here:

Comments are closed.

• Скидки дня
• Справка и помощь
• Адрес доставки Идет загрузка... Ошибка: повторите попытку ОК
• Продажи
• Список отслеживания Развернуть список отслеживаемых товаров Идет загрузка... Войдите в систему , чтобы просмотреть свои сведения о пользователе
• Краткий обзор
• Недавно просмотренные
• Ставки/предложения
• Список отслеживания
• История покупок
• Купить опять
• Объявления о товарах
• Сохраненные запросы поиска
• Сохраненные продавцы
• Сообщения
• Уведомление
• Развернуть корзину Идет загрузка... Произошла ошибка. Чтобы узнать подробнее, посмотрите корзину.

Antique Chests For Sale

Antique travel chests.

Tony Youll Antiques

Small Camphorwood Chest or Trunk

Rettendon Antiques

Antique Iron Bound Pine Trunk

Alain Michel Antiques

Teak Campaign / Marine Chest - 19th Century

Whites Antiques

19th Century Romanian Hand Painted Marriage Chest

Graham Smith Antiques Ltd

Georgian Leather Brass Bound Camphor Trunk

Early 20th Century Large Vellum Steamer Trunk

French 19th Century Canvass & Brass Studded Dowry Chest

LT Antiques

Large Military Style Mahogany Trunk

Antique & Decorative

Campaign Camphor Trunk Chest

Gildersleve Antiques

Pine Bedding Box / Travelling Trunk

Brass Bound Victorian Camphor Wood Trunk

Penderyn Antiques

Early 20th Century Oriental Carved Camphor Wood Trunk

Fabulous Finds Antiques

Original Army & Navy Cls Campaign Trunk with Metal Lining

Antique Oak & Metal Bound Trunk

The Old Yard

Large Victorian Pine Chest

Athey Antiques

Silver Chest - Fitted

Campbell Vintage

Industrial Iron Clad Scratch Built Pine Travelling Cupboard

Campaign Camphor Trunk

In a Nutshell Antiques & Interiors Ltd

Large Victorian Oak Strapped Silver Chest

Continental Antique Pine Dome Top Trunk

19th Century Naval Seaman's Chest Painted Pine Original Condition

The Flock of Arts

Large 19th Century Swedish Painted Dome Top Trunk

Georgian Antiques

Victorian Anglo-Colonial Teak Travelling Trunk

Debenham Antiques Ltd

Mid 18th Century Swedish Pine Chest Decorated with Labyrinth

Mid 19th Century Painted Pine Dome Top Trunk

Brass Bound Military Trunk

Salisbury Antiques Centre

Leather Covered Camphor Wood Campaign Chest

19th Century Swedish Painted Rustic Trunk / Coffee Table

The Old Pine Shop

Fabulous & Restored Old Pine Blanket Chest / Trunk / Box

Chest Called Cassone From The Italian Renaissance in Walnut - 17th Century

JMR Antiques Ltd

Brass Bound Camphor Wood Trunk

17th Century Spanish Chest in Walnut

Pinefinders Old Pine Furniture Warehouse

Old Pine Dome Top Chest Trunk

London Fine Ltd

Antique Carpenter's Chest, English, Pine, Tool Trunk, Coffee Table, Victorian

Mid Wales Antiques

Petite Pine Travelling Trunk with Domed Top

Empire Period Officer's Trunk

Large Travelling Trunk - Cunard Label

Rare Irish Travel Trunk, Labelled

Town House Traders Ltd

Antique Oriental Brass Bound Camphor Trunk

Rams Head Antiques

19th Century Brass Bound Camphor Wood Trunk

More Information

Helpful Links

Russia's military is so hard up for manpower that it now pays more than the oil and gas sector

• Russia has a manpower crunch because of its war with Ukraine.
• Russia's military is paying more in sign-on bonuses and salaries than the oil and gas sector.
• Russia's oil and gas revenues have been keeping its war chest filled.

Russia is facing a labor crisis as its war with Ukraine siphons manpower away from the country's economy.

The manpower crunch has gotten so bad that the Russian military is now offering sign-on bonuses and salaries that are so competitive that even the country's lucrative oil and gas industry isn't keeping up, Bloomberg reported on Monday.

Russia's oil and gas sector has been paying wages that are at least two-thirds higher than the national average wage since 2017, per Bloomberg calculations based on official data.

That's no longer the case.

In January and February, workers in Russia's oil and gas sector took home about 125,200 rubles, or $1,370, in monthly nominal salary, per the media outlet.

But the Russian army is now offering incentives to contract soldiers, including a nationwide sign-on bonus of 195,000 rubles, according to a Russian government portal. Each region in the country also offers an additional one-time payment of up to 1 million rubles, per Bloomberg.

The salary of a contract soldier starts at 210,000 rubles per month.

Related stories

That means people who enlist in the war receive sign-on bonuses and monthly wages greater than a month's oil or gas sector salary.

The competition Russia's military poses to its oil and gas sector is important because the country is a major energy producer, and the industry's robust revenues have kept Moscow's war chest filled. It also illustrates how Moscow's war in Ukraine — now into its third year — is siphoning resources from the rest of the Russian economy.

Moscow-based Kasatkin Consulting, formerly Deloitte's research center, estimates that Russia's oil and gas industry faces a shortfall of 40,000 workers this year, according to Bloomberg.

"Staff shortages have affected even the wealthy industries," Alexei Zakharov, the president of Superjob.ru, an online recruiter, told the media outlet. "The oil and gas sector can afford to attract employees with higher salaries, but the state competes by offering military contracts."

Putin is urging Russians to have more babies

Russia's manpower crunch isn't solely due to wartime mobilization.

There was a massive brain drain after the war started — which has somewhat reversed — and a demographic crisis in the making before the conflict started.

Furthermore, the UK estimated last month that about 450,000 Russian military personnel have been killed or wounded since the war started in February 2022. This excludes those who have been killed while serving in private military companies.

Russia's demographic crisis is so dire that Russian President Vladimir Putin has taken to encouraging women to have more babies for ethnic survival.

"If we want to survive as an ethnic group — well, or as ethnic groups inhabiting Russia — there must be at least two children," Putin said at a tank factory in February.

Watch: Drone footage shows thousands of Russians fleeing Putin's draft to fight in Ukraine

• Main content