on work + off hours

i like thinking spamton would have this bitch face even when he's okay or happy. and no one can tell if he's actually mad or not. tenna would be so easy to read tho, he'd always be really really happy / sad / angry. but i think he'd be able to read spamton. that'd be cute so cute

spamton does keep his unbothered persona on stage too, but doesn't really care much about how he acts outside of it (unbothered lmao). tenna does care too much all the time so he's always smily even if he's upset and everyone can tell!!!

Le Charivari N°44 - 9ème année. Costumes d'Humann - Chapeaux de Desprey, par Gavarni.

Hello and congrats on the purchase!! This appears to be a fashion plate/advertisement for the Parisian clothier Humann [first name unknown], who loved working with Gavarni in the late 1830s-1840s. This blog has a number of examples of Gavarni drawing for Humann.

Will I ever find more information about Humann, besides his business address at No. 83 rue Neuve des Petis-Champs? Signs point to no, but he was name-dropped by Octave Uzanne in his biography of Gavarni:

The great tailor of the period, Humann, acknowledged [Gavarni's] masterly skill in the difficult art of clothing his figures in the long redingote with enormous of lapels, the high collar, the multitudinous folds of the cravat, the long pleated skirts spreading out gradually over a figure extraordinarily graceful and well-knit.

I tried to find more information about the tailor Humann (who is not noteworthy enough to make French Wikipedia), and found another reference to his work with Gavarni in the 2018 book Graphic Culture: Illustration and Artistic Enterprise in Paris, 1830-1848 by Jillian Lerner:

Perhaps better known are the many explicitly promotional plates Gavarni made for the sought-after Parisian tailor Humann, rue Neuve-des-Petits Champs; there were at least thirty published in Le Charivari between January 1839 and November 1842. Gavarni delineates stylish gentlemen in sleek coats, trousers, and dressing gowns attributed to Humann, alongside chemises, hats, and furnishings credited to other purveyors. However, it is interesting to note that these promotional plates were not necessarily drawn from physical models or drawings provided by the tailor. More likely, the arrangement involved Gavarni drawing the dapper, rakish, well-tailored figures he was known for in his work as a sketcher of Parisian types, and later simply adding the tailor's name to the plate. In this way viewers would be encouraged to associate Gavarni's elegant graphic style with the tailor's fine made-to-measure garments.

Name: Ash

Height: 7f3

Status: Head of Defensive Security.

Relationships: Renna’s Husband, Fox’s blood brother, SkyLight’s father.

Pony belongs to @art-nd-stuffs

Costume de bal (1847)

Costume d'hiver (1846)

L'Artiste: Physionomie des Modes. Robe de Chambre de Humann, by Paul Gavarni (Artstor)

I'm sorry (not really) to go so heavy on the Gavarni content, but I am yelling about this picture since I have previously shared it on more than one social media platform: as an inferior copy in the Met Museum collection, made into a c. 1841 fashion plate also showing women's torsos and hairstyles.

For those who don't feel like following the link, the lithographer (or whoever copied Gavarni) also made the robe de chambre print look like 1990s arcade carpet.

I have called this man "Mister Leisure Wear 1841," but now that I see him in the original art, described as "The Artist" and with an auburn beard—Gavarni is this you??