Beaver Hat Collection

Engraving depicting a man wearing a beaver hat speaking with a little girl wearing a bonnet, 19th century
5309023 Engraving depicting a man wearing a beaver hat speaking with a little girl wearing a bonnet, 19th century; (add.info)

Self-Portrait in Top Hat, 1907. Creator: Berény, Róbert (1887-1953)
Self-Portrait in Top Hat, 1907. Found in the collection of Janus Pannonius Muzeum, Pecs.

Portrait of a Man in Top Hat, 1915. Creator: Osmiorkin, Alexander Alexandrovich (1892-1953)
Portrait of a Man in Top Hat, 1915. Found in the collection of the State Art Museum of the Kyrgyz Republic, Bishkek.

Portrait of Marten Looten, 1632. Creator: Rembrandt Harmensz van Rijn
Portrait of Marten Looten, 1632. A prosperous Mennonite grain merchant, appears to be interrupted from reading a document, glancing up with his lips parted as if turning to address a visitor

High Beaver Hat, c. 1937. Creator: Gordon Saltar
High Beaver Hat, c. 1937

Portrait of a Man in a Beaver Hat, 1835 (oil on canvas)
2830964 Portrait of a Man in a Beaver Hat, 1835 (oil on canvas) by Colman, Samuel (1780-1845); Bristol Museum and Art Gallery, UK; eBristol Museums

Union mortars in Battery Weed on Morris Island, South Carolina, 1863 (b / w photo)
869216 Union mortars in Battery Weed on Morris Island, South Carolina, 1863 (b/w photo) by Hs and Peale (fl.1839-57); Private Collection; (add.info)

Inauguration of the Venice International Artistic Exhibition (April 24) (colour litho)
2798168 Inauguration of the Venice International Artistic Exhibition (April 24) (colour litho) by Beltrame, Achille (1871-1945); Private Collection; (add.info)

A Polish Nobleman, 1637. Creator: Rembrandt Harmensz van Rijn
A Polish Nobleman, 1637

Two silk calashes; riding-cap; Quaker bonnet; hat; gloves; and skirt, c18th century, (1937)
Two silk calashes; one velvet riding-cap with visor; one Quaker bonnet; one beaver hat; two pairs of mens gloves; embroidered muslin skirt, c18th century, (1937)

Oarsman in a Top Hat, 1878. Private Collection

Portrait of the poet Vasili Kamensky (1884-1961) in a Top Hat, 1917. Artist: Shiman, Eduard Gustavovich (1885-1942)
Portrait of the poet Vasili Kamensky (1884-1961) in a Top Hat, 1917. Private Collection

Portraits at the Stock Exchange, 1878-1879. Artist: Degas, Edgar (1834-1917)
Portraits at the Stock Exchange, 1878-1879. Found in the collection of the Musee d Orsay, Paris

A corner in the painters studio, after 1852. Found in the Collection of Petit Palais, Musee des Beaux-Arts de la Ville de Paris

Lady in Top Hat. Artist: Grigoriev, Boris Dmitryevich (1886-1939)
Lady in Top Hat. From a private collection

Lady in Top Hat, 1919. Artist: Grigoriev, Boris Dmitryevich (1886-1939)
Lady in Top Hat, 1919. From a private collection

Horsewoman, Fullface, c. 1882. Artist: Manet, Edouard (1832-1883)
Horsewoman, Fullface, c. 1882. Found in the collection of the Thyssen-Bornemisza Collections

The Absinthe Drinker, 1859. Artist: Manet, Edouard (1832-1883)
The Absinthe Drinker, 1859. Found in the collection of the Ny Carlsberg Glyptotek

Portrait of Monsieur Brun, 1879. Artist: Manet, Edouard (1832-1883)
Portrait of Monsieur Brun, 1879. Found in the collection of the National Museum of Western Art, Tokyo

The Hare and the Rabbit, c1850. Artist: Benjamin Waterhouse Hawkins
The Hare and the Rabbit, c1850. The central image shows wild and domesticted rabbits. Surrounding vignettes show (clockwise from top left)

Making beaver hats, 1841. Although called beaver hats, a certain amount beaver fur was only used in the most expensive examples. In most others, rabbit fur was used

Making beaver hats, 1835. Although called beaver hats, a certain amount of beaver fur was only used in the most expensive examples. In most others, rabbit fur was used

Making beaver hats, 1750. Although called beaver, little or no beaver fur was used. According to quality, nap on felt fabric was made of mixtures of beaver, musquash or rabbit fur, and cotton wool

Hat Maker. Manufacture of beaver hats by felting material in a kettle (background) and blocking (shaping) the hat and brushing the pile. Although called beaver, little or no beaver fur was used

AUSTEN: PRIDE & PREJUDICE. Illustration by Hugh Thomson for an 1894 edition of Jane Austens Pride and Prejudice, first published in 1813

CALIFORNIA GOLD RUSH, 1850. California News, or News from the Gold Diggins. Oil on canvas, 1850, by William Sidney Mount, depicting a group of New Yorkers excited

PRIDE & PREJUDICE, 1894. A gentleman meeting his friends in London. Illustration by Hugh Thomson for an 1894 edition of Jane Austens novel, Pride and Prejudice, first published in 1813

WASHINGTON: CAPITOL, 1814. The Capitol at Washington, D. C. in 1814. Drawing, 1902
WASHINGTON: CAPITOL, 1814. The Capitol at Washington, D.C. in 1814. Drawing, 1902, by Thomas Fleming, after a contemporary print

TROLLOPE: SPITTOON. Member of Congress. Lithograph illustration, 1832, from the first American edition of Mrs. Trollopes Domestic Manners of the Americans

DIXON HALL LEWIS (1802-1848). American legislator. Lithograph, 1839, by Charles Fenderich

OREGON BOUNDARY, 1846. War! Or No War. Two Irish immigrants debate the Oregon boundary question in front of the Bowery Theatre in New York City. Lithograph cartoon, American, 1846

PHILADELPHIA NATIVIST RIOT. An anti-Catholic Native American mob, wearing tall beaver hats, battling the state militia in a riot in Philadelphia, Pennsylvania, 1844. Contemporary lithograph

AUSTEN: PRIDE & PREJUDICE. A gentleman meeting his friends in London. Illustration by Hugh Thomson for an 1894 edition of Jane Austens novel, Pride and Prejudice, first published in 1813

MENs FASHION. A fashionable gentleman of the early 19th century. Drawing, American, 1900

AMERICAN COUPLE, 1836. American couple James and Sarah Tuttle with their pet cat. Painted by Joseph H. Davis at Strafford, New Hampshire, 1836

SNUFF & SPITOONS, 1832. A member of the U.S. Congress taking snuff while standing next to a spitoon. Illustration from the first English edition of Mrs

John and Abigail Montgomery. Painted by Joseph H. Davis at Strafford, New Hampshire, 1836
DAVIS: MONTGOMERYS, 1836. John and Abigail Montgomery. Painted by Joseph H. Davis at Strafford, New Hampshire, 1836

1840. A Hard Road to Hoe! American cartoon from the presidential campaign of 1840
PRESIDENTIAL CAMPAIGN, 1840. A Hard Road to Hoe! American cartoon from the presidential campaign of 1840, with former president Andrew Jackson showing President Martin Van Buren the way to the White

ANTI-CATHOLIC MOB, 1844. An anti-Catholic Native American mob, wearing tall beaver hats, battling the state militia in Philadelphia in 1844. Contemporary lithograph

SECESSION CRISIS, 1861. Hello Bill! there goes the CRISIS. Cartoon from a Northern American newspaper shortly before the outbreak of the Civil War in 1861

TROLLOPE: BOX AT THEATRE. Box at the Theatre (for a performance of William Shakespeares Hamlet ). Lithograph illustration, 1832, from the first American edition of Mrs

MENs FASHION, c1830. A man wearing a white overcoat lined with red velvet, fashioned after the mantle of the Knights Templars. French color fashion plate from Petit Courrier des Dames, c1830

OBESE MAN AND CHAIR. Wood engraving, American, 19th century

BEAVER HAT, c1820s. Black beaver hat, early 19th century. Line engraving, English, c1900

BEAVER HAT, c1820s. Light beaver hat with bound brim, but with fur projecting from under the brim. Line engraving, English, c1900

BEAVER HAT, c1820s. Rough beaver hat with unbound brim, early 19th century. Line engraving, English, early 20th century

SAMUEL CLEGG (1781-1861). English engineer and inventor. Fearing an explosion, Sir Joseph Banks and other members of the Royal Society of London flee in terror as Samuel Clegg holds a lit candle

ELKANAH WATSON (1758-1842). American merchant, canal promoter, agriculturist and historian. Steel engraving, 19th century

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"From Austen to Art: The Timeless Charm of the Beaver Hat" Step into the world of elegance and sophistication as we explore the captivating history behind the iconic beaver hat. This timeless accessory has graced the pages of literary classics, adorned distinguished gentlemen, and even made its mark in historical events. In Jane Austen's beloved novel "Pride & Prejudice, " Hugh Thomson's exquisite illustration transports us to a bygone era where ladies donned their finest attire, including high beaver hats that added an air of refinement. Fast forward to 1937, when Gordon Saltar created a masterpiece with his High Beaver Hat. Crafted with precision and skill, this headpiece exudes luxury and exemplifies the artistry involved in its creation. The allure of the beaver hat extends beyond fashion portraits; it also finds itself immortalized on canvas. In a stunning oil painting from 1835, "Portrait of a Man in a Beaver Hat, " we witness how this accessory became synonymous with power and prestige. But it wasn't just gentlemen who embraced this fashionable trend. During significant moments like the inauguration of the Venice International Artistic Exhibition or amidst war-torn landscapes like Battery Weed on Morris Island in South Carolina during 1863, individuals proudly wore their beaver hats as symbols of resilience and style. Even renowned artists couldn't resist capturing these iconic hats on canvas. Rembrandt Harmensz van Rijn's masterpiece "A Polish Nobleman" showcases not only regal attire but also highlights how essential a beaver hat was for completing one's ensemble during that period. As time progressed, variations emerged - silk calashes, riding-caps, Quaker bonnets - each adding its own unique touch while still paying homage to the original inspiration –the classic beaver hat. Beyond paintings and exhibitions lies another realm where top hats reign supreme. Whether rowing along serene waters or posing for portraits, oarsmen and poets alike embraced the elegance of a top hat.