18th Century Bag Wigs and Bags
Last updated: Dec 13, 2024
One of the definitions Johnson provides for the word bag is “An ornamental purſe of ſilk tied to men’s hair.”
Bag wigs are illustrated in the Perruquier, barbier, baigneur-étuviste section of Diderot’s 1765 Encyclopédie (Planche VII, Fig. 3 & 4 “Intérieur & extérieur d’une perruque à bourse,” and Fig. 9, “Bourse. A, la rosette. B B, les cordons”), and in Garsault’s 1780 L’art du perruquier.
Plocacosmos (1782) provides brief instructions:
If the hair is worn in a bag behind, you muſt tie it in the ſmalleſt twiſt or club you can, to keep the bag on : the bag to be put on after powdering behind.
Bags and bag wigs are also referenced in newspaper advertisements and trade cards. They’re listed on the trade cards of George Laidler and depicted on the trade cards of Richard Arkwright, William Brasnell, William Johnson, and Jonathan Whitchurch.
Carl Julius Weber (Briefe eines in Deutschland reisden deutschen) points out that two-thirds of all the Haarbeutel in Germany could be found in Saxony.
Such bags continue to occasionally pop up into the 19th century, surviving even longer in formal English court clothing (see notes with V&A T.61 to C, F to L-1918 and Manchester Art Gallery 1962.44/6) and also (maybe?) as costume pieces (like Bayerisches Nationalmuseum 96/440, Met 2009.300.2178, and V&A T.1018-1913).
The bag wig as foppish French fashion
An English (and Anglo-American) attitude towards bag wigs in the 18th century can be summed up in a 1752 poem, The Bag-Wig and the Tobacco-Pipe: A Fable:
A bag-wig of a jauntee air,
Trick’d up with all a barber’s care,
Loaded with powder and perfume,
Hung in a ſpend-thrift’s dreſſing room …
“ Why what’s the matter, goodman Swagger,
“ Though flanting, French, fantaſtic bragger,
“ Whoſe whole fine ſpeech is (with a pox)
“ Ridiculous and heterodox.
“ ’Twas better for the Engliſh nation
“ Before ſuch ſcoundrels came in faſhion;
“ When none ſought hair in realms unknown,
“ But ev’ry blockhead wore his own.
An essay published in 1732 in The London Magazine likewise complains about contemporary fops: “Our Anceſtors, great and glorious in the Field, gave Laws to all Europe; but our People of Faſhion are govern’d by every foreign Taylor and Millener. To be extremely fine now, is to be extremely ridiculous; ’tis to wear a French Bag-Wig and Clock-Stockings, or a Dutch Head with a plain Scarf.”
Also, from A Key to the Time (1735):
I ſhall ſpend the Winter where I am, but intend to pay my Reſpects to you next Summer in a Suit of Cloaths A-la-mode de Paris, and this brings me to ſay ſomething of the French Dreſs. The Mens Coats are cut pretty much like ours, but all the young Fellows, and ſome of the old ones, wear their Wigs in Bags and a Ribbon (inſtead of a Cravat) ty’d in a Knot under their Chin, which they call a Solitaire. Some of them this Summer have made their Appearance in white Bags and Roſe-coloured Solitaires, which to tell you the Truth, dear Ned, does in my poor Opinion look a little fantaſtical.
The bag wig appears in several satires of French fashions, such as My Lord Tip-Toe, Juſt arrived from Monkey Land. Benjamin Franklin mentions bag wigs in a letter from Paris in 1767:
Perhaps I have suffered a greater Change too in my own Person than I could have done in Six Years at home. I had not been here Six Days before my Taylor and Peruquier had transform’d me into a Frenchman. Only think what a Figure I make in a little Bag Wig and naked Ears! They told me I was become 20 Years younger, and look’d very galante.
Note, however, that the portraits (and many of the extant examples) below indicate that bag wigs become more widespread in 18th century England and Anglo-America.
Extant bags & bag wigs
- National Museums Scotland A.1914.328 H, “Wig, with a black bag, decked with three rosettes to hold the queue, part of a gentleman's suit: English, Georgian Period, 1760”
- London Museum A15092, c. 1766-1799; “Man's horsehair wig. The horsehair is mixed grey and white, reading as a warm grey from a distance. Five rows of curls extend back from the front forehead edge. Single curls run from temple to nape on either side. Straight ponytail gathered into a black silk queue bag with black silk ribbon bow. Horsehair woven at the base with two cotton threads, which are stitched down to the cotton base support. This support is stained and discoloured, possibly through original wear. The support is reinforced with cotton twill tape over the seams and at the edges. The two original plain weave cotton ties are fastened at each corner approximately at the earlobe. There are flat metal supports inside the lining near the ties which show where the fabric has worn through.”
- Germanisches Nationalmuseum T2424, a black silk bag with silk ribbons and linen stiffening, c. 1770
- Morristown National Historic Park MORR 3932, a gentleman’s queue bag in silk and linen
- V&A T.10:1 to 3-2010, three-piece brown wool day suit, France, c. 1780; “its black satin wig bag is still attached to the back of the coat … Black silk satin wig bag, with a decorative rosette. The tail of the wearer's hair or wig would have been worn inserted into the drawstring opening at the top.”
- Royal Ontario Museum 971.164.A, coat of man’s 2-piece formal court suit in ribbed silk trimmed with ermine, England, c. 1780; “The coat has an attached black satin wig-bag with large ribbon rosette to prevent pomade and powder from staining the silk.” See also Fashion was in the Wig-Bag, which mentions that “The bag is weighed with husks to keep it lfat and was probably stitched on at a later date, when the suit may have been used for fancy dress or as a theatre costume.”
- Mint Museum 2005.6A-C, three-piece formal velvet suit with a wig-bag attached at the back neckline of the coat, c. 1780
- Chertsey Museum M.1995.26, “small rectangular black silk wig bag with silk tape drawstring at top, large black rosette with flat bow in centre, outer edge trimmed with black pleated ribbon in three layers; c. 1780-90”
- V&A T.47-2015, “A man's wig bag of black silk with pinked rosette and black linen drawstring,” made in England c. 1780-1800
- Mount Vernon W-2976, a hair bag known to have been worn by George Washington, c. 1785-1800; “Black silk hair bag constructed of black silk taffeta lined with plain-weave linen buckram; the upper edge has been folded under twice with a .5" hem and stitched by hand with black silk thread in a running stitch; both of the upper side seams are open, 1.5" on the proper right and 3.75" on the proper left; the back of the bag is padded with soft material that extends 3.25" up from the lower edge; stitched to the front of the bag is a black grosgrain ribbon rosette which consists of six loops of black ribbon on top of which is sewn a rosette made from several lengths of ribbon, clipped on each end to form a sawtooth edge, stacked together and tied at center, and arranged to flare out in a circle.”
- Rococo coat, waistcoat and wig bag, England, ca. 1795
- MFA 43.2563, a bag for a wig queue: “Ribbed, black silk rectangular bag with tie strings at the top. A large ribbon medallion and ribbon bows are attached. Contains horse hair.”
- V&A T.27-1938: “Man's wig bag of black silk taffeta, lined with canvas. It is rectangular in shape, pleated at the top with a opening in the right side seam at the top. There is a bow-shaped trimming of black silk at the top edged and decorated with 3 types of black silk ribbon.” British, c. 1790-1810
- Black silk wig bag with a rosette, England, c. 1795
- Wig belonging to Henry Bromfield and replica; see also Head Over Heels
- Met 2009.300.6199, wig bag, probably British, c. 1830-1840
Descriptions, portraits, and artwork depicting men wearing bag wigs
- Portrait of a young man
- The Garter by Jean François de Troy, 1724
- The Declaration of Love by Jean François de Troy, c. 1724
- Mercure de France, May 1726: “Les Perruques le plus en vogue ſont noüés; on en porte beaucoup en bourſe; la friſure en eſt moutonnée, c’eſt à-dire, en petites boucles, qui forment comme deux oreilles d’Epagneuls & ces bourſes ſont ſort variées & differemment ornées. La queuë prend ſouvent la place de la bourſe, principalement chez les jeunes gens qui porrent leurs cheveux.”
- Les Perruques à faces by Antoine Hérisset, 1729
- The Declaration of Love by Jean-François de Troy, 1731
- Philippe Coypel by Charles-Antoine Coypel, 1732
- The Chorus of Singers (or Rehearsal of the Oratorio 'Judith') by William Hogarth, 1732
- Rudolf Fisher Von Reichenbach by Johann Nikolaus Grooth, 1732
- The Oyster Dinner by Jean-François de Troy, 1735
- Frederick Louis, Prince of Wales by Philip Mercier, c. 1735-1736
- The Hunting Meal by Jean-François de Troy, 1737
- Head-dresses by Bernard Lens
- Interior of a picture gallery with the collection of Cardinal Silvio Valenti Gonzaga by Giovanni Paolo Pannini, 1740
- Drawing of a servant
- Unknown man in a blue suit with gold braid
- The Game of the Cooking Pot by Pietro Longhi, c. 1744
- Sir Lucius Christianus Lloyd by Allan Ramsay, 1745
- Charles Frederick William, Prince of Leiningen, c. 1745-1755
- Charles Willing by John Wollaston the younger, 1746
- Industry and Idleness: The Industrious ’Prentice Lord-Mayor of London by William Hogarth, 1747
- Isaac Winslow by Robert Feke, c. 1748
- Edward Curtis of Mardyke House, Hotwells, Bristol by Marco Benefial, 1750
- Two boys building a house of cards by Jean Anton de Peters, c. 1750
- Self-portrait of Maurice Quentin de La Tour, c. 1750
- Portrait of a man, 1750s
- Double portrait by Alexander Roslin, 1754
- Back view of a well-dressed gentleman (or servant?) by George Keate, 1754
- The Humours of an Election III: The Polling by William Hogarth, 1754-1755; at the far right of the panel, “staring at [the Whig candidate] is a red-coated caricaturist with a bag-wig who has produced an unflattering sketch of him to the great mirth of two rough looking men.”
- Robert Wood by Allan Ramsay, 1755
- Portrait of a man in a red suit, c. 1757-1761
- George Lucy by Pompeo Batoni, 1758
- Baron Thure Leonard Klinckowström by Alexander Roslin, 1758
- The gentlemen of the duc d’Orléans in the uniform of Saint-Cloud by Carmontelle; also portraits of Monsieur Chalut de Verin, Charles-Louis de Beauchamp, comte de Merle, Carmontelle, lecteur du duc d’Orléans, Monsieur Duchemin, de Nemours, Monsieur de Feuillant, Monsieur Du Rouet, Monsieur Valentin, contrôleur de la bouche du duc d’Orléans, Monsieur Poisson, 1er valet de chambre de Monsieur le duc d’Orléans, a man, another man, Milord Farnham, Monsieur le prince de Gavre de Bruxelles, Monsieur le marquis de Sorba, envoyé de Gènes, La Beaumelle, Monsieur Duclos, secrétaire perpétuel de l'Académie française, etc.
- Costume de Mr. Granger, c. 1760
- Portrait of a young man by Pompeo Batoni, c. 1760-1765
- John Talbot by Thomas Gainsborough, early 1760s
- William Hanson by Thomas Gainsborough, c. 1761
- Prince Vladimir Golitsyn Borisovtj by Alexander Roslin, 1762
- James Bruce of Kinnaird by Pompeo Batoni, 1762
- Charles Wyndham by William Hoare, 1762
- William Leyborne Leyborne by Thomas Gainsborough, c. 1763
- The English ambassador in The audience with the Grand Vizier by Francis Smith, c. 1763-1769
- Henry Harrington, c. 1764
- Portrait of a gentleman in a fancy waistcoat, c. 1765
- Count Kirill Grigorjewitsch Razumovsky by Pompeo Girolamo Batoni, 1766
- Self-portrait of Alexander Roslin with his wife Marie Suzanne Giroust painting Henrik Wilhelm Peill’s portrait, 1767
- Les hasards heureux de l’escarpolette (The Swing) by Jean-Honoré Fragonard, c. 1767-1768
- Governor John Wentworth by John Singleton Copley, 1769
- The Right Honble Norborne Berkeley, Baron de Bottetourt, late Governor of Virginia, 1774; a “1 New Silk Wig Bag” appears in his 1770 inventory
- Charles-Michel-Ange Challe by Louis Rolland Trinquesse, c. 1770-1780
- King Gustav III of Sweden and his brothers by Alexander Roslin, 1771
- Le carquois epuise, c. 1775
- George Herbert by Pompeo Batoni, 1776
- James Whatman by John Smart, 1777
- La Dame du Palais de la Reine, 1777
- L'Accord parfait, 1777
- George Stubbs, c. 1777-1779
- Joseph Vernet by Élisabeth Vigée Le Brun, 1778
- After the Opera by Jean-Michel Moreau le Jeune, 1778
- A portrait of a gentleman, perhaps the architect Jacques Gondouin, c. 1779
- A gentleman in a green coat
- L’art du perruquier, 1780: “La perruque en bourſe ſe fait le plus ſouvent à oreilles, rarement à monture pleine; alors le liſſe prend ſur l’oreille mème au-deſſous des corps de rangs.”
- Self-portrait by Izaak Jansz. de Wit
- Daniel Danvers by William Hoare, 1780
- The Benevolent Physician, 1782
- Jean-Baptiste Pigalle, 1782
- John Adams by John Singleton Copley, 1783
- Jacques-Antoine de Beaufort by Adélaïde Labille-Guillard, 1783
- Prince Charles Edward Stuart, eldest son of Prince James Francis Edward Stuart by Hugh Douglas Hamilton, c. 1785
- Silhouette portrait of a man by Joseph Adolph Schmetterling, 1785
- William Cowper, in a 1785 letter (written when he was 54 years old), describes himself: “As for me, I am a very smart youth of my years; I am not indeed grown grey so much as I am grown bald. No matter: there was more hair in the world than ever had the honour to belong to me; accordingly having found just enough to curl a little at my ears, and to intermix with a little of my own that still hangs behind, I appear, if you see me in an afternoon, to have a very decent head-dress, not easily distinguished from my natural growth, which being worn with a small bag, and a black riband about my neck, continues to me the charms of my youth, even on the verge of age.”
- Karl Friedrich Abel by John Nixon, 1787
- Portrait of a man by Johannes Heinsius, 1787
- Frederik Vilhelm Wedel-Jarlsberg
- Jean-Baptiste Bréval, c. 1790
- Portraits of George Washington by
Adolf Ulrik Wertmüller (c. 1795),
Edward Savage (c. 1796),
Gilbert Stuart (1797),
and Gilbert Stuart (1798).
References to Washington purchasing wig/hair bags in 1760 and 1771.
See also George Washington’s Oh-So-Mysterious Hair, Mount Vernon W-2976 (one of his hair bags), and Mount Vernon W-3294/A-C (“fragments, carefully preserved by relatives of Martha Washington, [which] may represent a piece of Washington's hair ribbon, linen lining from his hair bag, and a lock of his hair”) - Remains of good old fashions, exhibited in the Federal Court, Richmond by Benjamin Henry Latrobe, 1797
- A wigmaker, c. 1818
Satires and caricatures
- Taste in High Life by William Hogarth, 1742
- Taste A-la-Mode, 1745
- Study for a satirical print on Orator Henley by Louis Philippe Boitard, 1746
- The Laughing Audience by William Hogarth, 1761
- A French valet de chambre in The Frenchman at Market, 1770
- Que je suis enchanté de vous voir!, 1770
- My Lord Tip-Toe, Juſt arrived from Monkey Land, 1771
- A Half Pay Officer Who Has Been at Dinner with Capn Broad, 1771
- A French hairdresser in The Politician, 1771
- A fox (Charles Fox) in The Young Heir among bad Councellors, or the Lion betray’d, 1771
- Wilkes in The Double Discovery, 1771
- A Macaroni Print Shop, 1772
- The Shuffling Macaroni, The Scavoir Vivre, The Bank Macaroni, and The Protecting Macaroni, 1772
- Wigs, 1773
- Piety in Pattens or Timbertoe on Tiptoe, 1773
- Search the World you’ll ſeldom ſee ___ Handsomer Folks than We Three, 1775
- Il Milanese, 1780
- Caricature of a man in a bag wig, 1780
- A Frenchman in Politeness, after 1780
- William Parsons, 1782
- Deep Ones, 1777
- A New faſhion’d Head Dress for Young Miſses of Three ſcore and Ten, 1777
- The barber riding to Margate, 1782
- Razor’s Levée, or ye Heads of a New Wig Ad___n on a broad Bottom, 1783
- An author in Bookseller and Author, 1784
- Le Chicaneur, 1784
- 1784, or the fashions of the day
- The Meeting of the Legion Club, 1787
- Quartiers du fameux D’Alton / Exploits manqués, 1787
- An actor in A Lyceum oddity or stop him who can!, 1788
- A smart, 1790
- The Itinerant Language Master, 1797
- Lust tot onderzoek, c. 1800-1805
- A Barbers Shop, 1811
- Le Lever des Papas, 1815