18th Century Women’s Leather Gloves
Last updated: Jan 7, 2024
See also 18th century ladies’ mitts, as well as pages on men’s leather gloves, mittens, knit gloves, and medieval and Renaissance gloves.
Embroidered leather gloves
- Workshopful Company of Glovers of London 23437, white kid leather embroidered in silk with a yellow and red bird, silk pom-poms on the knuckles, c. 1700
- Met 2009.300.6120a, b, embroidered with a bird design in metallic threads, Britain, early 18th century
- Met 2009.300.6121a, b, early 18th century, probably Spain
- Worshipful Company of Glovers of London 23434 + A, “a pair of pale yellow long gloves, circa 1700-1710, of kid leather suede side uppermost, slightly flaring openings, the hand and thumb sections embroidered overall with scrolling flowerheads, three blue pom-poms to the knuckles”
- V&A T.48:1,2-2015, white kid leather gloves embroidered with a floral design in silk, with seams outlined in pink silk herringbone stitch, made in England c. 1760-1790
- Met C.I.40.142.2a, b, leather gloves with metal thread embroidery, Britain, c. 1780
- V&A T.293&A-1965, yellow elbow-length kid leather gloves with white silk embroidered lines, Ireland, 1796
- MFA 38.1276a-b, cream-colored leather gloves embroidered in silks with scrolls, flowers, and foliage, Italy or France, late 18th century
- Met 23.220.1, leather gloves with silk embroidery of a woman on the back of each hand, Britain, late 18th century
Gloves with lace trimming
- Met C.I.52.28a, b, probably France, c. 1735
- Manchester 1968.9, wedding glove belonging to Mrs Wyndham of Dinton, 1735
- Worshipful Company of Glovers of London 23439 + A, “a pair of womens’ long gloves, circa 1735, of white leather, flesh side outwards but glazed, inset with curving bands of dark green cobweb like needlepoint lace and edged with green braid”
Printed leather gloves
- Worshipful Company of Glovers of London 23441 + A, a pair of elbow-length doeskin leather gloves, “each printed with oval medallions containing a romanticised depiction of a shepherdess within folate and ribbon swags, printed ‘bracelet’ composed of a neo-classical urn ‘mount’ on a band of delicate berries and foliage,” c. 1785-1795
- MFA 43.1980a-b, white kid gloves printed in black and painted in red, yellow, and blue with designs of a Cupid with a woman in a chariot drawn by birds and a decorative border on the cuff, Spain, c. 1790-1810
- Worshipful Company of Glovers of London 23430, “white printed leather ladies’ glove, grain side out, Spanish, circa 1790-1800, printed with horizontal stripes of neo-classical motifs, fine copper plate engravings, the cuff with star shaped punched holes and pinked scallop edging”
- MFA 43.1986a-b, white kid leather gloves printed with bands of classical ornament in black, Spain, c. 1790-1810
- MFA 38.1237a-b, white kid leather gloves printed with bands of classical ornament in black, Spain, c. 1790-1810
- Manchester 1976.89, white kid leather gloves with horizontal bands in black with stylized motifs of flowers, cornucopias, anchors, and couchant lions, c. 1800-1810
- MFA 38.1257a-b, cream white leather gloves with a printed design (museum’s description seems to be faulty)
- MFA 43.1991, white kid leather glove printed in black, Spain, c. 1790-1810
- MFA 38.1267a-b, pair of white printed leather gloves, Spain, late 18th century
- V&A T.169&A-1922, wrist-length yellow kid gloves printed in a lozenge pattern with carnival and rustic figures alternating with flowers and birds, Spain, c. 1800
- Met 2009.300.2259a, b, Spain, c. 1800-1810; “Fashioned from fine Spanish kid, these gloves embody high fashion with a double historical twist. The lattice pattern expresses the geometry of the newly-resurrected design vocabulary of the classical period, while the figures at the top are taken from a series of etchings by Jacques Callot titled Varie Figure Gobbi (Various Hunchbacked Figures) ca. 1622., which William Konig (active ca. 1721) interpreted in prints.”
- Cora Ginsburg 2001, Spanish, c. 1800; “Printed on the hand is an assortment of flora, fauna, and Chinoiserie figures enclosed in a diamond grid. The pinked and scalloped cuffs are bordered with grotesques derived from prints by William Konig (active ca. 1721), based in turn on a series of etchings by Jacques Callot (1592-1635) entitled Varie Figure Gobbi (Various Hunchbacked Figures) of about 1622. The flageolet player, for example, is recognizable from amongst Callot’s misshapen dwarfs.”
Other leather gloves
- Met 26.56.93, plain leather gloves, Italy, late 18th century
- Met 26.56.95, striped leather gloves, Italy, late 18th century
- Met 26.56.97, striped leather gloves, Italy, late 18th or early 19th century
- Met 26.56.101, blue leather gloves with striped design, Italy, late 18th or early 19th century
Portraits and illustrations
Some of these gloves may be silk rather than leather.
- Likeness of a lady, c. 1705-1710
- Anne Master, Countess of Coventry, 1715
- An unknown lady, possibly Miss Woodley, later Mrs Henry Vaughan by William Hogarth, c. 1738
- A young girl in a red dress
- Pamela is married by Joseph Highmore, 1743-1744
- Isabella Blackett, Countess of Buchan by Enoch Seeman the younger, c. 1745
- A man and a woman, possibly of the Missing family, of Little Park House, Wickham, Hampshire by George Knapton, 1747
- Ann Denny, Mrs Thrower Buckle by Charles Catton the elder, 1748-1798
- Midday, Evening, and A Lady going to the Ball
- Miss Harriote
- Martha Tyrrell, Lady Drury and her daughter Mary Ann Drury, later Countess of Buckingham, 1754
- Marie-Josèphe of Austria, c. 1755
- Louise Elisabeth de France by Jean-Marc Nattier, 1760
- Conversation Piece by Mason Chamberlin, 1761
- Lady Caroline Hervey, c. 1765
- Deborah Worlsey of Platt, c. 1765-1770
- Miss Mary Hickey by Sir Joshua Reynolds, 1769-1773
- Mr. and Mrs. Thomas Coltman by Joseph Wright of Derby, c. 1770-1772
- Portrait of the wife and son of the artist by Johann Heinrich Wilhelm Tischbein, c. 1770-1780
- An unknown young girl, c. 1770-1799
- Elizabeth Bridgman, sister of the artist by Henry Walton, 1771-1775
- Mrs. Abington, 1772
- Miss Tipapin going for all nine, 1779
- Mary Amelia “Emily Mary” Cecil, 1st Marquess of Salisbury by Joshua Reynolds, 1780
- An English Man of War, taking a French Privateer, 1781
- The Sudden Explosion in Fording the Brook, c. 1781
- Louisa Lane, called ‘Cecilia’ by John Hoppner, exhibited 1782
- Miss Ann Teresa Flemming, c. 1783-1785
- The London Dentist, 1784
- The Happy Mother, 1785
- Magasin des Modes Nouvelles Françaises et Anglaises, 30 décembre 1786, 2e Année, 5e cahier, Pl. 1
- Portrait of a girl in a garden by George Morland, 1786-1788
- Charlotte Clive by Charles Grignion the younger, 1787
- Louisa Mildmay, 1787
- Lady Smith (Charlotte Delaval) and Her Children (George Henry, Louisa, and Charlotte) by Joshua Reynolds, 1787
- A young lady seated wearing a white dress by Edward Edwards, 1788
- A Visit to the Boarding School by George Morland, c. 1788
- Selling Guinea Pigs by George Morland, c. 1789
- Madame Barbier-Walbonne by François Gérard, c. 1796
- A Correct Likeness of the notorious Jane Gibbs, 1799
- Portrait of Madame Debucourt (Suzanne-Françoise Marquant) by Philibert Louis Debucourt, 1799-1800
- Portrait of a young woman and a boy holding a cat by John Hoppner
- Skating lovers, 1800
- Easy Money by George Morland
- Madame Barbier-Walbonne (detail) by Aleksander Kucharski, c. 1808-1810