18th Century Greatcoats & Watchcoats
Most illustrations of 18th century great coats show them being worn by night watchmen (often carrying lanterns and/or clubs), but inventories (such as probate inventories from Deerfield, Massachusetts or runaway ads from Rhode Island and Pennsylvania) indicate that other men owned great coats as well.
In a letter dated November 30, 1759, George Washington wrote to Robert Cary & Company to request “a New Market great Coat with a loose hood to it made of Blew Drab or broad Cloth with Straps before according to the present taste — let it be made of such Cloth as will turn a good Shower of Rain and made long, and fit in other respects for a Man full 6 feet high & proportionably made — ”possibly the Measure sent for my other Clothes may be a good d[i]rection in these.”
Nora Waugh describes the gradual changes in 18th century men’s outerwear:
Capes were worn for travelling but became unfashionable by the middle of the century. A Roquelaure was a cape cut in three pieces, the side seams shaped to the shoulders. The great coat, or surtout, was a long loose overcoat, with just two side seams, slit up the centre back for riding, a standing or turned-down collar with sometimes a small cape as well. It was worn single- or double-breasted. When driving became the fashionable craze the sporting fraternity took over the coachman's great-coat with its multiple capes — the box coat. By the end of the century these great-coats were becoming fashionable town wear.
Additional Resources
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Keeping Warm in an 18th c. Gentleman’s Great Coat
Reproduction of Thomas Coram’s greatcoat by Ninya Mikhaila
Greatcoat patterns in Fitting & Proper
Mill Farm 1750-1800 Men’s Greatcoat Pattern
18th Century Material Culture: Great Coats, Surtouts, & Cloaks
Le Surtout.
Garsault’s description of a surtout in L’art du tailleur (1769).
The surtout is properly a country coat, but it has become very common in the city; it is worn over the waistcoat, like a true coat, the only difference between them is the coat has buttons & buttonholes from the top to the bottom, whereas this only has them down to the waist level, and three buttonholes on the back vent; a collar is sometimes added to it.
Extant great coats
A man’s greatcoat, c. 1780-1800, in Fitting & Proper: “taupe wool tightly woven and fulled, half lined with olive green wool shag and off-white linen”
Colonial Williamsburg 2001-835, man’s great coat, America or England, c. 1780-1820
Colonial Williamsburg 2023-19, green double breasted broadcloth coat lined in a buff worsted wool, Poland, c. 1790
National Trust 1350636, great coat made of interwoven blue and cream tabby wool, c. 1793-1794
London Museum 56.69/1, a slim-fitting double-breasted greatcoat in dark blue wool facecloth with a dark blue silk velvet collar, 1803
Great coats in portraits and illustrations
Honest Will Crouch, c. 1725-1726
Portrait of Captain Thomas Coram by William Hogarth, 1740
Paul Sandby figure sketches made in Edinburgh and the neighborhood after 1745: man seated on the ground, man walking, man with a staff
Bagpiper with a dancing dog by Paul Sandby, c. 1746
Figure study: a blind man in a tattered greatcoat by Paul Sandby, c. 1746-1751
A man asleep by Paul Sandby, c. 1750-1760
Voules, William, Duke of Cumberland’s bailiff by Paul Sandby, c. 1752-1765
An Election II: Canvassing for Votes by William Hogarth, 1754-55
A man standing, looking upwards by Paul Sandby, c. 1755-1765
Man asleep in a long blue coat by Louis Philippe Boitard
Cries of London: All Fire and No Smoke by Paul Sandby, c. 1759
Man standing in a landscape by Paul Sandby
Old man carrying a basket by Paul Sandby
Three men at a table by Étienne Jeaurat, 1763
Parsons, Bransby, and Watkyns in a Scene From 'Lethe' by Johann Zoffany, 1766
A Common Council Beaſt, returning from a Turtle Feaſt, c. 1766-1799
A scene in Love in a Village by Johan Joseph Zoffany, 1767; see versions at the Detroit Institute of Arts and Yale Center for British Art
Thomas Gent, 1771
A farmer in The English Farmer’s Wife converted to a fine Lady during his Absence in London, 1772
A sailor centinel on the Pallas’s gangway by Gabriel Bray, 1774
What’s! This My Boy Tom, 1774
Night Watchman, 1776
The Hireling-Constable, 1780
A woodcutter with a young boy and a dog in wooded landscape by Charles Gill, c. 1781
The Watchman, c. 1780s-1790s
The Westminster Watchman, 1784
Card players in a tavern by Jan Ekels, 1784
The Social Pinch by John Kay, 1789
A pencil and wash portrait of a gentleman in a great coat
A Journey to the Watch House, 1790
Outlines of figures and landscapes by Thomas Rowlandson, c. 1790-1792
A Deep One, and a Knowing One, 1791
Morning: Higglers Preparing for Market by George Morland, 1791
Skating by George Morland, 1792
The Departure by George Morland, 1792
The Shepherd’s Meal by George Morland, 1793
Scene from ‘The Register Office’ by Joseph Reed by Benjamin Vandergucht
An Unwelcome Visit by Thomas Rowlandson, 1794
The Elopement, 1795
Bodmin Cornwall: The Arrival of the Stage-Coach by Thomas Rowlandson, 1795
A halt of a soldier and his family by George Morland, c. 1795-1800
Inside of a Country Alehouse by George Morland, 1797
The Afflicted Family - A Child Lost, 1797
The Watchman of the State, 1797
The Child Lost, 1799
The Reckoning: A Farmer Paying the Ostler and Pot-Boy of an Inn by George Morland, c. 1800
Interior of a country inn by George Morland
Man with a pony outside a cottage
A brace of public guardians, 1800
The Benevolent Heir or the Tenant Restored to his Family by William Redmore Bigg, c. 1801
