UK, 1877—a period of admission ending some time before the beginning of a theatrical performance, in order to offer a guaranteed seat or a wider selection of seating, typically for a higher price
to go away and stop being a nuisance—chiefly used in the imperative as a contemptuous dismissal—USA, 1883—the image is of somebody jumping into a lake and drowning
excessive reverence for William Shakespeare—1901, coined by George Bernard Shaw—from ‘the Bard’, an epithet of William Shakespeare, and the combining form ‘-olatry’, forming nouns with the sense ‘worship of’, ‘excessive reverence for’
extremely large, huge, enormous—USA, 1967—of uncertain origin; probably a factitious adjective coined on the suffix ‘-ous’, influenced by ‘hugeous’ and ‘monstrous’, and perhaps by the stress-patterns of ‘stupendous’, ‘tremendous’, etc.
inauthentic archaic language, especially as affected by authors of historical novels—UK, 1867—alludes to the fact that, in the 19th century, Wardour Street, in London, became known for its many shops specialising in imitations of antique furniture
Australia, 1927—alteration of ‘blanc’ in French ‘vin blanc’ (‘white wine’)—via rhyming slang forms such as ‘plinketty-plonk’, from phrases such as ‘vin blank’ in the slang of soldiers stationed in France during WWI
a woman who had no qualities other than attractiveness, with connotations of low intelligence, or of flightiness, or of low social status and poverty—second half of the 19th century, chiefly in stories by women writers
tap-water likened to a grand cru—in reference to ‘château’ in names of wines of superior quality—in French ‘Château-la-Pompe’ (i.e. ‘Château-the-Pump’), ‘pompe’ denotes a device for raising water