SARAH ELIZABETH GALLERY - ANTIQUE TEXTILE

2011-09-08T10:09:00.000-07:00

Embroidery from a Court Coat Silver Thread 1770 -1780

Silver thread hand-embroidered in a foliate pattern with silver pailettes on blue wool broadcloth. The total weight (mainly silver) is 29.8 ounces! The interior neckband is made from leather.

Embroidery, representing an enormous investment of labor, was all but ubiquitous on the suits of wealthy men in the 18th century. Even as popular styles simplified, the fashion for heavily embellished menswear would survive in royal courts well into the 19th century. To achieve such incredible designs often required a workshop of artisans, who embroidered the fabric before the coat pieces were cut - such a shop is illustrated in Diderot's 1751 Encyclopedie, showing the lengths of fabric stretched on hoops to be stitched. Once the pieces were embroidered, the customer could make his selection and have it sent to his tailor, to be cut out and made up into a perfectly fitted, custom-made suit in a matter of days.

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2011-09-08T09:59:00.000-07:00

Ivory Silk Satin Two Piece Wedding Gown

Lined in Silk Twill, c. 1895

This refined wedding gown shows the "Leg O' Mutton" sleeve that epitomizes its time period - by making the shoulders look broader, the waist and hips look smaller. The woman's body was further sculpted by the addition of a restrictive corset, and over that, the boned bodice would have added still more shaping.

A perfectly quintessential wedding dress of this period, the fully boned (whalebone, not metal) bodice closes with a hook and eye closure at the center front. The fitted under sleeve is tight on the arm, with the puffed silk over sleeve flaring above it. Ivory silk satin outer fabric lined in silk twill.

The trained skirt is flatlined with white cotton, and closes with hooks and eyes at center back. The lace and crinoline baleyeuse(pleated lace in the interior hem) is present and in good condition, quite unusual.

The 1890s was a period of exaggeration. The wide "Leg O' Mutton" sleeve, so named because of its resemblance to the leg of an animal, served to broaden the shoulders, and by comparison, make the waist and hips appear smaller. The sleeve reached its peak about 1895, and as it began to deflate and its optical illusion diminish, corsets grew more restrictive and hats began to expand to compensate. The importance of a large bust was also paramount - advertisements are full of creams and vitamins to help women grow their bosom, and if those failed, other companies would happily sell them external bust improvers in the form of boned crinoline bodices or padded brassieres.

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2011-09-04T09:09:00.001-07:00

Men's Black Wool Frock Coat from 1860-1880

Just imported from France an early men's black wool frock coat 1860 - 1880. Buttons covered in silk satin. Full skirted with darts at the waist for fitting. One button on each cuff. One interior breast pocket and two tail pockets. Fully lined in black wool. Sleeves lined in brown and white striped cotton. Machine stitched, three lines of under stitching on the collar. Padding in the shoulders.

The Frock Coat occupies a fairly straightforward position in the annals of fashion history. A double-breasted version such as this, favored by Prince Albert (husband of Queen Victoria) bore his name, and was considered to be more elegant than its single-breasted cousin. Etiquette manuals of the 19th century are filled with advice for when and where to wear each variant, and even with what color waistcoat it should be paired for different events (general consensus held that, when visiting, a dark colored waistcoat was most correct, whereas for a "kettle-drum," an informal afternoon event along the lines of a social tea, white was expected). Often associated with professional men, such as doctors and lawyers, it was also appropriate wear for a variety of morning occasions, including weddings and funerals. Nearly always black, and always wool, its blocky, skirted cut and construction changed very little from the 1850s through the 1920s, when it was replaced for every occasion save Court by the less formal "morning coat," favored by George V of England.

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2011-09-04T08:49:00.000-07:00

Silk Lampas Floral Gown c. 1758

Silk lampas large scale floral vine pattern museum dated 1758 (written inside the bodice). Self fabric attached stomacher. The gown is original except for the muslin underbodice. Large wing sleeves. Beautiful pleats in the back of the skirt. This gown was deaccessioned from the Brooklyn Museum of Art.

A woman's dress during the middle years of the 18th century had really only two options for styling - the flowing Robe a la Francaise and the less formal Robe a l'Anglaise. Luxury and personal taste were reflected primarily in the choice of textile and trimmings. It was a point of contention among many moralists of the day that it was often impossible to tell a well-dressed maid from her mistress, and a beautiful gown like this would not be out of reach for a well-to-do woman of the middle class. However it would probably be her best, for Sundays or a wedding.

This gown is sold.

2011-08-31T06:37:00.000-07:00

Men's Silk Brocade Waistcoat from the Mid Nineteenth Century

Just imported from France an early men's waistcoat from the mid 19th century. Cream colored silk brocade waistcoat with two hip pockets trimmed with piping. Six thread covered buttons. Lightly padded on upper chest. Lower front reinforced with leather back tie and buckle closures with original brass buckle. Back in off white cotton duck.

With dress options limited for men, one of the few options a gentleman had to display color was his waistcoat. However, even that was strictly prescribed - The Gentlemen's Book of Etiquette and Manual of Politeness from 1873 indicated that it was suitable to wear a white waistcoat to a ball, or in the city while visiting, but by 1875, Routledge's Manual of Etiquette informed readers that "white waistcoats are no longer in fashion." One further note of wisdom was added, too. "If any friend should say to you 'what a handsome waistcoat you have on!', you may depend that a less handsome waistcoat would be in better taste." Simplicity and restraint were prized above all.

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2011-08-29T09:15:00.000-07:00

Rare Unworn Royal Worcester Maternity Corset c. 1892

This cotton Royal Worcester maternity corset c. 1892 was donated by the president of the Royal Worcester Corset Company to the Brooklyn Museum of Art in 1950. Deaccessioned from the Brooklyn Museum of Art, New York with original acquisition tag with accession numbers.

This single layer cotton coutil maternity corset has two bust gores and two hip gores on each side for comfort during an uncomfortable period of life. It is half boned with whale bone, and wrap-around adjustable straps support the back without compressing the stomach. The center front panel has narrow horizontal rows of elastic for comfort. An extremely unusual survival in unworn condition.

In her 2001 book The Corset, Valerie Steele blames the corset for numerous reproductive health issues that plagued women during the 19th century, up to and including miscarriages. She notes how many maternity corsets so closely resembled ordinary fashionable models, and how many women used their corset as an attempt to hide their pregnancy. This model is the exception. With its half-boned construction and wrap around adjustable straps in place of lacing, the Royal Worcester maternity corset supports the bust and the back without compressing the uterus, along the same lines as a modern belly band.

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2011-08-27T09:53:00.000-07:00

Blue-Grey Emile Pasquier Silk Reception Gown c. 1885, from the Brooklyn Museum of Art

This stunning two-piece ensemble consists of a tailed bodice of triple plume pattern brocade and a trained satin skirt. The bodice is trimmed in large teardrop shaped faux pearls, accented with looped silver tinsel and rows of glittering crystal beads. Bodice is fully boned with whalebone, and even the original dress shields are still present (filled with wool or cotton wadding, for absorbency). There are small pads to fill out the upper chest, and the center front closes with hooks and eyes below the deep V neckline. The waist tape is labeled "Maison Emile Pasquier Paris."

The skirt hem has a deep scallop at center front above pleated mousseline de soie over a cadet blue silk underskirt. This may have been for fancy dress because of the volume of ornament and overall exotic feel of the dress, but it may also have simply belonged to a very bold, very wealthy woman.

The Museum at FIT displayed a contemporaneous Pasquier gown in their 2007 Luxury exhibition with the following label text : "Fashions of the fin de siecle used shimmering and elaborate surface decoration to create the image of Woman as an expensive, desirable object. Women in highly ornamented outfits literally embodied their husbands' wealth, becoming paragons of seductive artifice. Jean Baudrillard called this 'a production of value through exteriority.'"

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2011-08-25T14:36:00.000-07:00

White Cotton Coutil Corset c. 1900 Donated by the President of Royal Worcester Corset Company to the Brooklyn Museum of Art

This white cotton coutil corset c. 1900 was donated by the President of Royal Worcester Corset Company to the Brooklyn Museum of Art in 1950.

Original acquisition tag with accession numbers. Beautiful insertion lace trim at the top has a thin satin ribbon laced through. Front busk closure and back lacing. This corset is entirely machine sewn.

Around the turn of the century, the shape of the corset began to shift, from the narrow hourglass silhouette of the 1880s to the elongated swan-like body of the Gibson girl. This new corset was touted as healthier with its new flat-front shape designed to “support the abdomen” and its lower cut that would not “suppress the bust.” This corset, when laced tightly, prevented even the small protruding abdomen of the earlier spoon busks, and it pushed the hips back and the bust forward, contorting the back into a graceful s-bend. The corset was a symbol of morality and dignity, a form of feminine armor to guard a woman from the evils of the world, and those who refused to wear them were thought “disreptuable,” and “slovenly.”

Source: The Corset, Valerie Steele

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2011-08-23T08:15:00.000-07:00

Museum deaccessioned metallic gold fancy dress waistcoat c 1878. Stamped Maison Moreau D. Baron Successor.

This is a Brooklyn Museum of Art deaccessioned metallic gold fancy dress waistcoat c 1878. It is stamped Maison Moreau D. Baron Successor. This house constructed costumes for masquerades held at the royal court of Napoleon III. Fancy dress costumes were often an expensive undertaking, and this opulent piece is no exception.

Woven with gold tone metal threads and accented with a polychrome floral matelasse pattern, brocaded in red and blue flowers. The waistcoat is constructed in an 18th century style, collarless, and closes with three buttons at center front decorated with rhinestones. Three matching buttons adorn each pocket flap. The backing is a yellow glazed linen twill. This is the 19th century's approach to the 18th century's textiles, with better technology and grander ideas.

chest: 38 inches (96.5 cm)

front length: 31 inches (79 cm)

Back Length: 23 inches (58.5 cm)

Fancy dress has its origins in the popular masked balls of the 18th century. Clearly big business, one 1898 book on dance entreats its readers "The best advice we can give is as follows: If you intend appearing in fancy dress, be guided by some qualified costumier... as we are happily not all endowed with the artistic instinct, the costumier becomes absolutely necessary if we want to make a respectable appearance in a really striking fancy costume." Madame Delphine Baron, at the helm of Maison Moreau, seems to have been just such a costumier. The US report on the 1867 Paris Universal Exposition praises her display: "A few choice specimens of historical and fancy costumes for both sexes were exhibited by Madame Delphine Baron, one of the eminent practitioners in the art of costuming, which is carried to so great perfection in Paris. Its successful practice in the higher grades requires no inconsiderable historical study, and calls in play really artistic qualities."

Sources:

http://www.archive.org/stream/reportonclothing00stevrich/reportonclothing00stevrich_djvu.txt

http://chrisbrady.itgo.com/dance/leggett/leggett142.htm

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2011-08-21T09:24:00.000-07:00

Two piece printed cotton day bodice and bustle overskirt 1880's

The bodice is fully boned and has box pleats, narrow cuffed sleeves, stand up collar, mother of pearl buttons and is flatlined in cotton twill. The buttonholes are bound by hand with a buttonhole stitch. The skirt is not lined and bustles with internal self fabric and twill tape ties.

The unusual print resembles volleyballs or golf balls, quite playful, and certainly a conversation piece!

Bust: 30 inches (76 cm)

Waist: 23 inches (58.5 cm)

Skirt Length: 43 inches (109 cm)

The late James Laver, a curator at the Victoria and Albert museum, once noted "It seems to be one of the principles of fashion that once an exaggeration has been decided upon, it becomes ever more exaggerated." So it was with the bustle fashions of the 1880s. After a brief flirtation with a more fitted silhouette, the bustle expanded to its peak around 1885, with fashion plates depicting women resembling nothing so much as centaurs, and satiric cartoons comparing well-dressed ladies to snails, beetles, even tea trays.

Source: Four Hundred Years of Fashion, Natalie Rothstein

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2010-10-30T14:20:00.000-07:00

Collection of Items from Dr. Albigence Waldo, Connecticut

Surgeon During the American Revolution

Dr Albigence Waldo (1750-1794), served as clerk in the "Lexington Alarm" and was commissioned surgeon's mate of the Eighth Connecticut Regiment. The Connecticut Committee of War commissioned him chief surgeon of the ship "Oliver Cromwell" and he was also commissioned surgeon of the First Connecticut Infantry Regiment of the Line. He was at Valley Forge, Germantown, Lexington and Concord, Cambridge and Roxbury.

Items in this exceptional collection:

Toile coverlet: Three vertical toile panels with one horizontal seam printed with "Apotheosis of Franklin and Washington", c. 1785-90 (97 1/2 by 87 inches) copper plate block printed, six complete pattern repeats, eighteen block placements.
Linen bed sheet: Owned by Dr Albigence Waldo and wife, Lydia, used at Valley Forge "L. Waldo" inscribed in ink c. 1777, 65 by 85 inches
Letters: Sections of a letter written by Dr Albigence Waldo, 29 letters and notes by Dr Albigence Waldo, copied by family members in the early to mid nineteenth century

This collection was deaccessioned from the Southern Oregon Historical Society because it did not adhere to their current collections policy of objects relating to or representative of Jackson County and Southern Oregon. Each item has the SOHS's acquisition numbers and is documented in the contract between the SOHS and the donor (Mrs Berte P Thurston, great - great granddaughter of Dr. Albigence Waldo).

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Silk Brocade Shoes with Pattens, c. 1720-1740's

2010-10-24T13:21:00.000-07:00

Lady's Silk Brocade Shoes with Pattens c. 1720-1740

These silk brocade shoes with original pattens, c. 1720-1740 were deaccession from The Brooklyn Museum of Art, New York and come with the museum's acquisition tags (numbers and dates). They are beige silk faille brocade with green, white and rose floral print. They have squat heels, latchets and up turned toes. The brown leather pattens have red leather scroll stitched patterns on the sides. One with original silk still remaining on the patten the without. One patten strap is broken where the hole to lace them would have been. The silk is damaged on the front sides of the shoes.

Items Recently Sold

2010-10-23T18:57:00.000-07:00

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Silver Fabric Embroidered in Silver Trim Gents Waistcoat, c. 1770's
This 18th c waistcoat is made with silver fabric that has been embroidered with silver flowers with sequin centers. Its trimmed in a metallic, sequined garland and tassel pattern. There are eleven original sequined buttons down the center front. Also, six original buttons, three on each side under the flaps of the two pockets. The front is lined in cream silk twill. The back is made of homespun flannel. There is some wear on the exterior of the shoulders on the front and some tearing of the interior lining inside the shoulder area. A small amount of sequin loss. B 33", L 29"

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Floral Silk Brocade Caraco, c. 1700's
Lady’s brown and cream floral silk brocade caraco from the 18th century. It has very straight backside seams indicative of the 18th century when stays were worn. The seam allowance is very tight and the fabric print does not match up at the seams. The tie in the front, a waistband inside to hold a skirt up and hem tape around the waist has been added in the 19th century. Truly a wonderful find from the 1700’s. B 32", W 27", Other than the 19th century alterations the condition is very good.
torso: 12” (shoulder to the natural waist line)
shoulder: 13 ½”

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Museum Deaccessioned Damask Brocade Stomacher c. 1760 - 1780
Green blue silk brocade with leaf and barry pattern damask background. Large center flower blossom in peach, orange and ivory. Some silver metallic trim across the top of the stomacher. Baleen or cane stays are all in place. Home - spun linen is used on the backing and a center top pocket in the fabric is present. The size measures 12 1/2 inches by 15 3/4 inches. The silk is worn in some places but over all condition is good. The stays are in excellent condition. Deaccessioned from the Heritage Society.

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Brooklyn Museum Corset Floral Embroidered, c. 1930's
Museum deaccession from Brooklyn Museum of Art, New York. Museum's acquisiton number: 50. 105. 181. Machine embroidered with coral, light blue and green threads. Quilted fabric. Very good construction.

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Brooklyn Museum Corset Cover Floral Embroidered, c. 1930's
Museum deaccession from Brooklyn Museum of Art, New York. Museum's acquisiton number: 50. 105. 171 and dated 1930’s. Machine embroidered with coral, light blue and green threads. Quilted fabric. Bones in center back and hook and eye closure in center front. Very good construction.

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Lady's Civil War Era Silk Floral Brocade Bodice, c. 1860
This is a beautiful condition, lady’s original Civil War era bodice, c. 1860’s. This item was deaccessioned from the Brooklyn Museum of Art, New York. Beautiful brown and gray silk brocade bodice with brown partial lining. The original boning and hook and eye closure is at the center front. Nice details like armscye and neckline piping. Soft silk fringe around pagoda sleeves, center front closures and waistline. Dropped shoulder seams characteristically of Civil War period bodices. B 31", W22" Condition is excellent.
torso: 15 ” (shoulder to the natural waist line)
shoulder: 16 1/2”

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Pink Jacket with Velvet Covered Buttons, c. 1870
Museum deaccession from Fashion Group International, Florida and has the museum's acquisiton number tag and donor identification. There are 36 velvet covered buttons decorating the jacket. There is pink silk fringe around the cuffs, neckline and waistline. Beautiful details on the center front knitted decoration. Covered eyes in the hook and eye center front closure. Condition is good.

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Lady's Civil War Era Silk Floral Jacket, c. 1860
This is a lady’s original Civil War era jacket, c. 1860’s. This item was deaccessioned from the Brooklyn Museum of Art, New York and has the museum's acquisiton number tag sewn inside of jacket’s neckline. Beautiful black and green silk with flora pattern. There is soft, silk, looped fringe around pagoda sleeves. The dropped shoulder seams are a quintessential characteristically of the Civil War era bodice. B 28", W22" Condition is very good.
shoulder: 17”
torso: 23” (shoulder to the bottom of the bodice)

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Lady's Brown Silk Bodice with Metallic Beadwork, c. 1870
Museum deaccession from Fashion Group International, Florida and has the museum's acquisiton number tag and donor identification. This auction is for a lady’s brown silk bodice, c. 1870. This bodice has a LOT of beadwork. For example seed bead around the neckline and beaded trim down the center front closure (so much beadwork that the bodice is actually heavy). There is ruby velvet trim down the center front. Hook and eye closures are used. B 36 1/2", W28" Condition is good with some wear to the velvet trim.
shoulder: 13 1/2 ”
torso: 12 1/2” (shoulder to the natural waist line)

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Museum deaccession Brown Silk Wedding Bodice, c. 1870

Museum deaccession from Fashion Group International, Florida and has the museum's acquisiton number tag and donor identification. This is a lady’s brown bodice, c. 1870. There are five covered buttons down center front. Beautiful detail with russet silk faille trim and a bow on each sleeve. Museum tag says "Brown Basque from Wedding Dress". Condition is good.

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Museum Civil War Era Silk Wedding Gown, c. 1860's
Museum deaccession from Fashion Group International, Florida and has the museum's acquisiton number tag and donor identification. Wonderful Civil War era cream silk faille wedding gown, c. 1860’s. Two piece, bodice with lace up closure on center back, boat neck, cap sleeve with pleated overlay, neckline and sleeve with ruffles, netting and velvet ribbons. Full skirt with small train. B 26", W21"
length: 42 1/2" (skirt)

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Gingham Silk Maternity Dress Pre Civil War Era c 1850’s

Museum deaccession from Brooklyn Museum of Art, New York and has the original tags with museum's acquisition numbers and date. Wonderful pre Civil War era silk maternity dress. Brown and white gingham with replaced faux wood buttons. One piece dress. Hidden pocket and drawstring waist. Some staining under arms and on half of center front see photographs. One pencil eraser size hole. (c. 1850’s)
Condition is very good.
bust: 35 inches
waist: 36 inches

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Museum Blue Silk Faille Bustle Dress c. 1880’s

Museum deaccession from Fashion Group International, Florida and has the museum's acquisition number tag and donor identification. Blue silk faille bustle dress c. 1880’s. Three piece bustle dress with long boned bodice. Jeweled buttons are replacements. Full skirt with built-in bustle, trimmed in blue velvet with overskirt. Jacket has been widened at front with beautiful horizontal striped matching fabric.

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Emerald Green and Black Striped Silk Gown c. 1860's
Museum deaccession and has the museum's acquisiton numbers and donor identification. The trimming on bodice and skirt is stripes of black velvet. Bodice has velvet covered black buttons. Matching belt of original fabric with black velvet trim.

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Emerald Green Silk Afternoon Gown with Jacket, c. 1860's
Museum deaccession from Fashion Group International, Florida and has the museum's acquisiton number tag and donor identification. Green silk one-piece dress with train and boned bodice. The trimming on bodice and skirt is made with straight geometric strips of black velvet. Bodice has velvet covered black buttons. Skirt has a hidden pocket. The matching original jacket survived with the dress!! Buttons on the jacket have been replaced and jacket condition is fair to good with a tear at the neckline and some staining. The condition of the dress is fair to good. The waist was let out. This gown is fully lined in brown cotton. The hem stiffened with wide woven horsehair band. bust: 35” waist: 27 ½” shoulder: 15 ½” torso: 14 ½” (shoulder to the true waist line)

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Museum Deaccessioned Silk Faille Day Dress, c. 1860’s with the Brooklyn Museum of Art's acquisiton number tag.

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Museum Lady's Beautiful Skirt, c. 1850 - 60's
Museum deaccession from the Brooklyn Museum of Art, New York. Lady’s wool skirt with sheer gauze brocade flounce. It is very beautiful in person: the sheerness of the flounce with the detail of the brocade. The colors are: green, white, black, yellow and pink. The hook and eye closure is missing. This skirt has a green lining. W 25" length: 45 1/2" Condition is very good.

Museum Item Massachusetts Militia Civil War Frock Coat
Deaccessioned from the National Heritage Museum, Lexington, Massachusetts, with written documentation from the museum documenting that this frock coat was deaccessioned from the collection. This frock coat is all original. The material is navy broadcloth with a sky blue stand up collar. The coat is thigh length. Breast buttons with arm and sward marked Mass Militia, coattail pockets, two eagle buttons on coattail and two missing.
Condition is good to very good.