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#2435 $1,950 Reserved Romantic period cotton print dress, c.1830. With exaggerated gigot sleeves and a dainty pleated bodice, the dress is an excellent example of full blown Romantic styling. The desirable large gigot sleeves, which first appeared around 1830, make the waist appear smaller and emphasize female curves. The dress is roller printed with paisley floral stripes on a white ribbon weave ground. The full sleeves have long narrow cuffs. The skirt front is decorated with curvilinear flanges. Lined with ivory canvas, the bodice has corded piping edging the neckline, cuffs, and back opening, and in the back seams. NEW LISTING | |
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#6985 $985 Cotton roller print child's dress, 1820s. Cotton roller print child's dress, c.1820. The style of a short puffed sleeve over a long straight sleeve, common in adult women's dresses of the period, rarely turns up in a child's dress. The dress is roller printed with a pattern of alternating foliate stripes. The cheerful combination of mustard, turkey red, and ivory is perfect for a little princess. The fullness of the bodice can be adjusted with cords inserted into casings. This feature also allowed room for the child to grow. NEW LISTING | |
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#6984 $985 Cotton roller print child's dress, c.1810-1820. Roller printed with alternating stripes of brown and blue leaf patterns. The sleeves and hem are edged with Van Dyke points of plain ivory cotton. This is an enormous amount of work, since everything was sewn by hand. The fullness of the Empire bodice can be adjusted with the cords inserted into casings. We can sense the presence of the wearer through the marks and folds left on the garment. We can see the fold lines where the hem was let out as the child grew taller. NEW LISTING | |
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#2388 $650 Reserved Man's white linen shirt, c.1830. With finely pleated white cotton ruffles, the shirt is open in front and does not have the side vents of earlier shirts. It is completely hand stitched with exceptionally fine work. The side seams are formed by joining the selvedge edges of the cloth with overcast stitches, so finely wrought that they are almost impossible to detect. The high stand-up collar would have been folded over a cravat. The shirt closes in front with ties. | |
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#1819 $4,950 Gentleman's silk top coat, late 18th century. Fashioned from cocoa brown silk taffeta, woven with tiny ivory polka dots, the coat retains the large self-covered buttons, fold down collar, and wide cuffs of earlier coats. It is lined with ivory silk except for the center back panel, which is linen. Miraculously, the buttons are all intact. The coat is all original. The condition is almost excellent. An extraordinarily fine, historically significant, example of men's formal clothing. | |
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#2406 $1,900 Silk faille, bib-front dress, c.1800. The ubiquitous sheer white dresses from the early 19th century give the impression the Regency wardrobe lacked color. What a special treat to find a Regency dress in rich cranberry-red silk faille! It is styled with a drop-front bodice, known as bib front. Under the bib front is an ivory cotton under bodice that closes with ties. I love the ruching on the long, slender sleeves. Held for years in a private collection, the dress is completely hand sewn. | |
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#2416 $2,200 Reserved Regency silk ball gown, mid 1820s. The grand ball gown is fashioned from silk shantung with satin trim. The bows at the shoulders are made from matching taffeta ribbon. The brilliant marigold yellow was very much in vogue in Paris of the 1820s—then, as now, the epicenter of high fashion. When combined with aqua satin trim, the dazzling fashion statement was totally au courant, and remains so, like a radiant beam of fashion brilliance bursting forth after 190 years. | |
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#4128 $1,200 Dresden embroidered mull pelerine, 1830s-50s. The heirloom quality piece is an exemplar of fine early whitework. The open work designs of Dresden embroidery, when executed on sheer cotton muslin (mull), were delicate enough to resemble lace. Pelerine shawls, where the front was longer than the back, became popular as skirts became fuller in the 1830s. The shape continued to be worn throughout the 1860s. | |
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#2321 $1,900 Romantic period plaid cotton wrapper, c.1830. Fashioned from dainty woven plaid fabric and with exaggerated gigot sleeves, the wrapper is an exemplar of the full blown Romantic style. The grand cape-collar (trimmed with ruffles) accentuates the width of the full gigot sleeves. Although the scale of the pumpkin-black-ivory plaid is diminutive, the textural effect works at a distance. The wrapper slips over the head and is open from neckline to hip area. The grand cape-collar (trimmed with ruffles) accentuates the width of the full gigot sleeves. | |
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#1381 $2,900 Rare linen stomacher, c.1730. The stomacher was generally moved from one gown to another, like a piece of jewelry. It is hand-embroidered with polychrome silk floss and metallic floss and in original unaltered condition. The polychrome hand embroidery is executed in silk and bronze metallic floss on a ground of écru linen. The stomacher is backed with linen. The needlework is of unparalleled refinement and beauty! An important and very rare piece of fashion history. | |
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#2319 $975 Rare soft wrap corset, c.1810-1820. Made from ivory cotton and completely hand stitched, the corset has gathered bust inserts and triangular side-hip inserts as the only shaping. It is laced only at the upper back opening. Waistline ties wrap around and pin in front. The corset was likely meant more for modesty under a sheer dress than for significant support. The soft, wrap-style is rarely found. | |
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#1886 $500 Trapunto corded corset, c.1820. Judging by the small size, the ecru cotton corset probably belonged to a young lady. Her name ("A B Colby") is written in ink on the front side near the armhole. The waistline area is reinforced with many rows of corded trapunto. Cording is also used to stiffen the seams and back opening. The center-front of the corset has a full length pocket where the busk would have been inserted. | |
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#6778 $2,000 Gentleman's folding pocketbook, c.1770. Worked in wool Irish stitch on canvas by Catherine Steinmetz as a gift for her fiancé, it is lined with green silk, and the edges are bound with brown wool tape. Inside edges are embroidered "John Neveling/his pocketbook/October 28, 1770." What a poignant gesture of love from Colonial America! It was used to carry important papers. Also included is a 4-page handwritten letter by Nancy Quimm Sailer, presenting her research on the pocketbook. | |
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#2292 Sold Regency straw bonnet, 1820s. Fashioned from natural colored straw and lined with peach silk, the bonnet is all original. The crown is decorated with branches of velveteen flowers and with a whimsical band of raffia corkscrew curls. Even without decoration, bonnets from this period command attention with their imposing sculptural shape. The original decoration is a bonus for the collector. | |
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#1643 $1,200 Cotton print day dress, c.1830. Made from a ribbon-weave cotton with alternating sheer voile and opaque stripes. Several features draw attention to the female form: the full skirt, the shoulder details, and the large gigot sleeves work together to make the waist appear smaller, emphasizing female curves. The amazing Romantic-period design features filigreed ferns in charming floral setting. The dress is completely hand sewn although the sewing machine was invented around this time | |
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#1821 $1,800 Provençal hand-quilted waistcoat, c.1800-30. Made from golden yellow cotton and lined with beige cotton and a thin layer of batting. The layers are hand quilted together with a diamond pattern of perfect little stitches. The brilliant marigold hue has long been associated with Provençal plant dyes of wild sumac, saffron, and sunflower petals. The bold and brilliant color signals the joie de vivre of the South of France: the sun showering its life-giving warmth on plants and people alike. | |
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#2177 $800 Cotton print child's dress, c.1815-1820. The roller printed dress features a delightful, tiny calico print. The sleeves and hem are edged with Van Dyke points of plain ivory cotton—an enormous amount of work, since it is all hand sewn. The meticulous attention to detail is impressive. The fullness of the Empire bodice can be adjusted with the cords inserted into casings. There are no problems other than very slight discoloration in the print. | |
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#6714 $900 Bead knitted bag, c.1833. Bead knitting incorporates beads into the design during knitting by stringing them on the knitting yarn. The technique was very popular in the early 19th century. The historically important bag from the Romantic period came from the private collection of an important scholar in the field. Because of the German inscription on the bag, it could well be Pennsylvania Dutch in origin. The bag is knitted from fine red cotton/wool yarn and white glass seed beads. The date "1833" is part of the design. | |
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#6711 $900 Hand-painted silk purse, c.1810. Theorem Painting was an American decorative technique from the first part of the 19th century. This superb example of early 19th century textile art features hand-painted velvet theorems padded with newspaper and backed with ivory silk. The theorems are outlined with ivory satin braided cord. The brown silk bag is gathered to fit around the theorems. The hand-painted flowers are still fresh and lovely. Everything is hand stitched. | |
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#1076 $985 Damask gaiter boots, 1830s. Side-lacing half boots with toe and heel foxing of contrasting leather were called gaiter boots, because they resembled gaiters (spats) worn over shoes. This pair features deep green damask uppers lined with ecru cotton canvas twill and foxed with black leather. The boots lace up on one side with the original lacings. Though impractical for serious walking, gaiter boots make the foot appear dainty and genteel. | |
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#6845 $1,750 Sold Metallic brocaded silk dress, c.1810. Fashioned from ivory silk shantung brocaded with small Neo-classical motifs of metallic silver. The front neckline is bordered with matching metallic trim. The dress is completely hand stitched and has a linen under bodice in back. The rare metallic brocaded silk fabric and the exceptional provenance (Rufus Lincoln) make for a great collector's piece. | |
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#1822 $1,800 Brocaded silk lady's waistcoat, c.1770. The cone-shaped waistcoat fronts are fashioned from brocaded peach corded silk. From a distance, the texture of the corded weave resembles very fine line-quilting. The plain back and straps of silk shantung match the color of the fronts. The ripe peach hue is gorgeous! The silk ground is covered with brocaded flowers in shades of rose, green, blue, and ivory. What a delicate, feminine floral design! | |
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#6568 $950 Regency silk damask shawl, c.1820. The shawl is reversible with a rose/peach ground on one side and a gold ground on the other. The color is either muted or glowing, depending on the light. The stylized floral pattern, influenced by Kashmir shawl designs of the early 19th century, is softened by the pastel coloring. The shifting hue—rose to peach—gives vibrancy to this magnificent shawl. | |
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#1846 $1,900 Metallic embroidered pocket book, mid 18th century. Made from muted turquoise silk damask and lined with aqua silk The design features flattened strips of couched silver combined with ropes of silver bullion, silver chain, satin stitches, and silk floss satin stitch. In person, the silver catches the light and glitters. The subtle color scheme is brought to life by a marvelous variety of texture in the embroidery. | |
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#1075 $975 Child's printed cloth, heelless shoes, c.1830. I love the printed cotton with its tiny Xs and vermicular background! The heels and toes are foxed with black leather, and the upper edges are bound with folded ribbon. The hand-stitched shoes close in front with ties. Remarkably good condition for such an important historical artifact. | |
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#2342 $950 Child's Berlin woolwork slippers, c.1840. Berlin woolwork or needlepoint was often used to fashion slippers in the mid 19th century. After a lady completed her needlework design for the uppers, she took it to a shoemaker to be attached to soles and then lined. This pair is lined with red hand-quilted silk for warmth. The upper edges are trimmed with bottle-green silk ribbon that forms bows in front. The artless simplicity of the embroidered design is a delight to the sophisticated modern eye. | |
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#1000 $385 Silk satin half boots, c.1830. The side-lacing boots are lined with ivory linen and have no heels. Narrow half-boots of delicate satin made the foot appear smaller, more shapely, and feminine. The American Peterson's Magazine wrote (1855) that "nothing can be more elegant than a pure white or black satin shoe." Colored footwear went out of fashion in the 1830s, when hem lines hit the floor—an embrace of feminine modesty just before Queen Victoria ascended the throne. | |
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#2196 $1,400 Chenille embroidered satin waistcoat fronts, mid 18th century. In couched embroidery, a yarn too large or too stiff to pass through the fabric is tacked down by another lighter yarn that can be passed through to the backside. The chenille yarn is couched on the satin surface with fine silk floss. The embroidery artfully balances positive and negative space in the fern-and-floral motif to achieve a rich and complex design. The waistcoat fronts are backed with linen. The embroidery is stitched through both layers. A superb example of textile art. | |
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#1683 $1,600 Gentleman's hand-embroidered silk waistcoat, c.1790-1805. The fronts are fashioned from black silk satin lined with beige linen. The back is plain beige linen. The waistcoat is lavishly decorated with a floral pattern of polychrome silk floss. A stunning example of beautiful hand-embroidery in men's wear from two centuries ago. The waistcoat is completely hand stitched and all original. It was not altered from an earlier example. | |
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#1891 $4,000 Silk/damask shoes, c.1780. The uppers of the shoes are fashioned from beige (lighter in hue when new) silk damask woven with a monochromatic pattern of narrow stripes and bouquets of small flowers. Great care was taken in the construction of the shoes to make sure that flowers were placed on each toe. The shoes are lined with matching linen. The delicate heel, pointed toes, and peaked throat are all style features of the late 18th century. Neoclassical design at its best: elegant but restrained. | |
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#1840 $2,200 Rare Native American deerskin slippers, c.1820s. Because of their rarity, they are an important early clothing artifact. Most early Colonial shoe styles were hand produced and worn until they died; very few examples survive. The deerskin slippers are hand embroidered with a chain stitch pattern of abstract florals. The upper edge is bound with navy silk ribbon. The inside is lined with ivory cotton, and the sole is lined with linen. The soles are leather. | |
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#1756 $550 Lady's linen chemise, c.1820-1830. Chemises in pattern catalogues are picture flat so you can see how they are cut. The triangular side panels in the pictures give the impression the chemise stands out from the body on the side. In fact, these side panels push the front and back into graceful bias folds. The neckline and sleeve edges are trimmed with hand-embroidered scallops. The chemise has a hand-embroidered, monogrammed "AF" in front. Even if your initials are not "AF," this chemise may be meant for you! | |
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#2177.5 $650 Infant's hand-embroidered dress, c.1815-1820. The infant's dress, open in the back, is lovingly decorated with fine hand embroidery, tiny tucks, and bands of pointed trim. The pointed trim is completely hand stitched from the same fabric as the dress; the time it took to produce the trim boggles the mind. The dress has the original drawstring to adjust the neckline fullness. There runs through the artless decoration a charming vein of simplicity. | |
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#1855 $350 Hand-embroidered infant's bonnet, c.1800. Fashioned from sheer cotton muslin with insets of needle-run tulle. The embroidered florets are executed in chain stitch—they appear raised above the surface. The bonnet has drawstring ties on the lower edge and along the front. The purity and restraint of textured white stitches on a sheer white ground perfectly suited the Neo-classical aesthetic. There could not be a more pleasurable indulgence than buying this extraordinarily fine bonnet for a beloved infant. | |
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#1676 $650 Petit point embroidered braces, c.1850. The embroidery is worked on a canvas ground with mellow shades of silk floss. The backs and edge bindings are fashioned from ivory silk moiré. What magnificent petit point embroidery on these stylish braces, the progenitor of modern suspenders! The perfect gift for the man in your life. |