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#c397 $2,300 Appliquéd velvet reception gown, c.1905. The superb gown has exceptional design as well as provenance from descendants of the Revolutionary War veteran, Captain Rufus Lincoln (1751-1838). With figure flattering princess line seams and a small back train, the historic gown is almost majestic. It features a black velvet over dress with gray silk faille front panel and under sleeves. The over dress is dramatically styled with wide shoulder flanges and cut work sleeves. The gown is embellished with elaborate padded silk taffeta roses on trailing chenille stems. The exquisite embellishment and handmade lace suggest the gown was very expensive when new. NEW LISTING | |
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#7047 $1,400 Beaded cross strap boots, c.1900-1905. Made from deep plum colored, bronzed kid leather, this style in excellent condition is difficult to find today. The crisscross straps and toes are embellished with bronze metallic beads. Louis heels, more difficult to make than straight heels, were reserved for expensive shoes and boots. The Louis heels on these boots are stylishly high and flaring. NEW LISTING | |
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#7046 $1,050 Sorosis suede/leather lace-up boots, c.1917. Walking boots, essential lady's footwear in the 19th century, were out of style by the 1920s. This pair is from the last decade of high style walking boots. The increased height of boots was in response to the shorter skirt lengths popular after WWI. The uppers of the front lacing boots are made from burgundy suede with matching kid foxing. The soles are leather. The minimally worn boots have only light scuffing on the soles. NEW LISTING | |
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#7059 $1,250 Beaded barette-style strap shoes, c.1900. Made from bronzed kid leather that has an iridescent metallic finish achieved with cochineal dye on kid leather, the shoes were the latest word in fashion in 1900. The straps and toes are embellished with bronze metallic beads. The open work on the toes creates the illusion that more than four straps need to be buttoned. With a super stylish flared shape, these Louis heels were reserved for expensive shoes and boots. NEW LISTING | |
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#7058 $750 Satin & silk damask single strap shoes, c.1910. The luxe shoes, obviously expensive when new, personify the restrained elegance of old money. The refined shape with elongated vamps and sassy tongues is the perfect background for the blend of expensive silk fabrics. The shoes are meticulously constructed. They have silk faille binding around the edges and expensive Louis heels. Each strap closes with a single button. The insoles are black leather. The lining is a combination of ivory canvas and black kid. NEW LISTING | |
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#2190 $1,950 Sidesaddle English riding habit, c.1905. In the early 1900s, riding habits changed from the short jackets and full skirts of the Victorian era to longer jackets and more tailored skirts. The fair equestrian disdained the frills and lace of her pedestrian sisters in favor of a simple, almost masculine simplicity. Made from tightly woven charcoal wool twill, our riding habit has a figure flattering jacket shaped with full length darts in front and princess line seams in back. The jacket skirt has a deep vent in back. My draping shows the open back construction that allows room to wear jodhpurs underneath. | |
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#c338 $2,100 Chantilly lace gown, c.1905. The bodice has the full pigeon-breasted front typical of the period. The skirt is cut longer and fuller in back, forming a small train. The grand gown is noteworthy for two reasons: the unusual addition of colorful floral appliqués; and the use of black velvet bands to highlight the texture. This magnificent gown is totally lined with écru silk, allowing textural elements—Chantilly lace inserts and appliqués, rows of tucks, and black velvet ribbon bands—to stand out. | |
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#7027 $1,200 Reserved Hand-embroidered blouse and skirt set, c.1910. With winning style from a century ago, the immaculate white outfit is made from sheer cotton voile and lavishly decorated with Valenciennes lace inserts and ruffles and hand embroidery. The rich complexity of the embroidery is memorable—large flowers, cutwork, and a variety of stitches. The overblouse is waist length in front with a delightful peplum tail in back. The sailor-style collar has a pretty scalloped border in back. This heirloom quality outfit has the fresh, crisp beauty of springtime eternally in bloom. | |
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#7024 $600 Hand-embroidered organdy skirt, c.1910. The skirt has two tiers of crisp white organdy. The top tier is lined with white cotton for modesty and also has a fabulous scalloped hem border. Each tier is lavishly hand embroidered with flowering vines. The flared skirt is gracefully shaped to be smooth over the hips and full below. The fine hand embroidery is quintessential Art Nouveau design: scrolling floral motifs with a whimsical touch. They convey the fresh, joyful spirit of newborn springtime—perfect for the frigid winter months. | |
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#2426 $2,600 Princess application lace wedding dress, c.1905. The exquisite wedding dress has everything you could want: abundant ruffles, romantic lace, bouquets of princess lace flowers, and a long train. The simple, yet intriguing, semi-abstract floral design has a pleasing symmetry that is a delight to the eyes. The design has a mesmerizing appeal that draws the viewer into the mystery of the eternal feminine. Princess lace is a tape lace available in the shapes used for handmade Brussels lace. The former is a great value if you want the look without the exorbitant expense of the latter. | |
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#2333 $1,250 Hand-assembled tape lace skirt, c.1905. Made from hand-assembled white cotton tape lace, the skirt is cut to be smooth over the hips and is longer and fuller in back, ending in a gracefully shaped train. The tapes create large foliate forms that scroll over the hips and cascade down the train. Like handmade Irish crochet, the shape of the garment is built in with the assembly of the tapes. With romantic lace and a long train, the skirt has everything you could want in an Edwardian garment. | |
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#0993 $750 Sequined tulle evening skirt, c.1915. The stylish skirt is made from black cotton tulle decorated with applied bands of blue and silver sequins. It is lined with black silk crepe and closes in back with hooks and snaps. Particularly noteworthy is the inventive design motif composed of complementary and countervailing linear elements: the dominant, vertical linear stripes; the complementary, fan-like oblique stripes at the waist; and the horizontal stripes at the hem and in back. The versatile design can be worn as an antique or paired with a contemporary top. | |
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#4091 $450 French lace camisole, c.1905. Made from delicate cream colored cotton lace and completely hand sewn, the camisole closes in front with hidden snaps. The fullness can be adjusted at the bottom with the ribbon drawstrings. The shoulder straps and upper border of matching satin ribbon are decorated with small bows. A bouquet of satin ribbon flowers and thread-covered balls embellish the front. The seductive allure of the floral pattern, as it adorns and caresses your body, will not be lost on the man in your life: be prepared! | |
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#4104 $850 Embroidered lace wire frame garden hat, c.1910. Made from delicate embroidered mesh stretched over a wire frame. The underside of the brim is backed with matching tulle. I love the variety of texture and the subtle, pastel shades of the floral decoration. Exceptional Edwardian hats, with their original trim, are difficult to find. Most have been "improved" with over decoration, or else they are in worn condition. | |
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#2440 $850 Tambour embroidered net lace tea dress, c.1915. Made from ivory colored lace over an attached slip of cream colored satin. The "lace" is actually dotted net that has been tambour embroidered (chain stitch) with flowers and scrolling vines. The dress features the square "Armistice" neckline, unlined three-quarter-length sleeves, and a flared skirt. I love the layered panels of lace across the front bodice. Both layers close in front with hidden snaps. The use of layered panels to draw attention to the Armistice neckline is a stroke of design genius! | |
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#6959 $850 Irish crochet/embroidered tulle tea dress, c.1912. The deeply cut armholes and full sleeves are quite comfortable. The pattern on the skirt features high relief, padded satin stitch embroidery. The semi-abstract floral pattern confers on the dress the winsome beauty it had when first worn to a garden party 90 years ago. I can see a gracious hostess in this tea dress: nothing could be more perfect than the costume; pure ivory, but the fashion consummate; a single rose her only ornament. | |
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#4011 $1,200 Sold Satin/lace trained evening dress, c.1919. With the small back train, the relaxed fit, and draped style, the exceptional charmeuse dress would be perfect for an informal wedding. The bodice is embellished with panels of matching tamboured net lace. The panels are bordered with handmade silk Maltese lace, as are the sleeves. The only other embellishment is the large self flower on one side of the artfully draped skirt. The diamond shaped panels on the front and back have a rich, artistic complexity. Particularly noteworthy on the front panel is the tension between the circular central motif and the enclosing threefold rhombus-shaped motifs. | |
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#c201 $2,100 Commodore Perry estate satin wedding gown, c.1908. I love the elegant, understated design. The beautifully cut skirt and train were wisely left unadorned, emphasizing the substantial quality of the rich ivory satin. The figure-flattering, princess line seams mold the gown to the torso without adding bulk at the waist and hip. The deep neckline opening is trimmed with swags of faux pearls and lace flounces that form graceful partial sleeves. What could be more romantic than bare shoulders with just a hint of delicate lace cover? | |
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#6964 $1,250 Satin damask wedding dress, c.1912. The dress closes in front with concealed hooks. It is regally styled with a slender, high-waisted skirt and weighted train of substantial quality satin damask. I love the strong, yet feminine, floral pattern. The bodice and sleeves are finely embellished with matching, embroidered cutwork "lace." No one of sensibility can fail to delight in the felicitous details of the inspired floral design. It is a special treat to find an antique wedding dress with the original design and underpinnings. | |
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#4000 $2,900 Orientalism-inspired wool coat, c.1912. Made from orange corded wool and lined with black satin, this brilliant coat features wide kimono sleeves, a high stand-up collar, and a straight cut. The black cloud-form pattern, borrowed from Chinese porcelain designs, is embroidered with curled wool yarn and outlined with black cord. With its striking palette of orange, green and black, this brilliant coat perfectly captures the mood of the period. As exciting and wearable today as 100 years ago, this stunning coat is a peerless exemplar of Orientalism in fashion. | |
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#2461 $1,250 Sold Hand-embroidered tea dress, c.1905. The abundance of fine floral embroidery together with delicate lace inserts and rows of pin tucks appeals to our nostalgia for a more genteel lifestyle. The bodice and skirt close in back. The soft feminine style features an open V-neckline, high waisted bodice, three-quarter-length sleeves and a back train. The fine embroidery combines padded satin stitch with French knots, both executed with great refinement and delicacy. This sheer cotton batiste beauty will need a slip. | |
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#4013 $2,200 Belgian mixed princess lace jacket, c.1900. The fine princess lace used resembles handmade Brussels bobbin lace at first glance. The hand-assembled jacket ingeniously combines shaped princess lace petals, straight tape lace, fancy work fill, and Irish crochet medallions with tassels in an artfully textured design. The flawless execution of the design motifs shows lace to be the ideal medium to express the crisp, clean beauty of the intricate designs. With the gracefully flared back and open back vent, the cream colored jacket epitomizes the stylish elegance of the early Edwardian period. | |
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#2393 $1,450 Metallic lace and satin damask coat, c.1918. The splendid coat is fashioned from black and silver satin damask, woven with a Japanese-style pattern of birds in flight. The wide, loose sleeves are bordered with silver metallic lace, which has the burnished glow seen only in real metal fibers. The draftsmanship of the birds in flight, eagerly searching for food, is executed with great artistry. There is a sense of the urgent, ardent quest that is at the heart of all life. The caftan style here was embraced by the fashion cognoscenti of the early 20th century. An ethnic motif added drama and mystery to the design and warranted the sophistication of the wearer. | |
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#2312 $2,500 Battenberg lace trained skirt & jacket, c.1905. This exquisite lace ensemble has high quality construction, a superb lace pattern, and a dramatic cut. Battenberg lace garments convey a sense of style, distinction, and natural refinement. Here the skirt, quite smooth over the hips, is fuller in back, ending with a graceful train. The bolero-style jacket, open in front below the button, has three-quarter-length sleeves and is shorter in back. This superb wearable ensemble will also appeal to collectors because of the large, varied motifs pleasingly arranged. | |
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#2327 $1,200 Embroidered tulle/Irish crochet tea dress, c.1915. This tea dress is less formal than its boned and corseted Belle Époque predecessors but would be perfect for an informal wedding. It is made from white cotton tulle decorated with bands of machine embroidery and handmade Irish crochet medallions, which lend the Arcadian design an endearing charm. Especially appealing is the shape of the layered skirt, whose top layer is weighted at the hems of the embroidered panels to ensure that it will hang properly. | |
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#1439 $950 Silk and lace peignoir, c.1910. Made from lilac China silk and completely lined with matching fabric, the peignoir is abundantly decorated with lace inserts and flounces, and numerous rows of the narrow tucks so beloved by the Edwardians. The subtle elaborations and intricacies of the leaves and tendrils are of the last degree of charm, while the Renaissance-style sleeves are to die for! The seductive allure and delicate femininity of the floral lace, as it adorns and caresses your body, will not be lost on the man in your life. | |
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#2005 $1,500 Burnous-style evening wrap, c.1900. The burnous-style evening cloak was made popular in the early 1900s by Liberty & Co. The sheer fabric, a heavenly shade of purple silk chiffon, floats over the body, moving with the wearer. The fine Persian-style embroidered borders add an exotic ethnic touch. I love the Persian-style embroidered borders! The hand-embroidered pattern, worked in chain stitch, combines silk floss stylized flowers with bronze metallic vines. The burnous-style evening cloak was made popular in the early 1900s by Liberty & Co. | |
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#7015 $500 Reserved Chemical lace bolero, c.1905. The bolero features graceful wide, short sleeves. The cut, shorter in back with long front points, was meant to accommodate the mono-bosom of the Edwardian period. This cut works just as well today. The bolero is open in the front with no closures. The color has aged to pale cream. The bold floral motifs are a triumph of inspired Art Deco design. You can wear the stylish bolero with jeans or as formal evening cover. | |
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#4081 $850 Hand-embroidered linen blouse & skirt, c.1915. Blouse and skirt can be worn together as a dress or as separates. The sleeves are cut-in-one with the blouse, resulting in a comfortable relaxed fit. I love the cheerful and exuberant ethnic-style embroidery, whose simple charm will raise spirits on the dullest day. Blouse and skirt are hand embroidered with blue and white daisy-style flowers. The highly textured design is a pleasing arrangement of padded satin stitch, French knots, and cross stitch. | |
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#1646 $1,400 Hand-embroidered silk coat, c.1910. The natural silk faille is hand embroidered in silk floss with robust roses and small eyelet flowers. The romantic embellishment works perfectly with the long slender style gracefully shaped through the upper body and flared below the waist. The center-back has a deep box pleat. The wide, bias-cut cape sleeves disguise the sleeveless armholes underneath. The magnificent embroidery tells us the wearer belongs to the aristocracy of style, a special cadre of fashion initiates whose smart attire always attracts admiring glances. | |
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#1411 $1,450 Pink silk gown, c.1905. This delightful gown from the end of the Victorian period is a celebration of unabashed femininity. The winsome roseate pink and the fastidious decoration will melt the heart of any man! The skirt is cut longer and fuller in back. The skirt and lower sleeves are decorated with rows of pin tucks. Matching pink silk chiffon is used for the upper sleeves and sleeve bows. The neckline, sleeves, and lower skirt are decorated with ivory lace appliqués. | |
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#4107 $650 Two-tone floral straw hat, c.1900. Embellished with pale peach fabric roses and sprays of white forget-me-nots, which have been worn by women as a symbol of enduring love since medieval times. The height of the crown is built-up on one side and decorated with a taupe satin bow. The crown is lined with sheer black silk. This style of hat was meant to be worn perched on top of a piled up coiffure. | |
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#6578 $450 Child's Buster Brown lace-up shoes, c.1905. It is a treat for the collector to find a pair of children's shoes from 100 years ago in such excellent condition. Ironically, they are rarer today than fine period shoes, which were often saved. The upper portion of the two-tone leather design has a matte finish; the lower portion is shiny. Buster Brown is stamped on each sole. The name comes from the famous cartoon character of the time, known to every child in America, as was his dog Tige. | |
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#4066 $750 Irish crochet lace blouse, c.1900. The distinguishing element of Irish crochet lace is three-dimensional raised work. The blouse has all the attributes favored by serious collectors: unusual large medallions in the lace pattern; a variety of floral motifs; and a pleasing arrangement of the motifs. The all-over pattern of small roses is accentuated around the neckline and collar with large motifs. The blouse closes in back with snaps. Wearable, washable, and beautiful! | |
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#2156 $350 Handmade filet lace/chiffon blouse, 1910s. Made from delicate ivory silk chiffon, the blouse is embellished with wide bands of handmade filet lace, many rows of pin tucks, and faggoted seams. The front and cuffs close with crocheted ball buttons. The wide lace collar beautifully frames the face, and the alluring femininity of the floral motif will win all hearts. The scrupulous symmetry of the crisp, clean floral design borrows an harmonious symmetry from nature. | |
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#2339 $1,850 Beaded tulle over dress, c.1910. Finely embellished with faux pearls, gold seed beads, and silver cut beads. The designer uses highly stylized, curvilinear forms in a memorable Art Nouveau design. The contrast between the quiet mystery of the sinuous, exotic motif and the bold brilliance of the materials used is an aesthetic triumph. You can wear this versatile dress over a white slip for a wedding dress or over a gold slip for an eye catching evening dress. The over dress combines charm, dignity, indeed majesty and mystery, in equal proportions. | |
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#0253 $375 Wide brim plush hat, c.1910. Made from sturdy wool plush that should not deteriorate, the hat is trimmed with contrasting dark and light brown ostrich plumes and a moiré taffeta ribbon around the crown. This beauty is perfect for the collector who wants to wear her treasures. Romantic wide brim hats from the early 20th century have enduring appeal because they frame the face of the wearer—so chic and stylish! | |
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#4021 $750 Silk chiffon nightgown, c.1910. Made from sheer pink silk chiffon, the bodice, pleated to the empire waistline, falls in soft folds below the ribbon ties. The satin ribbon sash is double faced: pink on one side and pale blue on the other side. The neckline is adjustable with a silk ribbon drawstring. The nightgown features panels of handmade filet lace, delicate floral lace, and silk ribbon rose buds. The seductive allure and delicate femininity of the floral lace, as it adorns and caresses your body, will not be lost on the man in your life. | |
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#1985 $1,200 B. Altman French satin tea gown, c.1900. Fashioned from heavenly lilac satin still fresh and pretty despite of the passage of time. The style is borrowed from 18th century open robes. In this updated version, the open front of the skirt is filled in with delicate lace where the petticoat would have been in the open robe. A handwritten label with the name of the original owner reads "Mrs. J.W. Tillinghast," a society figure at the turn of the century. Included with the dress will be a replica of the original New York Times society page of July 28, 1906 with a full report on the social event. | |
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#1112 $1,600 Stern Brothers embroidered velvet evening cloak, c.1918. The rich silk velvet fabric falls in graceful, full folds from the shoulder yoke. The cloak has the easy, unstructured comfort of a cape. The shoulders and lower sides are hand embroidered with large blossoms of blue silk floss and burnished metallic gold cord. The shoulder embroidery is particularly noteworthy. Though the pattern is abstract, it has the feeling of aristocratic insignia—an emblem of membership among the elite of family or of taste. A grand coat from the Opulent Era! | |
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#6469 $600 Beaded straw hat, c.1910. Made from dark navy straw and lined with black cotton, the front of the charming hat is decorated with a complex applied panel of iridescent navy bugle beads. The panel frames two pie-shaped inserts of embossed plastic patterned to resemble feathers. The panel is bordered with folded gros-grain, navy ribbon. What a charming forerunner of the Jackie Kenney pillbox hat! | |
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#0571 $950 Bridesmaid's dress, c.1910. Fashioned in layers with a golden mesh tunic over an ivory satin satin gown. The neckline, hems, and sleeves of the tunic are trimmed with balls covered with gold silk thread. The high-waisted style (cf. Aesthetic Movement) can be worn without a corset. The simple high-waisted style, which can be worn without a corset, was favored by the Aesthetes, who wished to free women from the restrictions of 19th century dress. The soft golden hue and natural looking floral decoration look to nature, rather than art, for inspiration. The unaffected, natural style of the dress is irresistible. | |
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#4106 $850 High style brown velvet hat, c.1910. I love the sophisticated elliptical shape with the narrow rolled brim that curls up to meet the extravagantly decorated crown (lined with black silk) and totally covered with matching brown ostrich feathers, two of which form a faux bow in back. The tour de force of the milliner's decorative art is the use of brown mink pom-poms and velvet pine cones. The orange velvet rose adds a dash of color. | |
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#0984 $650 Natural linen suit, c.1915. The loosely fitted jacket is detailed with top stitching and leather buttons. The skirt gently flares below a fitted waist peplum. The kimono-style sleeves, cut-in-one with the jacket, are comfortable and easy to wear. This Edwardian walking suit could have been worn by Meryl Streep in the 1985 romantic film Out of Africa. The classic beauty of the suit is as fresh today as it was 100 years ago. What an amazing tailored classic look! | |
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#c093 $950 Chinese informal silk coat, c.1900. Fashioned from blue silk damask and woven with a pattern of peonies. The silk is skillfully hand embroidered with a mixture of motifs, including flowers, vases, and bats. The embroidery, executed in silk floss, combines satin stitch and forbidden stitch with metallic cord couching. Forbidden stitch was originally done in Beijing's Imperial City and reserved for Imperial garments. It is a type of knot generally used as fill. The bottom of the coat is decorated with an undulating wave pattern: just as the sea borders the land, so the waves on the hem delimit the coat. |