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#2647 $1,250 Sold B. Altman beaded gold lamé evening dress, c.1915. With its luxe textiles and graphic, asymmetrical design, the brilliant dress has a powerful presence. The outer layer of black silk tulle is sculpted with asymmetrical draping and floats over a straight gold lamé under dress. The bodice is decorated with wide panels of black glass beads, beaded shoulder straps, and beaded hanging tassels. The skirt has horizontal rows of black beads as well as a spectacular beaded hem border of large "diamonds." NEW LISTING | |
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#2662 $750 Application lace/tulle skirt, c.1905. Lacy skirts can be worn for an informal wedding; or paired with a modern shell for a casual summer evening. Made from cream colored cotton tulle, the skirt is appliquéd with large tape lace bows, small princess lace flowers, and Irish crochet rosettes. The designer skillfully uses feminine, curvilinear forms, which have an almost Rococo fluency and grace. The skirt is flared below the hipline, falling in soft folds. It is longer and fuller in back, forming a small train. NEW LISTING | |
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#2663 $650 Embroidered handkerchief linen skirt trimmed with Irish crochet, c.1905. What an abundance of hand embroidery, handmade needle lace inserts, and Irish crochet trim! The fine handwork is accented with faggoted seams and rows of narrow tucks. The centripetal motif lends a mesmerizing charm to the design. The soft white linen gives the skirt the look of a garment made for an angel. Even if that does not describe you, the heavenly skirt can just as well grace a mere mortal's frame. NEW LISTING | |
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#c334 $2,200 Kimono-style tea gown, c.1905. Made from pale peach silk crepe, the lightweight kimono is exquisitely hand embroidered with trailing vines of wisteria in shades of lavender and green. The exotic floral design has a magic as potent and restorative as the deepest slumber. The leaves have the haunting verisimilitude of nature in full bloom. The kimono was made from Japanese fabric probably for export to the West. The sash is more like a scarf than an obi. NEW LISTING | |
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#c426 $12,000 Brussels handmade mixed lace wedding dress, c.1905. The grand lace wedding dress has panels of Point de Gaze needlepoint lace surrounded by Duchesse bobbin lace. The dress has the fluid ease of a 1930s evening dress plus the heirloom mystique conferred by antique Brussels lace. The waistline seam dips to below the waist in back, drawing attention to the graceful train. There inheres in our noble wedding dress an uncommon beauty that is both historic and classic. | |
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#2652 $1,450 Reserved Hand-embroidered tea dress, c.1905. Made from sheer cotton batiste embellished with padded hand embroidery and lace inserts, the romantic appeal speaks to us across time. The attention to finishing detail is amazing: the flounce of ruffles behind the scalloped skirt hem; and the embroidered back skirt panel extending upward over the waist to the bodice. It is such seemingly insignificant details, half-consciously perceived, that raise fashion from a craft to an art form. | |
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#2635 $1,400 Stern Brothers beaded devoré velvet coat, c.1913. I love the long, slender cocoon shape with comfortable, wide, three-quarter-length sleeves. This exemplar of Stern Brothers high style fashion was made from dreamy, slate blue devoré velvet, a hue with a haunting beauty. The floral pattern of the velvet is cut to a ground of matching silk chiffon covered with sparkling beads. In this magnificent coat, you will make a memorable impression. | |
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#2627 $1,600 Reserved Embroidered tea dress embellished with Irish crochet, c.1905. Without the original boned underpinnings, the dress is comfortable and easy to wear. The soft feminine style and delicious detail will appeal to your inner princess. The design uses a textured assortment of machine lace with accents of hand-embroidered floral appliqués and handmade Irish crochet flowers (the unifying element of the design). I love the smocked shirring on the sides of the lower skirt. | |
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#2617 $975 Sold Lace and velvet special occasion dress, c.1915. This ethereal creation could be the costume of a fairy princess: it floats over the body like a butterfly's wings. Our heirloom quality dress could also be worn for your wedding. It offers one-of-a-kind design at a fraction of the cost of couture. The under bodice is of ecru China silk covered with a layer of matching silk organza, whose gossamer delicacy is of the last degree of charm. | |
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#7237 $1,400 Beaded black lace dress, c.1918. Undiminished by time, this vintage treasure still weaves its seductive spell. The bodice and skirt front are embellished with jet-black beads and sequins, adding sparkle to the black-on-black design. The subtle refinement of the diaphanous design on the sleeves is beyond compare, while the gossamer delicacy of the floral motifs have a magical allure. Here is a dress for a woman whose very manner and style intimates the seductive sophistication of the evening. | |
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#2610 $950 Hand-assembled Battenburg lace blouse, c.1905. Cut longer and fuller in front, the stylish blouse has a high stand-up collar and longer-than-average, straight sleeves. Featuring a centripetal motif, the ultra-feminine floral pattern is worked with ivory cotton tapes connected by small "doughnuts" and by needle handwork. The highly textured, bold motifs can be appreciated from a distance. Complexity and richness is therefore a high merit in the design. | |
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#7262 $1,400 Chiffon tea dress embellished with lace, c.1910. The stylized charm of the floral design and the gossamer delicacy of the lace pattern personify the feminine ideal in clothing. With soft feminine styling, pin tucks, and textured lace accents, the dress delights the jaded modern eye. The outer layer of the dress is of ecru silk chiffon backed with an under layer of white cotton tulle. The range of textures in the lace embellishment adds depth and complexity to the design. | |
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#1379 $2,900 Doucet couture Irish lace/silk brocade evening cape, c.1905. Decorated with bands of handmade Irish crochet lace and feather trim. Luxurious, royal lavender fabric. This evening cape is a magnificent statement in restrained luxury from one of the greatest couture names. The decoration is minimal, allowing full attention to the superb fabric. | |
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#2650 $975 Embroidered tea dress, c.1910. Made from lightweight white cotton broadcloth, the pristine dress is lavishly decorated with machine embroidered cutwork and lace inserts. I love the scalloped edge on the neckline. With their endearing feminine charm, the semi-abstract floral motifs on the bodice intimate the eternal mystery of woman's beauty. Despite the elaboration of decorative elements, the dress has an unaffected naturalness that wins the heart. | |
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#2579 $2,400 Beaded devoré velvet evening wrap, c.1914. Made from dusty rose colored velvet cut to a ground of navy blue chiffon, the fluid unstructured shape seems to take on the personality of the wearer. The navy chiffon sections of the design are covered with iridescent glass beads. The plump velvet roses are bordered with bands of meandering fleurs-de-lis. There is an engrossing charm in the sublime roses in bloom. With their gorgeous verisimilitude, they have a haunting beauty. | |
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#2562 $1,600 Beaded tulle evening gown, c.1910. In the scintillating evening gown, the elegant style molds to the torso, ending with a dramatic sweeping train. The outer black silk tulle layer is totally covered with a brilliant textural composition. The textured black-on-black design adds a layer of glamour to the languid Edwardian elegance. The ingenious combination of black glass beads, paillettes, and sequins is enhanced by creatively placing clusters on edge, producing a glittering three-dimensional effect. | |
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#7046 $850 Sold 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. | |
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#2312 $2,300 Battenberg lace trained skirt & jacket, c.1905. Battenberg lace garments convey a sense of style, distinction, and natural refinement. This one has a superb lace pattern and a dramatic cut. 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 distinctive ensemble will also appeal to collectors because of the large, varied motifs pleasingly arranged. | |
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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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#2621 $1,200 Tea dress embellished with lace and pin tucks, c.1912. Made from sheer white cotton batiste, the lovely dress is styled with a form-fitting torso shaped by figure-flattering princess line seams. The skirt, flared below the hipline, ends in an elegant train in back, fit for a Queen. It is decorated with lace inserts and rows of the pin tucks beloved by the Edwardians. The gossamer delicacy of the lace will entrance your "audience." The wide bertha lace collar perfectly frames the face. | |
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#2419 $850 Irish crochet lace blouse, c.1905. The variety and piquant charm of the schematic floral motifs is truly memorable. The centerpiece of the design is the blooming rose on the bodice. Radiating from the center are the dependent, budding florets and sprigs. The use of semi-circular endpoints on the long, close-fitting sleeves is a nice touch. The blouse has not been altered in design to make it more wearable for the modern woman. The longer-in-front, blouson style is correct for the period. | |
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#4000 $2,500 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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#6959 $1,200 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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#2620 $650 French lace lingerie jacket, c.1905. Made from lightweight white cotton broadcloth with inserts of matching cotton lace, this beauty has exceptionally fine detail: faggoted seams, pin tucks, wider tucks, and a hand-embroidered monogram. It closes in front with small concealed buttons and a narrow silk ribbon drawstring tie at the neckline. Handmade French vintage lingerie is not only exquisitely beautiful but also has a well deserved reputation for working "bedroom magic" on the wearer's partner. | |
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#1985 $1,400 B. Altman French satin tea gown, c.1900. Made from heavenly lilac satin still fresh and pretty. 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 in 1900. 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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#2529 $850 Belle Époque boudoir jacket, c.1902. Made from sheer white dotted Swiss mull, the ultra-feminine jacket has the intricate detail beloved by the Edwardians: rows of pin tucks, lace insertions, ruffles, and open work ribbon casings. The jacket closes in front with concealed mother-of-pearl buttons and with the original peach satin ribbon ties. You can also add ribbon ties in the sleeve casings. From 1900 to the mid-1920s, fashion emphasized lingerie and déshabillé. | |
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#2598 $2,200 Irish crochet dress tunic, c.1910. The figure flattering princess line seams of the skirt are open at various levels below the waist—provocative construction rarely seen in Irish crochet garments. The two vertical lace panels bracketing the bodice visually lengthen the silhouette. The romantic floral design incorporates large hand-embroidered roses. The padded, high relief embroidery is the perfect complement to the 3-dimensional Irish crochet flowers. | |
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#7047 $850 Sold 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. | |
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#7163 $850 Cluny lace trimmed silk peignoir, c.1910. With its classical beauty and an irresistible feminine allure. here is a garment meant for the aristocrat of style, who will command the attention of all. Made from champagne colored China silk, the peignoir is trimmed with inserts of handmade Cluny lace. The empire style features a fitted bodice and long full skirt. The graceful sleeves flare out to points over the elbows. The balancing of the long vertical silhouette against the rhythmically repeated, horizontal and diagonal bands on the neckline and bodice is masterful. | |
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#7178 $750 Beaded metallic brocade evening bag, c.1912. Made from metallic silver and gold brocaded silk, this superb bag is embellished with an Art Nouveau pattern of bronzed gold bullion, faux pearls, and glittering rhinestones. The silver clasp has tiny rhinestones and green glass beads. Lined with ivory silk, the stylish bag has an inner pocket and an attached change purse. The bag belonged to Katherine Drexel, daughter of Josephine Wharton Drexel and great granddaughter of Francis Martin Drexel, founder of the Drexel family in the United States. | |
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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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#2555 $750 Sold Gainsborough style wide brim straw hat, c.1900. Made from natural colored straw, the upturned brim and crown are bordered with wide black velvet ribbon. A charming bouquet of silk ribbon flowers with autumn colored leaves cascades over the peach ostrich plume on the crown. Wear this beauty to Ascot; wear it for a wedding; or wear it just for fun! In the 21st century, this is a two-season hat, spring and fall. | |
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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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#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 eternal 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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#7185 $750 Edwardian style vintage blouse, 1970s. Finely fashioned from peach colored silk crepe de chine with French seams and rows of pin tucks, the princess line seams give the blouse a figure flattering shape (4" longer in back). The hem border is of expensive handmade Cluny lace, a Victorian handmade bobbin lace, which is worked in linen thread and has braided bars and small petal-shaped wheat ears. This beauty gives you the romantic allure of an antique in a garment sturdy enough to wear. | |
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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 mellow cream color has a lovely patina, which confers an antique charm. | |
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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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#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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#7059 $850 Sold 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. | |
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#2572 $950 Belle Époque lace trimmed peignoir, c.1905. Made from alternating, bias-cut panels of white ribbon-weave cotton and white cotton lace, the luxurious peignoir is decorated with abundant ruffles and lace. Although the style is full and loose, the bias cut lets the fabric gracefully skim the body. The diagonal orientation of the panels, together with the train, visually lengthen the silhouette. The sumptuous sleeves and the train make this extravagantly romantic peignoir perfect for a charming and seductive lady of high station. | |
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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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#4141 $750 Hand-embroidered linen camisol-style vest, c.1918. Made from hand-embroidered ecru linen, the vest features amazing decoration. I love the textural variety of the open work fill and drawn thread work combined with three dimensional padded satin stitch and French knots. The straps and top borders are of hand crochet lace. The vest closes in front with small hooks. The crochet buttons and Irish lace bow are decorative only. | |
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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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#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 grosgrain, navy ribbon. What a charming forerunner of the Jackie Kenney pillbox hat! | |
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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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#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. | |
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#0571 $950 Sold Bridesmaid's dress, c.1910. Made 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 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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#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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#2463 $925 Hand-embroidered linen/lace ensemble, c.1910. The high waist and the two vertical panels emphasize the long lines of the silhouette. The vertical panels almost appear continuous from the vest to the skirt. Both the long sleeved dress and the sleeveless vest are hand embroidered with a cutwork floral pattern. The satin stitch embroidery has an amazing 3-dimensional verisimilitude. The white linen and slender silhouette intimate an angel's uniform. This heavenly outfit may be just right for you! |