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#2596 $650 Chameleon cutwork kid shoes, 1870s. The stylish shoes have the rounded square toes popular from the 1840s to the 1880s. After a hiatus from 1800-1850, heels returned to fashion. Shoes with fancy cutwork with colorful silk underneath became known as Chameleons. The style was all the rage in the period 1850-1880. Chameleons remained quite popular until 1900. Here, the designer used whimsical geometric shapes to create a brilliant and memorable design. NEW LISTING | |
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#2399 $1,950 Ribbon-embroidered net coat, c.1900. The gently shaped waist and relaxed cut define the figure while maintaining a comfortable fit. The skirt of the coat has deep sides slits almost to the waist. The coat closes in front with concealed hooks; the large, three-dimensional buttons are decorative only. The "lace" is actually embroidery on a net ground. The textural combination of black ribbon and braid is an especially imaginative design element that makes the design "pop." The intense black underlines the effect of a meeting of light and texture. | |
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#1785 $650 Child's cotton printed corded bonnet, c.1850. Fashioned from polka dot cotton, the bonnet was originally totally lined with aqua silk. The bonnet is hand sewn with perfect little stitches. I love the contrasting floral print lining of the brim! The red and navy braided fringe adds the finishing touch. The floral print lining of the brim makes a perfect contrast to the bonnet's polka dot pattern. A rare example of a child's clothing as fine folk art. | |
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#2592 $1,800 Satin damask bustle gown with provenance, c.1876. With a sweeping train and brilliant golden hue, the grand gown dazzles the eye. It was made from gold and ivory satin damask woven with a pattern of floral sprigs and medallions. The floral design conveys a refinement and delicacy reminiscent of the Rococo period. Worn in 1876 by Harriet Gorman, the gown comes with a signed letter documenting its history as well as an 1854 ambrotype photograph of Miss Gorman. | |
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#4146 $985 Roller print cotton wrapper, 1850s-1860s. The cut is flared and loose for comfortable wear in the home. The wrapper, completely finished on both sides, is reversible. The three distinct prints were dyed with madder, a colorfast dye in wide use in the second half of the 19th century. The vividness and saturation of the colors in the 160-year-old wrapper cannot be topped in today's retail market. Among other brilliant hues are Persian red, brown, umber brown, and desert sand. | |
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#4144 $1,500 Gentleman's smoking jacket, 1870s-1880s. Made from printed wool faille and lined with contrasting printed cotton. The front opening is embellished with Brandenburg tape appliqués around the top button. The brilliant print features intricate, exotic Eastern motifs. Although upper class Englishmen would not wear the ethnic clothing favored by artists and bohemians, a plush "ethnic-style" smoking jacket was just daring enough for aristocratic taste. | |
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#7166 $1,200 Two-tone taffeta and velvet bustle dress, early 1870s. With a sweeping train and graphic two-tone design, the stylish dress can be an impressive presentation piece. The bodice and the layered skirt were made from copper colored silk taffeta and trimmed with a darker shade of burnt umber velvet. It was common in the early 1870s for skirts to have two separate layers. In this case, the layers are both attached together at the waist. The dress retains design elements from the 1860s: the dropped shoulder; the narrow corded piping around the armholes; and the use of silk fringe. | |
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#2235 $2,850 French bead knitted mantle, c.1889. When this matchless mantle is seen from a proper distance, it produces the intended effect: opulence, a somber mystery, and a touch of the exotic. The complexity of design was facilitated by the tiny stitches used to create the intricate patterns. The faceted beads, incorporated into the design during the knitting process, sparkle with a subtle mix of taupe and blue. The monochromatic color scheme, enhanced by the highly textured pattern, has the layered depth of the ocean's surface on a gray day. One has to go back to 1880s to find such masterful decoration. | |
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#2372 $1,950 Bead knitted jacket, late 1890s. The brown silk yarn knitted with an open lacy pattern is ideal for the modern, figure hugging style. The jacket closes in front with corset-style lacing, which begins at the neckline. You can decide how much of the front is closed with the lacing. The straight collar folds over flat. The hem, sleeve cuffs, and back vent opening are trimmed with appliqués of jet black beads. The jacket clings to the body like the robes upon the figures in the Parthenon frieze. | |
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#4112 $1,950 Handmade lace/plush coat, c.1900. What a stunning masterpiece of textural monochromatic design made from ivory plush faux fur! With wide roomy sleeves, the cut is simple and slightly flared. On the ends of the lace panels, the fringe that mimics the faux fur is absolutely marvelous! The coat lapels, when turned back, reveal scrolling braided trim. The coat is lined with matching satin faced along the neckline and lower corners with exquisite handmade silk Cluny lace. | |
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#4111 $2,200 Hand-embroidered Kashmir shawl mantle, 1870s. The brilliantly hued mantle was fashioned from a hand-embroidered Indian Kashmir shawl. Lined with red satin and trimmed with variegated chenille fringe, the mantle closes in front with concealed hooks. The hauntingly beautiful star-shaped motif is certainly the most dramatic element in the design. The back is shaped with princess line seams that form deep pleats over a protruding bustle. | |
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#2559 $1,100 Striped silk/velvet two-piece bustle dress, 1870s. The stately silhouette is enhanced by the strong chiaroscuro effect of the striped fabric of bronze/gold corded silk and black velvet. The skirt hem, pleated ruffles, cuffs, and bustle back trim are of matching black and gold satin. The ensemble is meticulously constructed and finely finished on the inside with bound seams. The gown makes such a strong presentation that it could be the focal point of any costume display. | |
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#1245 $1,250 Silk taffeta ball gown, c.1870. The iridescent gold taffeta is as fresh and glowing today as it was when new. The hand-sewn bodice has a wide neckline, shoulder bows, and short pleated sleeves. It is cut longer and fuller in back with an inner cord to hold the fullness in place. The sleeves are set in with narrow piping, and the bodice hem is finished corded piping. The bodice closes in back with hooks. The skirt features a dainty pleated bustle pad in back and a pleated hem flounce. The construction is superb, and the condition is excellent. | |
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#0613 $1,400 Hemingway wedding gown, c.1883. Made from cream-colored silk faille, the gown is finely embellished with a matching chiffon neckline insert, bands of crystal beads and faux pearls, and a wide bodice flounce of handmade Brussels lace. The exaggerated puffed sleeve caps and sweeping back train add drama to the design. The gown has the original boned under bodice as well as original silk laces for the back. There inheres in the dress an uncommon beauty, both historic and classic, befitting the most important occasion in a bride's life. | |
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#c358 $2,700 Hand-embroidered wedding dress, c.1881.The bodice and train are fashioned from fawn-colored silk faille. The skirt is made of substantial ivory silk satin. Both pieces are hand-embroidered with sprays of ivory silk floss flowers, executed in satin stitch with French knot accents. The sleeves and neckline are trimmed with Brussels lace flounces. The superb hand embroidery sets this magnificent creation above other dresses on any day of the year. The style is regal and elegant, as befitting a bride on her special day. | |
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#7088 $900 Chantilly lace parasol with carved ivory handle, 1860s. The aristocratic, diminutive parasol features fine Chantilly lace, an intricately hand carved handle, and an unusual combination of two silk linings. The top lining layer, under the lace, is ivory silk taffeta. The under layer is a delightful (and surprising) pink hue. The high relief carving of the ivory handle and finial is a work of art, one that requires both delicacy and decisiveness in the carver, since one mistake will ruin the entire piece. There are no mistakes in the exquisite ivory handle! | |
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#2487 $1,250 Brussels lace parasol with ivory handle, 1860s. Made from handmade Brussels lace and lined with matching cream-colored silk, such a fancy parasol was more of a status symbol and fashion accessory than a sun shield. With the exquisite handmade lace top, the parasol would have been the proud possession of a lady of means. The floral lace forms a pretty scalloped edge. The shaft and finial are brass; the handle is hand-carved ivory. The condition is all original. | |
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#1917 $950 Provençal hand-quilted petticoat, c.1850. The design features trailing vines of red and blue flowers on an ivory ground. The cheerful melange of delicate blue, red, green and brown leaves, flowers and buds, fluttering in the breeze, proclaims the warmth of sun drenched Provence. The layers are hand quilted together with cotton batting in between. The hem is finished with rows of decorative corded trapunto. The design is outlined with two or more rows of running stitches and then padded from the underside to achieve a raised effect. | |
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#2578 $1,250 Silk taffeta dress, 1850s. Plaid taffeta dresses were almost a fashion uniform in the 1850s-1860s. The dress was styled to be worn as shown in the picture; or else with button-on lower sleeves. The one remaining lower sleeve will be included for study purposes. The low, wide neckline could be worn off the shoulders. The fullness of the neckline can be adjusted with drawstring ties. The sleeves are ruched at the top and trimmed with silk fringe at the hem. | |
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#6633 $950 Beaded embroidered velvet cape, c.1895. This beautifully embellished cape can be displayed as part of your collection or worn with jeans. It is made from black velvet elaborately decorated with couched soutache and faceted black glass beads, whose subtle sparkle will delight all. The cape is lined with black taffeta and closes at the neckline with two large hooks that are original. The exotic floral motif draws the viewer in with its flowing, highly-stylized, curvilinear forms, perfectly capturing the Art Nouveau aesthetic, then at a peak of popularity. | |
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#6712 $750 Native American beaded pouch, late 1800s. The pouch is totally beaded with tiny glass seed beads. The exotic bird design is the same on both front and back. The ivory cotton twill lining is hand stitched to the beaded exterior. Here is true folk art from over a century ago, when Native American culture still had an independent life. Unlike some "folk art" in the marketplace, the pouch is the real thing, made by Native Americans more than a century ago. This unique beaded bag is from the private collection of Desire Smith, the author of the authoritative Handbag Chic. | |
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#6460 $650 Beaded satin reticule, c.1890-1900. Around 1910, Native American beaded bags became major fashion items, usually made of simple chamois and decorated with brightly colored beads. Fashioned from copper colored satin and lined with green satin, our reticule is slightly earlier and of higher quality construction than many of the 20th century bags. The pleated top and looped fringe are nice touches. The bead colors are copper, red, and white. What splendid Native American style beading! | |
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#1573 $2,200 Hand-embroidered dressing gown, c.1872. The exquisite silk taffeta wrapper with its train and bustle back is a perfect example of boudoir attire that retains elements of street dress. The front and skirt of the dressing gown are covered by a profusion of floral bouquets and flying insects, executed in silk floss and couched metallic cord. The exquisite artistry of the embroidery is seen in the true-to-nature, pregnant petals and the subtle color transitions from the green-gray leaves to the gray-mellon petals. | |
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#c331 $950 Jeanne Hallée Cluny lace bodice, c.1900. Made from handmade Cluny lace over bronzed gold lamé, the bodice features a haunting, mesmerizing design with two different oval motifs in two parallel rows, alternating the horizontal and vertical orientation of the motifs—an harmonious symphony in lace! The collar is embellished with horizontal bands of gold lamé and decorative cut-steel buttons set with rhinestones. The front opening has black chiffon panels sandwiched between the lace and the lamé. The panels form a cummerbund around the back waist. | |
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#1794 $1,975 Gentlemen's broad fall linen trousers, c.1850. The fly front began appearing in trousers in the mid 1840s, and the fall front grew wider. Both styles coexisted for a period of years. The pockets and facings are of écru cotton and are diagonally set in and so hidden by the fall front. The trousers retain all of the original bone buttons. This is a transitional style, retaining the broad fall front. For an artifact of men's fashion from over 150 years ago, the trousers are in amazingly good condition. | |
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#6603 $3,200 Pingat beaded velvet swan mantle, c.1890. From the peerless master of surface decoration and outerwear. The beaded pattern, subtle black-on-black design, appears abstract at first glance. On closer view, we can see a sublime Art Nouveau design of stylized swans. The curved front panels conform to the undulating sinuous quality of the swans. The neckline is bordered with clipped feathers. When the magnificent mantle is seen from a proper distance, it produces the intended effect—opulence, a somber mystery, and a touch of the exotic. | |
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#2408 $575 Ribbed bustle cage, 1880s. A short petticoat is attached to a back bustle extension shaped with steel rods. The bustle cage is made of heavy cotton twill and closes in front with 3 glass buttons. The shape and size of the bustle cage can be adjusted on the inside with lacing and buckles. The petticoat style helps keep the bustle positioned in back, where it should be. Since a bustle cage in good condition is difficult to find, this is an important Victorian fashion artifact. | |
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#4005 $975 Linen duster cape, c.1900. Our duster cape offered a protective cover for the first adventurous passengers or drivers in the new horseless carriage, which was often topless. The duster is sleeveless under the outer cape collar and has wonderful scalloped edges on the collar, pockets, and outer cape. The self-covered buttons in the front and on the pockets are miraculously all there. The cape is an important historical artifact that displays beautifully. | |
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#7048 $850 Sold Gold kid evening shoes, c.1890-1900. Made from buttery soft, gold kid leather and lined with ivory kid, the shoes are a special find since Victorian shoes in colors are very hard to find. Kid shoes from the 1880s are unbelievably supple. The slightly square toes add to the comfort. They feature a single strap that buttons as well as low, shapely, knock-on heels. The soles are leather. | |
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#4078 $750 Beaded ivory satin wedding shoes, c.1890. Featuring elaborately beaded toes and shapely high Louis heels, the shoes are lined with ivory kid, while the soles are leather. The embellishment on the toes is worked with slightly iridescent crystal beads, giving a hint of sparkling pastel color. The beaded satin bows are to die for. The beading is totally intact. | |
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#6214 $375 Valenciennes handmade lace baby bonnet, c.1850. Made from alternating bands of handmade Valenciennes lace and hand-embroidered batiste, this labor of love, an heirloom, should be passed on to future generations. It can be a treasured heirloom in your family. Three rows of Valenciennes ruffles outline the face of the baby. The circular back, hand-embroidered with padded satin stitch and open work, is outlined with a scalloped border. The size can be adjusted with the thread drawstrings found along the bottom and the brim. | |
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#2007 $1,200 Hand-embroidered silk cloak, c.1890-1900. Made from an ivory Chinese hand-embroidered silk shawl. The cape collar is formed by folding over one side of the shawl. The cloak closes in front with braided tassels and is bordered all around with hand-knotted silk fringe. The timeless floral design has a subtle, undying beauty, as if repeating a truth we knew even before we were born. This is art that conceals art, using symmetry by reflection, one of four types of planar symmetry and the most common in nature. | |
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#1534 $850 French velvet boots, c.1890. Made from soft black velvet and lined with ivory linen. I love the turn-down burgundy velvet cuffs. The boots lace up the front with the original laces. The pointed soles and stacked heels are leather. The sharp-looking boots were meant to be worn outdoors, to be seen by all, especially by male eyes. The provocative red and black colors project their own subliminal frisson—all the more when the boots are taken off or put on. | |
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#1784 $975 Boy's wool suit, c.1870. In the Victorian world, little boys under age six often wore skirts. The navy suit is decorated with bands of woven black trim and textured silk buttons, which miraculously are intact. The kilted skirt slips over the head with no closure and buttons to the shirt. The white cotton shirt has a wide collar, front pleats, and ruffles. A fascinating remnant of our cultural history. | |
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#6213 $375 Whitework baby bonnet, c.1850. Made from sheer cotton batiste covered with very fine hand-embroidered whitework. The intricate pattern features a variety of leaves rendered in padded satin stitch with eyelet berries and open work bell-shaped flowers. The circular back panel is outlined with a scalloped border. Even the mesh openwork was done by hand! The size can be adjusted with the thread drawstrings found along the bottom and the brim. |