Early Antique Clothing

Infant's hand-embroidered dress, c.1815-1820. 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.

Silk print dress & pelerine, 1840s.Characteristic of the late Romantic period are the sloping shoulders, deeply pointed front waist, and full skirt worn with several starched petticoats. The silk fabric is woven with a subtle windowpane plaid and resist-printed with intertwining leaves and flowers. I love the rich café au lait color.

Hand-embroidered cotton corset, c.1820-40. Shaped with godet inserts outlined with trapunto cording, the alluring corset is embellished with hand-embroidered flowers. In back are hand-stitched eyelets for lacing.  NEW LISTING

Rare cotton calico sleeve pads, 1830s. Sleeve pads were worn under dresses in the 1830s to support the fashionable large balloon sleeves. They still have the original series of string ties used to secure the pads to corresponding ties on the corset.  NEW LISTING

Metallic embroidered silk purse, c.1750. Fine 18th century embroidery was both an art form and a status symbol. This one features magnificent polychrome silk and gold metallic thread embroidery on a cream silk ground.  NEW LISTING

Man's satin/silk stock, 1830s. Shaped with a center-front seam to accommodate the slope of the neck, the stock closes in back with a buckle. A rare historic artifact for the discerning collector!  NEW LISTING

Silk brocade shoes with Italian heels, c.1775-1785. Under the instep of the Italian heels are wedge-like extensions, supporting the arch. With their slender heels, elegant Italian shoes were great favorites. The heels are covered with cream colored silk. The contrast with the fabric on the upper body of the shoe was considered of the last degree of chic.

Silk brocade pattens, c.1720-1750. This pair is more fashionable than practical. The thick leather soles of the pattens would protect the heels and soles of the shoes, but the silk brocade uppers were useful only to hold the shoes in place. The type of wedge in our pattens is a typical feature of Georgian pattens.

Regency silk bonnet, c.1805-1815. In contrast to the minimalism of the gowns, Regency bonnet design was often wildly inventive with original shapes and elaborate decoration. Here the stiffened brim shields the wearer's face from the sun. The peaked-brim shape, rarely found on the market today, is a plus for the serious collector.

Needlepoint purse, 1830s. This small drawstring purse features different front and back needlepoint vignettes set in an overall flames stitch (Bargello) pattern. The ribbon drawstrings are original, testifying to the unaltered condition of this endearing historical artifact, a rare vintage treasure that speaks to us across the ages.

Metallic embroidered silk coif, c.1720. The Jacobean-style motifs show the influence of older Gothic designs, Indian palampores, and Flemish verdure tapestries. I have never seen such peerless perfection in embroidery outside of a museum. With their brilliant sheen, silk and metallic fibers immediately convey luxury. When used in the work of a master embroidery artist, the effect is astonishingly beautiful.

Cotton print gown, 1770s-80s. Made from sheer white cotton dimity printed with a repeat pattern of sunny floral sprays, this "informal" gown is nevertheless in the "high style." The contrast of delicate flowers to the geometric textured pattern of the corded weave is of the last degree of charm. The robe á l'anglaise style has a fitted bodice back and closed bodice fronts.

French gentleman's or boy's silk coat & waistcoat, 1780s-1790s. What a treat to find an 18th century garment with the original buttons and trim! An inventory description written in French and hand sewn onto the lower front corner of the coat states that the fabric is blue moiré silk with silver braid trim and silver buttons. Judging by the small size, the ensemble from a French collection probably belonged to a young man or boy.

Silk gauze rectangular shawl, 1810-1820. The fresh lemon hue in the resplendent shawl is like the afterglow of the sun, still illumining the horizon with its beauty two centuries later. The two black panels are bordered with pink ribbon weave; the pink panel is bordered with turquoise ribbon weave. The floral motif is remarkably free in line, effortlessly limning the gay and sprightly feeling of a spring day.

French brocaded silk taffeta open robe, 1780s. Made from glowing silk taffeta with purple rib weave stripes and small ivory brocaded flowers, the regal gown can be worn as a traditional open robe or pulled up à la Polonaise. The charming compères are decorated with appliqués of cut-out stripes and pleated ribbon. The luxe golden brocade from the Ancien Régime retains an incandescent afterglow even today.

Gentleman's silk faille waistcoat, c.1780-1795. Informal antique clothing with exceptional style is very hard to find, as it was generally worn until it fell apart. The charming waistcoat displays beautifully. The striped silk faille fronts of the waistcoat have set-in pockets with flaps.

Brocaded silk lady's waistcoat, c.1770. Made 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!