Hand-embroidered linen walking suit, 1910s. Embroidered with raised, padded satin stitch and fancy fill open work and with fab hand-embroidered scalloped edges. The gracefully flared skirt is smooth over the hips. The skirt waistband was let out for a modern fit. NEW LISTING
Kid leather shoes with ribbon stripes on toes, c.1905. The chevron pattern of aqua gros grain ribbon is appliquéd onto the toes. So simple and elegant, the geometric design foreshadows Deco modernism of the 1920s. NEW LISTING
Mixed lace tea dress, c.1912. This romantic, grand tea dress—a dazzling exemplar of the needle arts—will captivate the most jaded eyes. We can pick out very expensive Brussels lace—bib & sleeve borders; Princess lace—flowers with vines; and Carrickmacross lace—lower side panels. NEW LISTING
Tape lace capelet, c.1910. Hand assembled from delicate beige tape lace with accents of fancy-fill stitches, this exemplar of Edwardian costume provides just enough cover for bare shoulders. The gossamer texture of the filigree leaves is of the last degree of charm. NEW LISTING
Embroidered tea dress embellished with Irish crochet. Early 20th century tea dresses are treasured by the collector for their elaborate handwork. The fine textural quality of the high-relief hand embroidery and the abundant lace make this dress perfect for an informal wedding. NEW LISTING
Embellished silk evening dress, c.1910. The long languorous look is amplified by the trailing train. The blue silk embroidery and crystal beading make an eloquent design statement: an evening dress that bespeaks wealth and stylishness in a confident, understated manner. NEW LISTING
Silk boudoir jacket, c.1900. The lightweight silk jacket is a delicious shade of pale pink. Rows of lace inserts and pleated tulle edge ruffles add to the emblematic feminine appeal. Frilly combing jackets have moved from the Edwardian boudoir into contemporary fashion. NEW LISTING
B. Altman French satin tea gown, c.1900. Borrowed from 18th century open robes, the style here has an open front skirt filled in with lace where the petticoat would have been. A handwritten label reads "Mrs. J.W. Tillinghast," a society figure in 1900. Included with the dress is the New York Times society page of July 28, 1906 with a full report on the social event.
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. The brim is 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.
Mixed lace/embroidered silk dress, c.1910. This sumptuous dress combines a delightful mix of fine handmade Brussels lace, textured machine made lace, and lovely embroidered roses. The designer ingeniously uses blooming roses as a leitmotif of feminine beauty: the embroidered roses on the skirt extend into the back lace panel.
Beaded and embroidered net coat, c.1912. The cutaway style that dips down to a train in back epitomizes Edwardian elegance. The plush raised effect of the ribbon embroidery is enhanced by a mix of sparkling faceted beads. The whimsical, aristocratic refinement of the embroidered motifs still shows an Art Nouveau influence.
Wide-brim straw hat with original trim, c.1910. What a treat to find an all original, antique extra-wide-brim hat! The romantic appeal of the wide brim, which beautifully frames the face, makes the style a perennial favorite with collectors. Made from natural colored straw, the hat has the original decoration of ivory ostrich plumes and charming bouquets of forget-me-not like fabric flowers.
Linen riding habit, c.1908-1920. Covering the tops of the jodhpurs underneath, the long shapely jacket has a deep, to-the-waist vent in back and is man tailored with a notched lapel and diagonal breast pocket. What a remarkable historical artifact at a great price: a valuable collectible and an eye catching wearable!
Beaded appliquéd evening dress, c.1916. The layered styles of the period intimate a beguiling feminine mystique. In this exemplar of the style, lace appliqués on the bodice peek through an outer layer of beaded tulle. The enigmatic zigzag motif on the bodice hints at an arcane, portentous mystery.
Ruffled lace skirt, c.1905. Embellished with rows of dotted Swiss and lace ruffles, the skirt is slightly longer in the back. The front fits smoothly over the hips; the back is full. The echoing effect of triple lace flounces in the middle and at the hem is charming touch.
Filet lace tea dress, c.1910. The long slender dress personifies understated elegance: everything is soft and feminine. This graceful, gossamer design combines sheer silk chiffon covered with rows of pin tucks, pleated ruffles, and textured filet lace embroidered with a fab Chinese-style pattern in silk floss.
Hand-assembled Battenburg lace dress, c.1910. Battenberg lace garments convey a sense of style and natural refinement. Although the design motifs are varied, the mind re-assembles them on a single mental canvas. The intermittent and opposite fragments become a coherent, artistic whole.
Orientalism-inspired wool coat, c.1912-1920. Wide kimono sleeves, a high stand-up collar, and a straight cut. The black cloud-form pattern is embroidered with curled wool yarn and outlined with black cord. As exciting and wearable today as 100 years ago, this stunning coat is a peerless exemplar of Orientalism in fashion.
Commodore Perry estate satin wedding gown, c.1908. The figure-flattering, princess line seams mold the gown to the torso without adding bulk at the waist and hip. The neckline opening is trimmed with 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!
Jeanne Hallée lace bodice, c.1900. Made from handmade Cluny lace over bronzed gold lamé, the bodice has a mesmerizing design with two different oval motifs in parallel rows. The collar is embellished with horizontal bands of gold lamé and decorative cut-steel buttons set with rhinestones.
Brussels lace trimmed wedding gown with cathedral train, c.1910. Covered with layers of matching dotted swiss tulle and handmade Brussels lace, the stately gown features a poufed draped tulle on the skirt anchored with a garland of waxed orange blossoms. With a long cathedral train and handmade Brussels lace trim, this historically accurate gown is a rare find.
Brussels handmade lace wedding dress, c.1905. This important heirloom lace dress has panels of Point de Gaze needlepoint lace surrounded by Duchesse bobbin lace. A large piece of fine Brussels lace is itself a much sought after collectible. It is rare to find an entire dress made entirely from antique Brussels lace.
Wide-brim straw hat with floral decoration, c.1905. Made from natural colored straw, the hat boasts the elaborate floral decoration so popular during the Edwardian period. Shirred ivory cotton tulle and pink satin ribbon complete the tableau.
French cashmere coat trimmed with Irish crochet, c.1905. The super luxe coat from Francis & Co. (Paris) is an exemplar of early Edwardian style. The Irish crochet flowers are bold and gutsy; the wide angel-wing sleeves are very dramatic. Made from ivory cashmere wool, the opulent coat is so well preserved that it still has the original black silk georgette behind the Irish crochet.
Beaded satin/lace wedding dress, c.1912. The long lean lines and empire waist are in the Directoire style; while the elaborate beading, draped lace, hobbled asymmetric skirt, and fishtail train are early 20th century innovations. Loops of sparkling crystal beads complete the inspired ornamentation. This magnificent collectible is also suitable for the bride who wants the couture look!
Coronation robe of British Duchess, c.1911. Lined with ivory satin, the robe and train (over two yards long) were fashioned from rich claret velvet imbued with dignity and tradition. The short capelet is of white ermine with four rows of black sealskin spots, indicating the rank of Duchess. The front closure of the robe has an embroidered bronze coronet.
Stern Brothers embroidered silk velvet evening cloak, c.1918. The sumptuous cloak retains the easy, unstructured comfort of a cape with just a suggestion of sleeves. The luxe silk velvet fabric falls in graceful, full folds from the shoulder yoke. The distinctive, aristocratic embroidery on the shoulders is particularly noteworthy.
Redfern natural silk cape, c.1901. Sturdy and wearable, the stylish cape has the solid construction of a gentleman's garment. The choice of a menswear plaid lining was an inspired touch. The romantic, full-gathered hood could be right out of a Gothic novel like Jane Eyre; while the dramatic cutwork pattern on the black leather trim is like the arcane insignia of the fashion elite.
Wire frame hat with fruit trim, c.1910. Trimmed with concentric circles of black raffia ribbon and stretched over a wire frame, the delicious decoration is to die for. The looped bows are made from wired, chenille-style raffia. The brim is topped with mouth-watering faux fruit.
Beaded net overblouse, c.1912. Made from fine black net, the top is elaborately embellished with bead work and bronzed metallic embroidery, whose burnished patina enhances the soft pastels of the beads. Our charming and artistic beaded top was originally worn over one of the slender gowns that became fashionable just before WWI.
Belle Époque silk crepe gown, c.1902. Made from delicious raspberry pink silk crepe, this endearing gown personifies the Gibson Girl, the icon of feminine beauty created by illustrator Charles Dana Gibson. In all original condition, our captivating Belle Époque gown is a special find for the collector because it still has the famous S-bend shape of the period.
Irish crochet/embroidered tulle tea dress, c.1915. The deeply cut armholes and full sleeves are quite comfortable. The pattern on the skirt features high relief, padded satin stitch embroidery. 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.
French tape lace coat, c.1905. With the original chiffon ruffles, the plush coat is a special find for the collector who appreciates unaltered design. The sheer chiffon ruffles are remarkably well preserved. Tape lace is the ideal medium for the crisp, clean beauty of the charming tape lace motifs, which are intricate, bold, and texturally exciting.
Lucien Lelong beaded evening cape, c.1914. Early intact Lelong designs are very rare. The brilliant, contrasting hues herald the creative genius of the master couturier. The shapely draped lower back and the arm slits personify the fashion forward look of 1914. This resplendent evening cape already placed the young Lelong at the pinnacle of dressmaking and embellishment—fashion as art.
Worth numbered couture coat, c.1910. With a circular cut, the spectacular coat is smooth across the shoulders, falling to the hem in deep folds. Jean-Philippe Worth's Persian-style border design has larger-than-life botehs in a reverse pattern. From the greatest name in fashion history, the coat combines the luxe exoticism of the East with the peerless styling of Paris haute couture.
Hand-embroidered Chinese silk coat, c.1904. The majestic coat is hand embroidered with bouquets of flowers in shades of gold, rose, ivory, and gray silk floss. The design incorporates subtle textures through a variety of stitches and corded soutache. The slightly flared style was perfect over the slim dresses of the 1910s and will work just as well over a modern slip dress.
Irish crochet dress tunic, c.1910. The princess-line skirt seams are open below the waist—provocative construction rarely seen in Irish crochet garments. 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.
Beaded devoré velvet evening wrap, c.1914. Made from rose colored velvet cut to a ground of navy blue chiffon, the fluid unstructured shape is so modern. The navy chiffon sections are covered with iridescent glass beads. The plump velvet roses are bordered with bands of meandering fleurs-de-lis. The sublime roses in bloom have a haunting beauty with their vivid verisimilitude.
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. The hem border is of expensive handmade Cluny lace. This beauty gives you the romantic allure of an antique in a garment sturdy enough to wear.
Two-piece cotton day dress, c.1905. The petal-soft pink hue of our ultra-feminine tea dress is a pleasant alternative to the standard white. The masterful ornamentation is to die for! The bodice is embellished with charming ruffles, lace inserts, and narrow tucks; the skirt is decorated with rows of wide tucks.
Embroidered tea dress, c.1910. The pristine dress is lavishly decorated with machine embroidered cutwork and lace inserts. With their endearing feminine charm, the 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.
Wool melton coat, c.1900. The wide sailor collar and cuffs of black velvet trimmed with braided soutache give an exotic charm to the surplice-style coat, which is fuller in back, falling in graceful folds. The full raglan sleeves and coat back are shaped with decorative seaming detail. You would have to pay $2700-$3000 to find such masterly decoration on a designer coat.
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. Handmade French vintage lingerie has a well deserved reputation for working "bedroom magic" on the wearer's partner.
Hand-embroidered linen coat, c.1910. Hand-embroidered white linen has the enduring appeal of a classic perhaps because linen garments remain crisp, clean, cool, and fresh in the hottest weather. The wide three-quarter-length sleeves are perfect for summer. The charming floral motif on the skirt, sleeves, and back is like a captivating musical theme with variations.
Hand-embroidered linen/lace ensemble, c.1910. The high waist and the two vertical panels emphasize the long lines of the silhouette. The 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.
Silk chiffon nightgown, c.1910. The bodice, pleated to the empire waistline, falls in soft folds below the ribbon ties. 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.
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 the unusual addition of colorful floral appliqués. The textural elements—Chantilly lace inserts and black velvet ribbon bands—really stand out.
Beaded metallic brocade evening bag, c.1912. Made from metallic silver and gold brocaded silk, the bag is embellished with an Art Nouveau pattern of bronzed gold bullion, faux pearls, and glittering rhinestones. It belonged to Katherine Drexel, great granddaughter of Francis Martin Drexel, founder of the Drexel family in the United States.