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#2467X $1,200 Hand-assembled tape lace coat, c.1910. The coat is hand assembled from white cotton tapes connected with looped string. The shape fits smoothly over the bust and upper back and flares gracefully below. The wide sleeves are puffed over the sleeve cap. The piquant charm of the schematic floral motifs is to die for! The flawless execution of the design motifs shows tape lace as the ideal medium to express the crisp, clean beauty of the intricate designs beloved by the Edwardians. This exceptional coat is as elegant today as when first purchased by a wealthy fashionista 100 years ago. NEW LISTING | |
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#2562 $2,400 Beaded tulle evening gown, c.1910. In the scintillating evening gown, we see the opulent elegance of the Gilded Age materialized in the world of high fashion. 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. NEW LISTING | |
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#7146 $975 Irish crochet lace blouse, c.1905. In this showpiece of Irish crochet lace, the innovative variety of the floral motifs is a triumph of inspired Art Deco design. Despite the elaboration of floral motifs, the blouse has an unaffected naturalness that will win all hearts. Three large roses down the center of the blouse anchor the design. The encircling tendrils, handmaidens to their Queen Rose, soften the bold floral motifs with a graceful, feminine touch. The fine workmanship and the soothing symmetry of the design convey a feeling of quiet beauty and pleasing harmony. NEW LISTING | |
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#7147 $975 Irish crochet lace blouse, c.1905. This sublime 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, making it a special find for the collector. The longer lace front is attached to the lining. The blouse closes in back with small hooks. The combination of long sleeves and high stand-up collar gives the blouse an almost clerical connotation, not in a religious sense but rather as the costume of a high priestess of fashion, the unique dress of fashionable lady. NEW LISTING | |
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#2555 $750 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. In 1900 hats were so important in a fashionable woman's ensemble that they were worn even in her own home. Will you be the one to revive that amusing custom? NEW LISTING | |
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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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#1103 $1,250 Burgundy silk velvet coat, c.1918. The coat is cut with comfortable deep armholes. The wrap style closes with one self-covered button. I love the full ruched sleeves. The coat is fashioned from luxurious burgundy silk velvet and is embellished with a unique collar of embroidered silk. The Persian-style floral pattern is beautifully hand-embroidered in shades of rose, olive, and burgundy silk floss on an ivory silk ground. The subtle and sinuous line of the floral motif traces out the contours of the heart—a hauntingly beautiful design. | |
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#2426 $2,300 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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#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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#2500 $1,200 Reserved Ribbon embroidered 2-piece silk chiffon gown, c.1902. Made from black crinkle silk chiffon (the height of fashion in 1900), the elegant gown is embellished with a scrolling design of ribbon embroidered flowers and appliquéd cord. The black-on-black design is a subtle play of texture with just a hint of subdued color in the embroidery. The understated, luxe elegance was especially prized by the wealthy socialite of the Gilded Age. The ribbon embroidery conveys a willful romanticism that steals our hearts. | |
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#7163 $1,100 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—in and outside the bedroom. 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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#4140 $750 Embroidered tulle bolero jacket, c.1905. This exemplar of Edwardian femininity was made from from oatmeal colored cotton tulle decorated with hand-embroidered flowers. I love the three dimensional raised embroidery. The edges are trimmed with lace ruffles. The front ties have delightful hand-crocheted bells on the ends. You can wear the stylish bolero with jeans or as formal evening cover. The seductive allure and delicate femininity of the lace ruffles, as they adorn and caress your body, will not be lost on the man in your life. | |
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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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#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 ingenious construction makes 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 and trimmed with wide bands of embroidered lace. The satin stitch embroidery conveys an amazing three dimensional verisimilitude. The white linen and slender silhouette intimate an angel's uniform. This heavenly outfit may be just right for you! | |
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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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#2466 $600 Embroidered linen skirt, c.1910. Made from white handkerchief linen, the skirt was hand embroidered with floral motif in shades of blue cotton floss. Blue and white, a perennial favorite, always appears crisp and cool. The tasteful floral design reminds me of Chinese export porcelains as well as the later Delft tiles. The gored panels of the skirt are shaped at the top with many rows of pin tucks and are separated with bands of Cluny-style cotton lace. I love the stepped design of the ruffled hem flounce. | |
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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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#7099 $1,275 Embroidered lace/tulle tea dress, c.1910. The upper tunic section is totally covered with rows of fine pin tucks. The hem border and front bib have square panels of floral embroidered batiste set in borders of bold floral lace. The gossamer delicacy and refinement of the pin tucks are especially noteworthy. The centerpiece of the design—literally and artistically—is the magnificent panel of embroidered batiste on the front bib. The top of the square panel touches the bottom of the V-shaped neckline. In the ingenious design, the square panel aesthetically counterbalances the neckline. | |
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#2527 $750 Belle Époque boudoir jacket, c.1905. Here is the intricate detail beloved by the Edwardians: rows of pin tucks, wider tucks, lace insertions, ruffles, and puffed sleeves. The front opening and sleeves are of peach-hued silk ribbon trim. Delicate, boudoir-style, Edwardian creations are treasured by the collector for their romantic nostalgia. With its superb handwork and unabashed femininity, a well chosen Edwardian piece will set you apart from the lonely crowd of fashion seekers. | |
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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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#2498 $1,275 Embroidered lace tea dress, c.1910. An ingenious layered design combines embroidered cutwork panels of cotton batiste with machine laces. The textured design uses delicate Valenciennes lace and bold Cluny-style lace to frame panels of embroidered cutwork. On the bodice, the central floral motif is like an esoteric emblem, not heraldic but rather artistic, the badge of the fashion initiate. On the skirt, three panels tell a story of feminine beauty in bloom, using floral motifs as aesthetic hieroglyphs. The panels are like those of Classical friezes, each one narrating another chapter in the story. | |
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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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#2542 $800 Reserved Fancy lace knickers, c.1905. Made from alternating panels of lightweight cotton batiste and fine Valenciennes lace, these provocative knickers are an exemplar of Edwardian deshabillé ("undress"). They are meant for an audience of one—the wearer's husband or most intimate friend. The waistband features delicate hand-embroidered flowers and embroidered openings for decorative ribbon. The design pulls out all the stops: the lavish embellishment includes the numerous pin tucks, lace inserts, and the ruffles so beloved by the Edwardians. | |
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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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#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. | |
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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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#2452 $2,200 Reserved Gold lamé, metallic lace and tulle gown, c.1912. With its glowing metallic fibers, delicate lace, and glittering rhinestones, the glorious gown sparkles and shimmers. Made from ivory lace and champagne colored tulle bordered with metallic gold couched embroidery, the outer layer floats over an under dress of metallic gold lamé. The embroidery is accented with glittering rhinestones. Tulle fabric with a flocked border is ingeniously wrapped around the body—the graceful asymmetrical design features a small back train. The metallic gold hue and dramatic styling will create an almost electric excitement. | |
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#2438 $750 Velvet wide brim hat, c.1905. Made from black velvet, the hat has a turned up brim in back and is meant to be worn perched at a jaunty angle atop an elaborate high-piled coiffure. The history of this image—an elegant hat with feathers—reminds us of the influence of great art on fashion. In 1632 Peter Paul Rubens painted a picture of his second wife, Helena Fourment, in such a hat. In the 1780s Gainsborough immortalized the hat and hairstyle in his romantic portraits fashionable ladies. In 1905 these hats were so important in a fashionable woman's ensemble that they were worn even in her own home. | |
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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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#2462 $1,250 Hand-embroidered tea dress, c.1905. The soft, feminine dress features delicate hand-embroidered bouquets of flowers across the bodice and on the outer sleeves. The bold Irish crochet floral motifs around the neckline add lively contrast to the fine embroidery. The under sleeves and skirt are embellished with mixed lace inserts. The skirt is 5" longer in back, forming a slight train. The detailing is exceptional: on the outer sleeves, bouquets of flowers personify the soft, feminine allure. Tea dresses are very au courant! At her first collection for Gucci, Frida Giannini offered tea dresses that were very well received. | |
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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. | |
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#6959 $950 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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#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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#1379 $2,500 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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#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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#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. | |
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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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#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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#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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#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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#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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#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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#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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#1203 $3,200 Reserved Worth numbered dinner gown, c.1910. In this high style dinner gown, we see the luxe elegance of the Gilded Age materialized in the world of high fashion. The graphic design artfully combines bold, metallic gold lace and deep green (almost black) velvet with delicate, embroidered ivory tulle layered over matching satin. The Neoclassical urn and floral embroidery, as well as the slender silhouette with train, hearken back to early 19th century empire dresses. The numbered Worth label is woven into the petersham. | |
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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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#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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#c093 $950 Reserved 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. |