 |
#7021 $2,150 Reserved Flocked velvet/satin evening coat, c.1900. Made from ivory satin embellished with black velvet flowering branches, the luxe coat makes a dramatic impression with its sweeping train. Straight and open in front, the coat is shaped across the bodice back with princess line seams that open to the full flared train below the waist. The couture-quality fabric is a treasure of textile art and the real show stopper. The designer chose a simple, monochromatic motif of budding flowers on branches used as elements in a masterful, almost Pointillist design—when seen from the proper distance. NEW LISTING | |
 |
#7022 $1,950 Couture quality silk satin damask cape, c.1900. Made from substantial weight silk satin damask and lined with moiré silk faille, the magnificent cape bespeaks high social status. I love the dramatic contrast of black and silver on the outside and intense mustard gold on the inside. The fabric has the quality of documented pieces from Paris couture houses. The neckline is bordered with double layers of silk chiffon ruffles. It is rare to find neck ruffles still intact. The flawless execution of the floral motifs perfectly captures the Art Nouveau aesthetic then at the peak of popularity. NEW LISTING | |
 |
#7025 $5,800 Reserved Worth beaded velvet/lace cape owned by the Countess de Pourtales, c.1900. The exceptional cape displays the confidence and energy of the House of Worth when it dominated couture. The dramatic cape is also a living piece of social history because of its connection to the de Pourtales and Lodge families. This brilliant confection of texture and color has a bottom layer of velvet with enough yellow to remain vibrant after being covered with black tulle and lace. The outer layer of fine black silk tulle is decorated with black cut-glass beads and sequins that sparkle as the light shifts. Interspersed throughout are appliqués of handmade Point de Venise needle lace. NEW LISTING | |
 |
#4002 $1,400 Sold Fall/winter walking suit, c.1894. Made from brown wool tweed, the superbly tailored suit is a classic. The jacket has the oversized, leg-of-mutton sleeves and flared back peplum of The Gay 90s. (The very large, top-heavy sleeves of the late 1890s recall the exaggerated gigot sleeves popular in the 1830s.) The shape is further emphasized with decorative piped seams. The Victorian walking suit was a very important fashion category. In 1994 top couturier Jean-Paul Gaultier put on a fashion show where he chose a Victorian walking suit with a long pieced skirt as the most important silhouette of the period. NEW LISTING | |
 |
#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. NEW LISTING | |
 |
#7023 $325 Black mesh fingerless mitts, c.1900. The fingerless mitt style was very popular throughout the Victorian era. This pair was made from delicate black cotton thread. The mesh is embellished with knotted diamonds, zigzag bands, and rows of open work. The ruffled cuffs have velvet ribbon streamers. The mesh stretches out to fit a variety of sizes. They look like they were never worn. NEW LISTING | |
 |
#7026 $1,400 Reserved Child's 3-piece embroidered silk dress, c.1865. The ivory silk faille dress consists of a bodice, a jacket, and a skirt that buttons to the bodice. The skirt and jacket have wonderful hand-embroidered butterflies rendered in blue silk floss chain stitch. Black French knots decorate the butterflies' wings. The outfit was obviously for a much loved little princess. The dress is as stylish today as it was in 1865. Provenance: the dress comes with an attached note describing the donor of the dress. Very fine children's clothing from the Civil War period is difficult to find. NEW LISTING | |
 |
#2458 $1,250 Reserved Satin damask trained afternoon gown, 1890s. The grand gown was made from substantial weight satin damask, richly patterned with sprays of roses. The front panels of moss green velvet are embellished with floral appliqués of silk and bronze metallic floss. The neckline and cuff flounces are of beige chemical lace. The three-dimensional bow detail on the back bodice point draws attention to the graceful sweep of the long skirt train. The floral design was executed with consummate artistry. We can only marvel at the refinement and delicacy of the lifelike roses. NEW LISTING | |
 |
#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. | |
 |
#1364B $3,800 Emile Pingat beaded macramé mantle, c.1870. With great virtuosity, Pingat contrasts the smooth velvet and the silky chenille fringe with the rough macramé. Faceted jet black beads and glittering gold beads sparkle throughout. The ruffled neckline trim adds a dash of color. The yoke of the mantle is lined with gold satin. Like other great couturiers, Pingat worked hard to achieve his effects both close up and from afar. When the resplendent mantle is seen from a proper distance, it produces the intended effect—opulence, a somber mystery, and a touch of the exotic. Few surviving examples of the Pingat oeuvre in such good condition have come on the market. | |
 |
#6963 $1,400 Silk taffeta trained bustle dress, c.1876-1880. The three piece outfit, made from sea foam green silk taffeta, consists of a fitted basque (a long close-fitting bodice), an under skirt, and an elaborately draped over skirt. The long trained skirt swished elegantly when the lady walked. The basque closes in front with thread-covered buttons, all intact. The fashion bible Harper's Bazar (1876) declared that "The most popular style for ordinary street wear had a basque, molded closely to the figure that was pointed in the front and back." | |
 |
#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, which makes a dramatic sweep, 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. | |
 |
#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. | |
 |
#4112 $1,950 Handmade lace/plush coat, c.1900. Made from ivory plush faux fur, here is a stunning masterpiece of textural monochromatic design. With wide roomy sleeves, the cut is simple and slightly flared. The neckline, front opening, and sleeve borders are trimmed with wide bands of handmade silk/linen filet lace. 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. | |
 |
#6861 $975 Beaded macramé/velvet pelerine, 1880s. This superb outer garment was obviously more for decoration than warmth. The late Victorian period saw many decorative accessories worn as evidence of a lady's financial and social standing. The pelerine features black velvet front and back panels with black macramé sides. The beads in the macramé were incorporated into the mesh as it was formed. With shades of coral, bronze, and silver as well as a lively mix of texture, the elaborate beading is spectacular. The pelerine closes in front with concealed hooks. | |
 |
#0581 $950 Reserved Hand-embroidered linen coat, c.1890. I love the wide three-quarter-length sleeves: perfect for summer. They have built-in shoulder pads to support the shape. The coat has a wrap-front closure that closes with crocheted buttons. The lower portion of the center-back panel has open vents. The sinuous floral pattern of padded satin stitch and seeding is superbly executed in cotton floss. The abstract motif is like a simple theme with variations on the skirt, sleeves, and back. Truly versatile design—you can also wear this beauty as a dress. | |
 |
#c344 $2,500 Doucet couture silk/lace cape, c.1890-1900. Created by Jacques Doucet, celebrated for dignity and luxury in couture. The cape is fashioned from a combination of black silk taffeta, delicate black lace, and sheer silk chiffon textured with multiple rows of narrow hand-stitched tucks. Known for his abundant use of lace and filmy fabrics, Doucet transformed the typical heavy black mourning garment of the period into a seductive and alluring work of art. This style of label from Doucet is featured on page 148 of The Opulent Era/Fashions of Worth, Doucet and Pingat. | |
 |
#1579 $500 Woven raffia and straw bonnet, c.1895. Fashioned from woven silver raffia and natural brown straw, the hat is trimmed with pink silk taffeta ribbon, silver silk damask ribbon, and small silk flowers. The ribbons are wired to hold the shape. Late Victorian bonnets were pure embellishment with no pretext of function. This fabulous floral sculpture is more of a hair ornament than a hat meant to shield the wearer from the weather. The pure sculptural form displays beautifully! | |
 |
#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. | |
 |
#1580 $500 Raffia summer bonnet, c.1885. The bonnet is built upon a wire-stiffened base bordered with black velvet and lined with black silk. The top is covered with a profusion of looped raffia and small fabric flowers. I love the cheerful gold flowers. Bonnets from the late Victorian period were pure embellishment with no pretext of function. This lovely creation is more of a hair ornament than a hat meant to shield the wearer from the weather. A paper label under the lining reads "Fine Millinery/Temple Place/Boston/Geo. M. Wethern." | |
 |
#1573 $2,800 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. Surface couching of metallic floss that is too abrasive to pass through the fabric is an ancient Chinese technique. 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. | |
 |
#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. | |
 |
#6554 $850 Two-tone linen bustle dress, 1880s. Three unlined pieces: a long bodice, an under skirt, and a draped over skirt. The pieces are embellished with embroidered, scalloped borders, and with darker brown piping on some seams (a favorite fashion theme of the period). The long bodice is gracefully shaped with princess line seams. The sleeves are set into the armholes with self-corded piping. The dress has wide cuffs and pockets on the side back. The under skirt is longer and fuller in back. The elaborate draping of the over skirt is held in place with inside ties. The bustle shape remains one of the most popular with collectors. | |
 |
#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 faceted jet black beads sparkle in the light. The neckline is bordered with clipped feathers, a characteristic Pingat treatment. 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. | |
 |
#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. | |
 |
#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. | |
 |
#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. | |
 |
#0355 $950 Post Civil War day dress, c.1867. Fashioned from lightweight cotton voile printed with brown and ivory stripes in 3 separate pieces: the bodice, an underskirt, and a draped overskirt. The draping ingeniously plays with the direction of the stripes. The unboned bodice closes in front with small cut-steel buttons. Both skirts close in back with hooks. The graphic design makes use of self bands of horizontal stripes—no other decoration is necessary. This magnificent period piece retains the heartfelt simplicity of the earlier Romantic period, while anticipating the bustle styles of the late Victorian age. | |
 |
#6195 $1,100 Gentleman's embroidered shoes, c.1850. Made from brown leather with contrasting tan velvet toes, the shoes combine hand-embroidered ornamentation with utilitarian construction. The toes are hand-embroidered with flower sprays of chenille and silk floss. The latchet-tie closure, a carry-over from the 18th century, remained in style throughout the first half of the 19th century. Most striking is the delightful decoration on the shoes, so sturdy and practical, truly a celebration of individual craftsmanship and design. | |
 |
#6577 $450 Child's fancy cotton dress, c.1880. Antique children's clothing has an enduring charm. This fine piece made from crisp white cotton piqué is a delightful example. The texture of the weave is accentuated with bands of braided cotton trim and eyelet ruffles. The rows of fabric-covered buttons are decorative in front and functional in back. The dress is absolutely perfect, although four buttons in back are old replacements. | |
 |
#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 contrasting lining has alternating stripes of purple and brown. 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. | |
 |
#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. | |
 |
#6804 $750 Two-piece wool bathing costume, c.1895-1900. The one-piece bloomer suit is covered with a detachable skirt, which attaches to the under suit with buttons along the waist. The ensemble is fashioned from navy wool and is trimmed with bands of white soutache. Drawstring ties are used to adjust the sleeves and the fullness of the bloomers. The suit closes in front with buttons. I love the jaunty sailor collar in this an fine historical artifact, which displays beautifully. | |
 |
#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. | |
 |
#2214 $750 Boy's linen skirt suit, 1870s. Made from brown lightweight linen and decorated with bands of dark olive braid trim. The double breasted jacket has half-moon shaped pockets and mother-of-pearl buttons. The pleated skirt slips over the head with no closure. The suit is a fascinating remnant of our cultural history. Even as late as 1870, it was considered proper for an upper middle class boy to be dressed in a skirt. Other than the seams, the suit is all hand sewn. | |
 |
#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. | |
 |
#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. | |
 |
#2106 $875 Mixed Irish lace/Battenberg lace pelerine, c.1900. Made from hand-assembled Battenberg lace with inserts of Irish crocheted lace. Irish crochet lace and Battenberg tape lace both have enduring romantic appeal. The bold floral compositions can be viewed from a distance. The ivory shawl closes at the neckline with a hook. The linen fibers in the lace have a natural stiffness ideal for holding the shape. Battenberg lace garments convey a sense of style, distinction, and natural refinement. | |
 |
#6806 $800 Embroidered/appliquéd taffeta cape, c.1850. The exquisite little cape has the fine hand detailing not to be found in modern garments. The two-tiered cape is fashioned from lightweight ecru silk taffeta. The edges are hand appliquéd with embroidered rosettes and corded zigzag trim. Wide borders of hand-knotted silk fringe complete the decoration. The artful design communicates a sense of both playfulness (fringes) and classical consummation, as in a Greek temple frieze(alternating rosettes and zigzag trim). | |
 |
#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. | |
 |
#6575 $985 Gentleman's striped silk chapan. A traditional robe from Afghanistan fashioned from silk satin cloth woven with alternating stripes of wine-and-gold chevrons and plain ivory. The inside is bordered with burgundy cotton. The neckline and cuffs are outlined with bronze colored, braided silk trim. The chapan has one interior chest pocket and is completely hand-stitched with small neat stitches. This fine piece fits in with a fashion trend from 100 years ago making a big comeback: ethnic clothing. | |
 |
#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. | |
 |
#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. | |
 |
#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. | |
 |
#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. |