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Bergère, 19th century US (probably ca 1871-72 if it’s really 19th century), the Museum of Fine Arts, Boston

Woman’s “Bergere” hat(a), shoulder cape(b), and cap(c). Each of white satin-weave silk with a simple curved leafy spring repeating in close over-turned staggered rows. B and C with affixed paper tags having the name “Mrs. S.J. Rae or (Ral). A: stained, some missing fabric repaired or leaving cardboard underform visible. B: slightly stained. C: good condition.

Shown here with a matching shoulder cape and cap:

Bergère, 19th century US (probably ca 1871-72 if it’s really 19th century), the Museum of Fine Arts, Boston

Woman’s “Bergere” hat(a), shoulder cape(b), and cap(c). Each of white satin-weave silk with a simple curved leafy spring repeating in close over-turned staggered rows. B and C with affixed paper tags having the name “Mrs. S.J. Rae or (Ral). A: stained, some missing fabric repaired or leaving cardboard underform visible. B: slightly stained. C: good condition.

Shown here with a matching shoulder cape and cap:

Evening mantle from Le Bon Marché department store, 1900 France, the Museum of Fine Arts, Boston

Emerald green evening mantle with black jet beading and diamante trim, cream chiffon and lace lining. Labeled: “Au Bon Marché, Maison A. Boucicaut, Paris.”

Evening mantle from Le Bon Marché department store, 1900 France, the Museum of Fine Arts, Boston

Emerald green evening mantle with black jet beading and diamante trim, cream chiffon and lace lining. Labeled: “Au Bon Marché, Maison A. Boucicaut, Paris.”

Hood, 18th century US (New England), the Museum of Fine Arts, Boston

Hood with short cape attached. Cream-colored figured silk. Lined with cream-colored silk. Trimmed with bobbin lace. Some holes, stained and spotted.

Hood, 18th century US (New England), the Museum of Fine Arts, Boston

Hood with short cape attached. Cream-colored figured silk. Lined with cream-colored silk. Trimmed with bobbin lace. Some holes, stained and spotted.

Cape by B Altman & Co, 1900 New York, the Museum of Fine Arts, Boston

Woman’s short cape made of black silk gimp and ribbon stitched into abstract, swirling pattern over a lining of black silk taffeta, finished at the bottom with fringe of ruched silk chiffon, wide black grosgrain ribbon bow and tie at the center front neckline, small band of white net at the collar. Labeled: “B. Altman and Co./ Paris/New York”

Cape by B Altman & Co, 1900 New York, the Museum of Fine Arts, Boston

Woman’s short cape made of black silk gimp and ribbon stitched into abstract, swirling pattern over a lining of black silk taffeta, finished at the bottom with fringe of ruched silk chiffon, wide black grosgrain ribbon bow and tie at the center front neckline, small band of white net at the collar. Labeled: “B. Altman and Co./ Paris/New York”

Dress and matching cape, ca 1850 US, the Museum of Fine Arts, Boston

A dress and matching cape of white muslin with white brocaded cotton with all-over design of serpentine stems bearing leaves and five petalled blossoms, printed over with a design of small brown dots and short stemmed rose buds in red and green; (a) bodice fitted and boned, hooked down center back, coming to point in center front, wide flaring neckline, three quarter length bell shaped sleeves edged with two gathered ruffles, skirt very full with fullness gathered all around, four self gathered flounces widening from top to bottom; cape (b) short, high round neck hooked down center front, edged with short gathered ruffle; all ruffles finished with green embroidered scallops; several brown stains.

Dress and matching cape, ca 1850 US, the Museum of Fine Arts, Boston

A dress and matching cape of white muslin with white brocaded cotton with all-over design of serpentine stems bearing leaves and five petalled blossoms, printed over with a design of small brown dots and short stemmed rose buds in red and green; (a) bodice fitted and boned, hooked down center back, coming to point in center front, wide flaring neckline, three quarter length bell shaped sleeves edged with two gathered ruffles, skirt very full with fullness gathered all around, four self gathered flounces widening from top to bottom; cape (b) short, high round neck hooked down center front, edged with short gathered ruffle; all ruffles finished with green embroidered scallops; several brown stains.

Wedding dress and matching cape, 1839 US (New Hampshire), the Museum of Fine Arts, Boston

Dress worn by Elizabeth Richards at her marriage to John S. Parmelee in Newport, New Hampshire, January 19, 1839. Wedding dress of light gray green figured silk having all-over small dot and powder of two different stylized blossoms; bodice fitted and boned coming to V at waistline at center front, hooked down center back, bodice front trimmed with folds of self material and row of self covered small buttons, V neck, leg-of-mutton sleeves with top fullness caught down by lines of piping and self covered buttons, skirt full all the way around with fullness in pleats in front and on sides, in gathers center back; (b) matching short round shoulder cape; bodice lined with unbleached heavy cotton twill; skirt faced with cream colored cotton, and cape lined with cream colored cotton.

Wedding dress and matching cape, 1839 US (New Hampshire), the Museum of Fine Arts, Boston

Dress worn by Elizabeth Richards at her marriage to John S. Parmelee in Newport, New Hampshire, January 19, 1839. Wedding dress of light gray green figured silk having all-over small dot and powder of two different stylized blossoms; bodice fitted and boned coming to V at waistline at center front, hooked down center back, bodice front trimmed with folds of self material and row of self covered small buttons, V neck, leg-of-mutton sleeves with top fullness caught down by lines of piping and self covered buttons, skirt full all the way around with fullness in pleats in front and on sides, in gathers center back; (b) matching short round shoulder cape; bodice lined with unbleached heavy cotton twill; skirt faced with cream colored cotton, and cape lined with cream colored cotton.

Going away dress and matching cape, 1838 US, the Museum of Fine Arts, Boston
Newly wedded couples change into “going away” outfits before leaving their reception.  This tradition is fading in most places, but it’s still hanging on here in the South.

Dress (a) and matching cape (b) of grayish-olive-green silk with fancy-woven stripes with lines of white; fitted bodice, pointed in front; widely flaring neck; fullness across bust in unpressed pleats; long sleeves with fine pleats in upper part held in place by bias folds, full from just above elbow to above wrist, fullness pleated vertically to wrist; full skirt with loose pleats in front and gathered in back; short double cape (b) of same material with edges finished with bias folds of self material; both dress and cape fully lined with white cotton cloth; probably the going-away outfit of Harriet Maria Spelman, married to Estes Howe, August 20, 1838.

Going away dress and matching cape, 1838 US, the Museum of Fine Arts, Boston

Newly wedded couples change into “going away” outfits before leaving their reception.  This tradition is fading in most places, but it’s still hanging on here in the South.

Dress (a) and matching cape (b) of grayish-olive-green silk with fancy-woven stripes with lines of white; fitted bodice, pointed in front; widely flaring neck; fullness across bust in unpressed pleats; long sleeves with fine pleats in upper part held in place by bias folds, full from just above elbow to above wrist, fullness pleated vertically to wrist; full skirt with loose pleats in front and gathered in back; short double cape (b) of same material with edges finished with bias folds of self material; both dress and cape fully lined with white cotton cloth; probably the going-away outfit of Harriet Maria Spelman, married to Estes Howe, August 20, 1838.

Dress, 1835-40 US, the Museum of Fine Arts, Boston

Woman’s dress (a), alternate bodice (b), shoulder cape (c), and bow (d). Brown satin trimmed with piping, bands, bows, and pleating of same brown satin. Attached bodice trimmed with soutache braid of same color. Cape trimmed with long brown fringe. Both bodices have long sleeves. Very good condition.

Dress, 1835-40 US, the Museum of Fine Arts, Boston

Woman’s dress (a), alternate bodice (b), shoulder cape (c), and bow (d). Brown satin trimmed with piping, bands, bows, and pleating of same brown satin. Attached bodice trimmed with soutache braid of same color. Cape trimmed with long brown fringe. Both bodices have long sleeves. Very good condition.

How much is the price? Anonymous
Evening coat by Liberty & Co, 1900-25 London, the Museum of Fine Arts, Boston

Pink satin evening coat or wrap, cut in kimono style; collar and cuffs of white satin embroidered with pink silk in conventionalized floral design; lined with white satin. Front trimmed with white satin buttons wrapped with pink thread and pink tassels. Label: “Liberty and Co., London and Paris”

Evening coat by Liberty & Co, 1900-25 London, the Museum of Fine Arts, Boston

Pink satin evening coat or wrap, cut in kimono style; collar and cuffs of white satin embroidered with pink silk in conventionalized floral design; lined with white satin. Front trimmed with white satin buttons wrapped with pink thread and pink tassels. Label: “Liberty and Co., London and Paris”

What’s your pet’s personality? Take The Humane Society of the United States’ quiz to find out if your furry friend’s a party animal or a fraidy cat—$1 will be donated by Petplan to help save dogs, cats, and other animals. http://bit.ly/UaIUhT

What’s your pet’s personality? Take The Humane Society of the United States’ quiz to find out if your furry friend’s a party animal or a fraidy cat—$1 will be donated by Petplan to help save dogs, cats, and other animals. http://bit.ly/UaIUhT

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