Ghost
Mourning earrings, 1899-1902 US (Old Salem, NC), the North Carolina Museum of History

EARRINGS, TEARDROPS OF WOVEN BROWN HAIR ATTACHED TO DECORATIVE VERMEIL TRIANGLE, ATTACHED IN TURN TO VERMEIL MEDALLION MOUNTED ON CIRCLE OF WOVEN HAIR; FRENCH HOOKS FOR PIERCED EARS.
HAIR JEWELRY AND ART WERE POPULAR FROM THE LATE 18TH UNTIL THE EARLY 20TH CENTURIES FOR COMMEMORATIVE, MEMORIAL (MOURNING), SENTIMENTAL, AND DECORATIVE PURPOSES. DURING THE MID-19TH CENTURY MANY WOMEN TOOK UP THE HOBBY OF MAKING HAIR JEWELRY AT HOME. EARRINGS OF THIS STYLE (TABLE-WORKED DANGLES) WERE PARTICULARLY POPULAR 1850-1870. THIS PIECE WAS MADE A LITTLE LATER THAN TYPICAL FOR THIS FORM.

Mourning earrings, 1899-1902 US (Old Salem, NC), the North Carolina Museum of History

EARRINGS, TEARDROPS OF WOVEN BROWN HAIR ATTACHED TO DECORATIVE VERMEIL TRIANGLE, ATTACHED IN TURN TO VERMEIL MEDALLION MOUNTED ON CIRCLE OF WOVEN HAIR; FRENCH HOOKS FOR PIERCED EARS.


HAIR JEWELRY AND ART WERE POPULAR FROM THE LATE 18TH UNTIL THE EARLY 20TH CENTURIES FOR COMMEMORATIVE, MEMORIAL (MOURNING), SENTIMENTAL, AND DECORATIVE PURPOSES. DURING THE MID-19TH CENTURY MANY WOMEN TOOK UP THE HOBBY OF MAKING HAIR JEWELRY AT HOME. EARRINGS OF THIS STYLE (TABLE-WORKED DANGLES) WERE PARTICULARLY POPULAR 1850-1870. THIS PIECE WAS MADE A LITTLE LATER THAN TYPICAL FOR THIS FORM.

Mourning parasol, 1895-1900 US, the Metropolitan Museum of Art

A beautiful as well as large parasol, it is decidedly for mourning. This fact is evidenced by the hidden mourning crepe found in the middle layer between the taffeta and the densely ruched mousseline de soie. The handle is also extremely refined.

Mourning parasol, 1895-1900 US, the Metropolitan Museum of Art

A beautiful as well as large parasol, it is decidedly for mourning. This fact is evidenced by the hidden mourning crepe found in the middle layer between the taffeta and the densely ruched mousseline de soie. The handle is also extremely refined.

(Source: metmuseum.org)

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.”

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”

Women’s dressing gown by Iida Takashimaya, ca 1900 Japan (Kyoto, for the Western market), the Museum of Fine Arts, Boston

Pink silk taffeta dressing gown in kimono style with embroidered naturalistic chrysanthemums and butterflies in polychrome silks. Silk plain weave lining, padded hem and pleat in back of robe. Full sleeves gathered at shoulders and trimmed with braided silk cord and tassles. Matching sash of pink silk taffeta with double-sided embroidery of chrysanthemums in green brown and pink polychrome silk with knotted silk fringe. Gown labeled: S. Iida “Takashimaya” Silks and Embroideries. Kyoto.

Women’s dressing gown by Iida Takashimaya, ca 1900 Japan (Kyoto, for the Western market), the Museum of Fine Arts, Boston

Pink silk taffeta dressing gown in kimono style with embroidered naturalistic chrysanthemums and butterflies in polychrome silks. Silk plain weave lining, padded hem and pleat in back of robe. Full sleeves gathered at shoulders and trimmed with braided silk cord and tassles. Matching sash of pink silk taffeta with double-sided embroidery of chrysanthemums in green brown and pink polychrome silk with knotted silk fringe. Gown labeled: S. Iida “Takashimaya” Silks and Embroideries. Kyoto.

"Mary, Queen of Scots" and "Lord Darnley" fancy dress by Russell & Allen of Old Bond Street, ca 1900 London
Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 10:30 AM GMT (5:30 AM EST).  You will need to register to bid ahead of time.

"Mary, Queen of Scots" and "Lord Darnley" fancy dress by Russell & Allen of Old Bond Street, ca 1900 London

Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 10:30 AM GMT (5:30 AM EST).  You will need to register to bid ahead of time.


Vogue 16.3 July 19,1900, Page 37
(My school has a Vogue archive and I had noticed you didn’t have many from Vogue and I thought this was a lovely Fashion Plate and descriptions. I may submit some more in the future!)
Retail Information and descriptions:LEFT FIGURE.—Toilette of embroidered batiste over taffeta. A circular foundation of white taffeta has a tiny-lace-edged accordionplaited dust ruffle; over this is a mousseline de soie circular drop skirt trimmed with six narrow accordion-plaited frills of sheer creamy batiste. The tunic of embroidered cream batiste is cut in deep points to show the accordionplaitings. It is bordered with Cluny, and exquisitely embroidered batiste flower appliqués. The all-over design on tunic and the waist is in pastel-pinks and buffs. The waist is of accordion-plaited cream batiste, which is very sheer; this is also used for the tops of sleeves, and puffs below elbow. The bolero of embroidered batiste is edged with the Cluny, and has occasional appliqués of the batiste flowers. Three narrow straps of black velvet fasten it in front. The folded girdle is also of black velvet. The collar is of the accordion-plaited batiste with Cluny band at top Sleeves of embroidered batiste to elbow, where they finish with a turned-back cuff. Hat of accordion-plaited white mousseline de soie, with clusters of pink roses and foliage and tulle pompons. Parasol of taffeta with lace insertion and chiffon ruffles.

MIDDLE FIGURE.—Yachting costume of blue linen. A foundation of taffeta is fivegored with two narrow accordion-plaited frills as a finish. The linen drop skirt is in three pieces, fastening at left side of front. The circular sides are stitched on front edges and around bottom, fullness in back an inverted plait. The front gore is trimmed in groups, with loops of heavy white cord, coming from under edges of side pieces; and fastening with white pearl buttons. The Eton waist has loops of cord on front edges, and is trimmed with a stitched bias fold. Edges of blue linen sailor collar and flare cuffs also stitched. An adjustable collar of white piqué is used, and the soft silk waist is a cream foulard handkerchief square with a blue figure and border which shows at neck. The knotted scarf, with hemstitched ends is of cream foulard.


RIGHT FIGURE.—Gown of buff barège over white taffeta. Circular taffeta foundation edged with lace-trimmed accordion-plaited frills. The barège drop skirt is also circular, and tucked, with a narrow stripe of black velvet ribbon following each tuck as far as stitched. Several rows of narrow velvet ribbon trim the hem. On the waist the velvet is placed to give a bias effect meeting in points in the back, which is tight fitting. The front droops slightly and has wide revers of white taffeta, with a border rever and jabot of Irish point. Three rows of Irish point appliqués on each rever, and above flaring taffeta cuff. Collar of the Irish point with black velvet bow caught with rhinestone buckle at left side. Strap belt of black velvet. Hat of white Manila with trimmings of pink mousseline de soie edged with tiny black velvet ribbon. Black velvet rosette with rhinestone ornament under brim at left side.

Yes, definitely submit more! Love this.

Vogue 16.3 July 19,1900, Page 37

(My school has a Vogue archive and I had noticed you didn’t have many from Vogue and I thought this was a lovely Fashion Plate and descriptions. I may submit some more in the future!)

Retail Information and descriptions:

LEFT FIGURE.—Toilette of embroidered batiste over taffeta. A circular foundation of white taffeta has a tiny-lace-edged accordionplaited dust ruffle; over this is a mousseline de soie circular drop skirt trimmed with six narrow accordion-plaited frills of sheer creamy batiste. The tunic of embroidered cream batiste is cut in deep points to show the accordionplaitings. It is bordered with Cluny, and exquisitely embroidered batiste flower appliqués. The all-over design on tunic and the waist is in pastel-pinks and buffs. The waist is of accordion-plaited cream batiste, which is very sheer; this is also used for the tops of sleeves, and puffs below elbow. The bolero of embroidered batiste is edged with the Cluny, and has occasional appliqués of the batiste flowers. Three narrow straps of black velvet fasten it in front. The folded girdle is also of black velvet. The collar is of the accordion-plaited batiste with Cluny band at top Sleeves of embroidered batiste to elbow, where they finish with a turned-back cuff. Hat of accordion-plaited white mousseline de soie, with clusters of pink roses and foliage and tulle pompons. Parasol of taffeta with lace insertion and chiffon ruffles.

MIDDLE FIGURE.—Yachting costume of blue linen. A foundation of taffeta is fivegored with two narrow accordion-plaited frills as a finish. The linen drop skirt is in three pieces, fastening at left side of front. The circular sides are stitched on front edges and around bottom, fullness in back an inverted plait. The front gore is trimmed in groups, with loops of heavy white cord, coming from under edges of side pieces; and fastening with white pearl buttons. The Eton waist has loops of cord on front edges, and is trimmed with a stitched bias fold. Edges of blue linen sailor collar and flare cuffs also stitched. An adjustable collar of white piqué is used, and the soft silk waist is a cream foulard handkerchief square with a blue figure and border which shows at neck. The knotted scarf, with hemstitched ends is of cream foulard.

RIGHT FIGURE.—Gown of buff barège over white taffeta. Circular taffeta foundation edged with lace-trimmed accordion-plaited frills. The barège drop skirt is also circular, and tucked, with a narrow stripe of black velvet ribbon following each tuck as far as stitched. Several rows of narrow velvet ribbon trim the hem. On the waist the velvet is placed to give a bias effect meeting in points in the back, which is tight fitting. The front droops slightly and has wide revers of white taffeta, with a border rever and jabot of Irish point. Three rows of Irish point appliqués on each rever, and above flaring taffeta cuff. Collar of the Irish point with black velvet bow caught with rhinestone buckle at left side. Strap belt of black velvet. Hat of white Manila with trimmings of pink mousseline de soie edged with tiny black velvet ribbon. Black velvet rosette with rhinestone ornament under brim at left side.

Yes, definitely submit more! Love this.

A woman in a daring riding habit, ca 1901 US
hatsfromhistory:

vintagevision:

Unknown photographer, autochrome c. 1900. Private collection.

So glad this is a color photograph, because her feathers are gorgeous!

hatsfromhistory:

vintagevision:

Unknown photographer, autochrome c. 1900. Private collection.

So glad this is a color photograph, because her feathers are gorgeous!

Untitled by Frederic Soulacroix, ca 1900 France, private collection
Walking and “calling” dresses, 1900 US, the Delineator
I imagine that calling is the same as visiting.

Walking and “calling” dresses, 1900 US, the Delineator

I imagine that calling is the same as visiting.

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