Ghost
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.

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.

Preparing for a Fancy Dress Ball by William Etty, 1835, York Art Gallery

Preparing for a Fancy Dress Ball by William Etty, 1835, York Art Gallery

A Treat for her Pet by Guillaume Dubufe, 1871 France, private collection
I really want a bird but I’ll never have one because I’ll always have a cat. :(

A Treat for her Pet by Guillaume Dubufe, 1871 France, private collection

I really want a bird but I’ll never have one because I’ll always have a cat. :(

Louise, Duchess of Devonshire’s ‘Queen of Zenobia’ Ball Gown for the Devonshire House Ball by House of Worth, 1897 Paris (worn in England), Chatsworth


Ball gown with an under-robe of cloth of silver, wrought all over with silver thread and brilliants, and with an over-dress of green and gold shot-silk gauze, embroidered to the waist with green and gold metalwork, decorated with jewels. A long train of turquoise velvet, embroidered in gold to an oriental design, was attached to the shoulders. A bodice of gold cloth and lace was fitted over a whalebone corset into which her waist was tightly laced. The headdress that went with it has not survived, but it can be seen in Lafayette’s photograph.
The dress was made for Louise, Duchess of Devonshire by the House of Worth to wear at the celebrated Diamond Jubilee Ball at Devonshire House. It was a fancy dress ball and Louise attended as Queen Zenobia, the warrior Queen of Palmyra. The Duchess may have got the idea for the theme of the dress from Inigo Jones’s costume designs for Court Masques that are in the drawing collections at Chatsworth.

Unfortunately, the images are really small.

Louise, Duchess of Devonshire’s ‘Queen of Zenobia’ Ball Gown for the Devonshire House Ball by House of Worth, 1897 Paris (worn in England), Chatsworth

Ball gown with an under-robe of cloth of silver, wrought all over with silver thread and brilliants, and with an over-dress of green and gold shot-silk gauze, embroidered to the waist with green and gold metalwork, decorated with jewels. A long train of turquoise velvet, embroidered in gold to an oriental design, was attached to the shoulders. A bodice of gold cloth and lace was fitted over a whalebone corset into which her waist was tightly laced. The headdress that went with it has not survived, but it can be seen in Lafayette’s photograph.

The dress was made for Louise, Duchess of Devonshire by the House of Worth to wear at the celebrated Diamond Jubilee Ball at Devonshire House. It was a fancy dress ball and Louise attended as Queen Zenobia, the warrior Queen of Palmyra. The Duchess may have got the idea for the theme of the dress from Inigo Jones’s costume designs for Court Masques that are in the drawing collections at Chatsworth.

Unfortunately, the images are really small.

La Soirée by Jean Béraud, ca 1880 France, Musée Carnavalet

La Soirée by Jean Béraud, ca 1880 France, Musée Carnavalet

La pâtisserie Gloppe (6, avenue des Champs-Elysées, 8ème arrondissement, Paris) by Jean Béraud, 1889 Paris, Musée Carnavalet

La pâtisserie Gloppe (6, avenue des Champs-Elysées, 8ème arrondissement, Paris) by Jean Béraud, 1889 Paris, Musée Carnavalet

(Left to right) Mrs. Watson B. Thompson, John Sloan Jr., Mrs. John Sloane, Mr. John Sloane, Evelyn Sloane, William Sloane, Mina Barber, Mary Butter, 1884 US (Elberon, NJ), the Metropolitan Museum of Art

(Left to right) Mrs. Watson B. Thompson, John Sloan Jr., Mrs. John Sloane, Mr. John Sloane, Evelyn Sloane, William Sloane, Mina Barber, Mary Butter, 1884 US (Elberon, NJ), the Metropolitan Museum of Art

my great grandmother as a girl back in 1885 :)
Submitted by emzroz

my great grandmother as a girl back in 1885 :)

Submitted by emzroz

Button Theme