Ghost

stellar-raven:

Animal Locomotion, Vol. 7 (1872-1885) - Eadweard Muybridge, photographer.

It’s interesting to be able to see these outfits in motion.

questionableadvice: ~ Woman’s Home Companion, July 1915via Harvard University Library(click to enlarge)

questionableadvice:

~ Woman’s Home Companion, July 1915
via Harvard University Library
(click to enlarge)

Day dress of silk brocade, ca 1841-46, Sudley House See some bigger images here.

Day dress of silk brocade, ca 1841-46, Sudley House

See some bigger images here.

(Source: liverpoolmuseums.org.uk)

Day dress, ca 1823-25, Sudley House

Day dress, ca 1823-25, Sudley House

(Source: liverpoolmuseums.org.uk)

Half-mourning dress, 1855-65 (ca 1860-63?), the North Carolina Museum of History TWO-PIECE HAND-SEWN, BLACK SILK DRESS, FITTED, LINED, BONED BODICE, PLAIN ROUND NECKLINE, EIGHT PURPLE/BLACK SQUARE DECORATIVE BUTTONS ABOVE HOOK AND EYE CLOSURE AT CENTER FRONT, DROPPED SHOULDER, PURPLE PIPING, SHAPED SLEEVES W/PURPLE CUFFS, LACE BASTED ON CUFF EDGES; UNLINED, BELL-SHAPED, BOX PLEATED SKIRT W/WIDE PURPLE BAND AT HEMLINE (TOP OF BAND IS SINUOUS AND FINISHED W/TWISTED CORDING), LOWER EDGE OF HEM FINISHED W/URPLE WOOL BRAID, SLIGHT TRAIN, UNLINED EXCEPT FOR GLAZED BROWN COTTON AT HEM, PAIRS OF NARROW, BRAIDED TIES AT INSIDE SEAMLINES NEAR HEM, HOOK AND EYE ON WAISTBAND.

Half-mourning dress, 1855-65 (ca 1860-63?), the North Carolina Museum of History

TWO-PIECE HAND-SEWN, BLACK SILK DRESS, FITTED, LINED, BONED BODICE, PLAIN ROUND NECKLINE, EIGHT PURPLE/BLACK SQUARE DECORATIVE BUTTONS ABOVE HOOK AND EYE CLOSURE AT CENTER FRONT, DROPPED SHOULDER, PURPLE PIPING, SHAPED SLEEVES W/PURPLE CUFFS, LACE BASTED ON CUFF EDGES; UNLINED, BELL-SHAPED, BOX PLEATED SKIRT W/WIDE PURPLE BAND AT HEMLINE (TOP OF BAND IS SINUOUS AND FINISHED W/TWISTED CORDING), LOWER EDGE OF HEM FINISHED W/URPLE WOOL BRAID, SLIGHT TRAIN, UNLINED EXCEPT FOR GLAZED BROWN COTTON AT HEM, PAIRS OF NARROW, BRAIDED TIES AT INSIDE SEAMLINES NEAR HEM, HOOK AND EYE ON WAISTBAND.

Mourning dress with transforming bodice by Daubricourt, NY, ca 1905 New York, the Metropolitan Museum of Art

Mourning dress with transforming bodice by Daubricourt, NY, ca 1905 New York, the Metropolitan Museum of Art

Carte-de-visite photograph by Maull & Co, 1864 London, Manchester Art Gallery Full length studio portrait of a woman in mourning sitting beside a table. She is wearing a day dress, skirt has an embroidered pattern set at regular intervals, patterned band runs around skirt just below the knee, large lace net hem with scalloped edging, bodice has similar patterned band across the shoulders and bust, upper part of the bodice is quilted with vertical strips, patterned band also runs down the trumpet sleeves, white undersleeves, white lace collar, she has a black lace shawl over one arm. Drawing room backdrop with drape. EDIT: I don’t think this woman is in mourning. Not really sure where that information is coming from.

Carte-de-visite photograph by Maull & Co, 1864 London, Manchester Art Gallery

Full length studio portrait of a woman in mourning sitting beside a table. She is wearing a day dress, skirt has an embroidered pattern set at regular intervals, patterned band runs around skirt just below the knee, large lace net hem with scalloped edging, bodice has similar patterned band across the shoulders and bust, upper part of the bodice is quilted with vertical strips, patterned band also runs down the trumpet sleeves, white undersleeves, white lace collar, she has a black lace shawl over one arm. Drawing room backdrop with drape.

EDIT: I don’t think this woman is in mourning. Not really sure where that information is coming from.

(Source: manchestergalleries.org)

Formal day dress, ca 1735 England (Spitalfields) (altered 1740’s and 1780’s), the Victoria and Albert Museum By the 1730s the open robe was beginning to replace the mantua as formal day wear. The beautifully patterned Spitalfields silk indicates a degree of luxury. The accompanying quilted petticoat suggests that the ensemble was probably worn for afternoon tea parties rather than in the evening at the opera or theatre. The pattern of the silk, with pear-shaped fruits and exotic flowers, is typical of the 1730s. The gown itself was altered in the 1740s and probably again in the 1780s.

Formal day dress, ca 1735 England (Spitalfields) (altered 1740’s and 1780’s), the Victoria and Albert Museum

By the 1730s the open robe was beginning to replace the mantua as formal day wear. The beautifully patterned Spitalfields silk indicates a degree of luxury. The accompanying quilted petticoat suggests that the ensemble was probably worn for afternoon tea parties rather than in the evening at the opera or theatre. The pattern of the silk, with pear-shaped fruits and exotic flowers, is typical of the 1730s. The gown itself was altered in the 1740s and probably again in the 1780s.

Vogue, October 7th 1897 Fig. 4665.—Charming tea-gown of corncolor Liberty satin over an under slip of palest shell-pink crêpe de chine plissé; set upon a guipure lace yoke in front. Princess back, very open fronts, the skirt having three rings of wide guipure barbs separately inserted. Effect of jacket in front, by falling plaits of satin having a lace barb on the edge. Pink velvet neck band and knotted sash. Shirt sleeves, barb at wrists. Fig. 4661—Smart walking gown of medium tone beige zibeline cloth. Separate bell skirt, trimmed in three rings, with black glacé silk plaitings, laid in short points, headed by narrow bands of beige astrakhan, upper row simulating an over-skirt. Beige velvet sleeves, having cloth epaulettes trimmed in plaitings and fur, and wrists to match. Beige velvet belt, laid in folds. Fig. 4660.—House toilette. Gown of fawn color poplin having on the bottom of separate skirt three ruffles of soft Liberty silk to match, each edged with a yellow and a white satin flat piping. Blouse bodice trimmed to match in fine ruffling forming sleeve top drapery. Chemisette, sleeves, bow and belt of fawn and white checker-board velvet. Fig. 4664—A home-dinner gown for young woman. Skirt and bodice of silvery-gray crêpe de chine plissé. Belt of almond green velvet, rosette in front, diamond buckle in centre. Figaro jacket and draped sleeves of velvet to match. Collar effect, strapped across with gold and silver trimming. Silvergray mousseline de soie, plissé ruffle for entire bordering, with a gold tag fringe laid over. White tulle neck band and bow. Fig. 4402—Youthful gown for homedinner, built of pink albatross cloth. Skirt separately hung, is trimmed with three rows of white passementerie. Round blouse bodice, with three rows of passementerie laid on crossways. A pink silk yoke, finely tucked, inset. Rows of passementerie, half crossing the arm, are laced with white silk cords. Sleeve tops draped. White silk belt and collar band. Fig. 4662.—Visiting toilette in a long jacket effect, of palest beige cloth braided over entirely with an otter brown silk cord; attached to bottom of cloth bodice is a silk skirt having three flounces of dark brown plissé velvet. Border of revers, as well as wrist finish in, velvet matching flounces and edged by a beige silk cord. Vest chemisette of flowered uncut velvet in white and beige out lined in silver thread. Fig. 4663.—Smart gown of brocade and velvet in peacock blue, flowered in many of the same shades, with centres in orange and white. Long skirt untrimmed, having loose plaits descending in front from upper bodice of lighter peacock blue velvet. This bodice is crossed by rows of jet, and has two falls of black chantilly, in part wrought with gold threads. Tucked velvet sleeves draped at the top. Gold ribbon sash and neck band with orange velvet rosette at the left side. Fig. 4658—A young woman’s walking gown in bottle - green cheviot, its skirt trimmed with cheviot plaitings in three rings, headed by a narrow black gimp in festoons. Round draped bodice, having a pointed Spencer cape of small-checked velvet, in lighter shades of green, trimmed on the edge with the same gimp. Gigot sleeves, velvet wrist finish and sash of the same velvet. FIg. 4399—Tailor-made street gown in marine-blue ladies’ cloth. Bell skirt, braided around the bottom with black silk braid and separately hung. Round blouse bodice has revers and collar braided to match. Cloth front has red silk touches laid under the braiding and wrists of gigot sleeves the same. Cloth frill at neck, braided and lined with red silk.

Vogue, October 7th 1897

Fig. 4665.—Charming tea-gown of corncolor Liberty satin over an under slip of palest shell-pink crêpe de chine plissé; set upon a guipure lace yoke in front. Princess back, very open fronts, the skirt having three rings of wide guipure barbs separately inserted. Effect of jacket in front, by falling plaits of satin having a lace barb on the edge. Pink velvet neck band and knotted sash. Shirt sleeves, barb at wrists.
Fig. 4661—Smart walking gown of medium tone beige zibeline cloth. Separate bell skirt, trimmed in three rings, with black glacé silk plaitings, laid in short points, headed by narrow bands of beige astrakhan, upper row simulating an over-skirt. Beige velvet sleeves, having cloth epaulettes trimmed in plaitings and fur, and wrists to match. Beige velvet belt, laid in folds.

Fig. 4660.—House toilette. Gown of fawn color poplin having on the bottom of separate skirt three ruffles of soft Liberty silk to match, each edged with a yellow and a white satin flat piping. Blouse bodice trimmed to match in fine ruffling forming sleeve top drapery. Chemisette, sleeves, bow and belt of fawn and white checker-board velvet.
Fig. 4664—A home-dinner gown for young woman. Skirt and bodice of silvery-gray crêpe de chine plissé. Belt of almond green velvet, rosette in front, diamond buckle in centre. Figaro jacket and draped sleeves of velvet to match. Collar effect, strapped across with gold and silver trimming. Silvergray mousseline de soie, plissé ruffle for entire bordering, with a gold tag fringe laid over. White tulle neck band and bow.

Fig. 4402—Youthful gown for homedinner, built of pink albatross cloth. Skirt separately hung, is trimmed with three rows of white passementerie. Round blouse bodice, with three rows of passementerie laid on crossways. A pink silk yoke, finely tucked, inset. Rows of passementerie, half crossing the arm, are laced with white silk cords. Sleeve tops draped. White silk belt and collar band.
Fig. 4662.—Visiting toilette in a long jacket effect, of palest beige cloth braided over entirely with an otter brown silk cord; attached to bottom of cloth bodice is a silk skirt having three flounces of dark brown plissé velvet. Border of revers, as well as wrist finish in, velvet matching flounces and edged by a beige silk cord. Vest chemisette of flowered uncut velvet in white and beige out lined in silver thread.

Fig. 4663.—Smart gown of brocade and velvet in peacock blue, flowered in many of the same shades, with centres in orange and white. Long skirt untrimmed, having loose plaits descending in front from upper bodice of lighter peacock blue velvet. This bodice is crossed by rows of jet, and has two falls of black chantilly, in part wrought with gold threads. Tucked velvet sleeves draped at the top. Gold ribbon sash and neck band with orange velvet rosette at the left side.
Fig. 4658—A young woman’s walking gown in bottle - green cheviot, its skirt trimmed with cheviot plaitings in three rings, headed by a narrow black gimp in festoons. Round draped bodice, having a pointed Spencer cape of small-checked velvet, in lighter shades of green, trimmed on the edge with the same gimp. Gigot sleeves, velvet wrist finish and sash of the same velvet.
FIg. 4399—Tailor-made street gown in marine-blue ladies’ cloth. Bell skirt, braided around the bottom with black silk braid and separately hung. Round blouse bodice has revers and collar braided to match. Cloth front has red silk touches laid under the braiding and wrists of gigot sleeves the same. Cloth frill at neck, braided and lined with red silk.
Wrapper, ca 1855 The lot also includes a day dress (ca 1850), a spencer (ca 1820) and a bodice (ca 1800). Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 2:00 PM GMT (9:00 AM EST).  You will need to register to bid ahead of time.

Wrapper, ca 1855

The lot also includes a day dress (ca 1850), a spencer (ca 1820) and a bodice (ca 1800).

Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 2:00 PM GMT (9:00 AM EST).  You will need to register to bid ahead of time.

Day dress, possibly by Jean Patou, 1935 France - Bust is 86-92cm/34-36in, about a size 8-12 UK/4-8 US. Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 2:00 PM GMT (9:00 AM EST).  You will need to register to bid ahead of time.

Day dress, possibly by Jean Patou, 1935 France - Bust is 86-92cm/34-36in, about a size 8-12 UK/4-8 US.

Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 2:00 PM GMT (9:00 AM EST).  You will need to register to bid ahead of time.

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