Belle Époque Gibson Girl Styled Tea Ensemble with Provenance Dates to 1910

The elegance and finery of the Gibson Girl during the Belle Époque era is found within every tiny stitch used to create this exquisite 3 piece ensemble dated to September, 1910. 

It was illustrator Charles Dana Gibson, who created the original Gibson Girl fantasy of the perfect woman. For over twenty years, his pen and ink drawings created the romantic image of a brilliant, educated and beautiful woman: an artful vision that transcended his sketchbook, worldwide. 

If a woman was to become Gibson’s ideal Girl, she would be sensual, independent, athletic and scholarly.  Of course, Gibson's Girl only presented herself to the public while dressed in keen, elegant styles. Likely, she was a suffragette and considered herself equal to any man, although she would not break any rules of the genteel etiquette. Strong, stylish, confident, she might also conduct business outside the home. Acceptable careers for a woman during this time included working in magazine writing or illustration, or perhaps she was a shop keeper or assisted her husband in his business. Whatever it was that she was doing, The Gibson Girl was savvy, svelte and fashionable. 

The Gibson Girl imagery of feminine perfection strongly stuck in the public mind. So much so that women strived hard, and to great extremes, in order to match the lovely creature created within the artist's mind and through his drawings. Gibson used his wife as a model at times, but perhaps two of the most famous, obvious faces in his drawings were those of Nancy Astor and especially the infamous actress, Evelyn Nesbit. 

Gibson Girl styled gowns featured an “hourglass” silhouette that sculpted a soft S-curve in the woman’s form. Usually this was accomplished with a special corset that pushed the woman’s chest forward while extending her hips back. It was true that some corsets created an S-figure that was more rigid than others. Today, this tea ensemble may be successfully worn without any corset at all. 

The S-curve design here is created within the garments themselves. There is the pronounced pouf within the bodice designed over a small placket waist, which is enhanced with soft, voluminous pleats at the back. True to Gibson Girl fashions, there is a high neckline with puffed sleeves in a kind of reduced leg-o-mutton design. As one observer at the studio during the shoot accurately remarked, “there’s only just a hint of mutton here.” 

The ensemble includes three garments. These are all original to the overall design: an embroidered chemise or petticoat, a linen batiste under-gown and a separate over-gown made entirely of silk lace. 

Please refer to the photographs which show details of the three garments, by layer. The entire ensemble is original and authentic. Although three hooks and eyes were lost and replaced, this tea gown has not been altered nor adapted for wear since it was worn over a century ago. 

The first layer is the fitted, sleeveless chemise. It is made of fine, white cotton. The undergarment features winsome white-on-white raised embroideries across the front and back along the neckline. These areas are outlined with handmade lace and accentuated with the palest blue silk ribbon that laces through hand sewn eyelets. The deep flounce at the bottom is made from a slightly heavier cotton than that of the rest of the garment and decorated with hand-embroidered eyelet that is backed with cotton. It appears that the length of the petticoat was altered slightly and well over a century ago. The chemise fastens with seven original dainty mother-of-pearl buttons down the entire back and secured at the waist with the original hook and eye fasteners. It is both hand and machine stitched. 

The second layer is the under-gown created from ivory white linen batiste. This remains incredibly strong, yet soft as silk to the touch. The under-gown is angelic in appearance. It was created with an audacious use of the batiste, yet it was perfectly detailed to gracefully drape the body. The delicate, tiny gathers with generous lace-edged ruffles create a fullness that enhances every feminine curve. 

The under-gown is machine sewn and hand-finished. The front pouf is finely gathered and the back is fully buttoned down with original mother-of-pearl buttons as well as original hook and eye fasteners at the collar, also at the waist. 

Finally, the exceptionally strong over-gown is made from both machine and hand-made silk lace. There is a stylish, slight train to the back which was one of the fashionable silhouettes for tea gown designs dating to 1910. The over-gown features that desirable Gibson Girl standing collar. The full sleeves with slim cuffs are trimmed with lace. The entire gown is made with lace insertions between netted panels. The front placket and yoke are decorated with row upon row of hand sewn straw pleating. Appliquéd lace 
medallions finish the design. The over-gown is fastened by seven hook and eye closures; four are original.

The following list of measurements for each garment are close approximates. If you have strong and absolutely outstanding in all ways, in my opinion, and I feel sure that most anyone would agree. 

There is one mend in the over-gown, which was strengthened by our conservator. If you examine the photographs attached, you will find the image of this next to the full figure image of the mannequin’s back side, with the second mannequin turned toward her, with arm outreached. The mend in the netting is nearly invisible to the eye within all the fabric drapery and it is located in the back, lower part of the dress. 

There are no tears, stains, holes nor are there other condition issues to the over-gown. 

The under-gown has no problems aside from missing one button, but this is easily replaced as the buttons are standard sizes. If you would like us to find a replacement for you, simply as as we do have resources for this and will be glad to assist. 

The chemise has a few tiny rust spots from age, which should be easily treated by a trained museum conservator. You will see one, if you look at the photograph of the bust line, and this is the largest one and it is faint. The ribbon is slightly discolored under the arms due to perspiration. This, too, could be easily replaced if truly required. The issues with this ensemble are quite few and it is in a condition that is rarely found today. 

To reiterate, the condition overall is rated to antique near mint condition. All three garments were cleaned by a trained museum conservator several years ago, but somehow the very few, very tiny rust spots on the chemise were missed. The ensemble is in exceptional condition and it is indeed strong enough for wear for a special occasion…and could be worn as it is now…. 

Of course…we strongly do advise that its value will only grow in time if it remains in such outstanding condition such that it is in presently. It has been stored away in a fully archival textile storage container within climate controlled surroundings for decades. No bleach, starch or other caustic chemicals have been used on this gown since it was initially acquired by its current owner. 

The gown does have a provenance, although gowns such as this are ubiquitous in fashion magazines dating to 1910. They are more often than not listed as tea gowns, especially with the high neck. However, this particular dress was apparently worn for a wedding during the autumn of 1910. Based on a handful of records that we are now authenticating, it appears that the couple lived a good life together. Another treasured thought! Not only is the dress beautiful, but it certainly stands for so very much both historically and within the heart! 

We are presently researching the story behind this gown, and if there is more to tell, we shall send the complete documentation to you for your records. 

This is truly a rarity in our world today…. Three major museum curators requested this ensemble to be included in their exhibitions and for permanent loan, but the most recent owner refused.
 However, it is now time for this exquisite piece of history to stand out within another collection and one where it will be cared for as lovingly as it has been to date. This is one of those gowns that is sturdy enough and beautiful enough to be enjoyed thoroughly by generations yet to come.... 

The measurements for the chemise: Shoulder width: 15 inches or 38 cm. Depth of neckline: 4.5 inches or 11.5 cm Bust: 35.5 inches or 90 cm…required measurement for dress overall Total length: 35.5 inches or 136 cm Width of gathered flounce with cutwork/lace edging: 11 inches or 28 cm 

The measurements for the under-gown: Shoulder width: 16.5 inches or 42 cm Sleeve length: 25.25 inches or 64 cm Waist: 27.5 inches (may be altered to slightly larger or smaller) Skirt length: 41 inches or 104.5 cm Neck circumference: Slightly over 14 inches or 38 cm 

The measurements for lace over-gown:  Shoulder width 18 inches or 46 cm Waist: 27 inches or 68.5 cm Collar height is 2.5 inches or 6.5 cm.

Original photographs and text copyright J.Henri, October, 2014. 

Victorian Maternity Blouse circa 1890, Appropriate for Deep Mourning

This early ready-to-wear mourning maternity blouse dates to circa 1890. It is simply one of those worth saving...an article of clothing that is worthy of historical study. 

Although in very poor condition overall, the blouse was made by one of the first ready-to-wear clothing companies and was also designed for maternity wear. This alone makes it unusual and noteworthy. The blouse also documents not only mourning in fashion history, but mourning for those who could not easily afford to follow fashion etiquette dictates at that time. 

During the Victorian era, there were strict social rules about the length of time spent in mourning. According to several fashion magazines from this period, full mourning could last as long as three years according to etiquette. This depended upon the woman’s relationship to the deceased and could even dictate what a woman wore if she even felt the slightest grief for a friend’s passing. Finally, a woman would enter a period called half mourning where small amounts of white, gray or violet colored accents were allowed. If there were multiple deaths to mourn during this time, a woman could spend many, many years of her life wearing only black clothing. 

Fashion couturiers responded by opening shops that sold only mourning attire. The specialized clothing was costly to families whose social and business statuses were often judged by what they wore. 

“Deep” or “First” mourning were the terms used for the immediate time following a beloved’s death. It was well documented that only lusterless fabrics were acceptable for wear. No decorations were allowed except for simple tape bands. Indeed, this blouse was made for the beginning stages of Deep Mourning and was also designed to accommodate the final stages of pregnancy. Yet, the wide silk lace around the bottom was added by the original owner well after it was first purchased. Likely, it was added after yet another death and during yet another pregnancy. 

Victorian fashion and social etiquette considered a woman’s pregnancy bump somewhat vulgar. However, there was little one could about this during the final months for most women and so maternity blouses were required. The need was answered with ready-to-wear designs sold through mail order catalogues for those who could not afford to have one specially made. 

This blouse has a ready-to-wear label that reads Better Made, Trademark. This label helps to identify when it was originally sold, circa 1890. The blouse was worn time and time again. It was also mended and altered many times by its original owner. Furthermore, it was passed on to yet another woman who wore a slightly different size and who also needed a maternity mourning blouse. 

If one takes the time to count the seams, it is obvious that this blouse was resized, reshaped, mended and altered to accommodate more than one pregnancy as well as more than one death. The blouse was used so many times, in fact, that it would have been considered in poor condition over a century ago. However, these many alterations make it all the more rare today. It is certainly filled with history and stories that we can only guess through examining its seams and the fabric it is made from...fabric worn so thin, so long ago, from use. For instance, one cannot help but speculate that the reason why the front of the blouse is worn so thin is because the area seems to outline where more than one baby rested in the arms of the wearer.

The blouse sparks the imagination. Simply to touch it makes wonder as to whom it originally owned it and what their circumstances were. It is a rare find, even in this condition. The Gilded Griffin shop typically does not carry items in poor condition under any circumstances. In fact, items must be in outstanding, excellent condition or above to be considered for inventory here. Yet, this worthwhile piece of American women’s history is being offered because it is so unique, and we hope that it will find an appreciative new owner.

Condition and measurements: The silk is shattering in several areas over the blouse. It has been altered from the original state several times. The flat braid decorative banding is original, but the wide lace was added after its original purchase. The slightly puffed sleeves are shattering at the elbows…that is, where the elbows were before the sleeves were shortened over a century ago (please see photographs). Several pleats have been altered by the original owner(s) and the silk is shattering where the original folds were located. The mid front plaque was added later by its last owner. There are mendings by the original owner(s). The original hook and eye closures are intact. The neckline and inner yoke are faced.

The blouse is in poor condition and is not strong enough for wear. It is excellent for research, study and pattern measurements. The sleeves measure approximately 22 inches or 56 cm in length. The shoulder width is approximately 17 inches or 43 cm from shoulder seam to shoulder seam. The waist circumference is 10.5 inches or 26.8 cm. The hemline around the bottom (the sweep) is approximately 83 inches or 211 cm. The bust area measures approximately 49 inches or 124.5 cm in circumference as the blouse widens from the neck. The neck opening is 21.75 inches or 55.3 cm. 

Circa 1901 Edwardian Silk Pagoda Parasol

This parasol resembles a giant ivory morning glory with its pagoda styling.

Early Edwardian. Pagoda shape. Hand-embroidered. Sublime condition. All this adds up to this rare and exquisite example of fine collectible parasols and umbrellas. 

The parasol dates either during the last sigh of the Victorian era, or with the first breath of the Edwardian, circa 1901. The dating is obvious due to its shape, the complex folding mechanism, length of spokes and embroidery design. The parasol is entirely authentic, original and in glorious condition over all.

The parasol is made from natural silk stretched over metal spokes. Metal spokes replaced whalebone during the 1850s. As the 20th century approached, spokes became longer since they were also stronger. The spokes on this parasol are approximately 20 3/4 inches or 53 cm in length. It is approximately 32.50 inches or 82.5 cm across when open. 

The parasol was created in that grand pagoda shape. It is lined with sea glass green colored silk georgette. This is so finely woven that it is transparent and so delicate that it adds a just a polite suggestion of color to the underside. One of the most beautiful details about the parasol’s interior is that each spoke is perfectly faced with the same, matching silk and decorated with ruched georgette ruffles. 

The exterior of the parasol is covered with raised, white-on-white silk hand embroidery. The floral pattern, including butterflies, seems to drift across the entire outer side. The outer seams are strong and its overall silhouette is absolutely beautiful. 

The parasol is entirely hand sewn. The simple, sleek maple wood handle has a fascinating mechanism made so that it unscrews and folds easily, nearly in half. The long, natural silk cording with long fringed tassel were added to hide the place where the umbrella folds down.

Obviously, this magnificent pagoda parasol opens easily. However, we do not recommend using it as the silk has just started to split along the very edges of the parasol as well as one small place on the interior lining that is approximately 3/4 inch or 2 cm in length. It is starting to weaken on the interior as well. Please refer to the photographs. 

Under curatorial care, this parasol will make a magnificent display item. Discerning collectors will also enjoy this immensely…although its value for the long term will require careful, controlled storage and a loving hand. 

Overall the parasol is in excellent condition with minor age spotting and shadowing on the silk. This is not overly noticeable and typical of what most people would expect to find on silk that is well over a century old. It is a marvelous candidate for restoration of the inner lining which is the only area that shows indications of shattering.

Civil War Era Fingerless Gloves Date To Circa 1861

True Americana.

Hauntingly beautiful…these exquisite silk lace gloves from circa 1861.

They are approximately 153 years old and are indeed from the American Civil War period. They are also the largest sized gloves from this era that we have had the pleasure in handling.

They come from a New Hampshire estate and their original owner was not identified. The gloves were found crumpled and had been obviously stored in an old trunk in an attic for well over a century in time. We weren’t sure what would happen, but we took the risk and took them back to the Studio here at The Gilded Griffin and handed them over to our conservationist. 

The result is breathtaking. 

The cleaning took nearly 2 weeks and was finished using museum archival conservation standards. No bleach was used. The gloves will require archival tissue storage, and should remain beautiful for many decades to come.

The gloves are fingerless aside from the thumb and are in overall excellent condition aside from a tiny snag on the palm (obvious in the photograph attached) and an even less obvious snag on the back of the left hand. These would make ideal candidates for restoration. Certainly, these will make any Civil War reenactor’s heart beat a little faster because they will make a glorious pattern for both study and replication.

We have attached a digital copy of an ambrotype from the collections in the U.S. Library of Congress. Please reference hdl.loc.gov/loc.pnp/ppmsca.34959).

  

The image, dated to circa 1861 and listed as American Civil War era, shows a woman wearing similar gloves. As a side note just for extra interest, it should be noted that the gloves in this image are likely dyed to match her hat and the darker color found in her brightly colored dress. They were quite likely not black as many people often believe due to early photographic technologies.

Fingerless gloves or half gloves are worn throughout history, but certain patterns and lengths can help to identify their age. “Godey’s Lady’s Book” from 1841 shows women wearing ball gowns with fingerless lace gloves. Although similar in length, mesh style and edging the lace gloves from this earlier period are plainer in style. They also do not have thumbs or fingers, although they do end halfway down the palm.

These particular Civil War era gloves feature intricately detailed lace edgings against the mesh and also have tiny ruffles that are accentuated when tied.  

The workmanship on these glistening silk gloves is masterful. The intricate lacework requires magnification to see its superfine detail. The gloves are the color of ivory…the color only found in natural silk…and they shimmer in the light. They are entirely original right down to the finely woven silk lacings used to tie them in place along the edge of the wrist and slightly up the arm.

The glove design is perfection in creative problem solving. The ties are adjustable, allowing the wrist and fingers to move without risk of pulling or breaking the gloves. 

They are in excellent overall condition best described as excellent. They are larger than any we have ever found from this era and easily fit up to a slim glove size of 7.5.  

They are quite flexible and strong enough for gentle wear, although we caution against this to collectors because their long term value will only be maintained if they remain in this marvelous condition. 

The total length is 7-1/8 inches or 18cm. The palm measurement is 5-3/4 inches or 14.5 cm.