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. 

A Portfolio: The Gilded Griffin

Original photography & text copyright 2015 J. Henri

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Authentic Civil War Era Capelette in Claret Red Silk, circa 1862

It is effortless to imagine the moment when the original owner extinguished her candle, just before she untied the ribbons on this capelette...because her fingertip left a tiny mark from the candle's hot wax upon the interior lining when she went to pull it from off her shoulders.

Aside from this, the capelette is in extraordinarily rare and magnificent perfect condition. It is destined only for the most discerning collector....

Curators, civil war reenactors and discerning collectors will all be drawn to its elegance. 

It is absolutely breathtakingly beautiful. The capelette is in such a rarely found, nearly perfect condition that it will delight everyone who sees it.

It appears so lovely, that we have to wonder if it was ever actually worn. However, yes, there the tiny waxy mark is the only evidence that it was indeed used at least once by its original owner....well over 150 years ago. 

This short, rounded cape style is seen in Civil War era tintypes dated to circa 1862. 

It is, of course, entirely hand sewn. The capelette is made from deep, claret colored silk and lined with a luxuriously contrasting, warm rose colored silk. It has front ties that are made from the matching claret silk. 

The second layer of fringe around the neck is actually edging a very deep collar...creating a drape similar to a double shawl that also accentuates the dropped shoulder as found on dresses from this era. This is perfectly lined with matching silk. Again, the hand stitching is simply a joy to examine. 

This capelette will bring awe to anyone who loves antique textiles. Typically, when one finds silk articles of clothing from this era, they are filled with splits or tiny pin holes. This is so nearly perfect. Simply hold it up to a bright light and you will see nothing more than the shadows of exquisite embroidery. There are two very small dark spots likely created by the original owner. These actually appear to be tiny stains caused by something such as candle wax on a fingertip. This small discoloration is less than 1/4 inch or 1/2 centimeter wide and is found only on the interior lining, near the neck. The pin head sized dot is next to it. Aside from what was mentioned already, this c. 1862 cape is in extraordinarily rare and magnificent perfect condition. It is destined only for the most discerning collector.... 

The silk shows no signs of degradation.  The capelette's design was created in a simple half circle. It measures approximately 10.25 inches or 26 cm around the neckline. It is approximately 63 inches or 160 cm in length. Shoulder width is 12.5 inches or 32 cm. Mid back length (not counting fringe length) is approximately 21.5 inches or 54.5 cm. The secondary layer is approximately 7 inches or 13 cm measuring at the back, again not counting fringe length. The silk hand-knotted fringe is approximately 4.5 inches or 11.5 cm in length overall. 

Authentic 1920s Flappers Garters Decorated with Felted Beads and Silk Hand Embroidery

These unmistakable 1920s garters are from the early Roaring Twenties when flappers cut their hair shorter than short and for the first time dared to raise their skirts to expose their knees. And such pretty provocative knees these were, decorated with colorful garters. 

As they used to say back then, garters such as these come along once in a blue moon. 

Certainly, it is all the more wonderful to find a pair that is still attached to their original cardboard backing just as they first sold to their original owner. Or perhaps they simply were stored away and found as what is called "dead stock"...inventory that was lost or never pulled out onto the showroom floor for whatever reason. Regardless of the back story, these garters are most certainly rare and wonderful and they are without a doubt, authentic. 

They were never worn. 

They are designed in vibrant blushing pink against a color best described as green apple. Colors that are bright and simply filled with happy energy! The ruched background is made of early green rayon topped with pink silk satin. 

The decorative wreath design on each is absolutely marvelous because it is created with the most incredibly fine detailing. One almost needs magnification to fully appreciate the handwork. First of all, the tiniest slivers of silk ribbon hand stitched into tiny bows on top of slightly contrasting pink ribbon base. There are six tiny bows that make up each wreath motif, which measures less than 1 inch or 2.5 cm across. Then, colorful beads made from woolen felt are stitched atop the wreath. These loosely resemble fruits. The wreath is then finished with a multitude of colorful silk French knots. 

The garters were made to be worn just above the knee and were truly created during the early 1920s for a rebellious Flapper. Exceptional!

Antique Edwardian Cape circa 1910 with Grand Sweep Embroidered and Trimmed with French Silk Passementerie

This exquisite cape is exceedingly fine and will cause anyone to pause and look twice, if not three times. Certainly, this is an exciting find from the Edwardian era, circa 1910. 

In a what could be termed tea length, the cape was created in an ivory silk crêpe georgette, then lined with silk chiffon. Originally, it would have been worn as a wrap over a full length gown. The drape at the back is ever so slightly longer and this exquisite creation moves with both drama and grace. 

The cape was decorated over the front, shoulders, back and sides with an elegant, hand-embroidered floral motif executed with glistening silk embroidery floss. The raised embroidery is masterful and breathtaking. The grand French silk passementerie closure across the front adds luxurious prestige to the overall design. 

The sweep is glorious and measures 186 inches or 472 cm around the lower edge of the hem. The cape is almost circular in shape, with nicely tailored shoulder seams and features slits for the arms. These measure 7 inches or 20 cm in length inside their seams, and begin approximately 11 inches or 28 cm below the shoulder seams. The shoulder seams measure approximately 16-18 inches or 40.5 to 45.5 cm. 

Due to the beautifully tailored cap shape over the shoulders to the cape, it can easily accommodate more than one size. 

The length from the front shoulder seam to the base of the hem is 48 inches or 122 cm. The measurement at the bust region is approximately 55 cm or 140 where the cape flares. The circumference around the neck is approximately 17.25 or 43.8 cm. 

The matching collar is self lined and has a single hook and eye closure in addition to the six original closures down the front. The passementerie features rosettes, tassels and knotted braiding. It has two silk wrapped hook and eye closures at each end. This is designed so that it may be removed entirely if required. 

This cape is amazingly beautiful and in fabulous condition, in our opinion. It is rated at excellent plus condition overall and could easily be improved upon through the hands of skilled conservationists. We have not attempted to clean it. There is no shattering whatsoever from what we have determined from in our opinions during inspections. The cape is wonderful and strong.

This cape is such a magnificent example from the Edwardian period that we do not recommend wearing it. However, it is strong enough for wear if one so desired…of course, with tender loving care since its long term value depends on the overall condition. 

For those who might purchase the cape with the intent to wear it, there are a few relatively minor problems. Please refer to the photographs, although the issues with this cape are relatively minor and most were quite difficult to capture in the imagery. If you have any questions, please inquire prior to purchase as we would be very pleased to spend any amount of time with you and answer all your concerns then. 

The cape comes from a private collection and was stored in such a way that it has a few minor stains and a very few tiny pinholes. The spots and stains may be cleaned by a skilled conservationist experienced in antique silks. We cannot guarantee the results, but this is certainly a very strong candidate overall for restoration. We have not attempted to clean this nor have we ironed the cape at all so as to not further set in any of the problematic areas. 

If one intends to wear this cape, the small spots (that might not come out) and tiny pinholes (which shall require restorative attention) are so minimal that they could be hidden with matching embroidery over silk chiffon supports. This must be done by a museum level, skilled professional. There is a small stain or soiled mark from storage on the left side corner just below the arm slot. There are also two faint red marks, one on the hem at the back. There is a miniscule snag that is quite fixable by a skilled hand, in the embroidery over the left shoulder. There are very small areas here and there causing slight shadows from dust. All are less than a dime’s width in size. The largest stain is on the interior lining and may be seen in the photograph of the draped, open cape that was photographed off the mannequin. 

The cape has a label on the back that is handwritten and stitched in such a way that makes us believe that this is a museum decommission. It is illegible and appears equally old as the cape. The passementerie trim may have been added at a slightly later date by the original owner. It is, however, authentic to this period.

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.

The Year Was 1912...actual historical film footage.

Luxurious Antique Edwardian Supple Suede Boots

Supple, soft chocolate colored suede leather....

The boots date to the Edwardian through the extended Titanic era time lines, circa 1909-1912.

At first glance, the boots appear as though they were never used, but their soles are gently worn from either a dance floor or at home wear. 

In fact, a department store paper label is still attached to one of the soles. Sadly, this is no longer legible.

The boots are, however, labeled on the inside. Alongside inventory numbers, the Lazarus department store logo is stamped upon the wide, supple leather facing. The logo was embossed with genuine gold leaf and this is obvious since it has not tarnished nor changed color over time. The Lazurus logo glistens!

Lazurus was a beloved, elegant department store at Columbus, Ohio. These boots still have the same glamorous appearance now as they once did a over a century ago.

They are calf length in height with hand sewn, suede uppers. The lacings travel through 19 pairs of holes, lined with canvas and the front tongue edges are faced with leather.

The boots are designed with a 3 inch or 7.6 cm spool heel. There is no size measurement marking. The total length of each sole is 11 inches or 28 cm. The widest point across the sole measure 2 5/8 inch or 6.8 cm. The boots are considered quite narrow in width in comparison to shoe sizing today.

The overall condition is outstanding and many people will have a difficult time believing that these boots are indeed antique…until they examine them closely.  Yes, they are quite authentic and at excellent plus condition in our opinion…perhaps even a notch above. 

The laces are slightly discolored and may be cleaned by a professional. The leather is beautifully supple overall. Please refer to the photographs. 

Although the boots might be strong enough to be wearable, we do not recommend this in any way as their value lies in their style as well as ultra fine condition. Certainly, they will be eye-catching for any exhibition or discerning private collection.