Antique Beaded Purse ca 1900

The colors are divine! 

This large beaded purse is a beautiful version of micro-beading. It is absolutely gorgeous in color…deep rich jewel tones that are utterly eye-catching. The lacey metal frame is gold-washed. 

Weeks of hand work went into its design that is meticulously finished. There are no missing beads, and the body of the purse is intact and strong. The interior lining is missing, but this does allow one to view the incredible intricate workmanship that went into its creation. It would not be difficult to add a silk lining, and a skilled seamstress will easily do this for you. The gold wash on the frame has rubbed off on one side where the purse bounced against the original owner’s skirts. 

This was obviously used and well care for…beloved to the original owner. If only we knew who she was…. 

The purse measures about 11 inches or 28 cm in length overall, not counting the chain which adds another 7.5 inches or 19 for a total length of about 18.5 inches or 47 cm.

Rare Men’s 1920s Stockings with Original Label: CROW Brand Hosiery

These men’s stockings are the most wonderful find…they have never been used and retain the most beautiful labeling. They are dated to the mid 1920s. 

It is that glorious illustrated label that is so unique and wonderful. It is printed on a light cream colored paper in red, black and gold. The toes of the stockings are printed in gold…if you look closely, you will realize that the high sheen of the gold is actually genuine gold as this was indeed used as a pigment during this era…otherwise, imitation metallic gold would have turned much darker in color by now. 

Absolutely fabulous…these stockings will make anyone interested in 1920s fashion history smile. They are exceptional. 

The stockings appear to be perfect and will be a terrific display item for collectors and curators. They would be wonderful in a frame or on exhibition relating to 1920s menswear. The label is still intact and the stockings are just as they were originally sold during the mid-1920s. 

The socks are made of silk. There is no damage whatsoever. The label is brilliant and they are entirely in mint condition, considering age. 

Victorian 2-Piece Dress with Early Leg-O-Mutton Sleeves

In divine, nearly perfect condition considering age, this authentic Victorian 2-piece dress is romantic and beautiful. The skirt and bodice are made from buttery printed cotton batiste. This dress is about 125 years old and just as wearable today as it was when it was first made. 

It is a sublime dress that is worthy of any major collection or museum display. 

The color is unusual the color of candlelight…warm and rich. Not really pastel yellow and not quite vanilla…but some soft place in between. The delicate floral print is in sepia brown. 

The dress picks up the light in a unique manner, and the flow and movement of the fabric are exceptional. It is entirely hand sewn. Thousands upon thousands of hand stitches went into its creation. 

This beautiful piece of American fashion history has never been on the open market before now and was said to be from a country estate in Northern Maine, in New England. 

The leg-o-mutton sleeves are classic, and fashion historians will enjoy examining the pattern in detail. If you stretch a sleeve out onto a work table, you can trace that perfect leg-o-mutton shape that was made so fashionable in Paris beginning in the earliest moments of the 1890s, although referred to in books and fashion magazines before this time. These sleeves droop and drape over the arms…yards of gentle and soft gathers. 

The skirt has double flounces around the bottom. There is one tiny, less than a dime-sized stain that is to the front of the skirt. This is a light color that is barely obvious and will require close inspection to be noticed. This might come out with professional attention, but again, is barely noticeable. The bodice and skirt have the original brass hook and eye fasteners. The bodice at the back is meant to overlap slightly. 

The bobbin lace trim is entirely hand made as well, and the large satin bow made from heavy silk is original to the bodice.  Both skirt and bodice have no underarm issues whatsoever and again are quite strong especially since this design was made from cotton. The fabric has the flow and movement of silk but the added cotton fiber strength. There is no fading in the colors whatsoever. 

The front of the bodice features two decorative bands of batiste trimmed with handmade lace. These accentuate the feminine figure to the front and travel up and over the shoulders at the back. 

This magnificent Victorian dress is designed for wear with a corset that will push up the bust; the measurement is 34 inches or 86 cm. The waist is 23 inches or 58 cm measurement at the most. The hips are 36 inches or 91.5 cm. The bodice has a flounce around the bottom, and this overlaps the waistband on the skirt. The skirt measures 42 inches or about 107 cm. 

Antique Linen Tablecloth With Gorgeous 20th Century Dimensional Cutwork

As if plucked from Downton Abbey.... 

This authentic antique linen tablecloth is strong enough for use and would be a gorgeous cloth as a backdrop to a glamorous centerpiece, such as a large floral arrangement or wedding cake. 

This fine, hand-embroidered linen tablecloth comes from a Scottish collection that made its way to New England and dates to circa 1900. 

Typically, one doesn't find a cloth so ornate and finely detailed in this size. The elegant, highly detailed heart motif is centered amid scrolls of ivy in the elaborate, fully handsewn, design. The design is worked with perfection on every side of the square cloth. The linen is quite strong and of superior quality, that is simply not found in our world, today. The master handwork is breathtaking and was painstakingly worked; hours upon hours, weeks upon weeks of time went into this exquisite tablecloth. 

This exquisite cloth is destined for a discerning collection, where it will undoubtedly become a great treasure. It is square and measures about 52 inches or 132 cm on each size. 

Vintage 1950s Leather Suitcase by Erwin Kalla

This exceptional leather suitcase was designed in the early to mid-1950s by modernist artist and product designer Erwin Kalla. It is covered with leather and in sublime excellent condition...most would say a notch above. 

The small-ish suitcase will be a delight for those vintage collectors who wear and travel with their collections. It is that perfect size for today's airline carry-on luggage or overnight bag. Substantial and certainly fine quality, the suitcase has that somewhat unusual and charming size typically found during this era, and it appears to have been used perhaps only once or twice. The original key is attached; the locking mechanisms and clasps are in marvelous, strong working order. 

Kalla was a sought after product designer with a strong background in classical art and sculpture. His fine artwork was featured in museums around the country, and he produced commercial designs for everything from china, to furnishings, to paper goods. 

A lifelong friend with Andy Warhol, Kalla studied at the Cranbrook Academy of Art and the Carnegie Institute of Technology. 

The suitcase is made from gorgeous caramel colored genuine leather and is handmade with rich off-white hand top-stitching. The handle is divine and of the finest quality. It is fully padded and leather covered and finished with matching stitchery. The warm burgundy colored interior lining of the suitcase is marked on the label that it is lined with "Celanese Acetate Yarn" which also helps to identify this suitcase to the 1950s.

Overall, the suitcase is quite substantial and a hard shell, which will protect your lovely vintage clothing nicely. The interior lining has a stain on one lower corner of the pouch where something, such as a small bottle lotion, leaked slightly. Otherwise, there is perhaps one or two very minor scuffs here or there upon very close inspection. A leather expert such as a fine shoe cobbler or suitcase expert should be able to buff this out if truly required...or even noticed. 

The suitcase should be a complete delight to anyone who travels with their treasures from their vintage collections. This suitcase is so lovely that it will also make a terrific 1950s display item for museum exhibition. It is rare to find a leather suitcase in this condition and interesting size. It is also rare to find a suitcase such as this that has no serious damage and which has no storage odors whatsoever. 

Substantial, the suitcase is squared off at the bottom and rounded at the top. It weighs about 4.14 pounds or 1.86 kg. It measures approximately 19 long x 13.5 wide x 5.25 deep or about 48.25 long x 34.25 wide x 14 cm deep. Again, the original key is attached. Outstanding! 

About This Blog: A Portfolio From The Gilded Griffin

Original photography & text copyright 2016, Julia Henri

     •••• Please use images and text with appropriate citations. ••••

Thank you!

This portfolio has been created to document the images and descriptions used within my online shop, The Gilded Griffin. This is where many of the antique and vintage hats, clothing, accessories and fine textiles that have been used in my writing research are sold. The Gilded Griffin shop supports the writing and photography work I'm working on relating to general history,

antiques and vintage collectibles...

and of course...

the wonderful stories relating to the history of fashion.

Please Google my name to learn more about my background

plus 

current, past and continuing research projects and publication status.

Thank you!

•••

Julia Henri

Journalist. Photographer. Illustrator.

Appraiser.

Member, International Society of Appraisers.

Business Member, Costume Society of America

•••

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Vintage 1930s Hat

This hat will make discerning collectors and curators smile. 

The chic style, magnificent design, and construction are typical of this style from the early 1930s. Artfully sculptured, draped and textured, the hat is a magnificent example of early 30s millinery excellence. 

The color is rich, milk chocolate brown with contrasting brown tones in its overall trim and design. The color is incredibly rich and fine. This is a classic hat that remains as wonderful today as it was almost 85 years ago.

The hat is in outstanding condition and created with glistening, tightly woven horsehair that remains supple and luxurious. It was created in the millinery salon of a high fashion Providence Rhode Island department store called Callender, McAuslan & Troupe Co. The department was called the Boston Store which would have been a luxury area inside the grand store where the most elite clientele shopped; a marketing strategy that became popular around this time and which developed and continued throughout the early 60s, 

However, records indicate that Callender, McAuslan & Troupe Co. was most active during the teens, 1920s and throughout the mid-1930s. The hat’s style, design, label typography and graphics indicate that this hat dates to about 1932. The interior is pristine and also features the silk grosgrain facing that first became prevalent at this time. 

The hat is styled to be worn at a slight tilt, and it is incredibly comfortable for wear. It is in near mint condition, considering age. It features a band of brown silk velvet and a carefully wired brim. The hat is trimmed with silk netting for textural interest and a faux pearl glass beaded bauble that is designed for movement and a kind of fringe effect. It is sized to fit 22 inches or 56 cm. 

This is an exceptionally fine hat and one which will hopefully find a discerning collector who will care and treasure it for years to come. The hat will undoubtedly increase in value over time especially if handled with tender loving care, and kept with attention to keeping it in this amazing condition.

Vintage Couture: Rare Archie Eason Cartwheel Hat

This early Archie Eason cartwheel hat has every design feature found during the beginning of the New Look style that became immediately prevalent through Dior's work and worn by fashionable, wealthy women beginning about 1953. 

This particular Eason couture hat is destined for a museum or discerning collection. It will be an eye-catching showstopper for exhibition with that massive, glistening brim measuring about 18 inches or nearly 46 cm across. This design is most assuredly a one-of-a-kind hat created by this master milliner. 

The hat bears Eason's nearly secret couture mark. He has sewn single tiny sequin with matching glass bead atop the brim. This barely noticeable sequin and bead are the glittery indicators for the wearer so that the hat may be quickly placed upon the head. Of course, only Eason's couture hats have this tiny signature. 

The hat is entirely hand made and hand sewn. It features a skull cap with that early 1950s widow's peak design, which also helps to date this hat more specifically on a fashion timeline. The under supports are made entirely from woven horsehair. Overall, the hat is constructed from an unusual fiber that appears to be silk gauze. However, a fiber burn test reveals that this is a unique type of cellophane material. The material alone will be of interest to collectors and fashion historians. 

The hat is a very light peach color with gray undertones. The handmade silk flowers are an antique ivory color. The hat is not faded but appears vintage in the overall look as the colors are not bright. Again, close inspection reveals that the hat has not faded in any way, and the slight gray tones are likely the result of the patina that only time can create with certain textiles and fibers. 

This hat is quite special. It is in excellent condition overall and rated at a very high excellent condition, considering age. It is pristine both inside and out without any stains, holes, makeup marks and other problems typically found with millinery examples from this era. An unusual feature is that the interior of the skull cap is faced with silk grosgrain. This was obviously done to protect the hat against the usual problems from wear. The beautiful embroidered Archie Eason silk satin couture label is intact. It is wearable, but hopefully only for special occasions since the hat is considered historically important. It measures to fit a generous size 23 inches or 58.5 cm. The hat may be worn by smaller sizes depending upon the style of the hair. A small hat pin, as found, is included. 

Rare Sally Victor Hat

Sally Victor's hats are predominate in the collections at The Costume Institute at the Metropolitan Museum of Art in NYC. Her work in the millinery industry is perhaps some of the most illustrious of all the designers over the years and ranks with the great names in millinery design such as Dior, Bes-Ben, Elsa Schiaparelli, and Lily Daché. 

This hat was designed for mourning and was likely sold around 1950 based on information researched at The Costume Institute by comparing Victor's labeling, which were often changed to different graphics over the years when she was in business. 

The overall silhouette and style of this hat also indicate its placement in the vintage fashion timeline shortly after pillbox styles first became popular with the New Look. 

This Sally Victor hat is quite rare since it is in such remarkable condition and because it was made for mourning wear. Of course, the hat would have only been worn for mourning and typically only for a mourning situation where etiquette called for heavy veiling, such as when the deceased loved one was immediately tied to the wearer: a parent, spouse, child or sibling. 

The hat itself is made from black velvet with a large band trimming the back. It is a simple, open pillbox style but Victor has added her signature by making one side, to the front, dip with a slightly more dramatic arch. The hat, therefore, has an asymmetrical silhouette that is quite subtle to the front and then it is fully cloaked with a luxurious veil. The veil is trimmed with black silk passementerie along the bottom that beautifully weights the silk netting so that it flows and drapes in grand fashion. 

The hat appears as if perhaps worn only once. There are no makeup stains or tears in the veiling. Upon extremely close inspection, we have found a few brides in the netting that are broken, but this was found only by placing the veil under magnification. It is sized to fit 22 inches or 56 cm and the veil drapes to the shoulders, or slightly over. 

This hat is destined for a discerning, historic costume or millinery collection and will be greatly appreciated by curators. It is an exceptional, rare treasure. Although not encouraged, the hat could be worn but maintaining its condition is key to its long-term value. It is a historically important hat due to the nature of its design and its designer, Sally Victor. This is a very special hat, indeed.

Civil War Reenactors Wonder About The Future

Now that nearly all of the 150th Civil War anniversaries and commemorations have passed,  the number of re-enactors is dwindling.  Article and photographs by Julia Henri for Midcountry Media, Knightstown, Indiana.

William Morris ‘Tulip’ Textile Yardage, Provenance

This is the William Morris “Tulip” pattern. It was first registered on the 15th of April, 1875.

This printing is dated to pre-1925 due to the company name printed in the selvage region, and sometime after 1905 due to provenance, color and printing style.

The fabric is referenced in "William Morris"  by Linda Parry; published for the William Morris exhibit at the Victoria and Albert Museum, London during 1996.

She writes about an earlier printing of this design, which is in the William Morris Gallery, Walthamstow:

"Morris drew five textile designs in 1895, this is one of three...registered on the same day. All three are densely flourished with a repeating zigzag of wavy leaves, and show Morris's preoccupation with wallpaper design at this time. Despite the simplicity of the pattern, many colour trials were undertaken and a letter as early as 3 September 1875 refer to the 'dark outline of the tulip...."

Truly, this is a rare opportunity for discerning curators and collectors.

This exquisite William Morris textile is in magnificent condition overall. Considering age, this historic piece of fabric is in excellent condition.

The colors are vivid. The fabric is strong. There are no holes or problems of any kind aside from two small areas of dark staining which may have happened during manufacture.  (Please refer to the photographs). One is approximately the size of an American dime and the other the size of a large pin head. They are aligned and these are located at both ends of the yardage, a few inches from the bottom.

We have not attempted to clean this piece of fabric. The stains may be removed by a talented conservator, but we cannot guarantee the results.

This exquisite yardage has been carefully stored away for decades and has never been on the open market prior to now.

This textile comes from the estate of Peter Hansen, designer to Gustav Stickley,

Indeed, authentic, this large textile sample is in a Morris pattern called “Tulip” and was originally registered by Morris in 1875, about a decade before his death. Please refer to the photographs.

This textile comes to us from the direct descendant of the Peter Hansen estate.  Peter Hansen was the furniture designer for Gustav Stickley. His wife, Ruth, was an artist and also worked as a draftsman for Stickley.

The provenance is that the samples were first gathered by Peter and his wife when they decorated their home in upstate New York. This was during the time when they worked for Stickley, sometime around 1905.

The remainder of the Morris collection may be seen online at the Cranbrook Art Museum, located in Bloomfield Hills, Michigan.  That particular donation consisted of the many rare William Morris
wallpaper samples and all came from this very same estate. The items listed here on The Gilded Griffin are the textiles that were not donated to the Museum, but items that remained in Mrs. Hansen’s possession until her passing.

The Morris wallpaper samples are discussed in the Cranbrook Art Museum blog, dated October 3, 2014. The author of the entry is Shelley Selim, 2013-2015 Jeanne and Ralph Graham Collections Fellow. She writes:

“Cranbrook Art Museum holds seventy-two wallpaper samples in its collection, which were donated by Mrs. Olive Hansen in 1991. Peter Heinrich Hansen,  Mrs. Hansen’s father-in-law, was a German immigrant who in 1904 was hired as a designer-draftsman by none other than Gustav Stickley, one of the American Craftsman style’s greatest furniture makers (and like Morris, an ardent socialist). When Hansen and his wife, Ruth, who herself worked for Stickley as an architectural draftsman, were redecorating their home in upstate New York, they ordered wallpaper samples of every pattern made by Morris & Company–the design firm founded by William Morris–and never threw them away.

You can read more about the design, implementation, and social context of William Morris’s wallpapers on the Victoria and Albert Museum website. And for more on Morris’s influence on George Booth and the foundation of Cranbrook, you can check out this great gallery guide written by a former Art Museum fellow, which I’ve scanned and uploaded here.”

On occasion, early William Morris yardage and samples such as these come to auction at such fine auction houses such as Christie's or Bonhams and are found displayed as art in the world’s greatest museums.

These are obviously historic and important textiles and they are destined for discerning private or museum collections.

The selvage has the Morris & Company logo written on it.

The provenance and records come from the files of the two local ASA appraisers who handled Mrs. Hansen's estate.

The textile measures 45.5 inches or 115.57 cm in length. It is 38 inches or 96.52 cm wide. It is hand-hemmed along two sides.

 There is simply nothing like the colors and brilliance in this fine William Morris textile.

Rare William Morris and John Henry Dearle Textile Sample, Authentic & Rare with Provenance

This is a rare and wonderful small sample of a John Henry Dearle pattern called “Daffodil” for William Morris. It was first registered in 1891. 

This printing dates to circa 1905 due to provenance.
 

This exquisite William Morris textile is in magnificent condition, overall. 

The colors are vivid. The fabric is strong. There are no holes or problems of any kind. It is hemmed by both hand as well as machine on two sides and a one side is pieced together. 

It was a sample textile offered to potential clients from the William Morris company from the turn of the last century. It was used by customers so that they could choose their colors and style of fabrics and wallpaper from the comfort of their home.

This exquisite fabric sample that is over a century old, was carefully stored away for decades and has never been on the open market prior to now. 

This textile sample comes from the estate of Peter Hansen, designer to Gustav Stickley. Indeed, this is authentic and not a reproduction.

This textile comes to us from the direct descendant of the Peter Hansen estate. Peter Hansen was the furniture designer for Gustav Stickley. His wife, Ruth, was an artist and also worked as a draftsman for Stickley. 

The provenance is that the samples were first gathered by Peter and his wife when they decorated their home in upstate New York. This was during the time when they worked for Stickley, sometime around 1905. 

The remainder of the Morris collection may be seen online at the Cranbrook Art Museum, located in Bloomfield Hills, Michigan. That particular donation consisted of the many rare William Morris wallpaper samples and all came from this very same estate. The items listed here on The Gilded Griffin are the textiles that were not donated to the Museum, but items that remained in Mrs. Hansen’s possession until her passing. 

The Morris wallpaper samples are discussed in the Cranbrook Art Museum blog, dated October 3, 2014. The author of the entry is Shelley Selim, 2013-2015 Jeanne and Ralph Graham Collections Fellow. She writes: 

“Cranbrook Art Museum holds seventy-two wallpaper samples in its collection, which were donated by Mrs. Olive Hansen in 1991. Peter Heinrich Hansen, Mrs. Hansen’s father-in-law, was a German immigrant who in 1904 was hired as a designer-draftsman by none other than Gustav Stickley, one of the American Craftsman style’s greatest furniture makers (and like Morris, an ardent socialist). When Hansen and his wife, Ruth, who herself worked for Stickley as an architectural draftsman, were redecorating their home in upstate New York, they ordered wallpaper samples of every pattern made by Morris & Company–the design firm founded by William Morris–and never threw them away. 

You can read more about the design, implementation, and social context of William Morris’s wallpapers on the Victoria and Albert Museum website. And for more on Morris’s influence on George Booth and the foundation of Cranbrook, you can check out this great gallery guide written by a former Art Museum fellow, which I’ve scanned and uploaded here.” 

On occasion, early William Morris yardage and samples such as these come to auction at such fine auction houses such as Christie’s or Bonhams and are found displayed in the world’s greatest museums. 

These are obviously historic and important textiles and they are destined for discerning private or museum collections. 

There are four William Morris textiles from the Hansen estate being offered here at The Gilded Griffin. The provenance and records come from the files of the two local ASA appraisers who handled Mrs. Hansen's estate.

This century old textile sample measures 11.75 inches or 29.84 cm in length as well as width.  There is simply nothing like the colors and brilliance in this fine William Morris textile. 

160 Year Old Sterling Silver Fruit Knife Inscribed “Ella January 1, 1856”

Nearly 160 years ago, this was a loving gift to a beloved woman. Her name was Ella and it was given to her on New Year’s Day, only a week after Christmas in 1856 when Christmas and New Year’s Day gifting traditions started to peak for the very first time. 

Just to hold the knife as she did so long ago is as if to touch her hand in time.... 

The knife is made entirely of sterling silver. It was well used to delicately peel fruit, especially oranges if one could afford such luxurious food. The blade was not sharp and designed to slip under peels. Ella would have used this knife in a most genteel manner. 

This repoussé fruit knife in a comes from a Maine oceanside estate. It is in excellent overall. 

The knife bears the American silversmith hallmark of Tifft & Whiting of Attleboro, Massachusetts, which was bought out by William Whiting in 1853. The knife was likely purchased from Whiting’s jewelry shop as recorded in the 1855 census, especially since the knife is inscribed as it is. 

The handcolored engraved illustration seen in this listing is from the January 1856 edition of “Godey’s Lady’s Book.” It is a reminder of what Ella and other women may well have looked like…in a time that was nearly 160 years ago. 

The knife was well-used. It has a slight dent in the blade, but remains strong. It measures 2-7/8 inches or 7.30 cm long when folded. Extended, it is 5 inches or 12.7 cm in length.

Authentic c 1929 Fashion Illustrator's Jewerly Design

This is an authentic 1920s original watercolor illustration. It is not a print. The painting depicts a jewelry design which likely came from the artist's imagination. 

The illustrator’s name was Dale Klapproth.
 Original 1920s illustrations are scarce and jewelry themed work may be considered all the more unusual. 

Although we have researched his name and work extensively, little is known about Klapproth. A portfolio of his early work came to light recently as an estate discovery. The only history that has been found to date is that Klaproth studied to become a fashion illustrator, but went on to a 3-dimensional career as a department store window designer. The drawings, sketch studies and paintings offered through The Gilded Griffin were likely his only originals. 

This illustration dates to circa 1929 based on the rest of the portfolio from this collection. The necklace shows a glimpse of the Egyptian revival influence which was popular during the late 20s. 

This wonderful original 1920s artwork is in superb condition overall. This is an authentic, original watercolor painting. This is in vintage mint condition and will make a fabulous framed piece of art for anyone who appreciates the Roaring Twenties or jewelry design, whether curators or collectors. Klapproth’s signature is found in the border of the painting to the lower right edge. 

The actual image area measures approximately 6.5 inches or slightly over 16.5 cm by 9 inches or slightly over 23 cm.

Antique Edwardian Brooch c 1900 Art Nouveau

Exquisite and entirely authentic, this brooch was created during the bridge between the last breath of the Victorian era and the very beginning of the Edwardian period, circa 1900. 

It has a rich Art Nouveau design and is so stunning that one of the assistants here in the Studio called it Poor Man's Lalique. 

The brooch is entirely gold-washed in genuine yellow gold with genuine rose gold highlights across the centers of both flowers. The brooch is set with three glowing, opalescent cabochons. The largest cabochon is 7/8 of an inch or slightly over 2 cm in length. 

The deep emerald green glass cabochons are distinct and impressive. The color is breathtaking and will be absolutely eye-catching when worn. 

You may find yourself absent-mindedly turning the brooch to study the light within, because the colors are so unusual…and ever-changing. The largest and center cabochon has incredible brilliance … similar to fine antique paperweight glass. 

This brooch has the typical riveted hinge pin with c-clasp fastener, indicative to circa 1900. The fastener is quite sturdy. 

The brooch measures an impressive 3 inches or 7.5 cm in length and is 1.75 inches or nearly 4.5 cm wide. It is a glowing example of late Victorian through early Edwardian style. I