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!

Important Historical Fashion Design: Merry Hull Linen Gloves Dated 1938

Glove collectors will be enchanted by this early, exquisite pair of linen Merry Hull gloves.

Gladys Whitcomb Geissmann moved to NYC from Columbus, Ohio and changed her name  to Merry Hull. In 1938, she invented the first 3-dimensional glove design with additional panels that gave a more tailored fit as well as more freedom in movement. Her unique design eliminated the problem of popping seams and bulky gathers around the fingers. 

Merry Hull's name was well known to fashionable women in the late 1930s, through to the 1950s. Her glove advertisements were in multitudes of fashion trade and retail magazines including Cosmopolitan and Vogue...as well as nearly every newspaper. 

Merry Hull's early label is in this pair of exquisite gloves, which date to between 1938-1939 by patent filing and grant dates. The gloves carry that brilliant gold, embroidered label with the hand-with-wings logo and first patent number of 2,125,673 also embroidered inside. Her patent filing date for this glove design was March 1, 1938 and it was granted that year.  

It is Merry Hull's ingenious design that allows the gloves to be made from fabric that is not stretchy. The gloves fit the hand like a well tailored couture suit.

This particular pair of Merry Hull gloves are made from extremely fine, woven linen with what appears to be a small amount of silk plied into the linen fiber, which adds that additional sheen. The gloves are nothing less than luxurious. 

From an estate, these gloves have not been on the market since they were first purchased decades ago. Not only are they stunning in color and quite unusual, but they are also historically important in the history of American fashions. 

Merry Hull gloves just like these are found in important museum collections and curators have written academic papers about this designer and the importance of her patented glove-making designs. In fact, it is said that she alone changed glove design for the first time in 300 years. 

One reference to research if you wish to learn more is from The Costume Society of America's Gayle Strege, curator at Ohio State University Historic Costume & Textiles Collection titled Merry Hull’s Gloves. The paper was presented by Strege at the Costume Society of America Region III annual meeting, St. Paul, Minnesota, October 2002. 

According to history, Hull's patent was sold almost immediately, and Merry Hull made an impressive $200,000. Today, Hull is listed as one of the top American inventors in history as well as historically important fashion designer.

Edwardian Lifestyle -- BBC, Parts One Through Six

Sit back, relax and enjoy this wonderful BBC series!

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.

Antique Edwardian Shoes in Original Box Dated 1907

These amazing, gorgeous shoes are well over 100 years old and were never, ever worn. In fact, they are still in their original box. They are closely dated to 1907-1908 by the maker’s logo and advertising slogan as it appeared in trade & manufacturing reviews. With original box and condition that is no less than mint, this will make a perfect new acquisition for both museums and discerning collectors.

The box is marked that these are “Prince Albert” shoes. A Prince Albert slipper was a formal man’s shoe worn in a black tie formal setting and only worn inside the home as Edwardian etiquette dictated.

It is incredibly rare to to find a pair of unworn shoes in their original box…one that also includes the original tissue wrappings. The shoes are shiny black and beautifully made. They are dated by way of the advertising and marketing campaign that was documented to between 1907 through 1908 by Hamilton Brown Shoe Company at St. Louis and Boston. Their marketing slogan that year was “Watch Us” and “Keep the Quality Up”. This logo was also stamped on the soles of the Hamilton Brown shoes, printed on their boxes and other advertising media as the company attempted to become the largest in the world. More than once historical account states that they reached this goal not long after these shoes were produced.

The shoes are made of fine, supple, polished black leather.  They are lined with linen in the front and

soft leather within the interior of the heel area. The shoes are also marked with the word “maturity” next to the inventory numbers indicating that these would be intended for an older gentleman in style and design. Each sole is stamp with “Hamilton Brown Shoe Co. Watch Us” logo. The inventory markers on the interior read 4 EE73968. The very early elastic band used in their

design is notable. It is marked with Hub Gore. This elastic was created for use in shoe-making and one of the first mentions of its manufacture and usage dates to 1883. The front linen lining is stamped with 640.

There is not an overly obvious indication of left or right shaped sole found with this shoe style, which was not uncommon for this particular design. The length of the sole from toe to heel is 9-1/2 inches or 24.2 cm. The widest point of the sole is 3-1/8 inches or 8 cm. The width at the

slightly squared off toe is 2-1/4 inches or 5.7 cm. The heel of the shoe has internal support. The heel cap height is 2-7/8 inches or 7 cm. 

The box measures approximately 5-3/8 x 12 x 3-1/2 inches or 13.7 x 30.5 x 9 cm. The box is deteriorating due to the acidic nature of the cardboard.