Entirely hand-stitched boy's trousers made of heavy plain linen sateen, heavily starched still. closure front with a bone button and an incised MOP button. Pockets in side seams. Inner waistband with 9 buttonholes for attaching to shirt or bodice. Deep hems. Inked note attached to sacque reading: “Articles worn by Wm J Dyer”.

Boy’s trousers made of heavy waled or satin striped fustian or linen. Waistband with 9 buttonholes. Pockets in side seams. Front closure with 3 bone buttons. 17” inseam and 24” side seam.

Entirely machine-stitched pants with hand-stitched finishing made of heavy black cassimere. Lined with blue and white striped ticking. Wide fall front with 5 buttonholes. 3-button closure. 4 buttons total for braces. Buttons are stained bone. Angled welt pockets. No watch pocket. High double-pointed back waist with no gusset or strap. Tubular legs with no foot straps, shaped to lie over the foot. Top stitching and buttonholes are not finely worked, suggesting ready-to-wear or a less gifted tailor.

Entirely hand-stitched trousers made of heavily felted and napped wool, speculated to be cassimere (can’t even detect a weave structure). Wide fall with 4 buttonholes, 3 buttons on closure, 4 total for braces- appear to be painted wood or a composition. Deep-angled welt pockets, welted watch pocket. No gusset or strap in back. Straight back waist edge. The seat has small squared pieces in the back. Narrow legs with straight hems, no sign of foot straps. Faced with a white drill. Topstitching and general work are rather coarse. Appear to be ready-to-wear or from a less gifted tailor.

Entirely machine-stitched men’s trousers made of medium-weight black cassimere. Wide fall. Well-executed handmade buttonholes. Flimsy muslin facings around the waist and crotch area. Double-arched back waistline without a gusset or strap. 6 braces buttons. Wide angled slit pockets; no watch pocket. Straight hem. No evidence of foot straps. The back of the leg above the hem is faced. Appears to be ready-to-wear or from a less-gifted tailor

Entirely hand-stitched pants made of white linen. Ruffle down the sides and around the leg opening. Buttonholes across the waistband on both sides.

Entirely machine-stitched little boy's overalls made of light denim fabric in legs, and red cotton in both the yoke and shoulder strips. No closure at straps.

Parasol covered with blue/gold/ivory silk plaid with dainty woven figure. 23” marquis turned/jointed stick with graining, small dark vegetable ivory knob at end; wire frame, 9.75” cane ribs with self tips. Black lacquered slider with trellis texture; steel ring at top

Umbrellla with hand stitched blue plain weave cotton cover with resist border. Selvege edge with string reinforcement hemmed into it. Black wood stick with spiral turnings, antler ‘hoof’ handle; brass tips, ferrule. Whalebone ribs, steel stretchers with stirrup joints on rib ends, gits. No top notch, just wired on. 1 spring. 36”

Black painted turned wood stick, jointed, with bone ring handle and decorative brass ferrule. 3” brass slider; 6” brass joint cover with delicate wheel engraved rings. Steel stretchers with stirrup joints. 8 whalebone ribs wired at top. Turned 1.5” bone ferrule with ball tip. Brown hand stitched heavy cotton cover which might be period replacement. Ribs may have been cut down first; present cover conceals the rib ends. 33” long overall.

Green silk taffeta cover, dome shaped. Rosewood grained wood crutch handle with tiny inlaid MOP rectangle. Metal eyelet for cord. Turned/jointed stick. Good cast brass slider, 1” brass runner. Long ivory obelisk-shaped ferrule. Turned ivory tips. 10 20” whalebone ribs, varnished steel stretchers. Leather washer.

White cotton covered parasol, with printed shaded cerulean blue waves, and with scalloped stripes at border, edged with printed tassels. White cotton 2” fringe. Thin cane jointed stick with some turning at end; cane ribs; wire stretchers riveted through ribs. No tips; one spring; lacquered steel slider, iron ferrule, leather washer.

Entirely hand stitched olive brown silk brocade cover, no fringe. Bamboo style jointed wood stick with small bone hook handle, long carved bone ferrule with vegetable ivory cap. Cane ribs, steel stretchers, brass bound ribs wired into stick at top. Stirrup joints into brassbound gits. Brass slider. 36” long, 16” ribs.

Brown/coral silk brocaded plaid cover with pinked, scalloped edge. Turned/jointed, marquis, false-grained wood stick. Black laquered stretchers and slider; wood (cane?) ribs. Ivory ferrule; ivory closure ring moving under silk ribbon guide. Silk cord and tassel. 24” total length, 8.5” ribs.

Parasol with straw colored silk cover with damask striped border. Dome shaped. 8 whalebone ribs. Varnished steel wire stretchers. White faux bamboo jointed wood stick with brass slider, small bone leaf hook handle. Bone swan ferrule, vegetable ivory cap with matching silk bow. 2 springs. Bone bell+elastic closure.

Parasol with dark green silk with brocaded floral sprigs. 3” black and green silk fringe tape on straight edges and at top. Turned rosewood grained wood stick with japanned slider. 2” carved bone handle and 3” carved bone ferrule. Whalebone ribs, lacquered steel stretchers with stirrup joints. Bone bell+ cord closure. 33” overall length and 15” ribs.

Hand stitched turquoise and gold silk damask with gold fringe at top and hem. Faux bamboo jointed maple stick with brass slider. Carved bone hook handle and ferrule. Black whalebone ribs, black laquered steel stretchers. No cord. 30” overall length, 12” ribs.

Machine sewn brown gingham cover, probably a period replacement cover. Faux bamboo jointed maple stick with brass slider. 1” carved bone hook handle, ferrule missing. Black laquered soild square steel stretchers with stirrup joints, brass gits on 8 whalebone ribs. Overall length 30”; 14” ribs.

Machine stitched apricot silk taffeta cover with scallop-pinked scalloped edges, ivory or white silk lining. White painted jointed wood stick with silverplated slider, carved bone handle and turned bone ferrule. White silk cord and tassle. Steel ribs and stretchers.

Hand stitched dark brown silk taffeta cover with pointed hem. 3” brown silk fringe and same in pale yellow around hem and top; the yellow is stitched inside the cover hem. Wooden shaft painted white to the joint; carved bone shaft about 6” of the way, ending in 3.5” simply turned ivory section with vegetable ivory ball and small loop, each having simple etched swag motif. Finial is 1” carved bone with small drilled holes, perhaps to recieve a ring? Possibly the handle had one of those novelty viewers? 9” bamboo ribs ending with tiny turned knobs; Wire stretchers with saddle gits; wired top knotch. Elastic tie.

Parasol with plain brown silk cover, hand stitched, slightly domed. Bone carved in fishtail-like shape for finial; small turned piece for handle; bone tips. Turned, grained, jointed wood stick, embossed and lacquered brass slider; lacquered steel stretchers, saddle gits; cane [?] ribs. No evidence of ring or other fastener. Wire top notch and 1 spring catch. Overall, 33” long, 14.5” ribs.

Hand stitched plain brown silk cover with base for elastic with bell-knob fastener. Jointed ‘rustic’ wood stick with small hook, lacquered brass slider. Lacquered steel stretchers, saddle gits. Baleen [?] ribs with self-tips. Wood ferrule with plain bone tip and vegetable ivory washer. Wire top notch and 2 spring catches.

Parasol folding frame, 34” long total. Baleen ribs, about 18” long; steel stretchers; wired around top. Stout turned stick painted black with decorative brass collar or ring midway up handle. 1.5” flat square bone crook handle. 2” turned bone finial. 3” brass ferrule and 1” brass slider. Leather washer and remains of gold colored silk and fringe near finial

Cover is circle of blue silk with white dots, edges cut in pinked scallops. White painted turned wood handle with simple faux bamboo turnings, 21” long. Black lacquered steel frame with 8 8” ribs, brass tips.

Parasol, 39” long total. Turned wood shaft with joint covered with 3” repousse brass joint cover. Handle composed of 2 painted balls between 1/2” repousse brass bands. Turned ivory end with ivory ring through its hole. Matching ivory ferrule with ball on top. 1” brass slider and raw steel stretchers and baleen ribs. Brown cotton cover with 2” floral border printed in lighter brown (or fugitive pink?). Pewter or tin tips.

Brown silk cover (may or may not have been waterproofed) with brocade border, pagoda shape. Carved ivory or bone shaft with heavy, elaborately carved ivory or bone crook handle with a dragon head. Short slider, brass ferrules form top and lower part of shaft. Tip is turned and carved ivory. Gilt steel stretchers and baleen ribs with bone tips. Turned knob for spike. Wired top notch, spring latch at top, none at bottom. No remaining evidence of ring or ribbon, but a (probably later) small black vegetable ivory button with a fragment of elastic (?) braid remains near edge of cover

Parasol with folding handle, all ivory, bottom carved with dainty floral design and open-book cartouche probably intended to receive initials. Turned ball tip with black silk tassel. Gilt brass, engraved slider and joint cover. Covered with ivory satin overlaid with black handmade Chantilly lace. Lined with ivory silk having an embossed floral design forming border.

Folding parasol with carved bone tip and hook handle; brass joint cover. Light celadon gray cover trimmed with pale lavender silk fringe. Lined with white silk printed with chine roses and leaves border, pinked scallops.

Small parasol with ivory bengaline cover, pinked scalloped edges. Lined with ivory silk. Gilt steel frame, turned brass tips; no joint but chased brass slider. Carved bone handle in form of cables threaded through a pulley or block of some kind, attached to frame stick with a steel pin. Finial is flat trapezoid with rustic spiral grooves with attached ivory sillk cord and tassel.

Mourning parasol with black moire silk cover and black painted wooden stick with small hook handle. Long plain finial with black tinted bone point. 8 black baleen ribs with turned ends, and steel stretchers. Jointed with black lacquered brass joint cover. Fine black silk fringe around cover and finial.

black silk overlaid with black chiffon arranged in horizontal puffy tucks and hanging over the edge as a tucked frill; further embellished with narrow black satin ribbon frills. Lined with black silk. Black painted handle with elaborate incised designs; marquise hinge; hinged stick with black lacquered brass slider; loop handle with chiffon ruff around stick.

Parasol covered with brightly colored chine printed and brocaded silk, predominantly dark celadon green and red-pink. The fringe is about 2” long, woven with fine warp threads grouped every quarter inch or so to keep the fring aligned neatly, mainly so the fringe can be printed! Lined with white silk. The handle is rusticated dark wood with tiny bone dots inlaid on the knobs. Club shaped variation of hook handle, made of bone; fancy bone ring at the top. Frame may be baleen- the tips seem to be formed of the ends of the ribs, and painted white. Brass slider, and an additional smaller one to hold it open. Tilting joint in the top.Overall length, 23.5”; frame length 9.5”"

Parasol covered with ivory silk rep, the edge finished with a deep pinked and scalloped flounce arranged in curves to reveal the pinked scalloped edges of its pale peach lining. The handle and tip are ivory carved to suggest a twisted branch; the upper shaft is bone. The slider is made of ivory, as well. A flat silk braid with a pair of silk tassels is looped through the handle at the bottom, and loops of ivory silk moire ribbon decorate the top. Wire frame.Overall length, 26”; frame length 10”"

Parasol with horizontal blue and gray pekin striped moire silk cover, trimmed with deep gray silk fringe along edge and at top. Long carved ivory stick with little crook handle, with a serpent spiralling around it, head down, between 3 long leaves whose stems are separated from the shaft. Ivory rib tips. Simple turned ivory knob at top, with a hole through which a matching gray silk tasselled carrying loop is threaded. Upper stick is painted white, the slider and joint cover are silvered chased brass. Wire frame although the ribs feel like baleen. White silk lining which may not be original - it is stitched to the cover along the edge.

Parasol with printed sturdy cotton cover, simple turned handle, knob and black lacquered tin ferrule. Baleen ribs, black lacquered steel stretchers, short brass runner; the rib tips seem to be carved from the end of the rib and just painted black. The print is a decorative stripe of sprawling black and red arabesques on a white ground, bordered with a coral-colored fat scrolly band, alternating with a tan ground with white arabesques, with pale blue horizontal bands running through everything. Incised MOP button and self-loop to hold it closed.

Parasol of golden yellow silk taffeta with china silk interior lining. Finial and handle of carved bone or ivory. Jointed with metal joint shank.

Black enameled iron stick with plain spike. 6” carved bone handle with small hook. Leather disk at top of brown (oiled?) silk taffeta cover. 8 round wire ribs and 15” stretchers with self-tips, stirrup joints. 2 springs. Total length 26.5”. Purchased for parts and status upgraded later because of the frame- it seems to be a combination umbrella and parasol.

McCall’s paper pattern No. 1035 with Kaumagraph transfer designs of bluebirds. Contains ad for a magazine mentioning Mary Pickford and Douglas Fairbanks

5 cardboard dress pattern pieces printed with seam allowances and grading lines with perforation. “The New Tailor Chart” A. B. Allen, Proprietor, Chicago, Ill. No date.a) sleeveb) backc) frontd) skirt guidee) dart rule

Movable brass patterns for a bodice; directions and order book included; The McDowell Sleeve Machine, and the Garment Drafting Machine.1) Brass patterns, adjustable2) Receipt book3) Instruction book, Garment Drafting Machine4) Instruction book, The Sleeve, McDowell Drafting Machine5) Box bottom“Mrs. George S. Stryker 101 E. Waite St. Elmira, NY” inked on cover of order book. The other books are inked “Mrs. Emma Swarmly [?] Westfield, Pa RFD No 3.

Five sheet brass stencils1) large knotwork design for braid2) small knotwork design for braid3) small rectilinear scroll design for braid4) small broderie anglaise scallop edging for petticoat5) large broderie anglaise paisley-designed scallop edging for petticoat

Four sets of tan tissue paper patterns still in the original folds. Paper labels glued to front layer. Ramsay’s Patterns. Sold by Chace & Tallmadge at 119 Chamber St, in New York. No printed guides or outlines as in today’s patterns. 1) #906 Ladies’ Circular with Hood and Cape 40 cents2) #840 Ladies’ Double Breasted Redingote 30 cents3) #923 Misses’ Doubled Breasted Jacket 25 cents (bit thin- pieces missing?) (12 years of age) This one has been stamped in blue ink, top and bottom with the name Avery Co. and the same address, apparently a change of ownership.4) #479 Girls’ Suit 35 cents (4 years of age)

Pattern from the Rural New Yorker; mailing label reads: 248-38/Mrs. W. Wallace/Box 22/Wallace, N.Y.” Pale blue paper envelope with 4 small illustrations on the back advertising dresses for 4 different ages of girl.b) Pattern envelope inside for a ladies/misses dress #248. Pattern pieces have no markings and appear unused.

Each wide collar is stamped in blue upon white cambric, with a bold broderie anglaise or cutwork design. Each has the center motif worked in white buttonhole stitch; each has an initialled pencil inscription noting directions.1) No. 1422. Deeply dagged edge with small scallops; beadlike border inside of which fits a berry and leaf motif. “All marks with little dots to be cut ot The rest of the pattern to be buttonhole stitched. I[T?]SS”2) Bordered with daisylike flowers alternating with stylized compound leaves, with inner border of dot-flowers. The spikydaisy petal points are echoed by the double-scalloped edge of the collar. “All open work except the escalloping ie all to be cut out except the edge. I[T?]SS

heavy cardboard bodice pattern pieces marked off in graded size guidelines with perforations.Marked: RULE for _____ Madam Clark’s REFORM DRESS PATTERN Copyright 1892 by Madam Marian Clark. Reverse has hand inked signature “Mrs. E Clark” They appear hand-drawn but they are printed.a) frontb) backc) basqued) side backe) sidef) skirt, cuff, collar

McCall's pattern, brown paper envelope; #3503. Man's shirt with "pleated bosom" and coat closing.

Assorted sizes and styles of embroidery patterns

Embossed black leather folder lined with light plaid paper; two interior pockets. Contains patterns for embroidery and braiding, dating from about 1840 to about 1910. Petticoat edgings, collar, cuff, etc. One undated letter with sweater knitting instructions; one large printed transfer (?) pattern tissue with a variety of motifs including a cuff and collar; one fragment of a small book with bits of hand drawn designs. 3 early pieces, hand drawn small motifs; one has directions difficult to read. 11 large ones on heavy brown paper, latest. 32 smaller ones. Seems to have belonged, at least at first, to Amelia Church.

Graph charts with embroidery designs in foldout format Green card cover. ""Album Bijou Maison Sajou, Cabin, Succr. 52, Rue de Rambuteau Paris."" Impr. Marcilly Paris. About 1.5”

Light blue glazed cotton with stamped design of pattern for large scale batternberg lace tablecloth border. About 3’ square

s for hankie edgings2,3) washing directions from Sears (1930s?)4) Peterson’s 18835) Peterson’s 18856) Peterson’s 18887) Peterson’s 18918) Peterson’s 18869) Peterson’s 188110) Peterson’s 188411) Unknown, mouchoir pattern12) Dog pattern

embroidery patterns drawn on lined paper envelope with address in Dansville NY

Alphabets for embroidering on canvas #35. About 1.25” x 2.5”"

Bobbin lace edging pricking or pattern. Cloth attached at each end, with sample of one repeat stitched outside. Heavy cardboard, about 1"" by 15"". Seems like linen; looks like Beds Maltese.

quilt pattern template in the form of a six-point star. 4.5"" across.

Pelerine or fichu of off-white cotton dimity check, shaped as a crescent with more shallow/narrow curve on neck edge and wider curve around lower part. Edges are hand-embroidered in scalloped scallops. Very narrow seam that runs on either side from back to neck to outer edge.

Entirely hand stitched white cotton net pelerine, wide circle. Heavily starched, round neckline with standup collar or binding. Edged with muslin-faced hem with buttonholed scallops; embroidered grape leaf motifs along hem 9” deep in back, 6” in front.

Entirely hand stitched sheer white cotton pelerine, like orgqandy, embroidered with white thread. Wide over shoulders. Round, bound neckline,. Edge finished with large buttonholed scallops. Cutwork hearts with net fillings, eyelets and fronds. 26” across, 12” over shoulder.

Entirely hand stitched fine cotton pelerine. Ayreshire type embroidery with drawn work leaves forming a narrow border above the scalloped edges. Straight across back, nearly so across front. 23” wide on shoulders; 8: deep center back.

Deep and wide pelerine. Fine white cotton, embroidered with white cotton-- satin stitch. Border of ferns, leafy vines, berries with drawn work, eyelets, dagged edge. Narrow binding around neckline, wide over shoulders.

Entirely hand stitched fine white cotton, embroidered in white cotton. Shallow top layer over deeper under layer. Wide over shoulders, fairly straight across front and back. Satin stitched vandyked edges, bouquets on each shoulder, fern border.

3 tier pelerine of hand stitched fine white cotton. Layers are crescent shape, each layer smaller than the last. The stitching of the three together with the common edges in a binding. (not inappropriate for a collar). The edges have spaced points, all button-holed scalloped edges with eyelet embroidery sprigs in the points, linked by stretched-out vines.

Pelerine, double, frill edge. Entirely hand stitched fine, sheer muslin. Wide collar above shoulder-width collar, rounded ‘corners’ - the larger one edged with 2” wide embroidered frill. Satin stitch; openwork with net filling; row of eyelets around edge of each collar. Frill mounted on narrow cotton tape for attachment to eyelet band.

Entirely hand stitched fine muslin double pelerine or collar with long tapering fronts to overlap or tie. Tamboured floral design around outer edges. Neck edge embroidered with scallops.

Pelerine made of white cotton bobbinet, shaped to fit across wide sleeves. The border was embroidered in an outline of a running sweet-pea vine with lace-like fillings. Edged all around with narrow, very simple lace edging. Second layer forms matching collar that makes point on shoulders and descends in back half way to the hem of the under layer. Each has a border of running flowers and leaves that appears to be the inspiration for the ‘ad-lib’ border worked by Hannah Gowan on No. 2004.125. The field is sprinkled with tiny stars or leaflets.It seems girl-sized. May not be for a girl but it seems a bit constricted for adult wear.

“Mantilla”-tyle pelerine made of white cotton bobbinet, shaped to fit across wide sleeves. Front shaped gently into tabs to the waist. The border was embroidered “without a pattern” by Hannah G. Gowen in an outline of a running lily-like vine with lace-like fillings. Edged all around with machine lace of very complementary design. Collar formed by folding over the top edge.

Double pelerine made of fine cambric. Shaped to spread widely across shoulders with large sleeves, and front tabs extend down toward waist. Upper layer is smaller with matching embroidery . Design is satin stitched pinks, nodding at each point of the double-scalloped edge; along the outer edges of the large layer a plume curls above each pink; a large coiled plume appears on each corner of the small layer. The motifs are scaled appropriately for the area in which they fit.

Large pointed pelerine or capelet made of cream colored Carrimackross, probably machine tamboured. The hem is gently scalloped and ornamented with a narrow floral vine border; above it, layered over the blank area is a separate, shorter matching bordered strip that parts at the sides. In the back, this effect is continued but the bottom is rounded rather than pointed like the front. There is a small round collar with similar trim. The body of the capelet has similar bordering above the hem borders, and a scattering of sprigs in the field. No fasteners

Wide pelerine made of soft white muslin. Border tamboured with white cotton in ferny design, scalloped vandyked edges - almost certainly a product of India. It is fairly shallow and quite wide; a bit of chain stitch remains along neck edge which is otherwise raw.

Simple pelerine of fine cambric with embroidered scrolled leaf border above a buttonholed dagged edge, ferny sprays with needlelace fillings across field, the balance filled with little “x”s.

White cotton machine (Pusher) lace with an Alencon-like pattern, hand run cordonnet, and what appears to be machine attached picots. Shaped somewhat like a pelerine with long, rounded front ends; deep flounce all around the outer edge and part way up the center front edges.

Capelet with long front lappets and low ‘neckline’. Entirely hand stitched fine muslin, embroidered in satin, seed, stem, and blanket stitch nicotiana and blackberries. Needle lace flower centers, fagotting in petals. Double scalloped edge. Spotted net frill around the bottom.

Pelerine-fichu of black hand made Chantilly lace. Probably intended for an evening bodice.

Very long, narrow band of black hand-run embroidered machine net lace shaped to form flat, curved collar over the shoulders, crossed across front waist and looped in back with long streamers. The piece has an oddly weighted, knobby hand from the embroidery - heavily weighted [?] and/or sized.

Canezou, entirely hand stitched sheer white muslin with tamboured (machine embroidered?) sprigs, with bands of bobbin lace across the front and back of each shoulder, joined by a narrow band of ruched main fabric. Plain sheer muslin frills to lie over the dress sleeves, that somewhat resemble bretelles. Narrow tape tie extends through casing at back waist where the bodice is tightly gathered, across the side and into the front waist casing, where it ties. Neck is high, round and piped. No front fasteners.

Machine made black Chantilly-type lace. Shallow pointed capelike shape over back, narrows and extends down front where it crosses over bodice and winds to back to be crossed or tied, and hang down back of skirt - quite long.

Hand-stitched pelerine of citron colored silk with brown plain weave cotton lining. Circular form with high round neckline. Piped edges and hook and eye at neckline. Thin inner layer of batting, speculated to be cotton, held in place with tiny stitches on lining.

Light pelisse of white cotton muslin, woven with gauze stripes and embroidered with twisting vines (cotton, in tambour) on the gauze and sprigs and sunbursts (linen) on the plain-woven areas; lined in the bodice with white cotton. Rounded turn-down collar with muslin ruffle. Center front opening, with the only fastenings being three hooks and eyes at inset white cotton waistband. Bodice is gathered to waistband at center back, and skirt is gathered to waistband across back. Piped armscye holds overlong sleeve of unembroidered muslin with narrow, buttoning band of embroidered muslin at wrist, as well as a short oversleeve of embroidered muslin, which is pulled up in shallow swags around arm. Hand sewn.

Pelisse of green silk twill, wadded with thin layer of interlining, and lined with brown cotton. Rounded turn-down collar, quilted in two close-set rows above edge. Center front opening with hook and eye at neck and waist, and with five self-fabric buttons and internal cord loops down front of skirt. Bodice is pieced unevenly in front and back at bust level, and fitted with one dart on either side in front and gathering at center back. Shoulder seams are covered with self fabric bands. Overlong sleeves are gathered to piped armscye, and end in self-fabric binding. Skirt is pleated across back, and has another double row of quilting down the fronts and around the bottom. Hand sewn.

Summer pelisse made of a semi-sheer white cotton dimity, unlined. Front opening, only fastened by four small dorset thread buttons in bodice and two metal hooks and eyes on waistband. Rounded collar is edged with a sheer mull or lawn ruffle. Bodice front is cut on the bias and gathered slightly at each side to waistband; back is cut square and gathered densely to waistband. Long, full sleeves with short overlseeves that match the collar, and self-fabric ruffles cut on the bias at wrist; odd cuffs with drawstrings attached to wrist at ruffle as well. Front of skirt is edged with mull ruffles, and bottom of skirt trimmed with two rows of ruffles. Hand sewn.

Entirely hand-stitched pelisse made of changeable silk taffeta (blue / gold). Lined with white or tan cotton, except the skirt back with print cotton. Interlined with flannel (made over from some other dress). Hooks and eyes in front. Full sleeves with the top pressed into pleats interlined. Deep cuffs with hook closures. Moderately long pointed bodice with narrow tucks forming a V to the shoulders and false curved side back seams. Full skirt gathered tightly in the center back.

Gold almond shape edged with seed pearls 1 1/4"" x 3/4""; crystal face over ivory with sepia drawing of grieving lady seated by urn on plinth under willow. Once had pin back, now ring & period hand made 17"" marked 9K chain, modern clasp. Engraved on back: "Mary Haddock ob Nov 24 1800 age 73"

Hand-stitched cotton petticoat, made of crosswire-ribbed dimity mounted on an inch of percale at the top; tied with long twill tape ties. Initials EJT inked in cursive on one end of inside waistband.

Black cotton petticoat, machined, for everyday wear. Two flounces of self-fabric across bottom hem. Three tucks across th ebottom of each flounce. Black draw-string waist CB closure, making the CB have a section of gathers. Front is shaped by tapered panels. Label sewn into inside waistband.

Cotton sateen patticoat all machined. Evening petticoat, or very formal day wear. Small train in back with three tiers of ruffles cut on bias. Machined seams are sewn in a pink thread whereas cotton sateen is golden champagne color. Wasitband is of a matching pink fabric, and closed in CB with hook and eye. Gathered at CB closure. Front has shaped panels. Has "Smith" name tag sewn into waistband.

White cotton lingerie petticoat. For an afternoon or summer lingerie dress. Made of fine white cotton lawn with bottom flounce overlay. Overlay is made of strips of cotton lawn and machined lace insertions. Inner flounce is mad eof same lawn, with strip of bobbin lace along the bottom hem. Side seams are machined with wiast is set by hand. Center back closure. Level across back hem, but slight gathering at CB. CB closure has abutton with the brand "Hart. Shaffer, Marx" which is a menswear company from Des Moines, Iowa. Possibly hand-made skirt using a menswear button.

Doll's petticoat of off-white cotton dimity that ends in machine-embroidered scallops. Skirt is gathered to narrow waistband of plain off-white cotton, which fastens with a single small mother-of-pearl button.

A white cotton petticoat with layers of plain white cloth and decorative lace; there is a drawsting waist.

Entirely machine-stitched infant bodice petticoat consisting of a cotton broadcloth bodice without sleeves, and an attached pale yellow wool petticoat. A bit heavier weight than "opera" wool. The bodice and petticoat waistline are encased by a cotton twill tape on the inside. Closes in the back with three MOP buttons, carved with sunbursts.

Doll's petticoat of off-white cotton. Wide waistband which fastens with a single mother-of-pearl button. Skirt is gauged to waistband and has a horizontal seam about halfway down. Below seam, skirt has four horizontal tucks and a hem turned up to outside; below hem is a knife-pleated ruffle with scalloped hem, the pleats topstitched with a chain-stitch machine parallel to scallops.

Entirely machine-stitched petticoat made of cotton. Gored pieces. Overlay from about halfway down of another layer of cotton, with insertion lace pieces horizontally added in. Bottom layer of petticoat has small fabric flounce across hem. Overlay has five horizontal bands of insertion lace, 'Swiss’ dot netting lace. In between each lace insertion are bands of cotton. Three tiny tucks in sets of two between top two layers of lace insertion. Scalloped edge on bottom layer of petticoat. Center back panel of waist is pleated, with a drawstring closure.

Black silk taffeta petticoat. Entirely machine-stitched. Gored panels with flat front and side, CB has slightly gathering at CB, with closure of hook and eye. Set into thin waistband of self fabric. Not lined. Bottom hem is finished with a turn and turn hem of 2" depth, with edge trimmed in black twill tape. Overlay of black silk taffeta at hem of deep ruffle, accordian pleated. Bottom edge of this ruffle has gathered flounce trim. All in same silk taffeta in black. Machine stitching originally done in black thread, which has faded to brown.

Entirely hand-stitched petticoat made of fine white cotton with a tie closure waistband. The petticoat is very fine and gauzy with a wide hem.

One white cotton petticoat with a pin waist closure. There is a half tuck on the front middle of the skirt so that the back side is 1" longer than the front. The lower hem area has one large tuck and then a series of alternating embroidered horizontal lines and chain embroidered sections. This garment is handsewn.

One white, starched cotton petticoat with a tie waistband that is marked in ink: "Mrs. J.R. Mitchell." Nearly the entire skirt has tucked layers, with a wide hem and a stiff edge of handmade lace. The entire skirt material was tucked at one time, and the tucks on the hem and at the top of the skirt were let out. This garment was hand sewn with very fine sewing skills.

Red wool petticoat with crocheted hem. Has a pocket.

Adult woman's skirt of fine wool in a brown colorway. Unlined. Hem has glazed cotton brown plain weave fabric facing, while waistband is made from glazed brown cotton in a twill weave. Knife pleats all the way around, and some box pleats near CB closure where waist was extended. CB closure of hook and eyes, with waistband having been expanded at some point. Waistband is torn. Large pocket on right side. Entirely hand-stitched.

Child's petticoat. Machine-sewn, with simple gathers all the way around. Set into self waistband, with button holes across waistband. CB closure of placket slit. Petticoat has two rows of small tucks, interrupted by one row of machine-crocheted band, with petticoat also trimmed in this same machine-crotched tape, with van dyke edge. No holes, but slight discoloration.

Mostly Hand-stitched cotton petticoat for a open dressing gown. Hand-stitched except for the bands of tiny tucked fabric alternated with broderie anglaise in the center panel. Stroke gathered into waistband closed with China button.

Infant petticoat of fine white cotton. Body of petticoat is set into a waistband, cut on grain, with fine gauging. Buttonhole and button closure on waistband, button missing. Hem edge of petticoat has two rows of tucks, a 1" deep hem, and is trimmed with machine-woven bobbin lace tape in diamond and spider pattern. Machine-stitched, with some hand-stitching finishing on the buttonhole. Came with note that reads: "Katherine Monique Hucker's petticoat - she was a tiny baby (later Mrs. Geo. Griffin)." Katherine Monique Hucker was born in 1888 and died in 1963. Her mother was Jennie Kate Hoffman, whose wedding bodice is in the collection 2024.25.002a-b.