Dress made of black silk. Lined with heavy brown cotton. Stays throughout the bodice. The bodice is smocked at the front waist and on top of the sleeves. 3/4 sleeves are pinked and have white eyelet lace undersleeves attached. The skirt has a 2 tier-ruffled hem.

Brown and black striped silk dress. Long style caps over long sleeves are edged with brown and black fringe. 11 small cloth covered buttons on bodice. Dress is lined with brown glazed cotton.

2-piece long-sleeve dress made of linen and silk. Top (a) - 8 white buttons with blue rhinestones around the center. There are an additional 4 small brown buttons at the top. The yoke is ruffled with blue satin. Sleeves are edged with blue satin and lace. Skirt (b) - The same ruffled blue satin decorates down the front panel; the last 10" is pleated. There is an additional trim (2021.01.088) that matches this dress.

Gold 2 piece ladies dress; silk; bodice has round collar with lace edging; lace extends down front of bodice and on sleeve cuffs. Skirt is trained with florets on back, one seems to be missing. Stitches show , skirt hem is pleated

Dress made of red and black plaid. Long sleeves are made of black satin and black satin trim around the top tier of the skirt, collar, and front yoke.

Child's printed cotton dress. Large puff sleeves, gathered bodice, tucks towards the hem, gathered skirt with fitted waistband. Beige background with pink flowers and teal leaves all over brown scrolling leaves and "paisley". Round neckline and short puff sleeves.

3-piece dress made of blue velvet. Bodice (a) - long sleeve bodice, with 12 silver buttons. Ruffles adorn the hem of the sleeves and the waistline dips into a slight bodice. Skirt (b) - simple day skirt with no adornments. Capelet (c) - black velvet caplet with front string for securing when wearing.

Dress made of purple silk. Embroidered floral designs on fabric. High round neck. Long sleeves.

Dress made of changeable green silk. High round neckline. Long sleeves.

Girl’s dress of copper colored fine twilled wool. Appears to have been shortened with hem & tuck sewn crudely with same color thread used successfully elsewhere. Front yoke with three diagonal tucks on each side. body is gathered into the yoke on either side of partial front opening with hook closure, shirred waistline in front. Back body is tucked across the back into neckline, released as pleats below waist. Sleeves have double puffs above fitted forearm. Lining floats within the bodice and has bone under each bust. Has been altered at neckline and hem - period alterations made at same time? May have been cut down from adult size to be worn by an older girl. Recycling - cut down from mother’s dress to daughter’s dress, or from older sister to younger?

Young girl's dress of red and white cotton woven plaid. No bodice, but does have shoulder yoke with attached shoulder frills. Long sleeves, gathered to wrist band with frilled cuff. High round neckline filled in with frill of self fabric. Long skirt, with on singular horizonal tuck about 3" above hem. Generous hem facing. CB closure at yoke of three buttons of MOP, hand-bound buttonholes. The rest of the rest is entirely machine-sewn. No lining at all.

Lady's silk ikat print evening dress in silk taffeta. Silk taffeta features woven herringbone stripes running vertically, with small sprigs of a pink flower with small green leaves scattered throughout the taffeta accomplished by an ikat printing method. Bodice (a) - features vertical pleats at the center front and the center back for shaping and short sleeves overlayed with flounced oversleeves. Both under-sleeve and over-sleeve are trimmed with a satin silk pink and a satin cream ribbon, machined to the edges. The bodice comes to a small point in the center front and the center back, with the center front closure of hooks and eyes hidden within the pleats. Wide neckline. Shoulder seams are on-line with shoulder. The bodice is lined with cotton sateen fabric and boned with steel stripes at the center front, Center side, side, back side, and center back. Internal waist tape with hook and eyes at the center back, sides, and CF to hold up the skirt. The internal edges of the bodice are lined with twill tape in cotton. Some staining under the armpits, and tearing which has been stabilized by a crepeline. Skirt - (b) cut from gored panels, with darts at the sides to shape smoothly around hips. Set into the narrow waistband of self-fabric. Flat across front and sides, with graduated box pleats at the center back. The center back closure of hooks and eyes. Hooks and eyes across the bodice correspond with jook sand eyes in the waistline of the bodice. The skirt is made from the same taffeta, with an internal interfacing layer of cotton canvas, and then lined with pale glazed cotton. The skirt hem is turned and hand-stitched down, with the same pink and cream satin ribbon trimming the outside edge skirt. The internal skirt hem has a facing of pleated cotton tarlatan, trimmed with machined lace netting tape. Some staining on the skirt. Belt (c) - the same taffeta pleated horizontally with hooks and eyes at the center back. Finished by hand.

Child's dress of cotton printed with blue motif - either punched copper plate or coppered-block printed. Entirely hand-stitched dress. Gathered bodice is attached to square neckline, with waistband of self-fabric. Short sleeves gathered simply and unlined, with small band for arm. CB closure of 4 small milk glass buttons. Piping at waist but nowhere else. Skirt is set into waistband with gauging, with internal turn edges cut short and whipped down by hand. Skirt has two horizontal tucks, and generous hem turn. Came with a typed note (2024.08.006b) stating: "Cloth in this dress was bought in 1812 at 84 cents per yard. This dress was exhibited in the Foxboro Centennial in 1876." It is unknown if the fabric of the dress was used for another dress, as this dress is mid-century in styling and design.

Baby's long gown of off-white cotton with back opening. Ruffle around neckline above center-front bodice panel with a vandyked machine-embroidered ruffle above a narrower, scalloped one, both sewn down at sides under narrow cotton ribbon with woven decoration. Full sleeves, gathered to armscye at top and under plain cotton tape to form ruffle at bottom. Long skirt with deep hem.

2-piece morning dress made of a brown plaid cotton; machine stitched (home); a) Mother of pearl buttons down front of jacket which has high neck with narrow band collar; long fairly close-fitting sleeves. Fitted in front with pairs of long darts. Flares widely over the hips.b) Gathered skirt full for bustle in back; deep ruffle around bottom of skirt. Back closure.

Entirely hand stitched dress, of wild lapis cotton print in red, sky blue, chalky green, yellow, and black. High waist with separate self belt, 1 3/4” just long enough for dress. High neckline with wide collar over shoulders, edged with self frill. Separate yoked bodice gathered center back and center front on fitted heavy cotton foundation. Center front opening to high hip level. No fasteners. Unlined skirt gathered evenly to bodice. Plain glazed green-brown cotton hem facing, 3/4” hem turned up onto it. Enormous imbecile sleeves, extremely long with piped seam and edge. Puped armscye.

Day dress of fine grey wool in four pieces: (a) bodice, (b) skirt, (c) plain belt, and (d) gathered belt. a) Bodice, lined with off-white cotton, has high collar and yoke of off-white silk covered with ecru lace; top edge of collar has a strip of pink silk under the lace, which is covered with applied motifs of black and white arabesques and pink flowers embroidered on sheer silk. Below yoke is a plastron of grey wool, which has three gathered tucks at the top and a row of different embroidered motifs in white, pink, blue, and black. Bottom of plastron is entirely gathered to proper right side: bodice fastens with hooks and eyes at back of collar, then down proper left side of yoke and plastron. Six gathered tucks run across each shoulder, more to the front than the back, and below this bodice hangs mostly loose but forms three tight pleats by waistline. Strip of the same motifs as the plastron runs down the front edges and around the beck of the yoke. Back is made with stitched-down pleats that point toward the center back waist. Long sleeves, with top halves loosely-fitted grey wool that end in three gathered tucks below the elbow, and the bottom halves matching the collar, with a narrow lace ruffle at the wrist. The lining is fitted and boned, meeting at center front with hooks and eyes; unmarked off-white satin waist tape. Outside of lining has long self-fabric ruffles underneath plastron. b) Skirt of the same grey wool, on foundation skirt of the same off-white cotton, fastening at back of waist with hook and eyes. Wool layer is made full, with stitched-down reverse box pleat at center back and center front, then three pairs of stitched-down knife pleats pointing toward center front. Bottom of foundation skirt is pinked, covered by a soft off-white silk taffeta ruffle (itself with a second ruffle at the bottom). Hem of wool layer is turned up and sewn by hand, finished with a grey wool tape at the fold. c) Plain belt is grey wool lined with ivory silk taffeta, interlined with something stiff. Cut on the bias and shaped to come to a point at the center front; fastens just to proper left of center front with hooks and eyes, with top edge cut in a point facing left. c) Gathered belt is grey wool, cut on the bias, and unlined, fastening at center back, where it is stiffened with boning. Gathered tuck at each end, with three at center front forming a V shape.

Entirely hand-stitched dress. The pattern consists of a Red and gold paisley design on brown background. Long sleeves. Hem is faced with a different fabric.

Child's long sleeve feather stripe cotton dress with square neckline.

2-piece dress made of pink silk.

pink cotton 2 piece dress

Velvet dress in two parts - bodice and skirt. Skirt and bodice appear to have been remodelled across the late 1880s into the 20th century. Skirt features panels of ruched black satin silk, pleated hem trim, and panels of pointed velvet. Small bustle gathering at CB closure. Very evocative of the 1880s into the early 1890s. The skirt is lined with glazed pw cotton, has ties for a small bustle in back, and a small train of deeply pleated and heavy velvet. Bound underhem of bias tape. Pocket on right hand side. The may have been an older style re-modelled to fit the changing silhouette. Features the same silk satin down the center front in a mon-bosom "puff." The sleeves and breasts of the bodice are made of hte same dark blue velvet fabric. Lined with brown PW cotton, glazed. Hook and eye closure. Removeable (or added later) high collar. Velvet sleeves are 3/4 length and full, with black satin silk fauz undersleeves - very popular in 1903. Hardly any sleeve cap puff at all.

Brown shadow plaid wool challis with brown silk velvet plastron front, cuffs, and back inset panel which travels into the skirt drape and hem. Dyed gutta perchas buttons. Neckline is filled in with machined netting, pleated and gathered. CF left side closure of hooks and eyes. BOdice is lined with brown PW cotton, with baleen stays across waist area. Back of skirt in lined partially with same PW brown cotton fabric, with ties to allow the train/back of the skirt ot be drawn up as desired. Originally part of the collectionat ohio State University Historic Costume and Textiles Collection

Entirely hand-stitched, and expertly done dress made of silk. The center front hook and eye closure with hooks and eyes that are expertly hidden and sunk into the seams of the silk and inner lining. Bell sleeves are filled with silk taffeta blue check fabric. The bodice and sleeves are both entirely lined with PW brown cotton fabric. Stays of baleen are located at the center front sides. The skirt is attached to the bodice and is full all the way around. No train of fullness pushed to the back just yet, but skirt is attached in graduated box pleats with small knife pleats in between. This suggests a later 1850s date. The skirt is entirely lined with PW brown glazed cotton. The hem is bound in pale green gold twill tape. Pipping in seams as well, high round neckline. Darts for a small bust. No pockets.

2-piece dress made of satin. Trimmed with black lace and jet beads.

Child's dress made of aqua and cream diagonal stripes with aqua velvet trim at waist and slightly above hem. Round neck. 2 stipes of velvet around the neck and zig zag stipes on the short sleeves. Sash also have aqua velvet trim and fringe.

Entirely hand-stitched fine cotton muslin infant dress. One tuck at the bottom. The hem appears to have been altered as a portion of the hem has been folded and sewn down. Lace tape insertion (machined) flank center front trimmed on the edges with flounced / gathered lace tape (machined). The lace insertion continues into the tuck, indicating these were original to the piece before the tuck was added at a later date. High round neckline, filled in with the same machined lace tape. The center back opens with no buttons present. Long sleeves end with a simple turn-and-turn hem at the wrist. The center front of the dress from neckline to hem has a penal of the same cotton muslin, hand-embroidered with meandering floral branches punctuated by hand-worked eyelets in the center of the flowers.

Entirely hand-stitched infant frock of PW cotton in a lightweight - semi-sheer but not quite muslin. Drop waist with flounced hem. The hem is edged with hand-crocheted circles, as are the high round neckline opening and wrist cuffs. Drop-waist is also bordered with more hand-crocheted eyelet work. Verticle tucks are sewn into place on either side of the front and back bodice. Buttons down back but all buttons are missing.

Long sleeve black silk dress jacket with a wide satin band around the cuff and ending with a ruffle. Ruffles along the collar and deep V-neck fastening below the bust with 3 buttons. Lined with brown polished cotton.

2-piece dress made of yellow silk. Bodice (a) - 4 tiered ruffles from the neck to the waist. 3/4 sleeves and a horizontal rouche band at the waist. Round neckline. Skirt (b) - 3 ruffles at the hem. Small train. Unlined.

2-piece dress made of pink and white striped silk. Unlined. Bodice (a) - square neck and short puff sleeves. Skirt (b) - wide pleated hem with taffeta ruffle above.

2-piece dress made of pink cotton. Bodice (a) - square neck with eyelet lace and grosgrain ribbon trim. 3/4 sleeves have vertical ruffles. Skirt (b) - grosgrain trim and ribbon at a knee height.

2-piece wedding dress made of cream-colored silk faille. Long, tight sleeves with shoulder puffs. Lace trim on the sleeves ends. Draping on front of the bodice. Front closure with drape effect. Heavily hemmed with a pocket at the right back.

Women's long sleeve dress made of printed cotton. The pattern is multi-color polka dots on a brown background. Caps on sleeves are adorned with 2 black velvet stripes and the same type of stripe is on the cuffs. There is a cream colored lace trimming on the neck.

Dress made of brown cotton. Long sleeves, Round neckline. Collar. The print consists of a brown background with cream-colored stripes.

Lady's 2-piece dress made of silk taffeta. The taffeta has a woven pattern of golden yellow ground with a field of small white-ish hearts and black dashes. Bodice (a) - made of figured silk taffeta. Short puffed sleeves and wide scooping neckline. Pigeon breast front with the center front closure that closes with hidden hooks and eyes. The sewn pleated waistband of yellow silk taffeta. The neckline and short sleeves are trimmed with a gathered panel of silk gauze. Lined with a fine cotton sateen with stays on steel across the back and lower center front beneath drooping mono-bosom. Skirt (b) - made of one layer of the figured silk taffeta, without any lining or hem treatment. Two rows of ruffled yellow silk taffeta (same as waistband fabric - one at the hem and one about a foot above the hem). Shaped panels, flat in the front and sides, but pleated deeply in the center back. Attached to the small waistband of self-fabric. Hook and eye closure.

3-piece child’s dress made of cream wool. Dress pieces (a,b) - dresses have round neckline and are sleeveless. Scalloped edges around the neck, sleeves, and hem. Hems also has flower embroidery on the front center. Matching Coat (c) - long sleeves. A wide square collar with scalloped edges. Flower embroidery all around collar, rolled cuffs.

Yellow, tan, rose and white striped PW gauze dress and pelerine. a) Dress has near normal waist, narrow tuck defining triangular bodice front, huge gigot sleeves with close fitted forearms and self bound edges Wide shallow neckline. Skirt gathered into waist. Bodice lined, skirt hem simply turned up (twice).b) Capelet or pelerine to match, shoulder length. Bound high necklines, angled front opening, deep self flounce around bottom. No fastenings. Unlined.

Infant’s Christening gown made of soft ivory silk satin, trimmed with ivory fly fringe. Entirely hand stitched with off white linen S singles thread. Bodice lined with ivory cotton jean (MID) that has pilled; skirt and sleeves lined with fine ivory Persian with light blue selvages showing through. Front neckline has a double-curved “sweetheart” neckline.Tubular sleeves with cuffs, finished before being tacked to lower armscye of finished bodice. Finished straps with curved ends are attached at back neck; appear to have been stitched to sleeve tops after the baby was inside it. Body and skirt cut in one and fitted to body with sets of released pleats — 3 on either side of front, 1 at each side, and 3 inverted pleats in back. Bottoms of front pleats stitched in place at hem. Elaborate ivory silk loop and fly fringe sewn straight along the edge of cuff and the front opening of skirt; it meanders slightly around the hem.

Entirely hand-stitched long pinafore-style infant christening or baptismal gown made of white cotton lawn or cambric. The gown has a long opening in the back that is tied at the neck and waist. The neck of the gown is large and edged with narrow netted scalloped lace. Casings at the neck and waist are threaded with a thin tape that ties in the back. The casing is embroidered with connected small French knots. The sleeves are caps of white embroidered eyelet edging that extends along the bodice panel. The panel is made of lace insertion in three strips with triangular gussets tapering to the waist and decorated with feather embroidery. The waist casing is attached to the skirt which has cartridge pleating. The skirt is fronted with a wide apron panel edged with white eyelet embroidered edging. The panel is plain at the top, then finished with horizontal tucks and alternate white embroidery insertions, ending with white embroidered edging. The sides and back of the skirt have two tucks above the hem.

"Mostly hand stitched colonial style fancy dress presumably made for the Centennial. a) The basis is a ball gown c 1850 made of beautiful pale green watered silk with a chine or warp printed pattern of what appears to be Veronica or speedwell plants with the roots, as seen in a botanical illustration. Speedwell indicated female fidelity in the Victorian language of flowers......The original gown had a laced back, deep points front and back. The fairly straight sleeves appear to be the only ones ever set in the armscyes, now straight and elbow length. The Watteau back undoubtedly was obtained by removing a skirt panel to supply an extension to the back skirt; the remainder supplied the double sleeve frill. Trained skirt. The neckline was filled in with a pleated green silk ribbon band edged with cream lace. The original opening is decorated with three large ditto bows, with one on each shoulder and elbow. More ribbon used to form double interlaced robings on the open skirt.b) Petticoat (recycled also?) of white taffeta interlined with tarlatan, the front with graduated tiers of silk net flounces with green ribbon folded into the bottom edge. The lowest goes all around the skirt."

Maternity dress, entirely hand stitched, made of silk pongee dyed with logwood, apparently - perhaps originally an eggplant color. Possibly a Chinese import. Bodice with brown cambric lining has high waist, higher in front and without bust darts or gathers; large rounded neckline, CF opening, and old-fashioned shoulder (pieced) pieces, but the back seams are right for the date. Full-length gigot sleeves pleated into the armscye and taken in on the seam maybe in period. Skirt is neatly pleated all around and fastens on the proper right side; Waist is quite large in proportion to bust and rib cage. The waist seam is neatly finished or reinforced with a colored pattern-woven tape. Another one that seems to be Quaker because of its well-mannered pleating, and slightly out-of-step feeling. A very agreeable and obliging fabric that seems to retain a sizing or finish of some kind.

Entirely machine-stitched 2-piece dress made of cotton. The print is speculated to be Perrotine - triplet circles in tan, red, brown on light ARSENIC* green ground. Top (a) - high round neckline. Opens all the way down and flares to hips. Coat sleeves. Flat pearl buttons to high waist. Shoulder yoke effect formed by applied bias band of tan cotton mounted on slightly wider green band which also appears about the frilled hem. Self frill edged with green cotton. Matching frill on cuff. Skirt (b) - moderate fullness with simple pleats in front and tight gathers in back. Back placket. White cotton waistband with two hooks. Matching tan and green band trim above slightly full self frill at hem. Waistline is pretty large.

Black and white pinstriped silk overdress attached to a lavender and tan checked sleeved vest. Flat domed steel buttons down center front. 2 button are placed on the middle of the center front as a enclosure. Slightly cutaway front, shawl collar, all with piped edges. Vest has high round neckline. Coat sleeves are finished with elaborate cuff frill. Ecru machine-laced frill at each end of sleeves. Princess seams in back with shaped patch pockets on back hips. Lined with thin white cotton.

Polonaise over-dress made of black silk taffeta. High round neckline with a center front button closure. The inner bodice is lined with glazed brown cotton with stays at the center front and the center back. Long tight sleeves with a slight puff at the sleeve cap. Cut waist at side but back panel continues down into a small bustle space. Cuffs, upper sleeves, neckline down the center front, and hem are trimmed in black taffeta ruched and hand-sewn onto the dress. The rest of the major seams are machined. Sleeve wrist filled with pleated machined netting, clumsily sewn down. The center front tabs extend down into what would have been the underskirt space - chevrons pattern on tabs.

Two piece riding habit of wool broadcloth. a) Fitted bodice buttoning up front into high round neckline with peter pan collar. Narrow peplum extending to short tails at back, trimmed with narrow black braid and buttons. Long straight sleeves finished with braid and buttons. Entire bodice and collar edged with black braid. b) Simple skirt tightly gathered into center waistband at center rear; cut very long to conceal feet while riding horseback. Small tab in front can be buttoned to waistband to raise skirt while walking.

Morning wrapper of beige and brown cotton, printed in a small leaf design. Cut on princess lines, with fitted bodice buttoning up the front into high neckline finished with self frill. Dropped shoulder line and long sleeves, cut on a curve, with frill at wrist. One pocket at right hipline. Floor length skirt, fitted over hips and gored to wide hemline, finished with deep flounce.

Entirely hand-stitched dressing jacket made of plain white cotton. Sleeves modestly fuller at top with deep underarm gussets; narrow into cuffs with self frills and a fancy pearl button at the base; dropped, piped armscyes; one more button at the neck; deep frill at neck; body made of straight pieces like a shirt; gathered into neck but no side vents; gusset at the side of the neck and a narrow reinforcement band along the shoulder seam.

one piece darning egg, egg shape blended gradually into stem part. 8.5"" long. No finish but well worn

Pair of women's espadrilles, also called alpargatas, made of blue and navy striped cotton with black cotton tape ties and coiled rope soles. Upper is sewn together with large, rough stitches at side seams. Tape tie runs over front at throat and then to the back, where the ends are left free for tying. Narrow squared toe; curve-lasted flat sole. Hand and machine sewn.

Evening or dinner dress of lightweight, light blue-green silk taffeta, lined with off-white linen. Wide, squared neckline, edged with vandyked taffeta trim. Front of bodice is made with two horizontal, upward-pointing tucks just under neckline. Back closure, with no fastenings remaining (there seems to be rust residue from hooks or eyes on lining). Skirt is attached to a waistband, gathered in front and pleated behind, and has five horizontal tucks above deep hem. Long sleeves with two tucks above wrist; very short oversleeve made of triangles (bound around edges) sewn to a self-fabric band at points, trimmed at this attachment with white silk ribbon bows.

Evening dress of white cotton mull muslin, unlined. Squared neckline; bodice front shaped by dense gathering near sides at top and bottom. Short, full sleeves, gathered to bound cuff at outside of arm. Skirt is trained. Back opening, fastened with drawstrings at neckline and (raised) waist: there are four waistline drawstrings in two channels, each string running through both back pieces, with a pair tied together at each side, allowing them to be pulled to the front under the gown and tied by the wearer. The mull was embroidered with chain and satin stitch in white silk (likely in India) before making up. Front of bodice and skirt are embroidered with alternating six-petalled flowers and weeping-willow-esque patterns in a stripe down the front, and with five-pointed leaves and round seed pods (likely depicting American sweetgum leaves and fruit) around bottom on applied curved band. Hand sewn.

Very fine, but stiff, tissue-like silk yardage, with dainty brocade textured narrow bands. Peach weft and selvages on a pale turquoise warp. The beat was inconsistent enough to cause slight color intensity variations as the number of picks per inch changed. Hand loomed? Selvage is excellently flat but the fabric width varies a little. 19 1/2" wide by 13 yards long. I wonder if this was also an Italian silk. Too lightweight to be fashionable in the 1870s. The color and texture keep making me think it dates closer to the turn of the century

Hand fan reported as the wedding fan Miss Hannah Chatterton, who married Mr. James A Hyde of New Paltz Landing, on May 25, 1857. Made from machined ivory (?) stocks with grape bunches and grape vine motif on outer sticks. Decorative holes pierced thorugh middle sticks. Loop of bone or ivory on bottom. Fan fabric cis a transparent cotton mull, with machined lace tape trimming edge. Holes and piercing in cotton fabric, and staining of fabric (rust).

Hand fan and box. Hand fan: carved ivory and blue silk with silver sequins and blue silk tassel. Box: white pasteboard.

Black brisé fan with black ostrich feather plumes and black wooden sticks, carved or embossed with small trails of flowers and butterflies.

Fan and box; white silk and tiny blue flowers and gold embossment design; white feathers on top of folds. Box is green with white interior.

Bone sticks with pierced circular holes and incised concentric ring designs, and 2-layered pierced moire patterned areas on each one; black hairy-fiber needlerun lace leaf on front with stiffened ivory silk (?) satin leaf on back enclosing sticks whose scalloped decorative ends protrude, backed with edging of black lace; loop not present; MOP rivet. Silver-gilt repair to back guard stick; engraved

Thin white silk fan, with looped braid edging, gold and silver spangles forming scalloped edge with circular medallion and starry field. Pierced and spangled bone sticks. Brass loop and rivet, mother of pearl buttons.

Bone guards and sticks, spliced to wood splinters within leaf; pierced design on former; front leaf is printed with silver tracery surrounding 3 lithographed cartouches containing medieval garden scenes with people. Back leaf printed with blue sprigs and silver vermicelli. Hand colored. No loop. Silvery metal splints on guard sticks. 9.5” long.

Papier mâché or wood fan painted glossy black, paper leaf with print of girls wearing historic garb in garden, signed FM, hand colored, printed gold filigree. Gold arabesques and pink rose painted on sticks. Back w. black paper with gold-painted arabesques. Pearl washer, no loop. Wide sticks. 11” long.

Fan with bone sticks, with oval mirror in gilt stamped escutcheon on 1 guard; pearl washer, no loop, pointed ends. Slender. Silver paper embossed with floral trail design, orange-turquoise tarnish or luster effect. Backed with ivory glossy paper with moire effect. Silver paper edging at top

Girl’s fan with bone sticks with standard pierced designs; curvy brass ring, MOP rivets, leaf shaped glazed cotton (?) leaves, alternately pink or white.

Fan with black papier mâché sticks with high shoulders, narrow paper leaf. Painted gilt flourishes; hand colored etching, upper class family at village well w.2 girls offering flowers. Stenciled gilt embellishment at top edge. Oval mirror in escutcheon on guard. Leaf reverse purple, gilt, Steel rivet

Fan with pierced wood sticks with little inlaid mirrors or sequins. Ivory leaf-shaped leaves with spangled design and white down edging. MOP rivet and baroque loop. With shaped box covered with grey moire paper, penciled information on back.

Fan with 16 (originally) medium brown, smooth wood sticks, 11” long; elaborately carved and pierced rose design. Guard stick is polished, and upper section backed with gilt paper. Short leaf lithographed with ‘classic’ scenes, hand colored, with hand painted gold flourishes or borders at top, bottom and sides, where ground color shades to medium greenish gray. Reverse of leaf is also printed with a smaller Elizabethan outdoor scene, colored like the front. Decorative gilt cast brass loop, mother of pearl rivet. Signed on reverse in fine ink script: Emma Fairbanks June 10th, 1865. A monument on the right front seems signed in the lithograph with a cypher for JP."

Large fan, paper leaf with hand colored lithograph depicting 18th century ladies in a garden, wearing crinolines! Smaller similar image on reverse. Outer edges have printed metallic filigree border. Bone sticks with pierced scroll design, silvery painted ovals. Embossed, shaped loop, MOP rivet. No cord.

Fan with plain bone sticks, high “shoulders.” Narrow band of white satin embroidered with white silk in a floral vine motif. Decorative brass loop, MOP rivet and original silk tassel and cord.. See also bridal corset 2002.023; bridal chemise and drawers 2002.022; bridal garlands 2002.042; bridal dress 2002.095; bridal shoes 2002.151; bridal fan 2oo2.152.

Fan with bone sticks with moire-effect mesh accented by small relief flowers at midpoint; guard sticks have relief carved flowers. Off white silk leaf-shaped individual segments tipped with fine white down. Silver sequins stud the field around a simple stylized nosegay motif formed of sequins and bangles in the middle. Shaped, cast hanging loop with white silk cord and tassle; pearl rivet.

Paper fan in presentation box. 1) fan has grisaille painted leaf with touches of silver, yellow, blue, green and purple; 20 figures in domestic interior. Faces are slips of painted ivory; clothes are bits of colorful silk with painted details. Reverse side appears to be a crepey cloth, with roses rendered as painted outlines with bright blue accents. Black lacquered sticks with silver leaf [?] painted designs. Wavy brass hanging loop and original delicate double tassel of fine black silk. A 1900-1925 narrow black velvet ribbon loop was attached to it also. 2) box is black lacquered wood, cheap tin hinges and hook closure. Decorated with gold painted flourishes on the front, and two men on the lid. Lined with papery red silk [?]; retains original fitted compartment. The inner lid has a colorful painted bird in a peony bower."

Fan with simple black painted guard sticks and simply perforated quasi-Gothic design in the other sticks, now a dull brown as if the soft wood absorbed gold paint. Paper leaf with Japanesque slightly off-center, red, printed image of two rustic sweethearts in the woods by a half-timbered cottage; she is knitting serenely as he sneaks up behind her with a bouquet. The leaf was overprinted with black to isolate the image, and dark red (dull gold?) scrolly stems highlight the edges of the image; leaf edged with now-dull gold paper tape. Shaped brass loop lacquered black; brass rivet.

10” fan, bone sticks and printed paper leaf with hand painted details. Sticks have pierced vine design and painted roses and bellflowers. Front of pale blue leaf has lithographed scene of ‘mid-eighteenth century’ maidens in various stages of ware, wading in a shaded stream with bare feet, one coyly showing us how she pulls her stocking up to her knee. They have been surprised by the approach of a couple of grinning young males. Marked “Litho. H. Jannin Paris” The back of the leaf shows two young shepherdesses with a littler one and a sheep in a field. Both sides have printed silver border and floral flourishes, with painted details on the front. Scalloped relief brass loop and pearl rivet.

Small oval palmetto fan bound with brown silk gingham ribbon. Nicely turned bone handle. One side has a small matching bow at the handle; the other has a ribbon rosette in a similar silk.

Fan made of ivory (?) with silver foil accents; guard sticks of mother of pearl riveted to the ivory, with silver foil accents and what might have been a gold paint; no loop. Pearl stud. Leaves are white feathers with gilt and red painted flowers and vines. A white silk ribbon has been stuck amidst the sticks, probably for dress-up or even the Golden Anniversary celebration. Box, bright green with a yellow bottom. Inscribed with notes inside the lid and on the bottom. Has Stock number: No 1220 and other notations. Part of Anna Hoppin Dyer’s wedding attire.

Hand painted silk fan: white and silver flower petals adorn top of fan with small white flowers on twigs below; four brown colored birds with white and silver belly on bottom center portion; sticks and ribs are made of gold painted wood attached at bottom with a ring.

One ivory and silver foil paper fan. The ivory end sticks have cut out vines and leaves that show the silver paper beneath, while the other sticks have smaller vines cut out (almost a feather stitch pattern). The sticks are joined with a metal bar and mother of pearl beads. The embossed silver foil paper fan has a morning glory pattern. It is tarnished and has taken on a slightly pink hue,

One fan with ivory sticks with cut out vines and "feather stitching" patterns. The sticks are held together with a rod and mother of pearl buttons. A decoratively shaped and marked brass loop is also attached here, and a brown cord and tassel hangs from the brass loop. The fan is made with brown, pear shaped pieces of fabric, each with small sequins sewn to the fabric. The top has tiny red-brown feathers attached to the fabric, some of which are falling off. A note was attached to the fan: "This brown fan was used by Mrs. Mary Gracy (my mother) when she was a girl probably about 1880."

One fan in box (not sure if this box belongs to this exact fan or one of the others in this donation). The sticks are ivory with vines cut out, metallic inlays on inner and outer sticks, and one outer stick has an applied oval frame with a mirror that has been broken in half. The fan is paper, with a different scene on each side. One side is link, with an elaborate silver foil scrolling pattern in the center, with a central painted scene of a man bowing to two women. The other side has a white background with elaborate silver foil patterns of an exotic style (palms, etc.) There is one major painted scene in the center (mother with a boy and girl, feeding poultry), with three smaller scenes to each side (to the left, a church, courtship scene?, and a girl standing by a fence; to the right, a boy sitting on a rock, a boy and girl picking flowers together, and a rustic hut/cottage), all having an exotic feel to the landscapes, with the figures appearing European. The white cardboard box has the following inscription on the bottom: "This is an antique used by some of my ancestors M. E. G. 1930"

Hand fan and box. Fan: scalloped pink silk; ivory stays; brass hanger, and a silk cord and tassel. Box: made of pasteboard.

Fan Black frame with free hand gilt decoration of roses and scrolls. Paper fan has hand colored French scenes and a gilt border. Black silk ribbon.

Hand fan and box. Fan: image of girl in white dress and blue bonnet; frame is black lacquered wood.

Bone sticks with pierced and stamped decorations, MOP rivet with embossed brass loop and turquoise silk cord and trassel. Scalloped oval segments of sized turquoise silk on each stick; decorated with silver spangles forming wreaths. Feather edges gone. 8” long. 13.5” wide, open.

Violet silk oval-shaped leaves, embellished with modest silver spangle design; wood sticks; violet feather fluff at edges of leaves. Gold tone shaped ring, MOP rivet violet cord and tassle.

Golden colored horn brise fan with lacy points of 2 alternating designs; painted gold designs, silver spangles on both sides of front guard, and on alternate points. Brown silk ribbon threaded through the top. MOP buttons, steel rivet, no loop. 7.25” x 13”

White feather fan, small white curls adorn the front form the handpiece to about halfway up the front of the fan. On reverse side is a half semi-circle of small feathers and a couple of small feathers with the curls on them. An ivory-colored grosgrain ribbon is tied to the handle.

Black silk fan, circular when opened, ring on end of handle to secure fan

One fashion print of two ladies in a garden. "Gilquin fils. imp. Paris" under image and the title is LA MODE ILLUSTREE. Print is handcolored in red, blue, green, lilac, yellow, brown and tan.

Miniature top hat made of velour cardboard, 1) ...inside a white cardboard hatbox with leather straps, 4 1/4” high. Tiny green oval paper label: F. Bohler Frankfurt. 2) Rolled up inside the hat is a 2-yard length of golden yellow silk satin ribbon." Underneath is an inked note “Ribbon tying a bouquet of flowers at the “Golden Wedding” of Elisha Dyer & Anna J. Hoppin 1833-1883 from Mrs. T. E. Hoppin.”

Sheer muslin kerchief; lozenge shaped with double embroidered scalloped edge, and major and minor floral motifs in the corners on the long sides. Designed to have the right sides out when folded properly. Padded satin stitch, seed stitch, outline, eyelets and drawn thread work.

3 hanks of hetcheled flax from Cuba area.

fabric fragment purple ground with multi color dots

brown ribbon fragment with black beading

lace edging

from G2004.111 Roll of remnants or scraps thin delaine with ‘lollipop’ design on brown ground includes all the tiniest bits and the cut-off hem, pieces of prepared and unused print hem facing which was used to line bodice originally, and the two removed piped seams from the side front were kept.

brown cambric

Entirely hand stitched fine muslin frill gathered onto a narrow plain weave linen tape, with ruched upper edge. About 50" long.

Brown paper collar pattern to which embroidered floral sprays removed from another item have been basted. Amazingly, even the fine embroidered stems made the transition. Over tis a layer of organdy is basted, and work has begun in whipping the motifs to the organdy.

Rectangle of fine cotton basted to a hand drawn pattern and two layers of newspaper (PA apparently) with a reference to a future date of January 1, 1837. The delineated shape is a narrow rectangle with one long side extended into a sharp peak with concave sides, probably a cuff. The whole is bordered with a row of pinks and filled with small nosegays, two on either side of a larger one. There are two more small nosegays appearing to float beyond the peaked rectangle. One side is nearly done.

Prussian blue and brown cotton fragment. The fabric has horizontal stripes of geometric design. 9 repeats are present in the fabric.

White cotton net embroidered with white cotton and linen of various weights. Bottom edge scalloped with attached picots. Each scallop has small flower with leaves. Flounce has 4 large sprays of flowers with leaves having various lacy centers and solid or airy fillings. Florets scattered over ground. Top edge finished with overcast thread for substance. One seam in side to form tube. May or may not have been originally one piece, perhaps a frill from a skirt bottom. Limerick? 11” deep by 31” circumference.