Partly machine-stitched and hand-stitched lady's silk Bolero or 'Zouave' jacket made of brown silk taffeta. The inside of the jacket is lined with black silk taffeta. Curved coat sleeves made of two pieces. High round neckline bound with self-taffeta in brown. Wrist openings and jacket openings and across hem to back in trimmed with a single strip of pinked edge taffeta in a brown colorway, similar to 18th-century robings.

Partly machine-stitched bolero jacket made of black silk taffeta. 3/4 sleeves with small cuff at ends. Small puffs at sleeve cap. Waist is lower in front than in the center back. The center front has hooks and eyes closure. Bottom opening scoops outward. Black and white binding decoration at the trim, with small self-buttons in black silk go up the center front, sleeve cuffs, and one at the center back neck opening. Black braid on each breast panel; connects in the back with a loop. Lined with black silk satin.

Black velvet dolman jacket; stand up collar, scroll embroidery all over jacket.

Lady's Dolman jacket made of silk taffeta and netting. The netting is covered in black glass beads in a flower/paisley motif. Faille continues down center front and back. Hook and eye closure at the center front. Netted beading and tassels beads hang from all edges of the netting. Small standing collar. The neckline and the center back panel are trimmed with black lace.

Lady's dolman cape with arm slits up side, but no arm holes or sleeves. Cape ends relatively high in back. Made of black silk faille or rep, with black French jet beading and black blonde lace trimming high stand collar neckline, down cf opening, and across all edges to back. Inside lined with silk taffeta or black China silk, But not interfaced with batting. Internal straps and waisttape of gros-grain ribbon - shredding present. Beading missing from left shoulder.

Velvet & balck lace dolman jacket. LIned with silk brocade floral tone on tone fabric and black china silk. Straps and ties on the inside - one to tie around wasit, and another to tie above arm to keep the dolman on shoulder. Constructed with small sleeve cap puffs, and a fold down velvet collar. Deep long front lappets fall down the CF, while the CB goes straigth across indicating that this woul be worn with either a very small bustle or none at all. Deep machined lace in rose design across bottom hem.

Morning jacket made of fine ivory merino wool. Pointed collar. Long, narrow sleeves with deep turnback cuffs. Straight hip-level hem. One hook fastener at the neck. Shaped to accommodate a moderate bustle. Lined with white silk. The cuffs, collar, hem, and opening have embroidered borders of rosebuds and forget-me-nots executed in colored silk chenille thread. Since this one is not fitted and has no buttons or hooks except at the neck, it is speculated it was a maternity garment.

Men’s smoking jacket made of delicate black China silk. Lined with rich rosy maroon China silk. Hand-quilted in channels in combination with basic assembly by machine-quilting. Top-stitching of the collar and cuffs over thin batting. The body and sleeves have thick cotton batting. Single-seam ‘coat’ sleeves of the 60s with the stitched effect of a deeply pointed cuff. High-closing collar and lapels. 3 pairs of frogs. Slit pockets at left breast and each side.

Entirely hand-stitched boy’s Spencer jacket made of fine linen. Short-waisted with a welt pocket on each side. Collar and revers. Long 2-piece sleeves, gathered at the top with side vents. Single-breasted, 4 buttonholes, and 5/8” flat self-covered buttons. No underarm seam. Bias-cut front sections are faced with fine linen to underarm position, finished evenly at the edges. Facing extends around the back shoulder area.

Entirely hand-stitched Spencer jacket made of white linen. Shawl collar, medium height, and spread; low opening. Double-breasted; 4 pairs of buttonholes, 5 pairs of small, flat linen-covered buttons; rows angled, rather close to center front. High, wide placket pockets in front, angled up toward the front. Rather slim sleeves, long, separate, slightly angled cuffs with vent, no buttons. Waist length; no side seam; slight point in the hem of center back. Unlined; self-faced. Indecipherable orange ink inscription inside behind pocket.

Entirely hand-stitched spencer jacket made of soft apple green and turquoise silk damask, simple branching bud design. Bodice front asymmetrically pieced. Long sleeves tapered to wrist; set well over hand; with large caps set well into narrow back. Surplice opening edged with self ruched band. Two self-buttons near bottom of front. Narrow self-belt clasped in front with unconcealed large brass hook and eye; attached on back section. Small self-bow stitched to belt at the center back. Center back has small box pleat in short ‘skirt’ section. Lined with grey silk. Sleeves have been expanded at seams with inserted matching fabric strips. Two bust darts have been released (not visible in lining, however) and the front may originally have been double-breasted.

Entirely hand-stitched boy's Spencer jacket made of white linen. Double-breasted. Lined with coarse white cotton. Some piercing. Self buttons, one set of buttonholes. No collar, neckline bound. Long sleeves with a vent and button at the apex. Mock pocket welts. No side seam. Sleeves and back seams suggest an early date.

Long, fitted, jacket made of black bobbinet embellished with lengthwise ‘stripes’ of black velvet ribbon. Bell sleeves, no collar or fasteners. Ribbons edged with narrow black lace and extend slightly below the hem. Sleeve ends finished with black lace edging.

Entirely hand-stitched spencer jacket made of fine white cambric. Unlined. Large gigot sleeves. Long arms with vents at wrists fastened with a hook and loop. Medium high round neckline. Waistband that overlaps, fastens with a pair of hooks and eyes. Front fastens with small hooks and loops. The front is decorated with white cotton tamboured wavy horizontal bands applied before assembly; the inner and outer ends forming decorative loops. Wavy lines of tambouring along the shoulder and back seams.

Entirely hand-stitched spencer jacket made of white silk and cylinder-printed cotton. The pattern is of red on white foliage stripe with a faded yellow accent on the red stripe. Top stitched on belt and back seams. Gentle bust gathers. Long tubular sleeves with considerable fullness at the top. Wide seam allowance stitched down. Wide shoulder and back. High waist with waistband. Center front concealed hook and eye opening. Fairly large round standing collar with self piping and frill around the edge. Body lined with soft white cotton. Front left bodice is pieced very carefully from odd shaped bits indicating it was made up from a previous garment. This is also supported by the fact that one sleeve seam at the wrist has different fade levels on either side of the seam.

Entirely hand-stitched spencer jacket made of green silk velvet. The back and one underarm insert are made of a brighter green, pieced but having the expected side back seam, very slight bodice darts. Very long sleeves with slight fullness at top and shaped wrist, front closes with concealed hooks and eyes. Slightly wide of the neck with wide rounded, arched collar. Decorative black thread-covered small domed buttons with green thread loops around perimeter, down the center front. The collar is banded with 3 lighter green satin rollos, with another trio defining each side back seam and similar ones down the side fronts. Three more around the cuff. Body lined with white cotton, sleeves with green tiny checked silk gingham.

Jump rope made of knitted beads, with a pair of large beaded 'knobs' defining the handles. White opal bead ground with black-bordered diagonal stripe spiraling around the 'rope.' Geometric and stylized flowers and hearts in bold colors. Some metallic copper and gunmetal colored beads (speculated to be glass). Knobs have black, green, turquoise, and clear diagonal stripes with accent bands of short loops of dark yellow, cobalt, black, and white beads.

Thin silk kerchief, block printed with red ground and black and white floral boughs interlaced trellis-fashion in the field; white border with red and black leaves on a twig. Some pinning. Both selvages, 2 narrow hand stitched hems. Just inside the border is a tiny stenciled name: Christianna. Lantz. To the right and upside down, nearly invisible, tiny cross stitched in single red silk: C Z. 30.8” (selvages) x 28”

Silk pongee square with 2 hemmed and 2 selvage edges with 2.5” silk tassels attached 1” apart. Blocked printed design of floral border, and resisted sky blue wormy design in the field with matching floral motifs in corners and sides. Rich coloring: purplish black, violet, dark red, rose, yellow, sky [Prussian] blue, 1-step apple green. Visible registration marks. 30.5” x 31.5” Tiny tag attached: “120 years old / Belonged to Great Great Aunt / E. Zeller / 1899”

Plain weave cotton; white ground with groups of 6 narrow lt red stripes forming window pane checks; borders with 10 heavy white threads; complete width of cloth used (33”) with tiny hand stitched hems- 31” long.

Soft plain weave cotton; block printed(?), resist dyed, perhaps; paisley-type designs of mustard, yellow, peach on olive (quercitron?) ground; 4 3/4” printed border; 39” selv to selv; 32” end to end. tiny hemstitched hems. One border on long side hemmed back toward the back to achieve square shape.

Twilled fine cotton; roller or plate printed with red and black floral design border with tiny dots, fern leaves, circles-squares; tiny elipses in field; tiny hand stitched hems 20.5” long; selv to slev 22.”

White plainwoven cotton with red and brown (black?) stippled-roller printed border of tomato vine (?) with little bits of coral (?), and field of widely spaced dots with staggered rows of cherries on leaf outlines surrounded by gnats (fine dots). 1 selvage and 3 machine stitched hems; 19.5” x 20.”

Handwoven cotton kerchief; blue, ochre on white checks with border. Hand stitched narrow hem on 2 sides. 66 epi x ppi 34.5” x 33” Scrolled M in running stitch, blue cotton, in 1 corner.

Silk plainwoven square, miniscule hem, invisible stitches. Block printed design of double border of chain links around field of widely spaced spot motifs. 26” x 29”

Kerchief of very sheer fine cotton, possibly linen, hand embroidered. Elongated diamond shape to permit folding lengthwise into 2 layers. Symmetrical spray at each center back edge; double-scalloped edges with leaves and small sprigs regularly spaced all along. 38” x 23”

White plainwoven silk square handkerchief printed with brick red wavy border line with dotty shading and yellow flowers. Tiny yellow, green, brick sprigs regularly spaced on filed with regularly spaced black pin-dot ground. Stenciled in black diagonally across one front corner: “Lizzie F. Shank.” 31” x 29”

Fine sheer cotton lawn triangular kerchief. Tiny handstitched hem; finely tamboured chrysanthemums with Dresden work fillings along the two shorter sides. The embroidery is included in the hems, suggesting the scarf may have been cut down.

Silk square with brocade leaflets and fine added fringe. Block printed with design having apple green center with decorative edge, on (now) beige ground. Border has inner row of hibiscus in red and pink, green and black. Outer border is lavender and purple ferny ground with green florets. About 30” square.

Plainwoven linen, hand stitched tiny hems. Tan with blocked printed dark and medium brown design. 3-zone border with circles and shells in outer zone, then flowers and picotage shells, then zigzag meander. Related central and corner medallions on field of rows of aligned buds.39.5” wide x 36.5” long.

Plainwoven cotton with hand stitched narrow hems. Buff, block printed in medium and dark brown. Border of angled paisley blobs with flower stalks, filled with paisleyesque buds in close rows.Field repeat: 7.5” x 9”.34 3/8” wide by 30 1/4” long.

Somewhat coarse sheer white muslin kerchief , 3 stripe border, micro hems on 2 sides. 32” wide x 29” It would seem to be the sort appropriate for tucking into a neckline.

Fine sheer white muslin kerchief , multiple stripe border, micro hems on 2 sides. 30” square. It would seem to be the sort appropriate for tucking into a neckline.

Sheer cotton [?] kerchief, about 30” square. Finely hemmed by hand on cut edges. Border of raised threads. No marks.

Fine white cotton with ribbed borders on all sides. Hand hemmed. Small initials cross-stitched in gold silk: AM About 36” square.

Tissue-weight ivory silk with tiny brocade diamonds; square with selvages and basted hems on cut edges, finished on all edges with widely-spaced, applied single thread fringes. Printed by block with border of leaves and flowers; inner band consisting of large, startlingly photographic lavender single peonies augmented with block printed foliage and buds. Rich mahogany red, green, sky blue, black. About 30” square.

Exquistely fine silk crape with brocaded stripes. Printed with border of simple paisleys in shades of pink and gold. Machine chain stitched edge on ends.

Fine white cotton handkerchief embroidered in white cotton with border of rose vine clumped more in each corner. Finely scalloped edges; rounded corners. About 17” square.

Large red and white plaid cotton kerchief with 3 wider red bands forming border on each side. No initials. Hand hemmed.

Kerchief or bandanna, red tie dyed silk 36” square kerchief. Soft silk pongee dyed a strong red with tie-dyed design of small squarish Os massed in widely spaced blocks placed diagonally across the handkerchief; separated by single Os. Alternate blocks are dyed yellow. Hand stitched hem. Indian import most likely.

Fine handwoven linen kerchief with wide blue border near edges. Finely hand stitched hems. Tiny initials DB and very tiny “52” in corner executed in blue thread

Fine white muslin triangular kerchief with hand hemmed edge. Tamboured border of vertical buta-like motifs, with nine sprigs forming square in center or lower corner.

Fine semi-sheer cambric or mull, very soft; embroidered with white cotton so that it can be folded in half lengthwise with both layers right side out. A diamond shape cut on the bias, embroidered grape bunches in obtuse corners, smaller ones in the other, scalloped edges.

Kerchief, sheer muslin 24” +/- square of sheer, gauzy muslin with woven borders. Finely hemmed. No initials.

Kerchief, black bombazine with ‘cashmere’ border . Triangular shoulder kerchief made of fine twilled black silk/wool (bombazine?) . All edged finished with fine, short black silk floss fringe; outer edges bordered with band of cashmere shawl-type border with floral design.

Kerchief, triangular, handkerchief type. "Very fine cotton or linen triangle, handkerchief weight, with delicate woven border on the 2 short sides of its triangular shape. Triangular segment of a 32.5 x 34.5 ‘square’ "

Kerchief, triangular, white embroidered net Capelet. Triangle of machine net, cotton, with simple embroidered leaf border above a scalloped edge, and nicely worked floral sprays in each corner.

Kerchief, brocaded cotton Square, small ‘shawl’ of plain-weave muslin with brocaded pattern, a border of dasiylike flowers within narrow trellis bands, and cherry sprigs [?] in rows across the field. Double scalloped edges finished with fine buttonhole stitch. Initialled “B - B” in tiny pink cross stitches in one corner. About 48” square. From same source as 2005.073 Maybe this is another example of the Paisley gauze - brocading mastery.

Kerchief or scarf of cotton/silk sateen, block printed pattern of sky-blue border with broken-rod-puzzly motifs, and a woody vine with rust flowers and large green leaves crossing the white field diagonally. Edges have scanty sky-blue silk floss fringe added.

Kerchief or small shawl, square, red with black printed design Kerchief made of thin fine cotton blotch printed red, with block printed border of dark red and black plume and foliage scrolls. Opposite corners have a large ferny spray executed in black. The edges are unhemmed, and narrow bits of undyed edges reveal that the ground color was not dyed — ie not Turkey red. There is no selvage, so one suspects that perhaps the edges had been fringed and were cut off recently to neaten up what probably was a Mess. If this is the way it has been for ages, never hemmed, then the fraying was minimal because the cut ends look fairly fresh. See No. 2007.07- obvious relationship. Maybe this is Indian. Maybe it is not 19th century.

Fine linen lawn handkerchief with border of drawn threads, inside that a row of finely embroidered rosebuds, white satin stitch. Edged with Bucks lace. Total size, 24” square.

Square (about 52”) shawl of handspun, handwoven creamy yellowish cashmere. (Microscope identification seems to indicate it is mohair, maybe kid mohair.) This is not anywhere near as fine as 2005.074 but still impressively smooth and soft and thin. Woven in an uneven twill weave, coarsely set. Edges on all sides unhemmed, allowed to form self fringe. Narrow double border hastily embroidered — probably by more than one person — with wool or coarser cashmere (mohair) in black, dark gray, red, light pink, medium blue and sky blue, with a single buta in each corner. Where the light blue ran out, the work continued in the darker shade (or vice versa). Embroidered ‘signature’ on one corner.

"Cotton handkerchief with 3 blue selvage threads in each side, narrow hand stitched hems. Red copperplate print entitled “The Travellers New Guide through the principal Direct Roads of England and Wales with the Distances from Town to Town in Measured Miles.” It shows the map with ‘roads’ emanating from London to distant points, with a variety of ships afloat in the seas around. Decorative border all around, and a table of “Explanation.” On the hem we see printed “No. 17[?]” and a price? of 11/16. Early mend with linen thread on the road to Yarmouth.24” long, 26” wide.NB: the UK has always used miles, not kilometers. This was intended for export (to here, most likely)."

Handkerchief of ivory figured silk with a large, dainty block printed woodsy floral spray printed in each corner, in brown, olive, red, blue, pink, and tan. Two selvages, 2 chain stitched hems. About 18” square.

2” ball of z2s soft white cotton thread with 4 double pointed steel knitting needles, one loose and the other three still inserted in a 2” long tubular form, probably a stocking since it has a 1/2” simple hem finish worked around the end. There is a strange section near the needles that looks like it wants to be a design— but failed. The knitting is of rather uneven quality: a child’s work, abandoned?2) 4 knitting needles.

Hand made lace lappet, mixed Brussels half- and whole- motifs joined with braided brides, filled with point de gaze or detached buttonhole stitch. Off white color. Roses, shamrocks, bluebells?, ferns. 41” long x 2 - 3.5” wide.

"Lappet of ivory cotton or linen with vaguely rococco arabesques and floral vines, and border all around of large filling pattern. East Midlands. Fond simple.3.5” x 59”"

Small child's shoe last, straight, flat and square toes with slight roundness and width. maple perhaps. Smooth finish. Large hole for string. About 4 5/8" long.

wooden last, flat square toe, straight. Hole which has a new leather tie through it. Modern hanging ring nailed to heel. Soft varnish finish

Oak? last for child's shoe, hand carved, at least for final 'fit'--roughly finished. Hole for cord (missing). Square toe, straights, but overall shape not real straight-- a little width for transverse arch. 5 3/4"" long.

Maple or birch last, a left. Top sliced away to toe. Very pronounced ""walled"" square toe- as if a wall were required across tips of toes. High instep. Moderate toe spring. 10"" long +/-"

Maple shoe last, with hand carved modification of shape (may have been entirely hand carved); entire 'foot'; hole in heel for hanging cord; applied cotton cord.

Maple, smoothly finished; somewhat rounded square toe; half 'foot', lengthwise. Hole for cotton hanging cord. Bottom worn from nails.

Cherry shoe last with high vamp and slightly rounded square toe

Wooden shoe shape, no hanging loop, rough hole for one. Square toe, a little chunky. Hand shaped. Flat, straight.

Simple, saddle tan pigskin sewing kit with bright steel lock. Scallop-edged lid lined with dark green moire with loops to hold tools. Inside lined with red moire print paper. Front drops down to reveal a mirror and a shallow unlined drawer. Inside contains steel netting needle with cotton thread, steel ‘hairpin’ shaped loop, 2 steel eyelet punches, 3 steel pinking tools, 3 leather or sacking needles of different sizes, smoothing rock, double steel crochet hook, broken black plastic crochet hook, double plastic stiletto, wood stiletto, broken bone knitting needle, altered wood netting shuttle, 2 wood splints, fragments of steel chain from a purse, small package of large iridescent yellow glass beads.

Baby's long gown of white cotton, princess lines, fitted to underarms, flaring skirt. Buttoning all the way up the back into high round neckline finished with scalloped embroidered neckband. Graduated panel all the way down the front with narrowest part at waistline; decorated with vertical tucking in groups, and finished with scalloped embroidered edging. Long sleeves trimmed with vertical tucking, and eyelet embroidery down center top and around cuffs. Very good; some stains on back; missing a few buttons

Long white cotton dress. Short sleeves with ruffles on the ends. Cut out embroidered bodice. Adornments on sleeves.

1) Steel pinking iron-- square cross section shank with crescent-shaped bottom section shaped with sharp saw teeth. 2) Box parts in center; covered with black marbleized paper. Inner flange covered with orange and black marbleized paper. Oval black paper sticker label reads: Carl Pitsch - Wien - gegrundet 1830.

Small red cardboard box with printed label on lid depicting small stamping apparatus for marking linens. “The Gorham Linen Marker - ink is waranteed indelible. W. B. Gorham No. 12 School St. Boston, Mass. Pat. Nov. 14, 1871 - Address as above for Markers, Names, Extra Letters, or Ink.” Stamped name (?) inside lid illegible beneath ink blobs.2) Marker made of cast white metal with plunger to make impression. Underneath there is a plate or -?- to receive the letters. The decorative screw is replaced with a modern screw.3) Set of letters and numerals held together temporarily with Scotch tape.4) Small green glass bottle with cork top, remains of black ink dried inside.5) Small green glass bottle lacking cork top, remains of black ink dried inside.6) Cylindrical wooden container with remains of black ink inside. A tin cap fits over one surface, the other is blackened as if used to spread ink or something.

Name stamping tool of the sort used to mark quilts and the like. Turned cherry knob handle on a white metal base having a slot to receive tiny cast letters like printers’ type. A screw inserted from the side keeps them pressed in place; the screw head is a scallop shell shape. The surface surrounding the slot has a cast relief design of an eagle with spread wings on top, and a spray of arrows below. The letters have been inserted upside down, and the periods placed before rather than after the text

Mantle, unlined, made of gold colored silk taffeta, rudimentarily shaped circular form with wide neckline; deep border made of black net having a band of short gold silk fringe next to a band of moire ribbon, repeated again, and then finished with 2” gold silk fringe. No fasteners.

Entirely hand-stitched mantelet made of black cotton velvet. Lined with black silk damask. Shaped to fit over shoulders and hook down the extended front. Cotton batting inside lining, held in place with tiny random stitches.

Mantelet or jacket made of velvet. The design consists of a brown leaf print. Chenille trim around the neck, sleeve cuff, hem, and down the front of the jacket.

Lady's mantelet made of black wool. Ornamental braiding trimmed with black beads and fringe. Hook and eye closure at the neck.

Entirely hand-stitched girl’s mantle made of brown cotton velveteen. Wide dome shape with small round collar, and semi-attached sleeve ends over arm slits. Trimmed with brown silk gimp and lined with white, red and green plaid silk taffeta.

Entirely hand-stitched mantle made of cotton velveteen. Lined with red hand-quilted silk taffeta. Bound and triple-piped with the same silk. The wide collar is lined as well. Wide back with curved bottom. Inserted shapes for arms. 2 of 6 pr hooks / eyes remaining. Magnificently made.

Entirely hand stitched textured celadon green silk mantle, elbow length. Unlined, no fasteners. Shaped to hang a little longer in back and long in front. Border made of three rows of matching silk cord or braid.

Machine stitched changeable golden tan/lavender silk taffeta mantle shaped to shoulders and forearms with long squared panels in front and long in back. Loosely attached collar. Embellished with deep border all around, and on collar, with a chain stitched cutwork floral design backed with black bobbinet. No fasteners.

Bottle green silk taffeta, unlined. Entirely hand stitched. Waist-length cape covering shoulders; long, wide front ends. Small self standing collar, edges all around finished with flat applied self bands. Concealed steel hooks and eyes all down front.

"a) Hip length, rather close fitting cape shaped to the shoulders, no collar but a shallow V-neck opening. No closures, no lining. Made of (now) cream colored net with tamboured (Limerick) design of simple floral vine and scrolls all over. Border design and seam designs show it was designed for this purpose. The seams are embellished with a short net frill. Embroidered straight lines in position where arm slits would be suggest that this could have had arm slits if desired, or perhaps was intended as an overlay on a more substantial cape material, with arm slits.b) single ‘sleeve’ that surely was removed from this although the design is different."

Fine, sheer muslin, all hand stitched mantle with long extensions down front; front and back sections joined with faggotting. Curved back edge finished with 3 tiers of frills; one down front edges. Slightly pointed neckline. Close fitting over shoulders. Elaborate Chikan embroidery with white cotton thread; series of cartouches filled with drawn thread work, and lavish floral units. Frills embroidered as well; back and front almost entirely covered; left over space filled with little sprigs.

Speculated to have been hand-stitched. Girl's mantle made of soft fine brown twilled silk warp with fine merino wool weft. Lined with robin’s egg blue glazed cotton. Hip-length pointed front sections with openings cut at the sides for arms, shaped to form an overhang on the arm. Rounded back section. Piped side seams. Edged with deep garnet-brown silk upholstery fringe, bordered with violet soutache braid applied in leafy scroll design. This could of been for a small woman, but most likely a girls.

Entirely hand-stitched semi-circular mantle or cape made of rich chocolate-colored silk velvet. Shaped to shoulders and the same length all around; no collar. Line with hand-quilted (diagonal lines) chocolate-colored silk taffeta with a silk tab at the midpoint inside the front edges (speculated to be used to grab). Edges are finished with double silk piping around the neck. 3 hooks / eyes closures at the top, above the tabs, and in-between.

One brass stencil, 1x2"", ""M.C. Tyler"" inside leafy wreath2) One tin (?) stencil, 1.5 x 2.5"", ""Wm. P. Tyler"" inside serrated leaf design.

Matching mask made of plaid taffeta. The dress this matches is in collections, and this mask is made from the dress. Made with store-bought cotton canvas mask base, and hand-stitched silk taffeta.

Bottom is bone; case is pierced with numerous holes of 2 sizes; gold-colored silk ribbon hand-marked with inch measurements and turned bone stop at the end. Tiny threaded knob for rewinding tape. 1"" high."

Ivory tape measure, grooved side; red silk ribbon with inches stamped in black ink, up to 36""; 1"" high; turned ivory stop at end of ribbon; turned knob at top for rewinding ribbon which comes out of a slot at side of container.

Hand-knitted girl's single short mitt made of peach silk. Deep cuff with openwork diamond pattern; trimmed with hand woven ivory silk fringe; long shaped thumb, and flap lined with early silk lampas; silver on peach ground (speculated to be mid 18th century). Edges reinforced with ivory silk stitched border. Broad long points with diamond tops, and up the entire outside with one around the thumb seam; all embroidered in ivory silk.

Pair of netted black silk mitts. Fingerless but with thumbs. Elaborate pattern filling the back of the hand, comprising a row of butterfly-like shapes on either side of a stylized flower stem with 'leaves' made of tiny circles. Usual ‘beading' to receive elastic or ribbon band at wrist.

Magnificently knit linen, points over knuckles; long thumbs. Simple pattern of small holes all over, with zigzag rows ascending underarm and straight rows up each side. Edges simply finished; top edges have diagonal groups of holes at intervals. Five 1” thin linen ‘tassels’ along each top edge. 14.5” overall.

Hand or machine knit fine brown silk [*] tube with thumb hole. Attached to flaring cuffs of brown silk velvet with tiny light brown dots, lined with blue silk and filled with wool or cotton batting. Finished with small brown silk taffeta ribbon bow at CF where two parts join. *Feels like soft cotton but looks wooly under lens.

Entirely hand stitched white cotton dimity mitts, knuckles to elbow, bias cut. Shaped to curve of arm, straight across top and bottom. Separate thumb attached with fine herringbone stitch; 3 fine embroidered points.

Girl’s MITT, gaudy bead initials “ZA" Hand knit white cotton mitt. Top edged with cotton crocheted lace. On the back of the hand is a beaded cartouche, roughly hexagonal (or perhaps intended as a heart shape), of green glass beads; inside is a red capital "A" above a green diamond. Below the cuff, red and turquoise beads form a chevron band around the wrist. The beaded initial faces the wearer. Thumb and no fingers. Very small. Expertly knit. 7” long total.

Machine knit fine ivory silk mitts. Faintly ribbed effect in hand area, simple bands of openwork variation to cuff which has picot effect. One band at hand end. Separate thumb, no fingers. 9” long.

Mitts, black silk knit 1860-1900 Thin black machine knit silk tubes, no fingers, separate thumbs. Points made as tucks; seams machine stitched.1” Cuff and 3/8” hem. 10” long.

Machine knit cotton lace, fine thread. Coarse net effect with what looks like handmade woven “tallies” in staggered rows. Cloth area at wrist. Integral thumb, no fingers. Row of beading near cuff. 10” long.

Mitts, short, black net with elaborate design "Black hand netted silk mitts with medallion of diamonds and ferny leaves on back of hand; geometric dots and meanders around 2.5” flaring cuff. Channel for elastic band which is still present. Thumbs, no fingers.from Sandy Katz"

Hand-stitched girl’s linen mitts. Point extending over back of fingers with open-ended thumbs. Slightly longer than wrist length. Back stitched points of 3 rows with little arrows on top. One is pieced along top of hand. Both palms pieced with possibly home-produced linen.

Fine white cotton mitts, machine knit with horizontal bands of decorative holes making lacy effect in 6” area at top and around wrist and knuckles. Plain thumb applied separately. Side seam, chain stitched seam and tiny hems. 18” long plus 1” more for thumb.