The Reproduction of Garments from Sarah Williams 1738 Probate Inventory

Reproduction swatches flank the display and invite visitors to touch the textiles

One of the many engaging aspects of the The Helen Geier Flynt Textile Gallery (a permanent exhibition area in the Flynt Center of Early New England Life) at Historic Deerfield, are four half-scale fashion or dress 'mannequins.' They are clothed in reproductions based on items found in the probate inventory of a young Deerfield woman, Sarah Williams (1716-1738), who died in 1738 at age 21. She was unmarried. Her headstone survives at the Old Deerfield Burying Ground. [1]

The  model displaying "silk" (petticoat, open robe, stomacher) as they might have appeared from Sarah's garments.

Miss Williams came from a very wealthy family as may be seen by the number and type of garments listed in her probate inventory. Among the extensive list: one taffeta robe at 6 pounds; one damask robe at 3 pounds 15 shillings; one chintz robe; one calico robe; one silk quilt; one shalloon quilt and cloth cut for a riding habit and trimming. The reference to one riding hood indicated it was quite costly at 4 pounds 5 shillings. Her inventory also listed three pairs of stays: black, yellow and red. There are several references to unfinished garments or accessories perhaps indicating, in the case of  “cloth for a pocket” that Sarah was sewing the item just prior to her death. The range of items available to Miss Williams in the 1730s certainly calls into question long held mythologies regarding colonial dress.

The Gallery is comprised of four sections representing silk, wool, cotton and linen and the theme is carried through with the half scale mannequins.

1. Additional information provided by Edward Maeder, Curator of Textiles from 2000 to 2008, regarding the four figures wearing clothes inspired by the Sarah Williams probate inventory.  Mr. Maeder spent many months working on this inventory and tying it to the customs records of the period.  He was able to photocopy the London-New England customs records from 1697 (the 1696 ones were lost in a fire) to 1780 from the Public Records Office in Kew.  

The idea to use this information, along with the probate inventory, and to create these figures came out of a 2007 discussion with Kiki Smith of Smith College. She suggested a colleague of hers, Henry Johnson, a talented costume designer at Shakespeare and Company in the Berkshires, would be a perfect person to do the fabrication. They held several meetings, and combining resources, decided on patterns for each of the garments worn by the individual figures.  It may be of interest to readers to know that Mr. Maeder himself quilted the yellow silk petticoat worn with the silk mantua.   The wool petticoat, embroidered with the crewel design, was stitched by Kathleen Smith, of Montague, MA, and one of the foremost specialist for the recreation of 18th century embroidery.

For the full inventory, see www.historicdeerfield.org

http://www.historic-deerfield.org/files/4813/7450/7840/WILLIAMS_SARAH_1716-1737.pdf

Visiting With Elizabeth Bull's Wedding Dress, c. 1731-1735

“Tradition in the family states that he attended divine worship at Trinity Church, and there saw, for the first time, Miss Elizabeth Bull. He [Reverend Price] was so much pleased with her beauty that he gave up his intention of returning to England, sought her acquaintance, and during the year 1735 she became his wife.”

           -Annals of King’s Chapel.

When Miss Elizabeth Bull (b. 23 February 1716) began work on the dress that she would ultimately wear for her marriage to Reverend Roger Price, she was a teenager, probably about 15 years old. She most likely had not yet met, and was certainly not betrothed to, her future groom. According to The Bostonian Society (TBS), the caretakers of this rare pre-Revolutionary garment: "Miss Bull began designing, sewing, and embroidering her own China silk wedding gown while in school, a project undertaken by young women to practice and perfect the advanced needle arts. She had already been working on the gown for several years when, in 1734, she met Reverend Roger Price at Trinity Church. The gown was still not completed when Miss Bull wore it to their wedding the following year."

Viewing the "practice bodice" worked by Elizabeth Bull, perhaps as a prelude to her wedding dress, was an unexpected treat. Apparently never completed or worn, it is in excellent condition and the colors are still vibrant. My photos do not capture the texture & nuance of the piece, but hope they convey a glimpse of the beauty. This garment has long been one of my personal favorites, in part because of the many family stories the alterations reveal. Many will likely remain mysteries, even once the conservation of the dress is complete. The skilled work is being carried out by textile conservator, Kathryn Tarleton. (www.contextinc.net) 

Visiting at least a portion of the dress as it was intended – before the style driven alterations during the 19^th century – provided a special opportunity to experience a 1730s garment. Embroidered bold, bright floral patterns, laid out asymmetrically, dominate the “practice bodice” currently on view at TBS. The twisting tendrils, over-sized motives and powerful palette are associated with the Rococo in textiles, furniture  and wall coverings and hangings.

Above, details, hand embroidered floral details, silk thread on silk.  Note the hand drawn pattern, completed either by the young Miss Bull or an experienced family member or instructor to guide her embroidery.

The Bostonian Society/Old State House has undertaken major conservation of this significant gown and will be posting new information as it becomes available.

www.BostonHistory.org

Kimberly Alexander, Ph.D.

University of New Hampshire

Durham, NH. USA