The Way We Dress: Clothes and Meaning, Ayer Mansion Lecture Series

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

A Striking English Quill Work Portrait, 1700-1720

An object of outstanding beauty and exhibiting many talents, this quill work portrait of an attractive, elegant young woman is in the collection of Historic Deerfield (http://historic-deerfield.org). Created between 1700 and 1720, it features the use of silk, ink and paper. 

This English portrait combines needlework, watercolor and other types of fashionable decorative treatments such as the gilt edged paper which was fashioned into to scrolls and tendriling leaves and flowers. This treatment mimics the elaborate gilt portrait frames of the era.  Catching the parlor light this would have been a perfect Rococo centerpiece, displaying artistry and wealth.

The maker and the sitter are currently unknown, but given the level of skill shown throughout, it probably occupied a place of pride in the family’s treasures. Further, despite the artistic challenge presented by the nose, the visage of the sitter is meant to convey a delicate and genteel aura. She wears pearls at her neck, her hair is loose and uncovered. The anatomical correctness is a bit “off."  Since posting this, I have discussed the portrait with friend and colleague Susan Holloway Scott, best selling historical fiction novelist, (www.TwoNerdyHistoryGirls.blogspot.com) who pointed out several features of our unknown sitter: her garment does not feature the squared neckline of a mantua, but rather the wide, off-the-shoulder oval of the earlier period. Also the full sleeves, the under-smock cuffs, the pearl necklace, even the flowing hair all look earlier, closer to the 1660s or 1670s. Over her shoulders, is a voluminous (fur?) wrap, frequently seen in oil painting of the period.

Given what we know about the tutelage of young women in embroidery, white work and so on, it would make sense that the maker used an earlier painting/print as a guide. Susan suggests that the work of English painter Peter Lely (or an engraving after his work) may have been the design source for the young woman who completed this piece at a later date. There are, of course, many variables and it is hoped that we may be able to pinpoint the source for the student or perhaps a group of similar quill work pieces, allowing us to identify them with an instructor or locale. Until that time, it detracts nothing from this very special object.

Peter Lely, Portrait of a Lady in Blue holding a Flower, 1660. Oil on canvas, 126.7 x 102.5 cm. Dulwich Picture Gallery, London

This is a special find in a special gallery. “Celebrating the Fiber Arts” is a rotating, ongoing installation at Historic Deerfield (http://historic-deerfield.org)

Courtesy, Victoria & Albert Museum
http://www.vam.ac.uk/content/articles/i/interactive-silk-mantua-gown-1710-20/

Many thanks to Ned Lazaro, Collections Manager & Associate Curator of Textiles, for his ongoing assistance.

All images are courtesy of Historic Deerfield unless noted otherwise; photos by Kimberly Alexander 

A Beautiful "Bizarre" Silk Robe Volante, c. 1720s

This stunning “bizarre” silk robe and petticoat was recently on view at Historic Deerfield, Deerfield, Massachusetts (www.Hist_Deerfield.org). The sumptuous green and white silk droguet (or drugget in English), meaning a fancy silk fabric created with detailed, complicated patterns, was mostly likely woven in Lyon, France. Lyon is recogonized as a premier center of silk weaving during the 17^th and 18^th centuries. The textile is dated c. 1710s but the gown was made c. 1720 and reveals later alterations.

Ned Lazaro, Associate Curator of Textiles, shared the following:

“Patterned silks were one of the most expensive textiles available during the 17^th and 18^th centuries.  The time and effort to draft the design and to weave the pattern added significantly to their cost.  In this example, two sets of warp (vertical) and weft (horizontal) threads create a repeating “ bizarre ” design.  Popular in the first decade of the 18^th century, bizarre silks are characterized by their fanciful design elements, playful use of scale, and a western interpretation of eastern motifs. 

Known variously as a robe battante or robe volante (meaning floating or flying dress), this important survival illustrates the more casual French influence in women’s fashion after the death of Louis XIV.  The garment appears to float freely off of the shoulders, with the material in back loosely fitted with an arrangement of double box pleats.  Despite its casual outward appearance, however, the dress would have been anchored to a firm pair of stays underneath.  At some point after the gown’s initial creation, sleeve flounces and robings, gathered material edging the gown’s opening, were added in different, although matching, silk.”

A "bizarre" silk damask piece, French or Dutch, c.1700. Museum of Fine Arts, Boston

Textile detail of man’s "bizarre" silk sleeved waistcoat, c. 1715. 

Los Angeles County Museum of Art (LACMA)

The development of so called “bizarre” designs appear among the English silk weavers of Spitalfields around the same time. Before 1710 bizarre designs combined over-scaled and distorted florals with architectural references, as well as chinoiserie elements. By the 1720s, however, the relatively brief bizarre period was drawing to a close in favor of more natural botanical motives.

Wealthy Peek Bardwell's Pink Calimanco Baby Shoes, c. 1763

These darling infant or toddler's shoes are of a pink wool calimanco (also spelled calamanco, callimanco) and date to 1763-68. Held in the textile collection at Historic Deerfield, an 1888 note accompanied the shoes, stating that they were from the Root family of Connecticut, worn by Wealthy Peek Bardwell, c. 1763. I am currently seeking information on Wealthy, for these tiny shoes raise more questions then they answer: Who made these charming and carefully detailed shoes? Did she grow to adulthood? Did she marry and have children of her own?

Recently conserved (see link below), the wool fabric indicates significant wear, particularly at the toe. It is highly likely that these American-made (Connecticut?) shoes were made from the remnants of an earlier garment or textile. They incorporate a delicate pink silk ribbon for fastening. The shoes are bound with a lighter linen ribbon. The hand stitched leather sole is sturdy, with a slight heel.

My initial assumption was that these were toddler's shoes due to the well-crafted, layered sole, the leather insole and extensive wear on the toe. However, Wealthy's diminutive shoes are only 3.5 inches in length. By today's measure, this translates roughly to an infant's size one shoe (16, Euro; .5 UK) and would be made for a child 0-9 months - a child who may not have been learning to walk but perhaps spent time twirling in a child minder or crawling.

In addition, while the toes exhibit wear, the soles show very little. No matter how the shoes were worn, they are a rare, fragile survival and have benefited greatly by being in the Historic Deerfield textile collection, which in turn benefits the historically curious.

My thanks to Ned Lazaro, Collections Manager & Associate Curator of Textiles for his assistance.

From Historic Deerfield, Deerfield, MA.

For more information, including conservation..click here

Boston Shoemaker: Pelatiah Rea at the Old State House, c. 1810

I saw these beguiling pink leather slippers on my recent visit to Historic Deerfield. While I am still researching the shoemaker, Pelatiah Rea and his "Variety Shoe Store," the existence of a labeled Boston shoe from the early 19th century is a true find. According to catalog information, Rae may have been born in 1771, married Patty Rolf in 1795 and Emily Powers in 1821 - all in Boston.

The shoes themselves have a delicate, winsome quality. The pink leather shows use, and the imprint of the wearer's foot. The leather sole is very thin and clearly good for indoors or dancing. They certainly would never have lasted in the New England winters. The label is revealing as well to the careful reader. The term "Variety Shoe Store" has a more contemporary sensibility, indicating a wide selection from which to choose. In a clever tactic to bring consumers into the shop, Rea notes "Rips mended gratis." Finally, though it is only the early years of the 19th century, the location is near the "Old State House." The 'new' Statehouse had just been completed in 1798 by architect Charles Bulfinch (1763-1844). Throughout the 19th century, the original downtown core of Boston became associated with the older, densely populated parts of the city. The commercial center would become more linear, shifting down Washington Street (present day downtown crossing).

I thought readers might enjoy installation photos of the shoes on exhibit - as an added incentive to visit the "Celebrating Fiber Arts" exhibit currently on view through December 29, 2013.

All images are courtesy of Historic Deerfield.

Cotton, Linen, Silk, Wool: Celebrating Fiber Arts at Historic Deerfield

This past weekend, while visiting my older daughter at UMass-Amherst, I had the opportunity to spend a truly exceptional afternoon at Historic Deerfield (Deerfield, MA), attending the "Celebrating Fiber Arts" exhibition.  Located in the Helen Geier Flynt Center, I had reason to anticipate a delightful excursion through these collections.  On a previous visit in 2011, I had presented a paper on Georgian architecture and design at the annual fall symposium.  More recently, I visited the textile collection and immersed myself in the fabulous footwear for my current research on Georgian shoes in Colonial America.

            This visit was decidedly different: I was there to savor, discover, and, simply, enjoy. No time frame or pressing goals to be met. No one else present in the gallery, leaving me the opportunity to immerse myself in the surroundings without the need to jostle for a perch. So many aspects of this installation and its rubric of space make it noteworthy. I find compelling the fact that the primary textiles associated with historic garments have been organized thematically: cotton, linen, silk and wool. Within this format, the curatorial staff introduces select items or recent acquisitions each season, on a rotating basis. This was my second visit to the "rotation," and I found it just as interesting as the first. While I enjoy blockbuster fashion exhibits as much as anyone, the intimacy of the space and the careful – might I say reverential? - selection of objects (38 according to press materials) allowed the liberties of close inspection and reflective inquiry. Despite working closely with museum collections for over 25 years, I felt as though I was making new discoveries with each step.

Do put this in your planner – the exhibition closes on December 29^th!

A few of my favorite "interactions." All photos are courtesy of Historic Deerfield (www.Historic-Deerfield.org) and a list of captions may be found at the end of this post.

And the shoes? Stay tuned…

The author thanks Ned Lazaro, Collections Manager and Associate Curator of Textiles, for his assistance.

Illustrations:

- Court dress, blue & white silk brocade, woven in Lyon, France, c.1760. Note expansive panniers.

- Detail, blue & white silk brocade Court dress with "fly” or floss fringe, c.1760.

- Man's early 19thc. linen plain weave shirt. Fabric, probably England; garment, probably American.

- English or American corset, 1820-1830, bleached satin weave cotton and twill weave cotton tape. The grommets are of ivory. Acc.# F.310

- Ladies' wallet or pocketbook (1750-1800) is rare in that it is attached to a known maker, Rebecca Kingsbury (1713-1807) of Dedham, MA. Rebecca was a schoolteacher in the 1730s before marrying Nathan Gay in 1740. Wool, silk, linen & pasteboard.

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Historic Deerfield’s costume and textile collection has long been considered one of the finest in America.  Begun by the museum’s founder, Helen Geier Flynt, the collection features a vast array of costumes, needlework and domestic textiles which are displayed on a rotating basis.  Newly installed in this permanent gallery for the season are 38 exciting examples of American and European clothing, accessories, textiles and needlework from the 17th century through the mid-20th century.   


See more at:

 http://www.historic-deerfield.org/event/exhibitions/celebrating-fiber-arts-helen-geier-flynt-textile-gallery/#sthash.UaUmyClJ.dpuf