Showing posts with label the bostonian society. Show all posts
Showing posts with label the bostonian society. Show all posts

Tuesday, July 29, 2014

A Striking Pink Silk Stomacher for Miss Elizabeth Price, c. 1765-1775


This eye-catching, hot pink, white and black/brown silk stomacher is part of the Price Family textile collection at The Bostonian Society/Old State House (www.bostonhistory.org). It was most likely worn by Miss Elizabeth Price (oldest daughter of Elizabeth Bull Price (1718-1780). The style indicates a date range of c. 1765-1775 and the fetching piece was probably purchased and worn in Britain. Stomachers at this time were beginning to lose their popularity (and utility). Generally, they were worn until about 1775, when edge to edge gown closure became the norm. This stomacher underscores that the aesthetic was shifting away from the elaborate heavily embroidered botanical patterns, adorned with silk and metallic threads, of the Rococo period. Thin, shiny, lighter silks of the early Neoclassical period began to predominate. Even the trim is delicate. Miss Bull’s stomacher was probably associated with matching trim from the dress fabric, or a similar, compatible textile.  
Detail reveals patterns of wear and age; frayed and shredded silk
According to costume historian, Professor Mary Doering, of George Mason University/Smithsonian Associates: “During the 1760s, many fashionable dresses were made in a monochromatic style, where the emphasis was on surface ornamentation rather than complementary textile or embroidery patterns.”  The novelty striped silks, such as this one, became popular in the 1770s. A look at the reverse reveals the frequent hasty stitching of the trim.

No doubt Miss Price commanded considerable attention in an ensemble of a similar style and pattern to the stomacher!


Thank you to Patricia Gilrein, Collections Manager, The Bostonian Society for her assistance with the stomacher.

For additional information, see:

From Baby Caps to Mourning Rings

Visiting with Elizabeth Bull’s Wedding Dress, 1731-1735+


Friday, July 25, 2014

The Gossip Lady Reports on a 1730s Wedding Dress and an Exhibit on Shoes

Photo courtesy J. Dennis Robinson

Gossip: Shoes Through The Ages


By Jeanné McCartin
Portsmouth Herald, July 03, 2014 - 2:00 AM
Walking through History
Kimberley Alexander, Ph.D., visiting assistant professor in the Department of History at the University of New Hampshire and a member of the Warner House curatorial committee (take a deep breath after that), is a very busy woman and could do with a pause herself. That's unlikely for some time though.
Alexander just completed six months of researching Bostonian Elizabeth Bull. The project culminated in a discussion by Alexander at the Old State House in Boston, regarding the pre-Revolutionary fashionista's incredible wedding dress (search for the write-up on the Boston Globe's Web site at www.bostonglobe.com).

Alexander and Patricia Gilrein, the Bostonian Society's collections manager, are collaborating on a publication based on the "amazing trove of information" gathered during the process. "We're hoping to complete it in the next nine months," Alexander says.(www.bostonhistory.org)
That is in addition to a "dynamic" new project, the Newmarket resident adds.
Alexander also is co-curating an exhibit of historical footwear with Sandra Rux, president of the Warner Houses board and curator at the Portsmouth Historical Society. The exhibit is scheduled for the Portsmouth Athenaeum in 2015. (www.PortsmouthAthenaeum.org)
"We're looking at how shoes were made, but also shoes as an important commodity," Alexander says. Shoes speak to status, job, change in style, even the wearer's condition. "They tell you stories you don't find written text. ...; So many are women's shoes and they are left out of the official historic record."
The show will feature footwear from throughout New England, many pieces exhibited for the first time publicly.

Image, Sally Brewster Gerrish silk brocade shoe, c. 1770s John Paul Jones House, Portsmouth Historical Society, Courtesy, J. Dennis Robinson




Saturday, June 14, 2014

A Special Evening with Elizabeth Bull's 1735 Wedding Gown at The Bostonian Society

Join us as we discuss the recent conservation of and the context in which Elizabeth Bull (Price) created her wedding dress in 1730s Boston. We will also take a quick (virtual) shopping spree through the city's commercial core, exploring what was available to her as a leading style-maker.




You can reserve your place at The Bostonian Society Facebook page  https://www.facebook.com/events/584856911613593/ or www.bostonhistory.org

For more, see Visiting with Elizabeth Bull's Wedding Dress

Friday, December 20, 2013

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 19th 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.

Kimberly Alexander, Ph.D.
University of New Hampshire
Durham, NH. USA

Sunday, October 27, 2013

Silk Roads: Mapping Federal Boston at Mrs. Rowson's Young Ladies Academy

Lydia Withington, Boston Harbour, 1799
Courtesy, www.BostonHistory.org
The Bostonian Society
It was one of those chance moments when circumstances bring us unexpected delights. I had recently completed an article centered on a young woman of the early Republic, Myra Montgomery of Haverhill, New Hampshire, who had studied at Susanna Rowson’s Young Ladies Academy in Boston. (1) (For more: http://silkdamask.blogspot.com/2013/05/mrs-susanna-rowsons-school-myra.html.) Myra was in Boston to complete her silk embroidery. (As of this writing, I still hope to locate the piece that she crafted, as well as those of her two older sisters, Mary and Ann, but that is a story for another time.)
I had an opportunity to attend a very special antique show and no doubt you can imagine the thrill when, turning a corner I was facing an embroidery of Boston Harbor, c. 1800.  I immediately recognized it as a product Mrs. Rowson's Academy.  It then dawned on me that I had also seen a closely related work at the Bostonian Society: Lydia Withington’s silk map of Boston Harbor, completed in 1799 when she was 15 years. (2) The piece that now perched before me was Sally Dodge’s embroidered map, completed at the Female Academy the following year. (3) (It was sold at auction at Skinner, Inc. in August 2013 and is now available again from Boston Rare Maps.)
Courtesy, Boston Rare Maps
www.bostonraremaps.com
Both pieces are striking and feature silk thread embroidery, which is worked on silk as well. They are quite delicate, and you can see patches in both maps of shredded, split silk and losses to the support. Exposure to light has not been kind. It is not surprising that objects of this composition are quite ephemeral. The attempt at geographical accuracy was strong.

That they come from the same source is clear. They share the conventional Federal motif of a majestic eagle and the vantage point is identical, as are the spellings of towns and bodies of water (“Boston Harbour”). What may not be as evident at first glance is the distinctive shift in the subject matter selected and what were deemed “acceptable” topics for a young lady’s education in the early republic. Mrs. Rowson,  well-known as the author of Charlotte Temple had also published two books on geography—An Abridgement of Universal Geography (1805) and Youth's first Step in Geography (1811)--and clearly imparted her knowledge to her pupils. And, it appears, the parents (who were footing steep costs for tuition, extra lessons and supplies) found the shift from inward-oriented religious and family samplers to those which looked out upon a larger world were quite comfortable with this shift in ideas about a proper education for young women. It was, historically, a significant moment in post-Revolutionary America.

I do not believe that the two works have been shown together, and, so, I invite you compare, contrast and cogitate on these beautiful (but extremely fragile) maps and what they may represent regarding changing ideals of women’s education.

Contacts and Sources:

1. Kimberly S. Alexander, “Myra Montgomery’s World: Haverhill, Boston and Beyond” Historical New Hampshire, volume 67; Nos. 1& 2, Fall-Winter 2013.

2. Lydia Withington:
http://www.bostonhistory.org

3. Sally Dodge:
Link to Skinner Sale of Sally Dodge Boston Map, 1800
Contact Information for Boston Rare Maps
Michael L. Buehler

Wednesday, March 20, 2013

John Hancock's Fashion Flourishes



the flourish of John Hancock’s (1737-1793) eponymous  signature is well-known and highly recognizable. the graceful, Restrained Luxury epitomized in John Singleton Copley’s 1765 Portrait (Museum of Fine Arts, Boston) Captures the moment before Hancock begins his political Journey. 
Together, they leave one with the image of confidence and Strength of character. John Hancock’s clothing selections, however, while not unusual for one in a position of affluence in colonial america, is perhaps less likely to fit comfortably into our impression of the American patriot or a Revolutionary, Particularly one who was actively sought out (with Samuel adams) as an enemy to BRitish colonial authority. The same may be said of many of his contemporaries who felt a disconnection between his political actions and the Fineries of his dress, his “shocking” yellow carriage, renowned largesse, love of entertainments and well-appointed beacon hill home (since demolished.)

We are fortunate that detailed Likenesses (including clothing and other accoutremonts), contemporary accounts and garments have survived and are available in the public domain.

At the Bostonian Society (www.BostonHistory.org), Hancock’s red silk Velvet jacket, c.1780s, possibly worn for his gubernatorial inauguration; at the New York Historical Society (www.nyhistory.org), an elaborately embroidered silk waistcoat, c.1780s (attributed), and, at the Lexington historical society (www.Lexingtonhistory.org), a second, simpler, waistcoat.

The Proceedings of the Bostonian Society Annual meeting, 1912 (p.41) records the following: “Court Suit. Crimson velvet body-coat, blue satin waistcoat embroidered with gold and drab silk trunks, formerly owned and worn by Governor John Hancock.” The items were given by Franklin Hancock of Haverhill, MA. 

John Hancock's (1737-1793) waistcoat (attributed), ca. 1780. The cream silk twill front panels are richly embroidered with a floral and garland motif, and bow-ties decorated with gold-painted metal sequins (spangles). As was common, There is a natural linen back panel and interior lining. Thirteen buttons covered with gold foil and gold wire serve as closures.  Gift of George Gibbs to the New York Historical Society

From the Lexington Historical Society, another silk embroidered waistcoat "worn by Gov. John Hancock." Image: digitalgallery.nypl.org 

This short piece, published late in the 19th century, gathers a number of delightful descriptions of Hancock’s garments:  

John Hancock, a character sketch, by John Roy Musick, 1898

“He seems to have been the leader of fashion--Genteel aristocrat of the day: As a young man ‘He wore a coat of scarlet, lined with silk, and embroidered with gold, white satin embroidered waist coat, dark satin small-clothes, white silk stockings, and shoes with silver buckles.’ It seems that this attire with the ‘three cornered gold laced hat constituted the gentleman of the period.’ His equipage, a coach and six blooded bays, were such as had never been seen in Boston. 

One who knew him in 1782 says: ‘He had been repeatedly and severely afflicted with gout, probably owing in part to the custom of drinking punch — a common practice in high circles in those days.’ As recollected at that time, Hancock was nearly six feet in height and of thin person, stooping a little, and apparently enfeebled by disease. His manners were very gracious, of the old style, a dignified complaisance. His face had been very handsome. ‘Dress at this time was adopted quite as much to the ornamental as the useful. Gentlemen wore wigs when abroad, and commonly caps when at home. At this time, about noon, Hancock was dressed in a red velvet cap, within which was one of fine linen. The latter was turned up over the lower edge of the velvet one, two or three inches. He wore a blue damask gown lined with silk, a white satin embroidered waist coat, black satin small clothes, white silk stockings and red morocco slippers.’ 

‘His apparel was sumptuously embroidered with gold, silver, lace and other decorations, fashionable among men of fortune of that period. He wore a scarlet coat with ruffles on his sleeves, which soon became the prevailing fashion.’  There is an anecdote told of Dr. Nathan Jacques, the famous pedestrian of West Newbury, walking all the way from that place to Boston in one day, to procure cloth for a coat like that of John Hancock, and ‘returned on foot with it under his arm.’”