Elizabeth Wentworth Warner's c.1760-1770s Brocade Shoes

The owner of these pink and green brocade shoes (c. 1760, with later alterations) was most likely Elizabeth Wentworth Warner (July 30, 1739-August 1793/November 1794, posted in two New Hampshire papers, the Oracle and the Gazette). 

Despite somewhat careless alterations at some point in their history, they have a contemporary appeal with a cheery palette. One can easily imagine wearing them today.  Elizabeth was the daughter of Hunking Wentworth, she married Captain Samuel Warner (August 21, 1737- September 10, 1771; Jonathan Warner's brother) on October 8, 1761.  She was twenty two and Captain Warner was twenty four; he died a decade later when she was thirty two. The mother of Elizabeth Warner Sherburne, Elizabeth Wentworth Warner died at 54/55 years of age.

Without a fuller biographical account, it is difficult to “read” Elizabeth’s shoes. They were clearly stylish when new with a pointed toe and tongue, richly patterned brocade silk of a foliate pattern of predominate pink, green and earth tones, and a heel of about 1.5 to 2 inches in height. They would have required a buckle for closure.

At some point, most likely during Elizabeth’s life given the nature of the alterations, the original heel was apparently cut down transforming it into a flat or a slipper.  The sole appears original, has no rand, and is of a substantial leather.  However, the inner sole (or lining) is of a heavy leather that does not appear to fit the interior of the shoe well.  The existing heel seems to be covered (somewhat sloppily) with a solid portion of the brocaded silk that covers the rest of the shoe. Women frequently altered their shoes to keep up with the trends of the day, so the transformation of a heeled shoe into a flat would make sense given the transition into the Neoclassical style, which embraced a low slipper-type shoe. 

If one examines the shoes from the back, however, it is apparent that the owner had a distinctive gait which caused specific wear and tear on the shoes. Perhaps the shoes were cut down for comfort by a local cobbler and then restitched; perhaps Elizabeth had an ailment which caused her overpronation. 

At this time, the records are silent.

The author thanks Tara Vose and Carolyn Roy, of the Warner House Board and Curatorial Committee 
For further information, see Joyce G. Volk, ed. The Warner House: A Rich and Colorful History, 2006.

www.WarnerHouse.org

Images courtesy of The Warner House
Accession Number 1949 2a and 2 b.

Great Coat & Small Clothes: The 1825 Inventory of Gen. John Montgomery

There is no denying it: General John Montgomery (1764-1825) was a wealthy man. He first arrived in Haverhill, NH. from Londonderry, NH. as a trader; by the time of his death in 1825, he was one of the wealthiest and most highly regarded citizens of this significant North Country town, with the esteemed "esq." appended to his name. Distinguished for his business acumen as well as his leadership during the War of 1812, the survival of his highly detailed probate inventory is a true find.

Extracts from the probate inventory will posted on these pages periodically. The focus here will be on his clothing, meticulously listed in the 12 page document of a total estate valued at $2,901.93.

1 Military coat, 2 vests & pantaloons          10.50 

1 Overcoat                                                      4.00

1 Coat                                                             2.50

1 silk vest .50 & small clothes .25                   .75

1 Great coat and cape                                      .50

2 Linnen shirts                                               4.00

1 Silk umbrella                                              2.00

Military:

                              1 Military bridle & saddle                             7.50

Side saddle                                                     6.00

1 Military sash                                              10.00    

Miscellaneous found throughout
the house and outbuildings:

1 silver watch & gold chain                        18.50

1 Gun                                                             3.00

1 bathing tub                                                    .50

2 old pocket books                                           .34

There were numerous looking glasses, dressing and toilet tables, hairbrushes and "snuff flasks."

Most of the General's personal clothing items were listed in the "North Front Chamber" leading one to speculate that that was his chamber; while the bridles and saddles were listed in the Dining Room. Not surprisingly, the North and South Front rooms contained the most costly furnishings while the Back South "parlour" held the library, two family armorials, serving dishes, trays and so on. 

The contents of his store, library and chambers will be featured in future posts.

Illustrations:
1. A page from the 1793 Montgomery Store Daybook, September 2. View of the Montgomery House and store, c. early 1790s
3. View of the Montgomery Store with mid-19th century alterations

Thank you to the Haverhill Historical Society and to the current homeowners for making materials accessible to the author.

What the Bride Wore: Timeless Elegance of Claire Pettibone

We have been following LA-based Claire Pettibone’s work since 2010, when her “Emma” line caught our eye in preparation for a museum exhibition.  Ms. Pettibone’s “Emma” was a natural link with the white, diaphanous Neoclassical gowns found in Numerous historic costume collections or on vintage clothing sites. Many of us associate this elegant style with the writings of Jane Austen, brought to life in the recent, painstakingly researched fashions for film.

After reviewing her recent 2012 Windsor Rose China line, we were again impressed with her ability to draw inspiration from an earlier era and transform it into our own.

A personal favorite is “Deauville.” Ms. Pettibone’s own description sums up her knowledge of the period (in this case, the 1920s): cut, style, materials and finishing. 

Claire Pettibone, Fall 2012:

“Gold embroidery on fine ivory tulle over a sumptuous pearl silk charmeuse wedding dress accented with gold guipure embellished drop waist, shoulders and neckline.
My grandmother was quite the 1920’s bohemian…her first husband was a rum-runner during prohibition, and was mysteriously killed in a “motorcycle” accident. She never talked about him, and I was a grown woman when my mom shared the scandal that my grandpa (her father) was not grandma’s first love.

I’ve been thinking about Anna Mae, and looking at the photos of her second wedding that we all thought was her first. She wore a beautiful mauve scalloped silk dress with a velvet sash at the hip, round spectacles and stylish Mary Jane’s. Grandma has long passed, but I have her wedding dress, the intricate embroidered linens she made by hand, her gold rimmed china with delicate painted roses…and a good dose of her free spirit.

The sweet and simple details of our heirlooms: lace linens, golden lockets, fine china, don’t they make lovely inspiration for a wedding dress?”

Don't forget to check out her singularly stunning lingerie collection!

Claire Pettibone - Couture Bridal l Wedding Dresses, Bridal Gowns, Fashion Designer, Veils, Accessories

Upcoming Trunk Shows:
http://www.blackburnbridal.co.uk

http://www.jmajors.com

What the Bride Wore: Today'sTimeless Elegance, 1

Several close friends are getting married this autumn, causing me to think about those qualities which  certain gowns have to create an indelible imprint on our memory. The magic and romance of wedding gowns - lace, beads, pearls, silk, satin, organza, taffeta - is often rooted in vintage styles from NeoClassical white lace and silk, to rustling Victorian taffeta encrusted with embellishments, to 1920s beading on sheer silks.

One current line to watch is Essence of Australia. An international concern with growing North American markets, Essence clearly understands the needs of the modern bride, blending both the timeless allure of luxury fabrics with couture styling.  Exquisite beading is one of their specialties and they offer customization of a number of the gowns for a perfect fit.  

Two gowns shown below feature taffeta, organza and lace with French satin ribbon for optional sash.  The photos say it all.

For further information, including trunk shows, see http://www.essensedesigns.com

Myra's 1816 Black Canton Crepe Gown: "seven yards of an ordinary quality"

Mary, Nancy (Ann) or most likely, Myra Montgomery, ca.1810s

Approximately a dozen typescript letters (source unknown) written primarily by Myra Montgomery (October 1, 1794-April 14, 1817)  to her cousin and subsequently, fiancé, Horace Henry Goodman (December 22, 1785-January 3, 1849) survive in the Collections of the Haverhill Historical Society, Haverhill, NH. Although small in number, the letters nonetheless constitute a valuable source of information on a relatively affluent young woman in the early Republic. While living in a rural town, she had access to much wider intellectual, artistic and literary circles, through her Boston education at the progressive Mrs. Susanna Rowson's School and due to Haverhill's role as the seat of the North County Court system, which attracted several hundred individuals throughout the year.

This short excerpt is part of a larger article on her life and letters, which have never been published. Portions have been presented in academic symposia over the last decade.

In a letter dated May 28, 1816, she writes:

"....When you were here I did not think I should find a black canton crepe gown necessary, but it will be very useful for common wear & I have enclosed what I suppose  is sufficient to purchase seven yards of an ordinary quality at least. I have been informed that they are very low."

Her mother had died just five weeks earlier on April 21.

The use of the black Canton crepe (or crape) for a "common wear" gown, would have been in keeping with the transitional neoclassical into regency style of the time. The knowledge of current high style fashion is further supported in the family silhouette, seen above. Note the wide set sleeves, square cut bodice and emphasis on the high Neoclassical waist, gathered just below the bust. The dress is offset by the elegant standing white lace "collar" with ribbon, her curled and well coiffed hair (perhaps with a center part), sporting a hair comb or accessory. With her hair piled high, gathered at the crown of her head, neck exposed and the cut of the dress, the profile is long, simple and elegant.

In her next letter, she thanks Horace very much for the trouble he took to get the fabric but notes that it was not enough and she has asked Mr. West to procure some more. Mr. West was her brother-in-law and had a shop on Long Wharf in Boston. Horace had recently joined him in partnership. Indeed, the direct connection to goods coming to wharves of Boston and finding their way to northern New Hampshire within a matter of days is of interest and is oft repeated in the letters between the young couple. 

The death of Myra's mother, Elizabeth Ring, foreshadows her own: Myra became ill in November of 1816, and succumbed to consumption almost exactly a year after her mother's death. She died on April 14, 1817 in the house where she lived most of her short life. The importance of Horace's Boston business is in strong evidence: as her illness took hold, he sent Maderia wine and fresh oranges in the hope that Myra would recover. 

You can visit Myra's burial site, along with that of her father, General John Montgomery, her mother and step mother, Patience, at the Ladd Street Cemetery, not far from where her home still stands along the Oliverian Brook at the junction of Routes 10 & 25 in Haverhill, NH.

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

Illustrations
Montgomery Family, Unidentified Daughter, Unknown Source
Detail, Myra Montgomery Headstone

Further Reading
Sources on Neoclassical and Regency garments is extensive and widely available on line and in print.

A personal favorite is Ackermann's Repository of Fashion, first published in 1809.

Embellishments: Constructing Victorian Detail Opens

Opening reception:

Friday, September 14, 5-7:00 PM. 

All are welcome.

Twenty-five Victorian era garments and accessories from the UNH Irma Bowen Textile Collection will be on display. Join Guest Curator, Astrida Schaeffer, in an exploration of the aesthetics of nineteenth century clothing design and a close-up look at how their embellishments were constructed. 

The accompanying book, published by Blue Tree, with sumptuous photography by Brian Smestad and detailed instructions by author Astrida Schaeffer, provide insight and inspiration for reviving these techniques.

The exhibition is sponsored by the University Museum, Blue Tree, and Fabric Place Basement and funded in part by the E. Ruth Buxton Stephenson Memorial Fund and the UNH Center for the Humanities.

For more information: www.izaak.unh.edu

For publication information: http://www.thebluetree.com/shop/fashion/9780979201448/

For parking and hours, please see our visitor information.

Photography courtesy Brian Smestad

Walking Dress, 1883-86; Silk satin and silk taffeta

What's in a Label 3: Queen Victoria's 1840 Wedding Shoes

While much has been written on Queen Victoria (1819-1901) and her 1840 wedding dress as a statement of politics and power (rather than "purity"), not surprisingly, the author has decided to examine her wedding shoes.  Just as her wedding gown was extensively adorned with fine British-made Honiton lace (in an effort to support the decimated lace industry, which proved a successful tactic for a time), so, too, were her shoes a decidedly British product.

Created by Cundry & Sons, they are a highlight of the newly refurbished Northampton Museum. Made of white satin, they feature ribbon ties which wrapped at the ankle to hold them in place. The affixed label is very traditional, as is the form and the use of many fonts. The label is a proud "brand" of the company, listing (cramming, actually) as many royal clientele as possible into the oval. Note that they first list themselves as "bootmakers." This remained the highest echelon of cordwainer, even in a prolonged era of important women's shoemaking--of which Queen Victoria's represent the epitome for any designer. We need only to look at last year's royal wedding, the 2012 Olympics or even the wardrobe of American First Lady, Michelle Obama, to understand the significance of nationality in designer selection. 

In Boyle's Fashionable Court and Country Guide, the boot and shoemakers are still listed in the 1857 directory:

CUNDRY and SON No 1 Soho square By Appointment in Ordinary to the Queen the Prince of Wales HRH the Duchess of Kent and the Royal Family Every variety of Ladies and Children's Boots and Shoes in the first style of materials and workmanship 

For one of the best accounts this author has read regarding the symbolism of Queen Victoria's dress and the context of what came before and after, see
http://thedreamstress.com/2011/04/queen-victorias-wedding-dress-the-one-that-started-it-all/

Should you want to learn how to make Honiton Lace, Mrs. Daphne Lee offers classes at the Allhallows Museum
http://www.honitonmuseum.org/index.php?page=lace-making

Kimberly Alexander, Ph.D.

Illustrations:
Queen Victoria in her wedding gown, 1842. Franz Xavier Winterhalter (1805-1873)
All images of Queen Victoria's wedding shoes, courtesy Borough of Northampton Museum