Reception Dress
PeriodCirca 1760, reworked circa 1850
Place MadeEngland
Date1845-1850
MediumHeavy woven silk brocade, corded silk, glazed cotton, whalebone (baleen), silk gauze.
DimensionsBodice: 13.5 × 24 in. (34.3 × 61 cm)
Skirt: 39.5 in. (100.3 cm)
Bow: 5.5 × 8 in. (14 × 20.3 cm)
Skirt: 39.5 in. (100.3 cm)
Bow: 5.5 × 8 in. (14 × 20.3 cm)
ClassificationsCostume, Women's
Credit LineGift of Patricia Forsyth in Honor of Madeline Alliger Jameson, 2016
Object number2016.10.1
DescriptionTwo-piece woman’s gown, consisting of bodice (A) and skirt (B) with small separate decorative bow (C). Fabric used in skirt, bow and portions of bodice appear to date from the late 18th century, possibly 1780-1790, original fabric width was 20 inches wide. Luxurious brocade/lampas weave consisting of bow-knot garlands and floral bunches, in tones of bright red, pink, yellow, and white, on a soft purple ground. Overall this dress appears to have been re-made from portions of a late 18th century gown. The dress bodice appears to use a circa 1845-1850 bodice originally made by a dressmaker based on quality of construction and seaming. The original bodice is of corded black silk, with a wide boat neck, back lace-up fastening, and princess points, front and back. The bottom of the bodice is finished with a double piping seam. Bodice has a lining of brown glazed cotton with sewn-in whale bone support strips. Original sleeves appear to have been removed. On top of original black fabric, the 18th cent dress fabric has been fitted and pieced to include new sleeves and a draped front and back panel. Draped ruffles along the neckline appear to have been made from sleeve ruffles taken from the original 18th c. dress. Ruffles are finished with the 18th century treatment of scalloped punching. In many areas on the bodice fabric original or older seamlines can easily be seen. Many of the seam lines are poorly done with crude running stitches of heavy black or dark blue thread and in numerous areas raw edges of the silk brocade are left unfinished. Dress skirt entirely of brocade silk. Relatively crudely made. Wide 3” waistband, partially lined with lightweight oyster silk. Small gathers in front with large cartridge pleating at back. Simple pair of hooks and eyes for closure at back. Wide 5” hem. Five full panels and two partial panels, one 10” wide and one 8” wide.
Small decorative bow, also made from scraps of the silk brocade. Also crudely made. Simple small panel approximately 6 x 8”, bound in center by small band of brocade. Edges left raw. Bow was probably worn in the center front of the bodice.
Curatorial RemarksThis dress is a fascinating example of the reuse principle in 19th century garment making. From an examination of the dress and fabric it seems that the silk brocade was taken from an original 18th century woman’s dress. The ruffles on the bodice front came from the original dress’s sleeve ruffles. The shaped ruffles appear to have been unpicked, then added as trim to the bodice. The edges retain their original pinked scalloped edging. The relatively narrow width of the skirt may indicate that the original garment was made for a small woman or young girl. It is not certain how the dates of either of the original dress (1780s) or the remade dress (1850s) coincides with the donor’s family story of the garment having been worn to a reception honoring the Marquis De Lafayette in 1824. Lafayette was in the general area, travelling around different states in the mid-Atlantic in September 1824, the month that the accompanying letter was written. However, the fascinating nature of the construction of this garment makes for a challenging and interesting textile puzzle. One possibility is that the 18th century was re-made and worn to a reception either in 1824 or 1828/9 and re-made yet again in its present form. This might explain the need to piece out the bodice to such an extent. Regarding the silk brocade, this English-made narrow width woven brocade is of the highest textile quality, and originally would have been almost prohibitively expensive for anyone besides the wealthiest of society. In addition, the amazing preservation and condition of this original brocade is highly unusual. It also indicates the level of sophistication of women’s garments in later 18th century America. NotesA copy of a letter was included with the gift of the dress, referencing the ball to which the dress had be reportedly been worn. The letter was dated September 16, 1824 from Albany, and was written by an A.[?] Davis to Jane Charlotte Hurlbert. The Abner may have been Jane's son, Abner Graham Davis or her husband, Abner Davis, using "Ma" as a term of endearment. It states that they might go to the ball, depending on how family members are feeling. It also mentions several vistors and friends like Sarah Ann Platt from Plattsburgh, Mrs. Douglas, Mrs. Jones, and the Governor. At the end it says that Mrs. Douglas and Mrs. Jones secured a spot to view the procession on State Street, presumably connected with the visit of the Marquis de Lafayette.
Collections
ProvenanceUnsure of who wore/made the dress, but was most likely handed down through descent: Jane C. Hurlburt and Abner Davis; to Elijah Alliger and Margaret Davis; to Abner Davis Alliger and Mary August Hayhurt; to Madeline C. Alliger and Charles M. Jameson; to Patricia (Alliger) Forsyth, donor.
