Acq 2016-51-24 TB 2, Vallotton Collection
This is a black silk print angel sleeve with fringe evening short jacket or swiss waist. It appears to open in the back, closes with snaps, shaping, darts from bottom to bust line [lower shaping darts] and lined with brown cotton lining. The back waist length 9 ¼” long, 23” high waist, to be worn over something else indicated by a V vent in front.
UNK #1a & #1b, TB 2
Green & Black suit [jacket & skirt]
1a-This suit, matching jacket and gored skirt are beautifully made and detailed. The fitted jacket features a high collar edged in black taffeta embroidery which also runs down center front. This jacket closes at the front with large hooks & eyes. Dark green wool bodice has black long sleeves with turned up cuff in green and trimmed with black embroidered taffeta. Black 7/8” wide flat braiding trims the front. The jacket length is long and cut away in geometric shape. The back of jacket also fitted with a shaped hem at hips and decorated with the flat trim. The inside is fully lined with black taffeta. Very tailored. Waist of jacket 27”, back waist length 15 ½”, bust 34”. Condition good
1b-The matching 18 gored Skirt open 13 inches from bottom to give full skirt with a fitted front through waist and hips. It closes in back with hooks & eyes. Hooks were embroidered over with thread. All skirt seams are finished with fabric. . Hips 37 ¼”, length of skirt 35 ½”, width of bottom of skirt 130 ½”.
UNK#2 TB 2
Mrs. J. B. Jones could be Acq 85-460-1 Kathleen Bolton described as Black dress early 1900’s or 71-25-1-Miss Eloise Mallory this one described dress as Black Taffeta ladies 1870’s This dress is early 1900 with taffeta underlay. What is certain is that it is Mrs. JB Jones dress. The black underdress is of taffeta while the top layer is appliqued and embroidered leaves onto black netting. The collar is a high standing and supported collar with black beading. The front bodice balloons over at the waist suggesting a Gibson girl look very popular in the early 1900s. Mrs. Susan Elizabeth “Sadie” Young Jones was married to Jerry Jones who built a plantation and dam (Mill Pond) just north of town. The road Jerry Jones in Valdosta is named after this man and the road is located where his plantation once was.
1979-72-04 TB 70 E.P. Rose Collection EP Rose Collection
This dress is associated with a rich history of early Valdosta and Lowndes County as well as a fascinating history of a well known dressmaker and clothing construction.
The dress and Valdosta/ Lowndes County History
This dress belonged to Caroline Smith Rose (1873-1943) who lived with her husband Elbert Pinkney Rose (1862-1930) at 1007 Patterson Street. This building still stands today. E.P. Rose was a business man. In the 1904 directory he was in turpentine manufacturing and again in 1908 it lists him in the naval stores but by 1913 he is listed in the Ingram Buggy and Harness Co (this building still stands in downtown) and President of Valdosta Fuel and Oil. In 1923 it lists him as President of the Bank of Valdosta.
Caroline Smith Rose’s mother was Laura A Ihly Smith (1842-1877) and her grandmother was Harriet Henretta Wisenbaker Ihly (1820-1898) all buried in Sunset Hill Cemetery. One of Laura A Ihly’s sister was Jeannie Ihly Darnell who was the widow of the confederate solider AH Darnell from Company D 1st Battalion. The 1910 Census shows Jennie Ihly Darnell (b. 1845) living with her niece and husband Caroline Smith and E.P. Rose. The aunt must have been truly loved because their first son was named Frank Darnell Rose. The aunt was living with Caroline Smith Rose and E P. Rose when the dress was made. Jennie Darnell was living with her grandmother in Savannah, Georgia when Sherman came through. She wrote about these experiences and the museum retains a copy that memorabilia.
This dress’s protector shields are stamped: “Guaranteed by Mrs. A. H. Taylor Company, Bowling Green, KY, J 3 13 [June/July 3 1913]”. Carrie Burnam Taylor (1878-1917) was a well known dressmaker. This periwinkle dress is made of a crepe looking background and damask flowers.One of the interesting things about these dresses is how they are constructed. Therefore, a detailed description is given here along with photos to give a rare glimpse of their intricate construction and develop an enhanced appreciation for the time involved in the design and building of these three dimensional wearable art pieces.
Construction of the Dress
The false blouse of the dress has high lace collar set in place by plastic stays that are zigzagged into place by hand. This collar wraps around back and closes with hook and eye .The lace bodice is slightly gathered around collar and closes in the front with concealed hook and eye. The lace bodice is lined with ecru silk.
Over this is the periwinkle fabric with a deep U neck; in order to feature the lace, which is finished with a ½ inch bias binding and is joined by hook and eye to the plain periwinkle colored fabric middle section which contains 8 large plastic ball buttons. These buttons seemed to have resembled flowers with an orange middle and seemed to have been decorated by hand. The buttons echo the embroidery design worked around the periwinkle neckline. This embroidery is a set of heavy worked chain stitched flowers filled in with a couching of gold, pink, yellow, and aqua blue and outlined couching in blacks and golds. This heavy embroidery is set like lappets in the front and extends and is joined as one in the back. This embroidery was worked separately and added to the dress with hand stitching. The bodice then drapes over the high waist line.
The sleeves and the outer blouse overlay seem to be cut as one with only one seam. The sleeves are ¾ with large plain cuff which may have overlapped at the side of the sleeve. The cuff is lined with a periwinkle fabric and is edged with the self fabric ½ bias binding. The sleeve are then extended by the addition of the same lace as the blouse which runs in an open v from the back and gathers at the cuff overlapping area. The sleeves are lined with netting as well as the lace bodice. Remainder of dress underlined with cotton muslin.
The waistline is enhanced with a pleated belt with hooks in the front center and then wraps to the right side and hooks at the upper end of the waist band with a large self -ball button made from the printed fabric.
The skirt is eloquently draped asymmetrically with the printed fabric slightly folded into the waistline, hemmed at the front and then tucked off to the left at the lower thigh revealing the plain skirt under. The plain fabric is then hemmed at the right and closes with hidden snaps to the embroidered skirt on the right which makes the overall closure look like a pleat since. The brocade fabric is then again used for the skirt on the right which is pleated with 3 large pleats into the waistband. The skirt is long and tapered.
The back of the dress is further decorated with a large extra piece that hangs from the waistband and is decorated with 3 large Japanese style tassels.
Neck around-12 ¼” at top
Neck width- 2 inches
Back waist-natural waist 15” waistband starts at 12”
Back tassel panel width-10”, length-19 ¾”, 3 tassels width 2”, length 5” attached at bottom hem of tassel panel
Button at waist-1 ¼”
Buttons on front-1/2” (appears to be hand painted plastic)
Sleeve cuff width-4”
Sleeve lace width-4 ½”
Embroidery width-2” and length-19” tapering from two repeating designs at center back to approximately ½” design on either shoulder front
This dress is in fragile condition and can not be shown at this time;however, it is slotted for conservation.
1979-272-06 TB 70 R1 Sb, E.P. Rose Collection
This black silk taffeta six gourd skirt is also from the EP Rose Collection probably belonging to Caroline Smith Rose family. It is a full length skirt which closes in back with three ½” hooks and chain stitched eyes. Again this skirt has beautiful construction common in this era, This skirt is fully lined on inside with brown polished cotton made as one with skirt with pinked seams. The back has a large pleat 4 ½” to allow for a bustle while the skirt back hem is also longer to accommodate the bustle. The hem is weighted and stiffened with heavy buckram. This assists to carry the two rows of 2 ” ruffle of black silk with matching double edged ruffle.
Waist: 21 ¾”
Waist width: 1 ¼”
Skirt length in front 41”
Skirt width at hem edge: 179”