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Antique Women's Nightgowns and Dresses

Collection of historical women's garments including nightgowns and dresses from the 19th century. Focus on delicate fabrics and intricate details.

Jacket, painted with blue flower vines and silver high spreads on a white ground and trimmed with long nets band; cotton lining., Anonymous, c. 1750 - c. 1775
Jacket, painted with blue flower vines and silver high spreads on a white ground and trimmed with long nets band; cotton lining., Anonymous, c. 1750 - c. 1775
351 assets in this story
Theatrical skirt with grapevines 18th century China The pattern of this skirtpart of a theatrical ensemble with matching jacket 30.76.24features an amalgam of grapevines and dragons that twists and curves across the white background. You can see one dragon head on the left of the jacket, and another can be found in the center on the back. The quality of both the materials and the workmanship is very high: note the subtle changes in color of the silk embroidery within the leaves and the use of gold thread to delineate the branches, leaves, and tendrils of the grapevine.. Theatrical skirt with grapevines 69005Caftan 19th century. Caftan 126917Dress 1850-55 American This is nice, well-made example of a stylish boys garment from the period when both boys and girls wore dresses as toddlers. During this time it was considered a coming of age when boys could graduate to wearing pants.. Dress. American. 1850-55. wool, silkPantalets 1850-55 American. Pantalets. American. 1850-55. LinenWoman's blouse (Huipil), c. 1960, 35 x 38 in. (88.9 x 96.52 cm), Cotton; ikat, Guatemala, 20th centuryChildren's dress ". Ivory cotton canvas, red English embroidery. Around 1880-1885. Galliera, fashion museum of the city of Paris. 71776-19 English embroidery, child, childish fashion, sleeveless dress, sleeveless, clothing, dressBlue silk dressing gown with silver colored woven floral pattern and red rips lining, kimono, kimono outerwear men's clothing silk shoulder w 80.0 sleeve, lg 134.0 w 162.0 bottom side w 97,0 textile Blue silk dressing gown with silver colored woven floral pattern and red ripper lining; straight cut; man dressing gown housecoat negligee kimonoApron 1830-70 Russian This object is from the collection of Natalia de Shabelsky (1841-1905), a Russian noblewoman compelled to preserve what she perceived as the vanishing folk art traditions of her native country. Traveling extensively throughout Great Russia, she collected many fine examples of textile art of the wealthy peasant class. From the 1870s until moving to France in 1902, Shabelsky amassed a large collection of intricately embroidered hand-woven household textiles and opulent festival garments with rich decoration and elaborate motifs. The Brooklyn Museum holdings include many fine examples including the majority of the garments. Portions of Shabelsky's collection are also housed at the Museum of Fine Arts, Boston, the Cleveland Art Museum, and the Russian Museum of Ethnography in St. Petersburg. Depictions of the goddess are common in Russian embroidery, traditionally associated with fertility. Birds are associated with goddess worship for their proximity to divine beingsFashion, 20th century. Silk satin underdress with lace inserts, 1930s-1940s.Chasuble 1850-99 probably Chinese. Chasuble 173547Dress ca. 1865 American This dress, worn by a boy or girl, is made complete with charming and stylish detailing. The sleeves are of a fashionable shape and the bodice is carefully pleated instead of simply being gathered. The alternating pleats in the skirt show the sophisticated level of construction. Finishing the piece, the soutache braid has been stylishly applied, which was also used in adult clothing in the 1860s.. Dress 159516ClothingNightgown 1830s American or European. Nightgown. American or European. 1830s. linenUnderdress ca. 1835 American The extraordinary decadal morphing of dress forms in the nineteenth century begins in the late 1810s with the shift away from the essentially columnar, high-waisted shapes that characterized the Napoleonic period. By the 1820s the corseted waist shifted from the previous Empire line directly under the bust to a lower point at the mid-ribcage. Simultaneously, sleeves began to balloon into the gigot, or leg-of-mutton, puff together with a similar expansion of the skirt into a full bell shape.As the volume of the skirt increased in the 1830s, the hemline retreated, ultimately to a point slightly above the ankles-promenade dresses in the 1770s were similarly revealing of the lower leg. This fashion, with its sudden emphasis on the feet and ankles, precipitated a range of increasingly decorative stocking designs. This relatively unornamented dress, its crochet lace inserts appearing only discretely at the shoulder line, might therefore have been worn with hose, Dress ca. 1825 American. Dress 107959Bathing suit ca. 1900 Wanamaker's American. Bathing suit. American. ca. 1900. silk, wool, cottonDorothea Mierisch, Woman's Coat, c 1939 Woman's CoatDress ca. 1897 House of Paquin French. Dress 106587Evening dress 1867-68 American. Evening dress 107867Ball gown ca. 1887 House of Worth French. Ball gown 81630Dress 1887 American. Dress 173494Nightgown 1860s American or European. Nightgown 109074Babani. "Cretan" dress. Black silk velvet, application of gold and silver metallic wire embroidery (cashmere patterns), gold metal wire cord, black silk canvas lining. Around 1921-1922. Galliera, fashion museum of the city of Paris. 101860-30 Haute couture, female mode, female modelDress ca. 1860 American. Dress. American. ca. 1860. cottonDress. Culture: American. Date: 1832-35.This transitional style indicates the aesthetic of its period. The large gigot sleeves were popular from the early 1830s through 1836 when they began to diminish to the tightly fitted sleeves of the following period. This type of sleeve was generally supported by whalebone or down filling. Another indication of its transitional disposition is the waist height and the full bell-shaped skirts. The beautiful textile is also a product of its time with a stippled ground and bright flowers against muted vinery. The patterning creates a very charming feel evocative of the romantic 1830s style. The female silhouette of the middle of the 19th century consisted of a fitted corseted bodice and wide full skirts. The conical skirts developed between the 1830s, when the high waist of the Empire silhouette was lowered and the skirts became more bell shaped, to the late 1860s, when the fullness of the skirts were pulled to the back and the bustle developed. ThModesty front unknownWoman's Dress with CollarPair of mittens (mitaines), anonymous, c. 1807 - c. 1825 Left mitaine of white twill cotton landed with white Vloszijde in a floral motif. Faced with flannel stitch for decoration, cut out of a piece and thumb set separately. Open seam on the inside wrist Netherlands whole: Cotton (textile). Embroidery: Silk embroidering Left mitaine of white twill cotton landed with white Vloszijde in a floral motif. Faced with flannel stitch for decoration, cut out of a piece and thumb set separately. Open seam on the inside wrist Netherlands whole: Cotton (textile). Embroidery: Silk embroideringMitaine from white twill cotton landed with floral motif from white Vloszijde, anonymous, c. 1807 - c. 1825 Left mitaine of white twill cotton landed with white Vloszijde in a floral motif. Faced with flannel stitch for decoration, cut out of a piece and thumb set separately. Open seam on the inside wrist Netherlands whole: Cotton (textile). Embroidery: Silk embroidering Left mitaine of white twill cotton landed with white Vloszijde in a floral motif. Faced with flannel stitch for decoration, cut out of a piece and thumb set separately. Open seam on the inside wrist Netherlands whole: Cotton (textile). Embroidery: Silk embroideringBaby shirt made of linen, decorated with open seams, with riding and without sleeves, anonymous, c. 1800 - c. 1810 A baby shirt of linen, decorated with open seams, with driveway and without sleeves (Empire). Netherlands linen (material) A baby shirt of linen, decorated with open seams, with driveway and without sleeves (Empire). Netherlands linen (material)Apron fourth quarter 19th century Slovak. Apron 158330Bodice 1865-70 American. Bodice 107803Wedding Ensemble late 19th century This ensemble includes some of the garments worn by a bride on the occasion of her wedding. The opulent tunic is heavily embroidered with stylized symbols which promote fertility and good luck. Bridal attires is often decorated with symbols intended to protect the bride, because she is seen as especially vulnerable during this pivotal moment in her life. The backside of the tunic features a motif which has been interpreted as either a tree of life, or bride raising her hands in the position of jewla, the moment when she is presented to the groom. Along with several other layers of textiles, this tunic would have been worn with the trousers and cap also seen here.. Wedding Ensemble 89306City bodice of a dressed dress which would have belonged to the Empress Eugénie ". 1869-1875. Black silk taffeta paperback of silk roses (of several tones of purple, green and yellow, taffeta of purple silk, ribbon ribbon Black silk fluted; lining of the sleeve in iced cotton canvas. would have belonged to the Empress Eugénie (1826-1920). Galliera, fashion museum of the city of Paris. Purple Roses Paperback and knot behind and with sleeves. Belonging, brocher, bodice city, back, lining, flower, haute couture, French imperative, handle, feminine mode, female model, pink motif, dress dress, ribbon, silk, black taffeta, canvas, purple, three-quarter viewPeignoir 1820s American. Peignoir. American. 1820s. cottonSkirt with side splits and gray glued lining of quilted and stitched white satin with windows and leaf vines and abstract flower and leaf motifs full of stripes and studs, anonymous, c. 1720 - c. 1750 Skirt of white satin, decorated in Zaans stitching. Straight skirt of six lanes, which is laid in flat folds at the same time as the lining and is omboard with a white -sides ribbon. Lined with calandered gray coarse grain. Netherlands (possibly) silk. satin Skirt of white satin, decorated in Zaans stitching. Straight skirt of six lanes, which is laid in flat folds at the same time as the lining and is omboard with a white -sides ribbon. Lined with calandered gray coarse grain. Netherlands (possibly) silk. satinDirectoire of pleated whitening cotton batist, decorated with a narrow embroidered edge and a monogram "Gu". Directoire of pleated white cotton batist, decorated with a narrow embroidered edge and a monogram "Gu" in baby blue silk. With associated chemise. Model: Smooth waistband with closure in the mid-front by six pearl knots. Bellowing pipes; completely unpleasised. The pleats are inserted to 6 cm under the waistband, then loose. Decoration: At the bottom of the right pipe, the letters G are in a diamond of baby blue silk and you embroidered. The top of the hem is camouflaged by a 5mm widely worked edge of baby blue silk.Man's Vest. Europe, probably Spain, 1800-1810. Costumes; principal attire (upper body). Silk satin with silk embroideryCourt dress having been carried by the Empress Marie-Louise (1810-1814) (preserved with a courtyard). Tulle background and lace applications with spindles in silver silk and metal spun, around 1810-1811. Galliera, fashion museum of the city of Paris. Style Empire. Belonging, application, silver, tie, court, decollete, lace, detail, female, silk thread, tulle background, spindle, haute couture, French imperative, long trainee coat, short, metal handle, female model, Austrian origin, Oval, courtyard dress, chest, high waistSkirt late 18th century French. Skirt 90523Evening dress ca. 1895 House of Worth French Charles Frederick Worth was born in England and spent his young adulthood working for textile merchants in London while researching art history at museums. In 1845 he moved to Paris and worked as a salesman and a dressmaker before partnering with Otto Bobergh to open the dressmaking shop, Worth and Bobergh, in 1858. They were soon recognized by royalty and major success followed. In 1870 Worth became the sole proprietor of the business. At his shop, Worth fashioned completed creations which he then showed to clients on live models. Clients could then order their favorites according to their own specifications. This method is the origin of haute couture. Worth designed gowns which were works of art that implemented a perfect play of colors and textures created by meticulously chosen textiles and trims. The sheer volume of the textiles he employed on each dress is testimony to his respect and support of the textile industry. Worth's creative oFashion, 20th century. Silk teddy or bodysuit with lace inserts.Lower part of the evening dress skirt unknownA girls' dress of batist and strips of English embroidery, with pelerien collar and pleated skirt, anonymous, 1905 A girl dress of batist and strips of English embroidery, with pelerien collar and pleated smoke. Belle Époque. Netherlands (possibly) batiste A girl dress of batist and strips of English embroidery, with pelerien collar and pleated smoke. Belle Époque. Netherlands (possibly) batisteWoman's DressBertha. Culture: probably Italian. Date: ca. 1895.Collars this size have a strong presence and this scale is a good vehicle for large and dramatic lace designs such as this one. They also accommodated the over-sized leg-o-mutton sleeves of the 1890s. Laces composed of premade tapes such as this one were a less expensive version of their bobbin or needle-made counterparts, in this case Milanese type. Museum: Metropolitan Museum of Art, New York, USA.Coat 1875 Hungarian. Coat 91887Bustle. Culture: American. Date: 1880s.The crinolettes that supported the bustled skirts of the 1870s and 1880s took on a more cylindrical form than their predecessors of the 1860s, with a flattened front and increased emphasis over the buttocks. Although they were conceived purely as mechanisms to achieve an aesthetic effect, crinolettes also responded to practical considerations. Some, like the Lobster-Pot crinolette, were designed, like winter petticoats of the period, to keep the wearer warm. This example was constructed of medium-weight wool and sports a button-on hem ruffle. Museum: Metropolitan Museum of Art, New York, USA.Baby shirt made of linen, decorated with open seams, with short sleeves, anonymous, c. 1800 - c. 1810 A baby shirt of linen, decorated with open seams, with short sleeves (Empire). Netherlands linen (material) A baby shirt of linen, decorated with open seams, with short sleeves (Empire). Netherlands linen (material)Baby shirt made of white flannel with an edge in pink flan stitch and pink ribbon; Decorated in the arm holes with Valenciennes side, Anonymous, c. 1917 Amsterdam flannel. Valenciennes lace / bobbi lace Amsterdam flannel. Valenciennes lace / bobbi laceA white baptismal dress with curved twigs embroidered, anonymous, c. 1850 A white baptismal dress made of thin nettle cloth whose entire front and the edge of the bottom are embroidered with curved twigs. Hereby a white -sides underskirt inv. No. BK-NM-12795-B. buckram A white baptismal dress made of thin nettle cloth whose entire front and the edge of the bottom are embroidered with curved twigs. Hereby a white -sides underskirt inv. No. BK-NM-12795-B. buckramShirt 1795-1800 American or European. Shirt 90587Spa RobeDay dress, copy of one of the dresses carried by the Empress Eugenie, and Châle. Dress: Mauve taffeta, seven buttons covered with purple satin. Shawl: Violet, black and white grid silk cheese. Black fringes. 1866-1870. Galliera, fashion museum of the city of Paris. Day dress, copy of one of the dresses carried by the Impector Eugenie, and Chale White, chale, purple silk, female, fringe, French, black, day dress, second empire, mauve taffesSlip dress with rear stuff with beam ribbons of white piqué with waffle pattern; Merkbandje: V.E., Anonymous, c. 1905 - c. 1910 Also called monkey skirt. Netherlands cotton (textile) Also called monkey skirt. Netherlands cotton (textile)Children's dress - with a floral motif, white on a different background; Institute of Industrial Design. Clothing (1950-1960), Urb, Helena (Fl. Ca 1950-1955), Szczepanowska-Miklaszewska, Krystyna (1912-1998), Basic Vocational School Helena Modrzejewska (Zakopane; 1883-2008); 1952 (1952-00-00-1952-00-00);Production Aesthetics Supervision Office (1947-1949), children, folk motifs, clothing fabrics, clothing, floral patternsSkirt, H.32-1/2 x W.40 in., SyriaPaquin, shirt dress, background and belt (title of the whole), 1925. Printed silk muslin. Pancake. Palais Galliera, fashion museum of the city of Paris.Petticoat. Culture: French. Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.Sleeveless children's dress made of white linen (), Decorated with white embroidery, rising, ajour intermediate sinks with diamond pattern and lace edges; angular festonated hem, anonymous, c. 1922 - c. 1926 Sleeveless children's dress made of white linen (), Decorated with white embroidery, rising, ajour intermediate sinks with diamond pattern and lace edges; Angly festonated hem. linen (material). embroidering Sleeveless children's dress made of white linen (), Decorated with white embroidery, rising, ajour intermediate sinks with diamond pattern and lace edges; Angly festonated hem. linen (material). embroideringBoy's Frock. India, Kashmir, for the Western market, circa 1855. Costumes; principal attire (entire body). Goat-fleece underdown (cashmere wool) twill with silk embroidery and silk tassels. Trijntje van Leyden only lived until the age of ten. This dress, together with other items of clothing and personal possessions, was kept in her memory. The skirt is stitched up in several horizontal flat pleats, resembling the ruffles found in womens fashions. These pleats could easily be let out as a child grew.Klapon with body of Wijnrode Ribbed Satin and Klokkrok van Beige Satijn, part of Ensemble, Mrs. Stapelveld, 1948 Klapon with body of Wijnrode ribbed satin and clock skirt of beige satin, part of ensemble. Model: V-neck, short sleeves. Clock skirt with smockwork in the middle and behind. Along the Zoom Afslands with Rand Bordeauxrode satin. Unsurbed. Netherlands LIJ: Silk. Skirt: Silk Klapon with body of Wijnrode ribbed satin and clock skirt of beige satin, part of ensemble. Model: V-neck, short sleeves. Clock skirt with smockwork in the middle and behind. Along the Zoom Afslands with Rand Bordeauxrode satin. Unsurbed. Netherlands LIJ: Silk. Skirt: SilkDress 1860-69 American. Dress 159520Kinderkimono with short sleeves and armpit openings of dark blue crepe de Chine with multicolored flower and leaf motifs; Lining beige silk, anonymous, c. 1925 - c. 1950 Children's kimono from dark blue crepe de Chine with a multi -colored floral motif. Model with V-neck. Closure through transhipment and a separate binding lime. Set, half -length sleeves with hanging flap. Lining of plain beige silk. Brought from Japan and worn by Herbert Hondius, son of the donor (see photo). Japan silk. Children's kimono from dark blue crepe de Chine with a multi -colored floral motif. Model with V-neck. Closure through transhipment and a separate binding lime. Set, half -length sleeves with hanging flap. Lining of plain beige silk. Brought from Japan and worn by Herbert Hondius, son of the donor (see photo). Japan silk.Evening coat. The top section of this coat is made of tulle, inset with beads. It tapers towards the hem and would have been worn over a straight slim fitting skirt. This meant taking extremely small steps. This thin silhouette was introduced by French fashion designer Paul Poiret, who often experimented with contrasting volumes and proportions of the upper and lower body.Jacket ca. 1860 French. Jacket 173921Ensemble. Culture: American. Date: 1825-35. Museum: Metropolitan Museum of Art, New York, USA.Underpants (Directoire) of pink crepe de chine deposited with blonde appliqué side .. pink crepe de chine underpants with blonde appliqué side. Smooth pass over the belly with closure of three mother-of-pearl buttons on both sides in the side seam. Continuous sticks with a wide strip machine side. Horse at under Dress (inv.no. BK-1986-64a).Belt late 19th century Romanian This object was collected by Stewart Culin (1858-1929) during a collection expedition in 1920. Culin was the Brooklyn Museum's first Curator of Ethnology, serving from 1903 to 1929. Possessing an insatiable curiosity and appetite for collecting objects of all kinds, Culin conducted over twenty worldwide collecting expeditions between 1901 and 1928. The trips covered American Indian territories, New England, Asia, India, Great Britain, and all of Eastern and Western Europe. The seven expeditions between 1917 and 1928 were specifically focused on collecting regional textiles and costumes from Eastern and Western Europe and, to a lesser extent, New England. Culin's goals for these trips were not just to expand the Museum's holdings, but also to preserve their cultural contexts. He did so through amassing photographs, notebooks, and ephemera which documented the social, commercial, and cultural circumstances surrounding their acquisition. His collecting philDress 1790s French. Dress 86875Frock coat. Culture: Philippine. Date: 1840-49.The production of pineapple cloth is specific to the Philippines and West Indies. Woven by hand from the leaf fiber of the pineapple plant, and often embellished with intricate embroidery, this highly valued fabric was fashioned into clothing and accessories that were a part of the traditional Filipino cultural heritage for centuries. Exportation to Europe and America started early, but became widespread during the 19th century, when it was promoted by Christian missionaries. The exported items, fashioned for both men and women, were highly prized for their beauty and novelty. Museum: Metropolitan Museum of Art, New York, USA.Bodice. Culture: American. Date: 1865-70. Museum: Metropolitan Museum of Art, New York, USA.Plain white dress, anonymous, c. 1850 - c. 1920 A repaired hole on the front on the right. Netherlands textile materials A repaired hole on the front on the right. Netherlands textile materialsWaistcoat, Medium: silk, Pink and gold iridescent silk taffeta, trimmed with cording and tassels of same color., probably England, 1700-1750, costume & accessories, WaistcoatPetticoat. Culture: American. Date: 1850-70. Museum: Metropolitan Museum of Art, New York, USA.Waistcoat early 18th century Italian. Waistcoat 90111Skirt with side splits and brown linen lining of blue, padded and stitched silk, from above with a diamond pattern and from below with large flower and leaf motifs., Anonymous, 1700 - 1800 Quilted and stitched underskirt of blue taf side with a brown linen lining. The stitching forms a drawing of large flowers and leaves and from above diamond shapes. The splits are aside and are closed by hooks and eyes. Netherlands silk. taffeta. linen (material) Quilted and stitched underskirt of blue taf side with a brown linen lining. The stitching forms a drawing of large flowers and leaves and from above diamond shapes. The splits are aside and are closed by hooks and eyes. Netherlands silk. taffeta. linen (material)Blouse. Culture: French. Date: 1867-69. Museum: Metropolitan Museum of Art, New York, USA.Skirt, 20th century, 31 x 26 11/16 in. (78.7 x 67.79 cm), Cotton, China, 20th centuryDress. Culture: American. Date: 1872-74. Museum: Metropolitan Museum of Art, New York, USA.Wedding Tunic and Ensemble late 19th century This ensemble includes some of the garments worn by a bride on the occasion of her wedding. The opulent tunic is heavily embroidered with stylized symbols which promote fertility and good luck. Bridal attires is often decorated with symbols, such as the tree of life motif, intended to protect the bride who is seen as especially vulnerable during this pivotal moment in her life.. Wedding Tunic and Ensemble 85641Boy's Frock. Probably England, circa 1855. Costumes; principal attire (entire body). Cotton plain weave with cotton cutwork embroidery (broderie anglaise)Dress ca. 1865 American. Dress 103524Men's vest. unknown, authorSalmon-colored crepe's slip dress with wide strips Chantilly side., Madame Watrigant, c. 1925 - c. 1930 Salmon -colored crepe de chine with wide strips of Chantilly. Straight model with spaghetti bands. Sign from two broad Chantilly strips between which the Crepe de Chine. Brussels . bobbin lace Salmon -colored crepe de chine with wide strips of Chantilly. Straight model with spaghetti bands. Sign from two broad Chantilly strips between which the Crepe de Chine. Brussels . bobbin laceSub -dress with striped motif, Anonymous, c. 1750 - c. 1800 A underskirt of white cotton in a narrow stripe pattern; handled and trimmed with cotton band; No closure at the split; zoom. Netherlands cotton (textile) A underskirt of white cotton in a narrow stripe pattern; handled and trimmed with cotton band; No closure at the split; zoom. Netherlands cotton (textile)Kindergarten dress made of batist edge, anonymous, c. 1907 - c. 1909 A kindergarten dress made of batist border fabric, decorated with valencine nets. Belle Époque. Worn by Nine Six (born 1905). Amsterdam batiste Valenciennes lace A kindergarten dress made of batist border fabric, decorated with valencine nets. Belle Époque. Worn by Nine Six (born 1905). Amsterdam batiste Valenciennes laceChemise of pleated white cotton batist, decorated with a narrow embroidered edge and a monogram "Gu". Chemise of pleated white cotton batist, decorated with a narrow embroidered edge and a monogram "Gu", both in baby blue silk. With associated direction. Model: Returned with bell platform in the middle back. Straight neckline with thin spaghetti straps. Decoration: The hem of the straight neckline is decorated with a 5mm wide, worked edge of baby blue silk. On the left chest a pane of baby blue silk in which the letters g and you are embroidered.Evening cape ca. 1895 French The ermine lining is unusually paired with the more delicate lace exterior of this cape. The luxurious quality and dramatic interior is an indication of the status of the original owner.. Evening cape 158942Skirt. Culture: French. Date: 1840-60. Museum: Metropolitan Museum of Art, New York, USA.Pantalets mid-19th century American or European. Pantalets. American or European. mid-19th century. cottonEnsemble 1869 American This is a very nice example of boy's ensemble that mirrors the over drapery and fringe of women's dresses from the period.. Ensemble 159211Caftan late 18th-early 19th century. Caftan. late 18th-early 19th century. Silk, metal wrapped thread; brocaded. Made in Middle East. Main dress-WomenswearBustle 1870s American. Bustle 108756Worth. Together (clothing). Dress: Gold Lamé, ivory silk muslin; background in ivory silk ponted. Corsage: Lamé gold; Application of a jewelry pattern, embroidered with rhinestones, yellow synthetic stones, metal tubes and sequins, golden pearls, white synthetic material. 1926. Galliera, fashion museum of the city of Paris. 112517-2 Haute couture, clothingCape. Culture: probably American. Date: 1853-55. Museum: Metropolitan Museum of Art, New York, USA.Shirt late 19th-early 20th century American. Shirt 91160Plain white children's dress with short sleeves, unknown, c. 1875 - c. 1925 At the rear the dress closes with three knots. The dress has a round collar with an intermediate creature and is equipped with two strips at the bottom, each with three ramps between which an intermediary. Europe cotton (textile) At the rear the dress closes with three knots. The dress has a round collar with an intermediate creature and is equipped with two strips at the bottom, each with three ramps between which an intermediary. Europe cotton (textile)Batist jabot with whitework and crochet, anonymous, c. 1910 - c. 1920 Batist jabot with whitework and crocheted with two slips. The upper slip consists of three rows of floral whitework between two strips, each with five riding with a border sculpted crocheted. The lower slip is equipped with five dust buttons, riding along the edges, trimmed with a border crocheted. Netherlands linen (material). knoop: cotton (textile) embroidering / crocheting Batist jabot with whitework and crocheted with two slips. The upper slip consists of three rows of floral whitework between two strips, each with five riding with a border sculpted crocheted. The lower slip is equipped with five dust buttons, riding along the edges, trimmed with a border crocheted. Netherlands linen (material). knoop: cotton (textile) embroidering / crocheting