Black wool broadcloth tailcoat, c. 1820, with embroidered rice plants and the South Carolina state seal on the tails. The brown silk lining is intricately quilted and the sleeves are lined with quilted cream silk. The details and workmanship is stunning, including the beautiful thread-covered buttons. It was worn by Benjamin Porter Fraser (1797-1829), the son of Rev. Hugh Fraser and Elizabeth Clegg Porter. He was a rice planter at Calais Plantation on the Waccamaw River, near Georgetown. The plantation is now part of the Belle W. Baruch Foundation.

The coat was given to the Museum in 1930 by Fraser’s grandson, Benjamin Porter Fraser (1841-1930), the son of Benjamin Porter Fraser’s only son, Hugh Fraser (1819-1852).

The state seal was adopted in 1776; this embroidered version bears that date along with basic elements of the seal. One oval contains a tall palmetto tree with palmetto logs surrounding it, representing the battle fought on Sullivan’s Island, June 28, 1776 where the palmetto logs of Fort Moultrie saved it from destruction. Banded together on the tree are 12 spears representing the first 12 states of the Union. The other oval depicts a woman symbolizing Hope, grasping a branch of laurel as the sun rises behind her. [The actual seal also bears the words: South Carolina / Animis Opibusque Parati (Prepared in Mind and Resources) and Dum Spiro Spero (While I Breathe I Hope).

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection.  Some items have been on exhibit, some will eventually be shown in our new Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

Royal Artillery Cartridge Box
Unmarked
Origin: London
Date: 1775-76

Cartridge boxes such as these were vital accoutrements for soldiers as they provided a ready supply of ammunition for their all-important firearm. Adorned with a brass badge identifying the Royal Artillery, the top leather flap covers a wooden block with 9 individual compartments in which a single cartridge was placed. A detachment of the Royal Artillery served in Charleston during the siege and occupation of the city from 1780-82.

Soldiers produced cartridges in the following manner:
- A 6” X 5 ½” trapezoid-shaped piece of nitrated cartridge paper was wrapped around a wooden dowel, known as a former.  An approximately 1” section extended beyond the end of the former to form a small hollow tube.
- With the paper held in place, the musket ball was placed inside the tube so that it rested on the tip of the former.  
- The paper was then tied off with twine above the musket ball.
- The apparatus was then turned ball-end down and the former removed.
- A measure of powder was then poured down into the cartridge.
- The cartridge was completed by tying or twisting shut the open end of the cartridge. 

Revolutionary War cartridges often contained buck shot in addition to the standard musket ball. From The Charleston Museum’s collections, this is one of the best-preserved examples of a Revolutionary War cartridge box.

Weaponry Wednesday: Each Wednesday we post an object (or group of objects) from the Charleston Museum’s diverse weapons collection. Many Weaponry Wednesday items may be on permanent exhibit in our armory or elsewhere in the museum, but some pieces rarely see exhibition, temporary or permanent, but are well worth sharing.  We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on WEAPONRY WEDNESDAY! Also, we always want to learn more about our collection - if you have some insights on a piece, please feel free to share!  #WeaponryWednes

Embroidered cape, vest and purse, c. 1900. This elaborate garment displaying beautiful gold dival embroidery was a popular Turkish export from1850-1920. The cape is fashioned from a circle of brushed woolen fabric, opening at the front with a high, stand-up collar (could be worn up or flat). It has gold thread-covered balls and loops as fasteners and ornaments. Dival embroidery is typical of Turkish work – the wrapped thread is stitched to the fabric, not embroidered through it, using a couching stitch, apparently similar to soutache braid work.  The circular shape, upstanding collar and rolled thread buttons reflect an Albanian style cape or mantle.

This set was worn by Lillian Gambrell McCall (1880-1959) of Bennettsville, SC. She lived at Appin Plantation and married Charles Sinclair McCall in 1911. It was given to the Museum in 2009 by Lillian’s granddaughter, Catherine Gambrell Rogers.

Six-pound Cannon
Maker: James Byers
Origin: Philadelphia, PA
Date: 1776-78

Not to be confused with the weight of the gun itself, “six-pounders” refer to the weight of the solid iron projectile it was designed to fire. Smoothbore field pieces such as this were highly versatile in what could be fired from them. Besides the cannonball, troops often loaded shrapnel bags (small canvas sacks filled with broken up iron fragments) which enhanced the weapon’s effectiveness against opposing troop formations.

Beginning in 1776, James Byers, a brass-caster and “cannon founder” working in Philadelphia, was commissioned to make numerous lightweight bronze artillery pieces at the request of Henry Knox.  Today, fewer than ten marked American-made bronze cannons from the American Revolution are known to exist.  Fortunately, The Charleston Museum has a matched pair, both of which are likely among the most important surviving military objects of South Carolina’s Revolutionary War heritage. Though their exact service history is uncertain tradition suggests they were used at the battles of Saratoga, NY (1777), Savannah, GA (1779), Camden, SC (1780), and Cowpens, SC (1781).

At some point in the mid-19th century, both guns were salvaged and recycled for an unusual purpose: In 1860, each was installed as adjacent gateposts at Charleston’s Magnolia Cemetery and remained there for more than a century exposed to weather and vandalism.  Finally, the American Bicentennial in 1976 gave rise to a renewed interest in the nation’s Revolutionary War history, and with funding from Charleston’s Washington Light Infantry and the Society of the Cincinnati, the guns were removed, mounted on carriages and placed in The Charleston Museum. The four gatepost dowels can still be seen implanted at the gun’s muzzle.

Weaponry Wednesday: Each Wednesday we post an object (or group of objects) from the Charleston Museum’s diverse weapons collection. Many Weaponry Wednesday items may be on permanent exhibit in our armory or elsewhere in the museum, but some pieces rarely see exhibition, temporary or permanent, but are well worth sharing.  We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on WEAPONRY WEDNESDAY! Also, we always want to learn more about our collection - if you have some insights on a piece, please feel free to share! #WeaponryWednes

Time for a little Black Magic!

This wonderful black silk dress, c. 1910, is full of magical details. Typical of that time period, there is a complicated fastening system – the under bodice has 12 hooks and eyes with a brocade “stomacher’ that has four snaps, right to left. The outer dress has 4 snaps over to the left shoulder and four snaps on the left side. The collar has four snaps on the left front and the waist sash has three snaps on the left side.

Also typical are the tunic panels over the skirt; these gauzy panels have weights sewn at the hem for proper draping. The fabulous swirl design appliqués ornament the garment. The long sleeves each have nine covered buttons.

This dress was worn by Lucy Robertson Garden (1845-1930). She was born in Charlottesville, VA and married  Hugh Richardson Garden of Sumter, SC in 1868.

Large hats in the early 20^th century made a bold statement. Perhaps Lucy chose one of these hats (given to us by the same donor) to wear with this dress. The black straw hat is encircled with black silk and plumed with a feather spray. It has a Gimbel Brothers / New York / Philadelphia / Paris label. The very successful Gimbel’s Department Store was founded in 1887 and was hugely popular in the early 20^th century.

The other hat worn by Lucy Garden is a black velvet toque with a wide band of iridescent feathers around. On the left is a dramatic swooping bird, this one made of felt with real feathers. It bears a Stern Brothers / Paris / New York label. Stern Brothers was founded in1867 in Buffalo, but soon moved to New York. They were famous for their French fashions and elegant doormen wearing top hats.

Feathers were very fashionable in the early century, so much so that many bird populations were threatened. In fact, it was such a huge problem that it led to the organization of the Audubon and conservation societies, who sought to ban the trade and persuade ladies not to use feathers for fashion.

The third hat, though not originally owned by Lucy Garden, would have been a perfect accompaniment. It too is straw with a band of black netting and abundant black feathers all around. It has a Noble & Lincoln / Fine Millinery / 1635 Chestnut St. / Philadelphia label. The Misses Noble and Lincoln opened their smart millinery shop in 1921 and advertised a “full line of Imported Novelties in Bonnets, Toques, and Hats – Mourning a Specialty.”

To complete our black ensemble is a pair of black satin high button shoes, c. 1916. These were probably worn by the donor, Bernice Dukes Vose (1882-1964) in Rowesville, S.C. They have a D. Armstrong & Co. / Rochester” label. Rochester, New York was one of the country’s leading shoe towns and D. Armstrong & Co. at 115 Exchange Street were “Manufacturers of Women’s Boots and Low Shoes,” from at least 1901 through the 1920s.

You might enjoy reading more about the exploitive millinery trade in the early 20^th century at:

http://fashioningfeathers.com/murderous-millinery/

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection.  Some items have been on exhibit, some will eventually be shown in our new Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

Aqua blue silk-blend faille cocktail dress, c. 1960. Fashioned by Tailored Junior, this dress was worn by Faye James (1944-), the daughter of William Fairey James and Margaret Ellen Chandler. She married Edward L. Pender of Columbia.

Tailored Junior was a mid-priced line of dresses for teenage girls and young women. We know they were in business at least from 1939 through the 1950s. In the 1950s, they were known for their full-waisted dresses that almost “floated” due to the lightweight fabrics selected. This cute dress has faceted buttons down the front and side seam zipper at left opening. The full skirt falls in soft pleats from the waist which has a wide gathered sash. The ¾ kimono sleeves (cut in one with the body of the garment) add to the sweet silhouette.

The dress was given to the Museum by Faye’s mother in 1977.

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection.  Some items have been on exhibit, some will eventually be shown in our new Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

Black and white dotted silk chiffon dress with matching jacket, 1920s. This incredibly sheer dress has no lining and delicate lingerie edges. The sleeveless dress has a V neckline in front with a tapering collar extension ending in a long narrow tie. The little unlined jacket is open down the front and has long sleeves that flare out below the elbow, echoing the bias-cut, flared skirt which extends from a low, zig-zag seam.

This swingy flapper-era outfit was worn by Ruth Holmes Gadsden (1895-1980), who was well-known in Summerville, SC society circles.

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection.  Some items have been on exhibit, some will eventually be shown in our new Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

Black, gold and coral evening dress, 1931. This elegant garment bears a “Franklin Simon & Co. / Fifth Avenue / New York” label and was worn by Ruth Pringle Pipkin (1910-1994) as part of her wedding trousseau.

The dress is typical of 1930s styling which relied on the sophisticated and sensuous cut to create stunning garments. This dress is black and gold woven fabric, almost a lamé (see the detail photograph showing the label and back of fabric), with these elegant coral blossoms over all. Just below the front v-neckline are a few gathers between the breast to enhance the fit. The dress is composed of bias-cut panels, hugging the body and utilizing the fabric’s natural elasticity. The dress opening is along the seam at the left side and hip, closing with tiny snaps. Developed by French designer, Madeleine Vionnet in 1927, the bias cut dominated the fashion scene through 1937. The short cap sleeves are lined with black netting and trimmed with black velvet, matching the wide velvet belt with bow in back.

Franklin Simon & Co., 1902-1979, was a department store chain based in New York City, specializing in women’s fashions. The chain was founded by Franklin Simon (1865-1934) and his business partner Herman A. Flurscheim. Simon was a native New Yorker, born to a German immigrants. Franklin’s flagship store was established at 414 Fifth Avenue at 38^th Street.

He seemed to have a “sixth sense” for what would be fashionable in the future. He was the first to view 5^th Avenue as a retail center; he started what is now Mercedes Benz Fashion Week, Buyers Week and Market Week. He changed the future of department store windows and was the first department store to stay open until 9 pm. He was the forefather of “outlet stores,” opening outlets to deal with season end merchandise. By 1979, there were 42 Franklin Simon stores.

Ruth Pringle was born in Charleston, the daughter of Ashmead Forrester Pringle and Agnes Petty. Although she purchased her wedding gown in Charleston at The Frock Shop, several of her trousseau items were made and/or purchased in New York City. After her marriage to Willis Benton Pipkin in September, 1931, they lived in Greensboro, North Carolina.

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection.  Some items have been on exhibit, some will eventually be shown in our new Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

Elegant and beautifully made raw silk coat, c. 1905. The bodice portion is lined with silk damask and fastens at the front with hooks and eyes. Each eye is wrapped with thread to match the garment. It is trimmed with stunning lace, applied braid and silk covered balls and tassels. All of the seams are French seams, very fine finishing work.

The style of the garment reflects the Arts & Crafts Movement of the early 20^th century. It is quite similar in style and ornamentation to Hungarian overcoats or szürs worn by the peasants and shepherds [pictured and discussed in Wendy Kaplan’s The Arts & Crafts Movement in Europe & America.] Indeed, Ms. Kaplan states that “more than any other craft, the textile arts in Hungary also had the potential to communicate the values of social interconnectedness and continuity central to Arts and Crafts ideology.”

This coat is also representative of the fine craftsmanship that was central to the movement. Coupled with some of the tenets of the Healthy and Artistic Dress Society (headquartered in London) and a renewed emphasis on the design of needlework (not just following a pattern), clothing of this period can be pretty exciting and expressive.This coat was worn by Elsie (Ella) VanAlstine Dority (1870-1951) of Syracuse, NY and was given to the Museum by Myrtle B. Auborn in 1975.

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection.  Some items have been on exhibit, some will eventually be shown in our new Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday