Wedding gown of fine white batiste with various kinds of lace. The full-length gown has a slender silhouette which flares out from the Empire waist downward to the hem. The high neckline has a standing lace collar at throat, an embroidered net section covering lower throat and upper chest, an attached small lace fichu or bertha below that, and attached lace simulated shawl collar "lapels" running from the waist at back, up and over the shoulders, to the waist at front. The short sleeves are of bands and tiers of lace, with a satin band and tightly pleated/ruched rosette on each sleeve near cuff. At waist is a wide satin band with larger pleated/ruched satin rosette in front and back. The main body of the skirt has a vertical inset lace panel at front and back which runs from waist to about knee-height. The lower part of the skirt is made of inset horizontal bands of various types of lace Dress has a center back opening with a series of 28 hook-and-eyes, four hook-and-eyes for satin band at waist, and 3 hook-and-eyes for inner waistband. Not shown are accompanying half slip edged with lace and elbow-length kidskin leather gloves size …

Black silk mourning ensemble consisting of bodice and skirt. The bodice of black silk is fitted and boned, with a high, standing black silk band collar with appliqued black lace medallions. It has full-length, modified bishop sleeves that gather into the armseye. Below the gathered cap, in the portion corresponding to the upper arm, the fullness of the sleeve is controlled with top-stitched vertical tucks. From the elbow to the cuff the fullness is again released in a bishop sleeve silhouette. The sleeves gather again into wide black silk cuffs with appliqued black lace medallions and four narrow bands of black velvet ribbon. The bodice front is constructed on the lines of a bolero jacket, with a deep V-shaped opening and wide ruffled collar which is constructed of horizontally tucked black crepe-patterned silk. The released fullness of the tucking creates the ruffled finish. The ruffled portion is edged with two narrow bands of black velvet ribbon. The bodice front has a bib fill of gathered black silk and tulle net that is secured with hook-and-eyes beneath the left collar overlay. The fill area disguises the true front opening which is secured with thirteen hook-and-eyes. The main body of the bodice, …

Day dress of black silk taffeta. The dress, in the style of the Aesthetic or Reform Movement, is full-length, with a slender silhouette. The front and back of the bodice is styled of tiny vertical knife-pleats, which gather into the rounded neckline. The side panels of the bodice are plain, and there is a line of 14 snaps along the left side forming the closure. The long sleeves are smooth, with slight pleating at the padded shoulders, and they taper to the pointed wrists. The sleeves have 5 hidden snaps and a line of 12 domed non-functioning black taffeta covered buttons on each sleeve. Bodice and skirt are divided by a thin black band. Skirt is fully pleated with tiny vertical knife-pleats. Bodice is lined with thin black crepe. Label sewn inside at back below neckline: "Harbison / Vandervoort's St Louis" Not shown is the accompanying cummerbund of black taffeta, the waistband of large horizontal pleats with a large fan/bow at back with wide, trailing ribbons. (43" from waist to lowest point of ribbons)

Handbag. Rectangular frame of cast openwork brass floral designs with traces of gilding. Ball and snap closure and gilt brass suspension chain. Bag is of dark purple crocheted silk, with three different types of beading. Area at frame is plain all-over beading of purple/bronze iridescent cut beads. Below this, and at bottom of bag is fringe of looped beading. The main body of the bag has vertical stripes of beads arranged in horizontal rows. Lined with bright purple silk, trimmed in gold cording. Contains a small gold kid leather purse embossed with a stylized thorn pattern.

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Folding fan made of thin polished wood or bamboo guards lacquered a dark mahogany and dyed purple. Paper leaf with hand-painted abstract design of flowers and foliage on a reddish ground. Metal bail. Reverse is unadorned. No visible labels or marks.

Folding mourning fan. Guards and sticks of plain black wood, shaped but not adorned. The leaf is of plain black cloth. No visible labels, marks or signatures.

The building is clad in red brick, flat topped and unadorned.

(a) Manual typewriter. Black metal. (b) case cover-black metal with wooden handle. (c) white cloth cover with green stitching. (d) case bottom - wood with metal rod to hold top on.

Ratchet brace. Belonged to Amos Edward Stainton.

Wood punch set (a,b) with interchangeable tips (c-i). Hollow hardwood punch (a) with screw off butt (b) and metal clamp to hold tips. Tips of varying shapes and lengths: (c ) flat, 4.2 cm; (d) flat 5.1 cm ; (e) diamond 6.2 cm; (f) drill bit 5.0 cm; (g) flat 4.0 cm; (h) square 4.0 cm (I) is in the clamp and could not be removed for identification or marking. Belonged to Amos Edward Stanton (1850-1921), who came to west Houston in 1900. Date range of 1880-1910 extrapolated from Stanton's life dates.

Draw knife with folding handles. Ratchet mechanism for positioning handles is unlocked by pulling on bolts next to the junction of the handles and blade.

The basic shape is a T of the nutcracker. The top part of the T is the actual nut cracking contraption. It is set up similar to a vice with a T-shaped handle that screws. The socket through which the handle screws has OIL written in relief lettering. Underneath the place for the nut , written in relief is Patented / Perfection Nut Cracker. On the exact opposite side is written Branford Conn. / Mall. Iron Ittings Co. Next to the latter is written vertically MODEL 28. Below this section with lettering is another vice, much small, used for stabilizing the nut cracker to a table. The screw handle is T-shaped as well. The screw is bent a little at the bottom and does not screw in all the way.

Cylinder tape measure with the top and bottom painted maroon in the center of the top is a brass folding flush handle which extends to the other side and looks like a button. The edge is painted gold and has a square opening with two cylinder posts that help the linen tape pull out. The tape is supposed to be 100ft long, but the 1st two inches have been torn off. The linen is yellow and is divided into feet, inches and fourths. Each foot starts over with 1 and instead of a 12 written in red is a F1, F2, F3, etc. Other than that, all lettering is in black. On both sides of the opening for the tape are stamps, on the right upside down is Lufkin / Made in the USA; on the left upside down is 100FT.

Craftsman hand drill with wooden bracing handles and crank knob. Large gear plate is painted red on inside and outside. Body is metal painted black. Key less chuck. Belonged to Amos Edward Stainton.

Soldering iron with a wooden handle with a wire holding it together to keep it from cracking, which it has already begun to do. From the handle is a thin neck that ends with the head which is octagonal with copper covering a steel base.

Spiral auger that has a 27 cm long spiral bit with a screw tip and a four-sided flat-tipped pyramid-shaped handle insert. The handle is missing. It is marked "6/8" for 6/8 in.

Day dress ensemble: A) Bodice of ivory crinkled cotton gauze with a tiny floral print in vertical stripes and waves. High standing band collar with lace yoke and matching cotton ruffle around shoulders; trimmed with two rows of thin dark brown ribbon. Long sleeves are gathered in armhole and are completely covered in pin tucks which open and flare out at wrists; wrists trimmed in two narrow rows of dark brown velvet ribbon. Button closure at left side shoulder and under armseye; string tie of self at waist. Unlined. B) Skirt of matching fabric in full, A-line silhouette. Slightly trained with two rows of self ruffle at hem. Center back opening. Unlined.

A) Fitted bodice of black silk covered in black silk netting. Intricate black jet beading and black sequin design around high standing collar and yoke. Long sleeves with matching net ruffle cuffs trimmed with three rows of black silk ribbon; black Alençon lace trim at wrist above ruffled cuff. Bodice front is loosely fitted and trimmed with three vertical rows of black silk ribbon at each side; back of bodice is trimmed with two vertical rows of black silk ribbon at each side. Center back hook & eye closure. Outer bodice is boned and has brown polished cotton lining; inner bodice of brown polished cotton. B) Skirt of black silk netting. Full length. Dress is trimmed two vertical rows of gathered black silk ribbon from waist to ruffle and has five Alençon black lace appliques on front. Twelve-inch ruffle at hemline is trimmed with four rows of black silk ribbon and has rows of gathered matching ribbon at top of ruffle and along bottom of hem. Center back opening with hook & eye on waistband.

Child's apron of tan calico cotton in floral print. A-line style. Rounded neckline; long sleeves. Center back closure of five buttons. Unlined.

This close detail view shows the figure of a nude goddess.

The decorative object holds seven candles and is covered with many figures, leaves, flowers and animals in various colors on a red ground.

The interior of the jewelry store consisted of decorative wood and bronze details including a large peacock that hung over the main jewelry cabinet.

The musical instrument has a dark shiny glaze with a cartouche of flowers and gold flower and foliage embellishment around the curved edges.