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                <text>DUPRS_0062 Corset Pieces</text>
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                <text>Over 20 pieces of metal corset slots/pegs from corset busks. Oval-like shapes with an opening in the center and 2 raised bumps/circles on the corners of the opposite end. Some vary in size and shape, with rectangular fragments attached to the back (rest of the busk)&#13;
9 round, ring pieces of corset grommets and eyelets. Rusted condition and some have deteriorated. </text>
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                <text>Selective Surface collection, West Zone, Stanley Park, Historic Chatham Township (modern Summit, New Jersey)</text>
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                <text>Drew University, Department of Anthropology, Drew University Passaic River Survey</text>
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                <text>https://twitter.com/bostonNHP/status/1306602431002935296&#13;
https://vintagefashionguild.org/lingerie-guide/edwardian-corsets-early-19th-century/&#13;
https://www.famsf.org/blog/corsets-context-history#:~:text=1848%20%7C%20Joseph%20Cooper%20invents%20the,adopted%20from%20the%201850s%20onward.&#13;
http://tahliamckellartextiles.weebly.com/corset-timeline.html&#13;
https://adamselindisdress.blog/tag/split-busk/</text>
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                <text>1829-</text>
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                <text>   Corsets of the 19th century reflected a more natural form of the female body. Though the hourglass figure and small waist were still coveted, the waistline of the corset dropped to a natural position compared to earlier designs of the corset. The fashion of the era called for high waisted and long flowing dresses, requiring heavily boned corsetry and tight lacing to achieve the desired figure. To ease this intense process of lacing, French Corsetier, Jean-Julien Josselin, invented the split busk in 1829, a front facing slot and stud closure to remove a corset without unlacing. This became extremely popular after Joseph Cooper patented the design in 1848 in America. &#13;
Corsets were used by all women, regardless of class, to represent and showcase their beauty. These undergarments were even used on young children and teenage girls to begin shaping their bodies and preparing for womanhood.</text>
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                <text>DUPRS_0063 U.S. Navy Buttons</text>
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                <text>U.S. Navy</text>
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                <text>2 small metal shank buttons, about 1.5cm wide each&#13;
Both are corroded but contain raised images of an eagle, an anchor, rope, and five-point stars&#13;
One is flat and the other is convex&#13;
1 metal shank button with an image of an anchor in the center, small border around the front, convex shape, and about 1.5cm wide</text>
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                <text>Unknown (would say on the back of the button)</text>
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                <text>Selective Surface collection, West Zone, Stanley Park, Historic Chatham Township (modern Summit, New Jersey)</text>
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                <text>1830's-1850's</text>
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                <text>Ava Valentino</text>
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                <text>https://www.usmilitariaforum.com/forums/index.php?/topic/173001-us-military-uniform-buttons-interesting-facts/&#13;
https://www.georgewashingtoninauguralbuttons.com/1794-1865-the-united-states-navy-the-republic-of-texas-confederate-navy/ &#13;
https://www.usmilitariaforum.com/forums/index.php?/topic/254966-my-us-navy-uniform-button-collection-1800-1865/</text>
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                <text>Albert, Alphaeus H. Record of American Uniform and Historical Buttons ... 1775-1976. Boyertown Pub. Co., 1977. </text>
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                <text> Military buttons and shanks underwent numerous transformations of design patterns since the late 1700’s. This popular design was manufactured for 15 years and included variants of the original style, including the eagle facing the opposite direction and the size of the anchor and rope. Each variant however, always featured 13 five-point stars around the eagle standing on top of the anchor. The button featured a loop shank and was a 2-piece build. &#13;
The other metal shank button design matches buttons found during the Civil War (1861-1865) in both the Union and the Confederate Navies.This indicates that this community was not isolated during the time of the Civil War and might further provide evidence to their involvement to (most likely) the Union cause.</text>
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                <text>Multiple pieces of felt, of different sizes and shapes, covered with black tar on both sides of most, and with little gravel pebbles only on one side of some.  A few of the pieces seem to have been melted, possibly in a fire.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Unknown, possibly the Stanley Coal Tar Mill</text>
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                <text>Stanley Park West</text>
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                <text>Mid to Late 1800s</text>
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                <text>The felt clothes items found at the site.</text>
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                <text>Emily Graves</text>
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                <text>It was common in this time period for mills to be repurposed as demands changed.  As the Stanley Felt Paper Mill stopped producing clothes items in the late 1800s, they instead began to cover the felt they were producing with tar in order to create roof shingles.  As there was evidence of felt clothes pieces and uniformly sized tar-covered felt pieces found at the site, this supports that idea.</text>
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-4 small rings pieces that fit through the above pieces&#13;
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http://diggingi95.com/features/high-priority-features-section-8/section-8-feature-5-personal-accessories/&#13;
https://vintagedancer.com/victorian/victorian-mens-fashion-history/&#13;
http://www.kristinholt.com/archives/5027</text>
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                <text>The suspender pieces featured in this collection include a mix of buckles and adjuster pieces, along with other unidentifiable but related metal pieces that could have belonged to other areas on the suspender strap or garter belt. &#13;
&#13;
An integral piece of men’s fashion during the 18th, 19th, and early 20th century was suspenders, or known as “braces” in Britain. Suspenders were composed of several diverse, metal pieces that fastened, tightened, and loosened the strap pieces according to each person’s desired fit and length. They were essential to keeping undergarments and outer garments in place, and served as a fashionable and decorative accessory. In fact, women and children wore them for the same purpose! Suspenders first appeared in 18th century France as strips of ribbon attached to the buttonhole of trousers, and were not meant to be seen or worn on the outside of garments. Beginning in the early 1820’s, British designer Albert Thurston provided a solution to the profoundly high-waisted pants men wore according to the fashion of the day. Suspenders that attached via leather loops were manufactured to replace the belt in these cases, since men’s pants were very high above the hip. Original designs show suspender straps made of tightly woven wool known as “boxcloth” and formed an “H” when attached at the back. They were made in two separate bands, with leather tabs and buttonholes, and one end adjustable with a buckle.  Later designs were made in knitted and crocheted cotton, embroidered in colored silks, lined with silk, and featured an X-back that later transformed into the Y-back. &#13;
&#13;
“Braces form a necessary adjunct to a gentleman’s wardrobe and they are generally pleased to have them prettily worked” (Britain, Woman’s Domestic Magazine, Patterns, Fashions and Needlework, 1865). &#13;
&#13;
The design and function of a single suspender clasp based off of image Cat # 8.47.12 are as follows: “A single suspender clasp stamped from copper alloy sheet metal, plated with a white metal, was recovered from this shaft feature (Cat # 8.47.12). The clasp features a detailed, stamped decoration consisting of beaded bands with a small floral and scroll motif. A wide, flat hook projects from one long edge and would have connected to a large metal ring to secure the ends of the suspender. This mechanism would allow the suspenders to be unhooked at the ring, while the straps and ends remained secured to the pants.” (http://diggingi95.com/features/high-priority-features-section-8/section-8-feature-5-personal-accessories/)&#13;
&#13;
The suspender end design created by E.W. Whittaker was patented on August 13, 1889. It features a design and shape almost exact to one of the suspender buckles in the collection (first picture, buckle in the bottom left hand corner). &#13;
&#13;
Garter belts and hose (stocking) supporters were used to hold up men, women, and children stockings to prevent them from falling down constantly. For men’s garters and hose supporters, they were usually made of silk and came in various colors. A clip from the garter was affixed to the sock edge and were made adjustable to fit comfortably below the knee. These pieces were not meant to be seen, hidden under trouser legs. For women, a more intricate design was manufactured and transformed over decades that featured a type of belt with hose supporters attached on each side. They were long straps with clips at the end that fell along the outside of the thigh that was then connected to the stocking. An earlier form of this combination belt, the girdle (corset combined with supporter straps), was replaced with garter belts, as they were easier to handle and less bulky, liberating the female figure. </text>
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                <text>The bottle is ceramic which appears wheel thrown due to streak marks and cut base. Brown outside probably from a sort of glaze. Base is 9 cm in diameter, equal to about 3.5 inches. Stamp-marked with the following label: Vitreous Stone Bottle; J Bourne &amp; Son,; (indiscernible); Denby Pottery, Near Derby; P &amp; J. Arnold; London. Unfortunately because the top of the bottle is missing, exactly what this bottle once contained cannot be determined. However, most likely the bottle held ink because P &amp; J. Arnolds was an ink producing company. Based on the ‘Son’ on the back stamp this stone bottle dates post 1841. It was hand thrown on a wheel and glazed with common salt producing the brown glazed finish.  &#13;
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In Denby near Derbyshire England. Exported by P. &amp; J. Arnold of London&#13;
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                <text>Selective Surface collection, east Stanley Park, Historic Chatham Township (modern Summit, New Jersey)&#13;
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                <text>Aisha Arain</text>
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                <text>   These stone bottles were not high class material, comparable to our contemporary plastic storage containers, they were disposable. The people of the 1800s utilized these stone vessels to store various liquids such as ink, preserves, paste, beer, medicine, varnish, and so on. Compared to glass at the time, stoneware products were economically practical. The company that produced this bottle was named after Joseph Bourne who officially founded the company in 1809 and it continued to manufacture stone bottles until 1976. Joseph’s father William was a potter as well as who, on the horizon of the Industrial Revolution, foresaw the benefits of leasing a large clay bed near Derby which was then passed onto his son. The modest singular kiln company grew steadily over the years. Joseph Bourne’s pottery in Derbyshire England made large quantities of these bottles. For many years P. &amp; J. Arnold of London used Bourne vessels for his ink products. For many years, P. &amp; J. Arnold of London used bourne vessels for his ink products. These ink products, and Joseph Bourne’s containers were heavily imported to the U.S. by the mid 19th century, which could account for this artifact being found along the Passaic River in New Jersey. If there were factories in this area, records would have to be kept and ink to write them in. Bourne’s bottles were not expensive during this time period, unlike glass, and with their thriving factory during the Industrial Revolution it is doubtless their exports reached the ports of New Jersey and New York (New Amsterdam). &#13;
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