Each year the Davenport House Museum recruits and trains teenagers to become tour guides through two Junior Interpreter programs – one offered in the summer which is open to any interested student and the other offered in the fall to students through Savannah Arts Academy’s American history classes. These programs have been a proving ground, producing a remarkable number of museum ambassadors who have gone on to become stand-out students in high school and later in college. To acknowledge this record, in March 2011 the Davenport House Endowment Directors initiated a scholarship for an outstanding high school student who demonstrates qualities which put the museum and its community in the best light. This year for the first time, two students will be recognized. The awards presentation will take place at the Davenport House’s Spring Garden party on Thursday, June 6.

Of the scholarship, DH Director Jamie Credle said, “The Class of 2013 is extraordinary with eight graduating seniors currently involved with the Davenport House who are worthy of recognition. However, we were asked to make a decision recognizing two JIs who are vital, smart, enthusiastic, self-less and committed to the museum. Ellie Darbyshire and Rachel Zettler meet the criteria and the DH community is proud to be associated with them.”

Savannah Country Day senior Ellie Darbyshire, daughter Connie and Glenn Darbyshire, came to the Davenport House in the summer of her sophomore year. She has been involved with the DH consistently for three years and her volunteer commitment includes recruiting and mentoring new JIs as well as working with the Yellow Fever and SuperMuseumSunday programs. She is also a staff docent. Of her time at the DH she writes, “I love working at the museum. I have learned so much about Savannah’s history and public relations. I have also gotten the opportunity to meet a lot of amazing people. These past three years have been a wonderful experience that I will never forget.”

In addition to her involvement at the DH, she is Head of Savannah Country Day School Lower School Tutoring, is a member of National Honor Society and is a varsity volleyball athlete. Other community spirited activities include being a member of the American Cancer Society and participating in a mission trip to Guatemala. “Ellie wears her community spiritedness with nonchalance as if everyone has the same level of commitment she does which is certainly not the case. She provides intelligent commentary on tours and can respond with ease to the variety of questions patrons ask when visiting the museum.” Currently, Ellie is weighing college options.

Rachel Zettler, a senior at Savannah Arts Academy and the daughter of Glenn and Patricia Zettler, has been active at DH since her sophomore year in high school when she participated in the SAA Junior Interpreter program. Rachel was a standout in her class of fifteen. Shortly after training, she became a staff docent working on weekends at the museum. She trained to work in the DH Museum Shop and has held positions of responsibility with museum events such as the Holiday Evening Tours by Candlelight, Yellow Fever and Valentine’s Day Weddings in the Garden. Of her work, DH Director, Jamie Credle offers, “Her maturity and ability to think on her feet have made her the ideal person to staff frontline duties.” Rachel says of her DH work, “My time at the Davenport House has not only helped to prepare me for the future, but also helped me in everyday life. Work as a docent taught me necessary people skills and helped me to become more comfortable and confident in my own skin.”

Her life away from the DH is rich. She is President of the SAA Beta Club and Vice-President of Mastery Mixed Chorus. She has received numerous awards in her arts specialty, chorus including performing with the American High School Honors Performance Series at Carnegie Hall. She will continue her musical training in vocal performance at Georgia State University in Atlanta in the fall.

Director Credle concludes, “Ellie and Rachel are the embodiment of the legacy reaching back to the founders of Historic Savannah Foundation who used the Davenport House as a tool for civic betterment. Using and thriving on the DH experience, Ellie and Rachel have improved the museum and made it a more vital and vivacious place.”

Funds for the 2013 Davenport House Museum Service Scholarship are possible because of donations in memory of Emily Pickels.

Tea in the Garden at the Davenport House

Thursdays and Fridays in May 2013
[Program dates and times: May 2, 3, 9, 10, 16 and 17 at 4:30 p.m. and 24, 30 and 31 at 5:00 p.m.]
60 to 75 minutes
Admission:  $18
Reservations recommended.  Limited attendance.

Learn about tea traditions and experience an early 19^th century tea in Davenport House’s beautiful courtyard garden.  Patrons will visit areas of the home where tea service took place and will participate in an afternoon tea given with costumed interpreters in the garden.

The performance requires that guests be able to walk up and down stairs.  

Discovering 1820s Savannah:   Early Bird’s Walking Tour of the City Isaiah Knew

Saturdays in May 2013 [Program dates:  May 4, May 11, May 18, May 25 at 8 a.m.] Note there has been a time change from 7:30 t0 8 a.m.
120 minutes. Distances 2.7 miles.
$20

See what survives of the 1820s Savannah that master builder Isaiah Davenport knew.  Beginning at the Davenport House Museum (1820) participants will walk by some of the finest examples of preservation in the city and learn about what no longer remains.  Topics to include the Great Fire of 1820, the yellow fever epidemic of 1820, Lafayette’s visit to Savannah in 1825 and the celebrations surrounding the 50^th anniversary of the United States in 1826.  Coffee and treats in the Davenport House garden will follow.

See about our Events in May and our Party for the Pearl of Preservation!

The World of a Slave: The Material Culture of Slavery in the United States

Kennedy Pharmacy/ Monday, November 12, 2012 at 7 pm

The DH hosts Martha Katz-Hyman, co-editor of the ground-breaking survey World of a Slave: Encyclopedia of the Material Life of Slaves in the United States, who will speak on her work for the 2012 DH Harvest Lecture.

Of this scholarship an authority has written, “Enslaved blacks retained some private realm that included toys, musical instruments, clothing, jewelry, and distinctive hair styles. . . . It is through such objects and practices that modern people can gain at least some understanding of the day-to-day lives of these men, women, and children.” Informing us “on the material world of slavery such as what they saw, touched, heard, ate, drank, and smoked; worked with and in; used, cultivated, crafted, played, and played with; and slept on,” hers is “a landmark work in this important new field of study.” (ABC-Clio)

Currently an independent scholar, Katz-Hyman was an assistant and later associate curator with Colonial Williamsburg for almost twenty years and was part of the pioneering team that revamped the physical signs of slavery in the Historic Area. In addition, she worked on the project to recreate the Slaves’ Quarters at Carter’s Grove. In 1999 while at Colonial Williamsburg she curated the exhibit “`Am I Not a Man & a Brother’: Abolition and Antislavery in the Chesapeake Before 1820” about the early abolition and antislavery movements in Tidewater Virginia and Maryland. Katz-Hyman is also a scholar of 18th century American Jewry.

Harvest Lecture is free and open to the public. Seating reservations are requested to insure space adequate space. Please call 912/236-8097 or email your seating request to info@davenporthosuemuseum.org. The programs will be held in the Kennedy Pharmacy at 323 E. Broughton Street at 7 p.m. No admittance will be allowed once the lectures begin. The presentation there will be refreshments and an opportunity to meet the speaker.

After a long wait the permits are in hand and the construction is beginning on a project to visually link the Kennedy Pharmacy and the Davenport House. The idea for this project germinated in 2000 when Sottile and Sottile created a master plan for the DH campus (the DH and the KP). Time passed and the KP was rehabbed. In 2010 we revisited the “linkage” concept as part of the DH Stakeholders Forum. Community members decided it was still valid and needed – anyone who visits the DH from the lane knows it is needed! Sottile and Sottile graciously agreed to update the design and discussion recommenced on getting the project completed.

The project will include placing permeable pavers in the lane between the DH and KP, adding bluestone to the sidewalk beside the garden and constructing a screen for the AC units and trash cans. With this upgrade the flow between the two buildings will be easier on the eye and more understandable to people utilizing the two buildings.  For the next few years, visitors to DH programs and those attending events and weddings will benefit from the project.  The long term goal for the museum is to move the shop and office spaces from the lower level of the house into the Kennedy Pharmacy and having the visitor experience begin in the Kennedy Pharmacy with visitors moving daily between the two buildings.

While there are several components to the project, the lane segment has caused the most delay as it is on city property and involves a relatively new idea – at least new to contemporary Savannah. Of it Jonathan Rhangos of Savannah Hardscapes says, “Once complete this will be on the only green lane in Savannah.” Savannah Hardscapes is donating the pavers to demonstrate a test case for their use. Permeable pavers allow the movement of storm water through the surface reducing run off.

Many people have moved this project along including Sottile and Sottile, Bloomquist Construction, Thomas and Hutton Engineering, Savannah Hardscapes, Barlett Tree, John McEllen and the funders — the Davenport House Endowment Directors.

Read more about the details of this project.

The October living history presentation at the Davenport House marks the tenth consecutive year the Museum has presented a theatrical production intended to amplify and showcase Savannah history in creative and thrilling ways.

“It is our responsibility to present the story of the port city of the 1820s,” explains DH Director Jamie Credle. “This is a decade little known by most people, and we have to do it in appealing ways. For our programs,” she adds, “our Museum has to find and serve an audience.”

And according to Credle, the Museum found that audience right outside its front door.

“One fall evening in 2003, we looked out our windows onto Columbia Square to see what seemed to be hundreds of people on ghost tours with participants looking up at the house as though expecting to see the apparitions being spoken about. At that point we decided to invite people inside in October to think about life in the past—usually exploring ghastly topics. People want ghastly in October. That’s how our Yellow Fever program began.”

Credle is quick to point out that what’s presented now is nothing like the Museum’s production in 2003. “Our program has grown in focus and clarity, as well as in length and cast members.”

And the presentation is refined and revised annually. For instance on Friday and Saturday nights this October, ten players will guide participants on a 60-minute experience through the story of Dreadful Pestilence: Savannah’s Yellow Fever Epidemic of 1820.

“The Davenport House Museum, its garden and the recently restored Kennedy Pharmacy will be transformed into spaces where pivotal events in Savannah’s early history will be re-created,” Credle continues. “Once again we hope our Yellow Fever show will find an audience looking for something exciting to do that incorporates live actors in an interesting historical setting.

Read more about the Material Culture of Yellow Fever.

The shop also carries gift items such as jewelry, linens, ornaments, jams and jellies, postcards and reproductions of items from the early 19th century.

We will happily ship orders.

Mastercard and Visa and are accepted.

This page showcases some of our most popular products and offers a preview of the shopping that can be expected at the Davenport House Museum Shop.

Sherrer of Historic Columbia Foundation first learned to make faux food several years ago at a workshop sponsored by the Museum of Early Southern Decorative Arts in Winston-Salem, NC. He later co-led a workshop at the Issues and Operations in Historic House Museums Symposium through McFaddin-Ward House in Beaumont, Texas. Since that time he has created pieces for the four 19th-century historic houses of which HCF is steward.

The November/December 2011 American Spirit Magazine, a magazine published by the Daughters of the American Revolution, features an article entitled Faux Holiday Feasts: The Making of Artificial Food for Historic House and notes HCF’s food as a must-see on your “Historic Faux Food Tour”.

Contact info@davenporthousemuseum.org or call 912/236-8097 for additional information. There must be a minimum of 10 participants for the workshop to take place.

Friday and Saturday nights in October 2012 (October 5, 6, 12, 13, 19, 20, 26 and 27)

Two performances: 7:30 p.m. and 8:45 p.m.

Admission: $15 in advance for adults, $10 in advance children (ages 8-17) and $17 for adults and $15 for children at the time of the performance

Reservations recommended. Limited attendance.  Call: 912/236-8097

60 minutes

Participants in the living history performance experience the story of yellow fever’s dreadful consequences which transformed the bustling seaport of Savannah into a ghost town. The action commences with a war of words between competing local newspapers on the fever’s outbreak and the municipal action that followed. Moving through the house and garden by candlelight, visitors observe the 19th century inhabitants as their thoughts turn to the contemplation of their own mortality and feature a consideration of the nature of phantoms, spirits, supernatural happenings and the ultimate nature of the soul. The fate and experiences of the uncounted half to the city’s population, both free and enslaved Africans, are revealed. As a culmination each visitor will participate in a “Lottery of Life and Death.”

Not suitable for children under 8 years of age.

The performance requires that guests be able to walk up and down stairs and maneuver in the candlelit rooms.

Read more about the Material Culture of Yellow Fever.

Over the past years the Davenport House Museum has produced a notable number of Junior Interpreters (JIs) who have gone on to become stand-out students in high school and later in college. To acknowledge this record, the Davenport House presents a scholarship annually to an outstanding high school student who demonstrates qualities which put the museum and its community in the best light. This year’s award will be presented to Savannah Christian Preparatory School senior Carlie Ayn Williams at the Davenport House’s Annual Garden Party on Thursday, June 7th. The Davenport House Endowment Director’s initiated the scholarship program in 2011. The Critz Family is the sponsor of the 2012 Davenport House Service Scholarship.

The Davenport House (DH) began the Junior Interpreter program in March 2003 to provide an educational and a service-oriented program for students in grades nine through twelve. During summer 2003 the first group of JIs completed training and began giving tours of the museum house. In the fall of 2005 the Davenport House and Savannah Arts Academy began offering the JI program in the evening to sophomore American history students. Since 2003 over one hundred and forty young people have participated in the DH’s JI programs.

Carlie Ayn Williams, the only child of Mr. Charles and Dr. Deborah Williams of Guyton, GA, came to the Davenport House during the summer of 2010 for Junior Interpreter training. From the beginning, her mastery of the history discipline was clear. She was the summer’s DH Jeopardy champion. She enjoyed giving tours and was good at it. In October 2010 she was hired as a staff docent and has given tours at the museum on Sundays ever since. She is reliable, thoughtful and committed. Possessing a maturity beyond her years, visitors remark on her tour guiding skills and often ask her if she is a college student.

In addition to her work as a staff docent, she continues to volunteer at the Davenport House.

She is also a gifted photographer. For the past two years she has been the museum’s photographer for Valentine’s Day Weddings. She was also a volunteer photographer at the 2011 Savannah Garden Expo. See the attached photos. She takes hundreds of photos for each event, selects the best and edits them as necessary before donating them to the museum.

She has been accepted to Georgia Southern University’s Honors Program which she will begin in the fall. At Savannah Christian her grade point average is 3.7 and she is ranked fifth out of a class of one hundred and one. She is senior class secretary, National Honor Society secretary, National Beta Club secretary as well as a member of the French Honor Society. At the school’s awards program held on May 1, she received the Advanced Placement European History Award, the Advance Placement Environmental Science Award and the Presidential Award of Academic Excellence.

The Davenport House community hopes that Carlie Ayn will cherish the friendships she has made at the museum and will use the skill she has developed here to do good things.

At this time of seasonal sweaters and holiday finery, it does us good to recall the transformation that took place almost two hundred years ago that made the constant, conscious ruminations over the production of clothing and the manufacture of cloth obsolete. When we thumb through a catalog or surf outfits on-line, we rarely, if ever, think of how or who made these items of apparel. This was not the case in the 1820s when the Davenports lived in their fine brick home on Columbia Square. At that time the household was in the midst of the textile revolution which took Americans, beginning in the late 18th century, from spinning threads and weaving their own cloth into “homespun” to purchasing machine-made fabrics such as cambric, gingham, nankeen, osnaburg, bomazeen and sarsnet at a dry goods purveyor in the port city. Yet, the women of the household still had to coordinate the production of clothing as well as the constant tasks of mending and caring for clothing and cloth items already made.

As evident in Savannah’s newspapers, the textile and consumer revolution progressed during the early 19th century with the proliferation of “fancy goods” and varieties of textiles and trimmings available. Not only are there ads for dress makers, tailors, hat sellers, boot and shoe sellers but also growing outlets for purchasing “ready to wear” including men’s cloaks and vests, workman’s and sailors suits, “fearnaughts, Monkey jackets and trowsers suitable for boatmen,” and varieties of negro shoes, negro cloth, negro caps and gloves and places to buy umbrellas, tortoise combs, etc. As a significant port, Savannah offered the world of goods available at the time. Where some fortunate Savannah ladies donned “leghorns” [hats]2 and drape themselves in imported silk shawls3, their counterparts in the backcountry continued to produce and wear homespun cloth.

In thinking about holiday finery of the early 19th century we recognize that Savannah was a good vantage point to see and understand the breadth of goods available to the early 19th century customer and what being fashionable was at the time. Newspapers carried humorous stories about the exaggerations of current fashions4 and descriptions of up-to-date apparel5. In addition to newspapers, there were hand-colored fashion plates from French and English publications illustrating the taste of the time. Textile authority Jane Nylander writes, “New styles were transmitted from city to country in a variety of ways. Fashion plates illustrating the newest styles were included in French and English magazines like Ackerman’s Repository for many years before they began to appear in American publications.” Additionally historian Jack Larson says, “High style, for Americans, emerged from fashionable houses and dressmakers’ shops of what Americans recognized as “the centers of fashion” – Paris and London. Annual changes in bonnet styles and the cut of gowns traveled in a month or so to New York, and then to other American cities, via illustrated magazines, ‘fashion plates’ or large colored engravings, private letters and stylishly dressed foreign visitors.” During the holiday season, visitors to the Davenport House will see a selection of 1820s English and French fashion plates in the museum’s Morning Room as though Mrs. Davenport were contemplating the styles of the day.

We know more about what the Davenports wore than we do about other aspects of their lives because of three silhouettes by “Master Hankes with Common Scissor,” a newspaper account of the house Mr. Davenport was visiting being struck by lightning and estate documents listing the purchase of clothing for Davenport children and slaves in the household. One assumes that the outfits worn to have a silhouette done would have been their best. Along with being preservation marvels – all three silhouettes are dated and identified with the subjects’ names and ages as well as the artist’s stamp, these three generations of Davenport women in silhouette show a remarkably fashionable trio. All created in 1828, they are of Sarah Davenport (age 40), Cornelia Davenport (age 4) and Mrs. Davenport’s mother Susannah Clark (age 67), the year after Mr. Davenport’s death and the year before Mrs. Clark died. Sarah’s shows the young widow with upswept hair and held in place with a comb. There also appears to be a feather in her hair. Her face is accented by a dangle earring. A lacy fichu ornaments her bodice. The four-year-old Cornelia dons a long sleeved frock with matching trousers. Of note are her sausage curls.6 A real revelation is the matron Susannah in what appears to be a fashionable velvet Spencer jacket, ruff collar and holding spectacles in her hand.

A June 1821 newspaper account of a lightning strike of a house the Davenports were visiting sheds light on what Mr. Davenport wore at the time. “Mr. Davenport who had a child in his arms had the skin torn from his . . . breast and one leg, and a number of blisters under his shirt, vest, pantaloons and one stocking were considerably scorched, while the child received no injury.” So we know that Mr. Davenport was in the main stream of male fashion by wearing long pants. Only the extremely conservative or at formal occasions did men wear knee breeches in the 1820s. We wish we knew if he was wearing a tail coat or a frock coat . . .

As far as we know, half of the Davenport household, the enslaved people, had little choice in what they wore. Much has been written on clothing for plantation slaves – the quantities7 and quality of material used (usually osnaburg in what was called Negro cloth), while less is known about the apparel of house servants and enslaved laborers, stevedores, etc., in the urban area. House servants who came in contact with Davenport visitors and clients would certainly not have worn ragged clothes and they probably did not “go bare footed.” Isaiah Davenport’s estate records show the purchase of “clothes for servants” and “jackets for David and Jack.” Useful resources for what enslaved people wore are the runaway slave ads which appeared regularly in the local papers. Masters closely noted the physical attributes, including earrings, scars and body markings, as well as the outfits worn by runaways when last seen. We know of one runaway from Mr. Davenport, a slave named Nancy, but her description is of a scar on her neck rather than what she was wearing.

Estate records also indicate the purchase of items for the children including “shoes for the children,” “childrens BLK stockings,” “cap for Isaiah,” “clothes for Cornelia” (maybe her silhouette clothes), “plaid cloak for Isaiah” and “clothes for children.”

Fashion history tells us that during the 1820s apparel was evolving from the high-waisted, flowing dresses of the early 19th century for women. Bright colors returned to fashion, waistlines were lowered, skirts were fuller, puffed sleeves puffed out and corsetry achieved an hourglass shape (though not tightly laced – that came later). Fashionable men, believe it or not, also prized the hourglass shape4. Pants were long and tight. Tail coats were shorter at the waist and frock coats were growing in popularity. One expects that port city residents knew about these trends.

As we contemplate the latest thing this holiday season, it is illustrative to remember a time – as presented in the Davenport House – where the choices were fewer, where the consumer culture was beginning and where the end of year celebrations meant sharing “a cup of kindness” and a good meal – possibly, but not probably, in a new dress.

Holiday Evening Tours by Candlelight

December 26 -30, 2011

6 to 8:30 p.m.

Admission: $8 adults in advance, $10 at the door; $5 children in advance, $7 at the door

Glistening by candlelight, the Federal-style home welcomes visitors to an experience emphasizing the end-of-year celebrations of early 19th century Savannahians, including the Davenport household, who lived in the fine brick home on Columbia Square. Light refreshments, music and skilled interpreters, who show visitors through the home, are among the highlights of the presentation.

The performance requires that guests be able to walk up and down stairs and maneuver in the candlelit rooms.

Notes:

1 “The ladies of the Cabinet in their best bibs and tuckers. Most of them in new dresses just from Paris.” p. 248. Margaret Bayard Smith, Forty Years of Washington Society.

2 Mrs. C. Judah. Would inform her friends and the public generally, that she has taken a store in Luccna’s buildings, in the rear of Broughton street, where she has on hand a general assortment of HATS and BONNETS, of the latest fashions. She would also inform the Ladies that she alters and cleans Leghorn in the most fashionable style. January 19, 1820. Columbia Museum.

Hats – “While straw bonnets and gypsy hats began to be imported from Italy in large numbers, except in periods of war and embargo, New England women and girls mastered the skills of straw braiding so successfully that it is impossible to distinguish between an American and European straw hat. Indeed, the term `Leghorn’ bonnet was used for women’s straw hats regardless of their origin.” Nylander.

3 By Watts & Joyner

Tomorrow, (Thursday,) 2d inst,

Will be sold at 10 o’clock precisely, at their

Auction room, without reserve, a large and generous

Assortment of

English, French, German, and Domestic

Dry Goods,

. . .Silk Hdkfs and Shawls – thread Laces. March 1, 1820. Columbia Museum.

4 From the N.Y. National Advocate 25th ult.

Dandy Hats — Our city has been much amused with a low tripod kind of hat, made of fine beaver, and worn by our Bang ups. __ Some call the Touch, others the Gape and the Stare, the real name is the Bolingbroke. It is about 6 inches in crown, and 4 in rim, shaped like an inverted cone. It is real tippy. We yesterday saw one of the fancy dressed quite unique, blue frock, black silk Wellington cravat, buff waistcoat, Cossack pantaloons, high heel boots, black ribbon and eye glass, bushy hair frizzed and surmounted with one of these little tippy hats. He looked like an hour glass, and minced his steps along Broadway in the real Jemmy Jump style. The ladies were highly amused, and more glasses were directed toward him, than would be to the Emperor Iturbide, had he just landed; while our [boy] insensible to all this curiously danced up the street, humming the favorite air of, “Look dear mad’am, I’m quite the thing; natius hay, tippity ho!”

October 7, 1823. Savannah Republican.

5 London fashions for February. –

Opera Dress – dress of white sattin with chinamsters, set on three rows without stalks—next to hems, a clochette trimmed of crape, forming full platts or quiltings. The bust trimmed with bouffant puffings of silk net confined by bows of white satin Andalusian mantle of pink satin, trimmed with ermine without spots – a high standing up collar, lined with spotted ermine finishes the cloak. – The hair arranged in long ringlets, and ornamented with small red roses, and white Spanish bows, the latter very sparingly adopted. Necklace of two rows of very large pearls.

Walking Dress – Pelisse of gros de Naples the colour of the marshmallow blossom, festooned down the front with three large wrought buttons. Black velvet bonnet, tied with marshmallow-coloured ribbands, and crowned with a large full-bloom rose and bows of velvet. Long black Chantilly lace veil; the pelisse is made with narrow French collar, surmounted by a double frill of Urling’s lace. A double gold chain with a watch depending. Black kid half-boots, and yellow gloves.

March 26, 1824, The Georgian.

6 “After breakfast I went forth on a shopping expedition and procured most of the winter clothing for the family, self included. One article I could not get, — curls, French curls, parted on the forehead, you know how. You must get them for me either in New York or Phila. Now remember CURLS!” Margaret Bayard Smith, Forty Years of Washington Society p. 142.

7 “On most plantations for which records survive, field slaves received only two suits of clothing per year, one for winter and another for summer. A man’s winter ration usually consisted of a waistcoat with sleeves, breeches or trousers, and two shirts. A woman generally received a jacket, petticoat, and two shifts. For summer, female slaves who worked outdoors received linen petticoats to wear with their shifts; men got summer breeches or trousers with shirts.” Baumgartern.

BIBLIOGRAPHY:

PRIMARY RESOURCES.

Cornelia Augusta Davenport, 1828; Sarah Rosamond Davenport, 1828; Susannah Clark, 1828. Silhouettes. Master Hankes with Common Scissors.

Estate Inventory. Isaiah Davenport. 1828.

Fashion Plates. Davenport House Collection.

Index card box. Susan Mason Mays. 1994.

Columbia Museum and Savannah Gazette, 1820.

Savannah Republican. 1820-1828.

The Georgian. 1820.

Margaret Bayard Smith. Forty Years of Washington Society. T. Fisher Unwin, London. 1906.

Mrs. Basil Hall. The Aristocratic Journey: Being the Outspoken Letters of Mrs. Basil Hall, written During A Fourteen Mouths’ Sojourn in American 1827-1828. G. P. Putnam’s Sons, New York. 1931.

SECONDARY SOURCES

Lynne Zackek Bassett. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Q Graphics Production Company, Arlington, VA. 2001

Linda Baumgarten. What Clothes Reveal: The Language of Clothing in Colonial and Federal America. Colonial Williamsburg Foundation, Williamsburg, Virginia. 2002.

Jack Larkin. TheReshaping of Everyday Life, 1790-1840. HarperPerennial. 1988.

Jane Nylander. OSV Documents – Notes on 19th Century Clothing. 1980.

Blanche Payne. History of Costume: From the Ancient Egyptians to the Twentieth Century. Harper & Row, Publishers, New York. 1965.

Timely Tresses. Georgian and Romantic Era Fashion Plates, 1820-1839. 2008

Ackermann’s Costume Plates: Women’s Fashions in England, 1818-1828. Dover Publications, New York. 1978.

Joseph Frederick Waring. Cerveau’s Savannah. The Georgia Historical Society, Savannah, GA. 1973.

See additional research on 1820s Clothing