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Preisdatenbank abonnierenDanish - Superb Quality Mid 20th Century Georgian Style Pair of Silver 3 Branch / Light Candelabra of Pleasing Form and Proportions, Makers Mark for Jens Sigsgaard Copenhagen Assayers Mark ( 3 Towers ) Silver Mark for 830 Purity. c.1937. Weight 55 ozs - 17 grams. Heights 11.25 Inches - 28.20 cms. Both Candlebaras In Superb Condition, Option to Use as a Pair of Candlesticks.
Britannia! A Late 18th Century Ivory Fan with slender monture, carved and pierced in a regular, classical style. The double leaf features a central oval, printed and hand coloured and showing Britannia with her shield, trident and plumed centurion helmet holding the hand of two women, seated one at each side, one with a harp. The oval is bordered with gold sequins and additional sequins in gold and green form a simple upper border. The verso has a pale watercolour image of the recto scene. Guard length approx. 10 inches or 25.5cm. Together with A Second Printed and Hand Coloured Fan of a similar age, the double leaf showing Venus and Adonis, outside a bower (or military draped tent?), several winged cherubs carrying provisions, stoking flames and gathering flowers or fruit. The verso is plain. Mounted on slender sticks, the gorge of ivory, the guards of tortoiseshell. Guard length approx. 9.25 inches or 23.5cm (2). Britannia is quite sound, but would benefit from cleaning. Slight damage to the leaf seen when held to the light. The second fan has major splits to several folds but is holding. Again, would benefit from cleaning.
An Unusual French Revolutionary Period Riddle Fan, the monture of bone, with some light carving and painting to the upper guards. The double paper leaf, hand coloured, shows two couples in extravagant 18th century dress, the ladies appearing to be beseeching the gentleman to share their affections. Cupid floats on a cloud between them, holding both a flaming torch and his bow and arrow, tokens of Love. To each side the leaf features a vignette containing symbols, enclosed in green and pink draperies. The left section contains the word ''DE'' in capitals, with a yellow pitcher, a spray of flowers, and, possibly, a heart. To the right, the word ''VOEUX'' (wishes), a standard bush, and a yellow crown. Both sections contain what could be a letter ''L''. Thus, this is an example of a riddle fan, the sounds when the symbols are spoken aloud giving the meanings. From the left, ''Elle possède mon Coeur'' from L (elle) po (dessin d'un pot) + ssè (dessin d'un ''cep'' - de vigne) + de + mon (dessin d'un mont) + cœur (dessin d'un cœur), and to the right, ''elle couronne mes vœux '' from L + couronne + mes (dessin d'un arbre de mai) + vœux. The leaf is bordered with gold and a subtle ruby. The verso is plain. Guard length 10.75 inches or 27.5cm. Infinite thanks to Ondine P-P and Georgina L-B of the Circle de l'Eventail, Paris, for their invaluable assistance with this puzzle.. In generally good order and strong. When closed, the sticks in the gorge centre are seen to be bowed. Both guards have a crack near the top but there is no obvious repair. The leaf has light foxing to the verso and one or two folds may have been re-secured.
A Bright and Detailed Ivory Fan, circa 1780, the vellum leaf mounted à l'Anglaise and featuring not only a colourful central pastoral scene with ladies in parkland, a shepherd playing his pipe, his flock to the left, but two large allegorical figures painted en grisaille with gold highlights. To the left, a representation of Victory, to the right, a figure most likely representing the ''Golden Age'', with her attribute of the beehive, a colourful top and side border of floral swags completes the lead. The monture is notable for painted Wedgwood style plaques against a pale mauve ground. The verso is painted with a simple central spray of carnations. Contained in a contemporary fan box, covered in green paper and lined with pink paper, featuring a later label for Duvelleroy at Pass. Des Panoramas 17. Guard length 11 inches or 28cm.. Reasonably good, some light discolouration to the leaf, but strong. Later loop. Damage to the paper on the box exterior.
Le Réveil Matin: A Late 18th Century Wood Fan, the sticks plain, the slender guards finished with ivory thumb guards. The double paper leaf, engraved and hand coloured to the recto, features a gentle image of a maiden asleep under an arbour, her simple white gown enhanced with a rose-pink cloak, Cupid, flaming torch aloft, leaning close to gently sound an awakening call with his curved horn. Entitled ''Le Reveil Matin'' (the morning awakening). The verso is plain. Guard length approx. 10 inches or 25.5cm. Purchased at Christie's SK, 16th May 1989, lot 103. Together with A Much Later Fan with double paper leaf in strong red, depicting a street scene painted in gold, a coach and horses about to depart, having delivered a lady to join her friends and a small child, the ladies all wearing Regency gowns and the gentleman and small boy in long coat and breeches. The verso is painted with a simple spray of foliage. The simple wood monture, with regular piercing, is painted ruby red. Guard length approx. 10.75 inches or 27.5cm. (2). The first fan, is in good shape overall, with Light rubbing to some folds, and to the dark border.
A Circa 1730 Ivory Fan, the vellum leaf a l'Anglaise and painted in gouache en grisaille, showing a maiden, seated in the grounds of an interesting residence, one sheep to her side, other figures approaching. The monture, carved and lightly pierced, is painted to match with flowers in shades of grey, the gorge with a large central floral cartouche and the reserves with music and instruments. The verso is plain. Guard length 11 inches or 28cm.. In good order, slightly foxed to the verso, when held to the light, two or three minute slits to the leaf noted but not immediately visible otherwise, as under the painted design.
An 18th Century Ivory Fan, the vellum leaf mounted à L'Anglaise, the upper guards carved with a profile of a lady to the recto and a gentleman to the verso, and a stylised vase. The gorge sticks are pierced with a regular design. The leaf features a lady seated at the roadside near to a church with steeple, engaged in conversation with a traveller who has doffed his cap in her presence. To the right, a vignette showing a gentleman in front of a rural dwelling, a lady on a riverbank to the right. The three scenes are bordered in gold and the reserves feature cornflowers, red roses and violets. The verso is plain. Guard length approx. 10 and 5/8 inches or 27cm. Together with Another 18th Century Fan in similar vein, the upper guards carved with Chinoiserie, the gorge pierced with two main circular panels. The double paper leaf features a real menagerie of animals. Centrally, a courting couple, seated outside a barn, surrounded by sheep, a dog sleeping at their feet, a farmer seemingly eavesdropping behind a bull, and the side vignettes well painted with colourful birds, themselves perhaps indulging in the courting ritual. The reserves are painted with colourful flowers. The verso features a simple but colourful floral spray. Guard length approx. 11.25 inches or 28.5cm (2). The first fan has some nibbles to the central folds seen when held to the light. The leaf has been cut down on the second fan, and each first stick in from the guards is stuck to a guard.
An Attractive Mid-18th Century Ivory Fan, the upper guards carved and pierced quite elaborately in a vertical panel, silvered and gilded. The fine gorge sticks are designed with two side oval features, bordered in gold, filled with classical objects, the central sticks featuring a large lidded urn. Gilded and silvered throughout. The vellum leaf, mounted à l'Anglaise, is painted centrally with a cottage by the river, from which can be viewed the nearby church and a sailing boat on the water. A lady looks out from the half open door, another lady in pink stands on the path, and two gentlemen in hats and one with a walking cane, approach. The scene is bordered in brown with gold painted detail. The reserves have a light and airy feel with delicate flowers and tendrils, some in bunches, others merely a single bloom, and intermittent tiny gold stars. The verso is painted with a single flower. Guard length approx. 10.75 inches or 27.5cm. Together with A Fan in Similar Vein, the central cartouche of the vellum leaf mounted à l'Anglaise, painted with two young couples taking their leisure by the riverside, one gentleman fishing, the other playing the pipe, a goat and dog at his feet. Two side vignettes are painted with tokens of love, and a beehive. The monture is silvered. The upper guards are incised to give an unusual basket weave effect, over which are carved two paisley boteh, and flowers. The gorge sticks have the same ground, and rather unusual design, complementing the boteh on the upper guards. Probably Dutch. The verso is painted in pastels with a simple spray of flowers. Guard length approx. 10.5 inches or 27cm. (2). The first fan is surprisingly sound and clean for the period. The upper guard lacks one small detail, a twisted white metal bar which is present in the lower guard. The monture on the second fan is unusual, and the silvering retains shine.
Portraits: A Fine Mid-18th Century Ivory Fan with elaborately shaped monture, designed to coordinate with the design on the leaf. The guards feature cherubs to the tips, the upper guard then painted with the portrait of a wealthy gentleman wearing a powdered wig. The lower guard is painted with a lady in tall bonnet tied under the chin. Three portraits are visible, two to the recto, one to the verso. The gorge sticks alternate between straight sticks, gilded, and others shaped to accommodate colour portraits, cherubs, birds, and urns, some highly gilded. The two central portraits face each other in profile, exchanging a tender gaze, the gentleman to the left in green velvet and powdered wig, the lady to the right in pink gown and white bonnet tied with a pink ribbon. Quite a bulbous head. The double leaf, in silk, is vibrantly painted, featuring five oval vignettes, bordered with gold sequins, two containing musicians, three with dancers. Two ladies in pink are dancing. One gentleman, seated, plays the violin. A younger man performs with a tambourine and the last gentleman, in blue to the left, appears to be dancing. Each painted panel is divided from the others with a formal column, the design in silver metal and sequins, bordered with strong gold. Elsewhere, the leaf is painted with extravagant drapes, tokens of love and flowers. Light decoration to the verso, following some of the design from the recto, in orange, with painted pink roses. Guard length approx. 10.5 inches or 26.5cm.. This fan has been framed, the frame available within the hammer price if required. The verso is seen to have a fair amount of repair to folds. Some losses to the gilding, which is generally dull.
A Mid-18th Century Ivory Fan, the velum leaf mounted à l'Anglaise and colourfully painted with Flora, having happened upon a young maiden seated at the riverside with a group of playful winged cherubs playing at her feet, one playing a lyre, the others concocting flower garlands. An oval vignette to the left, en grisaille, portrays a lone gentleman gazing at a ruin. To the right, in similar fashion, a lady sits in the shade of a tree in the grounds of a large county house with stone tower. The reserves are lightly painted in gold, with meandering flowers and leaves. The verso is plain, save for a still life. The upper guards are carved with a large female figure in elaborate gown, the gorge sticks with similar figures in the central cartouche, a small vignette at each side contains cherubs. Remaining sticks are intricately carved, some having been set with stones. Large diamanté at the rivet. Guard length approx. 11 inches or 28cm. Together with A Second 18th Century Ivory Fan, the vellum leaf mounted à l'Anglaise, the head quite bulbous, painted with a village setting, a maiden drawing water from the well, three young men hovering to catch her eye, one sitting on the grass next to a basket. The verso is a mix of Chinoiserie with gold highlights to the sides and a simple rural fence and grass painted to the centre. Guard length approx. 11 and 5/8 inches or 29.5cm; A Third Ivory Fan with good features to the carving, the upper guards having various characters, including a church, a large man, a duck of other water fowl, the lower section carved with several towers or parts of buildings. The fine gorge sticks, carved, pierced and brightly gilded, have three points of focus, containing figures. The verso is painted with a large spray of small flowers in violet, blue and pink, with dark green leaves and gold highlights, these being continued on the upper border. Guard length approx. 11.75 inches or 30cm (3). The Flora fan leaf is a little rubbed, but generally this fan is sound and, had the silvering not tarnished, would have been particularly reflective in the light. The leaf of the second fan is quite well rubbed. Both guards lacking. The third fan has damage to the gorge sticks but the guards are intact. The bottom edge of the leaf is damaged where the gorge sticks have parted from the ribs.
Four Decorative Fans of Different Styles, the first circa 1900, being of cream gauze embroidered with silver sequins and spangles, in a design of bows and garlands. The bone monture complements the style with light floral design and clouté in silver. a bone fan, circa 1860's, the monture gently shaped and silvered, with light piercing mainly to the gorge. The double paper lithographed leaf, with vibrant orange and black reserves to the recto, has a central pastoral scene featuring two courting couples and one solitary maiden, a goat, and bagpipes. The verso with lighter reserves of cream and gold, features a central cartouche of three young ladies taking the air, a suitor lurking behind bushes in the background. Side vignettes show a young boy and his sister teaching their puppy to jump through a hoop, and two other children watching their cat chase a mouse. Shaped and embossed gold loop, bi-coloured tassel Guard length approx. 10.5 inches or 27cm; a bright and cheerful bone fan, the monture carved and decoratively pierced, the gorge with well-balanced design highlighted in gold and silver. The fine cotton leaf, mounted à l'Anglaise, is painted in two sections, each bordered in gold. To the left, a courting couple wearing traditional Spanish costume, the lady in embroidered and fringed shawl, accompanied by another lady playing a large tambourine, a tall church spire in the background. To the right, tall columns with statues atop, probably a recognised feature of the location in question. Guard length 9 inches or 23cm. Finally a wood fan with monture painted gold, the double painted leaf featuring romantic scenes, with a couple reclining on a grassy river bank, the bewigged and velvet glad gentleman, with lace jabot, accompanied by a young lady in white, blue sash emphasising a tiny waist, a second vignette shows a Spanish lady with tall hair comb and lace mantilla, holding a folding fan, a suitor beside her, a chaperone in black lace watching. In between the scenes, two winged cherubs frolic. To the left, colourful reserves with roses, to the right, blousy pink peonies and white lilac are tied with pale blue ribbon. Guard length approx. 8.25 inches or 21cm (4) . The sequin fan has an old repair to the upper guard, and one rib needs to be secured in position. The lithographed fan has an old metal plate repair to the lower guard, one gorge stick detached from the rib, and some loss to the leaf to the far right as seen from the recto. The fan with Spanish scene is clean and sound, with good detail. No signature noted. The final fan has rubbing to the wood gilding and some splits to folds along the upper leaf edge.
A Quantity of 19th and 20th Century Fans, including some for spares and repairs: To include a late 19th century cream gauze fan painted with a lady wearing an open robe and fine sleeve ruffles leaning from an upper window to reach a floral bouquet which a well-dressed suitor, concealed behind the shutter, has entered the courtyard to present. The upper leaf is edged with a fine handmade bobbin lace. Signed to the right, indistinctly, starting with ''V''. The verso is plain. Mounted on a pink mother-of-pearl, lightly incised and gilded. Together with another large fan of a similar period, the monture of simply incised bone. The cream leaf is painted in pastels with marguerites and dog roses, and a band of cream machine lace provides an upper edge; a late 19th century fan, dark wood sticks lightly gilded, the guards formed as feathers. The gauze leaf, of two shades of aubergine, is painted with several birds in flight: a large late 19th century bone fan, the monture with floral details in slight relief, the top edge of the cream gauze leaf applied with handmade cucumber bobbin lace, the leaf applied from mid-point with a frill of cream machine lace, above which the leaf is embroidered with simple sprig designs in silver sequins; a simple but colourful Chinese paper fan printed with flowers and mounted on white painted wood; three early 20th century feather fans in various states of repair and montures in different materials, one in black, one brown and one cream; a large late 19th century bone fan with simple incised guard and a plain cream gauze leaf; a 20th century tourist fan of appealing shape, wood, painted black and gilded. The cotton leaf is narrow, and features a sky with upper tree sections and tumbling flowers in yellow and blue with shaded leaves. The flowers continue onto a gorge that has been shaped to hold a romantic scene, a couple seated on the outskirts of a village, the whole fan recto linking the scenes with the flowers across fabric and wood. The verso is plain. Signed, H de V…. (10 ). Varied. The first fan is repaired to the lower section of the lower guard. Light foxing. The leaf on the aubergine fan is extensively split. The leaf on the plain cream gauze fan has a split.
A Pretty Circa 1880's Fan with beige silk-satin leaf painted with a singing robin on a bough with a butterfly approaching, both attracted by the spring blossom and dog roses on the branches beneath them, the leaf mounted on pink/green mother-of-pearl, Burgau. Fitted with a cream silk tassel and plaited loop to secure the fan when closed. An old tie-on label states ''8gns'', possibly the price on purchase? Plain beige fabric to the verso. Together with A Later Fan with black machine lace surround, enclosing a black gauze panel painted with a robin on her nest and her partner in flight, approaching, and two more subdued birds seated on a branch next to bright pink flowers. Mounted on a wood monture painted black, gilded and silvered in floral designs (2). For the first fan, some light foxing to the silk, and to the backing fabric. A metal repair plate fitted to the lower guard. Some slight splitting to the bottom of some folds on the verso. The second fan leaf is slightly strained to the right side next to the guard.
A Vibrant Circa 1870-1880's Fan, featuring an early autumn outdoor musical gathering within a grand garden, stone urns resplendent with cascading flowers, lush reeds indicating nearby water, leaves turning brown, and a Herm, perhaps of Pan, in the bushes beside the clearing wherein a beautifully dressed lady, sheet music on her lap, listens to music provided by a dandified gentleman wearing doublet and ruff. Accompanied by a young lady seated on the ground, holding a fan. The verso is plain cream, the monture, of unadorned green/pink mother-of-pearl /Burgau. Together with A Bone Fan, the monture plain, the double cream silk leaf painted on the recto in pink with a young lady in early 19th century dress feeding two white doves from crumbs she has carried in her skirt; and A 19th Century Horn Brisé, the stick tips forming a gentle point, all sticks intricately pierced, alternate sticks painted vertically with flowers in colours of orange and blue, or pastel pink roses with green leaves, the verso being similar. Twenty-one inner sticks and, two guards. Barrel head (3). Light wear to folds on the first fan. Small silver metal plate repair to the upper guard. Fan 2 has leaf splits recto/verso. Fan 3 requires a new ribbon.
An Early 20th Century Fan with unusual pink mother-of-pearl monture, in that the top of all the sticks is T shaped. Lightly gilded. Central to the cream silk leaf, backed with gold gauze, a round cartouche, a gravure of classical figures, bordered with tiny silver sequins. The reserves feature tiny gold sequins, bordering areas where the silk is cut away to reveal the gold gauze, interspersed with small painted pink roses. The verso is plain. Mounted à l'Anglaise, the ribs painted gold. Guard length approx. 8 inches or 20cm. Together with Two Early 20th Century Evening Bags, one quite Art Deco in colour and design, with two gold beaded panels to each side with colourful floral panels in between. The gilded metal frame is fitted with triangular panels in different colours, a press-and- lift catch, and finished with a white metal chain. Lined in pink and trimmed with pink braid. The second bag is embroidered mainly with tiny white beads, with areas embroidered in cream thread and overlaid with cream pearlized beads, the frame of white metal, set with the pearlized beads, with a white metal chain. Lined in white. The inside pocket holds a handbag mirror (contained within a pouch) and bears the label ''Made in France'' (3). The fan, note a repair to the upper guard at the shoulder. Some splitting to the silk layer. Loss to the gold paint on the ribs. The second evening bag has some light brown staining to the interior.
A Regency Ivory Fan with tiny gorge, gilded and silvered, the barrel head finished with diamanté. Two ladies in regency gowns appear to be tending to a seated gentleman, his rather gauche-looking companion in uniform with plumed helmet and metal breastplate, watching from the left. Gold sequins adorn all the clothing, and a decorative border of silver and gold floral shaped spangles decorate the top edge and sides. The silk leaf is painted, strong colours for the foreground bushes which partly conceal distant buildings and trees. The verso is plain cream silk. Guard length approx. 7.5 inches or 19cm.Together with A Small and Delicate Regency Fan with silver spangles of many shapes and sizes, profusely embroidered onto cream net. The gorge and guards are carved, pierced and clouté, the guards with meandering curves and other beaded inset detail. Barrel rivet. Guard length approx. 6.25 inches or 16cm (2). First fan, some yellowing to the ivory, light foxing to the silk seen on the verso. Some wear to the folds and slight damage to the bottom border to the right. This fan ahs been framed and the frame is available within the hammer price should it be required. Slightly splayed if refolded. The second fan lacks some spangles, some clouté and the fabric has some issues.
Lovers in the Rose Garden: An Attractive Early 20th Century Pale But Shaded Mother-of-Pearl Fan, the stick tips shaped as a T. All mother-of-pearl sections are gilded, with a floral design. The double leaf, the upper layer cut away in places, is painted with a central cartouche showing a suitor doffing his tricorn hat to his lady, whilst walking through the grounds of a large Georgian mansion. Indistinct signature, on the lines of ''E…cf''. To each side, an oval vignette set within a larger section, bordered with tiny sequins. To the left, a painting of a large building with towers. To the right, a similar building but seen from a rural setting. Each oval hangs from a blue ribbon tied in a bow, surrounded by small flowers. Guard length approx. 7.5 inches or 19cm. . Wear to the leaf folds. Light soiling to the verso. This fan has been framed and the frame is available within the hammer price if desired. A few gauze folds are starting to split. Slightly splayed if refolded.
A Mid-19th Century Mother-of-Pearl Fan with deep and heavy gorge, the double paper leaf a hand coloured lithograph showing an outdoor social gathering with couples in their finery, some ladies with folding fans. The gorge, in white mother-of-pearl, is extensively carved and pierced, the central focus, in gold, offset by a lattice carving, showing ladies in extravagant gowns and a suitor on bended knee. The sticks shoulders are cut away before meeting the narrow leaf. The verso with cream background features a medieval castle with two couples, the men in tunics, listening to music. Some floral gilding to the gorge. Fitted with an elaborately shaped gold metal loop inset with green stones. Guard length approx. 10.5 inches or 26.5cm. Together with A 19th Century Painted Brisé Fan with tortoiseshell thumb guards, the recto painted in Vernis Martin fashion, with young people gathering to play music in the outdoors. Two couples in 18th century costume, and two further maidens gather flowers for garlands and generally pass the leisure hours in company of their friends. The gorge is painted in delicate fashion with flowers in a central cartouche, and dragonflies and wild flowers to two side vignettes. The verso is painted with a riverside scene with habitation on the opposite bank and a grand garden urn on pedestal to the right. Guard length approx. 7.75 inches or 20cm (2). The first fan has complete splits to the leaf in two places, repairs to the leaf as seen from the verso, and some light staining or glue residue. Gorge sticks show signs of old repairs. This fan has been framed and will not re-fold. Frame available within the hammer price should it be required. The brisé's ribbon is defective.
A Very Pretty Early 19th Century Fan, the monture of white mother-of-pearl, silvered, gilded, with coloured floral designs to the guards, a cartouche to the central gorge filled with colourful flowers. Green stone to the rivet ends. The double leaf portrays a pensive maiden standing by the riverbank, perhaps waiting for her beau, certainly a young man with white plume in his cap hesitates amongst the trees to her left. The reserves, with detailed swags and flowers, are painted in gold, blue and black. The verso, in cream with light gold floral sprays to the reserves and borders, shows a maiden and a lady at a fountain, the lady in regency dress, the maiden with her dog and a sheep. Guard length 8 inches or 20cm.. A few short splits to the tops of folds. Counting gorge sticks, there is one less to the left side, but the painted flowers are present to each side.
A Selection of Large Late 19th Century Fans, to include: a good cream silk satin folding fan mounted on bone, the monture incised. The leaf is well painted with delicate carnations, many bi-coloured, in shades of pink, ruby and white. The verso is in plain cream glazed cotton; a second cream fan in bone, with good but plain silk satin leaf; a Palmette or Jenny Lind fan, the monture of bone, pierced and clouté, the leaf panels in cream fabric, embroidered with tiny sequins. The top edges have the addition of white marabou; a black wood folding fan, the gorge painted with roses, complementing the appliqué silk roses on the black moiré silk leaf. Additional embroidery in tambour stitch forms stems and leaves, and the top edge of the fan leaf has the addition of a machine lace fashioned with pink and cerise roses. A rose with gold and silver leaves decorates the upper guards. The verso is plain. T/w a large wooden fan, the monture painted red, mounted with a red silk satin leaf painted with birds in flight. The gorge is also painted with a bird. The verso is plain; a bone fan with light incising to the monture, the leaf of cream machine lace emulating Honiton bobbin lace; a large white mother-of-pearl fan, the leaf of white gauze, the upper border and inner section with the addition of white machine lace, and painted with tiny brown birds and delicate flowers.; a bone fan with cream silk satin leaf, embroidered in pastels with lilies. The verso is plain; and a part fan monture, ivory (9). The first fan has a good clean, shiny leaf. The second cream fan has slight wear to the bottom of the leaf on the verso. The Palmette fan leaf panels have some staining and the clouté has several roundels missing. On the bird example, the top section of the fabric leaf is showing signs of fading. The MOP fan has damage to the gauze.
A 19th Century Wood Brisé Fan, with colourful applied printed panels showing the costumes of the Swiss cantons. The dark wood monture, with varnished guards, is pierced in bands, the inner tips shaped for the painted blazons belonging to the cantons. The verso is plain. Together with Another Wood Brisé Fan, the tips shaped, the guards varnished, the centre painted with pink and yellow roses and buds, green leaves and blue forget-me-nots. Finally, A Folding Paper Advertising Fan for Tobler's, Swiss Milk Chocolate, the paper leaf mounted on a simple frame, shaped bamboo sticks for the gorge and lacquered guards with light silvering. The recto shows the advertising on a shaded background, amidst colourful lilies, and cornflowers. The verso is plain (3). Both brises are slightly rubbed/scratched, and ribbons need attention. The Swiss brisé ha so traces of glue centrally, an attempt at repair.The folding fan has splits to the folds, and some age marking to one corner on the verso.
A Small Pierced Wood Brisé Fan, circa 1820's, with barrel head, the sticks with pointed tips, the main body pierced in horizontal bands, the recto painted with floral swags and leaves in pink, white and turquoise, the verso in a similar fashion but in turquoise, light blue, and white, with green leaves. Contained in an early 19th century fan tube with pink exterior and light green interior. Lid present. Guard length approx. 6 and 1/8 inches or 15.5cm. Together with A Small Cream Celluloid Brisé Fan, the side of the sticks undulating, the recto painted with a colourful pheasant in the undergrowth. The verso is plain. Guard length approx. 6 inches or 15cm. Contained in a larger unattributed cream card fan box with pale pink silk lining. (2). The wood fan has a split to one inner stick with a repair under the blue flowers, the tube is in good order and the ribbon sound. The second brisé is sound.
A 19th Century Ivory Brisé Fan, painted in strong dark colours, much of the background in black with colour to the guards and gorge where figures, flowers and symbol of love are painted. The main body of the fan features an evening wedding procession, passing through a forest, under the light of a new moon, the bride and groom near the centre, preceded by young musicians, the leader carrying a lantern, and bridesmaids strewing rose petals. Several guests in wedding finery dance along to the music at the rear. The verso shows the characters in silhouette. Guard length approx. 8 inches or 20cm.. Some rubbing to the paint, otherwise sound. Ribbon intact. Remnants of a red rubber band sticking to the guard.
Alexandre: A Fan from the Workshops of French Fan Maker Alexandre, late 19th century, circa 1880's, in original fan box, the dark cream silk leaf depicting a procession of gentleman in 18th century waistcoats and breeches surrounding a lady in an ornately gilded sedan chair, admirers bowing and vying with each other for her attention. A major-domo and a young page head the procession, both carrying wands of office. Signed in blue to the left ''Alexandre''. Plain verso, in a lighter cream silk. Upper guard with gold metal entwined initials. Guard length 11 inches or 28cm. Contained in a turquoise velvet covered card fan box, the inside lid printed in black with a variety of information relating to ''Alexandre Évantailliste'' A similar example can be found on pages 82/83 of ''Alexandre, Fan Maker to the Courts of Europe'' by Hélène Alexander and published by The Fan Museum, Greenwich, London.. The odd small mark on the leaf, recto. On the verso, several more, larger. The ivory monture has possibly six pinprick size brown spots, nothing major. When viewed folded, the folds are a little worn and the fan may have had some light conservation to secure the silk. Nothing lacking.
A Fine and Rare Bucks Lace Fan from around 1900/1910. On a monture of pink mother-of-pearl, attractively gilded, the crisp and clean leaf is a rare example of Buckinghamshire Bobbin lace. The design of flowers and ribbons, with different fillings and quite open net, gives this fan a very light and airy appearance. Guard length 9.25 inches or 23.5cm.. Very clean and sound.
A Late 19th Century/Early 20th Century Mixed Brussels Lace Fan, the central flower a Point de Gaze needle lace rose and smaller flowers and leaves. To each side, a large bobbin lace flower with raised inner petals, contained within a swag reminiscent of Ghent Valenciennes. The remainer of the bobbin leaf is filled with leaves and flowers. The mother-of-pearl monture, with a light pink tinge, is carved, gilded and silvered. A rope effect gold metal loop holds a cream silk knotted tassel. Bone ribs. Contained in an unlabelled card fan box covered in cream silk. Guard length 10.5 inches or 26.5cm.. One central rib is broken but holding well. The leaf has been removed and washed white. The fan box is sound but the silk is stained blue on the front edge of the bottom section, and the silk is worn in places.
A Late 19th Century White Mother-of-Pearl Fan with bone ribs, the leaf of Brussels Bobbin Appliqué, the design featuring three large roses, small and medium flowers and leaves filling the background, made to feel light and airy with the addition of tiny dots. The simple silver metal loop is finished with a cotton cord leading to a knotted silk tassel. Guard length 11 inches or 28cm.Together with A Later White Mother-of-Pearl Fan, the monture carved, gilded and silvered, the leaf of Brussels Point de Gaze needle lace with a few unusual features. Six roses of a similar design feature across the leaf. To the top and bottom right, three small roses have raised petals. The lower section of the leaf is worked more openly, and here and there bands of roundels with complex fillings fill in between top and bottom borders. Guard length 9.5 inches or 24cm. (2). First fan, one gorge stick needs to be re-secured. Tiny dent in the upper guard near the shoulder. Second fan, the upper guard is broken an inch above the rivet but the overlap is there for repair. A sliver of MOP missing, but a repair would most likely be feasible. The leaf has possibly been washed.
A Fine Belgian Mixed Lace Fan of Art Nouveau Design, circa 1900, the crisp and clean leaf mounted on plain resin or ''blonde tortoiseshell'' sticks and continuous ribs, with shaped loop. The striking lace leaf design consists of an upper needle lace border divided slightly by bobbin lace, featuring clusters of small flowers, the lower section with stylised and detailed Iris, the lace worked in different stitches to give a light and airy feel, perhaps in the Ghent Valenciennes manner. Guard length 8.75 inches or 22.5cm, but note the lace rises slightly above the guards to the centre. Contained in a cream card fan box, the inner lid marked in gold for J Duvelleroy London.. Very good.
A Very Light and Pretty White Machine Lace Fan, replicating Brussels Point de Gaze design, enclosing a central painted and signed silk panel featuring a lady in pink open robe and extravagant hat waiting by a stile as if for an assignation. The signature, by her feet, is indistinct. The monture, of pink/green mother-of-pearl, is gilded and silvered in a floral design. Circa1900-1920's. . The leaf is sound, the lower guard has broken and the section is available.
A Good Tortoiseshell and Black Bobbin Lace Fan, late 19th century, the monture with foliate design, both upper guards with a cherub, the gorge with leaves and scrolling surrounding a winged cherub with outstretched arms, holding laurel wreaths. The deep lace leaf is worked with detailed flowers and leaves, backed with black net and mounted on tortoiseshell ribs. Shaped tortoiseshell loop, and shaped head. Guard length 12.5 inches or 32cm.. Very light nibbling to the tortoiseshell as seen on the stick edges. The very top edge of the lace leaf has a very narrow black silk border at the verso, this is missing in some places.
Initialled ''SH'', A Late 19th Century Brussels Bobbin Lace Fan embroidered with silver sequins, mounted on light pink mother-of-pearl. The upper guard is fitted with the entwined initials ''S H'', which are repeated in gold on the lid of the cream silk covered card fan box. Shaped head. The box is lined inside with cream silk and the inner lid is marked in gold for ''Ernest Kees Fabrique d'éventails, 8 Boulevard des Capucines, Paris''. Guard length 12.25 inches or 31.5cm.. The box is sound, the exterior silk somewhat scuffed and grubby. The fan ribs appear in several cases to have been re-secured to the gorge sticks.
A Late 19th Century Lace Fan, the intricate monture of light pink mother-of-pearl, carved and pierced with thin sheets of mother-of-pearl backing that offsets the delicacy of design. The fine quality handmade Belgian lace leaf, possibly with an element of Ghent Valenciennes, is beautifully designed with a central floral feature and two side vignettes, the whole incorporating several different flowers and leaves, and clever use of shading. Contained in a card fan box covered in blue paper. Guard length 11.25 inches or 28.5cm. . Small repair to the lace leaf, top centre.
Two Ostrich Feather Fans, one from the late 19th century with white plumes, the other early 20th century with long feathers shaded from coral to light pink. The first fan, mounted on white mother of pearl, has a detachable feather on the upper guard to use in the hair, and is fitted with a small pencil on a cord, for marking a dance card. Height at the centre 17.5 inches or 44.5cm. The colourful fan, with a '20's monture of light resin, is much larger, and the feathers curl over at the tips. Overall height 26 inches or 66cm.. Generally good for both fans. On each a rib appears to have been re-secured.
A Last Quarter 19th Century Pheasant Feather Fan, the monture of tortoiseshell, the gorge sticks mottled giving an attractive colour when held to the light. The feathers have been carefully applied so that the top border presents three levels of white specks against a dark brown background, the more mottled and irregular lower feathers a lighter brown with smaller white speckles. Seen from the verso, these feathers are set against a black feather, giving edged detail to each stick and covering the ribs. Cream silk ribbon. Tortoiseshell loop. Guard length 8.3/8 inches or 21.5 cm with the feathers protruding past the guard by a further 1.25 inches or 3cm.. Some slight loss to the feathers, mainly to those applied to both guards. The silk ribbon is strong. The upper guard has a line just below the gorge shoulder, which may indicate a repair, but nothing obvious when examined from the verso.
Fan Storage Boxes: An assortment of empty boxes, two with catches, previously used for storing fans, to include one in tan wood, unlined, approx. 35cm long, unlined; another of heavier weight, the base inside lined in black velvet, approx. 36.5cm long; a French embroidered silk box in cream, with swags and wreaths embroidered in pale greens and cream, lined in cream, approx. 27cm long; another similar, this time covered in beige moiré silk and embroidered with a spray of pink lilac and leaves, tied with a blue ribbon, lined in cream approx. 31cm long, and finally a larger box covered in green wool, with stylised embroidery in the fashion of McIntosh, this worked in silk in shades of pale green, a dull teal, and outlined in black. Old French retail label on the underside. Lined in cream. Approx. 34cm by 19cm (5). All in good usable order. Box 3 has some light wear to the silk exterior, box 4 is lightly foxed.
A 20th Century Fan in fontange form, the cream cotton painted with a big, blousy poppy and light green leaves. The monture, of simply shaped wood sticks painted white, is also silvered. Mounted à l'Anglaise, the verso is plain. Together with A Cockade Advertising Fan for Melins Food, ''untouched by hand'' the recto with a charming portrait of a young mother and her blonde haired daughter, the lower half with stylised lilies; A Folding Fan with simple monture and double paper leaf, advertising ''Chocolats Royat'' and listing locations for the shops, the recto then showing scenes from these locations, including Lyon and Vichy; and Another Fan advertising Nestlé chocolate (4)
A Moth/ Butterfly Fan and A Seagull Fan: Two Novelty Fans, the first a wood brisé, the guards polished, the inner sticks painted to represent either a Moth or Butterfly, the tips of the central sticks cut away to give more shape to the black body, itself tinged with gold paint. The outspread wings, in pale green, have painted detail in turquoise blue. The verso is plain. Approx. 5 and 3/8 inches or 13.5cm. T/w a black gauze fan, the leaf mounted on simple wood sticks painted a light gold. The recto shows a seabird in flight over water, wings outstretched to the top of the leaf, the plumage a very light blue with white tinges to represent feathers. Slight fontange form, overall height approx.6 and 6/8 inches or 17cm.. A split to the top of the upper guard but the fan remains strong. Washers missing. The lower sticks are a little chewed and the lower guard has a sliver missing on one side. The bird fan leave is splitting to the on the first fold to left side but just holding.
Three French Exhibition Fans, 1889, 1931 and 1937: The first, in cockade form, was issued in Paris for the Exposition Universelle in 1889. Held between May and October, it attracted more than 32 million visitors, perhaps due to the landmark Eiffel Tower being constructed for the event. It was also held to celebrate the 100th anniversary of the storming of the Bastille, which marked the beginning of the French revolution. The paper cockade fan, in turquoise blue, has traces of royal blue marabou feather to the outside. Formed as a tube covered in geometrically printed paper, in various shades of blue, the inner tube shows the words ''Exposition Universelle'' when extended, and a sketch of the Eiffel Tower plus the date ''Paris 1889''. Bound with gold braid. Extended length approx.15 inches or 38cm; next, a scarce paper fan in fontange form advertising Chocolat-Menier at the time of the ''Exposition Coloniale Internationale de Paris 1931''. This was an event held over 6 months, May to November, designed to show the diverse cultures and huge wealth of France's overseas colonies. This event was on an enormous scale and thus held in the outskirts of Paris in the Bois de Vincennes. Other nations with colonies of their own also participated, including the UK, the US and The Netherlands. The recto is printed with a colourful collage of people, from women wearing colourful clothing to a native carrying a spear and shield, surrounded by foliage, buildings hosting the French flag, and a huge ship. Signed to the right by Jean Mercier (?). The verso of the double leaf shows a grand building with ''Chocolat Menier'' sign, palm trees to the sides, and tables with sun umbrellas on a square in the foreground, with many people taking refreshment: finally, a paper advertising fan in fontange form for the ''Exposition Internationale 1937, signed A Engel, the double paper leaf showing the river Seine and various Parisian landmarks on the recto, the verso in lime green advertising various business premises around the louvre. Simple wood sticks dyed pink, overall height approx. 10 and 1/8 inches or 26.5cm (3). The cockade fan will not refold into the tube, most of the feather decoration has worn away and the folds are crumple The Chocolat fan is in good order but has rubbing to the folds nicks to the top of folds and crumpling where the leaf protrudes from the guards. The 1937 fan has light rubbing to folds, some creasing to the very top, generally sound.
Two 19th Century Advertising Fans, the first for a restaurant in CAEN, in the Place du Marché au Bois, run by Fabre Succr, named ''Ancien Restaurant Bourdeux'' and said to be an establishment recommended to tourists for the reputation of its wine cellar and excellent food. To the left of the advertising is a drawing of the ''Eglise St Pierre de Caen''. Also noted ''Lith L. Palmé, Caen''. The recto is printed with an elegant spray of red roses in bud, and an orange butterfly in flight. Plain, light wood monture. Guard length 10 inches or 25cm; and a circa 1900 advertising fan with double paper leaf, promoting the Casinos de Biarritz, the recto printed with two contemporary images of the casino buildings, but also showing motor cars, bicycles, and fashions of the period as it features the access roads and the beaches. The verso, with gentle classical gold border detail, notes ''Event. Chambrelent 7 Croix, Paris - Déposé''.. Interestingly, the first fan's recto/leaf paper has not been fully trimmed back and overhangs. It looks like damage but is actually surplus to requirements, as seen from the verso. Fan 2 lacks the very bottom of the lower guard and first stick in. Note the substituted washer on the rivet which is rectifying the matter!
Hotel and Restaurant Edouard VII, Paris: A Good Printed Early 20th Century Paper Advertising Fan of ballon form, the single leaf mounted à l'Anglaise, the monture made simply from wood and stained mid-green. Printed by PH. Gaston Edit. Located in central Paris, 39 Ave de l'Opèra, the hotel has a direct view of the Opera building. The hotel is shown centrally on the recto, with l'Opèra to the right and possibly L'Eglise Sainte-Marie Madelaine to the left. The leaf is bordered in dark green to offset the light salmon background. The reserves feature stylised flowers and leaves. The verso is plain. Overall height 10.5 inches or 27.5cm. Generally sound and clean, some nicks to upper folds, one fold has been reinforced, seen from the verso. Two or three pinholes visible when held to the light.
A Selection of Interesting 20th Century Chinese and Japanese Fans, starting with a wood example with simple bands of piercing to the gorge and quite a modern linear textile fabric design to each side of the narrow paper leaf. Finished with a simple cord adorned with a green bead. Together with a folding fan with narrow cotton leaf featuring mountain ranges, the gorge with a drawing of an elder and servant passing a stylised tree. The verso has a gorge design of small birds pecking for food. Both sides have calligraphy; a light wood extensively pierced brisé fan, with the addition of a band of sunflowers. Both sides alike; another wood brisé, with folding action, decoratively pierced and featuring a rural scene with pagodas and stylised trees, the verso with a bunch of grapes, and leaves; a wood fan, painted black, the sticks serpentine and shaped at the shoulder, which is actually where the fan sticks pivot to fold in two, and gilded. The paper leaf is painted with a lady dressed in a blue kimono walking in front of water, habitation behind. The verso, in pastel shades, has the effect of haphazardly applied glitter; a paper cockade fan, the leaf a simple design of clouds, with wood sticks to the centre, the smooth handle with a mechanism for folding the fan closed; a fabric fan with mountain scene, the snowy cap in the tallest peak being worked in silk thread; and a cockade fan on dark wood, the handle smooth, the leaf paper with a design of rolling clouds, the handle in two sections clipping together to hold open. (7). Generally all good used condition.
Japan, 19th Century, A Large Wood Brisé Fan painted to the recto with a distant view of Mount Fuji, workers in the fields to the foreground, one carrying paniers on a pole across his shoulders, another fishing, others preparing refreshments, a kettle and bag of provisions being laid out. The verso is painted with large blossom, generally in cream with pink tinges, dark green leaves, and a small bird swooping in to land. Strung with the traditional threads. The guards, slightly darker than the 34 inner sticks, have light gold painted foliage, a bird to the tip on the recto, a butterfly on the verso. Shaped metal loop. Guard approx. 14.25 inches or 36 cm*. Together with A Second Japanese Fan, circa 1870's, the recto boldly painted with figures in traditional kimonos undertaking various activities: two ladies preparing to take tea; two men seated and playing drafts, and finally a lone man, holding an open fan, having perhaps just finished his ablutions. Signed by the artist to the left. The verso of the double paper leaf shows a crane flying low over a garden, exquisitely painted Iris in lilac and blue in full flower, bamboo leaves mixing with wildflowers in pink and lilac. Signed and stamped by the artist. Simple bamboo monture. Guard length approx. 10 inches or 25.5 cm (2) See Neville Irons ''Fans of Imperial Japan'' pages 78/79 for a wood brisé fan with similar features, stated to be circa 1800, Edo period.. The large fan is generally good but at one side the first stick in is stuck to the guard. One inner stick has a split tip and two others lack minute side slivers. At one end a small piece of tape holds the thread to the guard, just needs to be re-glued. The smaller fan has a split almost the length of one fold, some loss to the lower border of the leaf, centrally, grubby folds at each side of the guards, and general rubbing to most folds.
A Late 19th Century Japanese Fan, Ogi, the monture of ivory, painted with various colours of lacquer, and inset with shibayama. Featuring wisteria, birds, insects and further foliage, perhaps lilies, the guards are exquisitely worked. The gorge sticks are plain but simply shaped. Embossed detail to the white metal loop. The double paper leaf is painted to the recto with a tranquil scene of cranes by a riverbank and in the water, their depiction very detailed and elegant. Slender, stylised trees fill the background and are supplemented by various floral species in soft pink mid blue and white. The verso is painted with large blousy peonies, and hydrangea, in pastel shades of pink, blue and white. A butterfly and moth approach. Accompanied by a tan wood fan box with characters written on the outside. Together with A Very Vibrantly Presented Late 19th Century Japanese Paper Fan, the leaf mounted on rounded dark wood sticks. The recto is painted in strong orange with autumn leaves contrasting colourfully with a part gold background. The verso, with a dull red background and touch of gold, features spring blossom in light shades of white and pink. Guard length approx. 11.75 inches or 29cm (2). Quite extensive damage to the leaf at both sides on the shibayama fan. The floral fan has some rubbed folds.
A Good, Large Late 19th Century Japanese Ivory Fan, Ogi, the gorge plain but the guards with unusual shibayama inlays, and gold lacquer work, being a pair of cranes and several insects, a ladybird, a spider, a flowering tree, and butterflies. Floral/foliage etching to the white metal loop, ivory ojime, double cream silk tassel. The recto is painted with a winter scene with light snow, a landscape with meandering river, stylised trees and many birds on the water or in flight. The leaf is edged top and bottom in gold. In contrast the verso speaks of summer, with a yellow background painted with delicate flowers in light blue and pink, and touches of yellow, salmon and red amongst leaves. The shibayama is similar to the recto but includes a dragonfly, black and a red beetle. Guard length approx. 15.75 inches or 40cm.. Slight wear noted to the bottom right of the leaf on the verso. Missing top shibayama inlay on the recto.
A Mid-18th Century Chinese Fan with Carved Export Monture, Qing Dynasty, the guards carved in sections on a minute scale, mainly with flowers. The gorge is carved in bands of different designs in geometric fashion. The double paper leaf, découpé, is painted with very naturalistic flowers in good colour, to include sunflowers, pansies, roses and daisies, poppies, ranunculi, and a passionflower, with butterflies arriving from the left. The verso is painted in a similar fashion with moths, heartsease, honeysuckle and soft fruits. Bears a previous auction label dated 21st October 1970. Guard length approx. 10.5 inches or 26.5cm. Together with Another Ivory Fan With Chinese Export Monture, Qing Dynasty, figures and buildings on the guards and a very stylised and geometric design in bands and columns, a central oval with entwined initials. The light cream leaf is painted with pink roses, grapevines with fruit, and swags of flowers of the hedgerow. The upper leaf sections are embroidered with tiny silver sequins. The verso is plain. Guard length approx. 11 inches or 28cm; and A Third 18th Century Ivory Fan, with birds and flowers carved to the upper guards, the gorge with regular carved and pierced design formed by seven shaped and pierced bands. The double leaf features an outdoor gathering in Chinoiserie style, a meeting of generations, with an elderly man at rest, holding a large fixed fan and perhaps a scroll, watching a younger man contemplating a board game, seated at a low table with stylised porcelain flower vase. To the right, perhaps his wife, with two young children, the lady with fixed fan in hand. To the far right, a crane partaking of the orange fruits of a bush on rocky outcrop. The verso is painted with a simple gnarled tree with several colourful blooms. Guard length approx. 11.25 inches or 28.5cm (3) . The first fan upper guard is slightly warped. Losses and tears to some of the découpage. The second fan has 4 major splits to the leaf, all holding, some by virtue of some restoration seen on the verso. The third fan lacks the tip of the upper guard. Fan three has a crisp leaf but some repairs to the bottom left corner. The upper guard is fitted with an old white metal repair plate at the shoulder. Above that, another break is holding with glue. The upper section of the lower guard has an un-repaired break.
A Small Hussif or Sewing Case, early 19th century, an unusual example as worked with beadwork produced by North American Indians. The brown velvet exterior is beaded in floral design with tiny beads in bright colours, including turquoise, white, opaque, sea green and shades of brown and mustard. This example has a dark green patterned silk lining and two pockets formed from silk. At one end blanket stitched wool panels are provided, probably again for securing needles. The edges are bound with ruby silk until reaching the wool panel end where the colour changes to light turquoise. Length 11 inches or 28cm, width 3 and 1/8 inches or 8cm. Together with a second North American Indian item, being an unmounted pair of velvet slippers or indoor shoes, mid to late 19th century, the velvet backed with a strong canvas, the beadwork embroidery, which features a bird, being surrounded by colourful leaves. This second item incorporated larger beads than the hussif. Length, from toe top to back of heel approx. 9.5 inches or 24cm. (3) The old English term ''hussif'' derives from ''housewife'' and refers to a sewing case with pockets that can be rolled up, and would contain basic sewing tools such as pins and needles. In Victorian England a Lady would work panels for slippers in Berlin woolwork or beadwork and take them to a cobbler to be mounted on soles.. The hussif has some loss to the beadwork.
A Very Pretty 19th Century Hanging worked with a mix of ribbon work and tambour in silk thread, on a cream silk satin panel. A beautifully executed floral border with flowers in various sizes and species surrounds two focal points. At the top, a love knot pierced by arrows, in ''forget me not'' blue ribbon, from which is suspended a formal chandelier frame bedecked with flowers, with swags above the to the sides. In the lower section, a formal flower basket with side handles worked in tambour stitch, overflowing with ribbon work flowers, a vibrant lime-green scroll below. Much of the ribbon work uses bi-coloured, very narrow ribbon to enhance the floral hues. Approx. 19 inches or 48cm by 31.75 inches or 81cm including a silk binding and cording.. This panel has been stored away from the light and the colours have held well, in comparison to the verso.
Five Examples of Ribbon Work, from the early 19th century to the 1920's. Comprising a fine black wool panel, finished at both ends and edged with a deep woven braid, lilac fringing to the bottom edge, the ribbon work design alternating between floral sprays and stylised paisley boteh, all worked in pastel ribbons in creams, green and pale lilac. Approx. 115cm; a silk bag formed with a ribbon work lattice in turquoise against a cream silk ground, turquoise ribbon to three sides, no handle; a cream gauze rectangular mat worked with ribbon work flowers to the borders and a lattice of cream threads on the diagonal to the centre; a 1920's salmon pink hanky case with pink ribbon flowers as an inner border, the back in satin painted with pink and blue flowers, edged in gold braid; and a silk pincushion embroidered in French knot with lilac and peach flowers, bead fringing to all sides.. Very good for the first panel. A couple of light marks to the turquoise bag. No handle. Item 3 is distressed.
A Panel of 18th Century Coloured Embroidery on very fine lawn, a part-flounce, the silk embroidery worked in large and repeated motifs. Acid green leaves meander up from the scalloped hem, enclosing royal blue panels with light and dark pink and soft gold detail. Approx. 35.5 cm or 90cm by 7.5 inches or 19cm; seven further 18th century or earlier embroidered fragments, the first the end of a larger article, most likely ecclesiastical as the focal point is a gold embroidered lamb with a cross above. To the reserves, fine and colourful silk embroidery of flowers and leaves, supplemented by some gold metal thread work. Bottom and sides are edged with gold bobbin lace. The top edge is turned under, and a pale turquoise fine silk panel has been added as backing approx. 18 inches or 46cm by 6 inches or 15cm; two cream silk panels, probably part sleeve ruffles, embroidered in tambour stitch in strong colours of red, various greens and mustard, both gathered near the top, backed in part with acid green silk, one fragment edged with bright green and yellow bobbin lace, the lace for the other panel detached but present. Approx. 5 inches or 12.75cm by 10.5 inches or 27cm, the panels not quite equal in length; a dark cream silk square embroidered panel, probably the front of a reticule. Embroidered with small flowers in pastel silk threads, a border meandering around all sides with the addition of a with a metal flower-shaped spangle to the top and bottom edge. Centrally, a slender tree or bush with drooping flowers, atop which are perched a pair of creatures or love birds; a small shaped panel embroidered to the edges in light green and featuring a urn of flowers. Approx. 5.75 inches or 14.5cm square; finally, a lilac silk panel delicately embroidered with pale green leaves and tiny pale pink fruits. A cream gauze ribbon applied in sections, alternatively showing the simply embroidered front and the cream net back. The bottom and sides are hand hemmed and the far right is the selvedge. The very last 2 inches have a cream silk backing suggesting the panel was part of the robe's hem. Approx. 21.5 inches or 54.5 cm by 4.5 inches or 11.5cm (7). The ecclesiastical panel has a large hole to the left side and around/under the lamb the cream silk is splitting. The smallest panel has almost entirely distressed silk ground. The tiny panel is distressed.
Four 18th Century Embroidered Panels, deconstructed from larger items of dress or furnishing. Comprising a Chinese cream silk panel, slightly shaped and with many loose threads and one seam outlining where it has been connected to a larger item. Embroidered with carnations and other meandering floral sprays, the silk is backed with fine cream lining. An attached note, handwritten in ink, in German, notes it to be 18th century. Approx. full size of panel 13.5 inches or 34cm by 19 inches or 48cm; a cream silk panel finely embroidered in coloured silks and gold couched threads, some of the flowers extremely small. The long straight side has a selvedge. The curved side has two inner fold lines and the narrow bottom edge is raw. Approx. 32 inches or 81cm by 12 inches or 31 cm at the widest point; the third panel, a traditional woven silk used for fine robes, features swags and flowers in blue, yellow and shades of pink. Again, traces of fold lines and three edges had been hemmed. Approx. 22 inches or 56 cm by 15 inches or 38cm; and a panel of embroidered linen, perhaps for furnishing, the embroidery on a larger scale. Silk threads in mainly greens, cream and yellow, featuring carnations and other flowers in sprays contained in formal urns. Four such features but not duplicated. Shaped at one end. Three edges have been attached to something else. Approx. 41 inches or 104cm, by10.5 inches or 27cm.. Panels 1 and 2 are in good used condition, panel 2 having a small mark near the narrow section. Panel 3 has light age discoloration but no consequential rot. The last item has a brown stain near the centre left but no rot to the fabric.
An Extremely Rare Mid-Green Silk Letter Case, final quarter of the 1700's to the beginning of the 1800's, exquisitely embroidered with straw. Very high-quality workmanship, likely made in France. To be noted, the use of silk threads forming the diamonds within the lattice, and the use of two-straw plait. Made from cereal crop straw. The case is formed with two panels and a front flap, all panels with a decorative edge and large central design. Lined in cream silk. Approx. 6.25 inches or 16cm by 4.5 inches or 11.5cm when closed. Thanks to Veronica Main, subject specialist, for her invaluable opinion in relation to the straw work.. Evidence of light repair to the silk lining. The linking is lightly soiled. Some light rubbing of the background silk but no actual splitting
Ribbonwork, Braids and Ribbon Trimmings for Millinery and Dressmaking Use, 19th century to 1920's. To include six lengths of narrow ribbon shaped as flowers; one length of narrow edging incorporating turquoise beads; blue embroidery on lawn; a short length of broderie anglaise; a length of silver metallic insertion; a card of gold metallic ribbon; two lengths of silk and metallic braid, one gold and ginger, the other gold and light green; a good length of gold metallic ''lace'' with scalloped edge, and two gold thread tassels, probably ecclesiastical; a length of white ''cucumber'' style lace trimming and another of machine lace resembling needle lace, the latter items of a small scale suitable for use on dolls clothing (16). Good.
Two 19th Century Beaded Caps, European, possibly Boutis de Provence, one beaded with three floral sprays, the other lightly embroidered. The first cap, of heavy white linen, is formed from two panels, the shaped cap back with the remains of a beaded floral spray on the lines of those still present at the front. Small coloured beads form stems, leaves and colourful flowers in shades of strong turquoise, deep blue, pink, red and white. The cap front is shaped and would catch under the chin, no button, button hole or tie present. To the front, the linen appears finely quilted, with the addition of raised areas near the edge on the front panel only. A fine cream cord is attached to the very edge, and on the rear panel this is covered with cotton fabric, perhaps to avoid chafing. Together with another heavy linen cap, this time quilted in diamonds, these with differing patterns within, the cap formed with a rear shaped panel and two side panels joined on top of the head. Sparsely decorated with light embroidery.. Cap 1, some wear to the cotton panel inside the cap. Some loss to beadwork, mainly to the rear. Cap 2, generally in good order but lightly soiled, particularly to the outer front.
Five Purse Examples, to include three heavily beaded miser's or stocking purses, the first with a sage green ground, the two straight end sections beaded in shades of grey and white in a design of flowers and leaves. Both ends are trimmed with steel panels and bobbles, and the purse is fitted with two silver metal sliders. Together with a good black crochet purse, with checkerboard beadwork, gold and silver metal beads further offset with some ruby background sections. Both straight ends have looped gold and silver metal bead fringes, and the two shaped metal sliders are also bi-coloured. The third purse is particularly well designed, the coral background supplemented by teal and green areas within the silver metal beadwork. Both ends have notable detail: the rounded end is fitted with a four looped tassel, each loop formed in circles with the addition of wirework loops near the ends, finished with a steel bead. The square end fringing is formed from the same mix of bead and wirework but in more solid format. The two sliders are shaped and incised. The remaining two purses, in similar shades of dark and light plum, are worked with metal threads to each end, both with paisley boteh design, and both with tassels formed from metal threads, one per purse being particularly elaborate.. The green purse lacks one bobble to one end, and the bobbles are rusty. The central crochet panel has holes. Purse 2 is in good order. Purse 3 has slight wear to the crochet under the rings, and the colour is faded in places. The metal thread purses have colour fade and tarnish.
Fine Embroidery Samples, Point de Beauvais. A favourite of this collector, this fine work features a chain stitch created by a hook, and is noted for its floral motifs. Comprising two small examples featuring initials; one example on fine kid; seventeen examples worked with flowers, one with a colourful cockerel; one with butterflies; two larger panels with various examples; and four panels featuring particularly fine and complex flowers (26) Point de Beauvais is still used in the world of haute couture and can an occasion be noted on evening bags. The samples here were probably used when the client chose their accessories from the retailer. It became popular in France as it was a favourite of Louis XV's mistress, Madame de Pompadour, and is sometimes called pompadour embroidery. The crochet hook is sometimes called a Lunéville, note this is written on one sample. Note one example worked on fine cream kid. Rarely a pair of long evening gloves, or shoes, featuring this work, come to light.. Unused samples.
An Elegant Brown Leather Étui with gold metal and steel exterior decoration, domed hinged lid, opening to reveal a fitted interior covered in eau de nil velvet. At the rear, a red leather covered holder lifts out and opens to a fan-shape, holding packets of needles, a thimble holder formed when the handles are closed, with a gold metal thimble atop. In front, a glass bottle for refreshing liquid or perfume, to the sides a penknife with ivory body, a pair of scissors, an ivory bodkin, and three other tools, one with clenched fist at the top. Height 4 inches or 10cm.. Probably not all original contents. Catch firm, some light marking to the leather.
Antique Lace, all 19th century: A Brussels Point de Gaze needle lace long, shaped collar, roses with tiered petals all along the length. Together with a good, crisp, Point de Gaze lappet designed with flowers; a fragment of Brussels bobbin appliqué with a design of flowers and bows; a Belgian needle lace lappet with geometric design to each end; a fine black Chantilly lace lappet with a large flower head to each end; and a wider black Chantilly lace lappet (6). Here and there a small break in the net, item 4 having slightly more damage. However, the collar has been cut in half just off the half way point, and has been washed. The first lappet, original colour, has some very light foxing.
James Bond Dr No (1962) British Quad film poster for the first James Bond film, illustration by Mitchell Hooks, starring Sean Connery, single fold, 30 x 40 inches. Single fold line, clean condition with bright colours. Has small amount of paper loss lower left corner, tape stuck on top right coroner and tape residue in other corners. Also has snipe over 007 in white credits. Some light creasing a small tape lift on lower central border. Few other light marks but one of the best original condition posters for this movie we have seen!
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