Venus in Vulcan's Forge: An 18th Century Ivory Fan, circa 1750, the exceptional monture is carved and very finely pierced. Each guard has a figure in the upper section, amidst fine panels of piercing, and a cameo type portrait in relief on the lower sections. The gorge is a mastery of carving and piercing to create overlapping for the lower section, where carved ovals contain flowerheads, above which three carved vignettes with extravagantly pierced and shaped borders contain figures. To the right and left, a couple in each vignette. To the centre, a couple in detailed 18th century dress next to the altar of love, one winged cherub on the altar holding aloft a garland of flowers, anther kneeling, as a further couple observe. Eight further cherubs border the vignettes. The vellum leaf, mounted à l'anglaise, depicts Venus visiting Vulcan's forge, perhaps when asking for a sword for her son Aeneas, the Champion of the Trojans in the war against the Greeks. The leaf, painted in dark and vibrant colours, captures the toil and activity of the forge, with men labouring behind, one with a hammer, an anvil and a gilded breastplate visible to the right of a muscular Vulcan, the God of fire and metalworking. A winged cherub clambers over Venus, behind whom a white dove is held in a woman's arms, and another cherub robed in red is seen to the left. The verso is also rich in colour, strong blue featuring in flowers and the robes of two central seated figures engaged in selecting flowers for a vase. The reserves, to the right, feature oriental figures in robes, one in the garden being observed by others from within a building. A further Oriental lady is seated in a reclining chair to the upper left of the European couple, seemingly reading. The far right is painted with flowers and a delicate butterfly. Guard length 27.5cmThe leaf is very rubbed and has had extensive repair to the verso, seemingly at different times. The monture has a crude repair to the lower section of the lower guard, and there are several repairs to the upper parts of the sticks. The ivory is very slightly yellowed.
We found 239713 price guide item(s) matching your search
There are 239713 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
239713 item(s)/page
Flora and Zephyr: An 18th Century Carved and Pierced Ivory Fan, with mother-of-pearl thumb guards. The upper guards are elaborately carved with two figures and a large urn, with some light colour painting. The lower sections are more classical. The gorge is carved to the left with a lady dancing, her skirts swirling, and to the right with three more dancers, the background piercing very finely worked. The vellum leaf, mounted à l'anglaise, depicts Flora, Goddess of Flowers and of the Spring and her husband Zephyr, the Wind God, a winged cherub to the side, a lady gathering flowers with a child to the right, the verso with a simple painting of a lady with a panier. Guard length 26cmThe leaf is quite rubbed at each side. The verso is dirty and has a few stains. The upper guards are likely to be later replacements.
Ruth and Boaz: A Mid-18th Century Ivory Fan, with carved, pierced and gilded sticks, the designs very classical, some roundels set with sparkly stones. The vellum leaf, mounted à l'anglaise, shows the bible story of Ruth and Boaz gleaning in the hayfields. To each side, a country scene, one with a lady and a rural building, perhaps a hayloft, the other with a young boy near ruins. The verso is painted with a single scene of a girl with an armful of hay. Guard length 28cmGuard gilding is tarnished, gorge gilding still quite shiny.
The Sacrifice of Iphigenia: A Fine Mid-18th Century Ivory Fan, the gorge plain, the guards piqué and inlaid with mother-of-pearl, a carved portrait at the tips. The double paper leaf is elaborately embellished along the top and in further vertical panels, with shiny embossed gold foil. A central scene depicts The Sacrifice of Iphigènia, the daughter of King Agamemnon and Queen Clytemnestra and thus a princess of Argos Agamemnon had offended the goddess Artemis, by killing a deer in her sacred grove, who then retaliates by commanding him to kill Iphigenia as a sacrifice, so his ships can sail to Troy. To the right, a horrified onlooker covers his eyes. Two further scenes depict, to the right, a woman and child on a frozen river, and to the left, two older boys playing. The verso has a very natural painted scene, looming mountains with a river in the foreground, a couple to the right, a family of three to the centre, the man smoking a long white pipe, a horse and cart arriving from the left, either delivering or about to take the waiting figures on their way. Guard length 28cmSome losses to the foil, in the main the small shapes on the vertical panels. Folds somewhat rubbed.
The Arrival of the Queen of Sheba: A Very Unusual and Quite Complex 18th Century Ivory Brisé Fan, with thirty carved sticks and two guards, the central panel not carved, as are other sticks painted in pastels, four irregular shapes being unpainted but carved with flowers and foliage, some with gold highlights. The pastel painting depicts birds and fruits. The central vignette is a colourful depiction of the Queen of Sheba arriving in Jerusalem with her retinue to meet King Solomon, shown kneeling with his crown on the ground in front, accompanied by his soldier, the two exchanging gifts, the Queen shaded with a parasol by her female attendants, her train being carried by a pageboy wearing a turban. A castle and other buildings are shown behind. The verso, is a drawn mirror-image of the recto with the exception of the gorge, which is painted with Chinese figures and a building, the surrounding flowers in stronger pastel colours than before. The guards are overlaid with gold flowers and leaves in embossed foil. The ribbon is painted in gold and blue. Tortoiseshell thumb guards. Guard length 23.5cm. Together with a later cream card fan box with cream silk liningOne small nick noted at the edge of one of the inner sticks, to the right. Slight warping when closed. Good strong colour.
Diana the Huntress: A Finely and Elaborately Carved and Pierced 18th Century Ivory Fan, the guards having a panel carved with figures that is also painted. The plain gorge sticks need no embellishment, so elaborately are they carved and pierced, the complexity and the detail of extremely high workmanship. Carved in relief in bands, the sticks include chinoiserie figures, in pairs of male and female, seemingly picking grapes from a vine, the very top edge carved with tiny but detailed buildings. Mother-of-pearl thumb guards. The double paper leaf depicts Diana the Huntress and two female attendants, hunting equipment by her side, three dogs and a dead bird. The leaf is bordered with exquisite depictions of colourful birds on gold, flowers, other symbol and lattices, highlighted in gold, a similar but less ornate border on the verso. The verso shows a young couple, the lady with a distaff of flax or cotton threadOne gorge stick has broken on the pierced section, to the right next to the guard. Three gorge sticks have some ivory repair to the verso. The leaf is quite well rubbed. Some browning to the leaf and some repairs to the lower edge.
An Early 18th Century Ivory Fan, the monture carved and pierced, and painted in green and blue with hints of gold. The guards each have a carved figure. The gorge is centrally carved with two couples, left unpainted, the woodland background in dark green, a decorative urn in strong blue, the decoration to both sides continuing with the blue which creates a fresh effect along with gold. The vellum leaf, mounted à l'anglaise, shows a finely dressed lady in a vibrant blue open robe with pink skirt, seated in a clearing, picking fruit which is growing from a bush backed by a stone wall. Behind this wall to the right is a young shepherd, his sheep grazing, peeking around the wall to gaze upon the unsuspecting lady. The reserves are predominantly floral with a large urn to the right. The verso is painted with a tree, a stone ruin in the distance. Red stone at the rivet. Guard length 28.5cmThe upper guard is broken but present. Brown marks to the verso in line mainly with the ribs.
An Early and Quite Slender 18th Century Ivory Fan, the guards with simple painted decoration, the gorge sticks much more elaborate and vibrant, the paint quite dark in colour, highlighted in gold. The designs feature shells and bold flowers, some of which seem iridescent, perhaps with crushed mother-of-pearl in the paint?, and unusual shapes, many involving two sticks, are bordered with thin lines of gold. The lower section of the guards and the gorge is elaborately carved and shaped so as to give interest to the sticks when the fan is closed and laid on its side. The vellum leaf, mounted à l'anglaise, is painted with stone arches, approaching which are a young country couple, the girl carrying a bale of straw on her head, possibly a references to Ceres, the boy perhaps a shepherd, and to the right, in their path is perhaps the altar of love. The reserves feature quite an exotic flower border, and centrally at the top are more shells. The verso shows a simple scene of trees and wood fences by water, hills in the distance. The gorge is highlighted simply around pierced sections. Guard length 26.5cmThe leaf may have been shortened to the sides. The folds are rubbed. The verso is quite marked in proximity to the ribs.
A Fine and Early 18th Century Painted and Carved Ivory Brisé Fan, the gorge with the addition of piercing. The central mythological scene, bordered in gold, shows a lady being crowned with a garland of flowers. To the right, a lady sits in contemplation beside a tree. To the left, a soldier dressed in red. At intervals, sticks are pierced and carved with flowers. The guards are carved with a man dancing, two flowers, and two ovals, one of which is faintly painted, the other was probably similar. The silk ribbon is painted with tiny chinoiserie figures and water lilies. The gorge is painted with chinoiserie figures, details picked out in gold. The verso is a mirror image drawing of the recto. Guard length 21cmVery slightly warped. The ribbon is defective in several places. Certainly the ribbon. Paint fairly rubbed.
Shipwreck on the High Seas: A Pierced and Carved 18th Century Ivory Fan, with upper sections of the guards carved, and the gorge both carved and pierced. The flowers are particularly delicately carved, and above the central painted vignette, inside which are meandering blue ribbons similar to those which border the scenes on the leaf. The vellum leaf mounted à l'anglaise with a black ground embellished with lilac and white flowers, to the left shows a shepherd, his sheepdog and sheep, with a couple carrying a basket. To the centre, a dramatic scene of high seas and a shipwreck on rocks, with further sailing ships in the distance. To the right, a dog snuffling in the undergrowth. The verso is painted with a simple and elegant branch adorned with blue and pink and pale yellow blossoms, some of which may be orchids. Guard length 26.5cmThe leaf is very rubbed, as is the gorge painting. Several repairs to the leaf folds. The first gorge stick in to the right appears to be a replacement. Sticks very dirty.
The Sheep Shearing?: A Mid-18th Century Ivory Italian Fan, the guards and gorge pierced and carved, the gorge with two ornate ovals each containing two carved doves, a very central rectangle having the initials ''EG''. The double paper leaf is drawn in ink with a very unusual farming scene, an inhospitable landscape, with workers carrying produce and leading laden oxen, an elderly woman to the left, seated, holding a distaff, used for flax or wool, a man beside her shielding his face with a cloak from the dust, his head covered with a wide brimmed hat. The verso is drawn with simple buildings, beneath which in minute hand is a name, Palmieri and 1769. Guard length 27.5cm. Together with a green leather fan case with cream silk lining. A note in the case says ''Palmieri, invento e fere fece?''Leaf foxed, some nicks to the folds, the ivory slightly discoloured. At least two of the sticks have been reinforced down by the rivet
Animal Husbandry: An 18th Century Carved and Pierced Ivory Fan, the guards most unusually inlaid with painted porcelain panels (most likely 19th century), the recto with an exquisite depiction of a shepherdess, flowers and a basket lower down, the verso with her beau, seemingly lost in thought. The gorge sticks with three sea-green painted areas depict, in the centre, classical columns and statues, featuring cherubs, the panel to the left painted with a mythological winged beast, the right having a simple butterfly and flowers. The surrounding piercing features birds, urns and flowers, some with gold highlights. Mother of pearl thumb guards. Rivet lacking. The vellum leaf, mounted à l'anglaise, painted in subdued colours, shows a rural scene of animal husbandry, several men and one woman attending to the animals, one on horseback, the sheep, cows and perhaps a bull taking water or at rest. In contrast the verso depicts an oriental gathering of men and a boy, taking refreshment, the central character holding a fixed feather fan, fawns and flowers to the right, two colourful birds with long tail feathers to the left. Guard length 30cm. Together with a cream, unlabelled, card fan boxThe leaf is rubbed mainly to the sides although some rubbing to the folds. The guards both have minor chips to the inlays, see under the feet of the figures. No rivet, part rivet available in the box.
Hommage to Cupid: A Mid to Late 18th Century Ivory Fan, the monture carved and pierced, gilded and silvered. The gorge decoration alternates between straight panels of silver metal overlaid onto an uncarved stick, and pierced sticks with delicate carving to include lattice work inside ovals. The double silk leaf, with several vignettes, inside quite decorative sequinned borders, shows a central painting of a young woman in 18th century dress, a pink skirt complemented by a white fischu and apron, offering flowers before Cupid atop the altar of love. To the left, her companions, a couple dressed in a similar style, the lady wearing an oversized blue hat and a ruched brown overskirt, the gentleman in a lilac long jacket, pale breeches and a classical wig. To each side, a plaque with dark background depicting white winged cherubs, those to the left playing a flute and a stringed instrument, those to the right in playful mood, one in flight holding a tiny bird. To the reserves, amongst flowers, two further plaques, in lilac, one depicting two doves and olive branches, the other a similar altar with flaming torch. Simple lilac flowers and leaves are painted on the verso. Guard length 28cmGilding rubbed. Numerous leaf folds reinforced as seen from the verso.
Vexation: An Early 18th Century Fan, with plain ivory monture save for the guards, which are carved from tip to shoulder with a man with a walking stick above a half-man half-scaled creature. The vellum leaf, mounted à l'anglaise, is painted in dark colour along the top and bottom edges, with light touches of gold. The detailed scene shows two men and two ladies, all well dressed in 18th century fashion. The man standing to the left, playing a flute, wears breeches with a large rosette to the knee, matching rosettes on his shoes, the colour of his cloak complementing these accessories. Another man lounges on a formal wooden table or bench, proffering flowers to a lady seated at his side, another lady wearing a low fronted and front- laced corseted bodice observing. The lady to the fore, with voluminous pink skirts seemingly extended to the sides with paniers, her bodice of blue with a peplum to the waist, a pink rose pinned to her bodice, looks vexed by the attention and activity. The verso is plain, save for gold paint to the ribs. Guard length 27.5cmThe leaf is fresh and bright despite some minor marking recto/verso, and some rubbing to the folds.
A Fine Mid-18th Century Fan, the ivory sticks carved, pierced and painted, the vellum leaf, mounted à l'anglaise, having a central vignette showing a couple next to the sea, the man scratching the initials EM on a tree, most likely Paris and Oenone, as can be seen from the close up image. To the left, a classical circular stone fountain in a square in front of a substantial stone building, statues on the roof. To the immediate right an elegant lady in 18th century dress, deep in thought, with a vase of flowers, and to the far right a small vignette of possibly fishing boats on the sea. The reserves feature colourful flowers, and a small vignette with a classical building. The verso depicts a stone bridge and tower, men fishing, this vignette being surrounded by very natural flowers in soft green and lilac. The guard sticks are fairly simply carved and shaped, the gorge more elaborately carved and pierced with lightly gilded pierced sticks and others painted in brown and colourful flowers. Guard length 29cmOne leaf support repaired. Leaf folds rubbed, paint rubbed on the gorge.
A Mid to Late 18th Century Ivory Fan, possibly Dutch, the slender sticks gently silvered and gilded, carved and pierced, the upper section of the guards wider. The gorge sticks are centrally carved with figures and flowers and a bird, to the sides some sticks are carved in a chain design, and gilded. The double vellum leaf with reserves of cream painted with simple flowers, has a central large cartouche depicting a couple seated next to a fountain, with their dogs and sheep, blue skies and hills in the distance behind them. To the left, a smaller cartouche showing cows beside a rural dwelling, the tiled roof most extremely pointed, a country maid laden with a double panier which presumably contains milk. To the right, another idyllic scene of a shepherd with his flock. The verso is decorated with small flowers in blue and lilac interspersed with gold. Guard length 28cmThe gilded in still quite bright in places. Some rubbing to the folds.
The Eavesdropper: A Mid to Late 18th Century Ivory Fan, the monture gilded and silvered, carved and pierced, the upper section of the guard wider. The central gorge sticks feature a shaped vignette which is adorned with tiny sequins and contains figures. The double silk leaf shows a courting couple in 18th century dress seated just outside a house, an open doorway behind them concealing an older woman, dressed in blue, who clearly wishes to eavesdrop. Outside of this scene, a further vignette to each side contains, to the left, a pair of white doves, and to the right, classical symbols including flaming torches, all symbols of love. The reserves are painted with colourful flowers and sprays of leaves, in gold. The verso is painted with a small spray of flowers. Guard length 28cmSome loss to the foil on the monture. Numerous folds have restoration, as seen from the verso.
The Grape Harvest: A Circa 1740's Ivory Fan, the plain sticks mounted with a painted country scene of grape pickers in the fields, a small child picking flowers, the leaf of vellum, unusually backed in a fine cream silk, seemingly original. The verso is plain. The gorge sticks are intricately shaped with wide shoulders, and form interesting shapes when the fan is closed and laid on its side. Mother-of-pearl thumb guards. Guard length 28cmThe leaf rubbed on the folds and more generally.
Daphne Fleeing Apollo: A Fine Circa 1700 or Earlier Ivory Fan, with elaborate and intricate ivory sticks, featuring a border of shells, a bulbous head, and a fish or dolphin carved on the guard just above. The sticks are inlaid with mother-of-pearl ovals, and are intricately shaped so as to create a detail when the fan is closed and laid on its side. The leaf depicts the nymph Daphne, her hair and fingers changing into foliage as she changes her form and becomes a laurel tree to escape Apollo, who is in love with her but whom she spurns. Verso plain, except for a fine design of flowers and fruit on each support stick. Guard length 28cmMonture? Leaf folds rubbed.
Pastoral Idyll: An Early 18th Century Ivory Fan, with carved guards and a carved, pierced and painted gorge. The front guard has two panels in the upper section in which are painted flowers. The lower guard has a more plainly carved upper section. A central pierced vignette in the gorge is carved with flowers in a basket, a squirrel to either side, the basket brightly gilded. To the left, two painted Japanese figures, a tall bird table with a bird, to the right a further Japanese figure proffering a red rose to an ostrich. The vellum leaf, mounted à l'anglaise, shows a European scene of a lady listening to a musician playing a stringed instrument, and to the right a young shepherd playing a pipe to his sheep. The verso has a simple painting of trees and a sheep. Guard length 29cmThe leaf is quite well rubbed, and foxed within some folds. The ivory is yellowing in places, the verso is quite dusty and lightly marked.
An Early 18th Century Ivory Fan, the sticks plain with shaped shoulders, and mother of pearl thumb guards, the double paper leaf depicting a shepherdess and sheep in a simple rural environment, a boy carrying a lamb on his shoulders, a tree and house in the distance. Some gold highlights to the patterns on clothing. On the verso, a simple tree, a bird perched on a branch, its face black, its breast a ruby red. Guard length 28cmFresh and clean for its age. One tiny section of leaf lifting on the recto.
An Elegant 18th Century Fan, the monture of carved and pierced ivory, the cream double layered gauze (?) leaf embroidered with swags of silver sequins, the verso plain. The gorge sticks are pierced, with figures, and intricate and varied shapes. The guards and lower gorge are shaped so as to give interest to the lower sticks when closed and seen from the side. Guard length 26.5cmSome fabric repairs to the verso and some small splits yet to do on the folds.
The Question: An 18th Century Ivory Fan, with silvered and gilded ivory sticks, the guards carved, the gorge sticks pierced, the depictions mainly of figures and classical urns. The vellum leaf, mounted à l'anglaise, is divided into three colourful paintings, bordered by gold sequins. The central painting is of a seated young lady, a tray of flower heads on her knee, a younger girl at her side, being asked a question by a young man, finely dressed in blue and carrying a stick. To the left, a simple depiction of a child crossing over a rural river bridge, a building with a domed roof to one shore, the final vignette showing a gentleman sitting on a grassy bank near a barn. The cream reserves are painted with swags, and colourful flowers. The verso is plain, red thread outlining the traces of the embroidered sequins on the recto. Guard length 27.5cm Provenance: Believed to have belonged to HRH The Duke of ConnaughtThe leaf is quite yellowed, as is some of the ivory, particularly the lower gorge. The fan lacks a rivet and is held together with wire.
Birds and Butterflies: A Mid-18th Century Ivory Fan, with slender sticks, the upper section of the guards wider and carved with a flower. The gorge is both painted and pierced, the piercing simple with leaves and curves, a shaped lozenge painted centrally edged in gold and containing tiny brown leaves and delicate blue flowers. Nearer to the head, the gorge sticks are painted in blues and pinks with an Oriental lady and child, a butterfly hovering over lilac and pink flowers. The double paper leaf is fresh and bright and highlighted in gold. An Oriental child wearing pink and blue approaches a man, a lantern hung from a pole over his shoulder, a bird perched on his outstretched hand. The man in similar dress with the addition of a shaped black hat and black shoes, proffers a flower basket containing pink flowers. Behind him on a small table is an exotic pot plant with large leaves and a blue pottery bowl. Above the figures hovers a bright blue bird, another perched on a branch of a tree to the left. The verso is plain save for a few pink flowers and green leaves. The découpage on the leaf is highly detailed and covers the top border, both sides and provides some central detail. The designs are so intricate as to resemble high quality needle lace with various complex fillings, including pomegranates and leaves as well as lattice and scrolling. Guard length 28cmThe leaf is clean and fresh but does have some brown marking on the verso.
The Peacock: An 18th Century Ivory Fan, the central feature a large peacock, his features and feathers created with sequins, some details painted, the gold sequins which border the animal being repeated in a much smaller scale to form outlines for meandering flowers, small painted insects and birds circling on both sides. The verso is plain, the embroidery threads evident. The ivory sticks and guards are silvered and gilded, some carving on the upper guards. The gorge sticks are in pairs. With diamanté rivet. Double fabric leaf. Guard length 27cmMany of the leaf folds have been reinforced from the verso. Several other folds are starting to split.
Hommage to Cupid: A Mid to Late 18th Century Ivory Fan, the monture carved and pierced, silvered and gilded. The gorge sticks feature gilded figures, the remaining sticks being very finely carved and pierced with roundels and lengths of chain. The double silk leaf is almost completely consumed by three painted cartouches, with simple flowers and musical instruments in the reserves. Centrally, the altar of love, being visited by two young couples and another lady who is kneeling to adorn the stone with looped garlands of flowers. To the left, a finely dressed couple supply more garlands, to the right are the young hopefuls, the lady dressed in green clutching the hand of her beau, he in a burnt orange suit and cream embroidered waistcoat, reaching towards Cupid who appears to be proffering a garland of his own. The cartouche is elaborately bordered in rows and chains of gold sequins, as are the two further vignettes to each side. To the left, a young lady in lilac appears to be gathering flowers, whilst the young man in blue with a vibrant yellow waistcoat is holding a flower garland in his hand. Centrally, to the top of the leaf, is a dark blue painted oval within which are entwined initials in gold. To which couple might they belong? The verso is plain. Guard length 28cmSome rubbing to the folds, some light staining to the verso. Slight discoloration to the ivory.
The Family of Darius before Alexander: A Fine 18th Century Carved and Pierced Ivory Fan, with colourful vellum leaf, mounted à l'anglaise, the gorge sticks intricately pierced and carved with three vignettes, all with Chinese figures, the guards in a more classical fashion. The wife, daughters and mother of Darius III, the last King of the Achaemenid Empire, are depicted being presented to Alexander The Great in 333 BC, following Darius's defeat at the Battle of Issus. Alexander displayed forgiveness and treated his captives well. After the oil painting by Paolo Verenese, in the National Gallery, London. The verso is cream and painted with a tree branch on which perches a bird aside its nest with two eggs inside, above two colourful and detailed butterflies, and around are flowers to include roses, carnations and heartsease Guard length 29cmMonture sound? Good strong colours, leaf folds rubbed.
Tea in the Garden: A Mid to Late 18th Century Ivory Fan, the slim sticks simply carved and silvered, the top section of the guards wider. The double paper leaf shows a maid bringing refreshments to couple in the garden dressed in 18th century finery, the lady wearing a blue open robe, pink petticoat and lace to her neck and elbow length sleeves, the gentleman in a long dull red jacket over a blue waistcoat, and dark cream breeches. This vignette is bordered in gold, as are ovals to each side, each containing elaborate gold urns. The gold highlighting is repeated elsewhere on the leaf, with swags to the top border and blue carnations and red flowers throughout. The leaf is entirely bordered in a deep green. The verso is plain save for a simple spray of pink roses and blue and lilac wild flowers. Guard length 27cmThe tip of the lower guard has minor loss. The folds are rubbed. One tiny piercing to the leaf seen from the right on the verso.
The Dancing Lesson: A Mid to Late 18th Century Ivory Fan, with heavy monture, the sticks and guards extensively carved, pierced, gilded and silvered. The guards feature figures on the upper sections. The gorge has elaborately shaped and decorated sticks, some with vignettes where the borders span multiple sticks, and featuring gilded figures. The double silk leaf depicts a mother in pink 18th century robe and matching plumed hat, seated in the garden with a music score on her knee, her arm outstretched, a young boy playing a stringed instrument, a young girl dancing. Both children are dressed in lilac and blue, which is complimented by various bright blue flowers elsewhere on the leaf. The cartouche is bordered in gold sequins, which extend, along with painted flowers, into the reserves. The verso is plain and has a mirror image of the leaf design visible. Guard length 27cmThe leaf is rubbed and has some splits and a small tear to the left. Seen from the verso, several folds have been repaired. The silvering is dull and has loss.
A Simple and Elegant 18th Century Carved and Pierced Ivory Fan, the gorge with small scale lattice work surrounding a central oval containing carved initials and flowers. The guards are carved in panels with small scale flowers, in the Chinese style. The cream double paper leaf has a regular spot feature, these being adhered to the leaf. The verso is the same. Guard length 28cmThe leaf is very dirty on all folds, both on the inner and outer edges. The spots have mainly lost their shine. The leaf has nicks to some folds and a part split just in from the right guard.
Village Wedding: A Mid-18th Century Ivory Fan, with carved, pierced and painted sticks, the guards with a cherub, the gorge most unusually painted with garlands of foliage in a strong green which sweep across the sticks from left to right, alternating with carved figures, their vignettes edged with gold and appearing to be backed with foil. The double paper leaf is painted in three sections separated by flowers, but appearing to relate to the same celebration: a young couple dance together in the centre, a church to their left, outside which more guests are dancing. The scenes to right and left show locals eating and drinking, clearly in joyful mood. The verso shows a quiet moment after the event, three figures taking refreshment, a broom to the side, the end of the day. Guard length 29cmLight rubbing to the leaf folds.
A Circa 1700 or Earlier Very Slender Carved and Pierced Ivory Fan, the guards being lightly carved with diamond shapes, the gorge having four bands of different shapes. The double paper leaf, coloured in pastels and highlighted in places in gold, has delicate drawings of people, animals, and household objects, to include a man crouching with baskets, several stepladders, a tree, two different birds, a dog and other mean and women. The verso, a very simple pastel drawing of a chariot, wheels to the rear but drawn by an animal with antlers, driven by one figure, pushed from behind by two others, and carrying three passengers. Guard length 25.5cmThe ivory is dirty, the verso is slightly foxed with a very small sliver of paper missing.
The Toilet of Venus: An Early 18th Century Italian (?) Fan, the vellum leaf mounted à l'anglaise, on plain ivory sticks with the addition of mother-of-pearl thumb guards. The head is quite bulbous. The highly coloured leaf depicts the Toilet of Venus, with maidens attending, engaged in making garlands of flowers whilst a bare-chested Venus reclines on an enormous bed, receiving a massage. The verso is plain. Guard length 29cmThe colours are strong, the leaf is well rubbed. Some repairs to upper folds.
An Elegant Early 18th Century Ivory Fan, the monture painted recto/verso in reds and gold in the Imari porcelain fashion, with birds in flight and meandering floral sprays. One mother-of-pearl thumb guard present. The double paper leaf is painted with a strolling couple, their tiny dog urging them ahead. The man carries a sword, the lady her white gloves. The verso is completely plain. Guard length 26.5cmThe lower guardsticks is broken down by the rivet, and the thumb guard is missing. The upper thumb guard lacks a section. The leaf is dirty, the folds rubbed, and numerous repairs to the paper are obvious on the verso.
A Circa 1730 to 1740's Carved Ivory Fan, the guards intricately carved in the Chinese export style, the gorge pierced and carved with seven vignettes of different shapes and size, light carving within, four further pierced vertical lattice panels, and surrounded by regular piercing. The double paper leaf, possibly painted by Jean-Baptiste Pillement, depicts a colourful and detailed procession of an Emperor and his Empress in a horse drawn and highly decorated carriage, other horsemen behind. To the left, pagodas, to the right an elaborate Japanese garden with the traditional curved bridge over a stream. The verso has an outdoor scene of Chinese figures on horses and in a boat on the ocean, a background of rocks and trees. Guard length 28cmThe leaf has a major split next to left guard. Folds generally rubbed. Several repairs to split folds on verso.
A Most Unusual Ivory Fan, circa 1740, the upper guards carved and painted, the gorge sticks undecorated but intricately shaped at the bottom, painted and straight at the top, the painting, in rather subdued shades, showing houses beside a river. The shaped sticks form hearts in pairs, and are carved so as to create an interesting pattern when the fan is closed and on its side. The double paper leaf, painted in pastel colours, shows a variety of Chinese activities, with two different boats on rivers, one carrying a passenger shading himself with a parasol, a farmer in the foreground driving his oxen, an unusually shaped property surrounded by plane trees, other buildings, and a large fish. The verso shows a coastal view with boats, rocks with fish, people and buildings. Decorated mother of pearl thumb guards, Guard length 25.5cmBoth guards have tiny shells applied to the upper sections. Some leaf folds repaired more to do. Some blackening to the leaf to the front right.
A Circa 1760's Ivory Fan, with double paper leaf, mounted on very plain and simple sticks. The leaf is découpé, the cut technique giving a lightness to the leaf and in this case contrasting well with flowers and birds which have been painted in deep pink and lilac. The découpage is in the form of a top border, the designs alternating between a pair of doves, a bird cage and a flower head. Vertically the découpage is in bands, one with ovals containing dolphins. The verso is plain. Guard length 26.5cmThe folds are quite dirty, there are several tiny nicks to the folds, some very small losses in the decoupage, and the paper over the upper leaf has lost its top layer.
A Very Fine and Slender Ivory Fan, dated 1747, the guards carved, pierced and painted with baskets and shells. The gorge is painted in red and green and shows tiny houses and figures, small objects, all with a red lattice background, below which are more tiny designs, to include ladybirds, in between piercing. The double paper leaf is painted with oriental ladies taking tea, one being shaded by her attendant with a large parasol, to the left of which a tree, with overhanging branch filled with fruit, possibly plums, has three small birds perched aloft. Two larger birds with black heads and red and blue striped wings forage on the ground. The verso is plain. The leaf is noted ''Published by M Gamble 1747''. Guard length 26.5cmThe monture is quite fresh, the leaf a little dusty, as are the folds.
Exploring the Orient: A Late 18th Century Ivory Fan, the upper guards wide and featuring a figure. The monture is silvered and gilded, carved and pierced, the gorge featuring more figures. The double paper leaf depicts an unusual tea ceremony, a servant bringing refreshments to place on a low table with red bamboo legs,, another holding a red parasol over a guest, whilst an oriental gentleman stands at a slight distance to the right. The guest is a European explorer, with a waxed moustache, wearing robes to conceal his western dress, but still wearing his pith helmet complete with plume. The reserves are full of flowers and trees, many details highlighted in gold, to the far left a tree drips with blossoms, some blue, some smaller in pink, and bears two rather aggressive looking birds, probably fighting cocks. The verso has a simple spray of lilac flowers and leaves. Guard length 27cmThe fan is quite dirty, and soiled, most evident from the verso, some restoration also being visible. Folds are rubbed. The colours are bright and strong.
A Late 18th Century Ivory Fan, the slender sticks delicately painted with pink and blue flowers, some gold highlights, two painted plaques to the upper section of the guard. The double paper leaf shows three oriental ladies grouped around a low table, regarding a chequered game board, a blue pot containing perhaps gold counters to the right. To their right, a collection of coloured wide necked pots, which may relate to the fishing scene far right. To the left, a low table at which a female attendant is preparing refreshments. A delicate gold border compliments the stylised landscape and trees. The verso is painted very simply with thin leaves and ginger flowers. Guard length 26.5cmSlight staining to verso, perhaps glue residue.
The Sacrifice of Iphigènia: An Early 18th Century Ivory Fan, the monture inlaid with lightly carved mother of pearl and piqué, the gorge sticks also pierced. The vellum leaf, mounted à l'anglaise, depicts The Sacrifice of Iphigènia, the daughter of King Agamemnon and Queen Clytemnestra, and thus a princess of Argos. Agamemnon had offended the goddess Artemis, by killing a deer in her sacred grove, who retaliates by commanding him to kill Iphigenia as a sacrifice so his ships can sail to Troy. The scene includes a bowl waiting for the severed head, and a hovering angel. The verso is quite vibrantly painted with a couple in the countryside. Guard length 28.5cmYellowing to the ivory. A mother of pearl panel/ivory section on the upper guard has been repaired causing the guard to warp, two gorge sticks are broken and held together with tape. The folds are very rubbed.
An Early 18th Century Ivory Fan, the guards with basic carving, the gorge sticks carved to the sides and pierced in several bands of regular patterns, giving interest to the fan when closed and laid on the side. The double paper leaf is painted in subdued pastels with a seated oriental lady being offered refreshment by her attendant, enjoying a garden of pretty flowers, with a tree in blossom to the left, two birds on a bough possibly fighting, their wings of black and orange highlighted in shiny paint. The verso is virtually plain with a simple line drawing of a flower and leaves. Guard length 28cmTwo of the gorge sticks are reinforced on the recto with slivers of ivory, some slight damage to the leaf above at that point, on the verso the paper is slightly discoloured.
A Late 18th Century Ivory Fan, the monture carved, pierced and painted, the guards with cornucopia, swirls and a female figure, the gorge with a central scene of a couple and additional lady in the garden, accompanied by a small dog, flutists playing at either side, colourful background flowers and stylised decoration highlighted in gold. The double paper leaf, bordered with roses, shows an Oriental couple and two children in the countryside, a mountain range in the distance. The verso in colours that suggest the early 19th century, depicts a country couple enjoying a secluded picnic. The gorge is plain save for some tiny pink flowers. Guard length 33cmNumerous repairs to the folds on the verso, some on the recto, and some of the leaf is lifting. To the left, one stick is stuck to the guard.
An 18th Century Ivory Fan, the guards painted in a pale sea green, with chinoiserie detail in brown and gold. The gorge is also painted in slightly lighter shades, a water scene with boat, a house on stilts, and rocks. The vellum leaf, mounted à l'anglaise, is painted with people at leisure in a garden, a further figure watching from a stone summer house. One gentleman plays a stringed instrument, a couple dance, a white dog with black markings listens, and the central lady dressed formally in a pink sack back robe, chats with her friends. The verso, with a simple meandering flower border, depicts a tree. Guard length 27cmThe leaf has either been slightly affected by humidity, or the slight crumpling is a result of many repairs to the folds on the verso. The folds are quite rubbed.
The Crowning of the Rose Queen: A Late 18th Century French Fan, with ivory sticks and guards, the gorge with a variety of roundels, gilded and silvered, the guards with fine carving depicting a cherub on a pedestal, a man kneeling beneath. The double silk leaf portrays a procession through the village of the young lady who is to be crowned the Rose Queen, named by the clergy and officials as being the most deserving and most virtuous. This depiction shows a musician beating a drum to announce her arrival, dressed in white, at the sumptuous throne, draped in red, her crown, a flower garland, waiting above to the left, guarded by a man in uniform. A small banner at the back of the procession proclaims ''Le Prix de Virtu'' (the prize for the most virtuous). This relates to an old French custom instituted by Saint Médard in the 6th century. By the end of the 18th century the custom had spread throughout France. In 1774 a Pastoral Comedy was composed by A Giétry, entitled ''La Rosière de Salency''. Each side of the central vignette, itself bordered with gold sequins, is a smaller vignette with matching border, one with a young man, one with a young woman, both holding flower garlands. The verso has a simple flower spray, and the gorge sticks are flat. Guard length 28cm See ''Éventails Européens'' by Maryse Volet page 36 number 22 for more information and another example.The gorge decoration is rubbed. Every leaf fold has been restored from the verso.
A Royal Worcester porcelain squat vase, transfer and infil decorated with garden flowers to an ivory ground, puce mark and date code for 1915, 8cm diameter together with a Hadley's Worcester pot pourri vase and cover decorated with flowers and insects, 15cm high CONDITION REPORT: Vase and cover - cover is damaged with pieces missing, vase has minor surface scratches otherwise oksmall vase - gilding rubbing and surface scratches otherwise ok
A late 19th century ivory figural container, in the form of a female figure holding a cloth and orb, on a circular base, 8cm high CONDITION REPORT: Hairline cracks throughout, in used conditionThis lot contains ivory. Due to recent changes in the laws of many countries (e.g. US, France) Anthemion Auctions recommends that buyers check with their own government regarding any importation requirements prior to placing a bid. For example, US regulations restrict the import of elephant ivory and prohibit the import of African elephant ivory. Please note that Anthemion Auctions will not assist buyers with the shipment of this lot into the US. A buyer's inability to export or import these lots cannot justify a delay in payment or sale cancellation.
A mother of pearl note case together with an inlaid ivory card case and a carved ivory pill box CONDITION REPORT: Mother of pearl note case - chips and cracks to the panels in used condition, Card case - warped and cracked with losses, circular box - base is loose, hairline cracks and some discolouration
A late Victorian large crocodile dressing case, stamped with initials B.M.M., fitted with seven mounted bottles, eight ivory items, a leather mirror, leather blotter with an ivory dip pen and pencil, seven other leather accessories, a leather manicure wallet containing twelve various fittings (some silver). The silver bottle mounts London, 1895, maker's mark of T.J. Watson, each item crested 'His Nitimur et Munitur' (We rely on these and are strengthened by them), family crest and coat of arms of the Maconochie family, the case with original outer canvas case, approximately 23x55x40cm
Loading...-
239713 item(s)/page