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Click here to subscribeRussian Diopside Pendant Earrings, each earring having an oval cut solitaire Russian diopside of 1.4cts, set in a hand crafted, lozenge shaped, decorative, silver drop with shepherd's hook fittings; mined in Siberia during a short season of the year when the ground is not under deep snow and the temperatures down to minus 40 degrees, the diopsides tend to be a darker green from over 1ct in size; 1.8 inches (4.5cms) long
An Early 18th Century Ivory Fan (possibly earlier) painted on vellum in strong colours, with Venus appearing in her chariot in front of Adonis, reclining within an elegant, draped arbour, Cupid approaching from the left. The verso is painted with large and colourful flowers and leaves. Guard length approx. 10.5 inches or 26.5cm. Together with A Simple Late 18th Century Cream Gauze Fan embroidered with gold sequins in rows and swags, edged with silver foil, the slender monture carved and pierced. Guard length approx. 9.75 inches or 25cm. (2). The first fan leaf is splitting on one fold, but holding. The second fan is in good order with one small split appearing to the front silk layer.
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 Good Gauze Fan, the double leaf in fontange form, and presented in three sections, the central panel featuring a hunting scene, a lady on horseback, riding side-saddle, with a falcon on her wrist, accompanied by another lady and a gentleman on fine horses, a knave slightly ahead with three dogs, blowing on a hunting horn. Green plastic or resin sticks, mottled in imitation of horn. The remaining sections of the fan feature a wreath of autumn foliage and red berries, emphasised by delicate silver embroidery and oval sequins, with tiny gold sequins adorning the borders of the central scene. The verso is plain cream gauze.. Part of one rib lacking. Slight staining and discoloration to the lower third of the leaf.
A Striking Fan, the wood sticks painted black, serpentine, the guards of shaped bone. The fan, in ''cabriolet'' form, created with an upper fabric leaf painted with two elegant ladies being conveyed across water in a gondola, adorned with cerise flowers. Below the central section, the sticks are shaped and decorated in blue, effectively causing a double horizontal band. This design is repeated at the tip of the upper guard. Likely 1920's. The verso is plain. Together with A 19th Century Wood Fan, the monture painted black, the double paper leaf silver to the recto and bronze to the verso (2)
An Early 20th Century White Mother-of-Pearl Fan, the leaf with cream background net, overlaid with cream silk in one large central panel, allowing net to show as a border, supplemented by silver sequins. The scene, en grisaille, shows a maid at a well drawing water, assisted by a gentleman with ponytail, and observed without their knowledge by a slightly older lady. Both gowns are à la polonaise. Mounted à l'Anglaise, bone ribs. Signed H Varennes. The verso is plain. The monture, silvered simply on each guard, is more ornate to the gorge with four shaped panels containing interesting scale-like detail, bordered with silvering. . Some discoloration to the silk as seen from the verso, to the recto on the right.
Five Fans, two with sequins and two in Palmette or Jenny Lind form. To include a fine circa 1900-1910 example, the bone monture incised and painted with flowers in pastel shades, the guards a strong gold, some of the gorge sticks with gold columns. The leaf, on a base of stiffened net/gauze, is overlaid with olive green silk, cut away in places to reveal the net, these areas then painted with colourful flowers. In the centre, the silk is painted with a wealthy lady taking a stroll in the grounds of a castle a white dove fluttering beside her. To the left, a painted panel featuring a tower and bridge over a river, to the right a back view of a grand building with terraces and steps, presumably other views of the castle. Rows of gold sequins border the features and along the top of the fan leaf. The verso is plain. Contained in a card fan box with green exterior, and gold detail to the lid. The second sequin example is a wood fan stained black, the monture incised and clouté, the double cotton leaf embroidered with sequins and paillettes of different shapes, in silver; thirdly, an early 20th century bone fan mounted with a cream gauze leaf, and featuring a couple spending the afternoon collecting flowers or fruits, the lady wearing a robe à la Polonaise, the gentleman in breeches and waistcoat, being observed rather wistfully by another lady in similar costume. Reserves gently painted with pastel flowers and embroidered with sequins; a Palmette fan or Jenny Lind, the panels cream and painted in pastels with flowers; and another Palmette fan, the fabric panels in royal blue, the bone monture most unusually extending onto the leaf and being embroidered with sequins. Note also the shaping to the upper guards (5). The sequin fans are in good order. The gauze fan has issues, a broken guard and subsequent damage to the leaf to the right. The Palmette fans have wear/staining and crumpling to the leaf panels.
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 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.
A 19th Century ''Jenny Lind'' or Palmette Fan with original, shaped, box. Each shaped fan panel is dark cream moiré silk, recto/verso, the recto painted with pink roses and green leaves in large and small sizes. The verso is plain. The bone monture, carved, pierced and clouté in steel, is fitted with a shaped loop and elaborate tassel, this being worked with silver thread and decorated with silver beads. The exterior fan box lid has an oval label printed with pink roses and other flowers and leaves, with a gold chain border.. Good, clean.
A Very Pretty Painted Fan, circa 1910, the monture of blond tortoiseshell and the upper guard fitted with a spray of flowers and leaves, in diamonds. The single leaf is painted with a maiden playing a lyre, seated on a rock overlooking a lake, winged cherubs flying above her, holding a cream shawl. Birds fly over the water. The reserves, with scrolling and flowers, have highlights in gold and silver. The painting is signed to the right ''S. Sanchy''(?). The verso is plain, ribs evident. Fitted with an elaborate knotted cream silk tassel.. The fan has had some competent restoration, see from the verso. Small areas where folds have been reinforced, and one rib end is lacking but has been painted to appear evident.
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 Regency Fan with ivory monture, very elaborately decorated. The shaped gorge sticks are silvered, and applied with silver spangles of star design, and generally clouté. Barrel head. The cream silk leaf is divided into three scenes of colourfully painted cherubs high in the clouds, the central panel portraying them engrossed in garland making, music and simply partaking of a goblet of red wine. Tall columns, with vases atop, also feature cherubs. Borders of tiny gold sequins are embroidered on the columns, in swags above the paintings, and within a strong Greek key design that encloses the central panel. The verso is plain. Guard length approx. 9 inches or 23cm. Together with A Small Early 19th Century Carved, Pierced and Painted Ivory Brisé, the nineteen inner sticks and two guards rising to a point, the main body of the fan pierced in bands. Barrel head. The recto is painted with bright blue, yellow-centred forget-me-nots and dark green leaves, fitting into the shape provided by plain band. The verso is similarly decorated, this time with pink roses and small summer blooms. Guard length approx. 6 inches or 15cm; and Another Small Carved And Pierced Ivory Brisé, the twenty sticks and upper guard with slightly rounded sticks with serrated edges. Designed with two bands above and below the ribbon, and further carving nearer the head. Guard length approx. 6.25 inches or 16cm (3)
Three 19th Century Fans, comprising a small and pale horn brisé with barrel head, circa 1820's, the twenty inner sticks and two guards, carved, and pierced, with pointed tips. A painted band runs under the ribbon, a gold background highlighting roses and daisies in pink, tomato red, and blue. The verso is painted with a similar gold band featuring simple leaves. Guard length 6 1/8 inches or 15.5cm; Together with a small horn fan, the monture gently incised with flowers and bows and then lightly gilded, the silk leaf, backed with cream gauze, mounted à l'Anglaise. Part of the design features silk cut away to reveal the gauze behind, most noticeably at the upper border. Tiny gold sequins and shaped silver spangles are densely embroidered throughout, the upper border including ones of floral form. Guard length 7.5 inches or 19cm. Finally, an attractive and frothy dark cream ostrich feather fan, overlaid with shaved feathers which emphasise the edges. The monture and loop, of resin or ''blonde tortoiseshell'', is plain but adorned with an ornate and elegant gold metal monogram on the upper guard. Overall height 13 inches or 33cm. . Brisé fan has rubbing to the painted detail and the tip of one stick has losses. Splays slightly when closed. Warping to two sticks. The gauze and sequin fan has a split top left, just to the bottom of the border. The first gorge stick in from the left has broken away from the rib. The extreme top edge is lacking some of the bordering, looped gold thread. The feather fan is in good general order, the monogram bright.
An Early 20th Century White Mother-of-Pearl Fan, the leaf of silk net, embroidered overall with carnations formed with pearlized sequins, applied with painted silk and edged with couched silver thread. Guard length 8.5 inches or 21.5cm. . Generally good with some small areas of net conservation next to the front guard.
An Attractive, Large 1890's Cream Gauze Fan painted with branches of lilac blossom in shades of purple and white blooms with delicate flowers. Mounted on pink mother-of-pearl, signed indistinctly with three names to the right, and ''95''. The verso is plain. Together with A 1880's Bone Fan with cream silk satin leaf, the monture gently incised, the gorge with a central flower, the stem to the left and further foliage to the right. The leaf is well painted with three small brown birds in flight, a wasp just slightly ahead. The verso is plain; and a simple bone fan, late 18th to early 19th century, the double turquoise leaf embroidered to one side with silver sequins, the top edged in silver foil. . The lilac fan has staining to each far side, and some foxing, plus damage to the monture including a repair to the upper guard. The satin fan has one small brown mark to the centre gorge. Fan 3 has rubbing to the folds.
A Good Early 19th Century Gothic Pale Horn Brisé Fan, carved, pierced and gilded, the tips unusually shaped, and carved with delicate and detailed roundels and large leaves. The main body of the fan, with an uncommon, almost orientalist design in gold, supplemented by flowers, is also piqué with silver metal. The verso is similar, orange highlights replacing the piqué work. Barrel head. Guard length 7.5 inches or 19cm.. The silk ribbon is sound. Slight loss to the horn piercing noted to three sticks to the right side.
An Elegant Belle Epoque Sequin Fan of ballon form, the pale horn monture piqué in gold and silver, the cream gauze overlaid with cream silk, this being cut away to leave silk for the upper border and the form of the Iris which takes centre stage. Tiny gold and silver sequins border the edges where the gauze is revealed, and elongated spangles in silver and gold radiate from the Iris and across the single gauze layer. The leaf is mounted à l'Anglaise, on bone ribs. Simple good metal loop. Overall height approx. 9.5 inches or 24cm.. Good, sequins clean and shiny, no splitting noted, strong gauze. Three of the gorge sticks have slight nibbles in the horn.
An Attractive Floral Black Lace Fan, most likely Chantilly, circa 1900, the leaf incorporating a central painted gauze panel painted with a fairy-like maiden in blue flowing gown, large wings unfolded, these being highlighted with minute silver sequins. The monture, quite plain, is of resin or ''blonde tortoiseshell''. Guard length 9.5 inches or 24cm. Together with A White Mother-of-Pearl Fan, the monture carved, gilded and silvered. The Brussels Mixed Lace Leaf features a Point de Gaze needle lace flower spray applied to net to the centre, the remaining leaf worked with typical Belgian bobbin lace flowers and leaves. Guard length 8.5 inches or 21.5cm (2). In good order, slightly rubbed gorge and the shoulder of one stick has slight wear. A one-inch split noted to the ground, to the lower left near the first stick in. Break to the loop. The lace leaf on fan 2 has most likely been remounted after washing.
An Early 20th Century Fan, the monture of resin or ''blonde tortoiseshell, the upper guard bearing a silver metal monogram. The leaf, of Brussels Muslin Appliqué, is of fabric laid onto and applied to net. The design has the addition of some fillings and features a tiny butterfly to each side, approaching the flowers and leaves that meander throughout. The plain metal loop holds a cotton cord and a cream silk tassel. Guard length 8.5 inches or 21.5cm. Together with A Bone Fan, the monture carved and pierced, the needle lace leaf backed with cream satin. Possibly Battenburg or Luxeuil, known in the UK as Branscombe, certainly a heavyweight tape/needle lace with large brides. The design focus is on three large butterflies or moths placed at regular intervals. The plain metal loop holds a cream and pale pink knotted silk tassel. Guard length 9.5 inches or 24cm (2). The first fan is in good order Not to be confused with the similar lace Carrickmacross which has loops along the borders. The tape lace fan has 2 backings and the final layer is torn and stained.
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 Good Circa 1900-1910 Brussels Bobbin Lace Fan, the leaf with a background of black net, applied with six exquisitely worked butterflies or moths, wings outspread, approaching flowers. Superb detail to the creatures, using whole and half stitch, a variety of fillings, relief for the eyes, and a cobweb effect above and amongst the flowers. Embroidered with silver sequins and spangles to provide highlights. The monture, of dusky mother-of-pearl, is shaped to undulate and is adorned with tiny daisies. Diamanté rivet, black wood ribs. Overall height approx. 11 inches or 28cm, the leaf raising slightly proud of the guards. Contained in a good woven floral brocade covered fabric fan box, lined in rose pink, marked inside the lid, in gold, ''Manufactured in Paris'' and J. Duvelleroy Paris, by Appointment, London 167 Regent Street''. Very good excepting the tarnish to the majority of the sequins. Firm clasp to box.
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.
The Meiji Court: A Late 19th/Early 20th Century Hiõgi or Japanese Court Fan, a brisé fan silvered, gilded and painted against the natural dark wood with prunus and willow. The verso is painted with the traditional birds and butterflies amongst clouds. From each guard hang six long plaited silk cords (which are believed to represent the six virtues) measuring 60 inches of 152.5cm, and artificial flowers are attached to each side. Twenty-three inner sticks and two guards. The rivet is capped with a butterfly to one side and a flower to the other. Guard length 13.5 inches or 34cm. Also used in Noh Drama, Japanese theatre. See examples in ''From the Land of the Fan'', an exhibition at the Fan Museum London in 2001, and pages 42 and 42 of ''Ogi'' by Julia Hutt and Hélène Alexander. An example of an early Hiõgi was sold in 2019 at Rossini in Paris in July 2019 for 7000€ hammer, and a 19th c example sold in Martel Maides in Guernsey on October 16th 2019 for £6000 hammer.. Generally good with a couple of repaired splits to the upper edge of the fan and a little age tarnishing of the silver.
Two Embroidered Chinese Hats for Children, worked in panels both vertically and horizontally, with a band all around in different colours, ear flaps, and a very detailed panel supporting the knotted finial. Both are further decorated with gold and silver metal braid, one has the addition of silver bobbles to the lower edge. One lined in black, the other unlined. Together with A Pair of Silk Lotus Shoes for bound feet, as worn by the women and girls of the Han Community, Qing Dynasty. With a salmon-pink silk upper, embroidered to sides and front, decorated with coloured cords and finished with woven lime green silk (4). The hats are in good order but some of the silver bobbles are missing on the second example. Wear to the salmon silk of the Lotus shoes, otherwise they are in good strong condition.
Four Good Chinese Purses, probably for holding perfume or spice, (Xiang Nang), late 19th or early 20th century, Qing Dynasty, the most ornate being the smallest, with gold and soft green metal threads worked on blue silk to one side and purple silk behind. Attached is a small leaf shaped panel of matching silks and threads. From each side hang long silk tassels, each bound at the top in silver and gold threads; next, a midnight blue silk draw thread purse embroidered both sides with a crane and auspicious symbols, fitted with four cream silk tassels bound with silver metal thread. This may well have been one of a pair and worn by a high ranking official, or royalty; another, woven in blues, cream and sage, the drawstring panel of dark purple silk, fitted with cords and a blue glass bead; finally a purse, in salmon pink bound in green, a compartment with flap to each side, all panels lightly embroidered. Lined in pale green glazed cotton.. Generally good, used, the purple silk on the woven purse is badly worn.
A Circa 1840's Chinese Mandarin Fan, Qing Dynasty, the double paper leaf mounted on black lacquer sticks, painted in gold, the gorge sticks each with a figure, the guards with the addition of a butterfly, both with a silver metal thumb guard. Both sides of the leaf feature figures with applied silk robes and painted ivory faces, many holding fans, some appearing to be visiting dignitaries and carrying gifts. Contained in a fitted black lacquer box, decorated in gold, the exterior lid with three figures and stylised foliage. The lid interior is painted in colours with fish, scrolls, and flowers. Blue lining. Guard length 11 inches of 28cm. Previously sold by Gorringes, 16th November 1999, lot 284.. The monture is sound and clean, the leaf has slight rubbing to the folds and a fair amount of splitting to the upper folds. Chip to the corner of the box lid. The hinges are present but broken.
An Unusual Chinese Painted Brisé Fan, Qing Dynasty, circa 1840, black lacquer on wood, the recto painted with a dynamic battle scene, the main elements in strong colour with unusual gold decoration to the sides. Two robed men astride fine silver horses, the latter in opulent saddles, charge, the first with weapon raised, more slung around his body, the object of their animosity (or perhaps the target of an abduction?) seemingly a younger person seated upon a yak or other long-haired beast, being calmly led by a servant carrying a pointed spear. To the right, peeping over a decorative wall panel, another of which is seen to the left, a male observer. At the top, a large dragon. The reserves are well painted with trees and foliage. The guards and gorge feature tiny floral patterns in gold and cream, unusual designs, similar to brocade. The verso is mainly decorated in this unusual manner, within which a shaped cartouche shows habitation, with a number of small dwellings and several figures, varied in age. Comprising twenty-four inner sticks and two guards. Guard length approx. 10 and 5/8 inches or 27cm.. Some rubbing to the paint, noticeably to the gorge.
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 Good Early to Mid-18th Century Chinese Painted Ivory Folding Fan, Qing Dynasty, the simple monture with mother-of-pearl tips to the guards, each etched with a slender bird, with the addition of mother of pearl thumb guards. The remaining guards, and the gorge sticks, are painted in red, gold and green, in the fashion of Imari porcelain. The double paper leaf is painted with men at work, one carrying his wares or delivering luggage, by means of a pole balanced across his shoulder. A seated figure with fixed fan observes. To the right a large bird to the foreground is of disproportionate size. The verso is plain, save for a floral sketch. Guard length approx. 10.75 inches or 27.5cm. Together with Another Chinese Ivory Fan, of a similar period, the guards carved with flowers and leaves within an upper panel, above and below which the fan is painted in red. The gorge is carved and pierced in bands, some with a lattice, others with circles or shapes, divided by painted bands of designs in red. The cream leaf is simply painted with a central oval, in silver, enclosing a spray of pink roses and smaller yellow and blue flowers. Guard length approx. 11 inches or 28cm (2). First fan, the monture is sound with indications of white MOP thumb guards having originally been present. Both fans in good used condition
A 19th Century Chinese Carved Ivory Mandarin Fan, Qing Dynasty, the guards deeply carved with pagodas, foliage and figures, the gorge sticks less so. Unusually, the double-sided cream silk leaf is painted most delicately in a silver-grey, each side in similar fashion but with subtle differences, with a large spray of flowers and leaves, birds and butterflies perched or in flight. Fitted with a knotted cord, lined in cerise silk, ending in a double cream silk tassel. Contained in a fitted black lacquer fan box, the interior deep pink, the hinged lid is painted inside with a tender outdoor scene with stylised trees and delicate blossom, of a robed gentleman proffering a fan to a lady. Guard length 11 inches or 28cm. Together with Another Similar but lacking a box, both sides of the double paper leaf showing scenes of social gatherings and daily life, the figures in robes of applied silk, and painted faces of ivory. Guard length approx. 11 inches or 28cm (2)The first fan and box are in lovely clean condition. Fan 2, one guard has broken at the shoulder, the leaf torn at this point, a fragment lacking. Several small tears to the lower leaf edge and some wear to the folds.
A 19th Century French Boxed Sewing Set, the interior divided into compartments which include sections for patterns ( Berlin Woolwork, embroidery and tatting) and tools, currently incomplete but including a basic pair of scissors, a folder for aiguilles (needles), wool for repairs and crochet, cotton spools and ties for securing other tools within the lid. The box is covered with cream and green paper designed with leaves and bears a paper label ''Mercerie'' and the name of ''N. K. ATLAS, Paris. Together with a case fitted for scissors in dark green leather decorated with gold and gold initials M.S. Marked inside ''Made in England''. Containing three pairs of silver/gilt scissors, the smallest non-matching, the others shaped as a stork in two sizes. The smaller pair is marked in the metal ''France'' and ''P'' within a diamond, the larger pair is only marked with the number 3.. Box solid but catch defective. Paper slightly scuffed at the corners. Leather case lid holding strap is present but not fully attached. Tarnish to the smaller scissors.
Fine 18th Century Dress Flounces and Fragments, to include a fine white cotton flounce with scalloped bottom, worked with silver metal thread in tiny tambour stitch, with white thread to edge the scalloped border and to form delicate filling designs within flowers. Selvedges to both sides. Probably embroidered in India, approx. 26 inches or 66cm by 11.25 inches by 28.5cm; a fragment of cream embroidery on cotton gauze, featuring a spray of spiky leaves, and buds, two leaves hosting beetles. Appears hand worked; and two more fragments of 18th century embroidery from India, one worked in strong colours and featuring flowers and leaves, the other worked in pastel silks in different stiches (4). First item, a few pinpricks to the cotton near the top but no indication that it has been removed from anything. Second item has been cut from a larger piece; the final two both show signs of being previously part of something. The last item has some scattered holes.
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.
An 18th Century European Child's Cap worked in gold threads, and silver coiled thread, edged with silver braid, finished with a narrow edge of bobbin lace to the neck. The cap is worked in three sections. The central panel is worked on cream silk, with one large and intricate floral spray, the flower head located at the upper part of the cap, with long stems worked towards the rear. Tiny wheat ears and gold sequins fill all remaining space. To each side, worked on the cream silk, are two similar flower heads, surrounded by sequins and gold threads as before. The cap is lined with a striped woven silk in mid blue and cream, and handstitched. Remnants of a cream silk ribbon show the bonnet was tied at the neck.. In good order, no loss or splitting noted. Gold threads and sequins remain generally quite bright but the silver areas are rather dull.
An Exquisite, Tiny 18th Century (or Early 19th Century) Child's Cap of cream silk, worked in three sections, each embroidered in metal threads and coloured silk in a design of flowers and leaves. The central panel is worked with three simple floral sprays, the flower heads being made from pressed shapes, each flower different from another. A band of tiny gold sequins runs down both sides. The panels are separated by a gold braid with silver centre. Each side panel features a larger floral spray in the same style, and the pressed flower shapes, in the same shades of cerise, and green, are supplemented with smaller gold flower heads and an undulating gold sequin border. Lined with a printed cotton, cream background, wide stripes of red foliate design with small floral detail at intervals, alternating with narrow stripes featuring black and turquoise. Hints of glaze just discernible.. Several of the pressed flower heads are missing, the stitches remain.
Two Child's Caps, comprising a very pretty early 19th century child's cap, the background of cream silk, worked with couched metal threads in gold and silver, and featuring silk ribbon work for the flowers and leaves. Constructed in three sections, the central panel features three large ribbon work flowers, the colours shaded from a cream centre to a salmon outer edge, and surrounded by green ribbon leaves. Towards the rear, a silver metal almost butterfly shape is worked, topped by smaller flowers in cerise ribbon with yellow centres. The side panels have undulating couched gold thread borders, containing swirling green stems and ribbon flowers in pale apricot. Lined in a pale cream cotton. All hand stitched. The cap has the addition of late cream silk ties and a machine lace border. Together with a second tiny child's cap, this time of a striped taupe silk woven with narrow cream stripes. Bordered in cream silk, edges and sectional seams with the addition of gold metal braid. A bobbin lace border of the simple European style has been added, probably later. This lace has a running stitch edge in red. Lined in a lightweight cream cotton with blue running stitch at the edges. (2). First cap, some wear to the silk, notably to the bottom left front, and the very top front. Generally holding, as the amount of embroidery prevents large splits from occurring. Ribbon tie quite crudely attached. Taupe bonnet in good order, the interior very slightly soiled.
A Very Unusual Crochet Miser's or Stocking Purse in reticule form, the central opening being across the width rather than the length, with a circular silver metal reticule frame attached, the top of the frame being a white mother-of-pearl panel with cut steel centre. Press-button clasp. Finished with a short silver metal chain. The body of the purse, which appears unused, and crisp, features a design of tulips and leaves, the same colours of cream and salmon used at each end but in mirror fashion. Each end has a weighty decorative cut steel fringe with various shapes of bead. Overall length 15.5 inches or 39.5cm.. Very good, clasp is firm, the bag is clean, some small losses to the steel fringing and a bit of rust to the inside of the frame lid.
A Trio of 19th Century Miser's or Stocking Purses in shades of green gold and silver, comprising a crochet example that opens at each end by means of pressing the button of each gold metal frame. A very small central slider effectively stops a coin from moving beyond the centre. With a dark green thread background, alternating with lime green stripes and embellished with tiny gold beads in a paisley boteh design. Together with a fine mid-green knitted miser's purse, beaded with gold and silver metal beads, basic silver metal fringe, but fitted with very elaborate gold metal sliders, one formed in a single panels, the other in three, the panels with raised flowers, the different slider perhaps indicating to the user which denomination of coin was at which end as the purse ends are both rounded. Finally, a more usual shape of miser's purse with one straight end and one rounded, the latter finished with a silk tassel. Worked in stripes, using green, cream, ruby and brown threads, the purse is beaded with cut steel. Silver metal sliders, and cut steel bobbles complete the item. All in good clean order.
A Trio of Larger Miser's Purses one with birds, one with stags, possibly for men, the third with flowers, the latter in cut metal beadwork. The longest purse, in teal with shaped ends, these fringed with silver metal beads, has four beaded panels (glass and metal beads) of birds carrying olive branches, normally shown as white doves (whereas these are white with gold and silver touches) and representing peace. The second purse, in a darker teal, has straight ends, both with loops of gold metal beads. Each end and each side features flowers in gold and silver metal beads, and silver metal loops that have been gilded. Finally, an olive-green purse with straight ends and no fringing, four beaded panels depict a stag with antlers, mainly in glass beads but with a few in metal. . Generally good. All the closing rings are either worn or tarnished. The bird purse is a little faded and one end has two small holes. The green purse if colour faded.
Four Small and Very Fine Miser's or Stocking Purses, early 19th century, to include a raspberry net example, the money sections striped in shades of cream, green and brown. The ends are finished with an opalescent acorn, matching the centre of the gold metal slider. Possibly mother-of -pearl. The second purse in green net is embroidered with ruby silk and further decorated with gold beads. The silk tassels are formed from mainly green silk with some ruby threads Two gold metal sliders. The third purse, stripes alternating with salmon and silver metal threads, is finished with looped tassels of dull metal beads and two lightly engraved silver metal sliders. Finally, a visually striking silk purse in chevron design, each end a balance of cream and chestnut, the central panel predominantly in brown, with lines across that alternate between cream and yellow thread, seen on close examination. The gold metal sliders are embossed with flowers and leaves. . All appear sound except the second, green beaded example which has a large split in the central net.
Four Attractive Miser's or Stocking Purses, mid-19th century, comprising a simple raspberry netty example, finished with loops of gold beads, the sliders of gold metal etched with flowers and leaves. A second purse, crocheted in rainbow colours, the rose-pink ends designed with a star, and having simple coloured beads for tassels. Gold embossed sliders. Purse three, in royal blue, the background worked with three different designs, the outer panels beaded with tiny gold metal beads, forming a star at each end and finished with an embossed gold metal looped tassel, in gold metal beads. The sliders are embossed with stylised designs. The final purse, of quite oriental design, mixes silver metal thread with ruby, black, cream and green silks. Both ends are straight, only one bears tassels of gold metal beads to the corners. Two decorated gold metal sliders. . The first three purses are in good clean order. The final purse has colour run to the green.
Four Mid-19th Century Beadwork Items, to include a brown leather trimmed letter case, the inside having two compartments formed from cream moiré silk, and closing with a red pencil threading through interlinked straps on the opening edge. The exterior is a mix of beadwork and Berlin wool work, the latter as an outer border, with black bead edging. Inside the border, on the front, a lattice formed with the tiny black beads, alternating with either turquoise or pink beads as the lines cross, and silk embroidered flowers contained within the diamonds. On the back, a different design, simply on the diagonal, but with more beadwork, the crosses in green also incorporating silk thread. Together with three different miser's purses, all with rounded ends, the largest in bright turquoise with vibrant flowers, mainly glass beads with a few in gold and silver metal. Next, slightly smaller, a purse of glass beads with subdued beads and swinging bead tassels. Finally, a much more rigid example and probably unused, with pink and blue flowers against cream glass beads, sprinkled with gold metal beads, and centrally, the word or name AMO?? spelt out in gold beads.. Generally all good, the second purse may have a few repair stitches. A few black beads lacking on the letter holder.
A Trio of Mid to Later 19th Century Miser's or Stocking Purses, embellished with cut steel beads. To comprise a large dark lilac example with one straight and one rounded end, heavily beaded, with sparce beading to the central body of the purse. The tassels are to note, the lattice and loop effect at the straight edge being supplemented by a twisted wire form, the loops at the rounded edge resembling elaborate curtain tie-backs. The silver metal loops have an embossed floral design to the centre. The second purse, less elaborate, of mid purple with a lemon stripe, having one straight and one round end, has regular beadwork and one looped fringe, in cut steel. The third purse, the crochet quite openly worked, the beading integral, is fitted with a heavy looped cut steel tassel to one end and a simple bell shape to the other. The silks alternate between deep purple, and mustard. Two simple silver metal sliders. . Good.
Four Miser's or Stocking Purses of differing shape, the first, in raspberry, beige and cream threads, is beaded with cut steel and gold metal. Each end panel is worked with letters of the alphabet, difficult to decipher, the straight end having perhaps JON…*AONM..ADAM, the rounded end with perhaps ADAM EIO???? More centrally, tiny cut steel beads form stylised, motifs perhaps of Eastern influence. The ends are fitted with different tassels, one twisted in shades of grey and silver, the other in cut steel beads. Two shaped silver sliders. Second, a dark green crochet purse beaded throughout with steel beads, a design within lines, the straight end fitted with a cut steel fringe, the rounded end with a tassel of similar beads but in a different form. Having two shaped silver metal sliders. Thirdly, a rather simple beige purse, beaded, with fringe and tassel of ruby and silver metal beads. Finally, an attractive purse worked in dark lilac, cream and black, with cut steel and black glass bead adornment, both straight ends with looped fringes. Shaped and embossed silver sliders.. First purse, loss to the fringe at the straight end. Purse three has some foxing. Final purse, some loss to the bead fringing.
Three Good Miser's or Stocking Purses of differing shapes and design, one worked with a name. Late 19th century, worked in shades of royal blue and biscuit, this first purse is decorated with cut steel and ruby glass beads, the end bands with stylised designs. The straight edge then features AGNES FORESTER in the ruby beads. Looped cut steel tassel to the rounded end. Two shaped silver metal sliders. Together with a very heavy crochet purse in mustard silk thread, embellished with three bands of cut steel bead loops, and two pressed metal sliders of floral design. Finally, an attractive and colourful purse of many colours, shades of green and pink, lightened in the end panels with a beige ground. Both ends are straight, complementing the bands of gold and silver metal bead squares. Each corner is finished with a quite intricate gold bobble topped and tailed with a metal bead. The pair of sliders, open-worked metal in perhaps a chinoiserie style, have an underlayer of mustard, possibly enamel. . Some loss to the tassel, on the named purse, and the central hole needs a few stitches at one end.
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