Mastery of Design: The Dame Joan Evans Aigrette, 1750-60

Aigrette
Portugal, 1750-60
From the Collection of Dame Joan Evans at
The Victoria & Albert Museum

This aigrette of silver-set chrysoberyls was designed to resemble a swirling spray with a single flower on a feathered scrolling stem. Made by an unknown jeweler in Portugal between 1750 and 1760, this aigrette is from the collection of Dame Joan Evans.

An aigrette, in jewelry, is so-called because of its resemblance to the feathers and plumes atop the head of an egret. These jewels are often meant to be worn as a turban ornament.  

This intricate, sparkling volute, however, wasn't likely intended for a turban, but rather served double-duty as a hair ornament and brooch to be worn on a lady's bodice. 

Unfolding Pictures: A Chinese Feather Fan, 1911-1930

Feather Fan
China, 1911-1930
The Victoria & Albert Museum

The Chinese have been producing fans from feathers for over 2000 years. These fans, with their dramatic tufts of colorful feathers, most often featured long handles made of bamboo or wood though specialty examples were made for high-ranking people with handles of ivory, jade or other carved hard-stone.

This example was actually made in modern times during a time when feathers were en vogue with contemporary fashions. Made between 1911 and 1930, this fan nods at Chinese antiquity with its brightly-colored fathers and gleaming handle made of carved hard-stone and glass adorned with a geometric pattern based on ancient Chinese bronzes (Ancient Chinese Bronzes, huh?). Two small red stones, possibly garnets, have been mounted on either side of the handle.

The fan was likely made in China for export to the U.K. where the Art Deco fashions dictated a renewed interest in the geometry of the Eastern arts. The color palette indicates that the fan would not have been intended for use by a Chinese woman, but rather a wealthy European lady whose tastes tended toward the trendy gold and brown colors which often dominated accessories of the era.

Donated by Lady Logan from the collection of her parents, Robert and Alexandra Everts, the fan is an excellent example of the kinds of Asian accessories which were in demand in the 1920s.

History's Runway: A Pierre Balmain Gown, 1950-1955

Debutante Gown
1950-1955
Pierre Balmain
This and all related images from:
The Victoria & Albert Museum

Made between 1950 and 1955, this evening gown is the work of Parisian designer Pierre Balmain (1914-82). Chances are, it was made as a debutante's presentation dress. Adorned with ostrich feathers, sequins and rhinestones, the gown must have made a grand impression as its wearer made her debut. Constructed of white organza, the gown is beautifully embroidered—a difficult task on such a fine, light fabric. The exquisite embroidery work required immense skill, and was, therefore, sent to a special workshop in Lesage which Balmain had commissioned to create the detailed work. Each bead, each feather and sequin and each rhinestone was applied one-by-one by hand. 

Mastery of Design: The "Prince of Wales Feathers" Brooch, 1842

Brooch
1841-1842
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

I've written at length about Prince Albert's fondness for showering his Royal wife with lavish gifts.  He especially enjoyed doing so after the births of their nine children.  Given to Queen Victoria by Prince Albert on February 10, 1842, this handsome brooch was meant to mark the occasion of the Prince of Wales's (later King Edward VII) birth, which had taken place on November 9. 1841.

The gold brooch takes the form of Prince of Wales feathers, symbol of the Prince, enamelled white above a base set with pearls emeralds and rubies.  Below the feathers is a ribbon with ICH DIEN in gold.  Meaning, "I Serve," these words typically adorn the heraldry of the Prince of Wales.

Speaking of "serving," tomorrow, I'm going to "serve" you a look at this week's "Treat of the Week."  So, make sure to stop by.

Unfolding Pictures: The Assam Peacock Fan, 19th C.

Hand Fan
Assam, India
Nineteenth Century
The Victoria & Albert Museum

This feathered fan was made in Assam, India, and is constructed of peacock feathers. The work of an unknown Nineteenth Century fan maker, the piece was made for export to Europe where, at the time, feather fans were quite fashionable.

Mounted on a wooden handle, the fan takes a circular form. Edged in natural peacock feathers, the center of the fan has been cleverly patterned with peacock feathers which have been dyed and bleached. These red, white and black feathers were cut and shaped in order to create this intricate, and wholly Indian pattern. Bits of shell, metallic thread and ribbon add dimension and shine which would have been quite enchanting reflected in candlelight.

Mastery of Design: The "Prince of Wales Feathers" Brooch, 1842

Brooch
1841-1842
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

I've written at length about Prince Albert's fondness for showering his Royal wife with lavish gifts.  He especially enjoyed doing so after the births of their nine children.  Given to Queen Victoria by Prince Albert on February 10, 1842, this handsome brooch was meant to mark the occasion of the Prince of Wales's (later King Edward VII) birth, which had taken place on November 9. 1841.

The gold brooch takes the form of Prince of Wales feathers, symbol of the Prince, enamelled white above a base set with pearls emeralds and rubies.  Below the feathers is a ribbon with ICH DIEN in gold.  Meaning, "I Serve," these words typically adorn the heraldry of the Prince of Wales.

Unfolding Pictures: A Chinese Feather Fan, 1911-1930

Feather Fan
China, 1911-1930
The Victoria & Albert Museum

The Chinese have been producing fans from feathers for over 2000 years. These fans, with their dramatic tufts of colorful feathers, most often featured long handles made of bamboo or wood though specialty examples were made for high-ranking people with handles of ivory, jade or other carved hard-stone.

This example was actually made in modern times during a time when feathers were en vogue with contemporary fashions. Made between 1911 and 1930, this fan nods at Chinese antiquity with its brightly-colored fathers and gleaming handle made of carved hard-stone and glass adorned with a geometric pattern based on ancient Chinese bronzes (Ancient Chinese Bronzes, huh?). Two small red stones, possibly garnets, have been mounted on either side of the handle.

The fan was likely made in China for export to the U.K. where the Art Deco fashions dictated a renewed interest in the geometry of the Eastern arts. The color palette indicates that the fan would not have been intended for use by a Chinese woman, but rather a wealthy European lady whose tastes tended toward the trendy gold and brown colors which often dominated accessories of the era.

Donated by Lady Logan from the collection of her parents, Robert and Alexandra Everts, the fan is an excellent example of the kinds of Asian accessories which were in demand in the 1920s.

History's Runway: A Pierre Balmain Gown, 1950-1955

Debutante Gown
1950-1955
Pierre Balmain
This and all related images from:
The Victoria & Albert Museum

Made between 1950 and 1955, this evening gown is the work of Parisian designer Pierre Balmain (1914-82). Chances are, it was made as a debutante's presentation dress. Adorned with ostrich feathers, sequins and rhinestones, the gown must have made a grand impression as its wearer made her debut. Constructed of white organza, the gown is beautifully embroidered—a difficult task on such a fine, light fabric. The exquisite embroidery work required immense skill, and was, therefore, sent to a special workshop in Lesage which Balmain had commissioned to create the detailed work. Each bead, each feather and sequin and each rhinestone was applied one-by-one by hand. 

Unfolding Pictures: A Brazilian Bird Fan, 1880

The Victoria & Albert Museum

We’ve looked at similar Brazilian fans before. They’re both lovely and horrible all at once. Yes, they’re pretty, but, when you think about the fact that there’s a dead bird stuck on them, it’s just kind of yucky, too. Still, they’re very interesting pieces and it’s a miracle any have survived.


This fan is composed of an ivory handle which rises into a base of pink feathers and a central portion of fluffy white marabou down. A stuffed hummingbird perches on sprays of roses and leaves made of pink, white and green feathers. The stems of the flowers are wire wrapped with silk. To tempt the hummingbird, three real beetles are attached to the feathery foliage. Surprisingly, the original box survives.

So…why?

Why a dead hummingbird? For some reason, during the last three decades of the Nineteenth Century, there was a real passion for using parts of dead animals as ornaments, both in fashion and the decorative arts. Though numerous writers wrote contemporary articles about “the barbarities inherent in this trade,” the fashion continued to grow in popularity.

History's Runway: The Champot Cape, 1895

The Victoria & Albert Museum

This would have been quite the thing in 1895. This elbow-length cape shows a square-cut back and waist-length lappets down the front. It is comprised of bunches of black and green cock feathers, artificially curled which are mounted onto cotton fabric and lined with black silk satin. Larger feathers have been used to edge the entire cape and give dimension at the shoulders to create a wing-like effect.

Imagine this cape worn over the large leg of mutton sleeves which were popular at this time. The effect would have been truly bird-like.

Mastery of Design: The Dame Joan Evans Aigrette, 1750-60

Aigrette
Portugal, 1750-60
From the Collection of Dame Joan Evans at
The Victoria & Albert Museum

This aigrette of silver-set chrysoberyls was designed to resemble a swirling spray with a single flower on a feathered scrolling stem. Made by an unknown jeweler in Portugal between 1750 and 1760, this aigrette is from the collection of Dame Joan Evans.

An aigrette, in jewelry, is so-called because of its resemblance to the feathers and plumes atop the head of an egret. These jewels are often meant to be worn as a turban ornament.  

This intricate, sparkling volute, however, wasn't likely intended for a turban, but rather served double-duty as a hair ornament and brooch to be worn on a lady's bodice.

Unfolding Pictures: The Assam Peacock Fan, 19th C.

Hand Fan
Assam, India
Nineteenth Century
The Victoria & Albert Museum

This feathered fan was made in Assam, India, and is constructed of peacock feathers. The work of an unknown Nineteenth Century fan maker, the piece was made for export to Europe where, at the time, feather fans were quite fashionable.

Mounted on a wooden handle, the fan takes a circular form. Edged in natural peacock feathers, the center of the fan has been cleverly patterned with peacock feathers which have been dyed and bleached. These red, white and black feathers were cut and shaped in order to create this intricate, and wholly Indian pattern. Bits of shell, metallic thread and ribbon add dimension and shine which would have been quite enchanting reflected in candlelight.

History's Runway: A Pierre Balmain Gown, 1950-1955

Debutante Gown
1950-1955
Pierre Balmain
This and all related images from:
The Victoria & Albert Museum

Made between 1950 and 1955, this evening gown is the work of Parisian designer Pierre Balmain (1914-82). Chances are, it was made as a debutante's presentation dress. Adorned with ostrich feathers, sequins and rhinestones, the gown must have made a grand impression as its wearer made her debut. Constructed of white organza, the gown is beautifully embroidered—a difficult task on such a fine, light fabric. The exquisite embroidery work required immense skill, and was, therefore, sent to a special workshop in Lesage which Balmain had commissioned to create the detailed work. Each bead, each feather and sequin and each rhinestone was applied one-by-one by hand. 

Unusual Artifacts: A Wedding Wreath, 1854

Click image to enlarge.
Wedding Wreath
Hampshire, England, 1854
This and all related images from:
The Victoria & Albert Image

A mid-Nineteenth Century bride, perhaps looking back to the tradition carried on by Queen Victoria at her 1840 marriage to Prince Albert, would likely have wanted to adorn her head with a crown of orange blossoms. The practice of the bride wearing orange blossoms dates back many centuries to China. The flowers were long considered a symbol of purity and innocence and the trend quickly caught on in Europe when trade with the East became more common. By the early 1800s, English brides had adopted the custom, and, it’s one that endures to this day.

The trouble with the blossoms was that they faded quickly. For a bride wishing to preserve her marriage wreath as a memento or, even, to be worn by future generations, the use of real orange blossoms proved, at best, inconvenient. And, so, imitation orange blossoms were fashioned. Women’s periodicals of the era instructed ladies how to make their own wedding crowns and wreaths that emulated the real flower. Most commonly, wax, paper, and cloth were used to create the look of foliage—allowing the wreath to be preserved on a “memory chair” or “marriage chair” under a glass dome.

Here’s a great example of a faux orange blossom wreath. Made in 1854, this wedding crown has long been associated with the marriage of Elizabeth Wroughton Richards to Edward Nugée of Hampshire. It’s quite rare for such an object to survive in such perfect condition. Most interestingly, instead of the usual waxed paper blooms fashioned on structures of wired ribbon, this one is constructed entirely of feathers. Some of the white feathers have been died in shades of green to emulate foliage and others have been tinted yellow to give dimension to the blossoms. 

It’s possible that this expertly made wreath had been purchased from a milliner’s shop. However, it’s a likely bet that the piece was fashioned at home by a very talented individual. 

Unfolding Pictures: A Chinese Feather Fan, 1911-1930

Feather Fan
China, 1911-1930
The Victoria & Albert Museum

The Chinese have been producing fans from feathers for over 2000 years. These fans, with their dramatic tufts of colorful feathers, most often featured long handles made of bamboo or wood though specialty examples were made for high-ranking people with handles of ivory, jade or other carved hard-stone.

This example was actually made in modern times during a time when feathers were en vogue with contemporary fashions. Made between 1911 and 1930, this fan nods at Chinese antiquity with its brightly-colored fathers and gleaming handle made of carved hard-stone and glass adorned with a geometric pattern based on ancient Chinese bronzes (Ancient Chinese Bronzes, huh?). Two small red stones, possibly garnets, have been mounted on either side of the handle.

The fan was likely made in China for export to the U.K. where the Art Deco fashions dictated a renewed interest in the geometry of the Eastern arts. The color palette indicates that the fan would not have been intended for use by a Chinese woman, but rather a wealthy European lady whose tastes tended toward the trendy gold and brown colors which often dominated accessories of the era.

Donated by Lady Logan from the collection of her parents, Robert and Alexandra Everts, the fan is an excellent example of the kinds of Asian accessories which were in demand in the 1920s.

Unusual Artifacts: A Venetian Fan Handle, 1550

Fan Handle
Gilt Brass, designed for a feather fan.
Made in Venice, c. 1550
The Victoria & Albert Museum

Here we see what was once the handle of a feather fan.  Such luxurious hand fans were introduced into Tudor England through import from Venice, Milan and Genoa. In the early Sixteenth Century, Italian fan makers borrowed the lush look of these feather fans from designs which had been brought to Europe from Asia.  Such fans were very expensive to make and ownership of one confirmed the user’s status and rank.

This exquisite fan handle is comprised of gilt brass which was cast, pierced and engraved with an Eastern-influenced Moresque ornament.  In this case, a Moorish design is created through stylized, interlaced geometric patterns like those which evolved in Arab civilizations of the Near East and in the Moorish states of Spain.

The handle was designed to be durable.  When the fan's feathers became ratty, they could be replaced with new feathers which were arranged in the metal handle. This gilt-brass handle was, actually, a less extravagant version of the style.  Higher-end handles were crafted of carved ivory, gold or silver. The feathers would come from a native bird, but usually, more expensive feathers from exotic birds such as peacocks, swans, ostriches or, even parakeets would be used—especially for the finer gold or ivory handles.

Fans like this one were worn attached to the belt of the dress by a metal chain or silk cord.

This example comes from Venice, Italy and was made ca. 1550.

History's Runway: The Champot Cape, 1895

The Victoria & Albert Museum

This would have been quite the thing in 1895. This elbow-length cape shows a square-cut back and waist-length lappets down the front. It is comprised of bunches of black and green cock feathers, artificially curled which are mounted onto cotton fabric and lined with black silk satin. Larger feathers have been used to edge the entire cape and give dimension at the shoulders to create a wing-like effect.

Imagine this cape worn over the large leg of mutton sleeves which were popular at this time. The effect would have been truly bird-like.

Unfolding Pictures: A Brazilian Bird Fan, 1880

The Victoria & Albert Museum

We’ve looked at similar Brazilian fans before. They’re both lovely and horrible all at once. Yes, they’re pretty, but, when you think about the fact that there’s a dead bird stuck on them, it’s just kind of yucky, too. Still, they’re very interesting pieces and it’s a miracle any have survived.


This fan is composed of an ivory handle which rises into a base of pink feathers and a central portion of fluffy white marabou down. A stuffed hummingbird perches on sprays of roses and leaves made of pink, white and green feathers. The stems of the flowers are wire wrapped with silk. To tempt the hummingbird, three real beetles are attached to the feathery foliage. Surprisingly, the original box survives.

So…why?

Why a dead hummingbird? For some reason, during the last three decades of the Nineteenth Century, there was a real passion for using parts of dead animals as ornaments, both in fashion and the decorative arts. Though numerous writers wrote contemporary articles about “the barbarities inherent in this trade,” the fashion continued to grow in popularity.

Object of the Day, Museum Edition: An Antique Wedding Wreath, 1854

This and all related images:
The Victoria & Albert Museum

This wreath of orange blossom—designed to be worn as a crown by a bride--is completely made from white feathers which have been dyed green and/or tinted, and mounted on a coil of silk-thread wrapped wire and accented with silk ribbons.

For such a wedding wreath to survive from 1854 is quite rare. Few examples of these mid-Nineteenth-Century wreaths were sturdy enough to last this long. Very often, these wreaths were preserved on “Memory Chairs,” for several generations. But, more often than not, the wreath would disintegrate, leaving the chair empty.

That this wreath has been made from feathers is also quite unusual. Imitation blossom was normally made from wax, paper, or cloth. Such a wreath would have been costlier. However, since this one has survived because of its medium, the expense was well worth it.

This headpiece is associated with the 1854 marriage of Elizabeth Wroughton Richards to Edward Nugée.