Unfolding Pictures: The Reading Fan, 1870

The Reading Fan
Front
England, 1870
Presented to Queen Alexandra when Princess of Wales
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Made in England in 1870, this attractive fan features a paper leaf with mother-of-pearl sticks and guards and a chased gold loop. This fan, from the Royal Collection, was once owned by Queen Alexandra (“Bertie, I can’t hear you”), Consort of fuzzy man-about-town King Edward VII.

The fan was presented to Alexandra (1844-1925) while she was still the Princess of Wales. She was, in fact, the Princess of Wales for a really long time since her mother-in-law, Queen Victoria, lived almost forever and Edward didn’t ascend the throne until 1901. The Mayor and Corporation of Reading presented the fan to the Princess of Wales one hundred forty-two years and one day ago on July 1, 1870, on the occasion of the laying of the foundation stone of Reading School by the Prince of Wales (later King Edward VII). The date is inscribed on the verso.

The new school at Reading was designed by Alfred Waterhouse (1830-1905). The structure replaced one that had been founded by Henry VII. Along with the presentation of the fan to the Princess to commemorate the occasion was to be an address by the Reading Mayor. However, much to the Princess’ relief—since she probably couldn’t have heard a word of it anyway—the address was not read aloud, but rather presented in a novel way.

The speech had been reduced by photography (a technology which very much fascinated Alexandra, a known shutterbug), and was mounted in a delicately carved mother-of-pearl and gold frame. This was tied by a ribbon terminating in a gold and blue enamel “A,” to the gold fan loop along with a solid gold vinaigrette adorned on one side with the coronet and monogram of the Princess, and, on the other an inscription commemorating the date.

The fan leaf, inscribed MARCUS WARD DELT. and HOWELL JAMES & CO. is painted, in the center with two intertwined letters—“A”—surmounted by the Prince of Wales’s coronet. Flanking this are views of Reading School and Reading Abbey, with the arms of Reading and of the Princess of Wales. All of this, as well as a miniature version of the fan—was presented in a fitted box. Sadly, only the large fan remains—the vinaigrette, frame, ribbon and miniature fan having since been divorced from the original set and, consequently, lost. I would guess they’re somewhere in Sandringham in a drawer along with a bunch of other things which Alexandra—when Queen—squirreled away. 

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Unfolding Pictures: Queen Victoria's Pastoral Fan, c. 1850

Hand Fan
Presented to Queen Victoria by Prince Albert, circa 1850

Queen Victoria once favored this painted paper fan with carved and gilded mother-of-pearl sticks and guards.

The fan was a gift to the Queen from Prince Albert circa 1850. The obverse boasts a central cartouche which has been hand-painted with a lush scene of a lady with a sewing box. Flanking this are two pastoral scenes and symmetrical ovoid-roundels painted with floral scenes.

The verso is painted with an elegant and delicate depiction of flowers and a butterfly with Rococo tendencies.

The guards terminate in a metal pin set with a diamond paste.

Mastery of Design: The Putti Snuffbox, 1750

Click images to enlarge.
German Snuffbox
Circa 1750
This and all related images from:
The Victoria & Albert Museum

I always like the snuffboxes that are constructed of different media. Typically, we see examples made of precious metals or porcelain, but every so often, we get one of shell or bone which is just lovely. This one is made of tortoiseshell—a medium which found its way into a variety of the decorative arts.

The cartouche-shaped box depicts a scene of putti playing in a fountain—as they do. It’s quite a clever use of carious precious materials. The pilasters with their scrolling decoration are made of inlaid gold while the putti themselves are rendered in ivory. Mother-of-pearl inlay forms the fountain while lapis lazuli and malachite add notes of blue and green respectively to the piece.

There’s no doubt as to the Rococo influence here. Made around 1750, this box is a nifty example of a German take on the Rococo. There’s some debate about just where in Germany the box was made. Some say Southern Germany, particularly Bavaria, while others insist that the piece was constructed in Berlin.

The sides are adorned with more putti and gold shells while the base is engraved with a gold rocaille. The reeded mount comes alive with shell and the scrolled thumb-piece adds interest to the front. Today, the box forms part of the magnificent Gilbert Collection at the V&A. 

Gifts of Grandeur: The Delisle Snuffbox, 1743-44

Snuffbox
France, 1743-44
This and all related images from
The Victoria & Albert Museum

Another snuffbox from the collection of Sir Arthur and Rosalinde Gilbert, this Eighteenth Century snuffbox was made in France at the apex of the fashionable snuff craze. The box features panels of mother-of-pearl which are carved with a scene of a couple in court dress. They are surrounded by cherubs, which, frankly, I would think a little unnerving. 

The mother-of-pearl panels are reverse painted with landscapes which are now substantially faded and worn. Imagine how vivid they must have looked in 1743 when the box was new. The gold mounts have been decorated with a wave pattern. 

This box is the work of Jacques-André Delisle who joined the goldsmith's guild by letters patent in July of 1718, sponsored by the gold-box maker Pierre de Roussy.

Gifts of Grandeur: The Roman Emperors' Watch, 1738

The Victoria & Albert Museum

Here, we see a gilt metal clock-watch with a mother-of-pearl medallion set with onyx cameos of the Emperors Augustus and Vespasian, and a gold bust of the goddess Minerva with a crown of rose-cut diamonds.  The whole of the piece is luxuriously set with stones

Made in Germany by Johann Salomon Mayer, the piece is dated 1738.  The medallions of mother-of-pearl are mounted on a gilded copper into which the agate cameos of the Roman Emperors are set.   The bust of Minerva with her helmet is modeled from carnelian and her armor is gold, set with diamonds (mostly brilliant and table-cut),  almandine and hessonite garnets, and emeralds.  Enameling adds further color and dimension.  

 

Though the case was made in Germany, the watch movement was probably made in London in about 1690. This movement was used in another watch before being set into this piece.  The top plate of the movement bears the name of Du Thuillay of Halle.

Unfolding Pictures: The Reading Fan, 1870

The Reading Fan
Front
England, 1870
Presented to Queen Alexandra when Princess of Wales
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Made in England in 1870, this attractive fan features a paper leaf with mother-of-pearl sticks and guards and a chased gold loop. This fan, from the Royal Collection, was once owned by Queen Alexandra (“Bertie, I can’t hear you”), Consort of fuzzy man-about-town King Edward VII.

The fan was presented to Alexandra (1844-1925) while she was still the Princess of Wales. She was, in fact, the Princess of Wales for a really long time since her mother-in-law, Queen Victoria, lived almost forever and Edward didn’t ascend the throne until 1901. The Mayor and Corporation of Reading presented the fan to the Princess of Wales one hundred forty-two years and one day ago on July 1, 1870, on the occasion of the laying of the foundation stone of Reading School by the Prince of Wales (later King Edward VII). The date is inscribed on the verso.

The new school at Reading was designed by Alfred Waterhouse (1830-1905). The structure replaced one that had been founded by Henry VII. Along with the presentation of the fan to the Princess to commemorate the occasion was to be an address by the Reading Mayor. However, much to the Princess’ relief—since she probably couldn’t have heard a word of it anyway—the address was not read aloud, but rather presented in a novel way.

The speech had been reduced by photography (a technology which very much fascinated Alexandra, a known shutterbug), and was mounted in a delicately carved mother-of-pearl and gold frame. This was tied by a ribbon terminating in a gold and blue enamel “A,” to the gold fan loop along with a solid gold vinaigrette adorned on one side with the coronet and monogram of the Princess, and, on the other an inscription commemorating the date.

The fan leaf, inscribed MARCUS WARD DELT. and HOWELL JAMES & CO. is painted, in the center with two intertwined letters—“A”—surmounted by the Prince of Wales’s coronet. Flanking this are views of Reading School and Reading Abbey, with the arms of Reading and of the Princess of Wales. All of this, as well as a miniature version of the fan—was presented in a fitted box. Sadly, only the large fan remains—the vinaigrette, frame, ribbon and miniature fan having since been divorced from the original set and, consequently, lost. I would guess they’re somewhere in Sandringham in a drawer along with a bunch of other things which Alexandra—when Queen—squirreled away. 

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Gifts of Grandeur: The Putti Snuffbox, 1750

Click images to enlarge.
German Snuffbox
Circa 1750
This and all related images from:
The Victoria & Albert Museum

I always like the snuffboxes that are constructed of different media. Typically, we see examples made of precious metals or porcelain, but every so often, we get one of shell or bone which is just lovely. This one is made of tortoiseshell—a medium which found its way into a variety of the decorative arts.

The cartouche-shaped box depicts a scene of putti playing in a fountain—as they do. It’s quite a clever use of carious precious materials. The pilasters with their scrolling decoration are made of inlaid gold while the putti themselves are rendered in ivory. Mother-of-pearl inlay forms the fountain while lapis lazuli and malachite add notes of blue and green respectively to the piece.

There’s no doubt as to the Rococo influence here. Made around 1750, this box is a nifty example of a German take on the Rococo. There’s some debate about just where in Germany the box was made. Some say Southern Germany, particularly Bavaria, while others insist that the piece was constructed in Berlin.

The sides are adorned with more putti and gold shells while the base is engraved with a gold rocaille. The reeded mount comes alive with shell and the scrolled thumb-piece adds interest to the front. Today, the box forms part of the magnificent Gilbert Collection at the V&A. 

Unfolding Pictures: Queen Victoria's Pastoral Fan, c. 1850

Hand Fan
Presented to Queen Victoria by Prince Albert, circa 1850

Queen Victoria once favored this painted paper fan with carved and gilded mother-of-pearl sticks and guards.

The fan was a gift to the Queen from Prince Albert circa 1850. The obverse boasts a central cartouche which has been hand-painted with a lush scene of a lady with a sewing box. Flanking this are two pastoral scenes and symmetrical ovoid-roundels painted with floral scenes.

The verso is painted with an elegant and delicate depiction of flowers and a butterfly with Rococo tendencies.

The guards terminate in a metal pin set with a diamond paste.

Gifts of Grandeur: The Delisle Snuffbox, 1743-44

Snuffbox
France, 1743-44
This and all related images from
The Victoria & Albert Museum

Another snuffbox from the collection of Sir Arthur and Rosalinde Gilbert, this Eighteenth Century snuffbox was made in France at the apex of the fashionable snuff craze. The box features panels of mother-of-pearl which are carved with a scene of a couple in court dress. They are surrounded by cherubs, which, frankly, I would think a little unnerving. 

The mother-of-pearl panels are reverse painted with landscapes which are now substantially faded and worn. Imagine how vivid they must have looked in 1743 when the box was new. The gold mounts have been decorated with a wave pattern. 

This box is the work of Jacques-André Delisle who joined the goldsmith's guild by letters patent in July of 1718, sponsored by the gold-box maker Pierre de Roussy.

Mastery of Design: A René Bouvet Brooch, 1902

Click on Image to Enlarge
Brooch by Rene Bouvet
France, 1902
The British Museum

This brooch takes the form of a head in profile and is wholly turn of the Twentieth Century in design. It’s as if it’s the poster child for Edwardian jewelry and I love it!

Made in 1902, the head is adorned with flowing hair of chased gold, a face of coral and a cap of mother-of-pearl. It’s set with diamonds, rubies and a pearl drop. This masterpiece was made by René Bouvet though for many years, it was credited mistakenly to Rene Beaudouin.

Unfolding Pictures: The Venus Interceding with Jupiter Fan, 1730-1769

Venus Interceding with Jupiter Fan
French, 1730-1769
The Victoria & Albert Museum

Many Eighteenth Century fans were inspired by stories from Classical mythology. Here’s a great example. Known as the “Venus Interceding with Jupiter” Fan, it was made in France between 1730 and 1769. The leaf of the fan shows the high standards for fan-painting as well as serves as an excellent example of French Baroque painting. The hallmarks of Baroque painting—theatricality, intense and brilliant colors and unnaturally exaggerated lighting—are all clearly evident in this delicately painted scene. A Chinoiserie scene—also fashionable at the time—graces the reverse of the fan. 

The fan’s sticks and guards, also, are indicative or Baroque style with their intricate carving and piercing, painted cartouches and inlays of mother-of-pearl. 

Click images for larger pictures

Unusual Artifacts: The Mars and Venus Snuffbox, 1700

Snuff box of tortoise shell, mother-of-pearl and brass wire
England, 1700
The Victoria & Albert Museum

This handsome snuff box has been crafted from tortoiseshell and inlaid with mother-of-pearl, gilt-brass wire and green-stained ivory. Inlaid tortoiseshell in this style is typically known as “piqué work.”  Here, the piqué work of the lid depicts a scene of the classical gods Mars and Venus.

When this box was made in the early Eighteenth Century (about 1700), a fashionable gentleman (and sometimes a lady) was never without a snuff box. They were indispensible accessories which naturally leant themselves to be collected.  The proud owner would coordinate his or her snuffbox with the ensemble being worn. 

The taking of snuff was considered healthful.  However, many people simply collected these opulent boxes because they were fashionable status symbols. The finest boxes were constructed of the most precious of materials and few accessories showed the owner’s status as neatly.

Gifts of Grandeur: Queen Charlotte's Etui, c. 1750

Queen Charlotte's Etui
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

An etui is a small, rectangular box designed to hold a variety of personal grooming items. Historically, an etui would be carried by a lady in her handbag as a means of keeping small items such as scissors, files and tweezers contained.


Though the practice of carrying an etui has fallen from fashion, they were essential objects during the Eighteenth and Nineteenth Centuries. Often, an etui was treated as an important accessory and was made of precious metals, enameled and jeweled. 

For example, this etui from the Royal Collection which once belonged to Queen Charlotte shows the remarkable detail given to what, today, would be considered an incidental item. Created circa 1740, this case is crafted in gold which has been set with mother-of-pearl and hard-stones. The colored stones and nacre take the form of classical figures. Similarly shaped and decorated etui would have been used as cases for fans, in some instances. These boxes are slightly longer than the usual etui in order to accommodate the length of the fan.

Gifts of Grandeur: The Mars and Venus Snuffbox, 1700

Snuff box of tortoise shell, mother-of-pearl and brass wire
England, 1700
The Victoria & Albert Museum

This handsome snuff box has been crafted from tortoiseshell and inlaid with mother-of-pearl, gilt-brass wire and green-stained ivory. Inlaid tortoiseshell in this style is typically known as “piqué work.”  Here, the piqué work of the lid depicts a scene of the classical gods Mars and Venus.

When this box was made in the early Eighteenth Century (about 1700), a fashionable gentleman (and sometimes a lady) was never without a snuff box. They were indispensible accessories which naturally leant themselves to be collected.  The proud owner would coordinate his or her snuffbox with the ensemble being worn. 

The taking of snuff was considered healthful.  However, many people simply collected these opulent boxes because they were fashionable status symbols. The finest boxes were constructed of the most precious of materials and few accessories showed the owner’s status as neatly.

The Home Beautiful: A Papier-mache Hand Mirror, 1875

Click on image to see the fairest of them all.

Hand Mirror
England, 1850-1875
The Victoria & Albert Museum

I’ve written many times before how much I love Victorian papier-mache items, especially those which have been inlaid with mother-of-pearl and painted with scenes and designs. This hand mirror from 1850-1875 is an excellent example of that unique art. The mirror was acquired by the V&A in 1875 to add to its “Animal Products” Collection as a means of demonstrating the use of mother-of-pearl as adornment. 

Prince Albert founded this collection in 1853 as part of the South Kensington Museum (now the V&A). His Majesty’s idea was to exhibit a collection of manufactured items which were made from native raw materials. He suggested that these be divided into the categories of animal, vegetable and mineral. The “Animal Products” collection was the only one, however, that was ultimately formed per Prince Albert’s specifications.

Gifts of Grandeur: The Putti Snuffbox, 1750

Click images to enlarge.
German Snuffbox
Circa 1750
This and all related images from:
The Victoria & Albert Museum

I always like the snuffboxes that are constructed of different media. Typically, we see examples made of precious metals or porcelain, but every so often, we get one of shell or bone which is just lovely. This one is made of tortoiseshell—a medium which found its way into a variety of the decorative arts.

The cartouche-shaped box depicts a scene of putti playing in a fountain—as they do. It’s quite a clever use of carious precious materials. The pilasters with their scrolling decoration are made of inlaid gold while the putti themselves are rendered in ivory. Mother-of-pearl inlay forms the fountain while lapis lazuli and malachite add notes of blue and green respectively to the piece.

There’s no doubt as to the Rococo influence here. Made around 1750, this box is a nifty example of a German take on the Rococo. There’s some debate about just where in Germany the box was made. Some say Southern Germany, particularly Bavaria, while others insist that the piece was constructed in Berlin.

The sides are adorned with more putti and gold shells while the base is engraved with a gold rocaille. The reeded mount comes alive with shell and the scrolled thumb-piece adds interest to the front. Today, the box forms part of the magnificent Gilbert Collection at the V&A.