Unfolding Pictures: An Unusual Handscreen, 1820

Silhouette Handscreen:
"Lady with a Broom."
French, 1820
Turned and carved ivory handle,
linen gauze, paper and card.
Found at Frogmore House, 1979
"Probably Purchased" by Queen Mary
The Royal Collection

Though fans have been a part of daily life since the earliest of recorded times, the handscreen (a relative of the folding fan) became a popular accessory in the Seventeenth Century and continued to be utilized well into the late Nineteenth Century.


A handscreen, or face-screen, has its roots in the designs of rigid hand-fans. Essentially a decorative panel (usually of linen-covered card, paper or painted canvas) mounted on a turned stick, the handscreen served to shield a lady’s face from the direct heat of the fire. Cosmetics, until recently, were largely wax-based. The heat of the fireplace would often cause a lady’s make-up to run. When not in use, handscreens would often be displayed as decorative items on the mantelpiece.

Given their dual nature—both practical and decorative—handscreens, by the Nineteenth Century, were often created as interesting novelties. This handscreen from 1820 is constructed of painted linen gauze over paper, atop a carved ivory stick. It is distinctive because of the two figures in silhouette which have been cut from black card. By means of a lever on the reverse of the screen, the figures are made to move, giving comedic life to a scene of a woman with a broom beating a portly fellow who holds fire tongs and a shovel.

The creator of this interesting novelty is unknown, but certainly French. The handscreen was found in 1979 among several unusual items which had been tucked away at Frogmore House. The only notation of its origins is that it was “probably purchased by Queen Mary.” Not only is it a charming antique, but it’s also further evidence that Mary of Teck, the Antiquities Magnet, was like a magpie—furnishing her nest with pretty little things.

Unfolding Pictures: An Unusual Handscreen, 1820

Silhouette Handscreen:
"Lady with a Broom."
French, 1820
Turned and carved ivory handle,
linen gauze, paper and card.
Found at Frogmore House, 1979
"Probably Purchased" by Queen Mary
The Royal Collection

Though fans have been a part of daily life since the earliest of recorded times, the handscreen (a relative of the folding fan) became a popular accessory in the Seventeenth Century and continued to be utilized well into the late Nineteenth Century.


A handscreen, or face-screen, has its roots in the designs of rigid hand-fans. Essentially a decorative panel (usually of linen-covered card, paper or painted canvas) mounted on a turned stick, the handscreen served to shield a lady’s face from the direct heat of the fire. Cosmetics, until recently, were largely wax-based. The heat of the fireplace would often cause a lady’s make-up to run. When not in use, handscreens would often be displayed as decorative items on the mantelpiece.

Given their dual nature—both practical and decorative—handscreens, by the Nineteenth Century, were often created as interesting novelties. This handscreen from 1820 is constructed of painted linen gauze over paper, atop a carved ivory stick. It is distinctive because of the two figures in silhouette which have been cut from black card. By means of a lever on the reverse of the screen, the figures are made to move, giving comedic life to a scene of a woman with a broom beating a portly fellow who holds fire tongs and a shovel.

The creator of this interesting novelty is unknown, but certainly French. The handscreen was found in 1979 among several unusual items which had been tucked away at Frogmore House. The only notation of its origins is that it was “probably purchased by Queen Mary.” Not only is it a charming antique, but it’s also further evidence that Mary of Teck, the Antiquities Magnet, was like a magpie—furnishing her nest with pretty little things.

Unfolding Pictures: A Pair of “Pen Work” Hand Screens, 1800-1825

Hand Screen
Wood, Pen Work, Lacquer
1800-1825
The Victoria & Albert Museum

As we know, hand screens (or face screens) served a dual purpose. Not only were they employed to protect a lady’s makeup from the heat of the fire, but also were displayed on a mantelpiece as decoration.


In the early Nineteenth Century, Chinese-inspired designs dominated the style of face screens which were made of wood, upholstered card or papier mache. This pair of wooden hand screens dates between 1800 and 1825 and is an excellent example of Pen Work.

Pen Work was often used to replicate the look of black Chinese lacquer with gilded adornment. Chinoiserie items were often quite expensive. Pen Work allowed for the look of these dear objects without the cost. All that was needed was a little skill.

The Victoria & Albert Museum

A scalloped, thin piece of light-colored wood was painted black, leaving the areas of the desired pattern unpainted. The pattern was filled-in with Indian ink and fine quill pen. Then, the entire screen was varnished. The unpainted parts of the wood would take on a golden hue which only became richer over time. After a few years, the finished product was almost indistinguishable from actual Chinese lacquer with gilt designs.

This technique was not just used in the making of hand screens, but was a staple of the decorative arts and furniture making. Such screens weren’t considered fashion accessories in the way that traditional folding fans were, but rather, were considered to be furnishings—part of the décor and usefulness of a room.

Unfolding Pictures: A Pair of “Pen Work” Hand Screens, 1800-1825

Hand Screen
Wood, Pen Work, Lacquer
1800-1825
The Victoria & Albert Museum

As we know, hand screens (or face screens) served a dual purpose. Not only were they employed to protect a lady’s makeup from the heat of the fire, but also were displayed on a mantelpiece as decoration.


In the early Nineteenth Century, Chinese-inspired designs dominated the style of face screens which were made of wood, upholstered card or papier mache. This pair of wooden hand screens dates between 1800 and 1825 and is an excellent example of Pen Work.

Pen Work was often used to replicate the look of black Chinese lacquer with gilded adornment. Chinoiserie items were often quite expensive. Pen Work allowed for the look of these dear objects without the cost. All that was needed was a little skill.

The Victoria & Albert Museum

A scalloped, thin piece of light-colored wood was painted black, leaving the areas of the desired pattern unpainted. The pattern was filled-in with Indian ink and fine quill pen. Then, the entire screen was varnished. The unpainted parts of the wood would take on a golden hue which only became richer over time. After a few years, the finished product was almost indistinguishable from actual Chinese lacquer with gilt designs.

This technique was not just used in the making of hand screens, but was a staple of the decorative arts and furniture making. Such screens weren’t considered fashion accessories in the way that traditional folding fans were, but rather, were considered to be furnishings—part of the décor and usefulness of a room.

Unfolding Pictures: A Pair of “Pen Work” Hand Screens, 1800-1825

Hand Screen
Wood, Pen Work, Lacquer
1800-1825
The Victoria & Albert Museum

As we know, hand screens (or face screens) served a dual purpose. Not only were they employed to protect a lady’s makeup from the heat of the fire, but also were displayed on a mantelpiece as decoration.


In the early Nineteenth Century, Chinese-inspired designs dominated the style of face screens which were made of wood, upholstered card or papier mache. This pair of wooden hand screens dates between 1800 and 1825 and is an excellent example of Pen Work.

Pen Work was often used to replicate the look of black Chinese lacquer with gilded adornment. Chinoiserie items were often quite expensive. Pen Work allowed for the look of these dear objects without the cost. All that was needed was a little skill.

The Victoria & Albert Museum

A scalloped, thin piece of light-colored wood was painted black, leaving the areas of the desired pattern unpainted. The pattern was filled-in with Indian ink and fine quill pen. Then, the entire screen was varnished. The unpainted parts of the wood would take on a golden hue which only became richer over time. After a few years, the finished product was almost indistinguishable from actual Chinese lacquer with gilt designs.

This technique was not just used in the making of hand screens, but was a staple of the decorative arts and furniture making. Such screens weren’t considered fashion accessories in the way that traditional folding fans were, but rather, were considered to be furnishings—part of the décor and usefulness of a room.

Unfolding Pictures: Queen Alexandra’s Hummingbird Fan, 1870

Hummingbird Fan
Brazil, 1871
Turkey and Chicken Fathers on a Gauze Base
Mounted Brazilian Ruby Hummingbird
Turned Bone Handle
The Royal Collection

A lady was never without a hand fan—especially at a lavish function where fans were considered important accessories. Then, as today, fashions and trends tended to be a little silly, but were nonetheless popular. Novelty fans of many varieties were often produced as collectables. One such novelty fan featured a taxidermy bird mounted on a face screen of feathers.


Fan-makers in Brazil—who had easy access to hummingbirds—produced these fans by the boxful. Curiously, these fans didn’t come into England directly from Brazil. Instead, they were imported to Canada where they came to the attention to British nationals who quickly shipped them home to England.

The Princess of Wales, Alexandra (later, Queen Alexandra, wife of King Edward VII), was always one to keep up with fashions and was enthusiastic about this face screen of chicken and turkey feathers with its deceased ornament of a ruby hummingbird. Because she had one, of course, everyone had to have one. And, soon, the Royal court was infested with an army of mounted hummingbird carcasses.

In a strange bit of incongruity, many noble ladies carried fans like this one to the 1871 Waverley Ball in honor of the centenary birth of Sir Walter Scott. The theme of this fancy dress ball was to see all of the attendants dress as characters from Scott’s novels. Alexandra dressed as Mary, Queen of Scots and carried this fan which would have made a lot less sense than it already did, if almost every woman in the room wasn’t also carrying one.

Unfolding Pictures: An Unusual Handscreen, 1820

Silhouette Handscreen:
"Lady with a Broom."
French, 1820
Turned and carved ivory handle,
linen gauze, paper and card.
Found at Frogmore House, 1979
"Probably Purchased" by Queen Mary
The Royal Collection

Though fans have been a part of daily life since the earliest of recorded times, the handscreen (a relative of the folding fan) became a popular accessory in the Seventeenth Century and continued to be utilized well into the late Nineteenth Century.


A handscreen, or face-screen, has its roots in the designs of rigid hand-fans. Essentially a decorative panel (usually of linen-covered card, paper or painted canvas) mounted on a turned stick, the handscreen served to shield a lady’s face from the direct heat of the fire. Cosmetics, until recently, were largely wax-based. The heat of the fireplace would often cause a lady’s make-up to run. When not in use, handscreens would often be displayed as decorative items on the mantelpiece.

Given their dual nature—both practical and decorative—handscreens, by the Nineteenth Century, were often created as interesting novelties. This handscreen from 1820 is constructed of painted linen gauze over paper, atop a carved ivory stick. It is distinctive because of the two figures in silhouette which have been cut from black card. By means of a lever on the reverse of the screen, the figures are made to move, giving comedic life to a scene of a woman with a broom beating a portly fellow who holds fire tongs and a shovel.

The creator of this interesting novelty is unknown, but certainly French. The handscreen was found in 1979 among several unusual items which had been tucked away at Frogmore House. The only notation of its origins is that it was “probably purchased by Queen Mary.” Not only is it a charming antique, but it’s also further evidence that Mary of Teck, the Antiquities Magnet, was like a magpie—furnishing her nest with pretty little things.