| The Triumph of Bacchus, after Annibale Carracci, 19-3/4 x 11. | Lady Northcliffe. |
Tortoise-shell follows the same principle of decorative development, and when piqué is employed, it is usually gold, as being more in harmony with the colour of the shell.
The ‘éventail brisé’ dates from the period of the first introduction of the folded fan into Europe. This is so named because it has no mount, but is entirely made up of a number of blades, which may be of any material—ivory, mother-of-pearl, the various woods, etc., and are painted, carved, or otherwise decorated, fastened at the head by means of a pin or rivet, and further connected with a ribbon running through each blade, at or near the circumference of the fan.
The earliest are those which were imported in such large quantities from the East, from the latter part of the sixteenth century onwards. The Western modification of these is seen in that class of fans produced in Italy and elsewhere during the latter part of the seventeenth and early eighteenth centuries, which consisted of a system of flat, pierced scroll-work, of a somewhat severe and reticent character. This was supplemented by panels en cartouche painted and gilt, with portions of the ornament enriched with gold and colour; these usually opened out to rather less than a third of a circle. Miss Moss of Fleet possesses an interesting example with a painted ‘pastorale’ of three figures in the centre of the fan, together with lesser subjects en cartouche, the floral portion of the scroll ornament being emphasised with colour.
In the Wyatt collection is an interesting example of about 1730, in which the ornament forms a large cartouche in the centre, enclosing a subject of two Cupids holding a wreath over a heart with a canopy above. The cartouche is gilt and the figures painted; the lower portion of the fan is painted and gilt with flowers in the Chinese taste. The guards are carved, painted, and gilt; the connecting ribbon of green silk ornamented with a pattern in gold.
This system was practised later, with the addition of carving in low relief, the ornament having developed a rococo character.
Horn is treated in the same process of flat piercing: this was extensively practised during the whole of the eighteenth century, and many ‘minuet’ fans were made. A beautiful Italian example of these ‘minuet’ fans is in the Wyatt collection, decorated with silver spangles, with a white silk connecting ribbon.
Double or reversible fans open both ways—either from left to right or the reverse. These were in vogue during the latter years of the eighteenth century, and were made of various materials, but usually ivory, with painted ornaments. The most interesting were, however, those of sandalwood, with three printed medallions on either side of the fan, giving twelve subjects. The device, although surprising at first sight, is really simple, and consists of printing each blade with portions of two different subjects in the centre, one set of halves being exposed, the other covered by the blade next following.
These fans were common to most of the Western countries of Europe, a large number being made in England with subjects after Angelica Kauffmann and others.