Chantilly Lace And Brown Tortoiseshell Fan By Duvelleroy, Late 19th Century
Chantilly lace fan with floral motifs, back in fine cream gauze, 16 brown tortoiseshell ribs in a cardboard box "Duvelleroy, 17 passage des panoramas Paris" with relief decorations of winged figures and lush vegetation. Note some yellowing on the back and holes in the gauze.
Late 19th century.
Dimensions open: H 32.5 x W 58 cm, closed: H 32.5 x W 4 x D 3 cm, case: W 35.5 x D 4.7 x H 4.2 cm.
The Duvelleroy company occupies an important place in the history of 19th-century decorative arts, particularly in redefining the fan as a fashion accessory and luxury item. Founded in Paris in 1827 by Jean-Pierre Duvelleroy, the company emerged in a context where the fan, very fashionable under the Ancien Régime, had largely disappeared from use after the French Revolution. Duvelleroy played a decisive role in its revival, drawing on a keen understanding of fashionable tastes and an innovative commercial strategy, first in France, then throughout Europe. Very early on, the company understood that this object could once again become a powerful social marker, both aesthetically and symbolically.
Under the Second Empire, the rise of high society fully favored the return of the fan. Duvelleroy then established itself as one of the leading Parisian fan makers. The company acquired an international reputation and became a supplier to several European courts, notably in the United Kingdom and Russia. This official recognition helped to solidify its prestige and spread its style far beyond the French capital. At the end of the 19th century, Duvelleroy reached its zenith. The fan was then omnipresent in women's social lives and was no longer limited to a utilitarian function. It became a true instrument of communication, integrated into a refined gestural code that the company itself helped to formalize and disseminate. In this context, each fan was conceived as a piece that was both decorative and expressive.
Duvelleroy's creations are distinguished by the high quality of their materials and the diversity of techniques employed. Fan leaves are made of silk, wallpaper, or lace, notably black Chantilly lace, and decorated with floral motifs, gallant scenes, or compositions inspired by nature. The frames, meanwhile, are crafted from precious materials such as mother-of-pearl, ivory, or tortoiseshell, and are finely openwork or sculpted. Participation in major international events, such as the 1878 Universal Exhibition, also contributed to Duvelleroy's renown. These events provided an ideal opportunity to showcase French craftsmanship and establish the fan within the realm of recognized decorative arts. This fan is now a precious testament to the refinement and social codes of elegant life during this era.
A Duvelleroy fan in Chantilly lace, with its case, is held at the Musée Galliera in Paris.
Late 19th century.
Dimensions open: H 32.5 x W 58 cm, closed: H 32.5 x W 4 x D 3 cm, case: W 35.5 x D 4.7 x H 4.2 cm.
The Duvelleroy company occupies an important place in the history of 19th-century decorative arts, particularly in redefining the fan as a fashion accessory and luxury item. Founded in Paris in 1827 by Jean-Pierre Duvelleroy, the company emerged in a context where the fan, very fashionable under the Ancien Régime, had largely disappeared from use after the French Revolution. Duvelleroy played a decisive role in its revival, drawing on a keen understanding of fashionable tastes and an innovative commercial strategy, first in France, then throughout Europe. Very early on, the company understood that this object could once again become a powerful social marker, both aesthetically and symbolically.
Under the Second Empire, the rise of high society fully favored the return of the fan. Duvelleroy then established itself as one of the leading Parisian fan makers. The company acquired an international reputation and became a supplier to several European courts, notably in the United Kingdom and Russia. This official recognition helped to solidify its prestige and spread its style far beyond the French capital. At the end of the 19th century, Duvelleroy reached its zenith. The fan was then omnipresent in women's social lives and was no longer limited to a utilitarian function. It became a true instrument of communication, integrated into a refined gestural code that the company itself helped to formalize and disseminate. In this context, each fan was conceived as a piece that was both decorative and expressive.
Duvelleroy's creations are distinguished by the high quality of their materials and the diversity of techniques employed. Fan leaves are made of silk, wallpaper, or lace, notably black Chantilly lace, and decorated with floral motifs, gallant scenes, or compositions inspired by nature. The frames, meanwhile, are crafted from precious materials such as mother-of-pearl, ivory, or tortoiseshell, and are finely openwork or sculpted. Participation in major international events, such as the 1878 Universal Exhibition, also contributed to Duvelleroy's renown. These events provided an ideal opportunity to showcase French craftsmanship and establish the fan within the realm of recognized decorative arts. This fan is now a precious testament to the refinement and social codes of elegant life during this era.
A Duvelleroy fan in Chantilly lace, with its case, is held at the Musée Galliera in Paris.
560 €
Period: 19th century
Style: Napoleon 3rd
Condition: Condition of use
Material: Laces
Length: 58
Height: 32,5
Reference (ID): 1726006
Availability: In stock
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