In the interesting fan, giving, within a large cartouche, a view of the Parades, and Old Assembly Rooms at Bath, 1737, Beau Nash appears in the foreground in lilac coat, with a white hat under his arm,158 addressing a bevy of fashionable ladies; at the sides are floral and diapered ornaments in the Chinese taste.

The example illustrated, which is coloured with extreme care, was acquired by the Baroness Burdett-Coutts at the Walker sale in 1882. This is the mount referred to by Pinchbeck in his advertisement of

‘June 3, 1738.

‘This day is Published on a Fan Mount (Fit for the Second Mourning or in colours) An accurate and lively Prospect of the celebrated Grove at Bath, whereon the rural Pleasures and exact Decorum of the company are curiously represented, with some cursory Observations on the Behaviour of Sundry Persons, particularly the famous B. N.

‘Likewise the rural Harmony and delightful Pleasures of Vaux-Hall Gardens. Also the Royal Repository, or Merlin’s Cave; being an exact Emblem of that beautiful Structure erected by the late Queen in the Royal Gardens at Richmond.

‘Sold wholesale or retail at Pinchbeck’s Fan Warehouse, etc., by Mr. Crowbrow, at the India House on the Walks: and at Mr. Dalassol’s and Mr. Weakstead’s Shops in the Grove at Bath.’

Two fans were published in June 1757 by G. Speren, giving a view of the interior of the Pump-Room at Bath, and the Orange Grove, with obelisk, garden, and buildings.

Lady Charlotte Schreiber quotes the following advertisement which appeared in the Craftsman during this year:—

‘This day is publish’d, by Jonathan Pinchbeck, Fan-maker, at the Fan and Crown in New Road-Court in the Strand, and sold by him Wholesale and Retail.

‘The Bath Medley; Being an accurate and curious Draught of the Pump Room at Bath, and most of the known Company who frequent it, adorn’d with the Portraitures of her Royal Highness the Princess Amelia159 and other illustrious personages who honour’d the Place with their Presence the last Season; wherein the Topicks of Discourse and Conversations of Companies are impartially consider’d; their different Behaviours, Airs, Attitudes, etc., judiciously represented; the Foppery of the Beaus hinted at, and the Intrigues of the famous B— N— and others fully exploded. Taken from the Life, and finely delineated in above fifty Hieroglyphical figures.

‘N.B.—A spurious pyratical Copy of this Fan is lately publish’d, which is not like the Place it should represent, and may easily be discover’d from the Original by its having Pillars to support the Musick Gallery, and in the Middle is wrote The Bath Medley.’

The first Pump-Room was opened in 1706, with all the éclat of a public procession, and a musical fête, at which was sung a song specially composed in honour of King Bladud, the father of Lear, and mythical founder of Bath, recounting the story of his glorious deeds, and his soaring ambition, which, Icarus-like, finally overreached itself.160

The sequel to the story is to be found in the following quotation in Meehan, Famous Houses of Bath:—

The Pump-Room illustrated on the fan was erected in 1732, and was, together with the Assembly-rooms, really the creation of Beau Nash, who persuaded one Thomas Harrison to build a room for dancing on the east side of the Grove, with access to the bowling-green, which then became known as Harrison’s Walks. To maintain his supremacy, Nash rented the Pump-Room from the corporation, and put it under the charge of an officer called the Pumper, and for a while induced Harrison to accept three guineas a week for the Assembly-rooms and candles.161

The Grove was re-named the Orange Grove by this same worthy, who erected the obelisk in the centre in commemoration of the visit of the Prince of Orange who came to Bath for the benefit of his health.

IN MEMORIAM
SANITATIS
PRINCIPI AURIACO
AQUARUM THERMALIUM POTU
FAVENTE DEO
OVANTE BRITANNIA
FELICITER RESTITUTAE
M.DCC.XXXIV.162

The exterior of the Rotunda, house, gardens, etc., at Ranelagh, is given on a fan mount in the Schreiber collection, this being a copy of a print entitled ‘Vue de l’Extérieur de la Rotonde. Maison & Jardins, etc., à Ranelagh. ‘Canaleti, delin.’ ‘N. Parr, sculpt.’ Published according to Act of Parliament. December 2, 1751.’

Opera fans give plans of the boxes at the Opera, with names of the occupants. An example in the Schreiber collection is inscribed: ‘New Opera Fan for 1797. W. Cock. Publish’d as the Act Directs for the Proprietor, by Permission of the Manager of the Opera House, 42 Pall Mall.’

The following advertisement appeared in the Times of January 1, 1788:—

‘The Opera Fans.
‘To the subscribers and frequenters of the King’s Theatre.

‘Last Saturday were published according to Act of Parliament. The Delivery, however, was put off until the re-opening of the Opera House next week, for the purpose of presenting them in the best state of improvement.

‘These fans are calculated to present at one view both the number of boxes including the additional ones, names of subscribers, etc., and have been carefully compared with the plan of the House or kept at the office, and will be sold only by the proprietor, Mrs. H. M., No. 81 Haymarket, where she will receive with respectful gratitude any commands from the ladies and wait on them if required.’

A fan published on the same date, January 1, 1788, by Clarke and Co., appears in the Schreiber collection, and gives the plan of the King’s Theatre for 1788; the centre box bears the names of the Duke and Duchess of Cumberland and that of the Duke of York; the Prince of Wales and Mrs. Fitzherbert being in box sixty-three on the right.163

Fans illustrative of the ‘tender passion’ naturally form a large class, and may be divided into the following groups:—

1. Satirical and Amusing.

2. Pastoral, Social, and Fancy.

3. Subjects from Classic Mythology, as ‘The Marriage of Cupid and Psyche,’ ‘The Theft of Cupid’s Bow,’ ‘The Offering of Love,’ etc.

Maps of the affections were common both in this country and on the Continent, and are invariably designed on the principle of the Italian fan, ‘Il Paese del Matrimonio,’ referred to page 269.

The following advertisement appeared in the Craftsman for January 13, 1732-3:—

‘Daniel Chandler, Fan maker in the Strand over against Southampton St., who invented and sold the Lilliputian Fans,164 and Variety of other pleasant Fans, is now provided with a Parcel of fashionable Fans, neatly mounted, representing the map of Tender, which may afford Entertainment both for Ladies and Gentlemen who are Tenderly inclined, and disposed to be agreeably merry.

‘These fans and Mounts are likewise sold by Michael Burnet, Fan maker, at the Hand and Fan, over against Friday St. in Cheapside.’

On the same date, Saturday, January 13, 1732-3, Pinchbeck announces the ‘Courting Fan Mounts.’

‘An Embleme of the Four different Stages of life finely delineated in seven hieroglyphical Figures. Being a lively representation of the Address of young Lovers, the Raptures of a new-married couple; the reciprocal Harmony of Antient wedded companions; and the abject, wretched state of an Old Maid. Illustrated with a Paraphrase, on each cut, which serves as a Key to the whole.

‘N.B.—At the abovesaid Place may be had all sorts of Fans and Fan-mounts of the newest Fashion, and at the lowest prices, wholesale or retail.’

On April 20, 1734, Pinchbeck advertises:

‘The Old Man’s Folly.—In this Fan is represented an old Miser, who at the age of Fourscore had the Vanity to court a young lady of Twenty; she despises his Addresses, and Cupid shoots Thunder at his Head: in this Dilemma, Bacchus invites him to a Banquet at the Nectarius Grove; whilst the Eye of Heaven shines propitious on the Raptures of a youthful couple.

‘Where may be had

‘The abject, wretched state of an Old Maid, and divers other curious Fans; the Designs taken from the best Masters.’

These two fans had been announced earlier by Pinchbeck on Jan. 15th of the same year, as follows:—

‘Just Published.... The Amours of an Old Batchellor, or the Downfall of Sir Limberham; likewise the four different Stages of Life; or the abject, wretched State of an Old Maid. To each of these Fans are prefix’d, Verses suitable to the Occasion, which explain the Design.’

M. Gamble, on August 11, 1739, advertises

‘A new Fan, wherein is delineated a Damsel bewailing the Loss of her Lover, who is represented as cast away in a Storm.

‘Where may also be had, a Fan lately publish’d entitled The Sailor’s Wedding, being made to the glorious and immortal Majesty of Queen Elizabeth.’

‘Before and after Marriage’ gives expression to an idea which also supplied a favourite motif for English and especially Staffordshire pottery. On a cream ware jug, with illustrations of courtship and matrimony, we have the following couplets expressive of the two contrasting conditions:—

The fan leaf, published in Paris, but also issued in England, illustrates two scenes, in the former of which Cupid smiles approvingly: in the latter, Cupid in the background is overwhelmed with grief at this instance of Strephon’s indifference; above are inscriptions in French and Spanish: ‘La Complaisance de l’Amant ou Huit jours avant,’ and ‘L’indifférence du Mari ou Huit jours après.’ The fan etched from drawings by William Williams, a name which suggests an English origin of the idea.

A similar contrast is drawn in two fans published by J. Read, Feb. 20, and Nov. 1, 1795, 133 Pall Mall: ‘The Good Swain’ gives three oval medallions of ‘The Morning of Youth,’ ‘Mid-Day of Life,’ and ‘Chearful Evening of Old Age,’ each subject being provided with four lines of verse commencing with, ‘Unless with my Amanda blest.’

The ‘Good-for-nothing Swain’ gives ‘The Vow of Constancy,’ ‘The Hour of Infidelity,’ and ‘Cupid’s Farewell,’ the verses commencing, ‘With soothing Smiles he won my easy heart.’

Both fans bear the name of ‘G. Wilson,’ who appears on a number of fans of this period both as designer, engraver, and publisher, and evidently supplied designs, or stock, to other publishers.

Among the more successful humorous fans are those giving, in a series of medallions along the border of the fan, ‘A selection of Beau’s, Whimsical, Comical, and Eccentrical; or Candidates for the Ladies’ Favour’; and ‘The Ladies’ Bill of Fare, or a Copious Collection of Beaux.’ The various kinds of lovers are each provided with a suitable inscription above and below, as: ‘A Spark of some Conceit, Let me die if I don’t believe she thinks of me Night and Day,’ ‘A Man of high price, I am determined not to Marry any Woman under a Dutchess,’ etc. ‘The Merry Lover,’ and ‘I Live, Love, and Laugh,’ etc. In the centre of the fans, underneath a flying Cupid, are verses in further elucidation of the subject:

and on ‘The Ladies’ Bill of Fare’:

These fans are engraved in mixed line and stipple, the name ‘G. Wilson, del^t.,’ appearing on the first mentioned, with ‘London, published May 25, 1795, by I. Read, No. 133 Pall Mall.’ On the latter, ‘Published as the Act directs by G. Wilson, 14 Feb. 1795, 108 St. Martin’s Lane.’

Other fans having reference to the affections, and issued by the same publisher, are: ‘The Progress of Love’ in the five stages of ‘Cupid Relieved’; ‘Amantha Rewarded’; ‘Pastime of Love’; ‘Altar of Hymen’; ‘Connubial Bliss’; ‘The Lady’s Adviser, Physician, and Moralist, or, Half-an-Hour’s Entertainment at the Expense of Nobody!’ and ‘The Quiz Club’—the latter giving twelve circular medallions of ridiculous characters round the border of the fan, with suitable descriptions underneath:

‘This young Spark is perfectly a man of Taste—dresses like a gentleman—swears like a Nabob, and believes the Ladies think him a clever fellow.’

..........

‘This Man (wonderful man he should be called) is a learned Ass. Speaks gramatically nice, looks very solemn, and expects y^e Ladies to understand his consequence, happy are they who win his smiles.’

..........

‘A fit Man for a closet—give this gentleman retirement, he requires to bear Comp^y with none but invissibles—Gods, Goddesses, Genii, Fauns, Sylphs, Naiads, Dryads, & y^e like.’

‘An unfit Man to be alone—one that his associates have nicknamed Bob Drowsy, he can find no amusement but in his tongue, & if he is left half an hour alone he falls asleep.’

In an oval medallion in the centre is the following:—

‘The Quiz Club.
Dedicated to all Beaus in Christendom.
By S. A., Professor of Physiognomy and Correction of the Heart.

‘Publish’d by Ashton & Co., No. 28 Little Britain, May 1st, 1797, & Enter’d at Stationers’ Hall.’

Trips to Gretna were among the earliest results of the abolition of Fleet marriages by Lord Hardwicke’s New Marriage Act of 1753, one of the most famous of these clandestine marriages being that of Richard Lovell Edgeworth ten years later. The fan illustrates, in six scenes, the progress of a love match from the first meeting, to a marriage at Gretna, and final forgiveness by the bride’s father—‘The First Impression,’ ‘Mutual Declaration,’ ‘The Refusal,’ ‘The Flight,’ ‘The Journey’s End,’ ‘The Reconciliation.’

This subject also formed a favourite motif for the Staffordshire potter of the period, who produced a number of groups characterised by that quaint humour which appears to be native to him. It will be observed that in the fan, as in the pottery figure groups, the popular idea of the ‘blacksmith’ is perpetuated. This popular notion, however, is thus disposed of by Jeaffreson, the historian of matrimony (Brides and Bridals): ‘There is no evidence that any one of the Gretna Green marriages was solemnised in a smithy, or that any one of the famous Gretna Green ‘couplers’ ever followed the smith’s calling. One of these so-called parsons had been a common soldier, another a tobacconist, a third a pedlar, and all of them drunkards and cheats, but no one of them ever shod a horse or wrought an iron bolt.’

The state of widowhood also supplies the motif of a number of fans, the subject usually taking the form of a woman in classical costume, mourning over an altar, urn, or tomb; the central figure-subject generally engraved in stipple, the landscape completed by hand. Several examples are in the Schreiber collection, the most successful being that signed ‘F. Burney, del.; H. Meyer, sculpt.’

In the third group, subjects from classic mythology, the prevailing method or decorative scheme is that of an engraved medallion, large or small, occupying the centre of the fan, to be enclosed in, or incorporated with, an ornamental setting painted by hand; the character and treatment of the subject representing that pretty, sentimental quasi-classicism which set in about the middle of the century, and which we associate with the names of Cipriani, Angelica Kauffmann, and the engraver Bartolozzi. A characteristic example is the design by G. B. Cipriani, R.A., of Orpheus and Eurydice emerging from Hades, their way being lighted by the torch of Cupid. The medallion is engraved in stipple, the field of the fan being completed by ornaments in black, grey, pale blue, and silver.

A variation of this decorative scheme has three medallions with arabesque ornamentation also engraved, the fan usually being sold uncoloured but occasionally tinted; an example being ‘The Power of Love’—a Cupid riding on the back of a lion, engraved by Bartolozzi from the antique gem by Protarchos at Florence, with two smaller medallions of Cupids. ‘Publish’d as the Act directs, March 1, 1780, by A. Poggi.’165

An interesting fan in the Wyatt collection is printed on chicken skin, with an almanac in Spanish, decorated with the signs of the Zodiac in circles, and borders of fruit, flowers, etc., coloured and gilt. The stick and guards of pierced and carved ivory, painted.

A class of fan popular both in France and England, during the middle and latter half of the eighteenth century, has a medallion subject or series of subjects superimposed upon a streamer of lace; this last

being carefully engraved and coloured, the subjects painted, often with great elaboration. An excellent French example occurs in the Wyatt collection, with a cartouche enclosing a battle-piece, flowers, and insects introduced amongst the lace; the stick mother-of-pearl, gilt and silvered, with ‘gold-fish’ inlay; the whole colour effect extremely fine.

Printed fans were by no means confined to France and England, although it is in these countries that the practice obtained most extensively; fans were issued in Germany giving portraits of the Emperor Leopold II. and his wife, Maria Louisa of Spain, and their family; of Frederick II., who is represented as in Elysium, having just embarked from Charon’s boat; of Frederick William III. and Queen Louise of Prussia, and of Madame Royale, in allusion to her release in 1795 and her subsequent arrival in Vienna. The famous engraver Chodowiecki also produced several fans, prints of which occur in the Berlin Museum.

Two Italian examples may be referred to. The subject known as grotesque animals was obviously executed as a central subject, the field of the fan to be completed by hand. It is an extraordinarily skilful engraving of a number of animals playing different antics. In the centre is a monkey in cocked-hat and feather, extracting with a pair of forceps a tooth from a fowl who is laying an egg the meanwhile. Sympathetic birds are perched around, and a squirrel is in attendance with a glass of refreshment on a tray. The design is made up of similar grotesque incidents—as a dog with a pair of tongs over his shoulder, returning from a rat-catching expedition; a porcupine reading a book with the aid of a magnifying glass; a fox with two young foxes riding on the back of a fish which is duly provided with a huge pair of spectacles, etc. etc. The humours of the piece are too many to be described in detail. No publisher’s or artist’s name appear. The extreme length is nine inches.

In the subject ‘Il Paese del Matrimonio,’ the centre of the fan is occupied by a Cupid standing in a boat, saying: ‘Andiamo, chi viene al paese del matrimonio,’ and ‘Venite, signorine, Ciascana delle vostre madri falto prima di voi questo viaggio. La mia barca è della più leggiere, se non vi condurre a buon porto non mi pagherete.’ On either side are maps of two imaginary countries—Terra del celibato and Paesi del matrimonio, with pictorial representations of the various places. The former apparently is the country of tranquillity; on it are figured the Tempio della pace, the Fontana della quiete, the Città dell’ independenza, the Paradiso terrestre.

The country of matrimony is approached by the Golfo del Rimprovero which lies between the Capo della dissimulazione and the Rupe della gelosia. In this country are discovered the Città d’isagiosa; the Tempio della discordia, shown as falling to pieces with a volcano hard by; the montagna dell’ infedeltà, from which springs a stream emptying itself into the Lago dell’ indifferenza. On the farther side of this country of unrest lies the Golfo della luna di miele.

Of the processes of engraved fans, the most usual is that of etching, often finished (sweetened is the technical term) by means of the graver or burin. Pure line-engraving is frequently employed, although most line-engravers make use of the etched line as a foundation for subsequent work with the burin. Etching is occasionally supplemented by stipple-engraving and the free use of the roulette. Many fans are painted in a brownish black ink with the flesh-tints in red; in others several colours are introduced, thus anticipating the modern process of coloured etching. This latter is practically a system of painting upon the plate in colours, and can scarcely be considered as a legitimate process, although the result in modern coloured etching is often interesting, and in some instances even admirable. Aquatint was also employed, especially during the earlier years of the nineteenth century, on a number of fan leaves illustrating the Peninsular War. Many of these were produced in London by Behrmann and Collman, for the Spanish market, with inscriptions in Spanish. Portraits of the Duke of Wellington were also popular.

After the introduction of lithography many fans were produced by means of this process, invented by Aloys Senefelder of Munich about 1798; all lithographed fans must therefore be of a subsequent date to this.

This process was employed as a groundwork for subsequent painting, often carried to a high pitch of finish, so much so, that it is difficult for any but a practical eye to detect the lithographic foundation. Examples of these fans, which include a great variety of subjects, appear in most collections.

Lithography has been employed during the whole of the nineteenth century for the decoration of fans, and is largely in use at the present time.

CHAPTER XI

MODERN AND PRESENT-DAY FANS

WE now gather together the various threads of our subject at the point where they were left, viz. the close of the Empire. We have found that during two centuries and a half—from 1600 to 1800, with a little overlapping at either end—the fan passed through the various stages of development and decline; that during the latter years of the sixteenth century both Italy and France, but especially the former, produced objects which may be legitimately described as fine art; that in France, if we make allowance for, and accept a different standard of taste and fashion, the most exquisitely dainty things were produced, the period of Louis XV. being that of the highest development of the art, with a steady decline from thence onwards.

During the first three decades of the nineteenth century the fan languished. The storm and upheaval of the Revolution, the general unrest caused by the Napoleonic wars, were among the chief contributing causes, together with the fact that the great families had fled from France, taking their fans with them. For the first fifteen years of the century, there is little to record except a difference of proportion. ‘Towards 1800,’ to quote M. Rondot, ‘the brins were only 6 or 7 centimetres to the gorge; towards 1813 this was increased to 8 centimetres, and to 19 centimetres in 1841.’

‘When the brisés returned into favour in 1804,’ continues this author, ‘the fan-makers employed leather, silver, copper, asses’ skin, and cardboard. The blades were short, and were made by the cutters who ornamented them; this was also the case with the fans of horn which were fashionable towards 1829-30.’

Three examples are given of the earlier years of the century: the first, from the collection of Miss Moss, formerly belonged to Miss Charlotte Yonge the authoress, and is worked upon a foundation of net, with cut and pierced steel decorations. The painted subject in the centre represents a lady seated in a garden, and a boy with hoop and dog; the stick of pierced ivory piqué with silver. An Italian example almost identical with this, with the exception of the painted subject, appears in the Museo Civico, Venice.

The fan of asses’ skin, from the same collection, is cut to a perforated pattern, painted in the centre with a subject of birds and flowers, the outside blades of ivory, the whole piqué with silver. These peau d’âne fans were used by élégantes at balls, as tablets upon which the names of partners for the dance were inscribed by means of a leaden or silver pencil. The colour is a light slaty-grey; their size averaged from 9 to 10 inches.

The fan which, by the courtesy of Mr. Leopold de Rothschild, we are enabled to illustrate, is elaborately cut to fine perforations, and painted with a large medallion in the centre representing a music lesson, a number of smaller miniatures on the blades, with gilding.

In 1827 the fan was the provocative cause of the conquest of Algeria by the French. A blow on the head of the French consul from the plumed fan of Hussein Dey resulted in an apology being demanded and refused, with the consequent declaration of war.

‘In the course of the year 1828,’ says M. Uzanne, ‘at the time of representations of a comic opera entitled Corisandre, as the heat was suffocating, the youthful dandies fainting languidly in their boxes, it occurred to a Paris manufacturer to sell green paper fans to the men, and the whole theatre was therefore furnished with them. Fashion adopted this innovation of masculine fans, which received the name of Corisandres, but this originality endured but a short time in Paris, as also in Venice and the principal cities in Italy, where men became familiar with the play of the fan;—the beaux abdicated the sceptre of the woman, and resumed as before their Malacca canes.’

An amusing story is told of a near-sighted French writer, who, on a sultry summer evening at the Opéra, was much incommoded by the flip-flapping of the fans of two persons who sat immediately behind him. Turning to the two delinquents, My dear ladies,’ said he, in the politest of tones, ‘if you will kindly moderate the use of your fans you will render me the happiest of men.’ Instead, however, of the dulcet tones of a lady’s voice, a deep bass smote his ear, and he found himself confronted with the black-bearded, furious, and reddened visages of two lieutenants of the Guards. The amende quickly followed.

It was the circumstance of a grand ball given at the Tuileries in 1829 that occasioned the renaissance of the fan. Madame la Duchesse de Berri was organising a Louis XV. costume quadrille—fans of the period were required to complete the tout ensemble, and none were available. At length one of the guests recollected an old parfumeur in the Rue Caumartin, named Vanier, who had collected ancient fans: these were conveyed to the palace, where, in the quadrille, they created extraordinary interest—were eagerly purchased, and from this time onward in the most exclusive circles, in spite of the fickleness of that jade, Fashion, the fan has retained its hold upon the affections of the fair.

The earliest result of this revival of taste for old fans was, perhaps naturally, a general imitation of old models, and lifeless reproductions of the fans of the Louis Quinze period were made.

It will readily be perceived that this way did not lead to artistic salvation—that it served no good purpose to open up the graves of a dead century and to disturb its poor ghosts. It is true that things were changing for the worse, but there is a healthiness in the very act and spirit of change, even though that change should represent a temporary decline.

This is the epoch of which it will be said that men actually, by some mysterious means, were deprived of what may for present purposes be called their sixth sense, when, though their eyelids were unclosed, they saw not, or only in a perverted manner; it is, nevertheless, one of the curiosities of this most singular epoch that while the general level of artistic attainment was so low, its pictured shadows so dark, the prevailing gloom should be illuminated here and there by lights more bright and intense than in the two preceding epochs. In other words, while we fail to trace with any measure of certainty any single instance, during the seventeenth and eighteenth centuries, of an artist of the first calibre touching the fan, during the first half of the century that succeeded, the fan may boast of such names as Horace Vernet, Ingres, Isabey, and others only a little less distinguished. These represent the welcome oasis in the dreary desert of mediocrity—the limpid springs at which from time to time we may pause for a few moments to refresh ourselves. Of the work of these famous painters, an ‘Arab dance’ by Horace Vernet is recorded; as also ‘Diana and Endymion,’ the subject treated in the Etruscan style by Ingres, who constantly in his pictures introduced fans, as witness the portrait of Madame Devauçay, referred to in an earlier chapter, ‘The Odalisque,’ and ‘The Harem.’ We have also, later, an ‘Allegory of the Arts’ by Robert Fleury, a ‘Fête’ by Gérome, and fans by Diaz, Vibert, Lami, Glaize, and Jacquemart.

‘The revolution of 1848,’ says M. Rondot, in his report on the 1851 Exhibition, ‘would have crushed the French fan industry if it had not been for the orders for exportation. The production, which in Paris amounted to the value of three million francs in 1847, was reduced by half in the disastrous year that followed; of 565 workers of both sexes 315 were thrown out of employment. At the time of writing’ (1854), continues this author, ‘the industry was in a very flourishing condition.’ This prosperity has been maintained to the present day, ‘Paris being still the only city where a fan may command the price of a hundred pounds.’166

The number of artists and workers employed in Paris and the Oise, says M. Duvelleroy in his report on the Paris Exhibition of 1867, is 4000; the annual value of the production being ten million francs, of which three-fourths is for the foreign market. ‘Paris et la Chine ont seuls le monopole du commerce des éventails, mais c’est aujourd’hui, en Europe, une industrie toute française, pour laquelle le monde entier est notre tributaire.’167 The evidence of this exhibition, further affirms this author, showed that France incontestably held the first rank.

‘Spain, who for thirty years had tried to organise her industry, has only arrived at the production of the commoner classes of fans. Italy, who uses fans greatly, does not make them; Portugal being only the third in the European market.’ The British record is correspondingly poor. ‘In the Great Exhibition of 1851,’ says Lady Bristol, ‘there was not one single fan of British manufacture exhibited,’168 and so far as painted fans are concerned, the statement made by Redgrave in his notes to the Catalogue of the Fan Exhibition at South Kensington in 1870, ‘that there were no English fanmakers living except those who made cheap and coarse fans, is substantially correct to-day.’169

The evidence of the fans themselves bears out these statements. The instance may be cited of an engraved fan in the Schreiber collection (No. 69, Mounted Fans) recording Mr. Albert Smith’s ascent of Mont Blanc in 1851, bearing the imprint of the French firm, ‘Leroux et Cie., Fan’s Manufactr., 41 rue Notre Dame de Nazereth, Paris.’ This obviously produced exclusively for the British market.

From Germany comes similar evidence of French pre-eminence; the wedding fan of the Grand Duchess of Baden, exhibited at Karlsruhe in 1891, is signed by a French artist, ‘A. Soldé, 1855,’ who produced a number of fans, and is made by a well-known French maker, Frédéric Meyer of Paris. This is painted with the subject of a sacrifice at the Altar of Hymen, and portrait busts of the Grand Duke and Grand Duchess, the initials F. and L., together with ‘Coblentz, 30 Sept. 1855,’ and is a typical fan of the mid-nineteenth century.

Of the work of Soldé, a most excellent example, Le Bal d’Amours, is given, graciously lent by H.R.H. Princess Louise, Duchess of Argyll. The leaf is signed on both obverse and reverse, ‘A. Soldé,’ and inscribed, ‘Grand Bal donné sous le patronage de Madame.’ The mother-of-pearl stick finely pierced and carved. This formed part of the famous collection of Queen Victoria.

In 1859 an event occurred of the most fateful interest for the fan, M. Alphonse Baude of Sainte-Geneviève (Oise) having invented his system of cutting and carving the sticks à jour by machinery! Let us understand clearly what this means to us. Nature, ever bounteous, provides us gratis, without any patent dues, with an instrument—the human hand—the most exquisitely delicate and complicated machine known to us; this instrument is directed by a force—the human mind—still more subtle, if possible, in the delicacy of its operations. In place of this, M. Alphonse Baude, in his wisdom, offers us his conglomeration of wheels, axles, metal bolts, and screws! The intelligent fan-lover will therefore note this date, and carefully examine any fan sticks made subsequent to it.

Fans, however, have been made from time to time having reasonable claims to the possession of artistic qualities. M. Rondot mentions a fan carved in mother-of-pearl and signed by Camille Roqueplan for Duvelleroy, that sold for 1000 francs. A Danish sculptor, M. S. G. Schwartz of Copenhagen, exhibited at Paris in 1867 an ivory fan carved with reliefs of the Seasons after Thorwaldsen; a most beautiful work.

Another brisé fan, finely pierced and carved, presented by the ladies of Copenhagen to H.R.H. the Princess of Wales (Queen Alexandra) on the occasion of her marriage in 1863, gives five circular medallions, the centre having the initials A. A. surmounted by the crown, the other four of classical subjects. Underneath, a processional group of Apollo in his chariot, the Graces and the Muses; above, a border of Cupids holding wreaths of flowers; the guards richly embossed in gold, with foliage, flowers, etc., in high relief. The above instances, as well as others that might be named, are exceptional; there can be no possibility of doubt that while the leaves of fans, upon occasion, due to the fact of artists of high calibre having essayed the fan, present some advance, the work of the stick, during the whole of the nineteenth century, exhibits a serious falling off from that of the preceding epochs. This unsatisfactory state of things can only be remedied by a general advance in public taste, by the creation of a demand for the higher class fans, and by individual artists of approved skill turning their attention to this class of work.

During the latter half of the nineteenth century, three prominent éventaillistes of Paris, MM. Duvelleroy, Alexandre, and Aloys van de Voorde, have made most strenuous efforts to revive interest in the higher class of fans, and have exhibited work by such distinguished painters as Gavarni, Colin, Hamon, Philippe, Rousseau, Karl Müller, Diaz, Eugène Lami, Glaize, Compte-Calix, Couture, Corot, Wattier, Soldé, Garnier, M^me de Girardin: and such well-known sculptors as Jean Feuchère, Klagmann, Jacquemart, Riester, the brothers Fannière, Eugène Berger, Bastard, Lanoy, Vaillant, and others.

Of the work of Gavarni we have unfortunately no example illustrated; a fan by him appeared at South Kensington in 1870, exhibited by the Comtesse de Nadaillac. Of other fans enlivened by his light and humorous touch, two, says Blondel, have become famous: the first was commissioned by Duvelleroy for Queen Victoria: the second, estimated of perhaps greater value, formed part of the Empress Eugénie’s rich collection. Mirecourt, in his biography of Gavarni, tells the following anecdote. Upon an occasion of the contents of his fine portfolios being praised, he cried, ‘Allons donc! in drawing I have never done but one thing passable; it is a fan for the Empress.’

Gavarni visited this country in 1847, but does not appear to have recommended himself personally to his hosts. He may be counted fortunate in the fact of his having, in spite of a certain spirit of contradiction in his character, impressed the value of his work upon his fellows during his lifetime. Great men, like angels, but too often come upon us unawares, and it is only upon their leave-taking, or after, that we become sensible of the loss of a gracious presence.

The delicate and refined art of Jean Louis Hamon was especially suited to the fan. For a considerable period he was associated with the Royal Porcelain works at Sèvres, producing a number of designs of that light fanciful character with which we are familiar in his paintings. He continued this style of composition, says M. Walther Fol, but applied it to the decoration of fans, in which he excelled. ‘In every sovereign court they were a coveted possession, and if he had desired to supply all demands he could have produced nothing besides.’ The subjects of these delicate fancies in almost every instance have reference to love or marriage. There were Loves who shot arrows transfixing two hearts at once; there was Love with outspread wings, seated upon the raised end of a see-saw, while Hymen, crowned with flowers, held him on high by his weight.

A dress fan made by Alexandre, and painted by Hamon with the subject of ‘An Entomologist,’ and groups of flowers on either side by a well-known flower painter, was presented to the Countess Granville by the foreign commissioners of the Universal Exhibition, Paris, October 26, 1867. The stick is of ivory, carved by C. Rambert with dancing Cupids and foliage, enriched with ormolu and jewelled turquoise. The gift was accompanied by a graceful letter from Mr. (afterwards Sir Henry) Cole, the British Commissioner, referring to the fan as a work of fine art by ‘two distinguished French painters and one sculptor.’ It is, however, more valuable as a souvenir of an interesting occasion, and for the beautiful carving of the stick, than as a representative example of Hamon’s work.

In 1862, J. L. Hamon journeyed to Rome, where he painted ‘L’Aurore,’ exhibited in Paris in the following year, and purchased by the Empress Eugénie. He died in 1874 at the early age of fifty-three.

Wattier signed a number of fans, of which an exceedingly rich example, an elaborate composition of nymphs and Cupids, is in the possession of the Countess Granville. He was born at Lille in 1800, and died in 1868.

The fan leaf, ‘Le Cerf de St. Hubert,’ by Rosa Bonheur (born 1822, died 1897), is dated 1896, and is consequently one of the latest works of this illustrious painter, whose fame has become universal. The legend of St. Hubert and his Christ vision, an unusual subject with modern artists, though greatly favoured by the painters of the Renaissance, engaged the attention of Rosa Bonheur as early as 1868, when she produced a crayon study, similar in treatment to this fan leaf, with the stag shown a little more in perspective, illustrated in Rosa Bonheur, sa Vie, son Œuvre, Anna Klumpke, 1908. The stag of the fan leaf, reversed however, presents many similarities to the famous picture ‘Le Roi de la Forêt,’ painted in 1878, the same studies probably being utilised for both works. The leaf is of silk, the painting in transparent pigment, with very little body colour introduced. It appeared at the Franco-British Exhibition in 1908, and is in the possession of M. Georges Caïn, Musée Carnavalet, Paris, by whose courtesy we are enabled to give the illustration. Another fan, ‘Trois Vachers,’ is referred to in the above-mentioned biography.