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My wagasa 1

My wagasa  a

My wagasa inter 2


This old Japanese umbrella is made from a heavy rice paper hand painted with peacocks and flowers. It has a bamboo handle and a metal cap on top. For being over 100 years old this “wagasa”  is in good condition.

My wagasa center

My wagasa inter 1

My wagasa  det 1

My wagasa det 4

Wagasa – Traditional Japanese Umbrellas

Since its introduction to Japan over 1000 years ago, the Japanese have gone beyond seeing the umbrella as merely a tool. Indeed, they are objects of beauty in their own right.

Traditional Japanese umbrellas or Wagasa (和傘), are made of bamboo (竹), wood, and washi (和纸: Japanese traditional paper), fortified and made waterproof with persimmon, linseed oil and China wood oil.

There are many types of Japanese umbrella:

Bangasa (番伞): traditional rain umbrella made of bamboo and oiled paper.

Janome (蛇の目: umbrella in snake eye pattern): is blue in the center and at the edges, and white in between, and looks like the eye of a snake when viewed from above. This umbrella does have variations, such as painted black rings on the surface and the application of other materials.

Maigasa (舞伞) or Buyôgasa (舞踊伞): is a wonderful parasol used traditionally for classical Japanese dance, is more lightweight in nature, allowing for delicate and graceful moves. Maigasa is status symbol of “mai”(舞) dancer but not be used in the rain.

Nodategasa (野点傘): is a type of umbrella used for shade in Japanese processions and open air tea ceremonies (茶の湯).

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While a typical western umbrella has eight ribs holding up the covering, a traditional Japanese umbrella has 30-40 ribs. This is due to the particular structure of these umbrellas, wherein thin bamboo ribs positioned closely together support and push the washi paper outwards to open.

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The ribs of a Japanese umbrella are made of a single bamboo cane, which is split lengthways into equal-sized pieces. When attaching these ribs to the covering, they are rearranged back into the order in which they were split, so that when the umbrella is closed, it closes neatly with the bamboo pieces coming together to form the shape of the original cane. Its composition is so delicate that if there is even the slightest damage to the bamboo or a miscalculation with the rearrangement occurs, the umbrella will not open.The geometrically spaced ribs beautifully spread out from the center to create an elegant shape.

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When closed, bamboo is strong and durable more than expected, due to being transformed into a form of its bamboo cylinder.

When opened, however, it is not strong enough due to thin bamboo ribs connected with the threads with washi paper glued to the frames, which requires good care for a longer use. If kept in good shape, a 20 year old umbrella may be usable to your surprise. Wagasa may look simple, but it requires a complex technique since paper must be folded nicely after it is pasted on the frame.

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The umbrella was invented in ancient China as a canopy to be held over a nobleman. It was introduced to Japan through Kudara (the Korean peninsula) as part of Buddhist ceremonies. Originating in the Kamakura era (镰仓时代: 1192-1333), it flourished in the Edo era (江戸时代: 1603-1867).

A girl in a kimono and  Japanese  parasol.A woman holding an umbrellaA woman is holding a parasolgirl is holding a plain parasol

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Japanese umbrella in her left hand,The woman holding a janome umbrella wears a Michiyuki coatpaper umbrella 2wagasa 2

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The umbrella in Japan was originally called “kinugasa”, but because it came from China (kara), it was also called “karakasa”. At the time, they were unlike umbrellas used today, and were more like canopies that could not be opened and closed. Their purpose was also different. These umbrellas were reserved for privileged members of society, and as well having the conventional function of a parasol, the umbrella was a status symbol that was believed to ward off evil spirits.

The umbrella has played an important role in Japanese culture, and its “Umbrella Culture” is without parallel in the rest of the world. Not only is it indispensable in everyday life for protection against rain and sun, the wagasa is also used in the world of traditional arts, such as in Noh and Kabuki theatre.

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hagiwara kaeshiya kasa

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Nodategasa

Currently, the kano umbrella, made in Kano, Gifu Prefecture, is proud to be to the only place in Japan to be a major producer of traditional Japanese umbrellas.

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woman with parasol

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Umbrellas & Art

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Britain's Pot Metal Mikado Figure ToyEdna HIBEL ASIAN GIRL FIGURE WITH PARASOLEsther Hunt 1875-1951 dos

Gustave Vichy Automaton of a Japanese Mask Seller

Esther Hunt 1875-1951KITAGAWA UTAMARO 1753-1806  C.1797T. Nakayama watercolorUtamaro Kitagawa Japanese 1753-1806 Woman with Umbrella

FRANK SNAPP - Amer. 1872-1936 gouache on paper Lady with Parasol

Mori  Yoshitoshi 1898-1993 stencil woman with umbrellapaper parasolThe Garden Parasol, 1910 Oil on canvas

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Japan 2



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My vintage sunglasses

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Made by Régé – 1950
Lunettes Régé & Associés is a subsidiary of L’Amy group, leader of the french eyewear industry and one of the world largest manufacturer.
Country of Manufacture: France
Color: tortoise shell plastic cat eye with rhinestone accents.

cat-eye-sunglass
1950
Country of Manufacture: Argentina
Color: silver
and black plastic cat eye

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jordache

1970
Made by Jordache
By the 1970’s, Jordache negotiated licensing deals for the name for products ranging from sunglasses to women’s sportswear.
Country of Manufacture: Italy
Color: White with Black with rhinestone accents.

italy-2

1970
Country of Manufacture: Italy
Color: Tortoise Shell Plastic Frames.

sunglass

1970
Color: Tortoise Shell Plastic Frames.


Vintage Sunglasses


Some Examples…

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Sunglasses History

The history of sunglasses can be traced back to ancient Rome around the year AD 60, where the Emperor Nero is said to have watched gladiator fights whilst holding up polished emerald-green gems to his eyes, thus reducing the effect of the sun’s glare.
Pliny says about the Emerald Smaragdus: “In form these are mostly concave, so as to reunite the rays of light and the powers of vision. When the surface of the smaragdus is flat, it reflects the image of objects in the same manner as a mirror. The emperor Nero used to view the combats of gladiators upon (with, or by means of) a smaragdus”.
The name emerald is a derivative of an ancient Persian word, coming to us through the corruption of the Latin “Smaragdus “.

national_museum_of_natural_history_emeralds_2

Sunglasses were invented in China in 1430 using smoke tinting glass technology. Early Chinese eyeglasses were kept in place with weights that hung down behind the ears. Among the first people to wear tinted glasses were Chinese judges who wore smoke-tinted quartz lenses to conceal their eye expressions during court proceedings.

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The first pair of sunglasses was introduced by designer James Ayscough in 1752. He developed blue and green corrective lenses, beginning the use of sunglasses for correcting optical impairments.

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Yellow/Amber and brown-tinted spectacles were also a commonly-prescribed item for people with syphilis in the 19th and early 20th centuries because of the sensitivity to light that was one of the symptoms of the disease.
In the early 20th Century, some people wear sunglasses to compensate for the brightness of sunlight. The use of sunglasses started to become more widespread, especially among the pioneering stars of silent movies.

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sunglasses

In 1929 Sam Foster’s “Foster Grants” became the first mass-produced sunglasses and they began the trend of marketing sunglasses for fashion.
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fosta-grantly-1960

Sunglasses would not become polarized, however, until 1936, when Edwin H. Land began experimenting with making lenses with his patented Polaroid filter.

Edwin H. Land

Edwin H. Land

The 1950’s saw the birth of rock and roll and the first wave of teenage uber-fans, who popularized the poodle skirts, saddle shoes, white bobby socks and cat eye glasses.
The Classic Cat Eye is the most common in women’s sunglasses; lenses which are wider in the middle than on either side; with a greater curve on the bottom than the top, and often encrusted with rhinestones or other jewels in the pointed corners.
Pop singer Lisa Loeb has made cat eye glasses a big part of her signature look, and she is often credited with the modern comeback of these stylish 1950s frames.

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rhinestones
By the 1970’s Hollywood stars and fashion designers made a huge impact on the sunglasses market. Clothing designers and stars put their names on glasses.

Today, sunglasses continue to have advances. There are protective treatments available for eyeglass lenses that need it which will give better protection.

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Ava Gardner and Dominguin

Sofia Loren

Sofia Loren

Brigitte Bardot

Brigitte Bardot

Catherine Deneuve

Catherine Deneuve

Drawing by Kofkof

Drawing by Kofkof

Illustration by Toko Ohmori

Illustration by Toko Ohmori

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my-turtle-2

This is an original cast iron spittoon shaped like a turtle that opens when its head is pressed. These turtles were used apparently in high-class hotels, saloons and brothels from the 17th – 19th century. This wonderful piece measures 14″ long from tip of the tail to the nose, and at the widest point is 10 3/4″ wide. A special feature of this particular turtle spittoon is that it is marked with embossed letters and it reads, “Royal Products – Chicago”.

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Chewing is one of the oldest ways of consuming tobacco leaves. Native Americans in both North and South America chewed the leaves of the plant, frequently mixed with the mineral lime.
Chewing tobacco is made from leaves of an ordinary or inferior quality by pressing, twisting, or cutting. Liquorice, syrups, and various flavoring matters are used, and sometimes leaves of other plants are mixed in.

Chicago - 1900

Chicago - 1900

Colorado - 1902

Colorado - 1902

In the late 19th century, during the peak in popularity of chewing tobacco in the Western United States, a device known as the spittoon was a ubiquitous feature throughout places both private and public. So common is the custom of chewing tobacco in the United States that the spittoon is a piece of furniture scarcely less requisite than the chair or the water bucket. No house is complete without it. The habit of chewing tobacco was so common that cuspidors and spittoons were found even in the nation’s ritziest hotels, like the Plaza in New York or Chicago’s Palmer House. The purpose of the spittoon was to provide a receptacle for excess juices and spittle accumulated from the oral use of tobacco.

Danville, Illinois

Danville, Illinois

In almost every saloon, one could depend on seeing the long paneled bar, usually made of oak or mahogany. Encircling the base of the bar would be a gleaming brass foot rail with a row of spittoons spaced along the floor next to the bar.

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These containers came in all sizes and shapes and where made of many different materials. The materials used to make these early containers ranged from brass to cast iron to nickel and porcelain.

Thomas Alva Edison

Thomas Alva Edison

Major June C. Smith

Major June C. Smith

After World War I, smoking cigarettes became very popular in America and the habit of chewing tobacco and dipping snuff declined. Today, baseball players still chew tobacco, as well as others, such as hunters and fishermen, who spend a lot of time outside. To this very day spittoons are still present on the floor of the U.S. Senate, though they are no longer used by members.

Turtle Spittoons

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Brass Spittoons
by Langston Hughes

Clean the spittoons, boy.
Detroit,
Chicago,
Atlantic City,
Palm Beach.
Clean the spittoons.
The steam in hotel kitchens,
And the smoke in hotel lobbies,
And the slime in hotel spittoons:
Part of my life.
Hey, boy!
A nickel,
A dime,
A dollar,
Two dollars a day.
Hey, boy!
A nickel,
A dime,
A dollar,
Two dollars
Buy shoes for the baby.
House rent to pay.
Gin on Saturday,
Church on Sunday.
My God!
Babies and gin and church
And women and Sunday
All mixed with dimes and
Dollars and clean spittoons
And house rent to pay.
Hey, boy!
A bright bowl of brass is beautiful to the Lord.
Bright polished brass like the cymbals
Of King David’s dancers,
Like the wine cups of Solomon.
Hey, boy!
A clean spittoon on the altar of the Lord.
A clean bright spittoon all newly polished-
At least I can offer that.
Com’mere, boy!

Capitol spittoon cleaning - 1914

Capitol spittoon cleaning - 1914

James Mercer Langston Hughes, (February 1, 1902 – May 22, 1967) was an American poet, novelist, playwright, short story writer, and columnist. He was one of the earliest innovators of the new literary art form jazz poetry.
During his life, Hughes devoted his poetic genius to the realization of that dream deferred, the dream of racial equality. It was a dream that pervades most of his writings -his poetry, plays, short stories, novels, autobiographies, children’s books, newspaper columns, black histories, edited anthologies, and other works.
Hughes knew well the language, literature, and customs of Spain and Spanish America. He translated much Hispanic literature, including the poetry of Gabriela Mistral, Federico García Lorca, and Nicolás Guillén, into English. These volumes reflect his pioneering efforts over thirty years to bring Spanish writers to the attention of North American readers.

Langston Hughes by Consuelo Kanaga

Langston Hughes by Consuelo Kanaga

Langston Hughes by Winold Reiss

Langston Hughes by Winold Reiss



iris-a

Postcards represent a major category in the world of old paper collectibles.
What to collect can be divided roughly into two categories. There are view-cards representing scenes of various locations, which form the bulk of cards produced. And then there are topicals that represent everything else. Topicals can be distinguished by their physical appearance, the method of printing, and most often the subject matter depicted. The topics that are popular with collectors constantly shift over time.
Opera cards fall into a number of categories: opera houses, opera singers, pictures of real productions or artist’s fantasies.
Within my online album you will find part of my opera’s postcard collection.
In the years before movies became ingrained in popular culture, opera played a more important role. Any educated person would have been familiar with at least the most well known operas, their composers, and major performers. G. Ricordi & Co. published hundreds of opera-themed postcards that the public collected and mailed with especial enthusiasm.
Casa Ricordi is a classical music publishing company founded in 1808 as G. Ricordi & Co. by violinist Giovanni Ricordi (1785-1853) in Milan, Italy. Its classical repertoire represents one of the important sources in the world through its publishing of Rossini, Mascagni, Donizetti, Bellini, Verdi, and Puccini.
The company decided in 1874 to create an in-house printing operation to promote its music. It began by installing the most advanced German lithographic presses and hiring a brilliant master, Adolf Hohenstein, to train a staff of Italian artists. Under the tutelage of Adolf Hohenstein, a brilliant stable of graphic artists emerged at Ricordi. Artists including Leonetto Cappiello, Luigi Emilio Caldanzano, Ludovico Cavaleri, Marcello Dudovich, Adolfo Hohenstein, Franz Laskoff, Achille Beltrame, Leopoldo Metlicovitz and Giovanni Mataloni brought Art Nouveau, known as Stile Liberty in Italy, to a world class level.
With almost two hundred years of history behind it, Casa Ricordi is the oldest Italian music publishing firm still in business.

“Iris” by Adolf Hohenstein and

Giovanni Maria Mataloni – 1898


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This is the complete collection of postcards from Iris. These beautiful cards were designed by Adolf Hohenstein and Giovanni Maria Mataloni, for the world premiere of Iris. Art nouveau accents and neglected style combine to make this a truly special set. They were allegedly published twice, once with a blank back and once with a printed back.

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Iris is an opera in three acts by Pietro Mascagni to an original Italian libretto by Luigi Illica. Its first performance was at the Teatro Costanzi in Rome on 22 November 1898.

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Adolf Hohenstein (1854-1928)
Russian by birth, he studied art in Vienna, where he produced his first paintings. After numerous journeys (during which he stayed in India, where he decorated the homes of the local nobility), he arrived in Italy in 1879. He settled in Milan, the economic and industrial capital of the newly formed Italian state, and began working as a set designer and costumier at La Scala, with excellent results. This brought him into contact with important composers. Soon, however, he began working in the field of graphics, becoming coordinator of editorial promotion for Ricordi. Giulio Ricordi appointed him as art director, with a project that included the creation of covers for libretti and musical scores, posters, playbills and postcards. This was the context in which Hohenstein produced his designs, including those for Iris, La Bohème, Falstaff, Tosca and Madam Butterfly. Hohenstein was also responsible for the macabre deathbed sketches of Verdi drawn at various hours. He worked for Ricordi for about fifteen years. His cultured and refined style was never strongly influenced by the trends of the period: art nouveau, for example, makes an appearance only in a few decorative elements.

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Giovanni Maria Mataloni (Roma, 1869-1944)
The imagery and chiaroscuro shadings typify not only Mataloni’s work but that of Metlicovitz and Dudovich from about 1898 to 1910. But far from being an imitator, he in fact preceded those colleagues at Ricordi printing, where he arrived in 1890. He brought Art Nouveau to Italy.

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Metlicovitz’s art nouveau “Tosca” set – 1900

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Here’s a set of the opera Tosca done by renowned illustrator Leon Metlicovitz, and published by Ricordi. It consists of twelve postcards. The images were originally created in watercolor form.

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Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Victorien Sardou’s drama, La Tosca. The work premiered at the Teatro Costanzi in Rome on January 14, 1900.

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The earliest postcards from this set are numbered:

060 – Tosca laying over Cavaradossi’s body.
061 – Angelotti, an escaped political prisoner, takes refuge in a side chapel.
062 – Tosca hovering over the tortured Cavaradossi.
063 – Tosca with knife after stabbing Scarpia.
064 – Inside the church.
065 – Tosca and the dead Cavaradossi alone on top of the Castel      Sant’Angelo.
066 – Scarpia offering his hand to Tosca.
067 – One of Scarpia’s henchmen delivering news.
068 – Cavaradossi painting while the sacristan looks on.
069 – Scarpia offering holy water to Tosca.
070 – Cavaradossi kissing Tosca.
071 – Cavaradossi in front of the firing squad.

tosca-067

tosca-068
Leopoldo Metlicovitz (Trieste, 1868 – 1944)
Like Hohenstein, he was a commercial artist, lithographer, painter, and graphic artist. He did many opera designs and many of his creations found their way to posters, postcards, and other paper media to advertise new operatic works or Italian products. His postcards can be identified by an “LM”.

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“La Colonia Libera” by Achille Beltrame – 1899

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Seven full-color souvenir postcards depicting the various scenes from the opera “La colonia Libera”, signed by Achille Beltrame.

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Pietro Floridia (1860-1932)
Studied with Beniamino Cesi, Paolo Serrao and Lauro Rossi. As a young student he wrote and published several compositions for piano and at the age of 22 he produced his first opera “Carlotta Clepier”. After the Great success of “Maruzza” he composed “La Colonia Libera”, an opera based on Bret Harte’s “M’Liss” with libretto by Luigi Illica. This opera had its debut in Rome at the Costanzi theater (now called Teatro Dell’opera) on May 7Th 1899.

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Achille Beltrame (Arzignano, Vicenza 1871 – Milan 1945)

A pupil of Giuseppe Bertini, in Milan, Achille Beltrame was the most famous and celebrated illustrator in Italy in the first half of the 20th Century. Beltrame edited most of the cover pages of the magazine “La Domenica del Corriere”, published by the Milanese newspaper “Il Corriere della Sera”, from its foundation in 1899 until 1945.

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Beautifully vanity compact carry-all purse with a nice handle, made from gold tone metal and black suede. The interior is lined with satin and features a rectangular mirror, plus three individual compartments for loose powder, lipstick and a powder puff. The metal and the clasp are in perfect condition, c.1930.

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This is another very pretty black silk purse is a bit like a carry all of vanity type purse. I believe it is from the 50’s and is French in origin. It is lined with caramel suede. The clasp is nice and secure, and the mirror is in mint condition. If the purse was used, it would have been rarely and gently.

Some other examples…

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Purses, pouches or bags have been used since humans have needed to carry precious items. The purse, which came in many shapes and sizes, was a common accessory for both men and women.

coca bags - Bolivia

coca bags - Bolivia

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History of Handbags & Purses

The pouch is a form that has existed since prehistoric times. Made from vegetable fibers twisted together or animal skins, the bags appear to have held many functions, ranging from seed storage to burial containers.

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Ancient Egyptian hieroglyphs show men wearing purses around the waist, and the Bible specifically identifies Judas Iscariot as a purse carrier.
The aegis refers to several different things in Greek mythology. Robert Ranke Graves in “The Greek Myths” (1955) asserts that the aegis in its Libyan sense had been a shamanic pouch, filled with powerful ritual objects belonging to Athena.
Handbags were used by the Babylonians and Assyrians from 1500 BCE to 550 BCE. They were richly embroidered and used for religious ceremonies.

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Ecclesiastical purses were highly significant and were used to hold relics.
San Eloi (Limoges 590-659) once preached an excellent sermon, still preserved, against superstition. He denounced particularly the use of charms and incantations. But he had his own little streak of superstition. When he had committed some fault, after confession, he used to hang bags of relics in his room, and watch them for a sign of forgiveness.
Included in the treasury of an ancient cathedral in Sion, Switzerland, are five purses or bags that had been designed to withhold the revered relics of saints. The pouches are dated to the fourteenth-century but are of unknown origin.

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The first evidence of a handbag with any role as a fashion accessory came in medieval times, when wealthy women would embellish the simple bag they wore on their belts to carry their necessities, with lavish embroidery and even jewels, to reflect their status.
From the 14th to 16th centuries the city of Caen, France, was noted for its embroidered bags and purses, which had the local name of tasques (tasque, tasche or tasse), whence the street inhabited by the embroiderers was called the Rue Tasquiere.

Et de passer devant l’huys ne se lasse,
Et met à point ou sa robe ou sa tasse.

Le Debat de deux fortunes d’amours
by Alain Chartier (1390-c.1440)

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The handbags that have been verified historically were small sacks carried by gentlemen containing pomanders (scented spices and oranges), flint and money. These were called “pockets” and were hung by thongs from the back of the girdle.
From the 17th century to the late 19th century, most women had at least one pair of pockets, which served a similar purpose as a handbag does today.

Lucy Locket lost her pocket,
Kitty Fisher found it;
Not a penny was there in it,
Only ribbon round it.

Lucy Locket
English nursery rhyme.

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In the 1790s women began to use reticules, decorative bags designed be carried over the arm in the manner of our contemporary handbag.

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The term ‘handbag’ first came in to use at the beginning of the twentieth century and was used for leather bags then carried by men. It was the 1920’s that saw the first emergence of the modern handbag carried by women.

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This exciting accessory can be divided in many categories depending on their age, quality, style and design: Pouch Bags, Reticule-Miniature purses, Beaded Bags, Clutches, Black Bags, Pocket books, Evening Bags, Purses.
It can be made in different materials: embroidery stitches, gilt-trimmed velvets, soft leathers, crocheting, silk tapestries, metals, precious stones and sparkly beads
The handbag was a symbol of their new independence women could now go forth into the world carrying all they needed themselves.

Valentino Handbag

Valentino Handbag


my-plasco

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This is a great old hard plastic doll house kitchen furniture set, in white with the blue bottom, dates from the 1950’s. Set includes a fridge and stove. They are marked “A Plasco Toy Co, Made in USA”.

my-plasco-mark

Plastic became the choice material for American doll house furniture manufacturers, in the 1940’s during World War II. Wood and metal were necessary materials in the war effort and therefore the new process of plastic moulding became more widely integrated into the domestic marketplace. The hard plastic items could be intricately detailed including the maker’s name. Plastic is still being used today because of its durability and its low labor cost of production. Renwal, Ideal, Plasco, and Marx made hard plastic doll house furniture in the 1950s and, as the pieces are usually marked, can be easily identified by the collector.

There have been several standard scales in dolls houses over the years. Children’s toy houses during most of the 20th century were three quarter scale (where 1 foot is represented by 3/4 of an inch), also known as 1:18 (1′ equals 18″), 3/4-scale furniture was most often made from plastic.

For the last century, dolls houses have primarily been the domain of children but their collection and crafting have also fascinated a large number of adults.

doll-house

Some Examples of Plasco toys

plasco-kitchen-furniture

plasco-2plasco-3plasco-1plasco-harp-back-chair
plasco-chairplasco-china-ladiesplasco-couch

plasco-table-and-chairsplasco-dollhouse-vanityplasco-dollhouse-kitchen-sink

plasco-toys-1plasco-pink-deskplasco-vanity-and-stool-set

Plasco Toy Co. marks

plasco-mark-2

plasco-mark-5

plasco-mark-3

plasco-mark-4

1950s American Kitchen

american-kitchen-1950-f

american-kitchen-1950-c

american-kitchen-1950-d

american-kitchen-1950-e

american-kitchen-1950-a1

mi-rosenthal1

mi-rosenthal-2

This is a very decorative and highly collectible Rosenthal porcelain trinket box, beautiful decorated with wonderful roses on the top and sides, and gold adornment around the rim of the lid. The box is marked on the bottom with green printed marks “Rosenthal, Bavaria E” (1919-1935).

mi-rosenthal-41


mi-rosenthal-mark

Some Examples of Rosenthal Boxes

bjorn-wiinbladdose-in-eiform-rosenthal-19271bjorn-wiinblad-boxchippendale-1940rosenthal-aladin

rosenthal-1910-20bjorn-wiinblad-2rosenthal-blumenstraus-motiv

rosenthal-1930-brosenthal-1952rosenthal-1930

rosenthal-blumendekorrosenthal-box-1940rosenthal-box-contemporaryrosenthal-box-kurt-wendler-1927rosenthal-box-studio-linie

rosenthal-box-1rosenthal-1938-mit-moosrosendekorrosenthal-deckel-pfau

rosenthal-box-peynetrosenthal-deckeldose-1920-brosenthal-box-a

rosenthal-deckeldoserosenthal-deckeldose-1920rosenthal-deckeldose-1930rosenthal-green-stamp-1920

rosenthal-box-1950rosenthal-romanze-3rosenthal-peynet-1950-brosenthal-romanze1

rosenthal-doserosenthal-dresser-boxrosenthal-dose-1965rosenthal-quatre-couleurs

rosenthal-rhododendronrosenthal-romanze-2rosenthal-rosari-dekor1rosenthal-studio-linie-bjorn-windblad

rosenthal-trinket-box1rosenthal-trinket-box-arosenthal-versacerosenthaldose-1965


Rosenthal, Design for Creative Consumers

Founded in 1879, Rosenthal has been Germany’s leading maker of fine porcelain for more than 125 years.

rosenthal_konzern

Rosenthal worked closely together with about 1000 designers, artists, architects and couturiers. These highly talented men came from all around the world and included such names as:

Bjoern Wiinblad (Denmark )

prinsessa-bjorn-wiinblad-1950bjorn-wiinblad-swan-and-a-nymph

Constantin Holzer-Defanti (Austrian)


constantin-holzer-defanti-1919pierrot-constantin-holzer-defanti-1920

Ernst Wenck (Germany)

ernst-wenck-1938-germanyernst-wenck-1900

Ferdinand Liebermann (Germany)


ferdinand-liebermann-1910-1920

ferdinand-liebermann-1910

Georg Küspert (Germany)

georg-kuspert-1971

georg-kuspert-1972

Gerhard Schliepstein (Germany)


gerhard-schliepstein-1925gerhard-schliepstein-1930

gerhard-schliepstein-1937

Gianni Versace (Italy)


rosenthal-versace-barocco-vaseversace

gianni-versace-plate

Hans Theo Baumann (Germany)

hans-theo-baumannhans-theo-baumann-2

Raymond Loewy (France)

raymond-loewy raymond-loewy-2

Raymond Peynet (France)

raymony-peynet-1957raymond-peynet-les-amoureux-avec-coeurs-1958

Richard Aigner (Germany)

richard-aignerrichard-aigner-1910

Tapio Wirkkala (Findland) tapio-wirkkala-paper-bag-vase

tapio-wirkkala-tea-set

Walter Gropius (Germany)

walter-gropius-1969

walter-gropius-tea-set-1969


Andy Warhol (USA)


andy-warhol-beethoven-porcelain-wall1