A GILT-METAL CHATELAINE, PROBABLY SWISS, CIRCA 1835 the clip set with an enamelled and nacre-backed oval of a lutenist serenading a woman surrounded by marquisites, hung below with another enamelled oval, the chains of solid shaped sections ending in a magnifying glass, an agate set seal and an agate scent flask; also suspending an English gilt metal etui, London or Birmingham, mid 18th century, complete with implements 30cm long overall 'FASHIONS FOR JANUARY [1839]. . . . Bracelets are much worn. Fans also are fashionable; the richer the painting, the more a la mode. The fashion of wearing chatelaines has become too important not to recall to our fair readers the propriety of procuring them as Christmas presents from the grandmammas or great grandaunts; the more antique they are, the more fashionable; and if any old ornaments or trinkets are attached to the hooks, the fair possessor is an object of envy. . . .' (Liverpool Mercury and Lancashire General Advertiser, Liverpool, Friday, 4 January 1839, p. 6b) 'Alack for human nature! Since the scene at the bazaar, Miss Twinch felt a petty satisfaction in helping on the depreciation of the individual for whose opinion, co-operation, or approval, she would have given her most valuable treasure - even a tarnished old gilt chatelaine, that had been her grandmother's, and was only worn on especial Sundays and family anniversaries, with a watch thereunto appended, that might plausibly have been mistaken for one of those golden French walnuts, in which tiny scissors, thimbles, almanacks, and other Lilliputian affairs, absurdly useless, are revealed upon opening.' (From Albert Smith's novel, The Pottleton Legacy: A Story of Town and Country, published in 1849)
A GILT-METAL CHATELAINE, PROBABLY SWISS, CIRCA 1835 the clip set with an enamelled and nacre-backed oval of a lutenist serenading a woman surrounded by marquisites, hung below with another enamelled oval, the chains of solid shaped sections ending in a magnifying glass, an agate set seal and an agate scent flask; also suspending an English gilt metal etui, London or Birmingham, mid 18th century, complete with implements 30cm long overall 'FASHIONS FOR JANUARY [1839]. . . . Bracelets are much worn. Fans also are fashionable; the richer the painting, the more a la mode. The fashion of wearing chatelaines has become too important not to recall to our fair readers the propriety of procuring them as Christmas presents from the grandmammas or great grandaunts; the more antique they are, the more fashionable; and if any old ornaments or trinkets are attached to the hooks, the fair possessor is an object of envy. . . .' (Liverpool Mercury and Lancashire General Advertiser, Liverpool, Friday, 4 January 1839, p. 6b) 'Alack for human nature! Since the scene at the bazaar, Miss Twinch felt a petty satisfaction in helping on the depreciation of the individual for whose opinion, co-operation, or approval, she would have given her most valuable treasure - even a tarnished old gilt chatelaine, that had been her grandmother's, and was only worn on especial Sundays and family anniversaries, with a watch thereunto appended, that might plausibly have been mistaken for one of those golden French walnuts, in which tiny scissors, thimbles, almanacks, and other Lilliputian affairs, absurdly useless, are revealed upon opening.' (From Albert Smith's novel, The Pottleton Legacy: A Story of Town and Country, published in 1849)
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
