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Antique and
Vintage Purses
Guest Article written &
Copyright © 2011 by
Paula Higgins and Lori
Blaser
Authors of
A Passion for Purses
1600-2005, Schiffer Publishing Ltd. 2007.
Lori Blaser may be reached at
apassionforpurses@yahoo.com
She may be found on Facebook
under the user name Lori Rose Blaser
Ms. Blaser buys, and also
sells purses from her collection.
Paula Higgins may be reached
at the_higger@earthlink.net
Unless otherwise noted, all images are copyrighted by the guest authors.
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A tiny sampling from Ms. Blaser's collection
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| Bags, used to carry personal possessions, date back to the Ice Age.
In 1991, the body of a man who lived 5,300 years ago was found in the
Tyrolean Alps. Among the artifacts found with him was a leather pouch
containing herbs, a bone awl and flint implements. Importantly, this
discovery confirms the use of bags back to prehistoric times. For the
purpose of this article, we will discuss purses and bags dating from
1600 into the first half of the twentieth century. |
Likely French, late 17th century finely embroidered drawstring purse which
belonged to Emma-Henriette Schiff von Suvero (1863-1924). Seized
by the Nazi's and given to the Staatliches Kunstigewerbemuseum in
Vienna. Spring 2003, the Austrian government returned the items
seized from von Suvero's collection to her family and the collection was
sold at Christie's. Currently in the collection of Ms. Blaser.
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17th Century Sweet Meat Purse |
Seventeenth Century Purses
Seventeenth century purses can still be purchased from specialty
textile and costume dealers in America, France and Britain. They were
all handmade and were notable for their beautiful embroidery. “Sweet
meat” purses date to the seventeenth century and are identifiable by
their size, usually no bigger than 5 inches by 4 inches, and three
tassels hanging across the bottom. These purses were commonly used to
hold sweet smelling herbs or sachets, since people seldom bathed. There
are some examples still in existence which retain their pin-pillow and
knife case. Pin-pillows were very small, square pillows for
straight pins, used in sewing and knife cases held a small knife for
general use. The purses were made from silk and velvet, and often embroidered
in tent stitch. Floral designs predominated, but extraordinary examples
depicted birds and animals. Plaited drawstrings and bulbous tassels
hanging at the top sides were also characteristic of sweet meat purses.
Beaded purses from the seventeenth century were made from a network
of beads in angular floral designs or diaper patterns (repetitive
geometric designs). Because they were made by a network technique, the
designs had sharp edges and not the soft lines created by knitted
beadwork. Occasionally, a purse might be decorated with a motto such as
“Remember the Pore” or “Here it is Hit or Miss.” They usually had three
tassels across the bottom edge as well.
Most seventeenth century purses were not mounted on frames, but every
now and then one will turn up mounted on a “snap-hance” frame. Purses
mounted on a curved “snap-hance” frame had to be pried open. They were
quite small, made from embroidered fabrics, and could hold only a few
coins. Another charming type of purse was made from a nut, cut in half,
and joined by a fabric gusset. |
| The Limoges Marriage purse was purportedly made to commemorate
marriages. Two, oval enameled plaques, featuring the bride and groom on
either side, were connected by colorful silk gussets. However, it is
more likely that they depicted seventeenth century figures from the imagination
of the painter. They are a very rare type of purse and locating one in
all original condition, even from a specialty dealer, would be a
significant find.
Pockets and misers also made their appearance during the later years
of the seventeenth century. Pockets resembled saddlebags and they hung
from the waist either singly or in pairs. Vertical slits in the middle
provided easy access, whether worn under the skirt or over it. Early
examples were embroidered or made from plain linen cloth. The Victoria
and Albert Museum in London has a wonderful collection of early pockets.
Misers from this period resembled knitted tubing, which was wider at the
bottom. They also had a vertical slit in the middle of the knitted
fabric, and had one or two ends finished with short, silk tassels.
Gaming purses made from lush velvets were used to hold gaming chips
and money. Embroidered with gold and silver threads in designs featuring
initials, ships and crowns, they were essentially an accoutrement of the
upper classes. Short and squat in shape, they had metallic drawstrings
terminating in acorn shaped drops. |
17th Century Velvet Gaming Purse, Embroidered With
Metallic Thread
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Dated 1762 Embroidered Letter Case From Constantinople |
Eighteenth Century Purses
The eighteenth century produced some of the most beautifully
embroidered and beaded purses ever made. The exquisite quality of 18th
century embroidery has never been equaled. Polychrome silk and metal
threads created a rich tapestry for reticules and pocketbooks used by
the wealthy. Although many were professionally made, upper class women
and girls produced work equally as fine. Purses were made from the
Queen's or Rococo stitch, Irish stitch, tambour work, tent stitch,
buttonhole and satin stitch. The complex Queen's stitch was a hallmark
of embroidery from the 18th century and a popular method of construction
for American and European pocketbooks. American examples are very
desirable.
Pocketbooks were either square or rectangular shaped, folded and
sometimes secured with silk tapes. Many were made in Irish stitch, which
produced a flamepoint design. These Early American purses are quite
expensive when offered for sale. Some had their owner's name and a date
embroidered inside, under the flap. Other pocketbooks were embroidered
in wool or silk crewels and featured figures, birds, animals and scenes.
These scenic and figural pocketbooks reach extremely high prices and are
typically only seen in museums. European pocketbooks featured more
balanced and professional embroidery, worked in silks, but they often
lacked the liveliness of their American counterparts.
Morocco leather pocketbooks from Constantinople were imported to
Europe and America. They were embroidered with metal threads and were
basically a type of souvenir purse, although some could be custom
embroidered with names and dates. Turkey had a thriving export economy,
much of it based on textiles. |
| Beadworked pocketbooks are highly desirable, especially the famous
sable purses from Paris. Charles Germain de Saint-Aubin created the
first sable beadwork workshop in Paris. Saint-Aubin was the chief
clothing designer for Louis XV. These small masterpieces are beautifully
made from beads so tiny that they were styled “sable,” which means
“grain of sand.” They were created by using a horizontal and vertical
looping technique. Bead size ranged from 22-30 and the thread had to be
pointed with shellac to string the beads onto the thread. There are
graphs available which correlate the bead size with the millimeter size
and beads per inch. A bead size of 22 does not mean that there are 22
beads per square inch. Beads over a size 20 are no longer produced and
those that are available, are antique. A size 30 bead is reputed to have
existed in sable beadwork. The
workmanship is so fine, and the beads so tiny, that there is no one
alive today who can repair these purses once damaged. Designs of nymphs,
scrolling Rococo flowers, cherubs, lions, and mythological creatures
were depicted. Finding one with all its beadwork still intact is a true
find for any collector. |
18th Century Sable Beaded Wallet |
|
18th Century Sable Beaded Reticule |
Reticules made their appearance c.1790. Reticules are purses or bags
which closed, and were carried, with a drawstring or ribbon. They were
not mounted on frames. Originating from the sewing
bag or work bag used by so many women during the eighteenth century,
they evolved into a purse made for general use. Tambour work was a
favorite method of decoration because it worked up quickly. Paintings
from this period will occasionally show women working with tambour hoops
at their tables. Floral designs, swags, baskets of flowers were popular
and they were embellished with paillettes, ribbon work lace, fly fringe
and metal threads. All manner of things found their way into these bags
including knotting shuttles (knotting shuttles were eliptical shaped,
coming to a point on either end, and used to make knots for embroidery
or purses), letters, scissors, keys, medicines, and
recipes. Some of these lovely bags had basket bottoms, made from card
covered with silks. Netted reticules were also popular and lined with
silk. Printed reticules were seen in the late eighteenth century as well
and one featured a picture of King George III, who had recovered from a
life-threatening illness. |
| Pockets were worn by middle-class and upper-class women alike. Made
from plain linen, dimity, cotton, patchwork and embroidered silks and
crewels, they were typically worn under the skirt. However, prints from
the period show them worn over the skirt as well, especially those of
very fine quality. Interestingly, French upper-class women considered
them déclassé and they were not commonly worn by that group. Embroidered
pockets are considered a rarity, and especially American embroidered
pockets. They were often worn in pairs, but pairs of pockets are a rare
survival. Recently, a dimity pocket owned by Abigail Adams was donated
to the Massachusetts Historical Society by the authors, and it can be
seen on the MHS website at
http://www.masshist.org/objects/2009december.php. |
Late 18th to early 19th Century Pocket |
|
 
18th Century Misers |
Misers from the eighteenth century, while uncommon, can be found.
Most of the surviving eighteenth century misers are British, although
American examples exist. During this period, they were fairly long in
length, 19 to 24 inches. Most were knitted or netted in silks. Made with
the vertical slit for accessing coins, they had sliders made from
pinchbeck, gilt or steel to close off either end of the purse. Their
ends were finished with silk tassels or metal charms (fishes). They were
usually solid colored or striped. A few netted examples have been seen,
which were embroidered with tiny sprigs.
Gilt chatelaines, with numerous appendages, were made in the Rococo
Style and are literally works of art. Watches, seals, scent bottles,
thimbles, vinaigrettes and scissors hung from chains attached to a hook.
Made from gilt, gold, steel and pinchbeck, they were decorated with mother-of-pearl, enamel and rock crystal. |
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Nineteenth Century Purses
During the early years of the nineteenth century, purse design was at
its height. Empress Josephine was a purse aficionado and designers
worked overtime to please her and her court. Unique shapes, materials
and construction were a hallmark of the period. Tortoiseshell, feathers,
paper, wax, ivory, wood and straw were all used to create these early
nineteenth century treasures. Reticules were still very popular, but it
is at this point we see purses mounted on frames coming into their own.
Pockets and misers continued to be in use during the nineteenth
century but their workmanship after 1820 was less fine. Misers were
crocheted rather than knitted and pockets were usually solid pieces of
cotton or linen. Although you can still find nice examples of beaded
misers from c. 1830-1840, others were rather mundane and utilitarian. |
Early 19th Century Mother of Pearl Pique Inlaid into
Tortoiseshell Leather Purse |
|
Circa 1820 Bead Knitted Basket Shape Purse |
Beaded purses mounted on frames were a new fashion accessory. Many
fashion historians consider beadwork of the first half of the nineteenth
century to be the finest ever produced (excepting the sable beadwork).
Jewel-like beads were knitted into scenes, figures, flowers and
geometric designs. Lined in silks, they have survived in fairly large
quantities. Earlier examples were made from fine gauge knitting,
interspersed with beading, rather than being solidly beaded. They were
finished with acorn tassels or beaded fringe. Designs called the
“Sampler Style” by many purse collectors is characterized by three
sections, typically featuring a floral, figural or scenic mid-section.
They vary in sophistication, complexity and execution, but the figurals
and scenics are very desirable from a collecting standpoint. |
| Other types of purses make their appearance during this century as
well. Berlin work purses are a classic mid-nineteenth century purse
icon. Made from Berlin wool work patterns developed by Phillson in
Germany, these purses were needle worked in Merino wools. They were
often trimmed with chenille tassels on the sides. Carpetbags from the
mid to late nineteenth century were made from Wilton carpets and needle
work. Primarily used for travel, they are difficult to find in good
condition.
Chatelaines, made in bag form, were another classic nineteenth
century purse form. Souvenir coin purses from the Great Exhibition,
Paris, and the Brighton Aquarium were another purse type specific to the
nineteenth century. Small, but precious, they were decorated with
painted or lithographed scenes, inset into tortoiseshell or gilt coin
purses. They are very prized by collectors and tend to bring strong
prices. |
Circa 1840 Velvet Chatelaine |
|
Late 19th Century Leather & Velvet Handbag |
Leather handbags from c.1860 onward represent a more modern trend in
purse design. Hard-bodied, they looked like smaller versions of the
larger luggage pieces from the same period. They were structured and
fairly small. Mounted on steel frames, with rolled leather handles, they
were sturdy and useful. Plush bags were also made in this luggage form.
The handbag was a trend that was to carry over into the twentieth
century.
By the end of the nineteenth century, purses were larger and more
utilitarian. The Industrial Age was in full steam, women were traveling
further and more often, their lives were changing, and so were their
purses. |
|
Twentieth Century Purses
Leather purses remained popular and examples by makers such as Bosco,
Meeker, and Cameo were mounted on Jemco frames. These purses have
survived in large numbers and can be found on eBay for reasonable
prices. Structured and roomy, they can be seen in many photographs from
the early twentieth century. Examples by Roycroft, a group specializing
in Arts and Crafts designs, are highly desirable and quite rare. Skins
of all kinds were used, including ostrich, alligator, seal, antelope and
kid. New dyes produced in Germany allowed makers to use new colors such
as mauve, pink and white. Designs included stylized florals, medallions
and less commonly, birds and animals.
Beaded purses of extremely high quality were imported from Germany
into the United States until the early 1930's. Made from tiny beads, they
featured designs of castles, alpine villages, Asian scenics, eighteenth
century figurals, animals, birds, the Taj Mahal, mythical creatures,
florals, geometrics, the Lion and Unicorn, and the highly sought after
Venetian scenics. The vast majority of these purses were made in
Germany, from patterns originating in Germany. They were sewn onto
frames that ranged from plain silver to highly ornate, jeweled and
enameled mounts. The more elaborate the frame, the more desirable the
purse is from a collecting standpoint. However, this has had the
unfortunate effect of beaded purses being removed from their original
frames and remounted on more spectacular ones. It is a practice that
destroys the historic integrity of the purse and which purists frown on.
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Circa 1900 Beaded Purse on Frame With Intricate Courting
Scene
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Circa 1920 Mandalian Mfg. Co Mesh Purse |
Compact, dance and mesh purses from the early years of the twentieth
century are avidly collected by many women, and yes, men! Made primarily
by Mandalian and Whiting and Davis, they came in a multitude of designs
and colors, and reached their pinnacle in the 1920's. Handmade ring mesh
had been made in America as early as 1892, but it wasn't until machine
made mesh was developed that these purses appeared in volume. Types of
mesh included: ring and flat armour mesh, also called “spider mesh.” A
variation of the ring mesh was the extremely fine mesh known as Dresden.
Dresden mesh purses create an impressionistic effect with their
watercolor designs. All of these meshes were enameled and baked to make
the finish permanent. Different finishes, such as the lustrous pearlized
finish, added to their value. Drops and fringe hung from their bottoms,
and enameled frames occasionally completed the purse. The more complex
and colorful the design, and the addition of jewels, enamel, drops,
drops with fringe, make the purse more desirable and valuable. Compact
and dance purses were little jewel boxes attached to chains or silk
cords. Inside were mirrors and fittings for lipstick, powder, coins, and
perfume. Made from brass and plastics, set with faux jewels, they are
icons of the 1920's. |
Tapestry and petit point purses from the first half of the twentieth
century are beautiful pieces of handmade textile art. The majority of
petit point purses were made in Austria. It was considered an art of
national importance, to the extent that it was supported by the
government. Made in the tiniest of stitches, from 900 and up to 3,000
per square inch, they were beautifully executed. Designs were varied but
typically featured eighteenth century scenes, figurals, biblical scenes
and florals. The classic designs of The Lion and Unicorn from the
LeViste family tapestries were a common theme and are popular among
collectors. Typically, they were mounted on pierced silver frames or
jeweled and enameled frames. Aubusson tapestry purses made in France
were woven with a weft and a warp. Designs were drawn from the “cartoons”
by Boucher, Watteau
and Fragonard. Also, considered masterpieces by collectors, they are
quite valuable. Cartoons were large drawings used for tapestry and
embroidery designs. Another variation of this type of textile purse was the
silk stitched purse. Made in fine satin stitches, they create a silky
effect highly sought after by all collectors. One that depicted
Washington arriving by boat to New York, and the reverse side showing
the signing of the Declaration of Independence, sold for approximately
$5,000. |
Circa 1930 Petit Point |
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Circa 1920 Celluloid Frame Beaded Bag |
Plastic purses in Bakelite, celluloid and Lucite are another purse
style identified with the 20th century. Sculptured shapes, worked in
these new plastics, transformed purse design. A wall of these
architectural beauties is impressive. Mid-twentieth Lucite purses were
made by Rialto, Llewellyn, Kahn, Florida, Dorset Rex, Tyrolean, Myles
and Patricia of Miami. Collectors today look for Lucite in colors of
pink, red and blue, decorated with rhinestones. It should be noted that
these purses are subject to plastic disease, which presents as weeping,
corrosion, brittleness and a vinegar odor. If this occurs, it must be
removed from contact with the other plastic purses as it will spread.
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Minaudieres from the 1930's made by Van Cleef and Arpels were
slender, hard cased containers designed to hold make-up, coins, combs,
lighters and cigarettes. Cheaper versions were also made to appeal to
the mass market; all are a rare find. Judith Leiber was to take this
style to new dimensions later on in the twentieth century with her
jeweled incarnations of dogs, cats, and Chinese boxes.
As the twentieth century progressed, fewer purses were handmade and
displayed the craftsmanship so prized by collectors. Although there are
exceptions which are collected due to their iconic stature, most will
not withstand the tests of time, workmanship and artistry. The purses
discussed in this article are desirable either from the standpoints of
rarity, age, design, artistry, craftsmanship or beauty.
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Circa 1915-1920 Compact
Dance Purse
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Please view the Antique Purses currently in
inventory on the
Textiles
page. |
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Antique and Vintage Purses