AN IMPORTANT Faberge GOLD, ENAMEL AND JEWELLED FAN, WORKMASTER MICHAEL PERCHIN, ST. PETERSBURG,
AN IMPORTANT Faberge GOLD, ENAMEL AND JEWELLED FAN, WORKMASTER MICHAEL PERCHIN, ST. PETERSBURG, CIRCA 1890 of unusually large size, the gold guards bordered by scrolls and foliage and enameled translucent sky blue over a guilloche ground, applied with gold putti modelled in high relief, one side with a putto swinging in a flowering vine, also applied with a foliate monogram in gold; the lacework leaf with reserves painted with putti and with a maiden bearing a basket of flowers, signed M. Dumas, the mother-of-pearl gorge gilded with putti and scrolling foliage, each pivot end set with a diamond, marked with Cyrillic initials of workmaster, Faberge in Cyrillic and 72 standard. length 14in. (35.6cm.) Fans from the Paris eventaillistes were ordered by St. Petersburg society and by members of the Imperial family. Such a fan was made for the Empress Marie Feodorovna in 1892/3 by the Paris firm of Duvelleroy. It is of the same exceptionally large size as the current offered example and was exhibited by the Fan Museum, London in 1997/8. See, Imperial Fans from the Hermitage, catalogue of the exhibition, October 1997 to February 1998, no.62. Fans of smaller size are more commonly known, especially those mounted by the house of Faberge. An example of this lesser size by workmaster Henrik Wigstrom from the collection of the Kremlin Armory Museum is reproduced by Geza von Habsburg, Faberge, Imperial Craftsman and His World, London, 2000, no.489. The French artist, Marie Dumas, the painter of the present offered fan, was a miniaturist specializing in the painting of fans and was employed by the leading producers of fans in Paris in the late nineteenth century including the firms of Kees and Duvelleroy. Fans signed by her are preserved in the collection of the Palace of Ostankino, Moscow. See, A.F. Tcherviakov, Fans, Parkstone Press, Bournemouth, 1998, pp. 139 & 205. Her work is discussed in the exhibition catalogue, L'Eventail, Miroir de la Belle Epoque, Musee de la Mode et du Costume, Paris, 1985, where she is cited (p.148) as working for the house of Kees in 1894.