Antique c 1860 Paisley Shawl with Gustav Stickley's Designers' Peter & Ruth Hansen Provenance Ref: Pashima Kashmiri Kashmir Shawl

This Kashmir Shawl dates to circa 1860 and was likely worn through the American Civil War era. It is an interesting find beyond the simple truth that it is over 150 years old. 

Paisley shawls such as these are described in many fashion publications such as Lady’s Godey’s Book beginning around 1853. They were so popular that they are found in fine art portrait paintings, such as in this oil by Claude Monet, "Madame Louis Joachim Gaudibert" dated 1868. Paisley shawls are represented in the finest museums. One example is seen on this mannequin, “Day Dress with Shawl” dated 1865-1867 from the Costume Institute at the New York Metropolitan Museum of Art. 

Passed from mother to daughter over generations, these expensive shawls continue to inspire. This example is so large that it is slightly older than the museum pieces used as illustrations here. It is in such exquisite condition that one can immediately see that it was obviously cherished. 

The shawl was created on a jacquard loom and finished with hand embroidery. It measures approximately 77 inches or 196 cm on each side, square, and was designed for wear over exceedingly large crinolines or hooped fashions. It was difficult to wear a coat for warmth with such large skirts, therefore shawls large enough to drape over such wide gowns
were worn instead. 

This exquisite paisley mantle comes from the estate of Peter and Ruth Hansen. Peter Hansen designed furniture for Gustav Stickley, one of the greatest furniture makers in America. Peter’s wife, Ruth was an artist and also worked as a draftsman for Stickley. Items from their great artistic careers and stylish home are found in many superior private collections and museums. 

The shawl is attributed as to having once belonged to Ruth Hansen. The only real peculiar flaw in the condition of the shawl is that (only) on the back, there are small spots of true vermillion pigmented oil paint. (See photograph of back, upper left) 

Paisley shawls were a favorite in artists’ studios and often used as colorful backgrounds in portrait studies. We have searched for photographs of Ruth Hansen’s studio, but have yet to find one…yet we cannot give up hope that this shawl might be recognizable in one. The small areas of oil paint on this shawl is most assuredly artist’s paint and this color that was made from the mineral cinnabar was classically used on artists’ palettes for centuries. 

This shawl is rich in color and has no areas of fading. Our conservationist examined the entire shawl under magnification. She found that there are very few and only minor issues with several pinholes and one small area of missing fringe that is barely discernible measuring not quite 2 inches or 5 cm from an edge. There are one or two nearly century old mends and the longest, barely discernible mend is 5 inches or 12.5 cm. These were carried out where the structure and most are in the same quadrant. Due to the overall embroidery and design, the mending is practically invisible. 

This shawl or mantle is dated due to structure and design. It is likely Scottish made and dates circa 1860-1865. It is a gorgeous, magnificent example and could be worn with tender loving care. The Hansen provenance makes this remarkable 150 year old treasure all the more special.

Antique Signed Cameo c 1840 with Provenance: Estate of Peter Hansen, Designer for Stickley Furniture

Romantic and breathtaking...gift perfect.... 

This is a large, exceedingly beautiful example of a hand carved cameo. It is in high, three-dimensional relief and dates to c 1840. The etched signature of the master carver, Bennel, is on the reverse. The cameo has a sterling silver and 14k gold bezel mounting. It may be worn as either pendant or brooch. This lovely piece has been identified through a certified ASA appraiser. 

Approximately 175 years old, the cameo is made from queen conch shell. The artfully carved design is of an elegant woman, a bacchante or a devotee of Bacchus, who was the god of wine and also the patron deity of the theatre. 

Obvious design characteristics point to when this cameo was made. These are the bacchante’s long classic nose as well as her up swirled hair, surrounded by a laurel of leaves and grapes. Early shell cameos also have a softly arched silhouette, and this relatively large example feels amazingly sleek and graceful when cupped into the palm of your hand. 

This special brooch or pendant also has a fascinating historical provenance. It comes from the estate of Peter Hansen, who was the chief furniture designer to Gustav Stickley. Hansen's wife, Ruth, was an artist as well as architectural draftsman for Stickley. It is believed that she may have worn this cameo. 

The condition is excellent to near mint. 
It requires cleaning by a knowledgeable professional familiar with the unique requirements of antique cameos.  There are neither chips nor cracks. In the light, the cameo appears quite luminous and beautiful. The back has Bennel's etched signature beneath the sturdy pin with c-clasp and one may require a jewelers loop to view this. The bezel mount has a ring attached so that the cameo may be worn as a pendant. The mounting appears to be original. The reverse side has a gold wash over the interior silver mounting. This has worn thin from wear but does not detract from the overall appearance in any way, in my opinion.

The cameo measures approximately 1.5 inches or 4 cm by 2 inches or slightly over 5 cm. 

Not only will this cameo appeal to anyone who loves historical antique jewelry, but the piece would make a nice addition in an exhibit or collection that might involve the Hansen provenance.