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.

The Gilded Age: Rare Antique Victorian Marabou Shawl, Stole or Scarf circa 1899

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Lovely and rare. This regal, black Victorian marabou shawl or stole is an incredible find. In utterly sublime condition, the stole dates to the final breath of The Gilded Age, circa 1899. 

This would have been quite a costly fashion accessory in its day. It is made of downy marabou feathers and trimmed with a tortoise shell chain, complimented with simple silk passementerie. Genuine marabou were unquestionably a regal luxury during this era. The delicate feathers are still soft as an angel’s wing and people ask if this is black swan's down. No, apparently these were even rarer and more luxurious than that. 

This rare, glorious example of Victorian fashion will make discerning collectors absolutely delighted. Amazingly enough, the condition is near mint. If this was ever worn, it was done so with incredible love and care. The silk foundation is exceptionally gorgeous…and strong. There is no sign of shattering. 

At approximately 115 years of age and entirely hand sewn, the stole is absolutely fascinating to examine. It is thoroughly covered with many rows of tiny, down feathers that were individually hand-tied into roping. The feathers remain incredibly delicate and are so soft that they are beyond description. 

The feathered roping was hand sewn onto a weighty silk crêpe foundation, which was designed to properly support that sea of costly feathers. In a finishing touch, the stole was styled with six large, downy fringes. These were intentionally created to resemble the fur tails used for regal capes worn by fashionable queens during the previous century. 

Marabou feathers during the Gilded Age were costly and rare…even more so than most fur at the time. This stole was an absolute luxury for the woman who owned it. All we know about the original owner is that she was from the northern part of coastal New England and this item was acquired through an estate sale. Yes, we too wish that we knew who she was…. 

This exquisite piece of fashion history should be destined for a fine privately held collection or museum. It is wearable, but if so, should be carefully used. The value of this stole relies on the exquisite condition that it is in. Also, it must be noted that the marabou feathers tend to shed. This may be why this stole was not worn often, if at all, over 115 years ago. Although the stole is supple, remarkably strong and fresh to the touch, the feathery fluff does tend to flutter off and may well be noticed. This is another reason why display is recommended for this exceptional piece.

In near mint condition, or perhaps a notch above, this antique stole features a 7 inch (or 18 cm) long carved tortoiseshell chain, plus both hook and eye and also early snap closures, all original. The very early snap fastener found inside a silk passementerie ball trim was used to identify the era during which this piece was made. 

Overall, the stole, scarf or shawl measures approximately 30 inches long without its feathery fringe. There are six “tails” of fringe and each measure slightly over 6 inches or 15 cm in length. The widest section of the stole, measured in the middle to the back, is 6.50 inches or 16.5 cm.