An opera fan, the leaf a hand-coloured stipple engraving, the central vignette with Art honouring Rossini, with words and music to Torvaldo & Dorliska, and two side vignettes of Mathilde de Sabran and the Barber of Seville, numbered F.C. no. 495 and F.C. No. 482, the whole divided by pillars inscribed C.R. and wreathed in laurel or roses surmounted by arcading, the verso with a vignette of Cupid and putti, F.C. no. 485, the main vignette signed Paris Fábrica de Abanicos de Fdo. Coustellier y Cia., the ivory sticks pierced and clouté with steel, the guardsticks set with mother of pearl, within filets of ivory stained green - 8½in., circa 1825

細節

An opera fan, the leaf a hand-coloured stipple engraving, the central vignette with Art honouring Rossini, with words and music to Torvaldo & Dorliska, and two side vignettes of Mathilde de Sabran and the Barber of Seville, numbered F.C. no. 495 and F.C. No. 482, the whole divided by pillars inscribed C.R. and wreathed in laurel or roses surmounted by arcading, the verso with a vignette of Cupid and putti, F.C. no. 485, the main vignette signed Paris Fábrica de Abanicos de Fdo. Coustellier y Cia., the ivory sticks pierced and clouté with steel, the guardsticks set with mother of pearl, within filets of ivory stained green - 8½in., circa 1825

See colour plate

來源

Doña Ana Gutierrez, Madrid

拍品專文

A far plainer version with neither scene identified was exhibited at Schloss Bruchsal in 1989, see Kammerl, Der Facher plate 107, p. 194.
The recto of the fan in this sale was printed from four copper plates. The two side vignettes are numbered, the right-hand number being obscured on the Bruchsal version, which identifies them as separate plates. The central vignette and the music form a third, the columns, arcading etc. must be from a fourth plate as in the Bruchsal version the chair in the Barber of Seville has no upper left corner, in this version it is obscured by part of a pillar