This late 17th-century Italian/French extended fan leaf depicts Nicolas Poussin’s ‘A Dance to the Music of Time’.

Over several centuries, exquisite fan designs have graced the palms of numerous European high-born women - not merely for their cooling properties, but as status symbols and portable works of art. Catherine de Medici (1519-1589), a fan devotee, introduced these elegant accessories to the French court, where they were soon established as ‘de rigueur’. They served as a sophisticated addition to a lady's outfit while also hiding any unsightly features, such as sores or embarrassing blemishes.

The rapid growth in fan popularity led to an influx of makers and, by the end of the 17th century, it was a booming industry. The most accomplished “éventaillistes”, as they were known in France, were highly sought after, and unquestionably rather expensive. Designs were numerous, with many based on earlier paintings, as we see here. The Guild of Fan Makers were barred from painting living subjects, as this was reserved for court painters, instead being restricted to allegory.

The finest fans were so lovingly cherished by their owners that, upon falling into disrepair, they were extended with additional materials (e.g. extra vellum or paper) and framed. Known as ‘an extended fan leaf’, this remarkable survivor from 1690 is a fine example.

The design is an interpretation of Nicolas Poussin’s ‘A Dance to the Music of Time’ - modified with additions and alterations, to suit the curved format. The painting itself was commissioned by Pope Clement IX, so the fan could be of Italian origin. However, numerous Italian craftsmen moved to France, bringing their designs with them.

The Deputy Director at London’s Fan Museum confirmed that “it has once been a fan, has been dismantled and, subsequently made into a rectangular picture - known in the ‘fan world’ as an extended fan leaf. It is very probable that the material is [...] vellum and while no joins in the vellum are apparent, the fan leaf has been married seamlessly with a second piece of surrounding vellum.” And also that “it dates from the late 17th century, either French or Italian.”

It remains a window into a world of decadence, wealth and majesty. A splendid piece.

Housed in a good contemporary frame in the Baroque manner.

Medium: Gouache on vellum laid on panel
Overall size: 27” x 18½” / 68cm x 47cm
Year of creation: c. 1690
Labels & Inscriptions: Inscribed illegibly on the reverse.
Provenance: Private collection, Germany.
Condition: Cleaned. Revarnished. Various age-related areas of wear, which demonstrate its history. The paint layer is stable.
Our reference: BRV1783