55 g (wallet), 550 g (handbag), 75 g (eyeglasses case)
Dimensions (H x W x D)
29 x 24 x 4 cm (handbag), 7 x 16 x 2 cm (eyeglasses case), 9 x 10 x 2 cm (wallet)
If your delivery address is not in the European Union, Iceland, Liechtenstein, Norway, or Switzerland, please be advised that import duty is not included in the prices you see online
A handbag, also purse or pouch in North American English, is a handled medium-to-large bag that is often fashionably designed, often used by women, to hold personal items.
The term “purse” originally referred to a small bag for holding coins. In British English, it is still used to refer to a small coin bag. A “handbag” is a larger accessory that holds objects beyond currency, such as personal items. American English typically uses the terms purse and handbag interchangeably. The term handbag began appearing in the early 1900s. Initially, it was most often used to refer to men’s hand-luggage. Women’s bags grew larger and more complex during this period, and the term was attached to the accessory. Handbags are valued for their stylishness as visual accessories as well as for their function.
The verb “to handbag” derives from UK prime minister Margaret Thatcher’s habit of pulling scraps of paper out of her handbag in meetings and reading aloud the comments she had written on them. The verb’s more general meaning of “treating ruthlessly” came to symbolise Thatcher’s whole style of government. Julian Critchley, one of her biggest Tory backbench critics, once said, “Margaret Thatcher and her handbag is the same as Winston Churchill and his cigar.”
Early modern Europeans wore purses for one sole purpose: to carry coins. Purses were made of soft fabric or leather and were worn by men as often as ladies; the Scottish sporran is a survival of this custom. In the 17th century, young girls were taught embroidery as a necessary skill for marriage; this also helped them make very beautiful handbags. By the late 18th century, fashions in Europe were moving towards a slender shape for these accessories, inspired by the silhouettes of Ancient Greece and Rome. Women wanted purses that would not be bulky or untidy in appearance, so reticules were designed. Reticules were made of fine fabrics like silk and velvet, carried with wrist straps. First becoming popular in France, they crossed over into Britain, where they became known as “indispensables.” Men, however, did not adopt the trend. They used purses and pockets, which became popular in men’s trousers.
The modern purse, clutch, pouch or handbag came about in England during the Industrial Revolution, in part due to the increase in travel by railway. In 1841 the Doncaster industrialist and confectionery entrepreneur Samuel Parkinson (of butterscotch fame) ordered a set of travelling cases and trunks and insisted on a travelling case or bag for his wife’s particulars after noticing that her purse was too small and made from material that would not withstand the journey. He stipulated that he wanted various handbags for his wife, varying in size for different occasions and asked that they be made from the same leather that was being used for his cases and trunks to distinguish them from the then-familiar carpetbag and other travelers’ cloth bags used by members of the popular classes. H. J. Cave (London) obliged and produced the first modern set of luxury handbags, as we would recognize them today, including a clutch and a tote (named as ‘ladies travelling case’). These are now on display in the Museum of Bags and Purses in Amsterdam. H. J. Cave did continue to sell and advertise the handbags, but many critics said that women did not need them and that bags of such size and heavy material would ‘break the backs of ladies.’ H. J. Cave ceased to promote the bags after 1865, concentrating on trunks instead, although they continued to make the odd handbag for royalty, celebrities or to celebrate special occasions, the Queen’s 2012 Diamond Jubilee being the most recent. However, H.J. Cave resumed handbag production in 2010
Spectacular Murano cigar ashtray made of glass. The piece is distinguished by its fluid shapes, by the fine quality of the glass, as well as by its intense and extremely beautiful ruby red color. Hand blown, this piece is kept in very good vintage condition.
The quality and tradition that characterize Murano’s finest glass furnaces have always been worthy of the highest appreciation. This prestige is due mostly to the glass masters’ hard work and dedication, which are the very core of Murano’s most famous trade. Glassmaking has been passed on from one generation to the next one, with constant innovations and timeless originality. The loyalty and respect with which this trade is treated is possibly the key to Murano’s success. Glass masters all over the island have always worked with endless vitality, and this creative vein is evident in every glass artwork that comes out of any furnace, with improved techniques and bewildering effects.
Beautiful Murano sommerso vase in blue and yellow. The piece is made in the 1960s and is kept in very good condition, showing no visible deterioration.
When thinking of Murano glass, it is highly unlikely that we think of sand, yet this rare material is at the base of all glass production. Glass is firstly a mix of siliceous sand, soda, lime and potassium, which is put to melt inside an oven at a temperature of around 1.500 Celsius. After it has become flexible enough, it is removed with a pipe that will be used to blow the glass out while the glassmaker shapes and models it. The forms and colors given to each piece depend on the tools and chemicals used during its production. The techniques are also important..
One of the most common techniques is “Sommerso”, which in Italian literally means “submerged”. This technique is used to create several layers of glass (usually with different contrasting colors) inside a single object, giving the illusion of “immersed” colors that lay on top of each other without mixing. This is done by uniting different layers of glass through heat and repeatedly immersing them in pots of molten colored glass. This technique is quite recognizable: it is characterized by an outer layer of colorless glass and thick layers of colored glass inside it, as if a big drop of color had been captured inside the transparent glass. When one first sees these objects, it seems almost impossible to conceive such beautiful colors being locked so perfectly inside what would seem solid glass, and then undoubtedly one begins to wonder how ever did they manage to achieve such a complex game of shapes and colors right in the middle of a clear glass object.
Lot of 4 vintage table clocks made in Germany (Blessing, Mauthe, & Ruhla) and Czechoslovakia (Prim). All are in full working order. Each of them need to be manually winded once a day to operate.
Blessing: made in Germany in the 1950s, this mechanical alarm clock features Art Deco elements (hour marks, clock hands, clock base) and also the International Style aesthetics. Kept in very good vintage condition.
Mauthe: made in Germany in the 1940s, this is an Art Deco mechanical alarm clock. The case, in beige, is in sharp contrast to the black dial. At the top and in the lower area, the golden accents complete the sober and elegant image of this clock. Although is kept in a good overall condition, there are some very discrete scratches on the glass; also the phosphorus on the hour and minute hands of the clock have some minor defects.
Prim: made in Czechoslovakia in the 1970s, this is a metal case mechanical alarm clock. Kept in very good condition, this item is characterized by a minimalist, beautiful, modern look.
Ruhla: made in Germany in the 1970s, this mechanical alarm clock features a bright orange plastic case and a black dial with bold, prominent, hour marks. A beautiful and highly collectible table clock, featuring an Atomic/Space Era aesthetics.
Selandia was designed by Per Lütken in the spring of 1957. The dish was fashioned by hand, and its shape is created when the glass blower carefully turns, raises and lowers the hot glass. The visual softness contained in the glass at 1400 degrees Celsius can be seen directly in the cooled, transparent version of the dish. The dish is decorated by engraving/glass cutting. Identified and dated on the bottom, “Holmegaard 19PL59” (Per Lütken signed almost always monogrammed with initials falling between the 4 digits of the year).