Professional Documents
Culture Documents
Handbags
Handbags
Handbags
JUDITH MILLER
LONDON, NEW YORK,
MUNICH, MELBOURNE, DELHI
A joint production from DK and THE PRICE GUIDE COMPANY
Pre-1890 8
1890s1920s 34
1930s1940s 114
1950s1960s 214
1970sPresent 412
Index 444
INTRODUCTION
A survey has found that an American woman owns an average of six
handbags. A quick telephone call to my friends on both sides of the Atlantic
suggests that these women are the exception rather than the norm and
that one of my friends owns so many bags she cant possibly hope to use
them all, even if she used a different bag every day for six months.
Whether you believe, like Miss Piggy, that it is vital to have at least one
handbag for each ... social occasion or that, like my friend, you can never
have too many bags, Im sure you will find this collection an inspiration.
Star Ratings
Each of the handbags in this book has a star rating according to its value:
$50200; 25100 $200500; 100250 $5001,000; 250500
$1,0002,000; 5001,000 $2,000 upward; 1,000 upward
PRE-1890
The modern handbag is the descendent of a number of
historical bags: the Medieval girdle pouch and almoner,
the 18th-century pocket, purse, and work bag, the 19th-
century reticule and chatelaine. Like todays clutch bags,
totes, and rucksacks, these ancient bags were designed to
carry money and other valuables, sewing materials, books,
cosmetics, visiting cards, and pens. Many bags were
decorated with exquisite embroidery or beading.
While few examples of these early bags exist outside
museums today, they provide a fascinating
insight into the evolution of the handbag
and an inspiration to handbag designers
now and in the future.
PRE-1890 Turkish bag made for the European market: red velvet with gold
embroidery and drawstring closure. 19th century
10
Petit-point bag with pink roses on a brown ground, gilt metal
frame, and chain handle. 19th century
11
EMBROIDERED
PRE-1890 Silk drawstring bag with embroidered decoration;
lined with satin. Late 18th century
12
Moir silk drawstring bag with needle-weave
decoration. c.1820
13
EMBROIDERED
PRE-1890 14
Rare Pennsylvania silk and linen sampler purse, stitched
by M. Morton, with oral spray design and polychrome
15
EMBROIDERED
alphabet. Late 18th century
16
NEEDLEWORK
p.176 p.116
NEEDLEWORK
p.85 p.19 p.80
p.44 p.14
PRE-1890 Georgian card purse with metallic
embroidery. 17701780
18
English silk purse, embroidered on both sides with crewelwork,
metallic braid, and sequins. This side shows Archangel
19
EMBROIDERED
Michael. Late 17thearly 18th century
DETAIL: Design on pocket.
20 PRE-1890
21
POCKETS
EMBROIDERED
During the 17th century, dresses had full skirts; this made it possible for
women to carry items such as smelling salts, mirrors, fans, and even
small liquor bottles in their clothes without ruining the silhouette. To do
so they used at pockets, usually pear-shaped or oval with squared
corners, which were tied beneath the skirt at each hip and could be
accessed by slits in the skirt fabric.
It was not until the 1790s that fashions changed radically and bulky
pockets became impractical. The popular new Empire dress was too
sleek to conceal belongings; however, women were reluctant to give
up the convenience of having their precious things readily to hand. The
solution was to take pockets out from under the skirt and carry them by
hand. Thus the modern handbag was born.
FIGURAL BAGS
BEADED
Figures and animals have been favorite motifs since the 18th century,
when bags rst became major fashion accessories. As the production
of samplers and other pretty fabric items became a popular leisure
pastime, carefully worked gural scenes began to appear on ornate
needlework bags. Beadwork bags were also adorned with complex
gures and animals; these bags, rather than bags with oral or abstract
bead designs, are the ones that most attract collectors attention today.
From 1910 to 1930 designs were inspired by owers, chinoiserie
(oriental motifs), eastern carpets, romantic medieval castles, and
Venetian scenes. The images were often taken from popular prints or
famous tapestries.
Exported from France,
Germany, and Italy, these bags
19th century
PRE-1890 26
27
MISERS PURSE
BEADED
An early take on the unisex bag, the misers purse rst became popular
in the late 18th century. Also called a stocking, ring, or long purse, this
bag was designed to hold coins. The bag gained its name because it
was difcult for people to take money from it.
The misers purse was generally long and at in shape and was sealed
around the edges. The middle section, which was left undecorated, had
a slit for access; it was gathered by sliding rings, thus forming distinct
pouches at each end. Sliding the rings closed would securely store
the coins in the pouches. In some bags, the two ends were differently
shaped, and were probably intended to store two different types of
coin. Bags were often made from crocheted or knitted silk thread and
decorated with cut-steel beads.
By the late 19th century, misers purses had largely been replaced by
leather purses; however, patterns for making them appeared in womens
BEADED
clasp, and chain handle. 1870s
PRE-1890 Beadwork purse, hand-worked on black velvet with owers
and the name Emily M Hollister. c.1810
30
31
HOME-MADE BAGS
BEADED
The ability to sew has historically been seen as an important
accomplishment for rened young women and an essential skill for less
wealthy ones. Frames and handles for bags could be bought separately
for the creative-minded to embellish at home. Each bag could be
designed to complement a favorite outt and would be unique. Home-
made needlework bags are perhaps the easiest to come by; gural
and landscape scenes tend to catch collectors eyes, especially if the
delicate material shows little sign of damage or wear.
In the 20th century, a growth in leisure time, and the high price of one-
off designer accessories, ensured that people continued to make their
own bags. During the Second World War, women created bags from
fabric scraps, beads, and costume
jewelry. In the 1960s and 1970s, the
fashion for hippy crafts led women
to decorate shop-bought bags with
STRAW BASKETS
STRAW
The technique for weaving baskets from natural materials, such as straw,
wood, and leaves, has been practiced around the world for thousands of
years. The oldest woven baskets still in existence originate from Egypt
and are thought to be over 10,000 years old.
During the 19th century, makers in the US produced a wide variety
of woven baskets. Various shapes were developed, for practical uses
such as collecting eggs or carrying owers. Toward the end of the
century, baskets started to be made as tourist souvenirs. These included
Nantucket baskets, which have become one of this islands signature
Painted and nely woven reeded basket purse with two swing handles, from
products. The baskets are based on the shape of a traditional barrel
and may be embellished with scrimshaw plaques. They are still made by
Nantucket craftsmen today.
BEADED
1890s1920s
38 Beadwork bag with repeating blue and
gold design, tassel, and drawstring
Beadwork bag with oral decoration
and tassel, gilt metal frame, and chain
closure. c.1890 strap. c.1900
Coco Chanel
Fashion is made to become unfashionable.
BEADED
handle, and blue silk lining.
DETAIL: Close-up of moth decoration.
40 1890s1920s
41
BEADING
BEADED
Beaded bags are the most collectable and often the most valuable
vintage bags a reection of the hours of work that went into them,
and of their fragile nature. The bright colors and intricate workmanship
often make them more suited to display than to use, but that does not
diminish their appeal.
Beaded bags have been popular since the early 19th century. In the
1910s and 1920s, manufacturers used Venetian or Bohemian beads.
Venetian beads are very small, slightly iridescent, and with a pure color
that does not fade. Bohemian beads tend to be larger and coarser and
to fade over time. Clasps and handles are usually metal and often inset
with glass or semi-precious stones. Bags were often lined with silk, which
may have deteriorated far more than the
exterior. A sympathetic replacement can
enhance the value of a bag.
BEADED
frame and chain strap.
1890s1920s Metallic and satin rticule, lined with
red cotton. 1900s
44
Beaded purse with jet-black ground and multi-colored
geometric motif; also has very early plastic clasp and
45
BEADED
chain-link handle.
46 1890s1920s French purse with embroidered paisley design and cream beads. Cream
silk interior has gilt stamp, xxx de vie Paris France; pocket; and
handheld mirror. Early 20th century
BEADED
47
48 1890s1920s Micro-beaded purse with oral decoration,
intricate fringe, heavy silver frame, and
silver chain strap.
Floral beaded bag, the elaborate gilt metal
clasp set with faux rubies, moonstones, and
49
BEADED
turquoise. Early 20th century
50
BEADED BEAUTY
p.150 p.164
p.154 p.46
51
BEADED BEAUTY
p.71 p.75 p.77
p.129 p.126
BEADED
54 1890s1920s German beaded purse, decorated on both sides; also has
ornate fringe, embossed silver frame, silver chain strap,
and leather interior.
Beaded purse with colored ower garlands on black
iridescent ground, black looped fringe, and sterling
55
BEADED
silver frame and chain.
56 1890s1920s Silk clutch bag with antique-gold ground and oriental-style
decoration. Also has gilt metal ligree frame and clasp set
with faux jade. c.1915
BEADED
57
Large beaded handbag with roses on beige Gray crochet and steel beadwork rticule with
chain drawstring. 1910s
58 ground; also has fringes, silver-plated
clasp, and chain strap.
Beadwork handbag with oral design, lined with purple faille;
labeled Made in Belgium. c.1910
59
BEADED
1890s1920s Beadwork pansy handbag, with cream silk lining labeled
Hand Made in Belgium. c.1915
60
Small, unlined beadwork handbag.
Early 20th century
61
BEADED
62 1890s1920s Green glass beadwork purse with cylindrical body,
tucked loose covering, and brown silk lining. Lid
has mirror inside. 1920s
Gold silk purse with rows of clear yellow beads, columns of
orange rhinestones, gilt metal frame, and chain strap; lined
63
BEADED
with cream silk. 1920s
64 1890s1920s Art Deco cream beaded evening bag. c.1920
BEADED
65
Crocheted handbag with iridescent beads; also has white Handbag with iridescent blue beads,
metal frame and chain strap. 19101920
66 ligree celluloid frame, and chain
-link strap. 1920s
Handbag with black glass and cut steel beads, white
metal clasp, and chain handle.
67
BEADED
68 1890s1920s Beaded handbag with multi-colored organic design and
triangular fringe; also has faux-tortoiseshell Lucite clasp and
Lucite chain strap. 1920s
Art Deco beaded handbag with faux tortoiseshell
frame and chain strap.
69
BEADED
70 1890s1920s Beaded evening bag with oral design, beaded
fringe, gilt metal frame with bead-decorated clasp,
and chain strap. 1920s
French evening bag with micro-beading,
beaded fringe, and gilt clasp and chain
71
BEADED
strap. 1920s
1890s1920s Gold and silver lam bag with oral decoration, gilt clasp,
and chain strap. 1920s
72
Art Deco bag with abstract design in metallic beads, beaded fringe,
and gilt metal frame and chain strap.
73
BEADED
74 1890s1920s Evening bag with oral beaded design and beaded fringe. Also has
gilt metal frame set with semiprecious stones; clasp with colored
rhinestone; and chain strap. 1920s
75
BEADED
The bag still has the original fabric
lining, in excellent condition.
76 1890s1920s Beaded bag with abstract ethnic design, black and
white beaded fringe, and tortoiseshell-effect Lucite
clasp and strap. 1920s
Art Deco beadwork bag with stylized design on pink Art Deco beadwork bag with oral design
ground, looped fringe, and gilt metal frame and chain on blue ground and faux tortoiseshell
77
p.111 p.182
p.112 p.102
79
BEADED
1890s1920s Native American beaded bag with loop handle.
Late 19thearly 20th century
82
BEADED
83
1890s1920s Iroquois beaded box purse, in good condition. These bags
were made for the tourist market. c.1905
84
North American Indian felt purse with embroidery
and beaded fringe. 19th century
85
BEADED
1890s1920s Petit-point needlework bag, with oral design. The white metal
clasp is set with pearlized panels. c.1900
86
Brocade bag with white metal clasp and
chain handle. 1920s
87
EMBROIDERED
Tapestry purse with gilt metal frame and chain strap, and
88 1890s1920s cream silk lining. 1920s
89
EMBROIDERED
The design features an 18th-century
Watteau-style pastoral scene in a border of
scrolling motifs and owers.
90 1890s1920s American pouch-style linen handbag, with
embroidered blue peacock design and
drawstring top. 1910s
Tapestry petit-point bag with design of
rural scene. 1920s
91
EMBROIDERED
92 1890s1920s Floral tapestry purse. Gilt metal frame has enameled metal scrolling
motifs and glass cabochons. Interior has cream silk lining and
suede-covered hand mirror. c.1910
Austrian petit-point bag, with ormolu and
marcasite frame. 1920s
93
EMBROIDERED
begins where necessity ends.
Luxury is a necessity that
Coco Chanel
1890s1920s French cut steel handbag with fringe, and with gilt
metal clasp and handles. c.1910
94
French-cut steel handbag with oral motif; also has gilt metal
clasp and chain straps. c.1910
95
METAL MESH
DETAIL: Interior of bag, with gold lining and coordinating purse.
96 1890s1920s
97
METAL MESH
It was in the 1820s that handbags were rst made from precious metals.
By the end of the 19th century, mesh coin and nger purses, inspired by
the trend for Medieval fashion, were in vogue; however, they were hand-
made and therefore expensive. In 1908, A.C. Pratt of Newark, New
Jersey patented a mesh machine, enabling people to make affordable,
mass-produced bags and, by 1912, mesh bags were all the rage.
The major manufacturers included Whiting and Davis, probably the
biggest and most famous mesh bag maker and still making mesh
bags today, and the Mandalian Manufacturing Co. of North Attleboro,
Massachusets, which closed in the 1940s.
In the 1920s it became possible
to screen-print designs onto the
METAL MESH
1890s1920s 100
101
METAL MESH
The Whiting & Davis company has become synonymous with high-quality
mesh bags. These have been produced from the companys inception
in 1876, in Plainville, Massachusetts, to the 1940s and beyond.
Prior to 1910, the mesh was made by hand using soldered silver
loops, but the process was mechanized by 1920. Early bags tended to
be fairly plain, although some top-of-the range examples featured ornate
jeweled handles or even tiny clocks. As the 1920s progressed, hues
got brighter and patterns became bolder and more geometric. Cheaper
ranges sometimes featured printed designs rather than the more typical
decoration of colored metals. Some of the most glamorous bags were
designed in the 1930s by well-known couturiers
such as Elsa Schiaparelli and Paul Poiret.
Mesh bags fell out of favor during the mid-
20th century, and Whiting & Davis began to
Hallmarked 1925.
104 1890s1920s Silver nger purse of bombe shape, bright cut, engraved with
arabesques; has suspension chain with nger ring. Made by
T&S, Chester; initialed. 1919
Silver nger purse of fan shape, with festoon design and
molded edge; has suspension chain and nger ring. Made by
PRECIOUS METALS
105
PRECIOUS METALS
108 DETAIL: Embossed logo with K, EMB, and deer on bag, opposite.
1890s1920s
109
HAND-TOOLED
LEATHER
LEATHER BAGS
The Arts and Crafts period of the late 19th and early 20th centuries saw
a renewed belief in traditional craftsmanship. This trend led to a rise in
the popularity of simple hand-tooled leather bags, which continued into
the Art Nouveau period. The bags were made from English or Spanish
leather in traditional styles. They often had a fold-over ap, which allowed
room for decoration typically, natural forms such as curling leaves,
acorns, and stylized owers, which appealed to contemporary tastes.
As a reaction against Victorian mass-production and mechanization,
bags were hand-made in workshops, often in rural locations. In the
Art Nouveau bag with hand-tooled grape motif; also has embossed logo
United States, many were made at the Roycroft Shops in East Aurora,
BEADED
French olive-green satin clutch bag with white and
118 1930s1940s gray beadwork. Lining is marked Made in France
for Coblentz. 1930s
119
BEADED
120 1930s1940s Evening bag with hand-beaded and enameled frame and
clasp. Labeled The French Bag Shop, 1116 Lincoln Road,
Miami Beach, Florida. 1930s
BEADED
Small bag with embroidered owers on white Evening purse with clear beadwork over oral
beaded ground and gilt metal clasp satin. Lining is marked Made in France, Hand
121
BOXING CLEVER
p.84 p.400
p.432 p.401
136 1930s1940s Art Deco beaded bag, in ne condition. 1930s
French silk purse with leaf and ower beadwork design and
beaded frame and catch. Lining is labeled Exclusive Handbags
BEADED
137
by Ed B. Robinson. 1930s
French clutch bag with gold and colored beadwork and
138 1930s1940s enameled clasp. 1940s
139
BEADED
The clasp of this bag is nely
decorated with enameled owers and
intricate micro-beading.
140 1930s1940s French evening bag with gold micro-beading, embroidered detail,
beaded and enameled clasp, and gilt chain strap. Interior has satin-
backed mirror. Marked Bag by Josef. 1940s
French or Belgian handbag with ne black glass
beads and oral motifs; also has gold-plated frame
BEADED
141
Vintage oral purse with gold lace trim. Small French bag with scrolling oral pattern
in ne beads. Clasp is silver-plated with
145
Coco Chanel
French clutch bag with ne glass beads.
150 1930s1940s White metal clasp is set with three
faux pearls. 1940s
151
BEADED
152 1930s1940s Black silk moir evening bag with cut steel
beads; also has white metal clasp set with
paste stones. 1940s
Black satin, hand-embroidered evening purse with
beaded and enameled frame, satin handle, and yellow
BEADED
153
BEADED
I loathe narcissism, but I approve of vanity.
Diana Vreeland
158 1930s1940s Black beadwork bag with gural design and
beaded handle. 1940s
Black beadwork bag with embroidered
oral design. 1940s
BEADED
159
160 1930s1940s French beaded purse with gilt metal clasp
and chain strap. 1940s
BEADED
French handbag with ne black glass beads, brass frame, and Clutch bag with copper-colored beads in
snake chain strap. Late 1940s ribbed pattern; also has etched gilt metal
161
FLOWER POWER
p.60 p.145 p.180
Silver frame is set with carnelian, onyx, and marcasite and has
Art Deco bag of pleated black silk, with replaced chain.
European hallmarks.
168 1930s1940s Velvet opera bag by Chevalier, Paris; has
three compartments to hold opera glasses,
make up, and a purse.
Small black silk evening bag with gilt metal chain strap.
Clasp is gilt metal with enameling, beads, and faux
EVENING
169
pearls. 1940s
170 1930s1940s American gold mesh bag with brass frame, chain strap,
and rhinestone-decorated clasp; labeled Whiting &
Davis Co. Mesh Bags. c.1940
French bag in black suede, with suede strap. Gilt metal
clasp is set with enamel and rhinestones. Cream satin
EVENING
171
FRE-MOR
EVENING
In the 1940s, Fre-Mor was renowned for its range of beaded bags. The
bags were made in various shapes, such as round, rectangular, and
hexagonal, with gilt metal frames and silk linings.
Today, collectors will pay a premium for round or rectangular bags.
In addition, they look for bags with intricate frames or frames set with
Bakelite, both of which add to the value. Also sought after are bags
decorated with iridescent carnival glass beads. Similar bags were made
by companies such as DuBonnette.
The owners of Fre-Mor Plastics later merged with Jewel Plastics Corp.
to form Llewellyn, Inc. The Llewellyn company is best known for its Lucite
handbags, produced during the 1950s.
Beaded clutch bag by Josef, Navy crpe bag with crpe handle and gold ring
with exuberant gilt metal and clasp; marked Gails Original. Antiqued gold frame
175
p.195 p.166
179
p.208 p.190
Dufe handbag, probably American, of striped silk Tapestry bag, probably French.
with embroidered owers, ivorine frame, and carved 1930s
183
ANNE MARIE
NOVELTY
Witty and slightly surreal, the remarkable bags by Anne Marie of Paris
are avidly collected today. Forms included everything from pianos to
telephones and clocks to powder puffs. Great emphasis was also placed
on the functional aspects of the bag; openings and fastenings, such as
the roll-top lid on a desk-shaped bag, were often an integral part of the
themed design. Anne Marie used materials, such as Lucite, that were
new and innovative and created a playful look, while the black suede
used on many bags ensured a glamorous feel.
One notable example of Anne Maries work is a 1930s bag shaped
as a mandolin, complete with strings, and an interior decorated with
an opera program. Another is a striking 1940s bag shaped as an ice
bucket, with Lucite ice and a bottle of Reims champagne, which was
made as a Christmas gift for VIP residents of the Ritz Hotel, Paris.
ART DECO
SCHIAPARELLI
LEATHER
One of the most inuential designers of the 20th century, Elsa Schiaparelli
(18901973) was known for radical and witty clothing inspired by
modern and surrealist art. Her handbags, like her other accessories,
were often created from new, man-made materials in striking colors and
forms. Examples from the 1930s included bags shaped as snails and
balloons, or made from newsprint fabric or Cellophane. One amboyant
handbag featured a telephone and was created with the help of the artist
Salvador Dali. Despite such innovation, many of her bags were feminine
and classically stylish and worked well with more conventional outts.
Schiaparelli also worked on themed ranges. Handbags in her 1937
Music collection played tunes when opened, while her Pagan bags
were decorated with suede leaves. Always keen to attract publicity with
groundbreaking and practical bags for
mark. 1940s1950s
204 1930s1940s Argentinian brown crocodile-skin bag,
with two handles and gold-tone hardware,
marked Industria Argentina. 1940s
Crocodile-skin bag with black leather lining and gilt
clasp. The good condition of this bag increases its
LEATHER
205
desirability. 1940s
206 DETAIL: Front of bag, showing alligator's feet attached to flap.
1930s1940s
207
THE CLASSIC
LEATHER
ALLIGATOR BAG
Relatively early in the history of handbags, designs began to appear in
exotic animal skins such as python, antelope, and shark. It was alligator
skin, however, that really captured the fashion worlds imagination.
Alligator bags enjoyed their rst wave of popularity during the 1880s,
when Bloomingdales offered them for sale in all shapes and sizes. The
commercial success of the material led to manufacturers introducing
faux alligator bags made from grained goatskin.
In the 1930s the craze went one step further, with designers using
the whole animal to create a bag. These examples which can feature
the creatures head and feet are not to everyones taste today, but are
still highly collectable. During the 1950s, Herms used alligator skin for
Accent on Accessories
sign of good breeding.
Dora Shackell,
1930s1940s
208 Lizardskin clutch bag with brass clasps, by Picard,
West Germany. 1940s
Argentinian brown crocodile-skin handbag, marked
Industria Argentina. 1930s
Honey-colored crocodile-skin handbag.
Mid-1930s
LEATHER
209
210 1930s1940s Small Art Deco-style suedette bag, with pleated
geometric pattern, suedette handle, and domed
brass clasp. 1940s
French bag in black lizardskin, with enameled and cut
steel frame and chain strap. 1930s
LEATHER
211
212 1930s1940s Red snakeskin bag with gilt metal hardware. 1940s
Brown crocodile-skin clutch bag, marked
British Made. 1930s
LEATHER
213
1950s1960s
The post-war boom brought with it a new informality
in fashion. While baskets and novelty shapes suited
both the optimism of the 1950s and the flower power
of the 1960s, formal, classy, coordinating leather bags
were still a necessity.
Perhaps the 1950s greatest legacy to handbag
design was the Lucite bag a plastic box bag that came
in myriad colours and designs. After
years in the style wilderness, these
masterpieces of modern design are
now appreciated and collected as icons
of their time.
1950s1960s 216
217
THE CLASSIC
LUCITE
LUCITE BAG
By the early 1950s, plastic had become ubiquitous in American
homes. Meanwhile, innovative handbag manufacturers started using a
tough plastic, trademarked Lucite, developed in the 1930s. For many
women in the emerging middle classes, leather and fabric bags were
too expensive; Lucite bags, though hand-made, were affordable
and their novelty shapes tted with post-war optimism. By the end
of the decade, however, the availability of cheap, mass-produced
bags, combined with a return to the fashion for leather, caused the
Lucite craze to die out.
The major manufacturers were Myles Originals, Gilli Originals,
Wilardy Originals, Llewellyn, Inc., Tyrolean, Inc., Rialto, Dorset Rex,
Charles S Khan, Maxim, Majestic,
CHARLES S KHAN
LUCITE
Lucite bags by Charles S Khan are often a solid, metallic color pink,
blue, or gold with clear lids and handles. Both the lids and the handles
can feature geometric or oral cut designs. Other bags feature clear or
white Lucite set with gold confetti. Charles S Khan used the three-ball
catch favored by Patricia of Miami and Myles Originals.
Like many of its competitors, Charles S Khan made the same style
of bag in many colorways and different shapes oval, rectangular,
circular, and trapezoid.
The company was based in Miami, Florida. Bags are usually
labeled Charles S Khan, Inc. Miami, or Charles S Khan, Inc.
Turquoise Lucite handbag by Charles S Khan, with clear lid and handles
and white metal hardware. This bag is valuable because turquoise is a
Miami, Florida, USA.
Dorset rex
lucite
Clever combinations of metal and plastic are the signature of Dorset Rexs
bags. The company often used a metal filigree, mesh, or basketweave
for the body of a bag and gave it a plastic base, lid, and handle. The
metal would be white or yellow, and the plastic parts might be black,
taupe, or tortoiseshell.
Other basket styles had alternating ribs of plastic and metal, while
some bags were barrel-shaped and made entirely from plastic but with
a metal overlay around the bottom half of the body.
Dorset Rex also made other unusual designs, such as clear plastic
baskets in which the plastic was inset with plastic flowers, and imitation
mother-of-pearl evening bags.
Lucite bag by Dorset Rex 5th Avenue, with gilt metal panel and
ball feet and clear Lucite handle. 1950s HHIII
228 1950s1960s Woven metal handbag by Dorset Rex 5th Avenue, with
plastic lid and red lining. Early 1950s
LUCITE
White and gilt metal woven box bag. 1950 Majestic clear Lucite confetti bag with gilt metal frame
and hardware. Clear bags were often lined with fabric
229
LLEWELLYN, INC.
LUCITE
The Lucite bags made by Llewellyn, Inc. are elegant and understated.
They are often decorated with rhinestones or lined with satin. Llewellyn,
Inc. bags may also have ornate metal clasps or inset decoration such as
monogram initials or intricate ligree.
The company, which was based on Madison Avenue in New York
City, was formed in 1951 when Jewel Plastic Corp. and Fre-Mor
Manufacturing Corp. merged. Its trademark was Lewsid Jewel by
Llewellyn. Some designs, such as the beehive bag with its jeweled lid
engraved with bees and owers, were made by both Jewel Plastic Corp.
and Llewellyn, Inc.
Most of the Llewellyn, Inc. bags
found today have carrying handles;
Black straw purse with wooden lid; has Lucite panel with American casket handbag with black Lucite
goldsh design. 1950s body, gold pin decoration, and clear, carved
235
MYLES ORIGINALS
LUCITE
The Lucite bags made by Myles Originals can often be identied by their
metal, three-ball clasps. As with the bags made by other manufacturers,
the more intricate the bag, the greater its value. Inset diamant gems,
fancy clasps, internal trays, and mirrors all add to the desirability of a
bag. Color also has an impact on a bags collectability. Black, brown,
white, and pearlized gray are all common colors; red, pale blue, jade
green, and yellow are all rare.
When buying a Lucite bag, check that it does not smell strongly of
chemicals. If it does, it means the plastic is degrading and will start to
crack and discolor. Bags should not be subjected to high temperatures
or left in direct sunlight for long periods.
Caramel-colored Lucite bag with wafe-carved body and apple Butterscotch Lucite handbag by
juice-colored lid; maker unknown. Mid-1950s Myles Originals, with white metal
239
PATRICIA OF MIAMI
LUCITE
This line of elegant Lucite handbags was named by Morty Edelstein,
head of Miami Handbags, in honor of his wife Patricia. Morty Edelstein
had previously worked for Fre-Mor and Llewellyn in New York before
joining Miami Handbags in Florida.
The bags often feature solid-colored bodies and cut, clear Lucite lids
with the three-ball metal clasps also seen on Myles Originals and Charles
S Khan bags. Patricia of Miamis distinctive designs include elongated
box bags with two openings separated by a band of ligree metal; bags
made from clear Lucite with gold threads set inside it, gold with gold
threads, or gray with silver threads; and bags made from Lucite set with
lace or glitter. Evening bags were set with rhinestones. The bags were
often marked Patricia of Miami.
Mid-1950s
1950s1960s
242 Handbag by Shoreham: clear Lucite encasing stripes of
silver confetti and threads and blue confetti with mother-
Handbag by Shoreham, unsigned: glitter Lucite with gray
and silver confetti, and set with rhinestones at base of
of-pearl pieces. 1950s handle. Mid-1950s
Silver and clear Lucite wedding handbag, unsigned. Lid can
be removed so that owers or other decorations can be
LUCITE
243
RIALTO
LUCITE
Lucite bags embellished with cut designs, or with applied jewels or
owers, are the hallmarks of the Rialto company. Cut designs often
featured owers, heart-shaped leaves, stars, or geometric patterns.
Applied owers would be made from fabric, threads, and beads. Rialto
bags often feature the companys signature stirrup and turn style latch.
They may be marked Rialto Original, NY.
Some Rialto box bags were covered with acetate sleeves. Other
box bags were actually made from acetate; these are often confused
with the Lucite bags. Telling the difference can be a challenge to the
inexperienced eye, but acetate tends to look slightly yellow when
compared to Lucite.
TYROLEAN, INC.
LUCITE
Bags made by Tyrolean, Inc. of New York are always distinctive.
The companys designers favored classic box and cylinder shapes
embellished with panels of intricate metal ligree. As well as gilt metal
clasps, the bags usually have gilt metal feet and other hardware.
The majority of Tyroleans bags were made from brown tortoiseshell-
effect Lucite, sometimes with clear Lucite lids. Other colors include gray,
cream, and white, although bags with blue Lucite panels are known. The
bags are usually marked Tyrolean.
The company also made leather and clear plastic bags with gilt metal
frames. One of the most innovative was a pyramid-shaped leather wrist
purse with three compartments marked W, P, and C, possibly
WILARDY
LUCITE
The revolutionary appearance, the futuristic material, the solid, practical
shape: nothing epitomizes 1950s handbag design better than Lucite
box bags, and few rms were as inuential as Wilardy of New York.
Will Hardy (he used an amalgamation of his names for his line of bags)
joined his fathers handbag rm in 1948 and immediately concentrated
on the production of hardwearing Lucite bags. Shapes were radical
and boldly geometric with gentle curves and lollipop handles. Although
a man-made material, the plastic made his handbags expensive, as
each example was cast and soldered by hand. Rhinestones, glass, and
ligree work nished the exteriors and increased the level of exclusivity,
making the bags popular with socialites and celebrities.
The invention of injection molding,
however, enabled manufacturers to
Lucite handbag by Wilardy. This bag was nicknamed the Pearl gray Lucite bean pot handbag by
rocket because of its shape. Mid-1950s Wilardy, the clasp and base of the handle set
259
LUCITE
I added two handles to a hard
plastic jewelry box and it looked great
as a bag, so I took it from there.
Will Hardy, handbag designer
262 Pink fabric-covered Lucite handbag by Wilardy, with rhinestone
1950s1960s leaf design and faux pearls. 1950s
LUCITE
Pearl-white, iridescent Lucite handbag by Wilardy, with Pearl-white Lucite handbag by Wilardy with pleated
gold tone metal and rhinestone clasp. This bag was in Will design and black lining. Late 1950s
263
LUCITE MASTERS
p.262 p.246 p.245
dining doggies.
270 Painted wooden box bag. Interior has a mirror and is
1950s1960s labeled Collectors Item by Gary Jolie Dallas Decorated for
you Made in Hong Kong. 1960s
Wooden box bag painted with strawberries and
white owers. 1960s
NOVELTY & PLASTIC
271
272 Octagonal wooden handbag with buttery dcoupage
1950s1960s and Lucite handle. 1950s
Unusual wooden box handbag with brass handle and
hardware; probably French. 1960s
NOVELTY & PLASTIC
273
1950s1960s 274
275
ENID COLLINS
p.287 p.299
ANIMAL MAGIC
p.391 p.390 p.391
p.276 p.342
286 Rare black and white Walborg poodle purses;
1950s1960s in very good condition. 1950s
287
WALBORG
THE CLASSIC
WICKER
White wicker handbag, made in Hong Kong, with felt and White wicker handbag, made in Hong Kong,
ne bead mermaid, sh, and shell decoration, and white with decorated front and gilt metal rope
303
EVENING
It's all about proportion, shape, line, nish, fabric, balance.
Tom Ford, former creative director, Gucci
JUDITH LEIBER
EVENING
Born in Budapest in 1921, Judith Leiber trained as a handbag-maker
before emigrating to New York, where she worked for a number of well-
known companies, including Nettie Rosenstein. By 1963, Leiber had
her own business, and in 1992 she won the Handbag Designer of the
Year Award, followed two years later by a lifetime achievement award
from The Council of Fashion Designers of America.
By far the most recognizable, and avidly collected, of her works are
minaudires. Taken from the French word to charm, these tiny bags
were inspired by the small metal purses introduced by Van Cleef & Arpels
in the 1930s. They are costly to produce as each bag is individually cast
in metal and then covered with thousands of tiny Swarovski crystals, all
applied by hand over a period of several days. Shapes include monkeys,
EVENING
I nd that it is vital to have at
least one type of handbag for each
of the ten types of social occasion:
Very Formal, Not so Formal, Just a
Teensy Bit Formal, Informal But
Not That Informal, Every Day,
Every Other Day, Day Travel,
Night Travel, Theater, and Fling.
Miss Piggy
stones. 1950s
1950s1960s
322 Hand-beaded evening purse with pastel ower design
and beaded frame. Lining is labeled Made in France,
Black jersey jeweled and beaded
tapestry handbag. 1950s
Saks, Fifth Avenue. 1950s
oral design.
is decorated with a
The body of the bag
BEADED & EMBROIDERED
French evening purse, labeled Made in France by Hand, Leather bag hand-decorated
Walborg. Frame has two Limoges porcelain plaques depicting with owers, leaves, and glass
323
Leiber design.
1950s1960s
334 Black bag with gold and black metal frame and leather
handle. Decorated with painted banjo motif, plastic
Bag with picture entitled La Maison
du Pote. 1950s
owers, and faux gems. 1950s
FABRIC
Tapestry bag with brown vinyl handle, Crocheted tote bag with applied
gilt metal button clasp, and beige vinyl strawberry decoration.
335
lining. 1960s
336 Structured bag by Bobbie Jerome, New York: black
1950s1960s velvet with circular brown Lucite handles and
satin interior. 1960s
DETAIL: Makers mark inside bag.
FABRIC
337
338
1950s1960s
Wow! Explode! The Sixties. It came
to life in a pure, exaggerated, crazed
out, wham, and wow way!
Betsey Johnson, pop fashion designer
are unsigned. 1960s
Handbag with matching clutch; both bags
Sculpted chenille doctors bag by Morris
Moskiwitz, signed MM, with leather piping
FABRIC
339
Tapestry bag with Lucite handle and Rare, reversible plaid bag with black trim
alternative cover, by L&M Edwards, and interior and vinyl glove holder strap;
347
PUCCI
FABRIC
Vintage Pucci is unmistakable. The bold, geometric patterns and bright
color schemes convey so much about the revolutionary design of the
1960s and 1970s. Emilio Pucci (191492) opened his rst shop in
1949 in Capri, where he introduced Capri Pants and a huge range of
exciting clothes and accessories in his signature prints. By the 1960s,
he had established himself as a leading designer and was a key gure in
the success of post-war Italian fashion design.
Pucci handbags, typically in vibrant psychedelic designs, are produced
in high-quality materials such as silk and velvet, and are often nished
with kid interiors and metal fastenings. The signature Emilio can often
be found to the interior. In
recent years the company
has enjoyed a revival, with
famous gures such as
condition. 1960s70s
the pop star Madonna
p.243 p.291
p.344 p.290
363
NOVEL IDEAS
p.436 p.414
p.376 p.439
364 1950s1960s Plastic-coated linen bag by Sour, New York, with leather interior.
Decorated with applied gold thread, studs, and porcelain plaques
featuring pastoral vignettes. 1950s
Black leather bag with gural tapestry panel, by Sour,
New York. 1950s
365
FABRIC
366 1950s1960s Hand-decorated bag by Veldore of Texas,
made from black fabric with oral motif
and gold braid. 1950s
Fabric bag by Veldore of Texas, decorated with hand-beaded
country scene and gold braid.
FABRIC
367
368 1950s1960s Large tapestry and sculpted chenille bag by Nettie
Rosenstein, with satin lining. 1960s
Tapestry bag by Nettie Rosenstein, with applied glass beads
and satin lining; minor bead loss. 1950s
369
FABRIC
3701950s1960s
LEATHER
The loudest noise in our industry's recent history has been the whisper
and tight snap of a handbag clasp.
Helen Storey, Fighting Fashion, 1996
1950s1960s
396 Spanish Coronado leather bag, with
stitched detailing and brass clasp
Black leather handbag made in Italy for the ONeil Company,
with a gilt metal H-shaped clasp; similar in style to the
and feet. Herms Constance bag.
Black crocodile-skin bag, with black enamel frame, Ponyskin handbag with front
marked Genuine Crocodile. 1960s pocket and gilt metal clasp and
397
hardware. 1960s
398 DETAIL: Stamped mark inside Herms bag, opposite.
1950s1960s
399
HERMS
LEATHER
Stylish, unfussy bags by the house of Herms have been delighting
women since the 1880s, when Emile-Charles Herms turned the
attention of his Parisian leather-working company to producing wallets,
cases, and handbags. Even in the early days, Herms bags were known
for their sturdy and functional shapes, which were updated in keeping
with the fashions of the time. One of the greatest innovations was the
introduction of a modern fastening: the recently invented zipper.
Some of the classic Herms designs have entered into fashion
legend. The Kelly bag, launched in the 1950s and named after the lm
star Grace Kelly (who was famously photographed with one), was one of
the most successful. Extremely sought after today, it can change hands
for huge sums of money. Other bags that
NETTIE
LEATHER
ROSENSTEIN
Austrian-born Nettie Rosenstein emigrated to the US as a child. She
began her career as a milliner in 1927. By the 1930s she was working
as a fashion designer, and began to make both handbags and costume
jewelry to complement her clothes. Her handbags were made in the
Italian city of Florence, a place renowned for its high-quality leather
goods. Her couture designs were featured in Vogue magazine in the
1940s, and newspapers and magazines continued to publicize her
designs throughout the 1950s and 1960s.
In 1961, Nettie Rosenstein stopped making clothes to concentrate
on her accessory lines. Sometimes the inuence of her costume jewelry
Black box calfskin handbag by Nettie Dark brown suede box purse by
Rosenstein. 1950s Nettie Rosenstein, with decorated
409
clasp. 1950s60s
410 Judith Leiber evening bag in black kurung snakeskin decorated
1950s1960s with rhinestones. Early 1960s
Judith Leiber black patent leather handbag with single
handle and white metal clasp. 1960s
LEATHER
411
1970s
PRESENT
The best-known names of 20th-century handbag design
were well established by the 1970s, but within a decade
the trend for designer names had become an obsession.
Names such as Chanel, Gucci, Fendi, and Herms were
must-haves on any stylish womans arm. The obsession
with such designer names continues to this day.
At the same time, the desire to stand out from the
crowd with a novelty bag first seen in
the 1940s and 1950s continued, with
Dallas Handbags telephone bags as well
as other quirky forms, such as animals and
magazine covers.
Brocade bag by La Jeunesse with faux gems set in gold
414 1970sPRESENT metal, gold foil, and beaded chain strap set with multi-
colored diamant. 1970s
DETAIL: Gilt metal makers mark inside bag. KEY LOOKS
415
416 1970sPRESENT Velvet bucket bag with Lucite handle and brass
button detail. 1970s
Floral suitcase-style handbag decorated
with daisies. 1970s
KEY LOOKS
417
418 DETAIL: Cartoon refers to Coco Chanels
1970sPRESENT signature perfume, Chanel No. 5.
419
CHANEL
KEY LOOKS
Its almost impossible to speak of 20th-century fashion without
mentioning Coco Chanel (18831971). Her rst shop opened in Paris
in 1914, and by the 1920s she was one of the leading designers,
producing everything from the little black dress to costume jewelry. The
clean lines of her suits and the timeless style of her accessories earned
her the devotion of women enjoying the new freedoms of the 1920s.
It was not until 1955 that she released her famous handbag, known as
the 2.55. Chanel believed modern women should not be encumbered
by a hand-held bag, so the 2.55 was designed to be like a French
soldiers shoulder bag. It was diagonally hand-stitched to give it a quilted
Chanel clutch bag: black patent leather with printed cartoon design
appearance. The house of Chanel still makes updated versions today.
FENDI
KEY LOOKS
In the 1980s craze for glitz, glamor, and designer labels, fashion house
Fendi was a runaway success. Newly power-suited women could enjoy
their inated pay checks by buying handbags with large price tags, such
as those emblazoned with Fendis FF logo.
The company rst started to enjoy major acclaim, however, long
before the 1980s. Fendi was established in Rome in 1925, as a small
family leather and fur business, by Edoardo and Adele Fendi. By the
end of the 1960s, it had become a respected name in Italian fashion,
employing Karl Lagerfeld as designer. Its fur and leather goods were
soon on sale in Bloomingdales, New York.
In recent years, the baguette bag, introduced by the founders grand-
daughter Silvia Venturini Fendi in 1997, has been hugely successful.
Produced in a number of nishes and limited-edition variations, it has
change purse.
croissant bag.
Envelope clutch bag; fabric designed
426 1970sPRESENT by Diane Love. 1980s
427
KEY LOOKS
1970sPRESENT 428
429
SPORTY
KEY LOOKS
The 1980s saw an explosion in sports wear as street fashion. During the
1970s, female underwear had become less rigid and supportive, and
the now ideal slim gure could only be achieved with rigorous exercise.
At the same time, activities such as jogging and skateboarding came
into fashion and sports stars became highly paid role models for young
people worldwide. As a result, sports wear and accessories moved out
of the gym and onto the catwalk.
People craved designer labels. This trend led heavily branded sports
clothing manufacturers, such as Nike, Puma, and Adidas, to become
global giants, producing a huge variety of bags. Other companies, such
as Le Sportsac, concentrated solely on making bags, with outstanding
results. Fashion designers, such as Ralph Lauren and Prada, were also
to make calls.
436 American telephone bag by Dallas Handbags, Red plastic telephone bag by
in patent faux crocodile leather; in full working Dallas Handbags, with working
order. 1970s telephone. 1970s
Merrythought novelty childs handbag, modeled
as a soft toy rabbit.
NOVELTY
437
438 DETAIL: Bag closure, showing strap and press stud.
1970sPRESENT
439
MAGAZINE
NOVELTY
CLUTCH BAG
Modeled to resemble folded magazines, these bags are actually made
from rigid plastic with a clear plastic sleeve encasing a replica magazine
front cover. They are usually closed using a leather or plastic strap and
press stud, and have a fabric lining. The clutch bags were manufactured
in China and the US.
A great variety of magazine covers were used, from fashion titles (like
the example shown on these pages) to travel guides. A chic fashion
accessory in their day, magazine clutch bags are now a must-have
among vintage handbags. The value of a bag depends on the condition
of the plastic shell and the fastening, and on the condition and the
subject of the paper insert.
USING THE
INTERNET
INTERNET
The internet has revolutionized the trading of collectibles as it provides a
cost-effective way of buying and selling, away from the overheads of shops
and auction rooms. Many millions of collectibles are offered for sale and
traded daily, with sites varying from global online marketplaces, such as
eBay, to specialist dealers websites.
When searching online, remember that some people may not know how
to accurately describe their item. General category searches, even though
more time consuming, and even purposefully misspelling a name, can yield
results. Also, if something looks too good to be true, it probably is. Using this
book to get to know your market visually, so that you can tell the difference
between a real bargain and something that sounds like one, is a good start.
As you will understand from buying this book, color photography is vital
look for online listings that include as many images as possible and check
them carefully. Beware that colors can appear differently, even between
computer screens.
Always ask the vendor questions about the object, particularly regarding
condition. If there is no image, or you want to see another aspect of the
object ask. Most sellers (private or trade) will want to realize the best price
for their items so will be more than happy to help if approached politely
and sensibly.
As well as the e-hammer price, you will probably have to pay additional
transactional fees such as packing, shipping, and possibly regional or
national taxes. It is always best to ask for an estimate of these additional
costs before leaving a bid. This will also help you tailor your bid as you will
have an idea of the maximum price the item will cost if you are successful.
MUSEUMS
MUSEUMS
Smithsonian Institution
Australia UK The National Mall
NW Washington DC
Katoomba Purse Museum Fashion and Textile Museum www.si.edu
Katoomba, Australia 83 Bermondsey St.
info@pursemuseum.com.au
London SE1 3XF Metropolitan Museum of Art
Email: info@ftmlondon.org 1000 5th Avenue
Canada New York
The Victoria and Albert Museum NY 10028-0198 USA
Textile Museum of Canada South Kensington www.metmuse
55 Centre Avenue Cromwell Road
Toronto, Ontario Phoenix Art Museum
London SW7 2RL Central Avenue & McDowell Road
M5G 2H5, Canada
www.vam.ac.uk 1625 N. Central Ave.
info@textilemuseum.ca
www.textilemuseum.ca Phoenix, AZ 85004-1685
Museum of Costume www.phxart.org
Royal Ontario Museum Bennett Street
Bath BA1 2QH The Museum at the Fashion
100 Queens Park
www.museumofcostume.co.uk Institute of Technology
Toronto, Ontario M5S 2C6, Canada Seventh Avenue at 27 Street
www.rom.on.ca Museum of London New York City 10001-5992
London Wall www.tnyc.edu
DEALERS AND
AUCTION HOUSES
Sanford Alderfer Auction Cloud Cuckoo Land Design20c Linda Bee
Company 6 Charlton Place, www.design20c.com Grays Antique Market Mews,
501 Fairgrounds Rd, Camden Passage, 1-7 Davies Street,
Hateld, PA 19440, USA London N1 8EA Fellows & Sons London W1Y 2LP
Tel: 001 215 393 3000 Tel: 020 7354 3141 Augusta House, Tel: 020 7629 5921
www.alderferauction.com 19 Augusta St, www.graysantiques.com
Chefns Hockley,
Andrea Hall Levy Clifton House Birmingham B18 6JA Manic Attic
PO Box 1243, 1&2 Clifton Road, Tel: 0121 212 2131 Stand S011,
Riverdale, NY 10471, USA Cambridge, Fax: 0121 212 1249 Ales Antiques Market,
Tel: 001 646 441 1726 Cambridgeshire CB1 7EA 13 Church St,
info@fellows.co.uk
barangrill@aol.com Tel: 01223 213 343 London NW8 8DT
www.fellows.co.uk
www.chefns.co.uk Tel: 020 7723 6105
Antique Textiles and Fax: 020 7724 0999
Fantiques
Lighting Cristobal manicattic@ales.clara.net
Tel: 020 8840 4761
Antique Textiles, 26 Church Street,
34 Belvedere, London NW8 8EP paula.raven@ntlworld.com Marc Menzoyan
Landsdowne Road, Tel/Fax: 020 7724 7230 Cit des Antiquaires,
Bath, BA1 5HR www.cristobal.co.uk Fayne Landes Antiques 117 boulevard Stalingrad,
Tel: 01225 310 795 593 Hansell Road, 69100 Lyon-Villeurbane,
www. Decodame.com Wynnewood, PA 19096 USA France
antiquetextilesandlighting. 853 Vanderbilt Beach Road, Tel: 001 610 658 0566 Tel.: 00 33 (0)4 78 81 50 81
co.uk PMB 8, Naples,
FL 34108, USA Freemans Mendes Antique
Bucks County Antique Tel: 001 239 514 6797 1808 Chestnut Street, Lace and Textiles
Center www.decodame.com Philadelphia, PA 19103, Tel: 01273 203 317
Route 202, PA 18914, USA USA www.mendes.co.uk
Tel: 001 215 794 9180 Deco Jewels Inc. Tel: 001 215 563 9275
131 Thompson Street, www.freemansauction.com Mix Gallery
Beyond Retro NY, USA 17 South Main Street,
110112 Cheshire St., Tel: 001 212 253 1222 Nancy Goldsmith Lambertville, NJ 08530,
London E2 6EJ decojewels@ New York USA
Tel: 020 7613 3636 earthlink.net Tel: 001 609 773 0777
Tel: 001 212 696 0831
Tel: 020 7613 3636 www.mix-gallery.com
sales@beyondretro.com David Rago Auctions
John Jesse
www.beyondretro.com 333 North Main Street, Moderne Gallery
160 Kensington Church St.,
Lambertville, 111 North 3rd Street,
Bonny Yankauer NJ 08530, USA London W8 4BN Philadelphia, PA 19106,
bonnyy@aol.com Tel: 001 609 397 9374 Tel: 020 7229 0312 USA
www.ragoarts.com jj@johnjesse.com Tel: 001 215 923 8536
www.modernegallery.com
443
INDEX
INDEX
INDEX
1930s1940s 115, Fragonard, Jean Honor Herms, Emile-Charles 399 leather bags
1767, 182 292 Holzman 3723, 3767 1890s1920s 35,
1950s1960s 31234 Fre-Mor Manufacturing homemade bags 301 10813
see also fabric bags Corp. 1724, 231, 241 Hong Kong 1930s1940s 196213
Ethan Bags 282 French beaded bags 324, 330 1950s1960s 215,
evening bags beaded bags 23, 29, 46 novelty bags 269, 270 370411
1890s1920s 645, 70, 7, 71, 11819, 121, wicker handbags 303 beadwork 323
745, 1067 1235, 129, 1323, box bags 386, 4001,
1930s1940s 1201, 13741, 145, I 409
128, 140, 1489, 1524, 1501, 1537, 1601, Ingber, USA 280, 282, bucket bags 370
16679, 194 164, 31213, 317, 3923 calfskin bags 197,
1950s1960s 30613, 323, 332 International Fashion 2001, 3723, 377,
31718, 322, 324, 329, evening bags 168, 171, Institute 253 379, 382, 3945,
332, 402, 410, 4345 174, 329 Iroquois beadwork 84 4069
leather bags 111, 112 Italian leather bags 386, clutch bags 3803,
F lizardskin bags 211 396 3923, 41820
fabric bags Lucite bags 189 embroidered bags 333
1930s1940s 1803 metal mesh bags J evening bags 402, 410
1950s1960s 33469 945, 98 Jerome, Bobbie 3367 faux cowhide bags 391
animal motifs 3423 novelty bags 1845, 287 Jewel Plastics Corp. 173, hand-tooled leather bags
brocade bags 41415 tapestry bags 183 231 1089
carpet bags 346 wooden bags 273 Johnson, Betsey 338 lambskin bags 420
chenille bags 339, French Bag Shop, Miami Jolles Original 129, 2889, novelty bags 1867
368, 422 Beach 120 302, 304 patent leather bags 388,
clutch bags 4267 Jorelle Bags 326 3923, 411, 41819
crocheted bags 335 G Josef 11617, 123, 140, pebble leather bags 389
patchwork bags 346 Gails Original 175 175 ponyskin bags 196,
shoulder bags 422 Gallant, Mavis 234 Jourdan, Charles 422 391, 397
tapestry bags 335, 347, Gaylene 294 JR USA 283 shoulder bags 379, 385,
351, 365, 3689 Gemco 109 4067, 422
wool purses 342 Georgian bags 18 K suede bags 112, 171,
see also embroidered German bags Kadin 391 174, 409
bags beadwork bags 23, 54 Karung snakeskin 4323 suedette bags 210
faux leather bags lizardskin bags 208 Kaser (H.E.) Leather Leiber, Judith 30811, 333,
alligator 110, 2067, 371, Gilli Originals 217 Corporation 109 41011, 4325
3745, 378, 400 girdle pouches 9 Kelly, Grace 399 Lena 389
crocodile 198, 387, 436 gold Kelly bag 207, 399, 405 leopardskin bags, faux 390
leopardskin 390 lam bags 72, 102 key looks, 1970spresent Limoges porcelain 323
ponyskin 391 mesh bags 170 41435 lizardskin bags 208, 211,
felt bags 85, 181, 282 precious metal bags Khan, Charles S 217, 378, 383, 401
Fendi 413, 4245 1023, 1067, 4345 2225, 241 Llewellyn, Inc. 173, 217,
Fendi, Adele 425 Gucci 307, 3805, 413 Kranz, Frederick 109 2302, 241
Fendi, Edoardo 425 Guild Creations 180, 3201 Krucker of London 177 long purses 27
Fendi, Silvia Venturini 425 Guinness, Lulu 292, 302, Kruger, Murray 379 Love, Diane 4267
gural bags, beadwork 386 Lucite bags 189, 21567
223, 245 L
nger purses 1045 H LaCloche Frres Paris 102 M
oral bags 1623 hand-tooled leather bags Lagerfeld, Karl 419, 425 Macpherson bag 399
Florence 405 1089 La Jeunesse 41415, 423 Madonna 357
Florentine work, pockets Hardy, Will 253, 261, 263 lambskin bags 420 magazine clutch bags
201 hatbox-shaped bags 265 Lancaster County, PA 323 4389
Florida Handbags 217 Herms 207, 396, 3989, Lauren, Ralph 4289 Majestic 217, 229
446
Mandalian Manufacturing P S tote bags 9, 335, 421
INDEX
Co. 97 Palm Springs 297 Saks Fifth Avenue 130, 322 Turkish bags 10
Marot, Pierre 154 parasol purses 290 sampler purses 1415 2.55 bag 419
Merrythought 437 patchwork bags 346 satchels 391 Tyrolean, Inc. 217, 24850
metal bags 1027, 4305 patent leather bags 388, Schiaparelli, Elsa 101, 115,
metal mesh bags 94101, 3923, 411, 41819 2001 V
170 Patricia of Miami 223, sequined bags 19, 295 Van Cleef & Arpels 103, 309
Miami Handbags 217, 241 2401 sewing purses 28 van Schaak, Martin 378
micro-beadwork 48 pebble leather bags 389 Shackell, Dora 208 vanity bags 1567
Midas of Miami 301 Pennsylvania bags 1415 shell handbags, Lucite 232 Veldore of Texas 3667
Milch 203 petit-point bags 11, 86, shopping bags 300 Venetian beads 41
minaudires 102, 30811 91, 93 Shoreham 242 vinyl bags 2812
misers purses 267 Picard 208 shoulder bags Vogue magazine 405
Mr Jonas 300 plastics 35 chain-mail bags 430 Volupt 3067
Morris, William 109 1930s1940s 18895 fabric bags 422 Vreeland, Diana 327, 372
Morton, M. 1415 1950s1960s 2812 leather bags 379, 385,
Moskiwitz, Morris 339 Bakelite 173, 188, 190, 4067, 422 W
Myles Originals 217, 223, 1923 novelty bags 276 Walborg 323
2369, 241 Lucite 215, 21667 silver bags poodle bags 2867
pockets 9, 201 evening bags 167 wedding bags 243
N Poiret, Paul 101 nger purses 1045 Whiting & Davis 97, 1001,
Nantucket baskets 33, 297 ponyskin bags 196, 397 silver lam bags 72 170
Native American beadwork poodle bags 304 snakeskin bags 212, 379, wicker bags
805 Walborg 2867 410, 4323 1930s1940s 180
needlepoint bags 330, 344 wicker shopping bags Sour, New York 35863 baskets 297, 305
needlework bags see 300 Spanish leather bags 396 novelty bags 290, 2989,
embroidered bags porcelain, Limoges 323 split oak baskets 302 301, 303
Nike 429 pouch-style bags 90 sporty bags 4289 shopping bags 300
North American Indian Prada 429 steel, cut 945 Wiesner 220
beadwork 805 Pratt, A.C. 97 stocking purses 27 Wilardy Originals 217,
novelty bags 3623 precious metal bags 1027 straw bags 323, 235, 25265
1930s1940s 1847 psychedelic patterns 421 297, 301 wooden bags 2705, 291
1950s1960s 215, Pucci 3567 striking shapes 1789 wool purses 342
28493, 295 Pucci, Emilio 357 suede bags 112, 171, work bags 9
1970spresent 413, Puma 429 174, 409
4369 python-skin bags 199 suedette bags 210 Z
animal bags 2847, suitcase-style bags 258, zips 399
2945, 298301, 304, R 417
437 Rabanne, Paco 4301 Susan 268
childrens handbags 437 rafa baskets 297 Swarovski crystals 3089
Enid Collins 2749 rticules 9, 36, 44, 523, Sydney, California 371
magazine clutch bags 58
4389 reversible covers 31415 T
wicker and straw bags Rialto 217, 2447, 345 T&S, Chester 104
290, 296303, 305 ring purses 27 tapestry bags
wooden bags 26875, Ritz Hotel, Paris 185, 187 1890s1920s 889,
291 Robinson, Ed B. 137 91, 92
Ronay 3901 1930s1940s 183
O Rosenstein, Nettie 309, 1950s1960s 322, 335,
ONeil Company 396 3689, 4009 347, 351, 365, 3689
open baskets 299 Roycroft Shops 109 telephone bags 1867,
opera bags 168 rucksacks 9, 4289 201, 436
ostrich-skin bags 423 Rykiel, Sonia 352 Terrence, Jerry 293
447
PICTURE CREDITS
PICTURE CREDITS
The following images, photographed with permission from the sources itemized below are
copyright Judith Miller and Dorling Kindersley.
Andrea Hall Levy p.56, Deco Dame p.98, p.101, Linda Bee p.276, p.277, Richard Gibbon p.116,
p.66, p.67, p.68, p.75, p.112; Deco Jewels p.386, p.387, p.388, p.422, p.153, p.154, p.186, p.204,
p.76, p.94, p.95, p.109, Inc. p.220, p.223, p.224, p.429; Manic Attic p.283, p.208, p.213, 290, p.298,
p.110, p.131, p.139, p.148, p225, p.228, p.237, p. p.300; Marc Menzoyan p.312, p.317, p.322, p.323,
p.149, p.152, p.155, p.161, 232, p.238, p.239, p.241, p.347, p.396; Mendes p.371, p.375, p.397; Ritzy
p.166, p.169, p.171, p.175, p.242, p.243, p.245, p.246, Lace and Textiles p.10, p.175; Roxanne Stuart
p.177, p.188, p.196, p.202, p.247, p.248, p.250, p.253, p.37, p.87, p.91; Mix p41, p.81, p.89, p.92,
p.207, p.208, p.210, p.212, p.254, p.255, p.256, p.257, Gallery p.197, p.201, p.137, p.147, p.158, p.164,
p.218, p.227, p.290, p.258, p.259, p.260, p.262, p.203, p.280, p.294, p.333, p.165, p.193, p.195, p.233,
p.316, p.317, p.318, p.324, p.263, p.264, p.265, p.436; p.337, p. 338, p.339, p.341, p.234, p.235, p.282, p.294,
p.330, p.332, p.370, p.378, David Rago Auctions p.346, p.357, p.368, p.369, p.300, p.326, p.331, p.342,
p.396, p.397, p.414, p.416, p.332, p.425; Design20c p.373, p.376, p.377, p.378, p.345; Sanford Alderfer
p.436; Antique Textiles p.439; The Design Gallery p.379, p.389, p. 390, Auction Company p.36,
and Lighting p.12, p.13, p.64, p.77, p.136, p.194, p.391, p.393, p.394, p. p.44, p.52, p.53, p.58, p.59,
p.18, p.27, p.28, p.69, p.205, p.209; Fellows & 399, p.400, p.401, p. 402, p.60, p.61, p.90, p.99, p.
p.73, p.80, p.83, p.86, Sons p.437; Fantiques p.403, p.405, p.407, p.408, 113, p.170, p.180, p.292;
p.93 Axtell Antiques p.144, p.146, p.173, p.174, p.409, p.410, p,411, p.420, Sara Covelli p.49, p.72,
p.30, p.31; Beyond Retro p.229, p.282, p.283, p.289, p.422, p.430, p.431, p.432; p.103; Steinberg and
p.347; Bonny Yankauer p.295, p.302, p.305, p.306, Moderne Gallery p.182; Tolkien p.11, p.23, p.25,
p.46, p.62, p.63, p.130, p.314, p.315, p. 321, p.323, The Multicoloured Time p.42, p.145, p.157, p.159,
p.132, p.143, p.325; Bucks p.328, p.349, p.350, p.351, Slip p.421; Neet-O-Rama p.181, p.229, p.271, p.292,
County Antique Center p.352, p.353, p. 354, p.355, p.269, p.270, p.278, p.279, p.308, p.310, p.344; Sheila
p.29; Chefns p.104, p.359, p.361, p.364, p.366, p.281, p.343, p.417; Otford Cook p176, p.180, p.275;
p.105 Cloud Cuckoo Land p.367; Fayne Landes Antiques and Collectors Sparkle Moore at The Girl
p.304; Cristobal p.126, Antiques p.43, p.45, p.48, Centre p.168; Pam Cant Help It p.251, p.268,
p.141, p.145, p.151, p.160, p.54; John Jesse p.102; Ferrazuti p.82; Pook and p.272, p.291, p.293, p.297,
p.161, p.164, p.174, p.183, Kunst-Auktionshaus p.58; Pook p.15, p.19; Private p.299, p.301, p.319, p.322,
p.187, p.189, p.190, p.219, Nancy Goldsmith p.211, Collection p.127, p.142, p.365; Woolley & Wallis
p.220, p.221, p.235, p.251, p.273, p.329, p.379, p.423, p.191, p.198, p.199, 418; p.106
p.288, p.303, p.313, p.360; p.426, p.434; Quittenbaum p.111;
pp.89: Mary Evans Picture Library; pp.3435: Mary Evans Picture Library; pp.114115: Corbis/
Cond Nast Archive; pp.214215: Corbis/ Cond Nast Archive; pp.412413: Camera Press/Marie Claire/
Antone/Nathalie Suret.
All other images Dorling Kindersley and The Price Guide Company Ltd.
For further Information see: www.dkimages.com
All jacket images Dorling Kindersley and The Price Guide Company Ltd.
448
ACKNOWLEDGMENTS
ACKNOWLEDGMENTS
AUTHORS ACKNOWLEDGMENTS
The Price Guide Company would like to thank the following for their contribution to the production
of this book:
All of the dealers, auction houses, and private collectors for kindly allowing us to photograph their
collections, especially Linda Bee, Janice Berkson, Richard Gibbon, Andrea Hall Levy, Cheri Lynne,
Stephen Miners, Chrissie Painell, Paula Raven, Roxanne Stuart, Yai Thammachote, and Bonny Yankauer.
Also special thanks to Jessica Bishop, Dan Dunlavey, Mark Hill, Sandra Lange, Cathy Marriott, Claire
Smith, and Sara Sturgess for their editorial contribution and help with image sourcing.
Thanks also to Digital Image Co-ordinator Ellen Sinclair and Workow Consultant Bob Bouseld.
PUBLISHERS ACKNOWLEDGMENTS
Dorling Kindersley would like to thank the following for their contribution to the production of this book:
Sarah Smithies for picture research, Sara Shaath for proofreading, Tamsin Curtis for proofreading and
co-ordinating proofs, Dawn Henderson and Kathryn Wilkinson for additional editorial help, and Dorothy
Frame for indexing.
Discover more at
www.dk.com
The perfect price guide for all those
who desire the ultimate accessory
Handbags
evening bags and vintage Pucci to everyday
classics and novelty creations
Iconic pieces from Chanel, Herms,
Gucci, and Judith Leiber
Star-rating system indicates the value
of every item
ISBN 0-7566-1920-3
51395
Printed in China
$13.95 USA
$17.95 Canada 9 780756 619206