1871-1949 Mariano Fortuny

[DosViolines]

Mariano Jose Maria Bernardo Fortuny (Spain, 1871 - 1949)
Woman's Evening Dress and Jacket with Belt, circa 1927
a) Dress: Pleated silk, beads; b) Jacket: Gold stamped silk velvet

lacma.org

 

[DosViolines]

Mariano Jose Maria Bernardo Fortuny (Spain, 1871 - 1949)
Woman's Evening Gown, 1919
Costume/clothing principle attire/entire body, Silk velvet stenciled in metallic paint, glass beads

lacma.org

 

[Miss Galliano]

gorgeous pieces !

 

[DosViolines]

Fortuny stenciled velvet coat, early 1920s

Fortuny treated velvets with a special technique of multilayered dyeing, which sends the base color floating up mysteriously through the pile to catch the light in a different ways, depending on the angle of view.

The colors in this sublime three-quarter-length coat change from silver to bronze, reflecting the many layers of hand mixed pigment. The edges are bound with padded, stenciled blue velvet. The coat is lined with rose/peach satin.

Fortuny's virtuosity with textiles had most free rein with the loosely structured garments worn over the Delphos gown. These garments were often made of velvet, which he called "the aristocrat of stuffs," a term used by the Renaissance world that inspired him. His large collection of antique textiles included many Renaissance velvets, which he studied closely, reproducing even their aged patina.

This peerless velvet coat was originally meant to be worn over a Fortuny Delphos tea gown, but the jacket can be equally dramatic over pants and a sweater. The illustration, from a 1923 issue of Vogue, shows a similar Fortuny coat.

vintagetextile

 

[DosViolines]

Fortuny silk Delphos tea gown with original box, 1920s

Mariano Fortuny first created his signature Delphos gown in 1907, repeating the design with subtle changes until his death in 1949. The sleeveless version appeared in the 1920s. The gown is based on the pleated linen chitons worn by Greek maidens 2500 years ago and seen today on Delphic Greek sculpture. The Fortuny Delphos gown has preserved the poetry of line of the Greek robe.

This Delphos gown, which belonged to Mrs. Wallace E. Pratt of New York, is a special find because it comes with the original labeled box.

The feather-weight tea gown is weighted on the shoulders and sides with strings of striated Venetian glass beads, necessary to weigh down the lightweight silk. The antique (Maya) blue color is subtly shaded. To keep the pleats in place, the dress should be stored twisted like a skein of yarn.

vintagetextile

 

[DosViolines]

Circa 1910
Fortuny Abba in sage green, pale gold and bronze tinted silver with Italian 15th century thistle and serpentine pomegranate design, beige silk faille lining.

Coat is inspired by 15th century Italian textiles which in turn were influenced by earlier Turkish textiles. Fortuny inherited a collection of early European and Middle Eastern textiles and added to it. In his stenciled silk velvets, through repeated dyeing, he produced unevenly dyed textural cloth which had the feeling of age and wear. His surface patterns were derived from the great textile traditions of the past. The diagonal linked pomegranate which is the one used here has great drama because of its large scale.

The construction is rectangular which displays the surface pattern to best advantage with a minimum of disruption from darts and seams. In order to keep the pattern in the correct direction, there are seams at the shoulders. Fortuny used the rectangular construction frequently in jackets and coats of varying length.

This coat has used several dressmaking technique "errors" in its construction. This is not surprising in that Fortuny was not a trained dressmaker but rather an artist who worked in the medium of costume. These errors include the choice of black thread for the seam construction of the velvet. The very tight gauge of the sewing machine stitches in the velvet. No allowance was made for the lining which stretches less than the velvet over time. Since Fortuny was a perfectionist, these errors were rectified in his later work. However, it does suggest that this is indeed an early seminal example of his work.

Label: Mariano Fortuny/Venise

marglas0.tripod.com

 

[DosViolines]

marglas0.tripod.com

 

[DosViolines]

Rare early 20th century Fortuny velvet coat fashioned of rich shades of gold panne silk velvet heavily stencilled in silver Islamic scrolls in a kimono inspired style. The pattern is heavily stencilled both front and back of coat. The pattern appears to be one of intertwining vines and flowers indicating a Persian influence. Pattern is very similar to pic on Page 86 of the book "Fortuny" by Descholdt and Poli.

marglas0.tripod.com

 

[DosViolines]

Fortuny tabard dress

marglas0.tripod.com

 

[DosViolines]

Fortuny velvet opera coat

Fortuny creme delphos gown

marglas0.tripod.com

 

[DosViolines]

Fortuny delphos gown

marglas0.tripod.com

 

[DosViolines]

Fortuny lavender peplos

Fortuny peplos gown

Fortuny wine peplos gown

Fortuny delphos with sleeves

Fortuny delphos. The estate of E.F. Hutton.

marglas0.tripod.com

 

[DosViolines]

Early teens-1920's Fortuny delphos in rust gold. Beads intact on either side.

marglas0.tripod.com

 

[Miss Galliano]

just love these materials

 

[DosViolines]

Fortuny Black Silk Delphos Dress
1930s
With elbow length sleeves, low V neck, the shoulder tops and sleeves trimmed with row of Venetian glass beads, the neckline outlined with braided silk cords extending loose to hem in front and back, separate braided silver metal and silk cord sash or belt, seam allowance labeled: Fortuny

doylenewyork

 

[DosViolines]

A Mariano Fortuny stencilled white gauze tabard, early 20th century, printed with Near Eastern motifs of black scrolls and edging lines, side slits, chest approx 101cm, 40in cf. Mariano Fortuny His Life & Work, Guillermo de Osma, p.214 for a photograph of an identical tunic in the Museo Fortuny, photograph archive Venice

kerrytaylorauctions.com

 

[DosViolines]

A Mariano Fortuny raspberry-pink silk Delphos gown, circa 1935, the stencilled tie belt marked to the reverse `Fortuny', the shoulders threaded through with cords weighted with brown and white flecked Murano glass beads, contained in original Fortuny box, (4) There is a Provenance note which states Bought from Mariano Fortuny (himself) in Italy in 1935 by Louise A. Corbusier for her spoiled daughter Nancy"."

kerrytaylorauctions.com

 

[DosViolines]

A Mariano Fortuny stencilled silk batwing jacket, early 20th century, the ivory silk ground stencilled in silver with an 18th century needlepoint lace design, the edges weighted and adorned with white and clear glass Murano beads

kerrytaylorauctions.com

 

[DosViolines]

A fine and rare Mariano Fortuny stencilled velvet gown, early 20th century, `labelled Mariano Fortuny, Venise', the soft blue velvet ground stencilled in gold with Medieval style patterns, the sides inset with pleated silk and laced with silk cords and fastened with Murano glass beads, bust 91cm, 36in Provenance for this and lot 94: Camilla Eibenschutz, the beautiful and talented wife of Dr Wolfgang Huck editor of some of the most influential newspapers during the Weimar Republic. She was a renowned German actress and was a role model for many women of her generation. She limited her career to the stage, performing mainly in productions by Max Reinhard (1873-1943). She performed in his 1907 production of Shakespeare's Romeo & Juliet as Juliet.

kerrytaylorauctions.com

 

[DosViolines]

A fine Mariano Fortuny stencilled velvet jacket, early 20th century, labelled to the pink faille lining, stencilled in silver with sprays of carnations, chest 122cm, 48in Provenance:Camilla Eibenschutz

kerrytaylorauctions.com