Upon request by email we can give full condition reports on any lot. Our catalogue descriptions do not include any information on the condition of the lot and it is up to the purchaser to satisfy themselves as to the condition before bidding. For more information on Artist Resale Rights please visit *** Condition Reports *** This fee is wholly payable by the purchaser and will be added to your invoice if applicable. *Buyers premium on timed auctions is 20% VATĪ fee may be applicable for Artist Resale Rights for any piece of art where the artist has been deceased for 70 years or less. Please note that any lots purchased via live auction service will be subject to an additional 3% commission charge + VAT at the rate imposed on the hammer price or no commission for the internet bidding if the ‘Flat Fee’ has been chosen at registration. We offer an online bidding service via for bidders who cannot attend the sale. This includes telephone bidding and commission bids* Our in-house buyer's premium is 18% + VAT. Next week, I’ll talk more about Victorian and Edwardian hatpins.PLEASE NOTE THAT SOME TERMS HAVE BEEN AMENDED DUE TO COVID-19 Hatpins grew longer and by the end of the century some were as long as 12 inches. There is a lovely example of a hatpin by Castellani from the 1880s in the Metropolitan Museum ( ) (see below) and the British Museum has one by Lalique ( ). The key jewellery designers of the period like the Castellani family, Faberge, Lalique and Tiffany all produced beautiful pieces. But the pins also became fashion statements. Pins were needed to skewer the hat into the hair. Hair styles towards the end of the Victorian era and up until the beginning of WW1 were worn up in quite elaborate styles, so it wasn’t possible to just cram a hat over it. Bonnets began to go out of fashion in the middle of the 19 th century. However, the beginning of the 19 th century saw the introduction of bonnets and hats that tied up under the chin with ribbons and so hatpins were not needed. In early Georgian times, longer pins began to be used to skewer ornate wigs into place and to anchor the large hats that sat on top of the wigs. Generally, the pins were short, around 1 to 3 inches in length with small plain tops. Women wore wimples from the 12th to the 14th centuries, and pins can be seen in some paintings of women wearing head dresses in the Tudor and Renaissance periods. Metal pins were used to pin veils as far back as the 10 th century in Europe.
Their heyday was certainly the 19 th century and the beginning of the 20 th century, but they do go back many centuries, not perhaps as far back as the hairpin, but still a long way. This conversation led me to think about the history of hatpins. Once, when I was talking to her during the long 2021 covid lock down, we got onto hatpins and why we don’t use them now. She collected a few hatpins so it could be put to its original use. Visiting a museum one day, she saw a similar piece with hatpins sticking out of it and realized what its purpose was. For years, she had thought it was a sugar shaker as it had small holes in the top and a cork filled hole at the bottom.
One of my mother’s favourite possessions is an antique porcelain hatpin holder, inherited from her mother.
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