More Beautiful Purses by Evelyn Haertig

Gallery Graphic Press, Carmel, CA, ISBN 0-943294-009, 1990, Hardcover, 576 pages.

I just received this book for review and it is truly the most comprehensive material I have ever seen on beaded, needlework and mesh purses. The first words that come to mind are "awesome, inspirational, extraordinary, and magnificent." You will find page after page of exquisite photographs of beaded purses. The eight chapters include 570 plates (color photographs) and 330 figures (black and white photographs and illustrations.) The figures include many photographs of women from the early 1900s wearing their beaded or mesh purse. There are very few books containing photographs of this nature and are extremely important to students of purse history. The color photographs are top quality and you can see every bead color and design clearly.

Haertig indicates she wrote this book as the definitive reference rather than a coffee table book. She more than succeeded in her efforts. In 1983 Haertig published Antique Combs and Purses and her next project was More Beautiful Purses. This title is so unimposing, many people will not realize how superb it is.

Here is a chapter by chapter review including a more extensive review of Chapter 5, The Beaded Purse, which is over 200 pages.

Chapter 1, History and Development of the Purse

Recorded purse history begins approximately 1096A.D. Pockets, pocketbooks, seal and game bags, Limoges wedding purses, chatelaines and beaded reticule evolution are examined.

Chapter 2, Needleworked Purses

Stitches such as the tent stitch and Berlin work are included. Haertig states the difference between machine and handmade embroideries. There are exquisite color plates of handwoven tapestry purses followed by materials used and illustrations of petit point embroidery. Bag production of the past and present are reviewed. She compares antique and contemporary petits using purse frames as one of the best ways to measure the purse age. The needlework purses are just as lovely and intricate as the beaded purses. Haertig points out damage one petit point purse received through carelessness. That purse has over 3,000 stitches per square inch and was created by an exceptional artist. These mini tapestries should be treated as fine art. Several motifs were discussed including biblical and classical. Haertig identifies unconventional petit points; beaders are not the only people who go out on a limb! Chinese embroidery and other embroidery techniques are considered.

Chapter 3, Fabric Purses

Purse fabrics are identified including suede and antelope skin. Purse sizes and shapes are described, as well as gold and silver frames. Irish crochet, carpet and cut velvets are next. Even paper gets into the act. A very rare paper molded purse overlaid with silver and gold threads was noted and a color plate provided. The crochet purses are intriguing.

Chapter 4, Leathers

This chapter is dedicated to tooled leather purses. Several companies produced tooled purses and trademarks were often worked into the purse patterns. Craftsmen and their production of these purses, wallets and bags are analyzed. Motifs changed with current art movements. My favorite was Figure 79, a laced purse with beaded fringe and an outside pocket. This book extols charm through the photographs of models posing with purses, company owners and their places of purse production, along with copies of old correspondence discussing the purses. Leather combined with metal is considered including chatelaines with metal hooks and the turnloc. Exotic animals and reptile purses are discussed. There are purses incorporating the whole body such as an Armadillo. Yuck! I agree with Haertig; we wouldn't want to see these purses become popular again.

Chapter 5, The Beaded Purse

This is the largest chapter in the book, 216 pages, and is broken down into several sections. It opens with the history of beaded purses, methods of construction, consideration of the beaded purse condition when purchasing, size of beads, the purpose of the beaded purse and the skill of the beadworker. The beaded purses are considered the jewel among purses. There is an unfortunate error under the heading, "Size," on page 156. She states that the largest and most complicated purse she has ever seen is shown in Plate 250. This should be a purse made in France with fine Venetian beads depicting three figures. I zoomed over to Plate 250 and immediately knew this was the incorrect plate to match her description. Plate 250 is a blue purse with cut steel beads and applied in a couched or embroidery technique. I looked further and found on page 265, Plate 260, in The Beaded Figural section, which appears to be the plate Haertig meant to identify. She again notes Plate 250 instead of Plate 260 on page 261 under the subheading, Courtyards. This error could have been a transposition of numbers during the printing process; understandable in such a massive undertaking. Haertig states beaded purses of such quality and design are no longer made. Haertig wrote this book in 1990 and did not know there would be an explosion of beaded purse creations in the mid 1990s. The smaller size beads, 20 and 22, are no longer produced, however, artists are using these antique seed beads to reproduce some of those glorious designs from the past. Brief descriptions follow each section.

Frames

Includes material and closures and incorporation of semi-precious material. She considers rarity and uniqueness of purses, linings, methods of beading, the significance of bead size, and fringes and purse patterns. Haertig states old beaded pattern instructions called for 3 ply purse twist silk and it is no longer made or obtainable. I wish I could see a sample of this silk twist to compare with silk thread available today.

Early American Reticules

Reviews identification techniques through purse size, beads, patterns and styles.

Misers, Minis, Tam O'Shanters

Describes each of these bags. I found Plate 150 (sixth miser bag down) most unique in appearance.

Swag Beaded Designs

Lip-smacking good! They are sensual and glamorous. They were made to shake and shimmer when worn. There is an unusual purse in Plate 165A. It is a circular designs applied to the fabric along with the draped beads. The beads look like very tight netting in the middle and become looser and larger netting as the circle progresses towards the outside.

Baskets in Beads

Purses depicting baskets with floral arrangements. Unique pictorial figures are considered; a woman on one side and a man on the other side of the purse.

Geometric and Abstract Designs

Includes the Oriental background of geometric purses. Haertig explains the tambour technique to apply beads and offers many color examples.

Pie Crust Shaped Purses (Circular Bags)

Offers a great little story about these purses and where their name comes from.

French Cut Steels

Examines the origins and difference of these beads made in various countries. You would have examine these purses closely to be sure the beads were not glass. She also covers color and sizing of cut steel beads. Some of the examples are breathtaking.

The Beaded Figural

Speculates on figural purses and the backgrounds surrounding the figures. She includes purses with people and animals in various scenes include courtyards, landscapes and castles.

Children in Beads

They were not often subjects for purses. Haertig shares photographs of those she has found. There is a note about tiny purses that were merchandised for children and an old advertisement is displayed.

Egyptology

Haertig laments not finding more examples to add in this category. The purses she did include are excellent.

A Portfolio of Remarkable Beaded Purses

A group of delicious purses so unique, one could not adequately describe them. You will have to see them for yourself.

The Beaded Scenic

Colors are brilliant and lend great depth to the purse design. The beads in these purses are absolutely "beadacious." You will be inspired and find many ideas for making your own graphed beaded landscapes after drooling at these purses.

Beasts and Birds in Beads

Purses are depicted with parrots, swans, pheasants, peacocks, canaries, ducks, bluebirds and butterflies. I lust after the beaded peacock feathers in the purse of Plate 356.

The History of Beads and Venice

History of bead manufacture is explained. Haertig examines the process of making the tiny glass seed beads and her words make visualization easy. Haertig relates her own exciting adventure searching for mini seed beads while in Venice.

Florals Section

A list of popular floral motifs is noted. Advanced collectors do not find these purses of interest because so many were made.

Chapter 6, The Development of the Metal Mesh Purse

The history of the companies and their owners who made the mesh purses are identified. She explains the history of mesh and the difference in meshes such as "armor" mesh and "ring" mesh. There are old detailed figures of mesh linked together and a description of how they were linked together in Figure 193C and 193D. Mesh goes back to Medieval times. Handmade mesh and machine production methods and materials are discussed. There are several photographs. Haertig details the mesh purse evolution into the fashion world. Charlie Chaplin and Clark Gable were two purse subjects. I would have thought some of these purses were beads except they are in the mesh section. They are very brilliant and exquisite. Gold and silver were used in the past to make handmade mesh. The biggest company of that earlier time was Whiting and Davis. Today they make whole mesh accessories and parts, such as mesh blouses, earrings, belts, purses, cosmetic cases, key chains and purses.

Chapter 7, Celebrity Purses

These were purses made for socialites, actors and other publicly known individuals. There are several marvelous photographs with the individuals wearing their purses. One woman is wearing a chatelaine and the photograph is dated 5 May 1900. Did you know Mozart had an embroidered wallet and the women in his life created beaded purses?

Chapter 8, Novelties

Purses are presented that did not fall into classifications elsewhere and are very rare. The umbrella, shell, dance, celluloid rings and sow's ear are some of these purses. Even men of science created purses.

Note: Examples of Judith Lieber's designer purses are found among chapters relating to her style and work.

Summary

More Beautiful Purses is a must have book for both bead and fiber artists! It is a quality reference book and well worth the price considering the volumes of information it contains. I know this was a labor of love for Haertig. She has contributed significantly to bead and fiber history through her remarkable study. This is definitely an addition to my library. If you are not able to obtain this book locally, contact The Beadwrangler.