'Allegory of the new woman'. An ivory fan, Paul-Léon Jazet, so called 'Japhet', French, circa 1890

the paper leaf painted with an elegant woman driving a carriage pulled by ribbon-harnessed putti, partly dressed as aristocrats, soldiers and tradesmen, signed Japhet, plain ivory sticks, each guard carved in high relief with a putto below a sword hilt, in a contemporary silk case initialled: G.F.L

overall good condition apart from minor tear and wear to gilt edges.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Son of the engraver Alexandre-Jean-Louis Jazet, Paul-Léon Jazet (1848-1918) seems to have worked under the pseudonym 'Japhet'. Contrary to what has previously been suggested by Bénézit and others, stylistic similarities to playful artworks of his contemporaries, such as the master of Belle Epoque poster art, Jules Cheret, indicate that fans, postcards, posters etc. which are signed ‘Japhet’ must indeed date to a later point in time than the biographical information of his father permits. Although Paul-Léon, who debuted in the Salon de Paris in 1869, is mostly known for genre scenes, portraits and military subjects, such as 'The Death of Lord Nelson', 1882 (formerly in the Walker Art Center, Minneapolis), his later works from the 1880s onwards lean towards lighter and more playful motives in a more graphic style, as is demonstrated in his designs for comic opera and theatre. Among them are costume designs for the famous dancer and actress Loïe Fuller whose swirling silk costumes and theme dresses, such as a dress strongly inspired by a butterfly, were of great importance for the new approach towards the organic forms characteristic of the Art Nouveau period.