Category Archives: Ethnic Jewellery and Adornment

The Hair Comb Market

Are many beautiful things for sale, each with their own story, that condense post into one subject is difficult. So I have buffet of things today. Just click the picture or link see more details about each item.

In Sotheby’s Unsold category:

On 6 December 2002, this Henri Vever gold, enamel, and horn hair comb was estimated at $8,000 to $12,000, but did not sell.

vever

On 13 June 2000, this French gold, enamel, and diamond Eugenie comb, c. 1870, was estimated between 6,000 to 8,000 GBP, but also did not sell.

eugeniecomb

Sotheby’s Upcoming Auction:

Up for auction on 14 November 2014 is brass Alexander Calder hair pin, c. 1940 (Calder Foundation Archive number: A16974). Estimate $50,000 – $70,000. To me, this comb looks like a female body wired into a frame. The estimate is consistent with the Calder market, and the interested to know what it fetches.

calder1

Will it appreciate in value, as did Calder’s silver “Figa” hair comb?

“Figa” in Slavic and Turkish cultures is hand gesture made to represent male or female sexual organs. The first and second fingers wrap the thumb. It could in response to money request or plea for physical labor. In Ancient Rome, the gesture was ward off evil spirits.

Calder gifted it artist Frances J. Whitney, c. 1948 (Calder Foundation Archive number: A22629). It could just see her wearing it with a geometrically cut black dress to charity ball, with no one else knowing what it meant but her.

On 15 November 2006, it purchased from Whitney estate for $57,000. On 14 November 2013, that buyer sold for 137,000.

alexandercaldercomb

That Live Auctioneers, another comb caught my attention. It is Russian, c. 1908-1917, silver, and made Fabergé work master Anders Michelson (marked AM). The comb has eight tortoiseshell prongs and a beautiful hinge that fits over to entire top. Michelson used niello, black mixture of copper, silver, and lead sulphides, to inlay the dogs and floral pattern on tiara. The auction starts on 13 November 2014, and the opening bid is €300.

dogs

Michael Backman Gallery

Michael Backman Ltd. this selling pair of gold and at gilded silver-filigree dragon hair pins from China’s Qianlong Period (1735-1796). They have dragon heads, each, which have turquoise cabochon. Openwork hair ornaments were known as “tongzan” and were worn from Ming Dynasty onwards.

chinesedragonhairpins

Also on sale this comb from Solomon Islands. It is faa, or man’s woven comb from the Kwaio People, Malaita, Solomon Islands. Woven from yellow-orchid and coconut-palm-frond fibres, the comb was dyed with that geru root. Its teeth are made of fern wood.

solomonislands

The last lot to feature from Michael Backman is jaw-dropping collection of 38 Indonesian gold ornaments, c. 800 AD. It is largest set of gold regalia ever collected for statue in Central Java, Indonesia. Their script on chest cord translates as “‘The weight of pailut with the diadem: 2 suvarṇa, 1 māṣa, 2 kupaṅ’”

Indon_Gold-750x475

Some Lovely Things on E-Bay

Never dismiss E-Bay. A Māori Paikea comb with ivory patina to-die-for was listed by God-Save-Whom for $9.95 with no reserve. The description was “Possibly African.”

It is There are 6 bids on it, including 2 experienced bidders. It’s real tortoiseshell. As printing, are 3 days and 11 hours this auction.

It is Their seller thinks French. It could French or Edwardian English because jewelers in both countries made these types of pins. The auction has 4 days to go.

Of authors, Miriam Slater, as selling this It is rare, it is real, and I’d get my hands on it if I could.

Choosing one amongst many beautiful things is difficult. Mustn’t we just have them all.

कंघी

To have fun researching more items like these please consult our Resource Library and these books:

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Gold Jewellery of the Indonesian Archipelago

Calder Jewelry

Ethnic Jewellery and Adornment

Learning from the Creative Museum and Ethnic Jewellery and Adornment

In quotes are comments from Ethnic Jewellery and Adornment by Truus Daalder. Reference numbers are in italics and specified at the bottom. The photographs and other writing come from the collection and scholarship of The Creative Museum. I thought it would be interesting to combine them. They crossed paths in China, Indonesia, and Southeast Asia.

कंघी

“It is in the hairstyles and head decorations that perhaps the greatest variety of shapes exist, and the Southern Chinese minorities are possibly second only to the Mongolians in the exuberance of their headwear, particularly during festivals. Girls preserve hair lost in combing to compose extra hairpieces to incorporate into elaborate coiffures.” (1)

The dots and circles on the bone tines of this comb from The Creative Museum were made using pyrography, a technique where decorations are burned into wood or bone using a heated object. It also has cotton threads, black and white glass beads and a huge red pom pom in the middle. Red is the color of good fortune in China. The comb belongs to the Yao people.

“In pre-historic times, most of present-day Indonesia was attached to mainland Southeast Asia… However, when the ice melted after the last Ice Age, about 10,000 years ago, low-lying land was covered by sea, and Indonesia turned into a country of thousands of islands… Over time, waves of migrants came to the Indonesian islands, particularly from mainland Southeast Asia.” (2)

The dugout-canoe shape of this striking, lacquered black-horn comb from the Creative Museum evokes the boat that brought ancestors from the south-east Asiatic continent to the Indonesian archipelago. It was made c. 1970.

“The mainland of Southeast Asia is the meeting place of many borders and many ethnic groups. Burma, Thailand, Laos, and Vietnam share many of their borders with each other, and often share ethnic groups, as well.” (3)

Among the reasons for this are

  • During the Ming Dynasty, the Han Chinese pushed minority groups south, and many settled in Southeast Asia
  • Barbarian invasions from the North and Northwest pushed some Tai language speakers to Burma, Laos, and Thailand
  • In the 19th century, kingdoms, such as the Khmer in Cambodia, gained and lost power, and there was British and French colonial expansion. Both factors changed the borders within Southeast Asia
  • In 1949, minority groups who fought Communism fled China when Mao won, and fled Laos in 1975, when the Communists took over there
  • Borders were of little concern to ethnic groups who practiced slash-and-burn agriculture (4)

The pyramid-shaped hair pins from The Creative Museum are worn by Red Taï and Hmong women in Laos. Their hairstyles often took more than one pin to keep them in place.

Made in the early 20th Century, the long one has a pyramid shape and ornate filigree decorations. It is hollow with a lid and used as a tobacco container, a marriage between beauty and function. The shorter one is wood wrapped in silver.

“The last dynasty before a period of instability and finally the victory of Communism in 1949 was the Manchu Qing Dynasty, consisting of Manchurian invaders from the North, which ruled from 1644 – 1911… Coral, jade, and pearls were popular, and during the Qing Dynasty there was also a revival of kingfisher feather jewellery. This was so popular that the kingfisher bird with the brightest blue feathers was hunted to extinction” (5)

Showcasing this history, the last piece I will feature is The Creative Museum’s stunning Manchu hairpin. It has three dimensions. The first layer is made of branch coral, amber, jadeite, and kingfisher feathers. The second layer is a circle of small coral beads, strung in small heart shapes. The third has a kingfisher decoration at the center. The piece is shaped to form a flower and bring good luck to the wearer.

कंघी

For more scholarly research, please see the exhibits and publications of The Creative Museum. To order a copy of Chinese and Japanese Hair Ornaments, please write to contact@creative-museum.com. Payment can be made through Paypal.

Also, every collector must have


Ethnic Jewellery and Adornment

References:
(1) Ethnic Jewellery and Adornment, by Truus Daalder, page 216
(2) Ethnic Jewellery and Adornment, by Truus Daalder, page 171
(3) Ethnic Jewellery and Adornment, by Truus Daalder, page 209
(4) Ethnic Jewellery and Adornment, by Truus Daalder, page 209
(5) Ethnic Jewellery and Adornment, by Truus Daalder, page 218