Sometimes tribal artists can grab your eyes to look at and understand their ancient worlds. This whale-bone comb from the Tanimbar Islands in the Maluku Province of Indonesia dates back to the 1900s, as the patina shows. The head figure on top looks like a god resting on the pedestal of the comb, although I cannot be sure. I just liked it, so I made a low-ball offer. It was accepted, and I bought it. Sometimes, I see things in tribal art. I buy on instinct.
Rene Lalique made a comb he called, “Bats.” I did a collection of combs with rats and bats on them, I guess this was his entry into rodent life. :-) They are made of blue enamel on a horn comb.
This next one could not be more of a contrast. It’s a tiara of gold, enamel, and sapphires hinged to a horn comb, which a lady would wear to the opera to highlight a sumptuous blue gown. c.1902 – 1903. The comb resides at the Museum of Fine Arts in Boston.
Had to. It had ballies on the end of it. It is stamped Dominick & Haff, an American silver company, 1871, 100% Sterling. The design is quite unusual. I wanted it. C’est la vie.
This comb comes from the Solomon Islands of Australia. Its curve was made by a flattened hand. Twenty-five dark-brown tapered wooden prongs form the teeth. The top is held together with thin strings of woven plant fiber, creating compatible red and yellow geometric patterns. There are no religions or hierarchies in this piece.
Great artists make things from what they see in their world. You can look at a comb and understand what kinds of lives they lived.
Best known for its British Arts and Crafts and Art Nouveau jewelry, this firm opened in 1880, producing neo-Renaissance pieces. From 1891 – 1916, the imaginative, bright enamel work on their peacock, wing, and insect designs won them Royal patronage. In 1916, the firm closed.
This piece, which is signed, might be part of their earlier work. Hinged to a tortoiseshell comb, the silver tiara is laced with garnets. What I love about it though is the hat on top with its ribbons flowing through silverwork. It sold at Sotheby’s for 1350 UKP.
However, when Child & Child’s artistry became revolutionary, one of their most famous pieces was a tiara of two bright blue enamel peacock wings, which sold at the Tadema Gallery in London. I know the price range was over 20,000 UKP, but I cannot imagine the exact, final price.
Whether the artist used rosewood, tortoiseshell, or blackwood, combs shaped like a rainbow became known as Gen’nai Gushi. In the 1700’s, two combs weren’t enough. A woman had to wear three. Kogai sticks became bigger because women wrapped their hair around it to make a chignon.
From 1711 – 1716, the Shotoku era of the Edo period, women began to wear both combs and kogai sticks. Sets were made.
From 1716 – 1736, the early Kyoho era, kogai started out wide, thin, and short, but by the end became long and straight. They were replaced by kanzashi for pure ornamental decoration.
Here are a few examples of kogai sticks from the Edo and Meiji periods so you can see how the shapes developed.
The first kogai stick, made of metal, is Edo. The others are Meiji.
Some exquisite Edo Combs
Front
Back
A mid-Edo tortoiseshell comb with mother-of-pearl hydrangeas and gold maki-e, signed by Nagano Oteki
A Edo Era tortoiseshell kushi and kogai set with a peony design.
A Meiji set with a mother-of-pearl moon, flowing water, and maki-e autumn leaves.
This tiara comb was made with Rene Lalique’s own hands, in Paris, c. 1903-4. The horn arches, which support the cast glass flowers, frame fire opals. The design rests on a band of enameled gold hinged to a horn comb.The comb resides in the Victoria and Albert Museum.
A major figure in the British Arts & Crafts Movement, Joseph Hodel partnered with the Swiss metalworker Louis Weingartner in London. He was also joined the Bromsgrove Guild. Both men supplied the Guild with smaller scale metalwork. In 1908, Hodel left for Liverpool, teaching there until the 1920s. This piece, c. 1906, resides in the Victoria and Albert Museum.
This brooch comes with a fitted tortoiseshell comb and a brooch pin, so the wearer can choose which kind of jewelry she wants to wear. Signed C & AG. C. 1895. The ornament consists of diamonds, enamel, a moonstone, and a pearl.
In 1874, the father Carlo opened a retail shop, Carlo and Arthur Giuliano. By this time, Egyptian Revival jewelry had gone out of fashion. Renaissance was in. As the Giuilianos were a master artists, they didn’t copy designs. Instead, they interpreted French 17th Century enamelwork to suit late-19th century tastes.
This piece is selling at Sotheby’s for an estimated value of $15,000 to $20,000.
Fontenay made this Belle Epoque tiara comb in a garland style, with diamond festoons surmounted by alternating diamond and pearl trefoil motifs. The tiara hooks onto a tortoiseshell comb. c. 1905. Price est: $30,000. The original pink fitted case is stamped Fontenay Smets Succr. 19. Place du Marché St. Honoré.
