The only maker’s mark on this incredible art nouveau vanity set, is on the scissors. They are stamped with Keisler & Co. Germany.
The set also features two large matching picture frames, which are not usually part of early 20th century vanity sets.
Given the fact it is at least a hundred years old, it is remarkable that all the decorative elements are undamaged, and perhaps most of all the large mirror, with bevelled glass, is as clear as can be.
The art nouveau dragonfly design featured on all the pieces, has green and amber rhinestones, all of which are secure and intact.
The set itself has the traditional somewhat mottled, and decorative yellow toned celluloid, on top of carved honey amber bakelite. Each piece in the set has a matching design.
Celluloid was one of the earliest plastics, therefore it is becoming increasingly rare. It was replaced by Bakelite, and other thermoset plastics by the 1930’s.
A couple of cool things about this set, is that the elongated trinket jar with a handle, has an emery board mounted underneath the lid.
It also has a corset hook, which is not something we see in any modern day manicure sets.
One thing to be aware of is that celluloid is very flammable, therefore it should never be placed near candles or an open flame. It was especially problematic during the early film era when it was used with moving parts that would tend to heat up.
From 1855 – 1940’s celluloid was also commonly used in toys, jewelry, compacts, knives, and fountain pens. It was also used in ping pong balls.
It should not be stored in plastic, and the pieces should be wrapped so they are not touching each other. It is also best to keep it out of direct sunlight, and stored in a cool dark place. It is fine to place it on a dresser away from heat or flames.
This is a one of a kind vanity set, which has been well cared for, and has stood the test of time.
Such a set also has historical merit, as it can never be reproduced in any capacity. By the 1940’s celluloid was obsolete.
The trend toward buying second hand goods has lost its stigmatization, and in the case of luxury brand items, the authentic brands made in France and Italy are very difficult to find anywhere else. Many of the original companies have gone out of business, or have quietly outsourced to China.
As far as eyeglass frames and vintage sunglasses, almost all are now made in China, to include Ray Ban, Oakley, Persol, Oliver Peoples, Coach, Prada, Chanel, and many others. These companies were recently purchased by Luxottica, which is made in China.
Occasionally you will see vintage sunglasses advertised as new dead stock. These websites make the claim that huge numbers of brand new designer sunglasses were found in a warehouse somewhere. If you think about it, how likely is it that a famous brand like Christian Dior or Valentino would have left a warehouse full of sunglasses in a storage room in New York City for fifty years? If it sounds implausible, it probably is. Such claims are most likely promoting and selling mass produced knock-offs.
Even though we have become used to the fact Luxottica now makes most luxury brands of eyeglasses, there is still a niche market for those who want to find the authentic brands made in the original country of origin. For eyeglass frames and sunglasses, the countries with the best reputations for both style and craftsmanship, are Japan, France, USA and Italy. You may also come across upscale brands from Germany, Switzerland, Denmark and Sweden.
Therefore the hunt for eyeglass frames made in those countries is part of the vintage niche market of hard to find authentic brands.
One of the most positive directions to help with the reuse and recycling of vintage eyewear is the fact you can now send your frames to online companies who will put the lenses of your choice into the frames. You can choose the lens, send in your prescription, and get various different coatings, including blue light filters, for a fraction of the cost. An example of such a service is called Dr. Lens Change and is located near Vancouver:
This service, as well as many other similar online lens replacement services, offers sunglass replacement lenses, as well as prescription lenses, which means those old eyeglass frames can have the lenses replaced. When this service was first introduced, they were limited to certain types of frames you could have lens replacements put into, but in recent years they have included all types of frames, to include rimless and curved.
I think the most difficult to replace are the lenses with significant curvatures, so if you have frames like that, check with them first. Dr. Lens Change claims they can replace lenses into any shape of frame. They also have an online chat, so you can ask questions if you have any concerns before sending them in.
For those who have sunglasses in designer frames they love, but need prescription lenses, or have a scratch in an old pair, you can now have those lenses replaced. They also offer non prescription replacements and transition lenses. If you wear prescription eyeglasses, you simply send them a copy of your prescription along with the frames. They also offer free shipping, and discounts if you order more than one pair.
Another interesting development in the world of technological advancement, is certain companies will now offer online eye testing, which I am not prone to promote at this stage, because a smart phone or computer simply does not have the diagnostic equipment to fully assess a person’s vision and eye health. However, I do believe they could provide a rudimentary assessment as to whether or not you do need to see an ophthalmologist.
When searching for authentic designer brands, or funky eyeglass frames from the 1950’s or 1960’s, you will not likely find them en masse on a website claiming they are new dead stock. Dead stock means they are no longer in production but remain in inventory.
All famous luxury brands are still in production, therefore it is a contradiction to claim they have massive quantities of dead stock from the mid-century era. The cost of storage alone would be a strong deterrent for any company. If they actually did store rooms full of inventory for fifty years in a major city, the storage costs would be astronomical and impractical over such a long period of time. Although I don’t know for sure what dead stock really means, I am skeptical of their claims.
As with most things vintage and niche market, you will find the unique one of a kind sunglasses and eyeglass frames through sellers who source them out one by one. When I look at eyeglass frames and sunglasses, other than condition, my number one concern is to make sure they are made in Italy, France or Japan.
I do have a pair of Graffix sunglasses, and will probably list them in the near future, even though they are made in China. They were originally made in Germany. In this case, they are an interesting steampunk design, with part tortoise and part wire frame. I do not know if it is possible to carry a wide range of interesting frames without having a few that are made in China.
I realize not all people are as fussy about avoiding the made in China labels as I am, therefore if the frames are unique, I will list the occasional pair, but will always disclose where they were made, and price them accordingly.
Eyeglass frames are fun to look at, and shop for, because they are so distinctive, like an added facial feature, and really reflect the personality and style of an individual. In fact they are so impressive they can change your overall appearance just by switching the frames. Not all current trends suit all face shapes. The wayfarer look may not suit a small face with sharp features. Some people look better in oval or round frames, and others look better in rectangular or square frames. No one should be limited by advertising trends or what’s hot at Costco. There are many more choices, if you are aware of the fact you can now have lens replacements in any style, or any age of eyeglass frames.
We all recall or know about some of the iconic looks created by certain musicians and Hollywood films. John Lennon, Men In Black, Audrey Hepburn, Top Gun, Blues Brothers, Clark Kent, and many others, created a memorable and distinctive persona depicting a certain pizzaz and personal style.
Whether you are drawn toward a sleek cool look, or a funky spirited appearance, or an understated intellectual, or nuanced and nerdy – you can find these fashion statements in the second hand market. Other than in old Hollywood movies, or on vintage album covers, you are not likely to see them everywhere you go. One definite added bonus of the vintage market, is in finding what is unique to your own face and style.
The Quiet West selection is always adding new frames, and various other vintage items. Check out the sunglasses and eyeglass frames with specs from the late 1800’s to date. You will find authentic designers from the obscure to the sublime to include Ray Ban, Oakley, Chanel, Vuarnet, Ferragamo, Thierry Mugler, Roberto Cavalli, and Celine, as well as less known exotic vintage brands like Sun Mode, May, and Matsuda.
A little bit of interesting history from the Hutchinson News in Kansas tells us about the origin of the oldest pair in the collection, Henry Zinn Jewelers & Optometrist who started making eyeglasses in 1890:
Although we all appreciate the rain to put the fires out, and make the smoke clear, the lighting for these photos was not great today. But even in low light, the colours and intricacies showing through in the designs, are brilliant and stunning with a high level of artistry. This post will feature a collection of twenty-eight different silk appliques from the 1920’s, with vibrant colours, and incredible attention to detail.
With some sunny breaks this weekend, I did manage to get these beautiful works of art photographed in natural light. One of my favourites, is the Phoenix looking bird in flight with bells for its wings and tail feathers. Initially, it looks like bells, until you realize the inverted stem is the bird’s head, and you can see its tiny embroidered eye. It’s kind of an optical illusion. As an added bonus, many of these embellishments feature accents done with metallic thread.
I have listed the collection of this needlework art under New Arrivals, and have added photographs of the reverse side of each one. They are also listed under Buttons & Notions, and in the 1920’s Decade. I will likely add the Art Objects tag as well. They are truly incredible works of art, over a hundred years old, in vibrant detail, and made by a very talented needle worker.
There is nothing like antique Asian pottery. The fascination for these hand-painted works of art is never-ending. The time consuming aspects of creating artwork on porcelain, is truly mind boggling. Every hand decorated piece, is an original work of art, only instead of canvas, it is painted and glazed onto porcelain.
To most of us westerners without much knowledge of the complex history and masterful techniques passed on from one generation to another, to create such works of art, we still have an appreciation and awe of these items. In fact, Europeans and North Americans embraced the Asian aesthetic long ago.
For certain, the historical periods are confusing to the novice. The pottery/porcelain changed significantly throughout the various eras, conflicts and upheavals. This morning I learned this type of pottery had origins in Korea. The early Satsuma pottery dates to the 1600’s.
Originally Satsuma pottery was made of clay, not porcelain. Most of it was made for the Japanese market, not specifically for export. The early pieces are darker in colour, and less decorative (1688-1704) since they were primarily made for practical purposes in local kitchens.
By 1800 the more decorative Satsuma pieces began to emerge, referred to as brocade or nishikide decorations. These were often simple floral patterns using iron red, purples and a small amount of yellow. It is believed the origin of the artwork was from Kyoto during this period. Later on, they started using a gilding of raised gold or kin-nishikide. During this era, and the biggest difference between these earlier pieces, and the later pieces for export – is that they made use of negative space.
In 1867 Satsuma porcelain was featured prominently in the Paris Exposition Universelle, which was considered a success. By 1873 many factories throughout Japan began painting scenes on blank glazed stoneware. Between 1890 and the 1920’s it is estimated there were more than twenty estsuke factories creating Satsuma porcelain for the western market.
When the market began to focus on export, the interpretation of what appealed to western culture began to emerge. The changes to the decoration went from the simple and powerful use of empty space, to what is known as the horror vacui, or fear of empty space. In Greek the term is known as kentophobia, and the filling up of all spaces with artwork became the trend. This was part of the Victorian era trends throughout the world, and was reflected in European artwork as well.
The pieces produced for export in the late 1800’s are considered by some to be garish, however as fewer of these items are available, the appreciation increases. They are hand painted, gilded, and represent an interpretation of western appeal, specifically during an era where empty space in art was almost non-existent.
The few pieces of Satsuma pottery I have picked up over the years, are rich in colour, glazing, floral motifs, birds, and a variety of delightful imagery, with moriage, which is a special type of raised decoration, outlines, and a distinction like none other.
Although this porcelain changed over the years, it is still a culturally significant, and represents an artistic aesthetic that is distinctively Asian. The techniques cannot be replicated in North American or Europe. The history of pottery and porcelain from Asia is second to none.
In my opinion, the later Satsuma pieces are not garish, but idiosyncratic and beautiful. But then, some of us don’t suffer from the fear of empty spaces!
From 1885-1930’s there was a slump in the export market for Satsuma pottery. In addition to changing trends, it had been given negative reviews by many critics and collectors. In 1893 it was not well received at Chicago’s Exposition. However, it’s appeal did linger for several more years, and it remained an export commodity for Japan throughout the Meiji period (1868-1912).
When compared to the earlier and traditional Japanese artwork, the negative critique on the pieces made for the export market is understandable – because the really high end Satsuma porcelain is not flashy or garish. When examined closely, there are no flaws.
But perhaps, the exaggerations for the export market were somewhat maudlin. Who could blame them for interpreting the Victorian era western culture in such a manner? They brought something into existence that was representative of the time frame. It lets us examine not only the art, but shows us how art captures the influences that lead to change.
Even the later, mass produced export pieces of Satsuma porcelain are increasingly rare, so hopefully they will be taken care of, along with other antique artwork, that carries a rich, inherently beautiful, and very complex history.
This is a sampling of some of the Quiet West sold items. Check back as I will be adding more. The first item in this post was one of the very first sales. A woman in her nineties, and in palliative care – wanted to wear this beautiful 1930’s pink quilted satin bed jacket. The customers have been a pleasure to deal with, and have wonderful taste, with a unique story surrounding each piece. Their beauty lives on!
Sold to a Customer in USA1960’s Satin Robe Sold USAAlexander McQueen Silk Fox Scarf Sold – LondonPatricia Fieldwalker Silk Gown – Sold USAEmbroidered Japanese 1970’s Silk Kimono – Sold IrelandAntique Hand Made Openwork Wedding Hat Sold AustraliaAndre 1950’s Brocade Turban – To AustraliaI. Magnin & Co. 1940’s Maxi Dress – Sold CaliforniaSold To CaliforniaSold To Los AngelesSold To USARodier Cardigan – Sold USAIsabel de Pedro Jacket – Sold EuropeLeo-Danal Embroidered 1950’s Dress – Canada Sold To MontrealLeo-Danal 1940’s Coat Dress – Sold To MontrealJoop Sunglasses – Sold to USASold To AustraliaSold To AustraliaSold To AustraliaSold To AustraliaSold To AustraliaSold To Australia1950’s Clear Transparent Lucite Box Purse – Sold USASold To SwitzerlandMoschino Cheap and Chic – Sold To USASold To SingaporeSold To USASold To MontrealSold USASold – Eastern Canada
Online sales of second hand goods is experiencing steady growth, which stands to reason since many brick and mortar stores of all kinds are now going online. The sales pitch for those who want to clean out their closets, and turn expensive designer purchases into cash – is an attractive concept.
Consignment sales have many legal and accounting parameters the average person may not be aware of. As a collector myself, I have always stayed away from consignment sales. I found the items were not old enough to be vintage, and often just old enough to be outdated.
However, if an item is authentic and made by a luxury brand designer (not a licensed label made in China and passed off as authentic) – then the chances are pretty good it will retain value, or may even increase in value over time.
But if you have a closet full of stuff to sell, the selling options are limited, therefore consignment might be the option you choose to go with. The consignment contracts are lengthy, and may not reflect the best interests of the sellers. The other thing to consider is the shipping.
Logistically, how are you going to ship a blouse to Toronto, then have them authenticate it, photograph it, list it on their website, go through all the parameters of the agreement with you, and then put a retail price of $50.00? If it does not sell, eight months or a year later, are they going to ship it back to you? That means the shipping cost alone will be as much as the listed retail price, without selling anything.
In addition, the accounting for large consignment stores is an absolute nightmare. The consignment agreement typically specifies a time period to keep the items listed. If they do not sell, they claim they will return them to you. There are various commission rates, based on price or other factors. The consignee or seller does not pay for or purchase the items, yet they take possession of the items, examine, authenticate, photograph and list them. Surely there is significant cost associated with doing so. Managing inventory like that has to be labour intensive and easy to lose track of.
When you factor in the complexity of accounting, the care of inventory, storage, photography, and listing – as well as dealing with customers, potential returns, and the consignor, it could easily be a recipe for disaster.
If you are considering selling on consignment, the main objective is getting paid of course. You are being offered a platform, visibility, and a vehicle for the sale of items. Nothing will sell unless it is put in front of people so they can see it, evaluate it, and decide if the price is right, or how badly they want it, regardless of the price. Therefore, on the surface, it seems like an understandable and rational choice to make, if you have a range of expensive designer items, and want to cash in on those purchases at a later date.
The first mistake many of us make is in thinking the original retail price is a reflection of what the item is actually worth. What you paid, and what it is worth, may be two very different numbers. Some things increase in value over time. Other things – not so much.
In my opinion, the biggest problem with consignment is embodied in the old adage that possession is nine tenths of the law. Does anyone really believe a flailing consignment store, in the quagmire of filing for bankruptcy – will individually package and return all items to the original owners?
This is a topic for lawyers, but common sense would tell us the original owners could easily lose what they have consigned, if the seller goes bankrupt. After all, the consignment store will have other debts to pay. In essence, they end up having possession of a huge inventory they do not own. People tend to take greater care of a business and/or inventory if they actually own it.
The buyer of consignment goods has less to worry about than the consignor, because once the item is sold, there is a legal transfer of ownership. If the item is shipped promptly, it should be fine. But due to the accounting, inventory complexities, and difficulties for large consignment stores to manage it all, means it is guesswork, as far as estimating how long they will stay in business.
If you go to the large Canadian consignment online stores, and are considering selling your goods, you are looking for a platform that does not have one-sided legalese in their contract. Plus, you want to know if they can set up and manage a long term evolving website, since that is their method of reaching the public.
If you walked into a brick and mortar consignment store and saw a disorganized mess, you would turn around and walk out. Yet, there is no way of telling how organized or capable an online store might be. Is there?
One way to tell how organized and user friendly an online store has been set up – go to the website performance site called GT Metrix. All you have to do is type in the specific web address of any website, and it will give you a detailed performance rating.
If a website is fairly new, but carries a large amount of inventory, and scores very low on the GT Metrix analysis – what is going to happen to them as things evolve and get more complex? They are likely to become exponentially convoluted as time goes on. Quite frankly, I don’t think increasing entropy creates a sustainable website model.
On the weekend I compared some large Canadian online consignment store websites. One of them has a current performance score of 27% translating to an F. The other has a score of 35% and also gets an F. It does not bode well for the longevity prospects of those websites. At the time of this writing, the quietwest.com website is over 6000 pages, and has a GTMetrix score of 98% or an A.
When you shop on a site where all inventory is owned outright by the store owner, there is much more flexibility. Prices and shipping can be adjusted. Offers can easily be made and accepted without any legal issues. Any dissatisfaction on the part of the customer can be remedied according to what the customer thinks is fair, and so on.
When dealing with a collector who has invested time and money into their products, without stringent timelines or convoluted accounting requirements, you are dealing with a seller who has flexibility as an integral part of the transaction.
Furthermore, an online store that owns all the inventory – will not go bankrupt. A well designed website requires a great deal of time and effort. When it comes to online sales, the website is a foundational cornerstone for the stability, longevity and resale of quality products.
Most of us who embark on business ventures must persevere through a number of challenges. Those challenges are compounded for women, due to a lack of financing and resources. You have to learn to do most things on your own. Research is the best and cheapest resource.
One major advantage of building and promoting individual web shops, is to expand the niche market. We are saturated with mass produced fast fashion items. It is a breath of fresh air to see some old fashioned quality and attention to detail. The online marketplace can be like an Avenue Montaigne, or Fifth Avenue, if there is enough to attract people.
Online boutiques provide endless browsing, nostalgia, obsolete designers, textiles, and one of a kind items. A collection carries the stamp of the owner in whatever it is we choose to put into our store.
I realize 1980’s ladies suits with big shoulder pads are not likely to sell. At the same time, the exhibit of what we actually did wear then, is so much a part of the arts, culture and fashion of a particular era. The individual design elements of each time frame carry a certain intrigue and attitude. At the time, those big-shouldered jackets seemed to be quite fashionable. Whether we liked them or not, such extremes have to be part of the whole.
Images of vintage and luxury brand fashion creates a resource for those in the film industry, who may have a project set in a certain time frame. One thing about vintage – there is nothing quite like the real thing.
The good news for Quiet West, other than getting an A+ on the GT Metrix performance score, is that I managed to trouble shoot a non-functioning favourite camera lens. It has had an ERR message for at least two years, so I had to switch to a mid-range Sigma lens and set the Nikon fixed portrait lens aside.
In googling possible causes for the error message, I learned the lens is not communicating with the camera. If you switch to a different lens and the other one works, you know it is a problem with the lens, not the camera. Then I read the most likely cause, is a need to clean the camera mounts. Since I have used the lens a lot, it made sense. I carefully followed the directions to clean the camera mounts, but still got the error message.
Anyway, it went back in the camera bag. The Nikon online repair site has a huge long list of things to fill out. So I finally decided to take it to London Drugs. They have a really good camera support and repair section at the London Drugs on West Broadway in Vancouver. I think all London Drug camera departments will send the lens out for repair on the customer’s behalf.
The online repair estimate was high, because of shipping, technical expertise required, assessment, etc. The Nikon 50mm lens is not a very expensive lens compared to most, so it did not seem worth it to spend 90% of the replacement cost to fix it.
One of the amazing things about DSLR cameras is that a $300.00 lens might be as good, or better than a $1600.00 lens. Overall, I do admit to being a Nikon fan, and use a Nikon camera. I would highly recommend the Nikon 50mm fixed portrait lens at the cheaper cost. Not only is it cheaper, it is much smaller, and seems to have more creative flexibility. It is also better than most other lenses in low light. I am no pro, but those are observations based on trial and error in taking product photos.
Just yesterday, I decided to google the error code on that particular lens one more time. Lo and behold, there was more info now than the last time I checked. There was more to it than just cleaning the camera mounts. Within one minute the answer was right in front of me, and I immediately knew it was the solution to my lens problem. So pathetically simple too.
Apparently, on that particular lens, you cannot have the outside aperture ring set at a certain number. Sure enough, it was dialled onto that particular number from experimenting with bokeh imagery.
After doing without that nifty little lens for two whole years, I plucked it out of the case, turned the aperture dial to a different number, and that was it. Job done. Lucky too. I love that lens. It works like a charm!
Highly decorative shawls and wraps date back to India and Persia in the third century. The earliest known manufacturing began with the looms of the fourteenth and fifteenth centuries. The original Kashmir shawls are made of goat hair, and were often elaborately woven and decorated. By the eighteen hundreds these shawls became increasingly popular in Europe as well. They were a subject of much fascination, and became coveted outerwear for the most fashion conscious, as well as creative individuals attracted to wearable art. They were especially popular to be seen wearing at the live performance theatres and operas.
To keep up with the rising demand for beautifully designed shawls, France and Great Britain developed a mechanized shawl industry, in order to imitate the famous Kashmir shawls. Known as Paisley workshops, they were able to create a price competition for the shawls, which forced the original Kashmir production to cut costs and compromise on quality.
The shawl industry peaked in the eighteen hundreds and early nineteen hundreds before there was dip in the demand. The loss of interest at the time can ironically be attributed to the mass production. Regardless, from the twenties onward, shawls have continued to be worn by discerning and creative individuals. The sixties in particular, brought about a revival in decorative shawls, from Kashmir goat wool, to fringed piano shawls, and all kinds of capes and ponchos.
Just as it was hundreds of years ago, shawls can be worn over a plain wool jacket or sweater, or to offset a certain type of skirt. They can be draped over dresses and evening wear. A casual chic look with a hippie flair shows them worn with jeans, boots, and tank tops. They have been popular in warmer climates with cooler evenings, to drape over the shoulders as the temperature falls. They can be an elaborate addition to the little black dress instead of wearing a coat.
Below are some samples of different types of shawls and wraps. The Persian method of draping is shown in some of the pics below. To wear it this way you put one third of the shawl to one shoulder, and then drape the rest so the fringe or edge falls to one side.
Wool Shawl With Hand Knotted FringeClose Up Of The Weaving & KnottingRuffled Wool Cape Shawl With A Tight Weave – ItalyLavishly Embellished Wool ShawlClose Up Of Needlework On Embellished ShawlThis Image Shows The Extensive Amount Of Embroidery & VibrancyWoven Shawl With Vibrant ColoursThe Reverse Side Of This Unique Woven ShawlBeautifully Embroidered Silk ShawlClose Up Of Floral Embroidery On Silk ShawlChanel 1980’s Shawl Decorated On Both SidesMid-Century Embroidered Kashmir Shawl
For a long time, antique and vintage ivory and furs were in a different category from the new ones. It was generally considered okay and ethical to buy and sell these items if they were classified vintage or antique. I have never had much attraction to buying vintage fur, with the exception of some mink hats and headbands, and a few items with genuine fur collars. The list of banished furs includes fur from all big cats, all primate fur, and all types of bear fur. Sealskin products cannot be exported to the USA, European Union, Mexico, or Taiwan. Canada is one of the few countries that permits the sale of sealskin items.
Ivory has become a taboo product due to the poaching, endangered elephants, and the skill artisans have to make it look antique. Although it is not illegal to own inherited or antique ivory, it can no longer be exported or sold. Some of these laws are fairly recent and expanding to include other countries. The only way to identify the age of the ivory is through carbon dating. Recently an antique dealer in Toronto was fined and charged for having carved elephant tusks for sale. As it turned out, they were able to identify the age of the tusks, which placed them in the seventies when poaching was a real problem.
Over the years, I have picked up some ivory necklaces and bracelets but cannot be sure how old the pieces are. It seems the best thing is to donate them to a museum or educational institute. Different types of ivory can be identified by the pattern of the schreger lines. The location the ivory came from can also be identified because they can determine the diets of the elephants by the tusks.
One of the many sad things about the poaching, is that of all the elephants that die naturally, the ivory cannot be used because of the illegal activity associated with it. It’s too bad the elephants were not protected from poachers in the first place. There should have been a method of making sure all tusks were matched to the death of the elephant. The product made from the tusks of elephants that died naturally should have been hallmarked as such. It would be a good idea to have a method of marking during the creation of the piece, similar to what they did to help people avoid buying blood diamonds. Ivory is very beautiful, especially since it has often been combined with some of the most exquisite carving known to man.
As far as the example set in Kenya where tons of confiscated ivory was burned – on principle, I disagree with the destruction of artifacts. However, the issues surrounding the endangerment of these beautiful and intelligent creatures, the horrors of poaching, and the difficulty in accurately dating the ivory – makes the bans understandable.
There can be some confusion in terminology surrounding vegetable ivory and what is referred to as “French ivory”. Vegetable ivory is from tagua nuts and can be carved, decorated or dyed. French ivory is a type of celluloid or plastic that looks like ivory. French ivory and vegetable ivory have nothing to do with elephants or endangered species.
Now it’s time to see if any of the feathers on the hats are from endangered birds! I do have one hat with a real bird on it. It is a black hat embellished at the front with a small blackbird – dating it prior to the 1909 ban on such practices. The moral of this story is an anthropomorphic oxymoron. From an animal’s perspective – humans do some very strange things!
A few ivory sample pieces from the Quiet West collection:
Carved Ivory Necklace Featuring A Large Scarab
Carved Ivory From Hawaii
Antique Necklace Featuring Carved ivory Beads
Antique Carved Elephants From Africa 1920’s or 1930’s
Antique Asian Carved Small Bottle
Maker’s Marks
Example Of French Ivory Or Celluloid Antique Ring Box
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
These feathered flower shakers remind me of “The Old Crow Medicine Show”. Great for dance about jam sessions! Nothing beats like live music! With all the right moves and a little bit of booze – they could turn you into – a flaunting flews!
