Art Nouveau Hair Adornment...

This little sprig of Art Nouveau mistletoe that is beautifully intertwined around the carved horn of the hair comb above is not, as I had assumed, by the hand of René Lalique (1860-1945) but is in fact one of the creations of the Vever brothers; Paul and Henri. Having taken over the family business in 1881, they went on to experiment in new materials for their creations, exploring the possibilities afforded by horn, ivory, pâte de verre, enamel and semi-precious stones as opposed to the more standard approach offered by noble gold, silver and fine gems .

As many Art Nouveau artists, the Vever brothers were inspired by the Japanese themes and techniques that were visible in France in the latter part of the 19th century. The influence of Japonisme is clear in the delicate studies of the three 'F's which were key to their work; la Femme, la Flore and La Faune. The furled petals of the Cyclamen hair comb above (1900) are offset by the fine opal facettes that catch the light with their bright colours in a way that is stunning, yet not gaudy or vulgar.

Similarly, the Owl comb (1900)is bright and bold yet the intricate cloisonné feather features create another level of delicateness, whilst the curved forms, piercing emerald-green eyes and prominent beak provide an edginess to the whole. The Vevers met with success in the Expositions Universelles of 1889 and 1900 and their clients included emperesses, tsars and actresses...

The troubling beauty of natural forms that swirl, curl and engulf us in the process in a rather hypnotic manner are characteristic of Art Nouveau. Similar features are to be found in this Sycamore comb (1906) by Lucien Gaillard (1861-1942), where the papery, feather-like samaras are in contrast to the slightly menacing wood-like spines of the structure.

The same qualities can be found in Gaillard's Honesty pod hairpin and the Bee comb below. Gaillard was a contemporary of Lalique and was likewise linked to Japonisme and the experimentation of new materials, technical approaches and later, different objects acting as supports for his art, with walking stick handles and perfume bottles, for example. He too was lauded at the Exposition Universelle of 1900...

Many of the Art Nouveau artists, whatever their medium, would rely on similar subject material. Birds, insects, beetles, flowers and foliage emerge in varying beautiful forms, with a slightly different slant but with a common essence of disquiet, animated by a strange energy.

Henri Hamm's Butterfly pin (1906), offers a rather menacing representation in all its simplicity with an almost palpable tension in the wings, leading to spiked tips. Even Lalique's Lily-of-the-valley comb possesses the same unnerving qualities...

René Lalique is of course the best known of the Art Nouveau artists - principally for his pendants, brooches and necklaces. Emile Gallé – the French glassmaker, ceramist and cabinetmaker - referred to him as “the inventor of modern jewellery”. The same approach was employed in his hair combs and pins but it was interesting to see his work set alongside that of the others; Gaillard and the Vever brothers being just a few of the names.

Naturally, the peacock (here by René Lalique) is closely associated with Art Nouveau, but another typical symbol of the style is the dragonfly, as seen below in the comb by Paul Frédéric Follot (1877-1942).

And of course, the moth, here below by Gaillard... The combs were all on display alongside many items of jewellery, timepieces and equipages (chatelaines) from different periods of history up to relatively recent times in the Musée des Arts Décoratifs in Paris. Looking at the great beauty of these hair adornments dating back to over a hundred years ago, and glancing at what is coveted by many people today in terms of attire, accessories, jewellery etc, I cannot help but lament what has gone.