Ivory Hair Memorial

The custom of giving and receiving hairwork can be for mourning or sentimental purposes, but its singular theme is love. Mourning pieces were often referenced in a will, with money left allocated for the chosen pieces. This could range from hairwork in rings to lockets and miniatures. There are many different reasons for the creation of hairwork jewelery and memorials, but at their inception, it is all about love.

By the 1760s, hair was reintroduced in mass produced memorial medallions and lockets (in England and on the Continent), as it was mixed in with sepia and painted on to ivory . Sepia / hair painting is a typical and very popular method from the 1760s to around 1810, with many pieces being a standard style, sometimes chosen from a hairworker's catalogue and tailored to the individual with the appropriate name and inscription. Chopped hair also was a common feature of memorial art on ivory and sometimes vellum, with scenes and symbolism assembled with hair and glue. Hair weaving was also in high demand, with everything from brooches to miniatures holding a compartment in which to place the woven hair.

By the 19th century, the custom of hairwork had become ingrained in popular culture of the time, spanning Europe to America, and the hairworking industry hit its peak. The popularity of hairwork and its move from country to country was not a singular event, but reflects more upon society of the time. Hairworking industries along the Continent have their roots in hairwork as a folk art with female amateurs practicing the art in their home. Because of this, the popularity spread through Europe, and was especially prominent in France, Germany, Switzerland, Sweden and even across to Bohemia. The American hairwork industry evolved in its own right, growing in prominence over the 19th century (particularly during the Civil War) and still exists in a small capacity even today.

In our miniature on ivory which is worked almost entirely in hair with minimal watercolor embellishments, we see the following symbolism in the Weeping willow which is Natures lament . . . a symbol of sorrow and mourning but also a symbol of resurrection through regrowth. We also have the sun setting which is a symbol of death and the trees that outline the background (hope of immortality) provide a stunning depth to the artwork. The rays radiating out from the setting sun are a symbol of hope and provide an uplifting quality to this memorial.  Central to this picture is the tomb which contains the name, birth date (24 Dec. 1790) and death date (20 Feb. 1850) of the desceased . . .  a fitting testimony to one who left this life at a mere 49 years of age.   It is set in a black ebonized frame that is 4-1/2" x 5" with a brass bezel and is appropriate (and original) to the piece.  There is a stunning simplicity, yet an uplifting quality to this Memorial . . . Loving and lovely describe it well.
SOLD
R09J25527

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