14/10/2023
Je met à contribution la presse et les blocs de mon musée
The antiquarian
- Home
- The antiquarian
I find old things and talk about them.
17/09/2023
Continuing on our coins series, those aren’t really rare either, but I think they are a good example that “old” doesn’t equate “valuable”.
Indeed, I can’t resist roman coins when I see them on flea markets, but similar pieces can be found for 5 euros or less online, which is in my opinion a great way to start a collection on a budget, or to get kids interested in history (there is something special about holding an object that would have been used some 1700 years ago!).
Both of those coins were minted at the end of the third century, a period of important crisis for the Roman Empire which saw a lot of emperors (legitimate and usurpers) during a short time frame, and an extremely large and varied coinage, often of poor quality due to the internal strife in the empire.
The smallest one (yes, that's my pinky on the third picture!) was probably minted under Tetricus I, emperor of the Gallic Empire, a breakaway part of the Roman Empire during the third century crisis. Part of the legend still legible on the obverse probably reads as “C TETRICVS PF AVG”. If my identification is correct, this coin would have been minted in Cologne, between 271 and 274 (dates of his reign).
The second one has a nice reverse, and was minted after Claudius Gothicus’ death, possibly by his short-lived successor, his brother Quintillus. The reverse represents a burning altar, with the legend “CONSECRATIO”, referring to the deification of Claudius after his death. Though Claudius had made significant progress towards the reunification of the Roman Empire during his short reign (270 to 272), he died unexpectedly due to an epidemy that decimated his army, and his brother and successor probably didn’t reign for more than two months.
I won’t get much more in details, since the third century crisis is an extremely complex issue that was widely commented, but I just wanted to show you that coin collecting, even antique ones, isn’t necessarily pricy, and that it leads to a lot of interesting historical discoveries!
RESOURCES :
http://numismatics.org/ocre/id/ric.5.tet_i.126?lang=eng
http://numismatics.org/ocre/id/ric.5.cg.261
![[2/2]What I find fascinating with cash coins is how long lived this monetary system was. Indeed, the first cash coins we...](https://img5.gluseum.com/093/263/315967750932638.jpg)
06/09/2023
[2/2]
What I find fascinating with cash coins is how long lived this monetary system was. Indeed, the first cash coins were most likely created under the rule of Qin Shi Huang (reigned from to 221 to 210 BCE) ; the Wu Zhu cash coins were cast from 118 BCE to 618 CE, making them the longest lasting currency in human history ; and thousand years old cash coin still circulated as valid currency in early twentieth century china. Think about it for a second: this is as if early medieval coins were still in use in Europe by the start of WW1!
Cash coins fell out of use after the fall of the Qing dynasty (though some were sometimes locally and unofficially minted), but are still part of Chinese culture, and are used as good luck charms, for ritual, or in traditional medicine.
Anyway, I’m not going to delve any deeper into this subject, since there is a lot of information about them available online, but if you want to learn more about it I definitely recommend the Wikipedia pages related to this topic, as they are very well made, as well as the resources listed below.
RESOURCES:
Qin Cao, “An introduction and identification guide to Chinese Qing-dynasty coins”, 2014,https://www.nms.ac.uk/media/1161122/an-introduction-and-identification-guide-to-chinese-qing-dynasty-coins-qin-cao.pdf
https://en.chnmuseum.cn/collections_577/collection_highlights_608/ancient_currencies_613/
![[1/2]Probably the least rare or expensive coins that I found this summer, but definitely new and interesting to me!Those...](https://img5.gluseum.com/093/266/315967450932668.jpg)
06/09/2023
[1/2]
Probably the least rare or expensive coins that I found this summer, but definitely new and interesting to me!
Those two little coins are so called Chinese “cash” coins, though they would be more properly described as “qian” (older word for coin) or “tongbao” (literally “general currency”).
Those two coins would have been made during the reign of emperor Qianlong, who ruled for an impressive 60 years, between 1735 and 1796, which explains why coinage from his reign is so common.
Both coins bear on the obverse the name of the emperor from top to bottom (Qianlong), and the designation of the coin (“tongbao”) from right to left, in Chinese. The reverse bears the word “boo” (“treasure”) and the name of the mint that produced the coin in Manchu (since the Qing were a Manchu dynasty), both were made in Beijing, one by the Board of Revenue mint, and the other by the Board of Public Works mint.
Contrarily to most pre-industrial coinage (at least in Europe), qian coins were not struck, but cast in a mould. Since they had a relatively low value, it was common to string them together, using the square hole in the middle, to form a string of 1000 cash coins, divided in ten 100 coins sections. However, that value was nominal only, since the people (“qiánpù”) tasked with stringing the coins were allowed to take one or a few coins from each hundred for their work. Each string could theoretically be traded for a liang (weight measurement, approximately 37 grams) of pure silver. Interestingly, it is reported that during the Qing era, qiánpù would search for rare or old coins when making the string to sell them for a profit to coin collectors!
04/09/2023
Well now that I've moved back to western France, I'm finding antique coins again! Can't explain why though...
I'm not a serious coin collector, I don't search rare or top condition coins, but I love getting them for the history attached, even if they are common or damaged.
Anyway, I'll probably make more detailed posts about some of them if you're interested!
31/07/2023
Not something very fancy for today, but a good evidence that you should always keep your eyes pealed!
Those two anklets were found last week in a not so good charity store : not much to see and very highly priced, but I did found those two for 2€!
Those are Tebu girls anklets from Tchad (called "Ougri" it seems), and would have been made in the second part of the 20th century. has some very similar pieces in their collections : https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/40755-bracelets-de-chevilles-de-fillettes?fbclid=IwAR2qHKVJh2crQYkUbEBrH7ikU_-XBZwEe3ZL9mCkTlNnhZqnQ5HCo1bSuVM.
Again, not something very rare, but still an interesting and authentic find, even though I wasn't expecting to find anything worthwhile, so keep looking!
25/06/2023
For today, two small fibulae that weren’t bought – or made – at the same time, but are from the same area, the Drâa valley in Morocco. Both were probably used by the Aït Atta, an Amazigh tribal confederation.
Though those are very humble jewels, made from an alloy of various metals, I think they are a great example of the vast difference in fibulae shapes in Morocco, as well as a good comparison of the qualities of craftsmanship that can be encountered when collecting those rural jewels.
The oldest of our two fibulae today is the one with a trapezoidal base, it seems to be made from a copper alloy with perhaps some silver in it. It was cast and engraved, and must have been worn for a long time, considering how it has been smoothed all over, as well as the wear on the suspension hole. Like many fibulae, this one was originally part of a pair. Also note how the end of the fastening ring has been nicely filed and curved. Though simple in terms of materials, it was obviously made with care.
The central design on this fibula is locally called “deg louza” – almond shaped – according to the Quai Branly. Almonds were (and still are) cultivated in the Drâa valley, which is probably why they were often chosen as a decorative motif on those fibulae. I had to guess, I would say that the inner part of the motif is the nut, the dotted border the rest of the fruit partially open, and that the tri-lobed finials are meant to symbolize leaves.
The second fibula is also from the Drâa valley, but is a way more recent example (early 20th century versus end of the 20th century, I think). The craftsmanship is way rougher, the cast fibula – maybe made out of maillechort or a similar alloy – was quickly cleaned with a file and received no additional engraving ; however, the techniques used are the same. The tips of the fastening ring are made from rolled and soldered sheet metal. Likewise, we also find the same decorative motif as on our older fibula, the almond fruit.
That’s it for today, I will try to post again soon to reduce my backlog!
(Links in the comments)
16/06/2023
Finally had some time to clean and photograph some of my latest finds!
Let’s start with another khamsa, definitely not an old piece, but I liked its simple yet elegant craftsmanship, and I have a thing for khamsa in general, and those big examples in particular!
It was very dirty and oxidized when I got it; it could be made out of some kind of maillechort, since it had copper oxide on it before cleaning. The red faceted glass mount seems to be tin soldered to the rest of the jewel.
This type of simple khamsa, cut from sheet metal and hand engraved is typically associated with Morocco, in the last decades of the 20th century. Similar pieces, with a central glass jewel, are kept in the MUCEM collection, though they are not exactly geographically located. However in this case, the use of a pin with dodecahedral head to secure the loop allows us to attribute this specific khamsa to Morocco, as this type of dodecahedral ornaments are very popular in this country. Stamped dodecahedral beads can be found on many Moroccan necklaces, including some in the Quai Branly collection.
Khamsa / hamsa were, and still are, very popular amulets in North-Africa, that are supposed to ward off the evil eye. You can read more about the symbolism of the hand as a protective symbol in my previous posts (including here : https://www.instagram.com/p/CpIhlccIKWH/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA). It is possible that the glass piece in the middle of this variety of khamsa was meant to symbolize on eye, the “evil eye” trapped in the hand ; indeed, a lot of other khamsa (mostly from Tunisia) have an engraved eye in the middle of the palm.
Neat little detail on this one, although it is on the more abstract side, the nails are still depicted in the engraving!
(Links in the comments!)
19/05/2023
For today, here is a humble piece of everyday jewelry, no precious metal or stones here, but
I do find interesting those often overlooked jewels.
This ring is from Northern Mauritania or Southern Morocco. The trifoliate design around a lozenge center is typical from that area, as well as the colorful dots and lines.
As I said above, this is a very simple type of jewelry; according to the , some of
those rings were made of silver, but judging by their appearance, it is most likely very low-grade silver, and in some cases – like mine – non-specific white metal. The colored dots
are actually colored wax, as such, it is very fragile and I’m happy that most of them are still
present on my example (this is also why I haven’t tried to clean it yet…).
Those rings were worn by women, and seem to have been popular throughout the 20
the century. The design was achieved through engraving, which is a pretty common technique
for Saharan jewels.
I find it interesting that – while I found several examples of those rings in museum collections – I barely found any mention of them in specialized literature, which seems to focus on more prestigious pieces. In my opinion, and whatever the subject, it would be very interesting to add more simple, everyday items in such publications, as they are equally – if not more – representative of a culture as masterpieces; and it would at the same time help beginning collectors to find interesting pieces without breaking the bank! Maybe I’ll do a post on my backlog of “humble pieces” in the future…
Anyway, cool little ring, and not often seen!
Other examples:
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/369486-bague
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/369484-bague
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/369485-bague
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/369486-bague
04/05/2023
As promised, something very special for today, and, for once, not jewellery or weapons!
I never though I would find something like this, and especially not in a small flea market of rural France! While I didn’t know exactly what it was at the moment, I immediately recognized the style of the drawing and the script used for the text. Having handled parchment before, I was also reasonably confident that it was an old piece.
And this is how I came in the possession of an Ethiopian amulet scroll, for the princely sum of 3 euros. And yes, this is absolutely a flex, my bad!
Having a deep interest for African cultures and history in general, and Ethiopia – among others – in particular, I can’t tell you how excited I am by this find!
I’m not going to retell the whole history of Ethiopia here, there are some very good info on that subject online, but to understand the context of this scroll, you must know some main points. Around 330 CE, the kingdom of Aksum (roughly Northern Ethiopia – Southern Eritrea) adopted Christianism as its state religion, and until the end of the 20th century, Christian dynasties of varying power and geographical span existed in Ethiopia, creating a unique religious culture and art. However, Ethiopia was, and still is, home to many ethnic groups and religions, including Christianism, Islam, and multiple polytheistic religions.
Ethiopia is also the birthplace of the unique Ge’ez abugida, an alphasyllabary used to write the Ge’ez language. Although Ge’ez stopped being a living language between the 10th and 14th century, it remains the liturgical language of the Ethiopian Orthodox Church. Ethiopia has an extremely rich manuscript heritage, with some codices dating back to the 6th century, making them some of the oldest surviving gospel books. Manuscript production in Ge’ez was still alive up to the 20th century, and a lot of illuminated manuscripts were created in the 19th century, including religious books, but also scrolls such as the one discussed today.
Known as amulet, prayer, healing, or magic scrolls, those documents are a very distinct part of the Ethiopian manuscript tradition. While most books took the form of codices, the scroll format was almost exclusively used for amuletic purposes. More precisely, those scrolls – that were part of a ritual – were created to heal an individual, or to shield him from health issues, that were considered as being caused by demons and evil spirits.
The material used, texts, and images all played a part in the healing process. The scrolls were created by Däbtäras, unordained figures of the Ethiopian Orthodox religion, that were also scribes and traditional healers. Each scroll was created and personalised for an individual. As part of the healing ritual, an animal (commonly a goat or a sheep) would be sacrificed, symbolically taking the place of the patient, that would be bathed in the blood of the sacrifice. The skin of the animal would then be prepared to create parchment, that would be cut in long strips, sewn together to the size of the patient (offering “head to toe” protection, in the words of Kristen Windmuller-Luna).
The Däbtära would then pen the scroll and illuminate it, using black carbon ink and red vegetal ink for the text, as well as other various colours for the illuminations. The layout of those scrolls, while not set in stone, would usually follow the following pattern : an introductory large illustration, often an archangel, text, another smaller illustration at the middle of the scroll, text, and a concluding illustration. Most of the text would be written in black, with headers, sacred names, and the name of the owner – added only when the rest of the scroll was completed – written in red. The healing ritual would then proceed, with the patient actively looking at the unrolled scroll, while prayers were recited and holy water distributed. Interestingly, I did find an Ethiopian painting in the collections that depicts step by step the making of a scroll; while rather recent, it is a very interesting “in culture” document (see sources at the end of the post). According to Windmuller-Luna, the act of visualisation is key to the healing process : the demon would see the magical scroll through the eyes of the victim and be trapped or chased. According to Jay Johnston, the illuminations are not merely symbolical, but actually performative, meaning that it was believed that the sickness causing demon would be actually trapped by the scroll.
Sadly, I don’t read Ge’ez (yet?), so I can’t comment on the content of this specific scrolls. But most of them included Christian prayers, excerpt from religious texts, and invocation of secret names of god. The illuminations are, thankfully, easier to interpret. The introductory illustration most likely portrays an archangel, perhaps Phanuel, who is linked to exorcism and frequently appears on healing scrolls. In that picture, the borders themselves, that could be viewed only as a decorative element, probably had a meaning, as theorized by Jay Johnston. Sometimes, those borders would be made of eyes, that were designed to reflect the gaze of the demon; in this case, the borders could be interpreted as rope meant to restrain the evil spirit. The archangel is depicted in a style typical of later Ethiopian illuminations, he holds both a sword and its scabbard, in the role of a protector and menace to the demon. The two other illustrations depict the same design – a kind of height pointed “star” with a central square containing a face – the final one being seemingly unfinished, or perhaps voluntarily left “empty”. Indeed, those designs can be interpreted in multiple ways, it could be the representation of an eight-winged angel, or – and I find this interpretation more interesting – the seal of Solomon, as suggested in the collections. According to the “Testament of Solomon” and multiple legends, king Solomon owned an engraved magical ring that allowed him to control and imprison demons and spirits; as such, the design on our scroll could be interpreted as a trap, with the imprisoned evil spirit represented by the face at the centre, the effectiveness of that trap being enhanced by the two borders, symbolizing both ropes and eyes. Under this hypothesis, we could speculate that the final design was understood as an “empty” trap for another demon. It is important to note that those illuminations, didn’t have mere illustrative properties, but were functional and essential to the efficiency of the scroll, as much as the text.
Once the ritual completed, those scrolls would be rolled and kept in a leather case (sometimes permanently sealed) that would be worn around the neck or arm. While deeply personal, we have proof that some scrolls were repurposed : on some scrolls, the name of the initial owner was scrapped, and the name of the new patient written in its place. According to multiple authors, some scrolls – sometimes longer, but more generally wider – were designed to protect a household and would be hung in homes. In the case of our scroll, it is strongly likely that it was worn by its owner, indeed, only the outer layers are frayed and darkened, which is coherent with the presupposition of a rolled scroll worn daily in a leather case.
While it isn’t easy to accurately date those scrolls, I think this one could be from the second part of the 19th century, by comparing it to other examples in museum collections. Artistic style, quality of workmanship, and wear seem to be coherent with other productions from that time period (see sources at the end of the post).
This type of scrolls was extremely popular in the 19th century, possibly numbering in the millions, and were even used by non-Christian individuals. Despite this popularity, the use of those scrolls was condemned by both religious and political leaders multiple times during their long history; however, they were often tolerated, as they incorporated religious texts. That ambiguity can be seen in the words used to describe this type of rituals, indeed, there seems to be no direct translation for “magic” in Ge’ez – according to Eyob Derillo – and the words “asmat” and “saray” were used instead. “Asmat” refers to the invocation of the secret names of God and angels, and thus seen as lawful by the Ethiopian church, while “saray”, on the other hand, designate forbidden practices involving evil spirits.
It is interesting to note, in that respect, that while the use of amulet scrolls has considerably decreased since the 1970’s, it is still a very sensitive topic in the Ethiopian society. Indeed, comments under the recording of a conference on the subject of Ethiopian “magic” scrolls, were surprisingly intense; beyond the usual accusations of theft, there was heated debates with participants considering those scrolls as sacred texts that couldn’t and shouldn’t be understood by outsiders, while some other commenters considered them to be superstitious and heretical, even downright demonic, and calling for their destruction. In that regard, it is interesting to note that Eyob Derillo – curator for the Ethiopic and Ethiopian collections at the British Library – himself chooses to use the term “amulet scroll” instead of the more frequently used “magic scroll” to avoid “becoming mired in cultural presuppositions about belief and superstition”.
Well, this was a bit longer than I anticipated, but the more I learned, the more I was fascinated by this subject, to the point that I am now considering learning Ge’ez! In anyway, I will take good care of that scroll, and I’ll keep my eyes peeled for more Ethiopian manuscripts!
SOURCES :
Windmuller-Luna, Kristen. “Ethiopian Healing Scrolls.” Heilbrunn Timeline of Art History. New York, 2015. http://www.metmuseum.org/toah/hd/heal/hd_heal.htm
https://www.metmuseum.org/art/collection/search/307601
Nosnitsin, Denis. “Ethiopian Manuscripts and Ethiopian Manuscript Studies. A brief Overview and Evaluation”. Gazette du livre medieval. n°58, pp. 1-16. 2012. https://www.persee.fr/doc/galim_0753-5015_2012_num_58_1_1993
Vadrucci, Monia; Bussolari, Davide; Chiari, Massimo; De Rose, Claudia; Di Foggia, Michele; Mazzinghi, Anna; Orazi, Noemi; Zanasi, Carlotta L.; Cicero, Cristina. “The Ethiopian Magic Scrolls: A Combined Approach for the Characterization of Inks and Pigments Composition”. Heritage n°6(2). 2023. https://doi.org/10.3390/heritage6020075
Johnston, Jay. “Rare bites, Ethiopian “magic” scrolls”. Sidney. 2018. https://youtu.be/HpBbmsYn62U
Derillo, Eyob; Keene, Bryan C. (ed). “Travelling medicine: medieval Ethiopian amulet scrolls and practitioners’ handbook”. Toward a Global Middle Ages: Encountering the World through Illuminated Manuscripts. Los Angeles, 2019. https://books.google.fr/books?hl=fr&lr=&id=j_qdDwAAQBAJ&oi=fnd&pg=PA121&dq=ethiopian+scrolls&ots=syEqgUmgd8&sig=7A1ugZN28rRYrrigxeXBtKtlFjE&redir_esc=y =onepage&q=ethiopian%20scrolls&f=false
Wion, Anaïs; Wenig, Steffen (ed). “Collecting manuscripts and scrolls in Ethiopia: The missions of Johannes Flemming (1905) and Enno Littmann (1906)”. S. Wenig. In Kaiserlichem Auftrag: Die Deutsche Aksum-Expedition 1906 unter Enno Littmann, vol.2. 2012. https://shs.hal.science/halshs-00524382/
Chernetsov, Sevir. “Ethiopian magic texts”. Forum for anthropology and culture n°2. 2005.https://anthropologie.kunstkamera.ru/files/pdf/eng002/eng2_chernetsov.pdf
Six, Veronika; (co-authors) R. Brown, Jeremy; Delamarter, Steve; Haile, Getatchew; Terefe, Kesis Melaku. « Introduction to the scrolls of Ethiopian spiritual healing 135-284”. Catalogue of the Ethiopic Manuscript Imaging Project 2: Volume 2: Codices 106-200, Magic Scrolls 135-284. 2013. https://books.google.fr/books?id=64viDwAAQBAJ&pg=PR39&hl=fr&source=gbs_toc_r&cad=3 =onepage&q&f=false
Desclaux, Vanessa. « Des prières magiques éthiopiennes contre la peur et le point de côté ». Manuscripta. 2020. https://manuscripta.hypotheses.org/3115
Berhanu. « Peinture : "Préparation d'un rouleau" ». Before 1993. https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/387427-peinture-quot-preparation-dun-rouleau-quot
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/233198-rouleau-protecteur
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/383633-rouleau
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/387241-rouleau
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/383417-rouleau
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/362943-rouleau
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/387407-rouleau
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/387218-rouleau
https://www.quaibranly.fr/fr/explorer-les-collections/base/Work/action/show/notice/387238-rouleau
12/04/2023
Fibula, again, but this time a rather hefty one at 48.5 grams!
This large piece was created in Morocco by casting a low silver alloy, it was then engraved to enhance the details of the cast. The top of the head of the fibula is pierced, since it would originally have been worn as a pair, and linked to the other fibula by a chain. Those twin fibulae would have been worn at the shoulders to pin a garment in place.
Though many Moroccan fibulae have this general shape, the ornamentation allows us to attribute it more precisely to the Aït Haddidou, an Amazigh (“Berber”) tribe from the High Atlas. Indeed, I was lucky enough to find a very close match in the excellent “Mémoires Berbères”, and made a comparison picture. As you can see, my example is way less fancy : there is no coral bead, the alloy is less pure, and the casting is more rough ; however, the general design is very similar, particularly the junction between the pin and the head of the fibula, exhibiting the same cross-hatch and floral pattern.
Jewels of similar design but various quality are very frequent in North-Africa, as a result of a strong cultural identity that yet had to be adapted to very different levels of wealth. Interestingly, there is three rather similar fibulae in the collections attributed to the Aït Haddidou. Two about the same quality as mine, made out of copper – silver alloy, and a much simpler one, that seems to be made of rather pure silver (see links below).
As all fibulae, those are utilitarian jewels, meant to held fabric in place, but the huge Moroccan fibulae were also a mean to display and transmit wealth.
I don’t have much more to add about this impressive piece, but I’m very happy to add another Moroccan fibula to my collection, and even more happy to have been able to attribute it with some certitude!
SOURCES :
DRAGUET Michel. « Mémoires Berbère. Des bijoux et des femmes au Maroc ». 2020.
https://collections.quaibranly.fr/ -e251-476f-ba24-57422a7a9513
https://collections.quaibranly.fr/ -dd16-4381-b0ce-b34866ae32a6
11/04/2023
It’s always a pleasure when I can actually wear a piece from my collection, which is the case for that little khamsa!
As you can see, it is very similar to the pendant on my latest rihana (see previous posts!). Indeed, this one is also Tunisian, which is confirmed by the Moor’s head hallmark which was used in Tunisia for .800 silver.
Considering the style and general wear on this khamsa, we can suppose that it dates from the early 20th century. It was most likely hung to a rihana, considering the heavy wear on the suspension ring.
Taking a closer look at its round shape at the top, it is possible that this khamsa was first drilled flat, and that the hole was later replaced by a soldered silver brace – which is a classic fastening style on Tunisian pendants – when it became too worn. It would thus have been very similar to the last one I posted here.
The cast pattern is a simple foliated scrolls design, enhanced by engraving and perforations.
As I explained a number of times here before, the khamsa was – and still is – a very popular amulet in North Africa, that is supposed to protect its wearer against the evil eye. I invite you to check my previous posts on the subject if you want to learn more about it.
Anyway, this is a simple, but very typical piece of Tunisian jewelry ; I also find it really aesthetically pleasing and I’ve been wearing it since I got it !
LINKS :
A khamsa from the collections with a worn through hole: https://collections.quaibranly.fr/ -9e87-492b-9165-c9770872cc42
A khama from the collections with a similar suspension brace: https://collections.quaibranly.fr/ -a707-4e9e-97aa-95c12ff1c99e
Address
Website
Alerts
Be the first to know and let us send you an email when The antiquarian posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.
Videos
Gentlemen, we have a pulse ! From this : https://www.facebook.com/731603743964998/posts/1178910692567632/ To this :
Shortcuts
- Address
- Alerts
- Videos
- Claim ownership or report listing
-
Want your museum to be the top-listed Museum?
Share
