The Art of Accessories: A hand-braided hairwork necklace

The Victorian era (1837 - 1901) was a time of significant change. Women's fashion changed dramatically, as did their jewelry. Hair jewelry was an important piece of Victorian style, though it is not seen much today.

The popular trend for hair jewelry began in the 1860s when Queen Victoria began to wear jewelry with her late husband's hair woven into it to commemorate his death. This new trend caught on quickly and became immensely popular among women. They would collect locks of hair from their loved ones and wear them on their person to remember them or commemorate the death of someone close to them.

Antique Hairwork Necklace — Unknown Artist, *Necklace*, circa 1845, woven hair and gold, 9 1/4 × 5 × 1/2 in., Arkansas Museum of Fine Arts Foundation Collection: Gift of Genevieve T. Gill. 1933.009.001. Before treatment.

Unknown Artist, *Necklace*, circa 1845, woven hair and gold, 9 1/4 × 5 × 1/2 in., Arkansas Museum of Fine Arts Foundation Collection: Gift of Genevieve T. Gill. 1933.009.001. Before treatment

This hairwork necklace is circa 1845 and is part of the Arkansas Museum of Fine Arts collection in Little Rock, Arkansas. Constructed of braided hair and gold, it arrived at The Center displayed on a fabric-lined mount. The metal components exhibited minimal grime and oxidation, with solder marks on the two clasps that hold the chained cross at the top and the proper right end of the cross. Tears and fraying hair were noted on fourteen braided orbs; the damage varied, including missing material and deformations. The gold cap on the bottom of the cross was also missing. But, the focus of this treatment would be the hairwork beads and cross.

The frayed hair was consolidated with reversible adhesives and monofilaments under a microscope because of the delicate nature of the braided hair. The monofilaments were then toned with pigments and dye to integrate with the hair. The work was painstakingly performed by Senior Conservator of Objects and Frames Josh McCauley.

"This was one of the more challenging treatments I've completed. Working under the microscope for two weeks with micro hand movements was difficult. Each area mended was made of a cluster of three human hairs that had to be repositioned and consolidated. I'm happy with the final treatment because the chance of further damage to the woven hairs is less likely."

Conservation Antique Hairwork Necklace — Unknown Artist, *Necklace*, circa 1845, woven hair and gold, 9 1/4 × 5 × 1/2 in., Arkansas Museum of Fine Arts Foundation Collection: Gift of Genevieve T. Gill. 1933.009.001. During treatment, under microscope.

Adding an exciting dimension to the history of this necklace is another artwork from the Arkansas Museum of Fine Arts collection. Painted by artist Henry Byrd (1805 - 1884), Mrs. Weldon Wright (Lucy Macon Green) and Daughter (Leslie Hunt "Lula" Wright) (c.1856-1857) features this necklace being worn by Mrs. Wright as she sits for the portrait.

Painting Mrs. Weldon Wright and Daughter by Henry Byrd — Henry Byrd (Belmount Hall, County Tipperary, Ireland, 1805 - 1884, New Orleans, Louisiana), *Mrs. Weldon Wright (Lucy Macon Green) and Daughter (Leslie Hunt "Lula" Wright),* circa 1856 - 1857, oil on canvas, 38 1/2 × 30 in., Arkansas Museum of Fine Arts Foundation Collection: Gift of Sallie Wright Brame and Ida Wright. 1940.016.

While we may not know who Mrs. Wright was honoring with her necklace, we know hairwork was a way for people to express themselves through art while honoring those who have passed on or are deeply loved. Newly conserved, this beautiful and indeed one-of-a-kind necklace continues its memorialization. Josh shared, "It is a fascinating craft that was part of American history, and I hope the public can appreciate the delicacy of these objects."

Carissa Tonner