Necklace, Hawaiian Islands

Morris J. Pinto, Paris
Sotheby's, London, African, Oceanic and Pre-Columbian Art from the Pinto Collection, May 9, 1977, lot 8
Merton D. Simpson, New York, acquired at the above auction
Christie's, London, October 24, 1978, lot 140, consigned by the above
Nelly Van den Abbeele, Brussels, acquired at the above auction
Christie's, Amsterdam, Important Oceanic Art from the Collection of Mrs. Nelly Van den Abbeele, December 6, 1999, lot 558
Abraham Rosman and Paula Rubel, New York

Paul and Francine de Dekker, Ta'aroa. L'univers polynésien, Brussels, 1982, p. 173, cat. no. 135 (with incorrect provenance)
Charles W. Mack, Polynesian Art at Auction, 1965-1980, Northboro, 1982, p. 53, pl. 12, no. 2

Passage 44, Brussels, Ta'aroa. L'univers polynésien, February 26 - April 18, 1982

Lei niho palaoa are composed of cords of intricately woven human hair; each strand can include between 50 to 100 hairs. A smoothly carved whalebone pendant hangs elegantly from the body of the necklace. This particular piece of whalebone exhibits natural striations and marks on its cream-colored surface. The upward curve of the whalebone pendant evokes a stylized tongue. Worn by chiefs, the necklace symbolized the importance of oratory abilities for the success of a leader, while also highlighting the wearer’s divine genealogy.

Both the use of whalebone and human hair indicate that these objects were valuable, powerful, and prestigious. Whalebone was extremely rare in the eighteenth century. When the material became more readily available in the nineteenth century due to the rise of whaling and other trade practices, lei niho palaoa became more ubiquitous. The use of hair is symbolically important, as a person’s mana (or power) was concentrated in the head and hair. After cutting one’s hair as a sign of respect during mourning rituals, the hair was braided for these objects, adding to the symbolic significance of such pieces.