Algerian art

Algerian Art Jewellry, Photography and Pottery from

Rouach Collection

G PRESS O

This publication in supported by the Rouach Family Foundation.

Cover photography by: David Rouach On the cover Front: Brooch, Kabylia, Algeria, ca. 19th century.

Any copy of this book issued by the publisher as a paperback is sold subject to the condition that is shall not by way of trade or otherwise be lent, resold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition inclunding these words being imposed on a subsequent purchaser.

Graphic: Graphik’Al Grenoble Copyright ©: David Rouach, 2016 Text copyright ©: David Rouach Specially commissioned photography by David Rouach

Distributed by rouachbooks@gmail.com

Algerian Art

Jewelry, Photography and pottery from the

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Rouach Collection

Dr David Rouach

G Press The O

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racelet always worn in pairs, were part of traditional costume in almost all Islamic cultures. Silver was a very popular material for jewellery as it was seen as a symbol of purity and honesty ans rural communuties prefered it to gold which they regarded as a sign of vice.

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he filigree and enamel “cloisonne� technique used here was introduced to North Africa in the late fifteenth century by Jewish immigrants fleeing persecution in Spain

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he Jewish population dominated and brought with them many jewellery techniques such as enamelling and filigree which they handed down from generation to generation. The Berbers thought working with metal was an inferior occupation.

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BRACELET (Ameqyas)

Silver alloy with enamel with imitation coral Beni yeni peoples Great Kabylia, Algeria, 20th century D. 6,5 cm Bibliography : Camps - Fabrer, 1990, n° 197 / Seiwert, 2009, n° 96

THREE DISHES (Tibaqcin yedd没klen) Terracotta, natural pigments Chenua, Algeria, 19th century

D. 5,5 x 32 x 34 cm Bibliography : Ideqqi, 2007, p. 55

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ANKLE (Ahelhal)

Silver alloy with imitation coral Great Kabylia, early 20th century H. 13,3 cm Bibliography : Camps - Fabrer, 1990, n° 214>216 / Gonzalez, 1994, n° 167

Reverside of the Head ornament

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HEAD ORNAMENT (Taessabt) Silver alloy with enamel with imitation coral Great Kabylia, Algeria, 19th century L. 33 cm Bibliography : Seiwert, 2009, n° 84

North African Photography

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hotographic studios published popular tourist views of North Africa, sometimes expressing a stereotypical view of the region. While these images depict the socalled Orient as it was perceived by Europeans, they also reveal information about daily events in 19th-century North Africa. Admittedly, some photographers staged their images with paid models and carefully placed props.

Others photographed outdoor scenes and real people in their indigenous dress in an attempt to capture the vibrancy of North African lite.

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hese original prints, many more than a century old, provide a valuable glimpse into 19th-century North African society. Featuring lmazighen, Arabs, Jews and peoples from sub-Saharan Africa working as merchants, water sellers, musicians and teachers, the photographs present the ethnic diversity and cosmopolitanism that still characterize North Africa.

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eginning in the 1860s, European commercial photographers set up studios in the major cities of North Africa. Photographs of indigenous «types» were produced for Europeans to take home to friends and family. The images were mounted on cabinet cards into the 1890s, when the format was replaced by picture postcards. Studios also sold larger prints of photographs, such as those seen here, which were acquired by European tourists, artists and collectors.

Berber People

Location: Berbers have lived in Africa since the earliest recorded time. References date back to 3000 BC. There are many scattered tribes of Berber across Morocco, Algeria, Tunisia, Libya, and Egypt. Forty percent of the Moroccan population is Berber, 30% live in Algeria, and 1% in Tunisia. There are smaller numbers of Berbers in Mauritania, Mali, and Niger. They tend to live in desert regions like the Sahara and in the Atlas Mountains. They live there because the Arabs conquered North Africa in the 7th century AD, and pushed the Berbers out. The number of Berbers in North Africa has slowly declined because more and more Berbers are adopting the language and culture of the Arabs.

Language: Berber is derived from the Roman term for barbarians. Berbers are non-Arabic tribes. Throughout the centuries Berbers have mixed with many ethnic groups, mostly Arabs. Because of this, Berbers have come to be identified by linguistics instead of racial basis. The Berber language has 300 closely related dialects. A number of tribes have their own distinct language. Some of the largest Berber tribes are Rif, Kabyle, Shawia, Tuareg, Haratin, Shluh, and Beraber. The written language is not commonly taught and is rarely used.

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The jewels would have been worn by a Kabyle woman in the second half of the nineteeth century. The Kabyles are a Berber people from the Atlas mountains in North Eastern Algeria.

AMULET (Tcherot) Silver alloy Tuareg Peoples Sahara, Algeria, 19th century

D. 9,5 x 8,9 x 0,8 cm Bibliography : Seiwert, 2009, n째 223 / Loughran, 2008, n째 17

Algeria Jewelry

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ariations on a form, such as the hand, show how an object can be borrowed, reworked and altered to suit the needs of different wearers. The many regional styles of ornamentation in the Rouach Family Collection illustrate how jewelers shared an if adapted techniques as they experimented with new materials, such as coins or synthetics, and discovered original ways to incorporate precious and rare older materials into traditional designs.

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n rural areas jewelry is generally made of silver and favors geometric form and decorations. Pieces crafted in urban settings and sometimes made of gold display floral, arabesque and rounded designs. Many jewelers in urban centers were descendants of Jews who fled Spanish persecution beginning in the 16th century. Itinerant jewelers worked in rural areas, where their techniques included casting, piercing, filigree work and enameling.

Niello decoration lends a distinct black outline to patterns on silver jewelry. These techniques were inherited from Egyptian, Greek, Roman and Byzantine traditions.

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PENDANT (Hamsa) ou (Khomeissa) Leather, shell Tuareg peoples, Sahara, Algeria, 20th century

L. 9,5 cm Bibliography : Binoche et Giquello, Paris, vente du 1er mars 2013, n° 31

Berber Symbols (from www.ameltafsout.com)

The Berber people are the inhabitants of North Africa. Nowadays there are Berber groups from Mauritania to Egypt. They inhabit the mountain regions and parts of the Sahara Desert. Berbers refer themselves as the Imazighan meaning ÂŤThe Free PeopleÂť. The Berber symbols,Symbols designs, motifs and tattoos originated from pre-Islamic beliefs influenced later by Berber Islamic geometric patterns and ornamentation.

The Berber people are the inhabitants of North Africa. Nowadays there are Berber groups from Mauritania to Egypt. inhabitTextiles andregions other and objects as anBerbers act forrefer worship and astribute to Allah.

They the mountain parts are of thecreated Sahara Desert. themselves the Imazighan meaning "The Freemay People".

The Berber symbols, designs, motifs andnot tattoos originated from pre-Islamic beliefs Many objects contain a baraka.

The baraka does exist only in amulets or talismans influenced later by Islamic geometric patterns and ornamentation. but in any kind of objects in order to deal with darker forces and curing illnesses. In North Textiles other objects are symbols created as to an be act for worship tribute to Allah.

Many and objects may contain a baraka.

Africa and there is still some found suchandas, magic squares geometric figures The baraka does not exist only in amulets or talismans but in any kind of objects in order to deal with darker forces (triangles, spirals,Incrosses, eight pointed stars, circles, diamonds). and curing illnesses.

North Africa there is still some symbols to be found such as, magic squares and geometric figures (triangles, spirals, crosses, eight pointed stars, circles, diamonds).

1.OLIVETREE: Strength because of its Berber name azemmur, diverted from the term tazmat

(strength).

1.OLIVETREE: Strength because of its Berber name azemmur, diverted from the term tazmat (strength).

2.WHEAT: is associated with Life (because of it sheath) and Death (because of the seeds being in

the ground).

2.WHEAT: is associated with Life (because of it sheath) and Death (because of the seeds being in the ground).

TREE: is related to an easy life, happinness and fertility.It symbolises the centre of the world 3. 3.

TREE: is related to an easy life, happinness and fertility.It symbolises the centre of the world surrounded surrounded by Beings,objects and spirits. It also means Life (because of the roots) and knowledge by(because Beings,objects and spirits. It also means Life (because of the roots) and knowledge (because of the leaves). of the leaves).

SEEDS: it is a symbol for Fertility.

Life and Fertility.

4. 4.

SEEDS: Male Male seeds seeds and it isand a symbol for Life and HAMMER: forces and power. creative is a very important instrument for the 5. 5.

HAMMER: Power,Power, naturalnatural forces and creative It ispower. a very Itimportant instrument for the blacksmith because it enables him to change the iron into various shapes. blacksmith because it enables him to change the iron into various shapes.

6. 6.

ANCHOR: Solidity, continuity, faithfulness, balance and lucidity.and lucidity.

ANCHOR: Solidity, continuity, faithfulness, balance A sharp instrument which represents and destruction, as it attack 7. 7.

AXE:AXE: A sharp instrument which represents anger andanger destruction, but as it doesbut attack evildoes forces, it is aevil forces, it is aItpositive symbol. It is also associated the lightning positive symbol. is also associated with the lightning and with rain therefore fertility.and rain therefore fertility.

ARROW: Cosmic projection.

Associated with lightning and represents energy and fertility.

8. 8.

ARROW: Cosmic projection.

Associated with lightning and represents male energymale and fertility.

Life, power. is a source of Life, andcould lightalso but be could alsoforce be an evil force 9. 9.

SUN:SUN: Life, power.

It is a It source of Life, heat and heat light but an evil because it because it does drain waters and destroy can destroy the crops. does drain the the waters and can the crops.

MOON: Associated with feminity and represents change, and the perpetual cycle.

10.10.

MOON: Associated with feminity and represents change, fertility and fertility the perpetual cycle.

11. WEAVING COMB: It represents the movement of the world, balance, cohesion and tidiness.

11. WEAVING COMB: It represents the movement of the world, balance, cohesion and tidiness.

SHIP:< Associated with and meansblessing, strength, blessing, wisdom.

12.12.

SHIP: Associated with water andwater means strength, wisdom.

CRESCENT: revival, Openness, and resurrection of the full moon.

13.13.

CRESCENT: Change,Change, revival, Openness, birth,deathbirth,death and resurrection of the full moon.

14. CROSS: movement, space with different directions: up/down - North and South, left/right -

14.East/West.

CROSS: movement, space with different directions: up/down - North and South, left/right - East/West.

SWASTIKA: a bird the therefore creative taking off of Life.

15.15.

SWASTIKA: Symbol Symbol for a birdfortherefore creativethe taking off of Life.

16.CROSS WITH SIX BRANCHES: Movement and space but also solidity, anchoring and

16.CROSS WITH SIX BRANCHES: Movement and space but also solidity, anchoring and grounding. grounding.

DIAMOND: womanhood andIt is fertility.

It iswith associated snake and represents 17.17.

DIAMOND: FeminityFeminity womanhood and fertility. associated the snakewith andthe represents union of opposites. thethe union of opposites.

AMEL TAFSOUT (01.10.2003)

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PENDANT (Hamsa) ou (Khomeissa) Silver alloy Tuareg peoples, Sahara, Algeria, 20th century

L. 9,5 cm Bibliography : Binoche et Giquello, Paris, vente du 1er mars 2013, n° 30

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NECKLACE (Azrar)

Silver alloy with enamel and coral Great Kabylia, Algeria, 19th century L. 44 cm Bibliography : Camps - Fabrer, 1990, n° 159 / Seiwert, 2009, n° 95

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BANGLE (Swar)

Silver alloy Aulad Nail, Algeria, 20th century D. 7 cm Bibliography : Benfoughal, 1997, n° 225 / Seiwert, 2009, n° 150>152

JAR (Tekelit)

Terracotta natural pigments Great Kabylie, A誰t Iflissen people, 19th century 25,5 x 16 x 15 cm Bibliography : Ideqqi, 2007, p. 84

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TEMPLE

Silver dore with imitation coral Auras, Algeria, 20th century H. 22 cm Bibliography : Benfoughal, 1997, n° 56

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BROOCH (Abzim)

Silver alloy with imitation coral Kabylia, Algeria, 20th century H. 19,4 cm Bibliography : Seiwert, 2009, n° 90 ; Camps-Fabrer, 1990, n° 45 / Laughran, 2008, N° 36

Reverside

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BROOCH (Tabzimt)

Silver alloy with enamel and imitation coral Greater Kabylia, Algeria, 20th century D. 11 cm Bibliography : Seiwert, 2009, n° 89 / Loughran, 2008, n° 35

Reverside

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BROOCH (Abzimt) or (Afim) Silver alloy with enamel and imitation coral Great Kabylia, Algeria, 19th century

H. 17 cm Bibliography : Camps-Fabrer, 1990, n° 136 / Seiwert, 2009, n° 88

Materials in North African Jewelry

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he rich mixture of materials in North African jewelry reflects the varied cultures of the regionâ&#x20AC;&#x2122;s inhabitants and their long history of extensive trade and contact. lmported materials from the Middle East, sub-Saharan Africa and Europe were lavishly combined with local materials of diverse color and form. lt is not uncommon to find jewelry with elements, some more than two thousand years old, from Europe, lndia, ancient Egypt and Central Asia.

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sed widely throughout Africa, beads have been imported and made locally for thousands of years. Beads of all shapes and sizes made of stone, coral, amber, glass, shell, old coins and later Bakelite and plastic buttons are combined in elaborate designs.

These are often based on aider jewelry forms handed dawn over generations. Amber, a fossilized resin imported into North Africa from the Baltic and beyond, was often strung with beads made of copal, a semi-fossilized resin found in West Africa. Gold and silver are metals of choice in North African jewelry. Because pure gold and silver were rare and restricted to the wealthy, most jewelers worked with alloys, sometimes made from melted coins, salvaged metal abjects and discarded jewelry.

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any materials are thought to have protective and healing qualities as well as symbolic meaning. Silver is linked with honesty and purity, and when combined with certain stones it can heal select ailments. Red Mediterranean coral, associated with life-sustaining blood, is prized for its healing properties. lt is worn to promote fertility and ta prevent harm ta children. Yellow amber attracts sunlight and deflects darkness.

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he range of techniques also reflects the cosmopolitan history of the region. Jewish silversmiths living among the Kabyle of northern Algeria specialize in cloisonne enameling and also introduced niello.

This technique, with Turkish and Central Asian origins, involves fusing silver, copper and lead to make a black powder that is then applied to a base layer of metal. Other techniques, such as filigree, granulation and engraving, suggest lies to areas as distant as Yemen, Syria and Somalia.

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HEADSCARF FIBULAE (Amsak) Silver alloy and imitation coral Auras, Algeria, 19th century

H. 17 cm Bibliography : Benfoughal, 1997, n° 181 / Seiwert, 2009, n° 155

BROOCH (Tabzimt)

Silver alloy with enamel with imitation coral Aït Yenni peoples Great Kabylia, Algeria, 20th century D. 11 cm Bibliography : Loughran, 2008, n° 35 / Seiwert, 2009, n° 89

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BROOCH (Abzim)

Silver alloy with enamel and imitation coral Great Kabylia, Algeria, 19th century H. 17 cm Bibliography : Camps - Fabrer, 1990, n° 136 f / Seiwert, 2006, n° 88

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ANKLE (Ihelhalen)

Silver alloy with enamel and imitation coral Greater Kabylia, Algeria, 20th century H. 13 cm Bibliography : Camps-Fabrer, 1990, n° 214>216 / Gonzalez, 1994, n° 167 / Seiwert, 2006, n° 99

JAR (Tabidust)

Terracotta, natural pigments Great Kabylie, A誰t Abdou peoples, 20th century D. 24 x 19 x 21 cm Bibliography : Ideqqi, 2007, p. 28

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BELT BUCKEL

Silver alloy Aulad Nail, Algeria, 20th century L. 14 cm Bibliography : Benfoughal, 1997, n° 204

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NECKLACE (Ameqyas) Silver alloy Sahara, Algeria, 20th century

H. 7 cm Bibliography : Seligman, 2006, p. 124

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NECKLACE (Charka) Silver alloy Aulad Nail, Algeria, 19th century

L. 40 cm Bibliography : Camps-Fabrer, 1990, n° 165

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BRACELET (Ameqyas)

Silver alloy with enamel and imitation coral Great Kabylia, Algeria, 19th century D. 6,5 cm Bibliography : Camps-Fabrer, 1990, n° 197 / Seiwert, 2009, n° 96

PECTORAL (Teglet) Silver alloy Mzab, Algeria, 19th century L. 40 cm

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LAMP (Mesbah)

Terracotta, natural pigments Ouadhia, Aït Aissi peoples Great Kabylia, Algeria, 19th century 24 x 13,5 cm Bibliography : Ideqqi, 2007, p. 89

LOCK (Tanast) and KEY (Asrou) Iron alloy, copper alloy Algerian Sahara, 20th century Tuareg peoples

Lock : 10 x 12 cm - Key : 11 x 2,2 cm Bibliography : Seligman, 2006, p. 240 / Quai Branlyâ&#x20AC;&#x2122;s, 71.1934.34.4.1.2

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CAMEL SADDLE (Tarik of Tamar) Leather, rawhid, wood, metal, iron Algerian Sahara, 19th century Tuareg peoples

89 x 72 cm Bibliography : Seligman, 2006, p. 79, n° 4.6 / Binoche et Giquello, Paris, vente du 1er mars 2013, n° 95

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ewelry is an essential part of every day dress for Tuareg peoples.

ross-shayed pendant (tenaghalt) of nickel silver were once every day items of jewelry for Tuareg men and women from the Algerian Sahara.

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lassical Tuareg jewelry forms were primarily silevr and included ring, bracelets, earrings, and pendants that were worn every day.

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he most common form of Tuareg pendant, the â&#x20AC;&#x153;crossâ&#x20AC;? shape. It appears in many different forms, generally associated with different regions or Tuareg groups and has now become both a symbol of Tuareg identity.

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CROSS PENDANT (Tenaghalt) Silver alloy Sahara, Algeria, 20th century

H. 6,5 cm Bibliography : Seligman, 2006, p. 250

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LAMP (Mesbah)

Terracotta, natural pigments Ouadhia, Aït Aïss peoples Great Kabylia, Algeria, 19th century 17,5 x 13 x 12 cm Bibliography : Ideqqi, 2007, p. 89

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BROOCH (Akhlalet) Silver alloy Auras, Algeria, 19th century

H. 14 cm Bibliography : Camps-Fabrer, 1990, n° 151

PECTORAL ORNAMENT (Terout tan idmarden) Silver alloy Algerian Sahara Tuareg peoples

33,5 x 16 cm Bibliography : Seligman, 2006, p. 201, n째 G.15 / Binoche et Giquello, 2013, n째 25

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BRACELET (Ameqyas)

Silver alloy with enamel and imitation coral Greater Kabylia, Algeria, 19th century D. 6,5 cm Bibliography : Camps-Fabrer, 1990, n° 197 / Seiwert, 2009, n° 96

Kabyle pottery was traditionally made for domestic purposes such as preparing and serving food, storing water and providing light, and for ritual occasions such as births and weddings.

JAR (Takeduh)

Terracotta, natural pigments Great Kabylie, Algeria, 20th century

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AMULET (Tcherot) Silver alloy Sahara, Algeria, 20th century Tuareg peoples

9 x 7,5 cm Bibliography : Seligman, 2006, p. 198, n° 6.9

JAR (Takelilt)

Terracotta, natural pigments Greater Kabylia, A誰t A誰ssi, A誰t Douala peoples, 19th century 25,5 x 27,5 x 7 cm Bibliography : Ideqqi, 2007, p. 85

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EARRING

Silver alloy Sahara, Algeria, 20th century D. 4,5 cm Bibliography : Seligman, 2006, p. 205, n° H.6

BROOCH (Tabzimt) Silver alloy Auras, Algeria, 19th century

H. 9,5 cm Bibliography : Benfoughal, 1997, n째 169 / Camps-Fabrer, 1990, n째 150

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BRACELET

Silver alloy Auras, Algeria, 20th century D. 7 cm

PECTORAL (Tereut) Silver alloy Sahara Algerian, 20th century Tuareg peoples

6 x 10 cm Bibliography : Seligman, 2006, p. 168, n째 7.2 / Binoche, 2013, n째 19

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BROOCH

Silver alloy Timimoun, Sahara, Algeria, 19th century H. 16 cm

SHIELD (Agher)

Leather, wood, oryx skin, cotton, iron alloy Algerian Sahara, 19th century Tuareg peoples 120 x 78 x 5 cm Bibliography : Seligman, 2006, p. 112>113 / Binoche, 2013, n째 47

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THREE-BODIED CERAMIC VESSEL Terracotta, natural pigments Kabylia, Algeria, 19th century Aït Aïssi, Aït Douala peoples

28 x 19,7 x 18 cm Bibliography : Ideqqi, 2007, p. 85

NECKLACE (Tasghal) Silver alloy Sahara Algerian, 20th century Tuareg peoples

L. 41 cm Bibliography : MusĂŠe E. Neuchatel, 85.7.41

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BAG (Tehaihait) Goat Leather, cotton Algerian Sahara Tuareg peoples

15 x 25 x 4 cm Bibliography : Seligman, 2006, n° 197, p. 19, n° 1.1 / Binoche, 2013, n° 5

JAR (Abushki)

Terracotta, natural pigments A誰t Mahmoud, Ouadhia peoples Greater Kabylia, Algeria, early 20 th century 24 x 30 x 24 cm Bibliography : Ideqqi, 2007, p. 87

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BROOCH (Abzim)

Silver alloy with imitation coral Greater Kabylia, Algeria, 20th century H. 15 cm

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FINGER RING (Tisek) Silver alloy Sahara, Algeria, 20th century Tuareg peoples

D. 4 cm Bibliography : Musée Neuchatel, 86-5-1

Reverside

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BROOCHE (Idwiren)

Silver alloy with enamel and imitation coral Greater Kabylia, Algeria, 20th century H. 14 cm Bibliography : Camps-Fabrer, 1990, p. 76

EARRING (Tizaben) Alloy Sahara, Algeria, 20th century Tuareg peoples

D. 8 cm Bibliography : Seligman, 2006, p. 207, n° H.14 / Musée Neuchatel, n° 47.1.26

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RATTLE RING (Tisek) Silver alloy Sahara, Algeria, 20th century Tuareg peoples

D. 2 cm Bibliography : Musée Neuchatel, n° 96.53.15

A

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mulets were worm throughout The Islamic region by men, women and children to help protect them all the dangers of everyday life.

Written inscriptions or pieces of material with magical or religious associations were often endosed in containers.

PENDANT

Silver alloy, enamel with imitation coral Greater Kabylia, Algeria, 20th century H. 4 cm Bibliography : Camps-Fabrer, 1990, n° 143, 144

DAGGER (Saif) Iron, and wood Algeria, 19th century H. 42 cm

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KNIFE AND SHEATH (Elmoshi) Steel ebony, silver Sahara, Algeria, 19th century

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EARRINGS (Tisek)

Silver alloy with enamel and imitation coral Greater Kabylia, Algeria, 20th century H. 5 cm Bibliography : Camps-Fabrer, 1990, n° 114

NECKLACE

Silver alloy Sahara Algerian, 20th century H. 7 cm

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BRACELET

Silver alloy Auras, Algeria, 20th century D. 6 cm Bibliography : Camps-Fabrer, 1990, n° 198-199 / Benfoughal, 1997, n° 222>224

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QU’RAN BOARD (Asseloum) Wood Sahara, Algerian, 20th century

40 x 14 x 1,5 cm Bibliography : Seligman, 2006, p. 70, n° C.1 / Quai Branly’s, 71.1941.19.1151

TOY, BIRD

Terracotta, natural pigments Greater Kabylia, Algeria, 19th century 14,5 x 11,6 x 6,5 cm Bibliography : Ideqqi, 2007, p. 89

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BELT (Jahezzamt Nlqalebn-sukar) Aulad Nail, Algeria, 20th century

L. 60 cm Bibliography : Benfoughal, 1997, n° 205

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BRACELET (Debtig) Silver alloy Algier, Algeria, 19th century Tuareg peoples

D. 9 cm Bibliography : Binoche, 2013, Lot 40 / Seiwert, 2009, n° 195

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DAGGER (Flissa) Iron, Cooper Algeria, 19th century H. 47 cm

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BROOCH

Silver alloy with enamel and corail Greater Kabylia, Algeria, 19th century H. 11 cm Bibliography : Seiwert, 2009, n° 93

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BRACELET

Silver alloy Alger, Algeria, 19th century D. 7 cm

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BRACELET

Silver alloy Auras, Algeria, 19th century D. 7 cm Bibliography : Benfoughal, 1997, n° 219 / Camps-Fabrer, 1990, n° 198>199

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HEADSCARF FIBULAE (Taharabt) Silver alloy with enamel and corail Greater Kabylia, Algeria, 19th century H. 14 cm

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VEIL WEIGHT (Arou N’swoul) Silver alloy Tuareg peoples, Sahara, Algeria, 20th century

H. 23,5 cm Bibliography : Seligman, 2006, p. 175 n° 7-13 / Binello, 2013, p. 18, n° 41>43 / Quai branly’s 71.1934.166.38

BROOCH

Silver alloy, glass Auras, Algeria, 19th century

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BROOCH (Aklelt) Silver alloy Auras, Algeria, 20th century

H. 11 cm Bibliography : Benfoughal, 1997, n° 169 / Camps-Fabrer, 1990, n° 197

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EARRING (Tizibit masc.) or (Tiziben plur.)

Copper, silver alloy Tuareg peoples, Sahara, Algerian, 20th century

Bibliography : Seligman, 2006, p. 207, n° H.14 / Musée Neuchatel, 47.1.76

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DISH

Terracotta, natural pigments Kabylie, Algeria, early 20th century 9,8 x 21 x 21 cm

Selected Bibliography Jewellery

Benfoughal, Tatiana - Bijoux & Parures d’Algérie : Histoire, Techniques, Symboles. Paris : Somogy Editions d’Art, 2003 Benfoughal, Bijoux & Bijoutiers de l’Aurès.

Paris : CNRS Editions, 1997.

Camps, Gabriel. Les Berbères, Mémoire et Identité Paris : Editions Errances, 1995.

Camps-Fabrer, Henriette. Bijoux Berbères d’Algérie Aix-en-Provence : Edisud, 1990.

Loughran, Kristyne and Cynthia Becker. Dessert Jewels.

Museum for African Art, New York, 2008.

Seiwert, Wolf-Dieter. Jewellery from the Orient : Treasures from the Bir Collection.

Stuttgar : Arnoldsche, 2009.

Tamzali, Wassyla. Abzim : Parures et Bijoux des femmes d’Algérie. Paris : Dessain et Tolra, 1984.

Pottery

Ideqqi, Art de femmes Berbères, Musée du Quai Branly, Paris : 5 continents, 2007

Tuareg

Binoche et Giquello, catalogue, Paris : vente du 1er Mars 2013 Burner Jean, Bijoux touaregs. Art des bijoux anciens du Sahel et du Sahara au Niger. L’Argentière - La Besée : Editions du Fournel, 2011 Seligman Thomas K. and Kristyne Loughran. Art of Being Tuareg. Sahara Nomads in a Modern World. Cantor Arts Center, UCLA Fowler Museum. Los Angeles, 2006.

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Eudel, Paul. L’orvévrerie Algérienne et Tunisienne.

Alger : Editions Adolphe Jourdan, 1902

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his beautiful book offers a strinking and unusual view of o wide array of arts from Algeria. It highlights-close up and in colour outstanding exemples of design and pottery, photography and jewelry.

T

he book opens with “North African Photography”.

A series of thematic chapters then provide context while painting out exceptional features “Berber people”, ”Algeria Jewelry”, ”Berber symbols”, ”Materials in North African Jewelry”. The selection of illustrations wohes the hand and eye of the most accomplished Craftsmen of Islamic world.

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he Rouach family Collection was founded by Joseph Rouach in 1890, a jewish silversmith from Meknes, Morocco.

D

r David Rouach hold a Phd in anthropology from Stendhal University in Grenoble, France and author of Bijoux Berbères au Maroc dans la Tradition Judeo-Arabe. Courbevoie/Paris : ACR Editions 1989 ; Les TALISMANS : Magie et Traditions juives. Paris : ALBIN MICHEL, 1989 ; IMMA ou Rites, coutumes et croyances chez la femme juive d’Afrique du Nord.

PARIS : Maisonneuve & Larose, 1990.

IBSN: 978-2-9555760-0-7 17e Prix TTC France 9 782955 576007