The bead is now back with its owner and so will remain somewhat a mystery, I think...

I easily recognize your beads as Boshan products. Although they are oval, the random trails are exactly like lots of Boshan beads, including spherical translucent blue beads. The beads I refer to differ only in that they additionally have sparse millefiori decorations, consisting of typical "sun burst" patterns (that I have proposed may represent flowers--such as chrysanthemums).

JDA.

They fall into two types - one with blue crumbs, the other with predominantly green. The crumbs in both types seem to be fragments of cane. The beads with blue crumbs also have tiny bits of aventurine cane.

I did some rather rocky photos comparing these beads with a strand of what I am told was determined to be "Boshan" glass beads. These also have tiny speckles of aventurine.

Thoughts?

Brass canister finial.

A necklace I own with what appear to be antique Chinese twisted wire cloisonne beads.

A photo of the strand I just acquired, since I just edited it.

JDA.

One "beachball"? (upper right)

First, I devised the name "beach ball" for a class of pseudo-millefiori beads, made in Japan. Nevertheless I see your point in this context.

When I went to China in 1997, I was surprised to find that there was a class of hot-pinched overlay beads (dull red or brownish-over-yellow), that seemed to be imitations of Venetian overlay beads—though the Venetian beads are wound, and the Chinese beads are drawn. I had previously documented Boshan beads that on the surface seemed to be identical, but turned out to also be wound or drawn (though all acquired together). These were translucent red glass.

So it is clear the Boshan makers produced hot-pinched glass beads.

In the strand I just acquired, the single drawn bead present is the specimen you pointed-out. The base is white, with four superficial stripes, being: red, blue, yellow, and green. The red and blue stripes are wide and abutt each other. The yellow and green stripes are thin and flanked by the white base glass.

By the way, four years ago I bought a large striped hot-pinched Boshan bead, that I suppose was inspired by a German marble bead (though by comparison it is not well-made).

Regarding the striped beads you show, that have avventurina ribbons outlined in white, on a black base—these may resemble drawn hot-pinched beads, but, since Venetians made very few (if any) hot-pinched beads, these are not that. Rather, they are wound and ribbon-trailed—and each of the stripe units has been added to the bead; and the shape was eventually rounded by constriction (more at one end than the other), and compression. In these ways the beads resemble "late a-speo beads" (though a-speo beads are primarily drawn beads, manipulated to become rounded, or whatever shape is desired).

JDA.

Chris, Jamey - what are the sizes of the Boshan beads you are showing?

Note, my beads were from a couple of sources - the necklace composition is mine.

It is clear that Venetians exported glass for the use of foreign industries—and I'm inclined to think that colors, such as bright red, may have been included and exploited for Boshan beadmaking.

Offhand, I cannot think of any Boshan beads in my collections that have avventurina glass. But the idea does not surprise me at all. Think of all the Chinese and Japanese enamel wares that include it.

JDA.

Since these beads are reputed to be from the 1990s, they don't provide any indication of avventurina use much prior to that time.

JDA.

This is the only edited photo, so far. But, having purchased and received yet more Boshan beads, I plan to shoot close shots soon.

JDA.

Blue speckled and necklace beads accompanied by other beads and findings indicating a c1920s-40s time frame.

White beads age not determined. Have aventurine specks. Comparatively clean holes, high polish. A few stress cracks, appear to be somewhat casually wound (lots of tags near holes, not precisely round or holes centered). Could be recent, i.e., post 1990s?

I cannot effectively date most of these beads, since they have come me as a group, but I know they were collected from estate sales, and not necessarily from the long past.

At the moment I am expecting to receive a collection of Boshan beads, that are reputed to have been made in the 1990s. I am looking forward to seeing them, since included are colors and patterns that I haven't see previously.

I have one strand and a few single sparse millefiori beads, that I bought as new in the 1990s. I have rarely ever seen their like. They are conventional in manufacture, but the cane units are odd—being fuzzy in details. I attributed this to their being new elements and beads. Whereas the "new beads" I bought in New York in 1987 clearly were made with the same cane stock as earlier beads.

JDA.

The recent avalanche of faceted Chinese beads has been surprising to me.

The Wikipedia article noticeably avoids including any Japanese occupation history.

In the early 20th century, BoShan was the administrative capital of the area. But BoShan is in the mountains while Zhang Dian is in a flat valley. Zhang Dian is on a main rail corridor, while BoShan was just a spur. So Zhang Dian replaced BoShan as a commercial and administrative center.

ShanDong was a German protectorate in the early 20th century, and in BoShan you can see traces of German influence. Some of the major non-Chinese companies in town are German. Siemens was one of the largest companies in town, but that German company sold their BoShan factory to GardnerDenverNash in 2005. The train station looks like a Bavarian building. And the town still has a few small restaurants who brew their own beer, German style.

Wikipedia on Japan occupation of Shandong:

China's refusal to sign the Treaty of Versailles necessitated a separate peace treaty with Germany in 1921. The Shandong dispute was mediated by the United States in 1922 during the Washington Naval Conference. In a victory for China, the Japanese leasehold on Shandong was returned to China in the Nine-Power Treaty. Japan, however, maintained its economic dominance of the railway and the province as a whole. When its dominance in the province was threatened by the ongoing Northern Expedition to unite China in 1927–1928, Japan launched a series of military interventions, culminating in the Jinan incident conflict with Chinese Nationalist soldiers.

Of course, it's also possible that the Japanese, who took over, having learned hot-working in the Venetian style (no doubt instigated by the Dutch), may have impressed upon Chinese glassworkers that the preformed parts, cane-making, and mosaic-glasses, resulted in superior beads. When we view early Japanese beads, before they evolved into their local idiom, it is clear that some of their beads are attempts at copying Venetian beads—and were produced by their version of Venetian practices.

JDA.

The smaller Japanese beads seem to display different, monochrome crumbs [olive and spring green?] and a brighter polish compared to the slight orange peel texture in the Chinese bead.

Presumably the Japanese beads date to at least 20 years later than the Chinese?

I'd be inclined to say the the differences between the Japanese and Chinese methods of making crumb beads is predicated on their other works.

Let's say that the supply of "crumbs" is derived from accumulating glass bits from making other products. (I think that's a reasonable assumption.)

Although the Boshan industry makes a variety of beads, including mosaic-glass elements and products (and their crumbs would or could reflect this), the Japanese industry is making simpler products—so their crumbs will tend to be monochromatic.

Is this not reasonable?

Crumb beads from the Canton industry, while relatively few in number, tend to have been limited to green and pink monochromatic crumbs, used to make imitation jade products, mostly on white glass, and usually only a small random sprinkling. Consequently, these Chinese beads would look more like the Japanese beads, in relation to the crumbs exploited.

OK, I get it.

Some of the beads I bought from Jane are being called "crumb beads, but the decoration includes incomplete fragments of patterned canes. I can see that "cane flakes" is descriptive of that. I bought these beads because I thought they were interesting. But they are so small, you can only appreciate this under magnification.

The pale pink spherical beads on the left side of your first photo appear to be Japanese. (I haven't viewed the other photos yet.)

JDA.

The second photo is the necklace I composed a few nights ago. The above blue beads are used as filler beads in the necklace. All of these are Boshan glass. Some I have had since 1987; though others were acquired recently from Jane and another seller.

JDA.

The Boshan beads were selected to echo the colors of the pendant.

JDA.

I like the "Squirrel & Grapes" theme on the canister on the left.
The piece on the right seems older, features 4 separate views of the Summer Palace and a cobbled-together finial resembling a mandarin hat button.

I recently made a big purchase of Boshan beads from an online seller. She was calling them "Peking glass," and I informed her that this is an outdated name, and that what was formerly called "Peking glass" beads were furnace-wound—whereas similar-appearing Boshan beads wee torch-worked.

We have exchanged several interesting messages, and she seems nice and interested in my perspective. And she has told me about how she came to acquire the beads, by actually going to Boshan. And other details. But the most-surprising thing she told me was that, at Boshan, they made both furnace-wound AND torch-work glass beads. Also various other types—which I know because I have seen and documented a very good sample collection, some years ago.

It is easy to believe that the above were instigated by resident Germans, because I have one bead that looks like an attempt to make a marble bead. In contrast, their millefiori work was clearly inspired by Venetian products (being made in the 1920s or '30s) from mostly floral molded canes.

The upshot of this is that the dividing line between Canton "Peking glass" beads and Boshan furnace-wound beads is now blurred. Some of the plain furnace-wound "Peking glass beads" are likely to be from Boshan. That is going to demand a thought adjustment.

Anyway, the beads I bought are on their way to me now. And I expect to buy more.

JDA.

https://www.academia.edu/27514446/

I may present my thoughts online. But my goal is to produce a self-published monograph.

JDA

Thoughts?

http://beadcollector.net/cgi-bin/anyboard.cgi?fvp=/openforum/&cmd=iYz&aK=4475341&iZz=4475341&gV=0&kQz=&aO=1&iWz=0

In contrast, Boshan is nearly 2,000 KM to the northeast, and is an industry that made and makes specifically "lampwork" beads, as well as a variety of other types. Nevertheless, in the 1980s impressive numbers of Boshan beads were sold out of Hong Kong, supposedly from storage sites, holding beads from some fifty years previously. Having witnessed and documented this, my exposure to those Boshan beads was critical for comprehending the variety of decorated and millefiori beads composed.

JDA.

If your beads are 150 years old, Ching Dynasty (1644 to 1912), they would probably be Peking Glass beads. But they are unusual in size and color. It is possible that they are Sung Dynasty (960 - 1279) which would affect their value considerably. And I would have to examine them in person to form an opinion.

Trying to establish what something is worth is problematic...especially with so called "Peking Glass".* After forty years as a specialist in antique Chinese and Japanese beads, I find that Peking glass beads do not seem to have much of a following these days...with the exception of the early 20th c. Chinese millefiori ones.

Because the prices are currently very low, I feel Peking glass beads may prove to be a good investment. And maybe not. I do like the small size of yours, although the large holes are likely to create a crooked look on a skinny string -unless you fill the holes with a thick cord or tiny beads.

*Peking glass was actually made in Boshan but it is called "Peking" because it was largely marketed in Peking.

Moreover, I FIND VALUE in putting antique beads into the hands of someone who will respect them properly, act as conservator and then pass them on to someone who will properly care for them. And I realize that this is idealistic and nearly never happens.

In addition, currently, the biggest spenders for historical Chinese beads are the Chinese collectors in China who are reclaiming their heritage. For example: many Warring States beads & Mandarin Court Necklaces are bringing nearly ten times the money they brought only ten years ago: all due to the demand by the rising middle class collectors in China.

Although you have 111 nearly identical beads, 108 would be used for the primary part of a Mandarin Court Necklace -"MCN." But your beads are too small to be from a MCN. And melon shapes were not used in MCNs.

The Ornament Magazine beads you cited are similar in color to yours. But they are twice the size and not melon shaped. However, you may want to ask Dr. Robert Liu, co-editor and author of the Chinese glass bead cover article, for his opinion. And then we would especially love to hear from you again.

Good luck with finding value in your Chinese melons; I feel the process is worthwhile.

I have a rather different perspective—and one I have expressed since the early 1980s—particularly after hearing a lecture by Robert K Liu—an authority on Chinese beads.

Fred remarked, "Peking glass was actually made in Boshan but it is called "Peking" because it was largely marketed in Peking."

No—not true at all.

First, via Liu, the name "Peking glass" was dropped from my vocabulary at that time, because I accepted his recommendation that the "name" be considered obsolete, in-favor of "Chinese glass beads." That is how I have expressed it ever since then. And anyone can see I promoted this view from the beginning of the Forum, numerous times.

What were formerly called "Peking glass beads," were specific products. They were furnace-wound, onto rods coated with mandrel release (that is routinely found within the perforations of those beads). The beads were various sizes and shapes, and various colors—and there are decent collections of the variables. (I have documented them!) Also, the Chinese of that time (the Late Ming through the Xing Dynasties), did not indulge in much glass-bead decoration. "Peking glass" had nearly none, apart from being sometimes bi-colored (often green/white to resemble jadeite), and sometimes random crumbs (for the same reason). They did not indulge in skillful trailed decoration. So the grand proportion of these beads are monochromatic (!).

They were not "made in Boshan." The alternate name for "Peking glass beads" was "Canton beads." And this was at least one place where the beads were manufactured. Canton is within Guangzhou, in the south of China. (Not far from Hong Kong.)

In contrast, Boshan is a district within Shandong, in the northeast of China—directly west of South Korea, and much closer to Beijing.

The Boshan glass industry was founded well-into the 20th C.—and differs from Canton beadmaking because the skills exploited were/are much different. All sorts of beads, including decorated lampwork beads, were made at Boshan. And many of these products were direct imitations of Venetian products.

Unfortunately, it has become even more-common to refer to any Chinese beads as "Peking glass," whether made in Canton from furnace work, or made in Boshan from torchwork. I see this error constantly. And it appears that nearly no one understands what "Peking glass" was, nor why it should not be called that anymore.

These appear to be lampwork beads with trailed decorations. They are well-made and uniform, for what they are. (The decoration being quite simple.)

In the Qing Dynasty, Chinese glass beads were furnace-wound. And there is no practical evidence that makers ever indulged in much artistic trailing. And certainly not of the commonplace caliber of any proficient industry—such as Venice (where lampworking was devised in the 15th C.)

It was not until the Boshan industry was initiated that lampworking was introduced as a beadmaking approach. And concurrent with that were the concepts of making decorations from preformed elements (for trailing and mosaic-glass productions), and the exploitation of these elements FOR trailing. All of this was clearly based on Venetian practices and products.

This may have originally been instigated by resident Germans (who were there to make beer for China, and perhaps for export). But, the industry probably "came alive" near the time of and during the Japanese Occupation of China—when they took over or opened new factories, with the goal of making "Japanese style" beads more cheaply than they could be made in Japan. Plus, we must remember that, in Japan itself, these were new innovations, copied after European and particularly Venetian practices.

Early intricate Japanese glass beads clearly copied Venetian designs, while also being or becoming/evolving into their own unique style.

It has been, and remains, my proposition that Chinese manufacturers (in China*) did not have much of a handle on glassworking (that is, beadmaking), and particularly trailing, until well into the 20th C. And the products from early Boshan demonstrate this very well. Their trailing is haphazard, and is little more than drizzling (and sometimes, combing). Though sometimes the results are effective.

It is only over the previous twenty (20) years that Chinese glassworkers have taken-up lampworking and trailing, on a HUGE level—and now have trained workers who can make nearly anything one can imagine. But this has been a remarkable change in their corpus of beads, and the numbers and varieties they manufacture.

Anyone viewing Chinese glass beads today would hardly guess that less than 100 years ago they would not and could not make the products that are everywhere today.

So, retuning to your question, I think it is impossible that the beads in your prayer strand could possibly be old Chinese beads. At best, they would have to be 20th C. beads from Boshan. But, in point of fact, I cannot compare them to any Boshan beads I know (in terms of shapes, colors, patterns, and artistry),

I have, however, seen a few Japanese beads that have trailed longitudinal lines, that MIGHT be from as early as late Meiji times. So, I could not exclude the possibility that your beads could be Japanese. But I also think this is less-likely than that the beads are rather more-recent. I am not confident that Japanese beadmakers composed matched sets of beads, that could be used in a long necklace or prayer strand construction. (It's possible. I just have not seen it.)

As always, it is difficult to discuss beads, based solely on photos. It is best to see these things in-person, and to have some time the think about them, contemplate, and actually view and understand their salient details.

The starred (*) comment above is necessary, because there is a side-issue of whether or not Chinese nationals OUTSIDE OF CHINA may have been glass-beadmakers (practicing elsewhere in SE Asia/Island SE Asia), who may have been more adept and capable of making beads with conventional trailing. This becomes an issue when we consider beads from Formosa and other ISEA locations, that are "Venetian-like" but also distinctly not Venetian. The late Peter Francis, Jr. claimed these were "Chinese beads." But based upon my knowledge of Chinese glass-beadmaking, I have very different ideas. The makers of these beads may have been "Chinese," but not practicing in China. They may have been Japanese. Or from some other not-recognized industry. But not from China-proper (without a lot of supporting information we don't have now).

Jamey

First, I think there is a strong tendency among Japanese collectors to make beads older than they really are. Edo beads are really Meiji. Meiji beads are really later, from the time that foreign trade opened up. They also tend to not recognize differences between Japanese beads and Chinese beads. (Many people have this problem,)

Then there are 20th C. beads made in japan in a style that strongly resembles Edo (or more-liklely Meiji) beads, in-style—but were probably made for export.

I would be inclined to guess that the bead shown in the book may be a Chinese bead, and probably from Boshan, and therefore from the 20th C. The colors of the glass beads shown by Rosanna are much too bright to date from much before 1920.

In all these instances I would want to see the perforation apertures to determine whether it changes my suppositions. The ends of Boshan beads are often recognizable—and can be compared to other Chinese beads (that are furnace-wound), and to Japanese beads.

Jamey

Offhand, the only article(s) I recall that were team-written by Robert and Paddy, were specifically about the Boshan glass industry. The makers of distinctive millefiori beads—but historically many other torchwork beads and products. Paddy went to Boshan, and was allowed to document their processes. The Boshan industry (and history) was also covered, to some degree, by Simon Kwan in his book, Early Chinese Glass (2001).

I cannot think of an exposition about cloisonné. I will ask Robert if he produced or published one.

Jamey

I have to apologize to Stef for doubting her description. Sammi's second post said "I'll try again." And this led me to think the second photo presented the same beads as the first (and that the first didn't materialize—when actually he meant the second photo had to be repeated).

In any event, I agree that the beads Stefany showed subsequently are in the same familty of bicolored combed beads, as the first beads with avventurina decoration.

I think that if I saw the blue millefiori beads I could determine exactly what the two murrine patterns are. None of the Picard images are really "the same." They are only in the same family of patterns. These being mutiple dots and elaborated dots.

JDA.

To which I responded by saying:
'I understand you said they are not recent production, as they were collected 30 years ago. This means that either the information from the collector is incorrect for whatever reason. Or it means that the beads in this market stall are copies of beads that were made earlier. '

Seems to me we are on the same page here. But I may be wrong.
My response was intended to come across as this: I recognize these beads. They are modern Chinese beads. And I have a picture of a whole set of these beads to prove it. However, if it was 100% sure that they are older than 30 years, there must be another explanation, so it is then still a mystery. I am very much aware that people's memories of when they got certain beads can be jumbled. I am also aware that some people simply do not tell the (whole) truth. Perhaps I did not express myself clearly, not wanting to step on the collector's toes.

I would be interested to know if you share my idea that the beads I showed are the same as the ones you showed.

Also, if you would have time to elaborate on the timeline of the modern introduction of lampworked bead in China, I would very much appreciate it.

I began this dialogue with "I gave the owner my opinions."

Anytime one asks for additional opinions, one cannot say what opinions have been expressed already. That would spoil the objectivity of the proceeding opinions.

Here is something you don't know. After giving my opinions to the owner, she asked me if I could ask elsewhere of other "bead experts." I said I would—but that I could predict what anyone else would probably have to offer. And I said that, since I haven't seen every bead in the world, there was a minor chance that someone might recognize her beads.

And what I predicted is exactly what happened. (Here and at FaceBook.) Rather than anyone saying, "I know these beads," there has been a repetition of my original expressions (to the owner) by those who responded. And, no recognition.

You ask, "I would be interested to know if you share my idea that the beads I showed are the same as the ones you showed."

And the answer is no. You have shown another selection of the beads that I discussed with the owner prior to the dialogue here. And others have likewise made the same association (as predicted). They are SIMILAR beads. They have some features that are similar. (Mainly because the actual approach to trailing—in the Venetian style—was composed similarly.) But they are not "the same beads."

So, the "mystery" stands.

Regarding Chinese lampworking. I began an essay on Chinese glass-beadmaking a couple of years ago. I got distracted by other matters. But I hope to pursue it. I'll tell you my perspective on lampworking in brief terms.

It is already conceded that glass was of minor interest to the Chinese, with notable exceptions in antiquity, up to the late Ming Dynasty. Then they made some furnace wound-beads. Some for domestic use, and some for export. Also, their beads divide into those for Emperial use, and those for common people (and export). Throughout the late-Ming and the Xing Dynasties, most beads were monochromatic. A few had scattered crumb decoration (to resemble jade). They did not approach trail decoration as did most glass industries.

Everything changed after two events. First, there was a German enclave at Boshan. It is said, they came to make beer in China. But they also introduced glassworking. And they probably pursued a Chinese version of lampworking—demanding preformed elements. Rather than canes, they apparently made and used bars of glass. (This is according to Simon Kwan.) Soon after this, the Japanese occupied China, and likewise promoted glass factories at Boshan. It is thought that their intent was to have beads made cheaply with Chinese labor, to have products to sell at various regional client bases. In addition to beadmaking, they produced other products—such as paperweights, in the Venetian style. So this work began with producing Japanese-style beads, that were themselves inspired by Venetian beads. (It is my opinion that Japanese lampworking was incited by Dutch Europeans, who brought Venetian beads to Japan—and eventually the theory of the apparatus. And, clearly, their earliest beads were imitations of Venetian beads.) But, as happens, the output in China quickly became their own idiom. And these are the antique beads that began to be circulated in the US beginning in the 1970s (in my experience) and that became more prevalent in 1985. (At the International Bead Conference in Long Beach, CA.) And since then.

By 1987, after an apparent fallow period, The Boshan beadmakers took up beadmaking again. And their new products were essentially exactly the same as previous editions. (I have side-by-side photos of beads I bought then, and from a private collection.) The new beads I acquired came from Leekan in New York. (See Paddy Khan's article on Boshan beadmaking, with Robert Liu, in Ornament.) And, by the way, Boshan beads feature some very rudimentary trailing. As though this technique were entirely new to them. But the beads also feature distinct mosaic-glass canes, for millefiori and filigrana applications. (The murrine canes made it possible to make imitations of Venetian paperweights, as well as beads.)

So, to the next wave. Less than twenty years ago, a new glass-beadmaking industry was inducted into China. It may be centered at Boshan. And it may have some connection to the previous industry. But, in any event, this was the beginning of a HUGE operation. In just a few years, their output has produced SO MANY beads, one has to speculate that a large body of workers have been trained and put to work, to make the beads that have become commonplace now. The primary differences between these and previous industries is that the current workers are reasonably adept torchworkers, who perform a lot of trailing. They also produce mosaic-glass beads, as I have shown here as these beads were released into the marketplace. Some of the early work produced has consisted of imitations of ancient beads (and beads that they would like you believe are "ancient"). Both pristine and artificially-aged versions have been routinely available. I showed these in my pap[er for the Istanbul Conference in 2007.

JDA.

In the early 1980s a large cache of Boshan millefiori beads was (it was said) discovered in a warehouse in Hong Kong. Little by little, these beads were released into the marketplace. Americans who actually went to Hong Kong had the best opportunities to acquired these beads. And I had the opportunity to study and document them. Robert Liu also composed some pictorials in Ornament, at that time.

The perspective of these beads was not generally known. I had to piece-together what I know and believe. I had been after the story of the Boshan millefiori beads since the late 1970s, when I first saw them, and acquired some (from a Chinatown store in San Francisco). Eventually, I managed to document five very good collections of these beads.

Nevertheless, at first some wild ideas were circulated about these beads. The most-silly one being that they were "ancient Chinese beads from the Sung Dynasty"—which would have made them about 1,000 years old. (The person who promoted this ridiculous idea still thinks it. And he thinks I should change MY mind!)

The early-generation Boshan beads have also come out of places such as Thailand and Yunnan, where they were used by local people. And in the mid-1980s and since then, have come into the inventories of bead sellers, to be acquired by us. Steven Dunning (Hands Of The Hills) was a primary supplier of these beads, since 1985.

JDA.

In 2005 or 2006 I met Valerie Hector in San Francisco, where we went to a private home to document a very unusual beadwork piece. This was a fragment from a larger piece—possibly a garment. The beadwork was sewn, using very tiny glass seedbeads. And the pattern represented a large conventional impressive Chinese dragon.

One of the tasks we were interested to determine was where these beads had come from—if we could formulate an idea from appearance and colors. Some of the colors were AMAZING. For instance, there was a lucious purple, the likes of which I had never seen, and have not seen since then.

Using my trusty hand-lens, I began to view the beads as closely as possible.

I was flabbergasted to then realize that these beads—all of them—were furnace wound!

As we know, in past times, up to the time of the Boshan industry in the 20th C., the Chinese did not make drawn beads. It would be logical to assume that any Chinese beadwork was composed by exploiting imported seedbeads. These might be from Europe or India.

But the beads in this piece were clearly wound. Suggesting to me that the beadwork had been done for royalty. Even the Emperor or his family. Because someone who understood glassmaking—including unique coloring—-beadmaking, and who would have been charged with making the thousands of beads required, could only be so-commanded by someone of great wealth and power.

I would love to show this piece. But it remains unpublished—and Valerie has sole rights to use the photos I took. So I cannot show them. I hope she gets to this one day.

Jamey

The second one are good silver flowercoins made into a necklace, also Myanmar. Middle one is 46x42mm.

Then, around the times of German and then Japanese occupations (in the region of Boshan), the situation changed radically, because cane and element drawing were introduced; and the approach of ornament-making via lampworking was established—making the mass manufacture of beads possible, and including impressive works such as hot-pinched overlay beads, millefiori meads, and several others.

So your beads are probably late Qing, or even post-Qing, but are probably not from Boshan. They would be more like what are called "Canton" beads (formerly called "Peking glass" beads).

I don't know how to date flower-money (though I own a specimen).

Jamey

The white beads with multi-colored spots are very clearly Boshan lampwork beads.

Jamey

Susan Dod's picture is pictured on the top. My necklace is on the bottom.

The Chinese did not like the Manchus who ruled the Xing Dynasty. And they did not (supposedly) really enjoy the required dress and bead ensembles that State Officials (Mandarins) were required to wear. Once the Manchus were out of power, the Chinese stopped wearing these things. Many many Court-style necklaces were disposed of. Many were taken apart, and stored.

Much later, when someone realized that Count necklaces could be a collectible item, and knowing that few intact pieces remained, it became a challenge to recreate "Court necklaces" from stored parts. This included the various beads, drops, cloud beads, counting beads—and EVEN THE CORDS OR LINES (!).

Consequently many ersatz "Court necklaces" were reconstructed from disparate parts. Often enough, parts that would not have been together originally. It was not unusual to find that these necklaces had been strung on original fibers (including nice flat woven tapes); OR were strung onto lines that resembled the originals.

And, by the way, "Court necklaces" were also made using beads that would not have been available in the Xing Dynasty—such as Boshan factory-made beads, that are very nice, but not like any Court beads.

You can burn "silk lines" to determine if they are silk. They will tend to smolder rather than burn easily, and give an organic burning aroma. The closest thing to silk is rayon. (Rayon is actually "artificial silk.") When you burn rayon it melts and makes a synthetic aroma.

Jamey

First Linda, it is always helpful to have some idea of scale in any photo. No one can tell whether these are really big beads, or very small beads seen up-close. Scale can make a difference. I see you report they are 1 cm in diameter, but visual clues are more helpful (at least for me).

Let's get it out of the way. Many Burmese necklaces include red white-heart beads. But (those I have seen) usually have a more-pale tone of red, and may or may not be matted.

The actual name for red (or reddish) white-heart beads is Italian—cornaline d'Aleppo (meaning "carnelian of/from Aleppo"—a reference to Aleppo stones that were banded agates or other minerals, used in healing). The name "Aleppo" is also amended to orange-over-white and yellow-over white drawn beads (as we can see on Venetian sample cards).

The Aleppo family was devised by Venetian beadmakers in the early 1800s (possibly by about 1825). They are visually related to larger wound overlay beads, that sometimes are poorly identified by the same name (though the wound beads have their own traditional regional names). The name "white-heart" was/is primarily used by American Indians, and Indian Hobbyists, and was popular as early as the 1960s if not earlier.

Aleppos are very popular trade beads! They have gone nearly anywhere in the world you can imagine that trade beads have gone.

So, to ask about "Burmese white-hearts" is sort of nonsensical. Unless you are speaking solely in the context of Burmese beads. These are Venetian trade beads.

It is true that the appearance of your beads makes them seem to be very bright dark red, and very shiny. They do appear to be recent. But appearances can be deceiving.

In addition to the gazillions of red white-heart beads made at Venice, it is said that the Czechs also made them. (I am not convinced that's true, until recently, and I don't know how anyone might distinguish between them. After all, apparently, the Bohemians (Czechs) INVENTED the red glass used for cdA beads.) From about 100 years ago (or slightly more recently perhaps) the Chinese beadmakers at Boshan made spheroidal overlay beads, that are usually orange or brownish glass over white or yellow glass. These beads were hot-pinched, so they stand apart from the beads that inspired them.

In the mid-1980s (or early '90s) a poor imitation was produced in India—these being wound beads. They are distinct from Venetian beads. As I demonstrated in 2009, red white-heart beads were also made in Java at around that time. The Javanese beads have a very pretty cherry-red color, and tend to be more spheroidal than Venetian beads.

I hope this helps you. Jamey

I should work on a Japanese glass bead timeline. As often happens, collector-information is sometimes garbled or just confused. There are significant historical events that precipitated and affected the manufacture of glass beads in Japan. The first is that Western Asian (and Indian or Indian-inspired) glass beads were traded into Japan, and found to be desirable (in antiquity).

Lampworked beads were instigated by Venetian beads—and the early products do resemble Venetian products. But there was also cross-pollination—because there is a class of Venetian beads that clearly attempt to imitate the refined sensibility of the best Japanese beads. But, in any event, the Japanese developed their own idiom of bead styles. It is not always clear how to realistically distinguish between Edo and Meiji products, and those later beads inspired by them, and resembling them, but made primarily for export. The export beads, of course, are from later times. Likewise, the determination that some of these beads "are ojime" is probably mistaken in many instances.

In the early 20th C., Japanese manufacturers opened factories in China—and thus instigated the lampworking industry in Boshan. (However, there is also the possibility that the local German influence made a mark on Chinese glassworking as well.) I think it is reasonable to suggest that the Boshan glassworks were exploited to mass-produce "Japanese style" beads, primarily for export to trading partners—as opposed to the glass beads they made for themselves—the output of which was limited and expensive. In-part, the limited receipt of Japanese beads (for instance, by the Ainu) probably inspired having beads manufactured elsewhere. Boshan beads likewise quickly evolved away from Japanese styles, and emerged as recognizable Chinese beads. A view of the quite variable beads made at Boshan (collected by Elizabeth Harris, and given to The Bead Museum) is eye-opening.

Later in the 20th C., Japanese industries adapted Czech and/or Indian procedures and made similar beads. (The Indian beads were probably likewise instigated by Czech practices. How these transfers were accomplished is not precisely known.) The Cherry Brand beads are one example of Japanese beadmakers creating a Czech-like line of beads. Here is a decent online article on Japanese glass working: http://asianartnewspaper.com/the-beauty-of-japanese-glass/

Jamey

It would be very unusual for a Mandarin Court necklace to include any beads that were not Chinese. Perhaps not impossible, but practically unheard-of. I have speculated upon the few instances where I suspected this may have occurred. Likewise, the reconstructions or imitations of Mandarin necklaces are usually composed from Chinese glass beads. These can be typical furnace-wound beads (which is what you are showing), that are much more "commercial" in quality, and have been abundant in the bead marketplace in my lifetime.

I know of one instance where the necklace was composed from Boshan beads (of drawn and wound manufacture)—but the resulting construction is not compelling, and easily (for me) determined to be a fake.

Jamey

A new chapter in the history of Chinese glassmaking began
in i696, the thirty-fifth year of the reign of Kangxi, when a
glass factory was established within the imperial city in
Beijing under the direction of the Jesuit missionary Kilian
Stumpf (i6gg-I720). The type of glass produced there, of
which this vase is an example, was subsequently known in
the West as Peking glass. Craftsmen were recruited from
Boshan, the traditional center of glassmaking in China, and
from Guangzhou (Canton). The workshop's peak period, in
both quantity and quality of its wares, was between 1740
and 1760, in the early reign of the Qianlong emperor. Palace
records show that Jesuits with expertise in certain Western
glassmaking techniques were active in the workshop at this
time. After 1760, glass production in the palace workshop
declined rapidly, as did the quality of the wares. This was also
true of other workshops producing decorative arts for the
palace-a result of the emptying of the imperial coffers.

As to materials analysis of the Chinese glass:

"In the late period (i4th century and after), potash-lime glass continued to be produced, along with potash-lead glass. During the eighteenth century, soda-lime glass became quite common, with a chemical composition similar to that of contemporaneous European glass. [bolding mine] It is likely that this type of glass was introduced by Jesuits at the imperial workshop in Beijing."

https://www.metmuseum.org/pubs/bulletins/1/pdf/3269166.pdf.bannered.pdf

As to the dates of these beads, and when they might have been made under the Qing - the late-19th century occupation of Shandong by Germany and then Japan seems to be an area worthy of research, given the resurgence of Boshan in the late 19th century as a glass manufacturing center.

ShanDong was a German protectorate in the early 20th Century, and in BoShan you can see traces of German influence. Some of the major non-Chinese companies in town are German. Siemens was one of the largest companies in town, but that German company sold their BoShan factory to GardnerDenverNash in 2005. The train station looks like a Bavarian building. And the town still has a few small restaurants who brew their own beer, German style.

https://en.wikipedia.org/wiki/Boshan_District

~Probably too small to be from a Mandarin Court Necklace, an insignia of rank. But I would have to see them in person to feel certain.

~108 has long been considered a sacred number and usually associated with a mala, a prayer bead necklace.

In terms of appearance, it is the lampworked Boshan glass beads that often feature flattened ends, forming a slightly squat oblate. Furnace wound beads can be oblate too, but they lack the tool-marks seen on lampwork beads. Furnace beads, as often as not, can be somewhat pear-shaped, having a rounded lower end and a pointy upper end.

JDA.

Robert Liu's article: http://static1.squarespace.com/static/54a8ea9ae4b0d1cd06f46bba/t/54e524efe4b0bc89fe275d35/1424303343507/Orn36_4_ChineseGlassBeads.pdf

And: http://gotheborg.com/glossary/glass.shtml

I've often wondered why lampworkers from Europe haven't produced this beautiful swirled tourmaline pink glass - it seems to come only from China. Perhaps a Chinese glass factory developed the recipe 'way back when Cixi was in love with tourmaline from the California mines? Likely more my overactive imagination, but I continue to wonder...

The newer beads have canes that have fewer spirals around the center. Nevertheless, these canes do spiral (!) and are different from the Venetian canes that inspired them, that have complete concentric stripe layers.

I showed the only "new" Chinese millefiori beads I am aware of, about 10 years ago, that I believe were not made by exploiting old stocks of canes.

JDA.

Pic shows two examples of the beads showing a single turn vs a bead with multiple turns.

[Here I interrupt to opine that they might also have been made in Boshan during the post-Liberation revival of the glass factories, and were simply purchased by Hong Kong buyers and sold there.]

These beads were strung on elastic to be used as infant-girl bracelets, a specialty item prepared for sale and, thus, like the buttons in the grasslands, may have a wider distribution than simple strings of beads. At no time did we observe any specific type of decorated beads outside of a specific city area except for one case. In Beijing, a single small string of beads was purchased in an antique shop that included six modern Boshan-like decorated beads strung with several plain beads. The price was vastly inflated at a markup from Boshan of over 200%.

Hong Kong enters the picture because, in the early 1980s, considerable quantities of Boshan millefiori beads were sold from that location, that had been warehoused (in HK) for some years. Presumably from as early as the 1920s or '30s. For a few years these were quite a fad—and I knew people who went to Hong Kong specifically to find and buy those beads.

This was something different from what Sprague discussed (which was circumstantial). Soon after his field work at Boshan, Boshan millefiori beads were available for sale—because I bought them from Paddy Kan in 1987.

JDA.

In China, these beads have also become three times more expensive than we may rationalize. They are now paying more than we are paying for the finest pieces.

http://beadcollector.net/cgi-bin/anyboard.cgi?fvp=/openforum/&cmd=iYz&aK=43393&iZz=43393&gV=0&kQz=&aO=1&iWz=0

https://www.robinatkins.com/adventures.html

http://ornamentmagazine.epubxp.com/i/139740-vol36-4-2013/45

Pouring flat strips of glass to use in lampworking is a Japanese technique. The Satake glass used by contemporary Japanese lampworkers is produced in flat strips.

Jamey's 2004 presentation speculated how the starburst canes were constructed by laying the thin decorative strips at right angles to a larger flat strip, rolling the whole thing up like a jelly roll, and then drawing out the resulting stubby cylinder of glass into a long rod, subsequently cut into murrine.

The Japanese how-to book Tonbo-dama by Kogure Norikazu has a chapter on making cherry blossom murrine that very closely resemble the little blossoms on old beads that I recollect are in Billy's collection, as well as the murrine in the old pre-WWII Boshan beads as shown in the 2013 Ornament article. A stubby cylinder of glass is patterned, then pulled.

The observations by Sprague, Atkins, and Hector that a popular use for glass beads in China was to make bead curtains and screens, and that plastic beads were taking over this market, might explain why the Boshan bead factory decided not to continue producing old-fashioned lampwork beads once the pre-WWII supply of Japanese-style pulled starburst rods ran out.

This is abundantly clear from Chinese paperweights—since they copy (ugly) Venetian paperweights.

The "sunburst" canes also copy a Venetian cane, closely related to ritorte (twisted filaments in clear glass), except that the layers are concentric in Venetian canes, and spiraled in Chinese canes. It is my belief (and I accept this could be all in my mind) that these canes are also floral, and represent chrysanthemum flowers (which have a long and significant symbolic history in China).

JDA.

These is no evidence for Venetian-like nor Japanese-like trailing in Chinese beads—even those from Boshan. The Chinese only learned to perform typical trailing strategies about ten years ago.

If you can, please show an example of a bead that you think has a trailed design rather than a cane design. JDA.

Asking $211.07 USD.

Various colors on offer, 40 cents on up

"She explained that the factory no longer makes beads because plastic beads have replaced the glass ones in brilliance and cost."

Recalling Valerie Hector's article about Chinese bead curtains, could this have been the major Chinese market for the hand-wound glass beads?

Everyone talks about the beads exported throughout Southeast Asia, but it seems likelier that the Chinese factory was making beads because it had ready buyers closer to hand for its products.

In 1987, when The History of Beads (1st edition) was released, I was in NYC with David Ebbinghouse, and Walt Seifried to attend the festivities, and shop at local companies. We went to Leekan—and I bought quite a few new Chinese millefiori beads—they being primarily yellow or black, with some remarkably large red beads (with very sparse millefiori).

I compared my new black beads with old (bought in Hong Kong) black beads—and they were identical, apart from the surface wear of the old beads. JDA.

I don't understand the comment about Boshan factories being "destroyed during WWII" (?). Boshan bead factories persist into the 2000s, and were certainly operating in the '80s when Kan and Sprague (separately) documented this industry.

* This red glass is visually distinguishable from early-20th C. red "Peking glass" that was a more muted tone, and the glass more typically bubbly; and from the antique translucent copper-red beads of a dusky tone (published by Peter Francis).

Because of its geologic resources, Zibo (Boshan) recovered and of course is now a major industrial center, not just for glass and ceramics.

- an unusual Boshan glass bead. I'm not sure of the date - either 1950s or earlier in the twentieth century, I guess. The bead is crackled internally, giving the impression of rock crystal, but the crackles don't extend to the surface, which is quite smooth. It's a very pretty effect which I haven't seen before.

the second "bead" is from one of the great early Neolithic jade-making cultures in China - the Liangzhu culture which flourished at the end of the third millennium BCE and the beginning of the second in the area around present-day Hangzhou. This is one of the mask-decorated pendants that are found in Liangzhu tombs. It is pierced vertically, for use as a pendant decoration probably with some ritual function.

Each of the great early jade-making cultures seems to have valued different qualities in jade. For instance, Hongshan peoples probably treasured green jades most of all, whereas the Qijia people from the northwest seem to have preferred jades with a high contrast between light and dark elements in the stone. In Liangzhu it was white opaque jade that was appreciated most. it was achieved by a deliberate burning process, but in such a controlled way that it didn't produce blackening of the stone.

Happy New Year to everyone.

Will

but, perhaps not. Frederick, do you have pictures of Yunnan baby carriers with similar beads that you could post? Google images didn't produce any for me and I'd love to see others.

A lovely and striking bead!

The Etsy offering is mistaken. Viewing other offerings from this seller, quite a few are misidentified. This is not a person in whom to invest your trust.

The primary bead sellers who have been to Yunnan, and who have sold these beads to collectors generally say the function of such beads was to decorate baby carriers. I don't know that anyone has ever shown one. It remains an unproven but probably valid idea.

I am the primary proponent of the idea that these beads are from Boshan, and are not as old as some would like to believe. Certainly they are not "Edo."

JDA.

https://fi.pinterest.com/pin/231442868330641556/

I realize with some embarrassment that I did not refer to the bead (when posting the image) as one from Boshan, as Mr. Steinberg wrote that it was when he sent it!

The only image of a baby carrier with a large bead that I've turned up so far is this one of a Yao baby carrier found in nearby Guizhou province. No doubt I need to be more creative with search terms.

It has been fun looking as the textiles from many ethnic groups in Yunnan are so beautiful.

We have seen the Chinese so called 'Boshan' beads on BCN in recent months. This must be where ya'll were sorting out which beads were which. 'In the wild' I see the spiral canes more often on opaque glass than the clear examples shown in the discussion.

I didn't know there were so many types of Vaccari Venetians. I have a few.

Do you have a photo of that sample card you mentioned?

2009 discussion:http://beadcollector.net/cgi-bin/anyboard.cgi?fvp=/openforum/&cmd=iYz&aK=69708&iZz=69708&gV=0&kQz=&aO=1&iWz=0





2013 discussion:http://beadcollector.net/cgi-bin/anyboard.cgi?fvp=/openforum/&cmd=iYz&aK=95944&iZz=95944&gV=0&kQz=&aO=1&iWz=0

I still can't get over the India made chevrons... oy, don't they know?

There was a green bead very much like mine on a collector's strand. This bead was not pointed out as 'new', so I still have hope mine might be the older type of Boshan trailed millefiori.

My beads have well centered distinct starbursts and two color trailings that seem 'confident'.

The perforations are clean with no sign of release residue.

The condition is 'like new', however.... New old stock? or just new?

This is the post that goes with the below images (which are images of your beads):

beadiste 03/03/2015, 19:33:45

What I see is a difference in lampworking technique - on the older beads, the red/green/yellow trails are added as "frames" for the starburst murrine, often assuming a rather squarish overall outline, or circling the ends of oval beads. They seem to be conceived as squiggly lines of color.

Whereas on the newer beads, the accent trails often appear to be dotted dabs.

Another difference is glass texture - the older beads seem to be mostly smooth and opaque, even semi-tranlucent or milky in appearance.
No gassy, bubbly tomato red or transparent green glass, for example.
Bubble gum and toffee versus transparent lollipop sugar candies...

Joyce 02/04/2016, 21:58:13

…I've been more curious about the lovely 1930s Boshan (Chinese) millefiori beads in recent years. I was really rather dazzled to see these beads from the Summerfield collection displayed by Jamey Allen in the ballroom with the Ethnographic Group. What a splash of color! I will knot them simply on black cord. Approx. 12mm x 12mm.

"What I see is a difference in lampworking technique - on the older beads, the red/green/yellow trails are added as "frames" for the starburst murrine, often assuming a rather squarish overall outline, or circling the ends of oval beads. They seem to be conceived as squiggly lines of color.

Whereas on the newer beads, the accent trails often appear to be dotted dabs.

Another difference is glass texture - the older beads seem to be mostly smooth and opaque, even semi-tranlucent or milky in appearance.
No gassy, bubbly tomato red or transparent green glass, for example.
Bubble gum and toffee versus transparent lollipop sugar candies…"

After handling many beads which you are certain are old, and after experiencing beads which are certainly new, your intuition tells you.

Old beads often -but not always- have patina. And when they do, you have a clue which informs you.

Trying to make judgement calls when dating crafts is not easy. And trying to choose words to describe these differences is difficult for me. I cannot expect everyone to see what I see.

Will like for you to see mine at the next opportunity, Fred. I was warned by another collector who has handled these and remembers when H o H had them that the red glass is more fragile than the others, and sure enough, they are the ones with some small chips. And it is interesting that the decorative trails on my red ones are monotone rather than two or three colors. But the surface wear seems characteristic enough for me not to suspect that they are newer beads "slipped in" with the group. But as ever, I welcome as many critical eyes as possible.

I bought these other loose beads a while ago that came with a card from the original owner, in case this is informative.

Personally, I suspect these beads are from the 90's because of the flattened ends on some of them. Not all clues are confirmations. But they add up. For example, the eyes and squiggles are comparatively random. The bubbles in the odd pink glass are peculiar.

I have not concentrated on the Chinese starburst bead so much. And. I believe there are a few specialist dealers who will generously share information from their experience. Does anyone have access to them?

The one below came from Jimmy Swoape back in the 90's it is larger size than most, about 20 mm in diameter. He claimed to have had it since the 1970's if I recall correctly.

I am sending you a private message. Please look for it.

Thanks, Fred

I'm including a few images of early Boshan beads and their posts; some of these beads are yours.

This is the post that goes with the below images (which are images of your beads):

beadiste 03/03/2015, 19:33:45

What I see is a difference in lampworking technique - on the older beads, the red/green/yellow trails are added as "frames" for the starburst murrine, often assuming a rather squarish overall outline, or circling the ends of oval beads. They seem to be conceived as squiggly lines of color.

Whereas on the newer beads, the accent trails often appear to be dotted dabs.

Another difference is glass texture - the older beads seem to be mostly smooth and opaque, even semi-tranlucent or milky in appearance.
No gassy, bubbly tomato red or transparent green glass, for example.
Bubble gum and toffee versus transparent lollipop sugar candies...

Joyce 02/04/2016, 21:58:13

…I've been more curious about the lovely 1930s Boshan (Chinese) millefiori beads in recent years. I was really rather dazzled to see these beads from the Summerfield collection displayed by Jamey Allen in the ballroom with the Ethnographic Group. What a splash of color! I will knot them simply on black cord. Approx. 12mm x 12mm.

I've been more curious about the lovely 1930s Boshan (Chinese) millefiori beads in recent years. I was really rather dazzled to see these beads from the Summerfield collection displayed by Jamey Allen in the ballroom with the Ethnographic Group. What a splash of color! I will knot them simply on black cord. Approx. 12mm x 12mm.

If you completely disregard travel expenses: The beads you bought and the friendships you rekindled were well worthwhile.

I really like the Boshan Chinese millefiore; It is wonderful to see intact a group of old beads which have usually been parted out. -And the color distribution is very pleasing.

Congratulations on all of this and the successful mounting of your ancient Persian agate bead.

Just Fred