European Piha Kaetta

B.I · 23rd May 2005, 08:56 PM

this is a very interesting piece. of exhibition size, and materials used mean its of decorative manafacture, but it has been created by three artisans, each as important as the other. the description, as stated (look at the size) -

cast in copper gilt, the blade and pistol grip hilt decorated with elaborate scrolls and a bands of foliate patterning, areas of scrolled openwork to the blade, the pommel terminating in a knop finial, inscriptions at grip and along the back edge of the blade. 44cm
INSCRIPTION
F. BARBEDIENNE (caster)
D. ATTARDOE fecit (maker)
C[onstant] SEVIN (1821-88) (designer/modeller) 1870

As indicated by the inscriptions, this fine dagger was the work of a three-man team, the caster, the maker and the designer. The design is based on a Sinhalese horn or ivory prototype called a Piha Kaetta characterised by a pistol-shaped hilt and the distinctive Sinhalese profuse scrolling decoration known as liya pata (vine leaf) (Archer 1987, p.45). This dagger like its Sri Lankan counterparts would have been used for ceremonial purposes only. This may well have been a diplomatic gift between French and Sri Lankan dignitaries.

Rick · 23rd May 2005, 09:10 PM

And culturally sensitive too .

In my readings I recall that the Afghan Lord Dost Mohammed was infuriated by the Western manufactured items that were brought to him as gifts the first time a British legation visited Kabul .

B.I. have you personally seen this piha ?
What is the black material near the end of the blade ?

Andrew · 23rd May 2005, 09:13 PM

Thanks for posting this, Brian. Absolutely beautiful!

If I'm not mistaken, I believe this knife was presented at the Timonium Seminar this past March.

B.I · 23rd May 2005, 09:22 PM

hi rick/andrew,
yes, i saw and handled it this morning. the whole piece is copper, with all but the blade being gilt. the 'black' is the light catching it. the balde is relatively plain. the gilt is worn in places, but this just highlights the decoration in a very attractive way. the inscriptions are in very neat script.
i wasnt aware it was shown at the timonium, but recall someone saying Bob H had a few ceylonese pieces there, but cant remember if it was the march show. if this was the case andrew, then it all makes sense.

derek · 23rd May 2005, 10:25 PM

Wow,
I missed out. I would like to see that up close. It looks like they captured the vine art or liya vela style incorporated into the decoration of pihas.

Is the grip assembled from separate elements or is it cast in one piece? I can't tell from the pics. Either way, its a prety nice effort.

I'd like to have a pic of it on pihakaetta.com. Who do I ask? BTW, what source are you quoting in the description?
-d

B.I · 23rd May 2005, 10:49 PM

hi derek,
as far as i can tell, it was all in one piece. getting a better picture would be very hard, unfortunately.
i've sent you a pm.

ariel · 23rd May 2005, 11:11 PM

If the Italians can make Piha Kaettas, why wouldn't the Rajastanis make Dhas or the Thais Kastanes?
Weapons know not borders.....
(Am I misquoting someone famous?)

Andrew · 23rd May 2005, 11:13 PM

Quote:

Originally Posted by B.I

hi rick/andrew,
yes, i saw and handled it this morning. the whole piece is copper, with all but the blade being gilt. the 'black' is the light catching it. the balde is relatively plain. the gilt is worn in places, but this just highlights the decoration in a very attractive way. the inscriptions are in very neat script.
i wasnt aware it was shown at the timonium, but recall someone saying Bob H had a few ceylonese pieces there, but cant remember if it was the march show. if this was the case andrew, then it all makes sense.

It was, indeed, Bob that presented this knife.

B.I · 24th May 2005, 03:17 PM

hi,
this wasnt easy, so if we ever meet up at a show, derek, you owe me a pint of the good stuff :-)
i took the images, so they are yours to do with as you please.

B.I · 24th May 2005, 03:20 PM

more

derek · 24th May 2005, 03:37 PM

Fantastic, and make that a keg. The old craftsmen of Ceylon were trained from childhood to use various artistic techniques that reflected the land they lived in. Terms like "liya pata", "liya vela", "sina mal", etc. are all derived from flowers and vines found there. Yet to my eye these guys have reproduced the styles with admirable results. Really beautiful, thanks for sharing.

-d

Mark · 24th May 2005, 06:24 PM

As I recall from Bob Hale's discussion of this piha, the designer was well-known, and possibly the maker (my memory is fuzzy, I know Bob indicated). I do not recall anything about the caster.

ArmsAndAntiques · 1st January 2014, 07:24 PM

Some more information on this specific dagger, which is quite a famous example of three collaborators work.

The decorator Sevin , the sculptor and the founder Attarge Barbedienne combined their talents to the production of this dagger. Several works produced by their association are found in large French and foreign museums. BARBEDIENNE Ferdinand (1810-1892) founded his house in 1839 and established his art foundry in Paris 30 boulevard Poissonnière . The combination of Art and Industry , promoted under the Second Empire , placed at the head of the largest manufacture of bronze art in Paris during the second half of the nineteenth century. Its production was rewarded at Universal Exhibitions . Louis -Constant Sevin (1821-1888) was a sculptor and decorator and was from 1855 to 1888, the main collaborator Ferdinand Barbedienne whose formidable success rested on its considerable activity (two thousand drawings listed ) . Sévin's talent was recognized and award-winning , including at the Universal Exhibitions in London in 1862 and Paris in 1867 and 1878. Attarge Désiré (1820-1878) was a renowned sculptor, much appreciated by Sevin. In 1855 , he entered the service of Barbedienne who praised his art by this comment "under the skillful and intelligent hand which the metal softens and takes on delicate forms."

colin henshaw · 2nd January 2014, 09:58 AM

Interesting post and subject. It is useful to note that the copying in non-ferrous metal of native weapons by Europeans, has an 18th century precedent. The explorer and naturalist, Joseph Banks who sailed with Cook on his first voyage, was so impressed by the Maori short club or "patu", that on his return to England he had several brass copies cast, for distribution to Maori notables on his anticipated second voyage with Cook. However, in the event, Banks did not sail to the South Seas a second time.

Here is an image of the brass version...

23rd May 2005, 08:56 PM	#1
B.I Member Join Date: Jan 2005 Posts: 485	European Piha Kaetta this is a very interesting piece. of exhibition size, and materials used mean its of decorative manafacture, but it has been created by three artisans, each as important as the other. the description, as stated (look at the size) - cast in copper gilt, the blade and pistol grip hilt decorated with elaborate scrolls and a bands of foliate patterning, areas of scrolled openwork to the blade, the pommel terminating in a knop finial, inscriptions at grip and along the back edge of the blade. 44cm INSCRIPTION F. BARBEDIENNE (caster) D. ATTARDOE fecit (maker) C[onstant] SEVIN (1821-88) (designer/modeller) 1870 As indicated by the inscriptions, this fine dagger was the work of a three-man team, the caster, the maker and the designer. The design is based on a Sinhalese horn or ivory prototype called a Piha Kaetta characterised by a pistol-shaped hilt and the distinctive Sinhalese profuse scrolling decoration known as liya pata (vine leaf) (Archer 1987, p.45). This dagger like its Sri Lankan counterparts would have been used for ceremonial purposes only. This may well have been a diplomatic gift between French and Sri Lankan dignitaries. Attached Images

23rd May 2005, 09:10 PM	#2
Rick Vikingsword Staff Join Date: Nov 2004 Posts: 6,293	Interesting And culturally sensitive too . In my readings I recall that the Afghan Lord Dost Mohammed was infuriated by the Western manufactured items that were brought to him as gifts the first time a British legation visited Kabul . B.I. have you personally seen this piha ? What is the black material near the end of the blade ?

24th May 2005, 03:17 PM	#9
B.I Member Join Date: Jan 2005 Posts: 485	hi, this wasnt easy, so if we ever meet up at a show, derek, you owe me a pint of the good stuff :-) i took the images, so they are yours to do with as you please. Attached Images

24th May 2005, 03:20 PM	#10
B.I Member Join Date: Jan 2005 Posts: 485	more Attached Images

2nd January 2014, 09:58 AM	#14
colin henshaw Member Join Date: Jan 2008 Posts: 1,430	Interesting post and subject. It is useful to note that the copying in non-ferrous metal of native weapons by Europeans, has an 18th century precedent. The explorer and naturalist, Joseph Banks who sailed with Cook on his first voyage, was so impressed by the Maori short club or "patu", that on his return to England he had several brass copies cast, for distribution to Maori notables on his anticipated second voyage with Cook. However, in the event, Banks did not sail to the South Seas a second time. Here is an image of the brass version... Attached Images

23rd May 2005, 09:13 PM	#3
Andrew Member Join Date: Nov 2004 Location: USA Posts: 1,725	Thanks for posting this, Brian. Absolutely beautiful! If I'm not mistaken, I believe this knife was presented at the Timonium Seminar this past March.

23rd May 2005, 09:22 PM	#4
B.I Member Join Date: Jan 2005 Posts: 485	hi rick/andrew, yes, i saw and handled it this morning. the whole piece is copper, with all but the blade being gilt. the 'black' is the light catching it. the balde is relatively plain. the gilt is worn in places, but this just highlights the decoration in a very attractive way. the inscriptions are in very neat script. i wasnt aware it was shown at the timonium, but recall someone saying Bob H had a few ceylonese pieces there, but cant remember if it was the march show. if this was the case andrew, then it all makes sense.

23rd May 2005, 10:25 PM	#5
derek Member Join Date: Dec 2004 Posts: 215	Wow, I missed out. I would like to see that up close. It looks like they captured the vine art or liya vela style incorporated into the decoration of pihas. Is the grip assembled from separate elements or is it cast in one piece? I can't tell from the pics. Either way, its a prety nice effort. I'd like to have a pic of it on pihakaetta.com. Who do I ask? BTW, what source are you quoting in the description? -d

23rd May 2005, 10:49 PM	#6
B.I Member Join Date: Jan 2005 Posts: 485	hi derek, as far as i can tell, it was all in one piece. getting a better picture would be very hard, unfortunately. i've sent you a pm.

23rd May 2005, 11:11 PM	#7
ariel Member Join Date: Dec 2004 Location: Ann Arbor, MI Posts: 5,503	If the Italians can make Piha Kaettas, why wouldn't the Rajastanis make Dhas or the Thais Kastanes? Weapons know not borders..... (Am I misquoting someone famous?)

24th May 2005, 03:37 PM	#11
derek Member Join Date: Dec 2004 Posts: 215	Fantastic, and make that a keg. The old craftsmen of Ceylon were trained from childhood to use various artistic techniques that reflected the land they lived in. Terms like "liya pata", "liya vela", "sina mal", etc. are all derived from flowers and vines found there. Yet to my eye these guys have reproduced the styles with admirable results. Really beautiful, thanks for sharing. -d

24th May 2005, 06:24 PM	#12
Mark Member Join Date: Dec 2004 Posts: 987	As I recall from Bob Hale's discussion of this piha, the designer was well-known, and possibly the maker (my memory is fuzzy, I know Bob indicated). I do not recall anything about the caster.

1st January 2014, 07:24 PM	#13
ArmsAndAntiques Member Join Date: Dec 2013 Posts: 80	Some more information on this specific dagger, which is quite a famous example of three collaborators work. The decorator Sevin , the sculptor and the founder Attarge Barbedienne combined their talents to the production of this dagger. Several works produced by their association are found in large French and foreign museums. BARBEDIENNE Ferdinand (1810-1892) founded his house in 1839 and established his art foundry in Paris 30 boulevard Poissonnière . The combination of Art and Industry , promoted under the Second Empire , placed at the head of the largest manufacture of bronze art in Paris during the second half of the nineteenth century. Its production was rewarded at Universal Exhibitions . Louis -Constant Sevin (1821-1888) was a sculptor and decorator and was from 1855 to 1888, the main collaborator Ferdinand Barbedienne whose formidable success rested on its considerable activity (two thousand drawings listed ) . Sévin's talent was recognized and award-winning , including at the Universal Exhibitions in London in 1862 and Paris in 1867 and 1878. Attarge Désiré (1820-1878) was a renowned sculptor, much appreciated by Sevin. In 1855 , he entered the service of Barbedienne who praised his art by this comment "under the skillful and intelligent hand which the metal softens and takes on delicate forms."