The Colour of Victorian Hair Combs: A Guide to Bertha Shades and Care
When you hear the word “bertha” in the context of vintage hair accessories, your mind might first jump to the wide lace collar that adorned so many Victorian bodices. But in the world of antique hair ornaments, a bertha refers to something quite different: a substantial, often crescent-shaped hair comb or tiara-like piece that sits high on the crown, designed to frame the face and anchor elaborate updos. These pieces were produced in astonishing colour variations during the late 19th and early 20th centuries, and their hues tell a fascinating story of chemistry, fashion, and social aspiration.
Let us walk through the palette of bertha colours you are most likely to encounter in British antique shops and estate sales, what each shade reveals about its era, and how to care for these delicate treasures so they remain wearable for another century.
The Origins of the Bertha Hair Comb
Bertha combs emerged in the 1840s and reached their peak popularity during the 1860s through the 1890s. They were typically made from tortoiseshell (real or simulated), horn, vulcanite (early hardened rubber), or celluloid, and were often inlaid with metal, seed pearls, or semi-precious stones. The name likely derives from the German Bertha meaning “bright” or “famous,” but it also echoes the bertha collar—the comb’s wide, sweeping shape mirrors that garment’s shoulder-to-shoulder drape.
The colours you will find on original bertha combs are rarely accidental. They were achieved through natural materials, dyes, and early synthetic processes that each carry their own preservation challenges.
Natural Tortoiseshell: Amber, Blonde, and Mottled Brown
Genuine tortoiseshell—harvested from the hawksbill sea turtle—was the gold standard for fine Victorian hair combs. Its natural colour spectrum ranges from a translucent pale blonde (often called “blonde shell”) through rich amber to deep mottled browns with dark speckles. The rarest and most prized was the “light tortoiseshell” with a clear honey tone and minimal mottling, because it caught candlelight beautifully and complemented fair complexions.
If you inherit or purchase a bertha comb described as “blonde tortoiseshell,” examine it under strong daylight. Authentic shell shows subtle variations in transparency and a warm, almost liquid depth. Imitations from the same period—made from horn or early celluloid—tend to be more uniform and lack the characteristic dark flecks. A genuine tortoiseshell bertha in pristine condition can fetch several hundred pounds at auction, but be aware that UK law now restricts trade in new tortoiseshell items. Antique pieces (pre-1947) are legal to buy and sell, but always ask for provenance.
Care tip: Natural tortoiseshell is sensitive to heat and dry air. Never leave a tortoiseshell bertha in direct sunlight or near a radiator. If the surface develops a fine white haze (a sign of dehydration), rub a tiny amount of pure jojoba oil into the back of the comb with your fingertip, let it absorb for an hour, then buff gently with a soft cloth. Avoid getting oil on any metal inlays.
Vulcanite: Jet Black and Deep Chocolate
Vulcanite, also known as ebonite, is hardened natural rubber treated with sulphur. It was a popular material for mourning jewellery and hair accessories from the 1850s onward, precisely because it could be polished to a deep, glassy black that resembled jet—a material much harder to carve. Bertha combs made of vulcanite were often worn during periods of mourning, but they also appealed to women who simply preferred a dramatic, high-contrast look.
The colour of well-preserved vulcanite is a warm, almost brownish black. Over time, poor storage causes vulcanite to develop a greenish or greyish sulphur bloom on the surface—a sign of “sulphur migration.” This is not damage, but it does require careful cleaning. Use a very mild soap solution (a drop of pH-neutral dish soap in lukewarm water) and a soft cotton cloth. Rinse with distilled water and dry immediately. Never soak vulcanite, as water can seep into microscopic cracks and cause the rubber to swell.
Vulcanite berthas were sometimes inlaid with silver or gold piqué work—tiny pins of precious metal hammered into the surface. The contrast of black rubber with gleaming metal is striking and highly collectable.
Celluloid: Ivory, Coral, Pearl, and Tortoiseshell Imitations
Celluloid, invented in the 1860s and commercially widespread by the 1880s, revolutionised the hair accessory market. It could be moulded into any shape and coloured to imitate more expensive materials. Bertha combs made of celluloid were affordable to middle-class women and came in an astonishing range of shades: creamy ivory, soft pink (imitating coral), opalescent white (imitating mother-of-pearl), and of course, every variation of tortoiseshell.
The most fascinating colour in celluloid berthas is “French ivory”—a warm, aged cream with subtle grain lines painted or pressed into the surface. Over decades, French ivory celluloid often takes on a golden or even slightly amber patina, which many collectors prize. However, be aware that celluloid is chemically unstable. It can deteriorate, releasing acidic fumes that corrode metal inlays and even damage other accessories stored nearby. This process, sometimes called “celluloid rot,” begins with a sticky surface and a faint vinegary smell. If you detect either, isolate the piece immediately in a sealed bag and consult a conservator.
Care tip: Store celluloid berthas away from metal objects and never wrap them in plastic. Use acid-free tissue paper or a soft cotton pouch. Keep them in a cool, dark drawer—not a hot attic or damp cellar.
Horn: Brown, Green, and Amber Translucence
Horn—typically from cattle or water buffalo—was another common material for bertha combs, especially in the 18th and early 19th centuries. It can be heated and pressed flat, then carved into the sweeping bertha shape. Natural horn colours range from pale cream through warm brown to a striking translucent green (achieved by dyeing with copper salts).
Green horn berthas are rare and highly sought after. The colour fades over time to a soft olive or mossy hue, which looks unexpectedly beautiful against grey or silver hair. If you find a green horn bertha, check that the colour is even—patchy fading suggests prolonged exposure to light, which may have weakened the material.
Horn is hygroscopic: it absorbs and releases moisture, which can cause warping. To keep a horn bertha flat, store it lying horizontally in a drawer, never leaning on its teeth. If it does warp slightly, you can gently warm it with a hair dryer on low heat (holding it at arm’s length) and press it between two heavy books overnight. Test on an inconspicuous area first.
Metal Berthas: Silver, Gilt, and Gunmetal
Not all berthas were made from organic materials. Many Victorian examples were crafted entirely from metal—silver, brass with gold gilding, or gunmetal (a dark, rust-resistant alloy). These were often worn for evening occasions and could be set with gemstones or paste (cut glass). The colour of the metal dictated the overall tone: silver berthas were cool and elegant, gilt ones warm and opulent, and gunmetal ones sombre and dramatic.
Gunmetal berthas, with their deep charcoal-black finish, were especially popular during the 1880s and 1890s as an alternative to jet for half-mourning. They are surprisingly lightweight and comfortable to wear. Look for hallmarks on the back of the comb—British silver marks (a lion passant, a date letter, and a maker’s mark) can help you date the piece precisely.
Care tip: Clean metal berthas with a dedicated jewellery cloth. Never use abrasive metal polish on gilded surfaces, as it will strip the thin layer of gold. For gunmetal, a dry microfiber cloth is sufficient; moisture can encourage rust on the steel teeth that are sometimes hidden within the alloy.
How to Spot a Repainted or Over-Restored Bertha
Because bertha combs are so desirable, some sellers attempt to “improve” faded pieces by repainting them or applying modern varnishes. This is a particular risk with celluloid and horn pieces that have lost their original colour. A repainted bertha will often show paint pooling in the carved recesses, or a surface that feels sticky rather than smooth. The colour may be too uniform or too bright—Victorian dyes were subtle, not garish.
If you suspect a bertha has been over-restored, ask the seller for a photograph under ultraviolet light. Original materials fluoresce in characteristic ways: tortoiseshell shows a warm orange glow, horn a dull green, and celluloid a bright blue-white. A repainted surface will appear flat and dark under UV.
Wearing a Bertha Comb Today
A bertha comb is not a museum piece—it was made to be worn, and it can still anchor a chignon or a low bun beautifully. The key is to choose a colour that harmonises with your hair tone without overpowering it. A blonde tortoiseshell bertha looks ethereal in ash-blonde or silver hair; a dark vulcanite piece provides striking contrast against white or grey; a gilt metal bertha adds warmth to brunette and auburn hair.
To secure a bertha comb in modern, often slippery hair, first tease the section where you plan to insert it, or use a small clear elastic to create a base. Slide the comb in with the teeth angled slightly downward, then press the top edge forward to grip the hair. If the comb feels loose, you can add a thin velvet strip to the back of the teeth—a trick Victorian ladies used to prevent slipping.
For more advice on pairing vintage accessories with your wardrobe, you might enjoy reading our guide to Vintage Hair Accessories in Summer: What Works and What Wilts, which covers material behaviour in warm weather.
And if you are curious about the language of ornamentation that defines these pieces, Fashion HTML: Decoding the Language of Vintage Hair Accessories offers a deeper look at how motifs and colours communicate status and sentiment.
The Quiet Joy of a Colour-Curated Collection
Building a small collection of bertha combs in different colours is one of the most rewarding paths a vintage hair accessory enthusiast can take. Each shade tells a different chapter of British social history: the amber of Georgian trade routes, the black of Victorian mourning etiquette, the coral pinks of early synthetic ingenuity. You do not need a dozen pieces—even two or three, chosen with care, can be rotated to suit your mood and outfit.
When you hold a bertha comb up to the light and see the colour shift through its translucent body, you are seeing the same effect that captivated a woman in 1885 as she pinned her hair before a gaslit mirror. That continuity is the quiet magic of well-made things. Choose colours that speak to you, store them with respect, and wear them without apology.