Woman’s head shawl, tadghart adrar, Anti Atlas region, Morocco

Early 20^th Century, 120 x 64cm (3’11’ x 2’1”)

It is likely that this simple piece was used as an everyday garment. It is decorated with resist dyed henna and two large pompoms- also resist dyed. Although the weave is coarse and has no woven decoration, its sheer simplicity has a remarkable effect.

Woman’s head shawl, tadghart adrar, detail, Anti Atlas region, Morocco

Early 20^th Century, 120 x 64cm (3’11’ x 2’1”)

It is likely that this simple piece was used as an everyday garment. It is decorated with resist dyed henna and two large pompoms- also resist dyed. Although the weave is coarse and has no woven decoration, its sheer simplicity has a remarkable effect.

Woman’s head shawl, tadghart, Anti Atlas region, Morocco

Early 20^th Century, 100 x 97cm (3’3” x 3’1’)

The background is extremely finely woven in cotton, while the pointed geometric motifs as well as the pompoms- which are a characteristic of the region- are brocaded with supplementary wefts. After leaving the loom, the piece is resist dyed with henna.

Woman’s head shawl, tadghart, detail, Anti Atlas region, Morocco

Early 20^th Century, 100 x 97cm (3’3” x 3’1’)

The background is extremely finely woven in cotton, while the pointed geometric motifs as well as the pompoms- which are a characteristic of the region- are brocaded with supplementary wefts. After leaving the loom, the piece is resist dyed with henna.

Woman’s shawl, izar, High Atlas region, Morocco

20^th Century, undyed wool, coloured silk, undyed cotton.

323 x 128cm (10’7” x 4’2”)

The background is a weft-faced plain weave, the white stripes are in cotton; lines and simple triangular motifs are woven with coloured wool and cotton in a weft-float technique; the central and outer motifs of the four small bands of the more elaborate decorated bands are embroidered with cotton and coloured silk in pattern darning and stem stitch. This type of shawl would typically measure up to several metres in length, so that it could be worn as a wrapper. The more decoration it had the more prestigious it would have been in a local context.

Woman’s shawl, izar, detail, High Atlas region, Morocco

20^th Century, undyed wool, coloured silk, undyed cotton.

323 x 128cm (10’7” x 4’2”)

The background is a weft-faced plain weave, the white stripes are in cotton; lines and simple triangular motifs are woven with coloured wool and cotton in a weft-float technique; the central and outer motifs of the four small bands of the more elaborate decorated bands are embroidered with cotton and coloured silk in pattern darning and stem stitch. This type of shawl would typically measure up to several metres in length, so that it could be worn as a wrapper. The more decoration it had the more prestigious it would have been in a local context.

Beni Quarain woman’s shawl, tabrdut, Middle Atlas region, Morocco

20^th Century, undyed brown wool and undyed cotton.

176 x 97cm (5’9” x 3’2”)

The design has 51 patterned bands. Woven in a simple weft float weave, some sections show wrapping with red woollen supplementary wefts.

Beni Quarain woman’s shawl, tabrdut, detail, Middle Atlas region, Morocco

20^th Century, undyed brown wool and undyed cotton.

176 x 97cm (5’9” x 3’2”)

The design has 51 patterned bands. Woven in a simple weft float weave, some sections show wrapping with red woollen supplementary wefts.

Woman’s head shawl, tariwalt, with henna feet adrar, Anti Atlas region, Morocco

Possibly 19^th Century, 101 x 80cm (3’4” x 2’8”)

The full length stripes are made in simple weave, the coloured bands are woven in a weft float technique, while the white-cotton geometric motifs are brocaded. The combination of these techniques with colourful yarns and pompoms- typically found on women’s ceremonial shawls- as well as with henna dye which is highly unusual.

Woman’s head shawl, tariwalt, with henna feet adrar, detail, Anti Atlas region, Morocco

Possibly 19^th Century, 101 x 80cm (3’4” x 2’8”)

The full length stripes are made in simple weave, the coloured bands are woven in a weft float technique, while the white-cotton geometric motifs are brocaded. The combination of these techniques with colourful yarns and pompoms- typically found on women’s ceremonial shawls- as well as with henna dye which is highly unusual.

Wall hanging, arid, Chechauen, Rif region, Morocco

Late 18^th– early 19^th Century, (7’9” x 2’7”)

Many Chechauen embroideries display a similar design of five main motifs. The central motif-highly elaborated 8- point star made of several decorated lozenges- sits between two rectangular forms filled with a variety of small geometric figures. Both the upper and lower rectangles are bordered by a variation of the central star motif. The city of Cechauen was populated by waves of Andalusian exiles, who left the Peninsula after the conquest of Granada and the establishment of Inquisition.

Wall hanging, arid, detail, Chechauen, Rif region, Morocco

Late 18^th– early 19^th Century, (7’9” x 2’7”)

Many Chechauen embroideries display a similar design of five main motifs. The central motif-highly elaborated 8- point star made of several decorated lozenges- sits between two rectangular forms filled with a variety of small geometric figures. Both the upper and lower rectangles are bordered by a variation of the central star motif. The city of Cechauen was populated by waves of Andalusian exiles, who left the Peninsula after the conquest of Granada and the establishment of Inquisition.

Ceremonial belt, hizam, Fez, Morocco

20^th Century, 264 x 13cm (8’8” x 5’)

Multicoloured silk belt made on a draw loom in lampas technique. The combination of the colours together with the highly stylised floral motifs, the narrowness of the bands, and the fact that at one of the ends a geometric band has been inserted, make this piece unusual.

Ceremonial belt, hizam, detail, Fez, Morocco

20^th Century, 264 x 13cm (8’8” x 5’)

Multicoloured silk belt made on a draw loom in lampas technique. The combination of the colours together with the highly stylised floral motifs, the narrowness of the bands, and the fact that at one of the ends a geometric band has been inserted, make this piece unusual.

Woman’s shawl, bakhnug tamaqart, wilayah of Gabis, Southern Tunisia

Woven in very fine-spun undyed wool.

20^th Century, 197 x 110cm (6’6” x 3’7”)

Once woven the piece is dyed (tasbaght) in indigo, a dye that was used up to the mid- 20^th Century. The very dark blue obtained here could be achieved after several blue baths or with succession of red and blue dye baths. In this piece, we see at least seven different motifs. Motifs are woven in a simple float weave technique with undyed white cotton abiad, which does not take the dye. As in the Moroccan Middle Atlas region, weavers work from the back, counting the warps in order to introduce the cotton wefts, requiring great skill and concentration.

Woman’s shawl, bakhnug tamaqart, wilayah of Gabis, detail, Southern Tunisia

Woven in very fine-spun undyed wool.

20^th Century, 197 x 110cm (6’6” x 3’7”)

Once woven the piece is dyed (tasbaght) in indigo, a dye that was used up to the mid- 20^th Century. The very dark blue obtained here could be achieved after several blue baths or with succession of red and blue dye baths. In this piece, we see at least seven different motifs. Motifs are woven in a simple float weave technique with undyed white cotton abiad, which does not take the dye. As in the Moroccan Middle Atlas region, weavers work from the back, counting the warps in order to introduce the cotton wefts, requiring great skill and concentration.

Woman’s head shawl, tajira margum, Southern Tunisia

20^th Century, 158 x 102cm (5’2” x 3’4”)

This type of shawl generally uses the same motifs as a bakhnug. Here the thicker band displays the motif usually known as a ‘comb’. The shawl is worn over the hair, often with the fringes over the head, usually under the larger, more rectangular bakhnug.

Woman’s head shawl, tajira margum, detail, Southern Tunisia

20^th Century, 158 x 102cm (5’2” x 3’4”)

This type of shawl generally uses the same motifs as a bakhnug. Here the thicker band displays the motif usually known as a ‘comb’. The shawl is worn over the hair, often with the fringes over the head, usually under the larger, more rectangular bakhnug.

Woman’s shawl, bakhnug, Southern Tunisia

20^th Century, 155 x 94cm (51” x 3’1”)

Even though the repertoire of woven motifs is restricted to similar geometrical forms, each bakhnug displays a variety that makes it unique. Here, the borders include a motif with a fish form, which in Tunisia is often considered as an apotropaic device.

Woman’s shawl, bakhnug, detail, Southern Tunisia

20^th Century, 155 x 94cm (51” x 3’1”)

Even though the repertoire of woven motifs is restricted to similar geometrical forms, each bakhnug displays a variety that makes it unique. Here, the borders include a motif with a fish form, which in Tunisia is often considered as an apotropaic device.