Textiles collection

Apron with mix of natural and synthetic dyes, Gyantse, Tibet

20th century

This town was once located on a major trade route between India and Tibet. Many good quality textiles of this era contain synthetic colours, a luxury commodity when first imported by traders at the end of the 19th century. Originally they were used sparingly as highlights, but even Tibetan natural dye enthusiast tend to ‘augment’ natural colours, brightening them with synthetic materials – a deeply ingrained habit.

72 cm x 48 cm (2’4” x1’7”)

 

Apron with mix of natural and synthetic dyes, detail, Gyantse, Tibet

20th century

This town was once located on a major trade route between India and Tibet. Many good quality textiles of this era contain synthetic colours, a luxury commodity when first imported by traders at the end of the 19th century. Originally they were used sparingly as highlights, but even Tibetan natural dye enthusiast tend to ‘augment’ natural colours, brightening them with synthetic materials – a deeply ingrained habit.

72 cm x 48 cm (2’4” x1’7”)

 

Apron with natural dyes, Nyalam, Tibet

20th century

Green shades were traditionally achieved by overdye-ing indigo with a yellow shade (often ground rhubarb root). This technique produced variable results and the yellow component tends to fade over time. Synthetic greens are brighter and flatter in tone. Similarly, brown wool over-dyed wit indigo produces a glossy dark brown rather than a true uniform black. The white stripes are typical of aprons from the Nyalam, area.

71 cm x 66 c, (2’4” x 2’2”)

Apron with natural dyes, detail, Nyalam, Tibet

20th century

Green shades were traditionally achieved by overdye-ing indigo with a yellow shade (often ground rhubarb root). This technique produced variable results and the yellow component tends to fade over time. Synthetic greens are brighter and flatter in tone. Similarly, brown wool over-dyed wit indigo produces a glossy dark brown rather than a true uniform black. The white stripes are typical of aprons from the Nyalam, area.

71 cm x 66 c, (2’4” x 2’2”)

Apron with natural dyes, Shigatse, Tibet

19th century

Tibetan trestle looms and backstrap looms by nomads are capable of producing lengths of fabric with a maximum width of around 30 centimetres. Most Tibetan textiles are therefore made up of strips sewn together. The number of panels used in an apron is dictated by the size required. A young girl’s apron might only use two and a half panels. No attempt is made to align the stripes.

87 cm x 77 cm (2’10” x 2’6”)

Apron with natural dyes, detail, Shigatse, Tibet

19th century

Tibetan trestle looms and backstrap looms by nomads are capable of producing lengths of fabric with a maximum width of around 30 centimetres. Most Tibetan textiles are therefore made up of strips sewn together. The number of panels used in an apron is dictated by the size required. A young girl’s apron might only use two and a half panels. No attempt is made to align the stripes.

87 cm x 77 cm (2’10” x 2’6”)

Apron with natural dyes, southern Tibet

20th century, 69 cm x 58 cm (2’3″ x 1’11)

Apron with natural dyes, detail, southern Tibet

20th century, 69 cm x 58 cm (2’3″ x 1’11)

Winter chuba (coat), western Tibet

20th century, 143 cm x 147 cm (4’8″ x 4’10”)

Winter chuba (coat), detail, western Tibet

20th century, 143 cm x 147 cm (4’8″ x 4’10”)

Ceremonial Cloth

Circa 1450-1650

Made in Gujarat for the Indonesian market, found in Sulawesi, Indonesia

3.60 x 1.02m (11’8” x 3’4”)

Block-printed using dyes, mordants and resists on cotton cloth

On loan to the Victoria and Albert Museum, London, 2004-2010

Ceremonial Cloth, detail

Circa 1450-1650

Made in Gujarat for the Indonesian market, found in Sulawesi, Indonesia

3.60 x 1.02m (11’8” x 3’4”)

Block-printed using dyes, mordants and resists on cotton cloth

On loan to the Victoria and Albert Museum, London, 2004-2010

Uncut cloth with three different designs

17th century, Gujarat, found in Sulawesi, Indonesia

4.32 x 0.80m (14’2” x 2’8”)

Block-printed using dyes, mordants and resists on cotton cloth

On loan to the Victoria and Albert Museum, London, 2004-2010

Uncut cloth with three different designs, detail 1

17th century, Gujarat, found in Sulawesi, Indonesia

4.32 x 0.80m (14’2” x 2’8”)

Block-printed using dyes, mordants and resists on cotton cloth

On loan to the Victoria and Albert Museum, London, 2004-2010

Uncut cloth with three different designs, detail 2

17th century, Gujarat, found in Sulawesi, Indonesia

4.32 x 0.80m (14’2” x 2’8”)

Block-printed using dyes, mordants and resists on cotton cloth

On loan to the Victoria and Albert Museum, London, 2004-2010

Uncut cloth with three different designs, detail 3

17th century, Gujarat, found in Sulawesi, Indonesia

4.32 x 0.80m (14’2” x 2’8”)

Block-printed using dyes, mordants and resists on cotton cloth

On loan to the Victoria and Albert Museum, London, 2004-2010

Ceremonial Cloth

17th century

Made in Gujarat for the Indonesian market

2.80 x 1.02m (9’2” x 3’6”)

Block printed using dyes, mordants and resists on cotton cloth

Ceremonial Cloth, detail

17th century

Made in Gujarat for the Indonesian market

2.80 x 1.02m (9’2” x 3’6”)

Block printed using dyes, mordants and resists on cotton cloth

‘Mata Hari’, Ceremonial Cloth

18th or 19th century, Coromandel Coast, found in Sulawesi, Indonesia

2.70 x 2.04m (8’10’ x 6’8”)

Chintz, hand drawn centre with printed outer decoration using dyes and mordants on cotton cloth

On loan to the Victoria and Albert Museum, London 2004-2010

‘Mata Hari’, Ceremonial Cloth, detail

18th or 19th century, Coromandel Coast, found in Sulawesi, Indonesia

2.70 x 2.04m (8’10’ x 6’8”)

Chintz, hand drawn centre with printed outer decoration using dyes and mordants on cotton cloth

On loan to the Victoria and Albert Museum, London 2004-2010

Chintz Fragment with Grotesques in an Imaginary Landscape

Late 17th-early 18th century

Coromandel Cost for the Japanese market, reportedly found in Japan

0.38 x 0.18m (1’3” x 0’7”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth

 

Chintz Fragment with Grotesques in an Imaginary Landscape, detail

Late 17th-early 18th century

Coromandel Cost for the Japanese market, reportedly found in Japan

0.38 x 0.18m (1’3” x 0’7”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth

 

‘The Herb Picker’ Ceremonial Cloth

Circa 17th Century

Coromandel Coast, reportedly found in Sri Lanka

1.55 x 1.09m (5’1” x 3’9”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth

On loan to the Victoria and albert Museum, London, 2004-2010

Exhibited at the Metropolitan Museum of Art, New York, 2013-2014

Published HALI 172, 2012, pp.78-81; Interwoven Globe: The Worldwide Textile Trade, 1500-1800, 2013, pp.215-216

‘The Herb Picker’ Ceremonial Cloth, detail

Circa 17th Century

Coromandel Coast, reportedly found in Sri Lanka

1.55 x 1.09m (5’1” x 3’9”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth

On loan to the Victoria and albert Museum, London, 2004-2010

Exhibited at the Metropolitan Museum of Art, New York, 2013-2014

Published HALI 172, 2012, pp.78-81; Interwoven Globe: The Worldwide Textile Trade, 1500-1800, 2013, pp.215-216

‘Fortune Teller’ Fragment

18th century

Coromandel Coast, reportedly found in Sri Lanka

0.97 x 0.90m (3’2” x 3’0”)

Chintz, hand drawn using dyes, mordants and resists on the cotton cloth, unrestored

On loan to the Victoria and Albert Museum, London, 2004-2010

Published in HALI 168, 2011, pp.80-89

‘Fortune Teller’ Fragment, detail

18th century

Coromandel Coast, reportedly found in Sri Lanka

0.97 x 0.90m (3’2” x 3’0”)

Chintz, hand drawn using dyes, mordants and resists on the cotton cloth, unrestored

On loan to the Victoria and Albert Museum, London, 2004-2010

Published in HALI 168, 2011, pp.80-89

‘Fortune Teller’ Fragment, detail

18th century

Coromandel Coast, reportedly found in Sri Lanka

0.97 x 0.90m (3’2” x 3’0”)

Chintz, hand drawn using dyes, mordants and resists on the cotton cloth, unrestored

On loan to the Victoria and Albert Museum, London, 2004-2010

Published in HALI 168, 2011, pp.80-89

Canopy

Late 18th-19th century

Coromandel Coast, reportedly found in Sri Lanka

1.30 x 1.18m (4’3” x 3’10”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth, unrestored

Canopy, detail

Late 18th-19th century

Coromandel Coast, reportedly found in Sri Lanka

1.30 x 1.18m (4’3” x 3’10”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth, unrestored

Palampore, Decorative Hanging

Circa 1700-25

Coromandel Coast, reportedly found in Sri Lanka

1.86 x 1.11m (6’1” x 3’6”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth

On loan to the Victoria and Albert Museum 2004-2010

Published by HALI 168, 2011, pp.80-89

Palampore, Decorative Hanging, detail

Circa 1700-25

Coromandel Coast, reportedly found in Sri Lanka

1.86 x 1.11m (6’1” x 3’6”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth

On loan to the Victoria and Albert Museum 2004-2010

Published by HALI 168, 2011, pp.80-89

Floral Patterned Sarong on a pale yellow-tan ground with wavy ‘Tumpal’ ends

First half of the 18th Century

Coromandel Coast, found in Sulawesi, Indonesia

3.78 x 1.20m (12’5” x 3’1”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth

On loan to the Victoria and Albert Museum, London, 2004-2010

Floral Patterned Sarong on a pale yellow-tan ground with wavy ‘Tumpal’ ends, detail

First half of the 18th Century

Coromandel Coast, found in Sulawesi, Indonesia

3.78 x 1.20m (12’5” x 3’1”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth

On loan to the Victoria and Albert Museum, London, 2004-2010

Chintz Somana Tuppotiya with slate-blue floral ‘Racemes’

Late 18th century- early 19th century

Coromandel Coast, reportedly found in Sri Lanka

3.53 x 1.04m (11’7” x 3’5”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth

Chintz Somana Tuppotiya with slate-blue floral ‘Racemes’, detail

Late 18th century- early 19th century

Coromandel Coast, reportedly found in Sri Lanka

3.53 x 1.04m (11’7” x 3’5”)

Chintz, hand drawn using dyes, mordants and resists on cotton cloth

Somana Tuppotiya with Tumpal ends and floral banded centre

19th century

Coromandel Coast, reportedly found in Sri Lanka

3.23 x 1.12m (10’7” x 3’8”)

Chintz, hand drawn dyes, mordants and resists on cotton cloth

Somana Tuppotiya with Tumpal ends and floral banded centre, detail

19th century

Coromandel Coast, reportedly found in Sri Lanka

3.23 x 1.12m (10’7” x 3’8”)

Chintz, hand drawn dyes, mordants and resists on cotton cloth

Three Children’s Costumes, costume 1

18th century

Coromandel Coast, constructed later.

  1. Red-ground chintz, cotton bib with initials and lace work
  2. Red-ground chintz
  3. White-ground chintz

Chintz, hand drawn dyes, mordants and resists on cotton cloth

Three Children’s Costumes, costume 1 detail

18th century

Coromandel Coast, constructed later.

  1. Red-ground chintz, cotton bib with initials and lace work
  2. Red-ground chintz
  3. White-ground chintz

Chintz, hand drawn dyes, mordants and resists on cotton cloth

Three Children’s Costumes, costume 2

18th century

Coromandel Coast, constructed later.

  1. Red-ground chintz, cotton bib with initials and lace work
  2. Red-ground chintz
  3. White-ground chintz

Chintz, hand drawn dyes, mordants and resists on cotton cloth

Three Children’s Costumes, costume 2 detail

18th century

Coromandel Coast, constructed later.

  1. Red-ground chintz, cotton bib with initials and lace work
  2. Red-ground chintz
  3. White-ground chintz

Chintz, hand drawn dyes, mordants and resists on cotton cloth

Three Children’s Costumes, costume 3

18th century

Coromandel Coast, constructed later.

  1. Red-ground chintz, cotton bib with initials and lace work
  2. Red-ground chintz
  3. White-ground chintz

Chintz, hand drawn dyes, mordants and resists on cotton cloth

Three Children’s Costumes, costume 3 detail

18th century

Coromandel Coast, constructed later.

  1. Red-ground chintz, cotton bib with initials and lace work
  2. Red-ground chintz
  3. White-ground chintz

Chintz, hand drawn dyes, mordants and resists on cotton cloth

Abstract Meisen Kimono

Instead of the traditional pictorial symbols, many meisen employed abstract and geometric designs to echo the spirit of the age.

Abstract Meisen Kimono, detail

Instead of the traditional pictorial symbols, many meisen employed abstract and geometric designs to echo the spirit of the age.

Abstract Meisen Kimono, detail

Instead of the traditional pictorial symbols, many meisen employed abstract and geometric designs to echo the spirit of the age.

Abstract Meisen Kimono

Instead of the traditional pictorial symbols, many meisen employed abstract and geometric designs to echo the spirit of the age.

Abstract Meisen Kimono, detail

Instead of the traditional pictorial symbols, many meisen employed abstract and geometric designs to echo the spirit of the age.

Abstract Meisen Kimono, detail

Instead of the traditional pictorial symbols, many meisen employed abstract and geometric designs to echo the spirit of the age.

Abstract Meisen Kimono

Instead of the traditional pictorial symbols, many meisen employed abstract and geometric designs to echo the spirit of the age.

Abstract Meisen Kimono, detail

Instead of the traditional pictorial symbols, many meisen employed abstract and geometric designs to echo the spirit of the age.

Abstract Meisen Kimono, detail

Instead of the traditional pictorial symbols, many meisen employed abstract and geometric designs to echo the spirit of the age.

Painterly Meisen Kimono

The techniques of meisen meant that painterly effects, such as brushstrokes, could be created on the cloth in a way not previously possible with stencils.

Painterly Meisen Kimono, detail

The techniques of meisen meant that painterly effects, such as brushstrokes, could be created on the cloth in a way not previously possible with stencils.

Painterly Meisen Kimono, detail

The techniques of meisen meant that painterly effects, such as brushstrokes, could be created on the cloth in a way not previously possible with stencils.

Painterly Meisen Kimono

The techniques of meisen meant that painterly effects, such as brushstrokes, could be created on the cloth in a way not previously possible with stencils.

Painterly Meisen Kimono, detail

The techniques of meisen meant that painterly effects, such as brushstrokes, could be created on the cloth in a way not previously possible with stencils.

Painterly Meisen Kimono, detail

The techniques of meisen meant that painterly effects, such as brushstrokes, could be created on the cloth in a way not previously possible with stencils.

Painterly Meisen Kimono

The techniques of meisen meant that painterly effects, such as brushstrokes, could be created on the cloth in a way not previously possible with stencils.

Painterly Meisen Kimono, detail

The techniques of meisen meant that painterly effects, such as brushstrokes, could be created on the cloth in a way not previously possible with stencils.

Painterly Meisen Kimono, detail

The techniques of meisen meant that painterly effects, such as brushstrokes, could be created on the cloth in a way not previously possible with stencils.

Meisen Kimono

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design.

Lined Meisen Kimono, detail

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design.

Lined Meisen Kimono, detail

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design.

Lined Meisen Kimono

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design.

Lined Meisen Kimono, detail

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design.

Lined Meisen Kimono, detail

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design.

Lined Meisen Kimono

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design.

Lined Meisen Kimono, detail

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design.

Lined Meisen Kimono, detail

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design.

Traditional Meisen Kimono

The new meisen kimono did not just draw their designs from contemporary sources. Much of the imagery was taken from traditional Japanese art and designs that had been used on kimono for centuries.

 

Traditional Meisen Kimono, detail

The new meisen kimono did not just draw their designs from contemporary sources. Much of the imagery was taken from traditional Japanese art and designs that had been used on kimono for centuries.

 

Traditional Meisen Kimono, detail

The new meisen kimono did not just draw their designs from contemporary sources. Much of the imagery was taken from traditional Japanese art and designs that had been used on kimono for centuries.

 

Traditional Meisen Kimono

The new meisen kimono did not just draw their designs from contemporary sources. Much of the imagery was taken from traditional Japanese art and designs that had been used on kimono for centuries.

 

Traditional Meisen Kimono, detail

The new meisen kimono did not just draw their designs from contemporary sources. Much of the imagery was taken from traditional Japanese art and designs that had been used on kimono for centuries.

 

Traditional Meisen Kimono, detail

The new meisen kimono did not just draw their designs from contemporary sources. Much of the imagery was taken from traditional Japanese art and designs that had been used on kimono for centuries.

 

Traditional Meisen Kimono

The new meisen kimono did not just draw their designs from contemporary sources. Much of the imagery was taken from traditional Japanese art and designs that had been used on kimono for centuries.

 

Traditional Meisen Kimono, detail

The new meisen kimono did not just draw their designs from contemporary sources. Much of the imagery was taken from traditional Japanese art and designs that had been used on kimono for centuries.

 

Traditional Meisen Kimono, detail

The new meisen kimono did not just draw their designs from contemporary sources. Much of the imagery was taken from traditional Japanese art and designs that had been used on kimono for centuries.

 

Flower Meisen Kimono

The flowers and foliage that decorated meisen kimono, were manipulated and modernised to provide a contemporary visual statement.

 

Flower Meisen Kimono, detail

The flowers and foliage that decorated meisen kimono, were manipulated and modernised to provide a contemporary visual statement.

 

Flower Meisen Kimono, detail

The flowers and foliage that decorated meisen kimono, were manipulated and modernised to provide a contemporary visual statement.

 

Flower Meisen Kimono

The flowers and foliage that decorated meisen kimono, were manipulated and modernised to provide a contemporary visual statement.

 

Flower Meisen Kimono, detail

The flowers and foliage that decorated meisen kimono, were manipulated and modernised to provide a contemporary visual statement.

 

Flower Meisen Kimono, detail

The flowers and foliage that decorated meisen kimono, were manipulated and modernised to provide a contemporary visual statement.

 

Flower Meisen Kimono

The flowers and foliage that decorated meisen kimono, were manipulated and modernised to provide a contemporary visual statement.

Flower Meisen Kimono, detail

The flowers and foliage that decorated meisen kimono, were manipulated and modernised to provide a contemporary visual statement.

 

Flower Meisen Kimono, detail

The flowers and foliage that decorated meisen kimono, were manipulated and modernised to provide a contemporary visual statement.