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

20^th 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 19^th 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”)

20^th 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 19^th 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”)

20^th 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”)

20^th 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”)

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”)

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”)

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

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

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

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

European trade textile for a West African market. Velvet emulating African Kente cloth

European trade textile for West African market. Velvet emulating African Kente cloth style

European trade textile for West African market. Velvet emulating African Kente cloth style

European trade textile for West African market. Velvet emulating African Kente cloth style

European trade textile for West African market. Velvet emulating African Kente cloth style

Two European cut velvets for trade in West Africa with elephant and palm tree motif

Two European cut velvets for trade in West Africa with elephant and palm tree motif

European cut velvet for trade in West Africa.

European cut velvet for trade in West Africa

European cut velvet for trade in West Africa

European cut velvet for trade in West Africa

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

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

17^th 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

17^th 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

17^th 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

17^th 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

17^th 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

17^th 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

18^th or 19^th 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

18^th or 19^th 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

Late 17^th-early 18^th 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

Late 17^th-early 18^th 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

Circa 17^th 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

Circa 17^th 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

18^th 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

18^th 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

18^th 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

Late 18^th-19^th 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

Late 18^th-19^th 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

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

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

First half of the 18^th 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

First half of the 18^th 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

Late 18^th century- early 19^th 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

Late 18^th century- early 19^th 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

19^th 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

19^th 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

18^th 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

18^th 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

18^th 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

18^th 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

18^th 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

18^th 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

19^th century

Northern Europe (?), reportedly found in Sri Lanka

0.91 x 0.76m (3’0” x 2’6”)

Block-printed or roller printed on cotton cloth

19^th century

Northern Europe (?), reportedly found in Sri Lanka

0.91 x 0.76m (3’0” x 2’6”)

Block-printed or roller printed on cotton cloth

This is not a chintz; rather it has been block-printed and was most likely produced in one of countless factories operating in Holland, Belgium or possibly even Russia during the second half of the 19th century, attempting to compete with an entire range of traditional Indian textile exports.

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

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

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

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

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

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

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

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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

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

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

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

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

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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

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

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

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

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

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

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.

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.

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.

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

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

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

Flowers

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

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.

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

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

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.

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.

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design rather than forming a minor part.

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design rather than forming a minor part.

In the meisen examples the ribbons take on many forms, but in all cases they dominate the entire design rather than forming a minor part.

Traditional subject matter, patterns and symbols were adapted to fit the new art form, on which they appeared in new formats.

Traditional subject matter, patterns and symbols were adapted to fit the new art form, on which they appeared in new formats.

Traditional subject matter, patterns and symbols were adapted to fit the new art form, on which they appeared in new formats.

Cotton, early to mid 20^th century, 324 x 170cm (10’8” x 5’7”).

In weft-faced style with interesting variations of the normal regular layout and a single vibrant yellow block.

Cotton, early to mid 20^th century, 324 x 170cm (10’8” x 5’7”).

In weft-faced style with interesting variations of the normal regular layout and a single vibrant yellow block.

Cotton, mid-20^th century, 300 x 16 cm (9’10” x 5’4”).

Among the elaborate weft-float motifs on this cloth is one near the centre that appears to show two weavers laying out the warp for a cloth.

Cotton, mid-20^th century, 300 x 16 cm (9’10” x 5’4”).

Among the elaborate weft-float motifs on this cloth is one near the centre that appears to show two weavers laying out the warp for a cloth.

Cotton, silk, early to mid-20^th century, 304 x 165cm (10’ x 5’5”).

Only the wealthiest chiefs could afford to commission a cloth with this profusion of varied designs from a highly skilled master weaver.

Cotton, silk, early to mid-20^th century, 304 x 165cm (10’ x 5’5”).

Only the wealthiest chiefs could afford to commission a cloth with this profusion of varied designs from a highly skilled master weaver.

Cotton, early to mid- 20^th century, 290 x 170cm (9’6” x 5’7”).

Distinctive style with elongated float motifs.

Cotton, early to mid- 20^th century, 290 x 170cm (9’6” x 5’7”).

Distinctive style with elongated float motifs.

Cotton, early to mid- 20^th century, 316 x 175cm (10’4” x 5’9”).

The solid blue strips are extremely unusual in Ewe weaving and resulting in an uncharacteristically minimal appearance.

Cotton, early to mid- 20^th century, 316 x 175cm (10’4” x 5’9”).

The solid blue strips are extremely unusual in Ewe weaving and resulting in an uncharacteristically minimal appearance.

Hand-spun cotton, 19^th century or 20^th century, 224 x 153cm (7’4”x 5’).

Red and white cloths with a distinct lower border strip are a regular occurrence among early Ewe textiles, but this variant with inset tassels in red, white and blue cotton and red tapestry weave patterns is unique.

Hand-spun cotton, 19^th century or 20^th century, 224 x 153cm (7’4”x 5’).

Red and white cloths with a distinct lower border strip are a regular occurrence among early Ewe textiles, but this variant with inset tassels in red, white and blue cotton and red tapestry weave patterns is unique.

Circa 1930’s 139 x 93cm (4’6’ x 3’0”).

A chief on his stool, his spokesman (with staff), and seated followers. The surreal detail of Queen Victoria is a later repair.

Circa 1930’s 139 x 93cm (4’6’ x 3’0”).

A chief on his stool, his spokesman (with staff), and seated followers. The surreal detail of Queen Victoria is a later repair.

Circa 1950, 194 x 130cm (6’4” x 4’3”).

A multi-headed spirit figure nurtures the Company while threatening rivals.

Circa 1950, 194 x 130cm (6’4” x 4’3”).

A multi-headed spirit figure nurtures the Company while threatening rivals.

Silk and hand-spun cotton, 19^th Century, 214 x 144cm (7’x 4’9”).

This remarkable cloth has some similarities to a few strip samples collected early in the 20^th century among the Jukun of the Benue valley in Central Nigeria but is the only known example of the type.

Silk and hand-spun cotton, 19^th Century, 214 x 144cm (7’x 4’9”).

This remarkable cloth has some similarities to a few strip samples collected early in the 20^th century among the Jukun of the Benue valley in Central Nigeria but is the only known example of the type.

Hand-spun cotton.

Marriage cloth found only in the highest status families.

Hand-spun cotton.

Marriage cloth found only in the highest status families.

Silk and hand-spun cotton, late 19^th Century.

175 x 110cm (5’9” x 3’7”)

Figurative extra weft float patterning was extremely rare on Yoruba aso oke in this period.

Silk and hand-spun cotton, late 19^th Century.

175 x 110cm (5’9” x 3’7”)

Figurative extra weft float patterning was extremely rare on Yoruba aso oke in this period.

Hand- and machine- spun cotton, early 20^th Century.

These cloths were worn as insignia of office be elderly men belonging to a so- called Ogboni society, which maintained a shrine to the Earth and had an important role in selecting Yoruba kings. The designs are said to represent water spirits.

Hand- and machine- spun cotton, early 20^th Century.

These cloths were worn as insignia of office be elderly men belonging to a so- called Ogboni society, which maintained a shrine to the Earth and had an important role in selecting Yoruba kings. The designs are said to represent water spirits.

Hand-spun cotton, 20^th Century.

244 x 130cm (8’ x 4’3”)

Hand-spun cotton, 20^th Century.

244 x 130cm (8’ x 4’3”)

260 x 145cm (8’6” x 4’9”)

The quality of the weaving and the complexity of design suggest that this is among the earliest examples known from the region, perhaps dating to the late 19^th century. Hand-spun indigo and white cotton, machine-spun coloured thread.

260 x 145cm (8’6” x 4’9”)

The quality of the weaving and the complexity of design suggest that this is among the earliest examples known from the region, perhaps dating to the late 19^th century. Hand-spun indigo and white cotton, machine-spun coloured thread.

Early 20^th Century, 260 x 168cm (8’6” x 5’6”).

Although many people wore resist patterned indigo dyed cloths in this area until the 1950’s, very few early examples such as this have survived.

Early 20^th Century, 260 x 168cm (8’6” x 5’6”).

Although many people wore resist patterned indigo dyed cloths in this area until the 1950’s, very few early examples such as this have survived.

Hand-spun indigo and white cotton, machine-spun coloured thread, first half 20^th  century.

183 x 112cm (6’ x 3’8”)

The basic checkerboard of Malian blankets was adapted by local weavers, here by the addition of figurative extra-weft float motifs in a distinctive style. The exact origin of this variant is not known but some examples in the Museum der Kulturen Basel were collected in Gouro country in the first half of the 20^th Century.

Hand-spun indigo and white cotton, machine-spun coloured thread, first half 20^th  century.

183 x 112cm (6’ x 3’8”)

The basic checkerboard of Malian blankets was adapted by local weavers, here by the addition of figurative extra-weft float motifs in a distinctive style. The exact origin of this variant is not known but some examples in the Museum der Kulturen Basel were collected in Gouro country in the first half of the 20^th Century.

Hand-spun cotton, late 20^th Century.

188 x 99cm (6’2” x 3’3”)

Bogolan cloth uses iron derived from mud and tannin from leaves.

Hand-spun cotton, late 20^th Century.

188 x 99cm (6’2” x 3’3”)

Bogolan cloth uses iron derived from mud and tannin from leaves.

Wool weft, cotton warp, early 20^th Century.

431 x 127cm (14’2” x 4’2”)

Woven by Songhay speaking maabuube weavers in the vicinity of Lake Faguibine, these cloths were used primarily by families of nomadic Maures as hangings in marriage tents.

Wool weft, cotton warp, early 20^th Century.

431 x 127cm (14’2” x 4’2”)

Woven by Songhay speaking maabuube weavers in the vicinity of Lake Faguibine, these cloths were used primarily by families of nomadic Maures as hangings in marriage tents.

Hand-spun cotton, mid 20^th Century, 188 x 106cm (6’2” x 3’2”)

Hand-spun cotton, mid 20^th Century, 188 x 106cm (6’2” x 3’2”)

Hand-spun cotton, early to mid-20^th Century, for the Cameroon trade.

244 x 154cm (8’0” x 5’1”)

Figurative imagery is sometimes found on ndop made in Wukari but this large-sale depiction of a leopard, a key symbol of royal power in Cameroon, is exceptional.

Hand-spun cotton, early to mid-20^th Century, for the Cameroon trade.

244 x 154cm (8’0” x 5’1”)

Figurative imagery is sometimes found on ndop made in Wukari but this large-sale depiction of a leopard, a key symbol of royal power in Cameroon, is exceptional.

Hand-spun cotton and red felt, early to mid-20^th Century.

280 x 272cm (9’2” x 8’8”)

Ndop were highly valued and often reworked and repaired over many years. On this piece cloth that orginated in Wukari in Nigeria, the strips that are lighter in colour have been combined with strips made in Cameroon.

Hand-spun cotton and red felt, early to mid-20^th Century.

280 x 272cm (9’2” x 8’8”)

Ndop were highly valued and often reworked and repaired over many years. On this piece cloth that orginated in Wukari in Nigeria, the strips that are lighter in colour have been combined with strips made in Cameroon.

Hand-spun cotton, first half of 20^th Century.

The original forms seem to have been derived from men’s hairstyles, but the group shown here displays a number of rarely seen variations.

Hand-spun cotton, first half of 20^th Century.

The original forms seem to have been derived from men’s hairstyles, but the group shown here displays a number of rarely seen variations.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.