Textiles collection
European trade textile for a West African market. Velvet emulating African Kente cloth
Velvet in Kente Cloth Style, detail
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
Velvet in Kente Cloth Style, detail
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
Elephant and Palm Cut Velvets, detail
Two European cut velvets for trade in West Africa with elephant and palm tree motif
European cut velvet for trade in West Africa.
Chess Piece Cut Velvet, detail
European cut velvet for trade in West Africa
European cut velvet for trade in West Africa
European cut velvet for trade in West Africa
Ewe Cloth, Man’s cloth, detail, Ewe people, eastern Ghana or south-west Togo
Cotton, early to mid 20th 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.
Ewe cloth, Man’s cloth, Ewe people, eastern Ghana or south-west Togo
Cotton, mid-20th 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.
Ewe cloth, Man’s cloth, detail, Ewe people, eastern Ghana or south-west Togo
Cotton, mid-20th 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.
Ewe cloth, Man’s cloth, Ewe people, eastern Ghana or south-west Togo.
Cotton, silk, early to mid-20th 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.
Ewe cloth, Man’s cloth, detail, Ewe people, eastern Ghana or south-west Togo.
Cotton, silk, early to mid-20th 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.
Ewe cloth, Man’s cloth, Ewe people, eastern Ghana or south-west Togo
Cotton, early to mid- 20th century, 290 x 170cm (9’6” x 5’7”).
Distinctive style with elongated float motifs.
Ewe cloth, Man’s cloth, detail, Ewe people, eastern Ghana or south-west Togo
Cotton, early to mid- 20th century, 290 x 170cm (9’6” x 5’7”).
Distinctive style with elongated float motifs.
Ewe cloth, Man’s cloth, Ewe people, eastern Ghana or south-west Togo
Cotton, early to mid- 20th 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.
Ewe cloth, Man’s cloth, detail, Ewe people, eastern Ghana or south-west Togo
Cotton, early to mid- 20th 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.
Ewe cloth, Man’s cloth, Ewe people, eastern Ghana or south-west Togo
Hand-spun cotton, 19th century or 20th 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.
Ewe cloth, Man’s cloth, detail, Ewe people, eastern Ghana or south-west Togo
Hand-spun cotton, 19th century or 20th 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.
Woman’s wrapper cloth or man’s shawl, Nigeria
Silk and hand-spun cotton, 19th Century, 214 x 144cm (7’x 4’9”).
This remarkable cloth has some similarities to a few strip samples collected early in the 20th century among the Jukun of the Benue valley in Central Nigeria but is the only known example of the type.
Woman’s wrapper cloth or man’s shawl, detail, Nigeria
Silk and hand-spun cotton, 19th Century, 214 x 144cm (7’x 4’9”).
This remarkable cloth has some similarities to a few strip samples collected early in the 20th century among the Jukun of the Benue valley in Central Nigeria but is the only known example of the type.
Woman’s wrapper cloth, elejo, Igbin village group, Igbomina Yoruba, Nigeria
Hand-spun cotton.
Marriage cloth found only in the highest status families.
Woman’s wrapper cloth, elejo, detail, Igbin village group, Igbomina Yoruba, Nigeria
Hand-spun cotton.
Marriage cloth found only in the highest status families.
Woman’s shawl cloth, aso oke, Yoruba people, Nigeria
Silk and hand-spun cotton, late 19th Century.
175 x 110cm (5’9” x 3’7”)
Figurative extra weft float patterning was extremely rare on Yoruba aso oke in this period.
Woman’s shawl cloth, aso oke, detail, Yoruba people, Nigeria
Silk and hand-spun cotton, late 19th Century.
175 x 110cm (5’9” x 3’7”)
Figurative extra weft float patterning was extremely rare on Yoruba aso oke in this period.
Man’s wrapper cloth, aso olona, Ijebu Yoruba, Nigeria
Hand- and machine- spun cotton, early 20th 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.
Man’s wrapper cloth, aso olona, detail, Ijebu Yoruba, Nigeria
Hand- and machine- spun cotton, early 20th 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.
Blanket, luru, Hausa people, northern Nigeria
Hand-spun cotton, 20th Century.
244 x 130cm (8’ x 4’3”)
Blanket, luru, detail, Hausa people, northern Nigeria
Hand-spun cotton, 20th Century.
244 x 130cm (8’ x 4’3”)
Man’s wrapper cloth, Bondoukou region of north eastern Côte D’lvoire
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 19th century. Hand-spun indigo and white cotton, machine-spun coloured thread.
Man’s wrapper cloth, detail, Bondoukou region of north eastern Côte D’lvoire
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 19th century. Hand-spun indigo and white cotton, machine-spun coloured thread.
Early 20th 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.
Wrapper Cloth, detail, Côte D’lvoire
Early 20th 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 20th 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 20th Century.
Rare cloth, detail, Côte D’lvoire
Hand-spun indigo and white cotton, machine-spun coloured thread, first half 20th 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 20th Century.
Bogolanfini woman’s wrapper cloth, Bamana people, Beledougou region, Mali
Hand-spun cotton, late 20th Century.
188 x 99cm (6’2” x 3’3”)
Bogolan cloth uses iron derived from mud and tannin from leaves.
Bogolanfini woman’s wrapper cloth, detail, Bamana people, Beledougou region, Mali
Hand-spun cotton, late 20th Century.
188 x 99cm (6’2” x 3’3”)
Bogolan cloth uses iron derived from mud and tannin from leaves.
Prestige wedding hanging, arkilla munnga, Mali
Wool weft, cotton warp, early 20th 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.
Prestige wedding hanging, arkilla munnga, detail, Mali
Wool weft, cotton warp, early 20th 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.
Blanket, dampe or damiye, Soninke or Bamana people, Mali
Hand-spun cotton, mid 20th Century, 188 x 106cm (6’2” x 3’2”)
Blanket, dampe or damiye, detail, Soninke or Bamana people, Mali
Hand-spun cotton, mid 20th Century, 188 x 106cm (6’2” x 3’2”)
Display cloth, ndop, Wukari, Nigeria, Mali
Hand-spun cotton, early to mid-20th 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.
Display cloth, ndop, detail, Wukari, Nigeria, Mali
Hand-spun cotton, early to mid-20th 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.
Display cloth, ndop, Cameroon and Nigeria, Mali
Hand-spun cotton and red felt, early to mid-20th 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.
Display cloth, ndop, detail, Cameroon and Nigeria, Mali
Hand-spun cotton and red felt, early to mid-20th 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.
Hats for chiefs and senior men, ashetu, Grassfields region Cameroon, Mali
Hand-spun cotton, first half of 20th 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.
Hats for chiefs and senior men, ashetu, detail, Grassfields region Cameroon, Mali
Hand-spun cotton, first half of 20th 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.
Woman’s head shawl, tadghart adrar, Anti Atlas region, Morocco
Early 20th 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 20th 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 20th 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 20th 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
20th 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, detail, Middle Atlas region, Morocco
20th 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 19th 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 19th 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 18th– early 19th 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 18th– early 19th 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
20th 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
20th 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.
20th 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- 20th 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.
20th 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- 20th 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
20th 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
20th 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
20th 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
20th 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.