Mae Festa 50 Years of Collecting Textiles - Peter Pap Oriental Rugs

Mae Festa
50 Years
of
Collecting
Textiles

Mae Festa
50 Years of Collecting Textiles
NEW HAVEN 2010

INTRODUCTION
During the period since my retirement
from a lifetime in the professional design
field, I have been assembling this catalog
of my textile collection. In this process,
I found the full satisfaction of realizing the
vitality, diversity, excitement, and depth of
what had been brought together.
I grew up in a Manhattan neighborhood,
close to the riches of the New York world
of art and the museums and galleries where
it was accessible. The opportunity to spend
untold hours wandering the halls of these
great institutions was invaluable in my
early years. It was also very fortunate that
my first serious job was working for a
contemporary design firm in the forefront
of the modern movement. Those were the
days of total immersion in the world of
international modern design, the feeling
that a whole new visual world was in the
making and that nothing else mattered very
much. New architecture, new furniture,
new couture, new cinema, new music, et al.
Following those early years, when my
husband and I were living in Athens, where
he was on assignment, I began to find and
appreciate ethnographic weaving and early
textiles. It was then, in the early 60’s, that
I acquired my first small pieces from
Greece, Asia, and Africa. The very first
pieces were from the Plaka, an ancient
Athenian marketplace, in 1961. There were
two fragments, pieces from traditional
19 th century Attica wedding costumes, one
a sleeve end and the other the border of a
dress. They consisted of very brightly colored
blocks of embroidery which resonated in
my mind with many of the Paul Klee forms
of the 20’s and 30’s. What a revelation.
During the 1970’s I began working
professionally as an interior designer in
an architect’s office. This gave me the rare
opportunity to use textiles as a part of
permanent art collections in many of the
large corporate projects we did. It also gave
me access to some of the world’s very best
sources, opening up the world of textiles
to me.
Not until after my first trip to Turkey in
1979, did I begin to seriously consider
traveling extensively to regions where tribal
and ethnic textiles were still being made and

used in their native settings; Central Asia,
Bhutan, Western China, Morocco, and
many other destinations. During the post
WWII era, as world economies and tourism
expanded, tribal and antique textiles began
to surface everywhere. Immediately upon
my return from Turkey, I joined textile
societies and study groups. I met like-minded
people and enjoyed travels with many of
them. I had become a collector.
In my collecting, I became aware that the
textile arts are a common thread within
all cultures, both ancient and modern,
and that all mankind’s history is involved.
Basically, all techniques of textile art known
to us now, were known by South American
pre-Columbian cultures before the end
of the first millennium AD. What is most
astounding and fascinating to me is the way
these myriad methods of textile production
and use were manifested so differently in the
specific cultures in which they were used.
So many variations were developed based on
the availability of materials, requirements of
use and other cultural and local imperatives.
This is, in short, the Art of Textiles.
When I look at a particular small Tiraz
fragment, I marvel at the extraordinary finely
woven silk and linen. I can hardly believe
that it was woven in the 10 th century, very
likely by a Coptic weaver. Now it is carefully
mounted and preserved for others to see.
And what a vision; within an elaborate
interlaced strapwork design appear doves,
plants and other wonderful forms. It’s
delicacy is extremely engaging.
During a trip with a study group in 1994 to
western China, we stopped for several days in
Bukhara. While walking through the ancient
market, we came upon an individual who had
set up his carpet wares just outside the shop
areas. A small group had assembled and was
examining his offerings. In a pile of carpets,
there was a fragment which I immediately
found appealing. The merchant attempted
to explain the importance of a light, yellowy
color in the design by pointing to it and
saying “onion, onion”. Meanwhile, the bus
was waiting. We settled on a very low price,
I threw the Turkmen juval fragment under
my arm and caught up with my companions.
Back in the U.S.A., I brought the piece to
a highly regarded New York dealer for
cleaning. He later made an offer for the
piece in the mid four figures, with the
observation that at auction it might fetch
five figures. How exciting!
Over time, I have realized that my interest
was not in researching specific origins or
finding masterpieces, but in seeing the
individual aesthetic appeal of each piece
that I have acquired. To know it, marvel
at its beauty, technique, color, form; its
refinement of design or basic primal power.
After that initial trip to Turkey, I came
back with a new focus and now, many
years later, find myself with an incredibly
eclectic collection of textiles which delights
me everyday. Every piece has a compelling
presence. Each textile stands alone as a
piece of this extremely diversified mosaic
that has become my collection. This catalog
is the result of wanting to share some of
this delight with other textile enthusiasts.
ACKNOWLEDGEMENTS
Several years ago, in conversation with
David Powrie, an architect friend, he
encouraged me to think about doing a
catalog of my textile collection. At this
time David had been seriously developing
his skills as a painter, and had begun
working on my portrait. During many
sittings we discussed the concept of a
catalog at some length, and he convinced
me of the need to do this. I owe David
a debt of gratitude not only for his
encouragement, but for the many, many
hours spent organizing and formatting
the photographic material.
After the decision to proceed, I approached
Ron Livieri, and architectural photographer
and avid collector himself, to describe the
potential project and ask whether he could
participate in the photography. He thought
about it for some time and then agreed to be
involved. From the very beginning, I knew
that there would be limitations to what could
be included, so we simply began shooting
the more obvious selections. Ron, assisted
by Nancy Adams, an old friend and talented
artist, photographed the major part of the
images in the catalog. This contribution is

greatly appreciated. Also, constant critic, ally,
and contributor is my husband Gene Festa,
whose insight and steadfast encouragement
has been invaluable during the four years of
this gestation.
Another key member of our team, Samantha
Bertini, made an essential contribution with
her superior computer skills and discerning
eye. Thank you Samantha.
Thanks are also due to many of my textile
collecting friends for their information and
advice on various areas of the collection.
Rug authority Mike Tschebull helped with
information on some of the pile weaving
from the Mid East and Central Asia. With
his incredible experience and expertise on
African and Southeast Asian textiles, Jeff
Spur supplied most of the information on the
pieces from these areas. Thanks to Desiree
Koslin for her generous professional support
and editorial skills.
I want to acknowledge the encouragement
and support along the way by Thomas
Murray, Mary Kahlenburg, and Gail Martin.
I must also mention the great inspiration,
understanding and energy I received
from Cora Ginsburg, the legendary dealer
in fine American and European textiles.
Towards the end of this whole process
my good friend, the photographer Robert
Swerling offered valuable advice on the
printing and production of the images in
the catalog.
Other resources which were invaluable
in this project have been the Hajji Baba
Club in New York, the Textile Museum
in Washington D.C., and that paragon of
excellence, HALI, the textile journal.
Mae Festa
CONTENTS
INDONESIA 2
Sumatra, Java, Bali, Timor, Borneo,
Lombok, Roti
JAPAN 38
Honshu, Hokaido
SOUTHEAST ASIA 60
Polynesia, Phillipines, Laos, Burma
CHINA 78
Hainan Island, Guizhou, Sinkiang,
Straites of China, Shanxi
TIBET 112
Tibet, Bhutan
CENTRAL ASIA 140
Uzbekistan, Kyrgystan, Turkmenistan
INDIA 180
Lahore, Kashmir, Gujarat, Ragistan,
Benares, Jaipur, Punjab, Ladakh, Naga
MIDDLE EAST 210
Iran, Kurdistan, Syria, Palistine,
Caucusus, Azarbyjan
TURKEY 262
Ottoman, Bursa, Milos, Amatalia, Siirt
EUROPE 288
England, Italy, Spain, France,
Kosovo, Greece
AFRICA 326
Egypt, Morocco, Tunisia, Algeria, Sub-Sahara
THE AMERICAS 374
Peru, Bolivia, Mexico, USA

INDONESIA – Sumatra
Shipcloth (Palapai)
19 th Century
Lampung District
Supplementary weft, cotton,
gold metallic thread
206 x 61 cm 102 x 24 in
Lampung is a major center for the production
of ceremonial textiles. The Palapai is the most
prominently used because it represents family
unity. It is hung in the room where rituals are
performed. The ship is a symbol of the passage
of life from one phase to another.
2
(detail facing page)
(overleaf)

INDONESIA – Sumatra
Gift Cover (Tampan)
Late 19 th Century
Lampung District
Supplementary weave, cotton
66 x 74 cm 26 x 29 in
Gifts play a major role in the traditions of the culture.
For a wedding, elaborate weavings are given as gifts to
the parents and relatives of the married couple.
6

INDONESIA – Sumatra
Shoulder Cloth (Slendang)
Late 19 th Century
Palembang
Ikat border with supplementary weft
patterning, green silk field, red and gold.
89 x 206 cm 35 x 81 in
Worn by women family members
at weddings and other celebrations.
8
Shoulder Cloth (Kain Songket)
Late 19 th Century
Palembang
Supplementary weft patterning,
gold brocade throughout on red silk.
84 x 214 cm 33 x 84 in
Worn over the shoulder and held in
place at the waist or worn as a skirt.

INDONESIA – Sumatra
Tapis (Ceremonial skirt)
19 th Century
Kauer people, Lampong District
Woven ikat sarong with embroidered
geometric stripes on silk.
Mica/mirror sequins.
124 x 127 cm 49 x 50 in
10

INDONESIA – Sumatra
Tapis (Ceremonial sarong)
19 th Century
Kauer people, Lampong District
Cotton and silk striped embroidered
bands of floral like forms with silk
and mirror/glass sequins. Tube belted
at the waist.
66 x 127 cm 26 x 50 in
12

INDONESIA – Sumatra
Ritual Cloth
19 th Century
Palembang District
Silk embroidery on silk
33 x 36 cm 13 x 14 in
“Allah” embroidered in each
border of the corner squares.
14

INDONESIA – Northern Sumatra
Shoulder Cloth (Ragidup–shown folded)
Late 19 th Century
Batak people
Plain weave maroon cotton ground cloth,
supplementary warp and weft, natural white
cotton patterning.
37 x 201 cm 14½ x 79 in
The ragidup is the most prestigious of all Batak
textiles and used in gift exchanges on very important
occasions. This example is unusual in its much
narrower dimensions woven in one loom width,
and the simulation of the normally sewn on separate
side panels. The supplementary weaving is exquisitely
fine and the patterns vary between the two ends.
16

INDONESIA – Eastern Sumatra
Pillow Ends
Late 19 th Century
Palembang District
Silk embroidery on silk.
23 x 14 cm 9½ x 5½ in
22 x 12½ cm 9 x 5 in
Furnishing fabrics for formal and special occasions.
18

INDONESIA – Sumatra
Cushion Cover
19 th Century
Palembang District
Silk embroidery on silk.
92 x 61 cm 36 x 24 in
Furnishings fabric for special occasions.
20
INDONESIA – Java
Shawl (Slendang) (overleaf)
19 th Century
Java
Hand-spun and handwoven,
silk hand-drawn batik.
381 x 56 cm 150 x 22 in
Dark red floral and bird forms show
strong Chinese influence.

INDONESIA – Java
Shawl (Slendang)
19 th Century
Java
Yellow silk, which is the most
prized color, with wide Batik border.
Center field tie dyed pattern.
158 x 53 cm 62 x 21 in
24

INDONESIA – Java
Long Cloth (Kain Panjang, Pagi-Sore)
Mid 20 th Century
Cotton batik, three colors; blue-black,
light brown, and natural.
208 x 107 cm 82 x 42 in
This very fine batik garment, worn by both men and
women, is a variation of the typical Kain Panjang.
The design is of two distinctly different patterns, usually
lighter and darker, and usually divided by a diagonal
line. A more formal garment than the typical sarong,
the pagi-sore requires only a rearrangement of the fabric
to create an alternative presentation. The symbolic
representation of the garuda bird on the dark side and
the paulownia flowers floating on geometric and floral
bands on the light side result in a lively counterpoint.
26

INDONESIA – Bali
Slendang Prada (fragment)
Early 20 th Century
Gold leaf over hand drawn
batik on cotton.
73 x 48 cm 19 x 9 in
Embellished with gold for ceremonial use.
28

INDONESIA – Timor
Woven Bag
19 th Century
Cotton, tapestry weave,
small scale, with colorful tassels.
22 x 22 cm 8½ x 8½ in
Bag used for carrying betel nuts.
30

INDONESIA – Borneo
Basket Panel
19 th Century
Dayak
Beadwork ornament attached to basket
used as a baby carrier.
33 x 24 cm 13 x 9½ in
The biaxial symmetry of this design is somewhat
unusual. A tremendous energ y is created with the
interlocked coiling and flowing forms, terminating in
spiraling hooks along the edges. The allusion to sea
forms may auger good fortune, as might the clearly
drawn heart in the center. The colors are bold;
blue, red, yellow, white and green.
32

INDONESIA – Lombok
Banner (panel)
19 th Century
Central Lombok
Discontinuous supplementary weft, cotton
42½ x 42½ cm 16½ x 16½ in
From a banner containing nine panels, one
of which shown here, is a floral/sea image.
Similar patterns appear in both Indian and
Indonesian textiles.
34

INDONESIA – Roti
Man’s Textile (Dula Bunga)
Early 20 th Century
Cotton wrap ikat in three colors, blue-black,
rusty red, and natural.
158 x 53 cm 62 x 21 in
The design of these textiles was very much influenced by
the Indian patola. This can be seen in the organization
of the main field into framed rectangles, and by the
triangular patterns at both ends. The overall design is
a lattice of intertwined floral forms. Men wore these
pieces as wraps around their waist, or folded lengthwise
as shoulder cloths.
36

JAPAN
Tea Cup Caddy (Shifuku)
17 th Century
Kyoto
Both sides and bottom of bag
for tea cup. Gold brocading on rich
green twill woven silk.
Each side:
11 x 10 cm 4½ x 4 in
Worn from long-time use. Realistic
leaf and tendril design with peonies.
38

JAPAN
Fragment
18 th Century
Kinran (gold wrapped silk thread)
silk brocading.
33 x 34 cm 13 x 13½ in
Napkin, used to cover tea ceremony items, has
linked roundels, each with two opposing dragons
enclosing a flaming pearl. The pearl symbolizes
purity and perfection and has the power to protect
against fire. The dragon is the spirit of life itself,
representing strength and goodness.
40

JAPAN
Fragment
18 th Century
Kinran (gold wrapped silk thread)
silk brocading.
64 x 79 cm 25 x 31 in
All over floral tendril surrounding
individual, chrysanthemums, indicating
autumn or old age or retirement.
42

JAPAN
Fragment
17 th Century
Kyoto
Silk and gold brocade furnishing fabric.
35 x 6 cm 13½ x 2½ in
Fan
18 th Century
Silk and gold brocade furnishing fabric.
34 x 16 cm 13½ x 6½ in
Interlocking ellipses form lozenge shaped panels
filled with floral forms. Contrasting geometric field
of small green and black squares. Tiny green dots
in the gold bands add to the lively detail of this
fine piece
44

JAPAN
Fragment
18 th Century
Kyoto
Silk and gold brocade garment fabric.
15 x 27 cm 6 x 10½ in
Overall floral arabesque design with stylized peonies.
46
Fragment
17 th Century
Kyoto
Silk and gold brocade.
15 x 29 cm 6 x 11½ in
Stylized cloud forms with “various treasures”
(takara zukushi) floating among them.

JAPAN
Fragment
19 th Century
Silk with couching, small tie dyed
circles (shibori) and silk floss
embroidered and resist dyed flowers.
18 x 33 cm 7 x 13 in
Possibly a kimono cloth.
48

JAPAN
Fragment
Early 20 th Century
Printed silk with aquatic motif,
lotus blossoms and bubbling water.
36 x 23 cm 14 x 9 in
Possibly from a kimono cloth. The design
seems to have the spirit of early 20th century
textiles of the Art Nouveau period.
50

JAPAN
Fragment
Early 20 th Century
Printed silk panel.
37 x 25 cm 14½ x 10 in
The lightness of the fabric, and the spring like
floral motifs would seem to indicate its possible
use as a summertime garment.
52

JAPAN
Waist Bands (Obi)
20 th Century
Cotton strips, often made from old,
discarded fabrics, woven on cotton warp
into long narrow bands for wrapping
loose clothing.
14–16 x 280–310 cm 5½–6½ x 110–122 in
These Obis are typical of country folk
weaving (mingei) used by workmen and
are utilitarian rather than decorative.
54

JAPAN
Chest Protector
19 th Century
Dark indigo wool plain weave,
silk applique with silk embroidered
edging, green cotton edge binding
and woolen straps.
24 x 53 cm 9½ x 21 in
This chest protector was worn across the front
of a firecoat, usually under a cape. Fire costumes
were worn by nobility to protect from sparks
in case of burning building. The crest in the
center indicates probable ceremonial use.
56

JAPAN – Hokkaido
Ceremonial Carrying Bag (opened)
Early 19 th Century
Ainu people
Elm bark fiber ground cloth, cotton
applique and tambour stitch embroidery.
28 x 76 cm 11 x 30 in
This very rare Edo period bag is a fine example of
the Ainu textile arts. The graphic design, of curved
“moreu” and thoric shaped “aiushi”, reflects the
aesthetic attitudes of these bear worshipping people.
The decoration can be related to ancient traditional
forms. It is also interesting to compare these forms to
some of wood carving and textile art of the northwest
coast of native people of Alaska.
58

SOUTHEAST ASIA – Polynesia
Painted Bark Cloth (Tapa)
Early 20 th Century
Samoa
Mulberry tree bark cloth, vegetable dyes.
145 x 208 cm 57 x 81 in
Narrow bands (c. 2–3 in) stripped from the paper
mulberry are pounded on a wide log to more than ten
times the width. These panels are joined together with
vegetable glue to form much larger cloths, which are
then decorated to serve as shawls, wrappers, or hangings
for various ceremonial occasions. This tapa is quite
elegant in its balanced simplicity and the sureness of
the drawing. The slightly ribbed overall background
pattern was probably achieved by pressing the cloth
over a dyed wood matrix.
60

SOUTHEAST ASIA – Philippines
Body Wrapper
Mid 20 th Century
Mindinao
Cotton embroidery on striped, plain weave
cotton cloth.
67 x 140 cm 26½ x 55½ in
Four bands of elegantly striped indigo with embroidered
reptiles; butted panel seams embroidered with small hut
forms and dancing human figures. All embroidery is
double-sided running stitch, appearing exactly the same
front and back.
62

SOUTHEAST ASIA – Philippines
Sash (Anigtan)
Early 20 th Century
Luzon, Itneg group
Cotton, supplementary weave, fine beadwork
on end fringes.
173 x 15 cm 68 x 6 in
These finely decorated “anigtan” were often woven
with silk supplementary weave, and were more
prized than sashes in common use called “balikes”.
The colors of the patterns reverse from front to back.
64

SOUTHEAST ASIA – Philippines
Headcloth (Pis Siyabit)
19 th Century
Tausug, Sulu Archipelago
Silk tapestry weave.
84 x 88 cm 33 x 34½ in
The arrangement of four corner squares and a
central square with multicolored bands delineating
the field, is a very typical headcloth design.
The weaving is very dense and uses cross forms
and lozenges to decorate the field.
66

SOUTHEAST ASIA – Laos
Meditation Shawl (end section)
Late 19 th Century
Northern Laos
All silk, plain weave, supplementary weft,
natural dyes.
43 x 65 cm 17 x 25½ in
Simple concentric diamond pattern formed by
rows of natural colored floral forms and wave
patterns, alternating with bands of geometric
forms in four colors.
68

SOUTHEAST ASIA – Laos
Meditation Shawl (section)
Late 19 th Century
Northern Laos
All silk, plain weave, supplementary weft,
natural dyes.
40 x 64 cm 16 x 25 in
With a total of only five, fairly muted colors, a rich
and imposing design is achieved. The geometry is also
enhanced by the larger scale of the angular serpents at
the top and bottom of the central diamond. Top and
side edges are bound, bottom has a lovely fringe.
70

SOUTHEAST ASIA – Laos
Meditation Shawl
Early 20 th Century
Northern Laos
All silk, plain weave with supplementary weft,
natural dyes, synthetic dyes and metallic thread.
43 x 65 cm 16 x 25½ in
Field in asymmetrical pattern with central diamond
motif. Two border panels at top contain reptile images,
and two at bottom of field with ancestor forms.
72

SOUTHEAST ASIA – Burma
Breast Cloth
1 st Half 20 th Century
Arang
Cotton, mercerized cotton or silk, false
embroidery, supplementary weft patterning.
Ends finished with 3-strand braid binding.
68 x 28 cm 26½ x 11 in
Breast Cloth
1 st Half 20 th Century
Arang
Cotton, mercerized cotton and silk, false
embroidery, supplementary weft patterning.
75 x 14 cm 29½ x 13½ in
Both these pieces are very finely made and,
interestingly, because of their needlework technique,
no sign of the design is visible on the reverse side.
74

SOUTHEAST ASIA – Burma
Shoulder Cloth
Late 19 th Century
Khami
Homespun cotton, supplementary weft
patterning. Ends finished with running
overhand knots, tufted fringe at corners.
140 x 33 cm 55 x 13 in
Bands of hooked motifs form seven panels of geometric
strips. Almost like a sampler, no two panels have the
same arrangement of diamond based patterns, although
some patterns are repeated several times. The design
is totally invisible on the back side.
76

CHINA
Throne Cushion Cover
ca. 1800
Silk embroidery, satin stitchery on woven silk.
117 x 123 cm 43½ x 46 in
This presumably royal cushion cover depicts
traditional auspicious symbols; bats, peaches, etc.
The embroidery is exquisitely fine.
78

CHINA
Brocade (fragment)
Late 13 th /Early 14 th Century
North China, Mongol period
Tabby woven silk with red selvedge
brocaded with flat gilded leather.
33 x 28 cm 13 x 11 in
The five-sided images of a hare under a flowering
plant are staggered in two rows. The hunting of
hares was a well established activity of the Mongols.
The weaving is influenced by an earlier eastern
Persian tradition.
80

CHINA
Scroll Ends (pair)
15 th Century
Silk K’ossu (tapestry weave).
each 23 x 18 cm 9 x 7 in
The abstract images are of lotus flowers
floating in water. The lotus blossom is a
traditional Chinese auspicious symbol.
82

CHINA
Roundel (Rank Badge)
19 th Century
Silk embroidery on silk, forbidden stitch.
diameter 26 cm 10 in
Finely embroidered with peonies and other floral
forms and bats, which are very auspicious symbols.
84

CHINA
Bamboo Jacket
19 th Century
Multiregional
Small, hollow bamboo beads, threaded
together to form a net. Edges bound in silk
with silk ribbon tie at waist.
132 x 59 cm 52 x 23 in
Men’s bamboo jackets were worn as undergarments
to provide a layer of insulated air under outer clothing
in both warm and cool weather. This example has
a nice detail of three rows of lozenge shaped spaces
around the lower part.
86

CHINA
Purses (2), Pillowends (3)
Early 20 th Century
Silk embroidery on silk, tambour stitch
and Peking knot.
11 x 11 cm 4½ x 4½ in 11 x 12 in 4½ x 5 in
18 x 12 cm 7 x 5 in
18 x 12 cm 7 x 5 in 19 x 13 cm 7½ x 5 in
Because of the lack of pockets in early Chinese
garments, small purses tucked into or hung from
the girdle were ubiquitous.
88

CHINA
Head Cloth
Early 20 th Century
Li ethnic group, Hainan Island
Silk embroidered end panels on woven
indigo dyed cotton band.
150 x 23 cm 59 x 9 in
End detail shown in top photo.
90
(detail of end panel above)

CHINA
Skirt
Late 19 th Century
Li ethnic group, Hainan Island
Silk embroidery on cotton with
a band of supplementary weave.
145 x 86 cm 57 x 34 in
Ceremonial wedding skirt illustrates the wedding
procession and shows alternating rows of dancing
human figures, animals and plants.
92
(detail above)

CHINA
Woman’s Garment
Early 20 th Century
Miao ethnic group, Guizhou
Cotton embroidery on cotton.
54 x 33 cm 21 x 13 in
Striking geometric patterns in central square,
surrounded by soft red representation of flowering
water courses. Traditional diamond shapes in
side panels.
94

CHINA
Sleeve (fragment)
Late 19 th Century
Miao ethnic group, Guizhou
Plain weave cloth, very fine silk running
stitch embroidery.
37 x 32 cm 14½ x 12½ in
This design is dominated by the three central
dragonflies, which signify summer and transience.
Other popular auspicious symbols represented
are birds, insects, and the ever present swastika.
The richness of the overall design belies the fact
that only two colors, red and blue, are used with
a tiny bit of gray.
96

CHINA
Garment (back panel)
Mid 20 th Century
Miao ethnic group, Guizhou
Silk cross stitch and stem stitch
embroidery on cotton.
38 x 34 cm 15 x 13½ in
This is a very typical and delicately
embroidered example of the Rongshui style.
98

CHINA
Sleeve (fragment)
20 th Century
Miao ethnic group, Guizhou
Chain stitch cotton on cotton.
Wax resist batik edges.
41 x 30 cm 16 x 12 in
Sleeve (end)
20 th Century
Miao ethnic group, Guizhou
Wax resist batik on cotton, with cotton
embroidered diamond shapes applied to
the surface.
43 x 35 cm 17 x 14 in
100

CHINA
Ceremonial Cloth
20 th Century
Dong people, Guizhou
Woven cotton, face and reverse side shown.
41 x 33 cm 16 x 13 in
102

CHINA
Boys Layered Jacket
Mid 20 th Century
Miao ethnic group, Guizhou
Six layers of indigo dyed cotton.
97 x 59 cm 38 x 33 in
104

CHINA
Veils
Late 19 th /Early 20 th Century
Uigurs ethnic group, Sinkiang province
Cotton openwork, one with solid
patch to protect from blowing sand.
31 x 38 cm 12½ x 15 in 36 x 38 cm 14 x 15 in
106

CHINA
Ceremonial Collar
19 th Century
Straits of China
Silk and metallic embroidery,
couching stitch, gold tambour.
33 x 32 cm 13 x 12½ in
Used to ornament the costume of the
bridesmaid, embellished with birds,
butterflies, and lotus blossoms.
108

CHINA
Rug
Late 19 th Century
Shanxi Province
Wool cut pile.
170 x 86 cm 67 x 34 in
Striking blue and natural basket weave
pattern surrounded with indigo blue border.
110

TIBET
Buddhist Monk’s Cape
Late 19 th Century
Bright golden yellow silk damask.
All over floral design panels pieced
with blue silk thread. Silk embroidered
medallion at top of center panel.
280 x 132 cm 110 x 52 in
This cape is composed of twenty-three columns
each containing four and a half panels alternating
vertically and surrounded on four sides with a
border of the same damask as the panels.
The bottom and left edges of the left columns
and the bottom right edges of the right columns
are stitched to create a two-centimeter wide
flap which opens when draped across the figure,
thus creating a sculptural surface. The garment
was worn only by high ranking lamas.
112
(detail above)

TIBET
Ritual Cloth
18 th Century
Square of blue silk damask, chain stitch
embroidered double vajra design.
20 x 20 cm 8 x 8 in
The vajra, representing a thunder bolt, was an
important symbol in Tibetan Buddhism. Here two
crossed vajras are shown in a symmetrical design.
Ritual implements were placed on cloths with this
design to empower the objects, then wrapped in the
cloths for safe keeping.
114

TIBET
Ritual Cloth
18 th Century
Small triangles of Chinese silk damask
pieced into squares and arranged in a
5 x 5 grid. Yellow and blue damask borders.
34 x 33 cm 13½ x 13 in
Silk was often used in these geometric ritual
cloths because of its value. Small patchwork cloths
were used to wrap sacred objects. This piece shows
incense staining due to ritual use.
116

TIBET
Saddle Blanket
19 th Century
Three horizontal natural color bands of
twillweave wool, hand stamped red and blue
cruciform design. Red cotton top border
and triangular ornament. Backing of heavy
raw silk with blue cloth edge band.
140 x 99 cm 55 x 39 in
118

TIBET
Woman’s Garment (Kira)
Early 20 th Century
Panels of fine wool twill weave, joined
at selvedges. Alternating white and
yellow bands stamped with red and blue
cruciform patterns. Bands in between
woven in multicolored stripes with colors
reversed from one to the other, creating
a “rainbow” effect.
229 x 136 cm 90 x 53½ in
120

TIBET
Aprons
Early 20 th Century
Apron on left is woven of wool and uses natural
dyes. The one on the right is all silk and has
synthetic dyes. The multicolored horizontal
patterns are very similar and long established.
66 x 66 cm 26 x 26 in 51 x 74 cm 20 x 29 in
These 3-panel aprons continue to be used today.
The silk one on the right is very finely woven and displays
a veritable rainbow of colors; 3 greens, 2 reds, 2 yellows,
2 blues, orange, aubergine and indigo. Judging from
the worn waistband of black silk brocade, this piece
was well used, but the colors are still fresh and vibrant.
122

TIBET
Apron
Early 20 th Century
Three panels of finely woven wool,
each with a multicolored striped repeat
pattern. Panels offset to create vibrant
overall design. Russian silk brocade
band along top. Two apron ties with
Buddhist symbols.
51 x 74 cm 20 x 29 in
This is a dowry piece, similar
to many that are still being used.
124

TIBET
Loom Strap
20 th Century
Heavy wool double weave in the traditional
harmonic blue and red. Fringe on each end.
Attachment loops to loom on back face.
Symbols outlined in natural color wool
running stitchery.
14 x 79 cm 5½ x 31 in
Many traditional Buddhist auspicious signs are
woven into this piece; endless knot, vajra (lightning
bolt), birds, flaming bush, flowing river, swastika,
deer with antlers.
126

TIBET
Rug
Early 20 th Century
White and indigo dyed wool. Very precisely
hand knotted in 1.5 centimeter checkerboard
squares. Fine, lustrous Himalayan wool.
74 x 57 cm 29 x 22½ in
128

BHUTAN
Cummerbund (Kera)
20 th Century
Supplementary weft patterns on unbleached
yellow cotton ground. The decorative bands,
generally in red with blue or black, increase
in width and density towards the fringe end.
The diamonds in this piece are very traditional,
although, other motifs are used; stars, swastikas,
flowers, etc.
218 x 48 cm 86 x 19 in
130

BHUTAN
Shoulder Cloth (Rachu)
Mid 20 th Century
Natural silk woven in five-color
striped pattern. End borders,
supplementary weft silk floss.
300 x 70 cm 118 x 27½ in
A ubiquitous garment for most women,
it served many functions; baby carrier,
head scarf, pillow and ceremonial garment.
On formal occasions, visiting a monastery,
or visiting a state official, it would have
been folded several times lengthwise and
draped over the left shoulder as a sign
of respect. This example, at almost ten
feet, is longer than most.
132

BHUTAN
Ceremonial Textile (Chagsi pangkheb)
Mid 20 th Century
Cotton warp plain weave ground, silk
supplementary weft, twined weft fringe
at ends, natural and synthetic dyes.
230 x 96 cm 93 x 38 in
The original function of these elaborately decorated
pieces was as lap cloths or table coverings in elite
households. They became so valued that they were
only used to enhance civil or religious ceremonies or
other formal occasions. The designs always feature
a central diamond, multiple decorated bands across
the field, using mostly geometric and occasionally
animal forms. Both edges have six guard stripes.
134

BHUTAN
Tent Band
Mid 20 th Century
Red dyed wool twill weave, tie dyed
with black to form red circles with cross
patterns. Alternating bands of three
and four gray stripes in plain weave.
16 x 399 cm 6½ x 157 in
136

BHUTAN
Sash Ornament Panel
Mid 20 th Century
Silk embroidery in at least 17 colors
on cotton backing, corded edge band.
38 x 10 cm 15 x 4 in
The design of this beautiful panel seems to be
derived from the painted decorations on the interior
walls of temples. This panel displays the essence of
Bhutan textile art; finely executed combinations
of startling color and simple geometry used in very
sophisticated ways.
138

CENTRAL ASIA – Uzbekistan
Dowry Embroidery (Suzani)
3 rd Quarter 19 th Century
Kermina
Silk embroidery on cotton, chain stitch.
113 x 174 cm 44½ x 68½ in
This beautiful suzani is a nimsuzani (“half-sized”).
Although its overall format (broad border, guard
border and field) is standard, it has many design
features that make it distinctive. It alternates paired
botehs with large, open flowers in the border. The use
of botehs is uncommon, and these have wonderfully
varying palettes for their interior ornamentation.
The field has a central flower smaller than those
in its border, with the radiating palmettes, flowers
and curving stems around them giving the impression
of a central medallion as broad as the field itself.
It also features quarter flowers/medallions in each
corner. Blue, in two hues, is present here to an extent
rarely seen in suzanis, particularly in the flowers seen
in profile throughout the field.
140

CENTRAL ASIA – Uzbekistan
Woman’s Coat (Chapan)
ca. 1920
Ferghana Valley
Half silk (silk warps, cotton wefts) warp-faced
ikat, Russian, machine-printed trade cloth.
170 x 131 cm 59½ x 51½ in
This coat was produced late in the tradition, and
exhibits the striping associated with the Ferghana
production. There are five colors: natural white, yellow,
light green, fuchsia and purple. With the exception,
perhaps, of the yellow (derived locally from isparak,
or larkspur, also called yellow delphinium) the colors
are chemical-dyed. Russian trade cloth is used for its
lining, another striped commercial material employed
along the interior hem, and a third for an interior
pocket. A black cotton edge finish is machine-sewn on
and decorative machine sewing is applied just inside
this finish around the exterior. As is characteristic of
many coats in the later decades of the tradition, the
silk is watered to very rich effect.
142

CENTRAL ASIA – Uzbekistan
Ikat Hanging or Cover (Parda)
Mid-19 th Century
Bukhara
Half silk (silk warps, cotton wefts) warp-faced
ikat. Handspun, handwoven and hand-printed
cotton lining.
174 x 113 cm 68½ x 44½ in
Ikat (abrbandi, from abr + band = cloud-band)
in Central Asia involves dyeing of the warp yarns
through tying off specific lengths to resist each dye
bath in turn, then weaving with either cotton or silk
wefts, half-silk (adras) in this particular instance.
The colors present are natural white, red, yellow,
blue, green and purple suggesting a total of three
dye baths, that for blue doing triple duty. The warps
to be tied and dyed were laid out in great lengths,
folded periodically to economize on time, hence the
stuttering line at one point in this parda. The four
loom widths were joined in a relatively disciplined
manner, although one strip runs the opposite direction
of its neighbors, and another is actually composed of
three equal pieces joined together. It is backed with
locally-produced, hand-printed cotton cloth featuring
little red floral palms against a blue ground, and also
employs a purple all-silk (shoi) material for its edge
finish. A parda was typically used as a bed cover,
hanging, or niche curtain.
144

CENTRAL ASIA – Uzbekistan
Ikat Hanging or Cover (Parda)
Early 20 th Century
Bukhara
Silk warp-faced ikat, modern backing.
127 x 183 cm 50 x 73 in
This is a classic rendition of a design popular in the last
decades of traditional Uzbek ikat weaving. These were
almost always all-silk (shoi) textiles, made into countless
chapans (coats) and pardas in the early 20 th century
which have survived in relatively large numbers. There
are seven colors: natural white, two shades of red, yellow,
blue, green and a blackish purple, implying four dye
baths. The bull’s eye motif is relatively common in
Central Asian ikats, including ones substantially earlier
than this example. The exuberant “S” shape may be
derived from cloud-bands.
146

CENTRAL ASIA – Uzbekistan
Ikat Hanging or Cover (Parda)
ca. 1880
Bukhara
Half silk (silk warps, cotton wefts) warp-faced
ikat, all-silk cloth, handspun and handwoven
Indian cotton, Russian machine-printed
trade cloth.
150 x 215 cm 59 x 84¾ in
This parda is equipped with cotton ties that appear
to be original, suggesting that it was used as a hanging.
It is constructed out of five and a half loomwidths,
27.4 cm (10¾ in) wide, save for two small patches
from other ikats completing the length of the half
loomwidth. This piece also retains significant amounts
of its egg-white glaze, useful in protecting these
expensive articles from stains. The backing consists of
floral Russian machine printed cloth, and handspun,
handwoven striped cotton cloth imported from Bombay,
with both the company and duty stamp present. This
ikat displays seven colors: natural white, light and
rose red, yellow, blue, green and purple, indicating the
need for four dye baths.
148
Ikat Hanging or Cover (Parda)
Late 19 th Century
Ferghana Valley
Silk warp-faced ikat, all-silk cloth,
Russian machine-printed trade cloth.
98 x 211 cm 38½ x 83 in
This parda is lightly quilted indicating its use as
a coverlet. Its all-silk (shoi) ikat comprises one
complete loomwidth of 38.4 cm (15 1/ 8 in) and one
partial loomwidth of 30.5 cm (12 in ). It is
accompanied on the two long sides by shoi cloth in two
shades of purple, approximately 14.5 (5¾ in) wide,
and the edge finish is taken from two other all-silk
ikats, cut on the bias. It is backed with Russian
machine-printed cloth.

CENTRAL ASIA – Uzbekistan
Ikat Hanging or Cover (Parda)
Early 20 th Century
Ferghana Valley
Silk warp-faced ikat, plain silk.
155.6 x 198 cm 45½ x 78 in
This parda is composed of three loom widths, 38 cm
(18 in) wide, of all-silk satin ikat, which represents
a very small percentage of surviving ikats. It seems
likely that creating these in a satin weave was a
late innovation. It features five colors: natural white,
yellow, crimson, light green and purple. With the
possible exception of the yellow dye, the others are
clearly chemical. It is backed with a red-dyed,
handspun and woven cotton fabric, and edged with
standard Ferghana-style striped all-silk (shoi) ikat,
cut on the bias. This textile probably dates to between
1910 and 1920. It has an exuberant wave-like
patterning consonant with its vivid colors.
150

CENTRAL ASIA – Uzbekistan
Length of Silk Velvet Ikat (left)
(Bakhmal or Makhmal)
Late 19 th Century
Bukhara
Full loom width with selvedges on both sides.
34 x 61 cm 13½ x 24 in
The extraordinary richness of the dyes and talent of the
dyers is highlighted in these textiles. The same motif
repeats in offset rows, enlivened by the alternating colors
and the appearance of a central motif in one of them.
There are six colors: natural white, red, yellow, blue
and green, suggesting three dye baths. Its selvedges are
purple and white. It is interesting that where the warp
threads were originally folded, before tying and dyeing,
is a very fine and undistracting, and the motif is
completely sustained across it.
152
Length of Silk Velvet Ikat (Bakhmal or Makhmal)
Late 19 th Century
Bukhara
Full loom width with selvedges on both sides.
33 x 91 cm 13 x 36 in
This ikat is formatted similar to the previous one in that
it involves one motif with one complete row versus two
halves in offset rows. They are clearly conceived for careful
alignment to achieve the best effect when several loom
widths are placed side-by-side. The medallion here has
botehs at each corner. There are six colors: natural white,
red, yellow, blue, green and purple, requiring four dye
baths. Its selvedges have green, white and pink stripes.
Silk Velvet Ikat Fragment (right)
Late 19 th Century
Bukhara
Incomplete loom width, missing selvedges.
18 x 46 cm 7 x 18 in
Here we find pairs of botehs above and below the
incomplete medallion, and four more inside each minor
medallion, making this motif, derived from the Kashmir
shawl, the major element of this velvet. There are five
colors: natural white, red, yellow, blue and green, with
blue and green here weaker than in the other two velvets.

CENTRAL ASIA – Uzbekistan
Length of Silk Velvet Ikat
(Bakhmal or Makhmal)
Late 19 th Century
Bukhara
All silk cut from a larger panel.
18 x 46 cm 10 x 19 in
The central golden yellow circle, with what could
be red poppies floating within, provides an arresting
first impression. This is further enhanced by the
surrounding diamond and diagonal forms, with
their stepped edges and rich colors.
154

CENTRAL ASIA – Uzbekistan
Belt (face and back shown)
Late 19 th Century
Bukhara
Tablet woven silk double-sided velvet.
101 x 10 cm 40 x 4 in
This extraordinary belt represents the epitome of
Uzbek technical achievement in the textile arts in
the late 19 th century. This example has a lovely, soft
palette of ivory, red, light blue, peach and gold-green.
It features two distinct design units, each inexactly
repeated, in order, once: (1) a series of motifs
commencing and ending with a doubled step device
culminating in a diamond-shaped finial, and (2)
paired triangles (in one case squares), bracketing a
vaguely floral motif of stems, diamonds and pendant
leaves. The border appears to be a simple stepped design.
156

CENTRAL ASIA – Uzbekistan
Belt Fragment (face and back shown)
Late 19 th Century
Bukhara
Tablet woven, double-sided silk velvet.
76 x 9 cm 30 x 3½ in
This example has substantially broader and more
lively borders compared with the field, and the whole
has one ground color, a rose red, rather than both
alternating and paired colors. It is missing about
twenty percent of its original length, and sports
alternating, elongated, schematized flowering
plant forms, and smaller, more geometric forms.
Five different motifs are found in the borders from
complete abstractions to more flowering plants.
158

CENTRAL ASIA – Uzbekistan
Decorative Yurt Hanging (Ilgitsh)
Mid 19 th Century
Lakai
Silk embroidery on wool mounted on
cotton panel.
56 x 56 cm 22 x 22 in
This ilgitsh achieves its effects through subtle means.
All nine stellate forms are composed of a circle
surrounded by serrations which enclose a four-lobed
cruciform. These features are nicely articulated by the
changing direction of the chain stitch. This textile may
be among the earliest ilgitsh or other Lakai extant.
It is possible that its subtlety of internal design,
achieved in a single color in each motif repeat, may be
a point of departure for more highly developed designs
in following decades.
160

CENTRAL ASIA – Uzbekistan
Fragment of Head Shawl Border
(Kizil Kymishek)
Late 19 th Century
Karakalpak People, Khwarizm Region
Silk yarn embroidery, principally chain stitch,
wool broadcloth.
40 x 38 cm 16 x 15 in
An early and brilliant example, with hyper-refined
embroidery, largely in chain stitch, but also spots of
a floating infill, against a red imported British or
Russian wool broadcloth ground. There are two black
bands sandwiched between three red bands, sewn
together and overlain by the decorative embroidery.
The embroidery is quintessentially Karakalpak, and
employs white, red, yellow, blue, green and purple
silk thread.
162

CENTRAL ASIA – Kyrgyzstan
Decorative Pouch (Bashtyk)
19 th Century
Kyrgyz
Leather appliqué, felted wool, Russian or
British broadcloth.
54 x 54 cm 21 x 21 in
These pouches were traditionally used for storage
and had a back and closure flap. They were later
used as purely decorative hangings and most often
were embellished with tassels. This piece has
neither back nor tassels, but is beautifully wrought
with one of the most ancient Kyrg yz motifs in
four rich colors.
164

CENTRAL ASIA
Purses
19 th Century
Top left:
Cotton cross stitch on cotton, tassels
on 3 sides, twisted yarn handle.
15 x 15 cm 6 x 6 in
Top right:
Silk stem stitch on cotton, beaded guard
stripe, cross stitch border, densely beaded
on 3 sides, beaded tassels with metallic
thread, twisted yarn handle.
11 x 14 cm 4½ x 5½ in
Bottom:
Tambour stitch cotton embroidery on
cotton, inner and outer border with
metallic thread, beaded edge on 2 sides.
14 x 18 cm 5½ x 7 in
The clothing worn in most of Central Asia usually
had no pockets. Small purses, such as these, were
carried or worn on a belt for small personal items.
The few shown here only hint at the incredible variety
of what was produced.
166

CENTRAL ASIA – Uzbekistan
Hamam Bag (above)
20 th Century
Silk embroidery on silk, tambour stitch,
fringe on 3 sides.
41 x 46 cm 16 x 18 in
The surface of this bag is entirely covered with
fine stitchery. The origins of this unusual design
are unknown to us.
Belt (below)
Early 20 th Century
Bukhara
Eight tubes of wrapped wool yarn, secured at
ends with cross-stitched embroidered panels.
86 x 9 cm 34 x 3½ in
There are five colors: white, red, golden yellow, blue
and green. The design is composed of major color bands
with triple guard bands in between. Almost every other
major band is red. With the exception of white following
blue at one end, the succession of alternate colors is:
white, blue, gold, green. There are buttons on one end
and wrapped cord loops on the other.
168

CENTRAL ASIA – Turkmenistan
Juval Bag Face Fragment
Early 19 th Century
Finely woven wool cut pile,
excellent color, and natural dyes.
81 x 81 cm 32 x 32 in
Acquired in Bukhara in 2000. It is not unusual
to find fragments of old weavings such as this in rug
weaving areas, as woven objects were used intensively
and worn until they virtually disappeared. However,
it is unusual at this late date to find such a fine piece
in good condition in a city like Bukhara. Side borders
and part of field missing. Originally, this bag face
was about 45" wide.
170

CENTRAL ASIA – Kyrgystan
Tent Band Fragment
Late 19 th Century
Wool pile Ikat design, fragment
of 40-foot full length band.
30½ x 127 cm 12 x 50 in
There is another fragment of this band in the Textile
Museum, and it would not be surprising if more turned
up, assuming the original band was meant to go around
the interior of a yurt. The use of ikat designs by pile
weavers in Central Asia was fairly common in the
19 th century and probably before. Determining an age
for this piece is difficult as there are few comparables.
172

CENTRAL ASIA – Kyrgystan
Bag Face (Torba)
Mid 19 th Century
Karakalpak
Wool pile, natural dyes.
112 x 36 cm 44 x 14 in
This rare bag face was probably used for bedding
storage in a tent. Although the weaving structure
indicates Karakalpak provenance, the design motifs
clearly have Kyrg yz origins. The muted blues, reds,
and soft pink colors in the field are enlivened by the
golden yellow border. The double cross pattern in the
border and the central panel’s stepped guls are both
very traditional Kyrg yz forms.
174

CENTRAL ASIA – Turkmenistan
Bag Face (Yomud)
19 th Century
Qarabagh People
Tightly woven pile, fine wool, natural dyes.
41 x 25 cm 16 x 10 in
The central design of this field is organized in five
vertical columns and two half columns. The very
sophisticated arrangement of the triangle and diamonds
filling these columns also creates a diagonal pattern
across the columns. Alternating the light triangles
between camel and ivory provides a further elaboration
in the pattern. There are only three colors; light
and dark red, light and dark blue, and light and
dark natural.
176

CENTRAL ASIA – Turkmenistan
Bag Face (Mafrash)
Late 19 th Century
Tekke
Wool pile, natural dyes.
69 x 32 cm 27 x 12½ in
The design of this bag is based on various flat weave
patterns. The original selvedges have been repaired
with overcast stitchery. It is shown folded with the
plain face in back.
178

INDIA
Fragment
ca. 1690–1700
Moghul
Finely woven silk velvet.
46 x 55 cm 18 x 12¾ in
This piece is an exceptional example of the
silk velvet woven in India during this period.
180

INDIA
Carpet Fragment
17 th Century
Moghul, Lahore
Pashmina pile, silk warp.
85 x 16 cm 33½ x 2½ in
This is a fragment of the “millefleurs” carpet of the
period. The fineness of the drawing and the richness
of the color are a result of the use of silk warp.
The strength of silk allows a high knotting density.
182

INDIA
Shawl Fragment
19 th Century
Kasmir
Twill weave pashmina wool.
41 x 17 cm 16 x 6½ in
Shawl end showing three rows of roses.
Summer Carpet Fragment
19 th Century
Gugerat
Quilted white cotton, silk embroidery.
85 x 18 cm 33½ x 7 in
Lightweight carpets were used in outdoor
pavilions during the fine weather as depicted
in many Indian paintings of the period.
184

INDIA
Canopy or Cover
Late 18 th /Early 19 th Century
Gujarat
Silk embroidery on silk satin,
densely drawn pattern of blossoms
and birds, narrow border.
213 x 279 cm 84 x 110 in
Made for export, perhaps used as a
bedspread. Rather than the traditional
chain stitch, this piece is embroidered with
the stem stitch; the fineness of the stitchery
results in the unfinished surface appearing
virtually identical to the finished side.
186

INDIA
Sari (Patola)
19 th Century
Gujarat
Silk, double ikat.
92 x 430 cm 36 x 180 in
The patola was worn by the bride when she first
appeared to her future husband at the wedding
ceremony. It is also regarded as a symbol of prestige
in social and religious occasions.
188

INDIA
Sutra Cover (Prayer Book)
18 th Century
Ragistan
Gold painted on silk.
15 x 40 cm 6 x 16 in
190

INDIA
Sutra Cover (Prayer Book)
18 th Century
Ragistan
Gold painted on blue cotton.
30 x 30 cm 12 x 12 in
192

INDIA
Garment Textile
Late 18 th /Early 19 th Century
Benares
Full length of brocaded red silk
with gold boteh, twill weave;
complete uncut length for garment.
69 x 190 cm 27 x 161 in
194

INDIA
Panel
18 th Century
Benares
Brocaded gold and green flowers on red silk
satin field. Persian border, possibly 17 th century.
58 x 85 cm 23 x 33 in
A fine example of the classic Benares brocade.
This piece is lined with a hand blocked floral design
printed on Indian cotton.
196

INDIA
Shawl Fragment (Patka)
19 th Century
Jaipur
Gold leaf on metal; beetle wings,
silver and gold thread embroidered
on to cotton.
64 x 94 cm 25 x 37 in
A fragile piece used for a special court
event to impress with its shimmery beauty.
The original length of the piece may have
been as long as twelve feet.
198

INDIA
Garment Cover (Rumal)
19 th Century
Punjab
Silk floss embroidery on fine white cotton.
86 x 86 cm 34 x 34 in
Worked by the ladies of the court of Chamba.
Inspired by palace wall paintings which were laid
out in two squares and usually with floral borders.
Embroidered with small double darning stitches
which appear evenly on both sides of the cloth.
200

INDIA – Ladakh
Shawl
20 th Century
Himachal Pradash
Himalayan wool, patterned, tie-dyed ends.
114 x 66 cm 45 x 26 in
The pattern seen here using plangi tie dying were
mostly produced in the far northeast section of India.
202

INDIA
Blanket
20 th Century
Ladakh
Six woven striped panels,
Himalayan wool, natural dyes
114 x 66 cm 45 x 26 in
204

INDIA
Shawl
20 th Century
Northeast India
Man’s shawl with fringe; tie-dyed cotton.
65 x 300 cm 25½ x 118 in
This simple pattern of discs and central
dots with radiating lines may have originated
in China or Turkistan.
206

INDIA – Nagaland
Men’s Body Cloth (Rongsusu)
20 th Century
Tangkhul
Woven cotton.
107 x 178 cm 42 x 70 in
Warrior’s cape.
208

MIDDLE EAST – Iran
Zoroastrian Bridal Shawl
Mid 19 th Century
Yazd, Kerman
Tabby woven green silk, three elaborately
embroidered circular motifs surrounded by
fish, birds, and floral elements.
271 x 71 cm 108 x 21 in
Green was a prestigious color used at all wedding
ceremonies. The central roundel may indicate the cosmic
island present at creation, according to traditional
belief; and the two other medallions, the sun and the
moon. The fish, bird, and floral forms are very
traditional and their symbolism is not clearly known. (overleaf)
210
(detail facing page)

MIDDLE EAST – Iran
Zoroastrian Bridal Trousers (fragment)
Mid 19 th Century
Yazd, Kerman
Silk embroidery on strips of plain
weave silk, alternating colors.
75 x 46 cm 29½ x 18 in
214

MIDDLE EAST – Iran
Pillow Cover Fragment
18 th Century
Yazd
Silk velvet ikat.
56 x 46 cm 23 x 18 in
216

MIDDLE EAST – Iran
Small Bag (Chanteh)
Late 19 th Century
Qash Qa’i people, Iran
Wool plain weave with supplementary
weft design, different on each side.
69 x 78 cm 25½ x 31 in
Small square bags like this usually had braided
shoulder straps and would have been used to
carry personal articles. This complete piece has
supplementary weft decoration in two different designs,
front and back, and a typical band of Fars dark
blue and ivory elements at the bottom edge of the bag.
218

MIDDLE EAST – Iran
Small Bag (Chanteh)
Late 19 th Century
Southwest Iran, Qashga’i
Wool pile, tight knots, and geometric pattern.
33 x 43 cm 13 x 17 in
Typical small pile bag face, without plainwoven
back. One would suspect such small pilewoven bags
were made for sale. Based on estimates gathered in
Iran, the sale of weavings might have made up to
20% of a nomad’s yearly income.
Bag Face (Khorjin)
19 th Century
Fars Province, Southwest Iran
Wool, asymmetrically knotted pile khorjin face.
57 x 53 cm 22½ x 21 in
This Qashga’i piece is finely woven and may never
have been used. Sometimes, pieces like this were laid
away to sell in case times got hard. Extensive moth
damage. The diagonal nature of the design implies that
it is probably derived from silk-tapestry weavings.
220

MIDDLE EAST – Iran
Bag Face (Khorjin)
ca. 1900
Baluch
Wool pile, half of very small khorjin.
30 x 30 cm 12 x 12 in
Subtle, rich colors. Pretty, dark indigo tree of life
in central square with blue and red flowers in corners.
Paired traditional motifs in border.
Bag Face (Khorjin)
ca. 1900
Lur or Khamseh
All wool, sumak weft, wrapping in field,
small pile medallion in center, pile borders.
63 x 56 cm 25 x 22 in
The rich, dark red pile border contrasts in a
unique and interesting way with the crisp lattice
design of rust, yellow and blue in the field.
222

MIDDLE EAST – Iran
Bag Face
Late 19 th Century
Baluch, Karasan region
Wool, cut pile.
86 x 63 cm 34 x 25 in
A very traditional design, this piece suffers
from extensive corrosion of the brown yarns
throughout. The most unique aspect of this
bag face is the lively drawing of tree like and
animal forms in the central panel.
224

MIDDLE EAST – Iran
Bag Face (Khorjin)
19 th Century
Luri, North Central Iran
Natural wool, weft faced plain weave, 7-in
wide pile band at bottom. Closure strip at top.
100 x 81 cm 39 x 32 in
In Iran, tribal power long acted as a centrifugal force,
demanding frequent manipulation by central powers.
One measure the rulers employed to undermine the
influence of the nomads was forcibly moving them to
different geographic locations. Some Lur groups known
as “Luri from Fars”, were moved from the Zagros
mountains area in southwest Iran to the plains of
Varamin just south of Tehran. This bag face, half of
a double bag intended to be used on a donkey or mule,
was probably woven by just such displaced Lurs.
Many of the techniques used in the bag, like the band
of pile at the bottom, and the interlocked tapestry
portion, are very much like “Luri/Bakhtiari” weaving
from southwest Iran. Only the coloring is different.
Luri and Bakhtiari “Zagros” weaving has more somber
reds, yellows and greens, whereas this piece has really
rosy reds and light greens.
226

MIDDLE EAST – Kurdistan
Bag Face
19 th Century
Jaf/Sanjabi People, Southern Kurdistan
Wool knotted pile, khorjin face. Field of blue,
colorful palette. Handsome design with inner
border geometric pattern, closure slits.
69 x 78 cm 21½ x 31 in
These pile-woven bags must have been woven by
settled peoples, as they are too heavy to have been used
by nomads. When nomadic, these Kurds probably
would have summered in the Zagros in present day
Iraq and wintered in lowlands in present day Iran.
This bag face has an unusual design, perhaps derived
from a carpet pattern.
228

MIDDLE EAST – Kurdistan
Bag Face (Khorjin)
Late 19 th Century
Jaf/Kurd People, Iran/Iraq border
Wool face, cut pile. Fragments of closure panels
and supplementary weft decoration at top.
61 x 42 cm 24 x 16½ in
This is a fragment of a complete double bag that might
have been used on a donkey, but more likely was woven
for sale. The pile is soft and deep. There are very few
complete Jaf/Kurd khorjin, as dealers cut them apart
to sell as small mats. The Jaf wove few rugs, but also
distinctive kilims.
230

MIDDLE EAST – Kurdistan
Bag Face (Khorjin)
19 th Century
Jaf/Kurd People, Iran/Iraq border
Wool pile, natural dyes.
61 x 42 cm 24 x 16½ in
Woven for personal use, this partial bag face displays
the classic Kurdish diamond pattern in the central
field. A secondary interior border mediates between
the vertical rectangle of the center and the horizontal
proportion of the piece. The major outer border is of
elongated rosettes, another very traditional motif.
232

MIDDLE EAST – Syria
Child’s Coat (Oba)
19 th Century
Wool, hand spun, plain weave
with tapestry weave decorated areas.
102 x 67 cm 40 x 26½ in
234

MIDDLE EAST – Syria
Boy’s Ceremonial Vest
Early 20 th Century
Black velvet front, ribbed cotton back.
Gold and silver embroidered front panel
with six pairs of metallic thread ornamental
buttons. Left side closure with hand made
wafer thin mother of pearl buttons.
49 x 53 cm 19½ x 21 in
236

MIDDLE EAST – Syria
Women’s Purses
Early 20 th Century
Tapestry woven silk.
14 x 16 cm 5½ x 6½ in
14 x 18 cm 5½ x 7 in
These small purses were in great vogue
during the height of the Art Nouveau fashion.
238

MIDDLE EAST – Palestine
Woman’s Coat (front and back)
Mid 20 th Century
Silk embroidery on black cotton.
The v-shaped chest panels indicate
that it may be as early as the 1920s.
142 x 127 cm 56 x 50 in
240

MIDDLE EAST – Caucusus
Saddle Bag
18 th Century
Shekki District, Azarbayjan
Tabby weave silk pouches, edge
bands silk and metallic brocading
with cotton gimp surround.
60 x 24 cm 23½ x 9½ in
Red silk loops encircle the pouch opening
to accommodate a black drawstring with
beautifully detailed tassels.
242

MIDDLE EAST – Caucusus
Kaitag
18 th Century
Daghestan
Silk floss embroidery with couching
on hand loomed cotton.
61 x 99 cm 24 x 39 in
Kaitags were ritual cloths woven by women to
be used at times of birth, weddings, and death.
The dimensions of almost all kaitags we see confirm
their use as crib covers for infants. They also were
used at funerals to cover the face of the dead.
The isolation of these mountain communities
resulted in an unbroken chain of traditional design.
The colorful forms show combinations of clouds,
sunbursts, reindeer, dragons, horns, octagons,
squares, as well as tree-like and animal forms.
244

MIDDLE EAST – Caucusus
Kaitag
18 th Century
Daghestan
Silk floss embroidery with couching
on hand loomed cotton.
53 x 109 cm 21 x 43 in
Central medallion within an eight-pointed square.
Top and bottom diamonds with horned finials.
Anthropomorphic figures in field between.
246

MIDDLE EAST – Caucusus
Kaitag
18 th Century
Daghestan
Silk floss embroidery with couching
on hand loomed cotton.
56 x 99 cm 22 x 39 in
Large central medallion with adjacent half medallions
of same design. Bright red rings surround each of the
three bands around the center. Worm-like forms in
outer band and dots in inner band are influenced by
traditional designs of tattoos worn by women of the
mountain regions.
248

MIDDLE EAST – Caucusus
Kaitag
19 th Century
Daghestan
Silk floss embroidery with couching
on hand loomed cotton.
53 x 104 cm 21 x 41 in
Central diamond shaped medallion with
sunburst image and wave form surround.
Pointed ends embellished with horn like
flourishes. Piece made wider by addition
of 8-centimeter dark blue strip on left edge.
250

MIDDLE EAST – Caucusus
Kaitag
18 th Century
Daghestan
Silk floss embroidery with couching
on hand loomed cotton.
60 x 116 cm 23½ x 45½ in
A particularly exuberant design, this piece
utilizes a host of traditional forms and symbols.
252

MIDDLE EAST – Caucusus
Kaitag
18 th Century
Daghestan
Silk floss embroidery with couching
on hand loomed cotton.
56 x 99 cm 22 x 39 in
Central diamond with heraldic emblems including
eagles. Horizontal cartouche top and bottom with
eagle and antler forms. Five-centimeter wide border
with a variety of zoographic and geometric forms.
254

MIDDLE EAST – Caucusus
Kaitag
18 th Century
Daghestan
Silk floss embroidery with couching
on hand loomed cotton.
56 x 99 cm 22 x 39 in
Subdued chromatic rendering of three central
diamonds with flared horn decorations.
Contrasting border with castellated edge forms,
horns, and all around circular dots. These motifs
are related to tattoos worn by mountain women.
256

MIDDLE EAST – Azarbayjan
Spindle or Pipe Bagface
19 th Century
Azarbayjan
Wool, warp sumak weave.
45 x 23 cm 17½ x 9 in
Probably Azarbayjani nomad weaving from northwest
Iran. The repeat design of cross forms within a diamond
grid is fairly common in sumak, “reverse” sumak, and
pile-woven bags from Azarbayjan. The format here is
unusual. The back is missing.
Bagface (Khorjin)
19 th Century
Sabalan/Moghan region
Sumak weave, wool warps, pattern wefting
wool and cotton.
48 x 43 cm 19 x 17 in
Woven by Azarbayjani nomads in northwest Iran,
the four octagonal medallions in the field are derived
from Oguz design and look somewhat like Turkmen
guls. The origin of bags with this medallion design
can be reliably attributed to Shahsavan nomads.
258

MIDDLE EAST – Azarbayjan
Bag Face (Khorjin)
Late 19 th Century
Northwest Iran, Khamseh
Sumak weave; wool finely woven in clear,
natural colors.
38 x 34 cm 15 x 13½ in
Exceptional weaving and distribution of bird-like
forms covering the field. These forms have two “heads”
as here, or heads and tails, almost always alternating
with tree forms. They are said to represent the Tavous,
or peacock, but that is not certain. The bird form in
its various guises also appears in Transcaucasian nomad
bags and sometimes in pile weaving from the same area.
260

TURKEY
Ritual Cloth Fragment
17 th Century
Ottoman
Silk lampas.
67 x 8 cm 26½ x 3 in
Horizontal strip from a cenotaph cover.
Arabic calligraphy are prayers to honor the dead.
262

TURKEY
Fragment
16 th Century
Ottoman
Silk and metal thread, lampas weave.
14 x 13 cm 5½ x 5 in
Rare early Ottoman silk. The realistic rendering
of the roses is thought to be an early image of many
later stylizations. Probably woven during the reign
of Suleyman the Magnificent.
264

TURKEY
Kerchief
Early 19 th Century
Ottoman
Printed open weave cotton, embroidery
with gold thread, blue and pink silk ends
crocheted with gold thread.
76 x 48 cm 30 x 19 in
The central panel is printed with bud like floral
forms in three colors, green, yellow and red, on a
black background. Smaller bud forms decorate
four border strips. The elaborate floral embroidery
shows a European influence.
266

TURKEY
Napkin
Mid 19 th Century
Ottoman
Silk and silver embroidery on cotton.
Workshop production.
73 x 74 cm 28½ x 29 in
268

TURKEY
Towel/Napkin
Mid 19 th Century
Ottoman
Silk and silver embroidery on cotton.
51 x 117 cm 20 x 46 in
40 x 71 cm 16 x 28 in
Made in varying sizes for a number of uses.
270

TURKEY
Bag
18 th Century
Silk embroidery on silk, traces of
metallic thread, sailing vessels embroidered
above on red field. Red velvet back and
bottom ruffle, light blue silk drawstring.
34 x 28 cm 13½ x 11 in
272

TURKEY
Fragment
18 th Century
Bursa
Lampas, silk floss.
20 x 19 cm 8 x 7½ in
16th to 18th century silks such as
this were produced for garments.
274

TURKEY
Bag Face (Heybe)
Mid 19 th Century
Milas
Wool warp, weft and pile, natural dyes,
striped plain weave back.
52 x 46 cm 20½ x 18 in
The basic colors used here mark this bag face as a
classic Milas design; madder red and indigo blue
along with natural ivory. There is also some light
blue, light red, brown and aubergine. There is no
actual field here, simply a two color central diamond
in an ivory rectangle surrounded by these borders; the
inner one a simple meander, the outer two filled with
floral rosettes. Another interesting feature is the staccato
red and ivory line separating each of the borders.
This is a very simple but well conceived design.
276

TURKEY
Purses
19 th Century
Crocheted cotton with decorated
top fringe. Lower left, woven cotton
with applique and fringe.
10 x 14 cm 4 x 5 in, varying sizes
278

TURKEY
Woman’s Vest
19 th Century
Red/white ikat woven cotton sateen. Gold
and silver thread embroidered edge binding.
53 x 53 cm 21 x 21 in
280

TURKEY
Woman’s Vest
19 th Century
Striped cotton velvet panels, edges
decorated with bands of yellow cotton
interlaced with silver thread and
scalloped silver gimp. Arm holes and
chest medallions embellished with silk
floss. Multicolored buttons and loops.
48 x 56 cm 19 x 22 in
282

TURKEY
Apron
20 th Century
Anatolia
Plain weave wool, red field with blue
dyed cotton applique. Nomadic origins.
40 x 88 cm 16 x 35 in
284

TURKEY
Bedcovers
Mid 20 th Century
Siirt
Plain weave, natural goat wool,
spun wool on weft, cotton warp,
loose pile sheared on back side
132 x 173 cm 52 x 68 in
127 x 185 cm 50 x 73 in
These handsome pieces were used primarily as bed covers,
with the pile side down to provide natural insulation.
The fibers are all natural color; no dye of any kind is
used. These weavings are still being made today.
286

EUROPE – England
Mending Bag
18 th Century
1710
Polychrome crewel wool embroidery
with silk accents using a variety of stitches
on cotton/linen twill.
53 x 67 cm 21 x 26½ in
A Tree of Life design showing a pastoral scene
with small and large animals, birds, and flowers.
The floral surround also features three lovely birds.
An Indian influence is apparent.
288

EUROPE – England
Furnishing Fabric Fragment
18 th Century
Robert Adams period
Oval painted portrait of a lady within a
surround of pearls. Chenille embroidered
vines on silk satin.
33 x 47 cm 13 x 18½ in
A fine example of the typical Adamesque style.
290
Lace Sampler (overleaf)
19 th Century
Unfinished lace sampler, using bobbin lace
tape to create compartments for a variety of
needle worked patterns done in linen thread.
One section contains a knotted net.
89 x 6 cm 35 x 2½ in
Samplers were originally used as reference to
various designs and techniques. By the eighteenth
century they began to be regarded as small works
of art and hung as such.

EUROPE – Italy
Furnishing Fabric Fragment
17 th Century
Silk cisele voided velvet, symmetrical
repeat, intertwined floral pattern
containing carnations and tulips.
7 x 16 cm 2½ x 7 in
Furnishing Fabric Fragment
17 th Century
Silk compound weave,
asymmetrical foliate design.
14 x 15 cm 5½ x 6 in
294
Furnishing Fabric Fragment
17 th Century
Center panel, red silk on linen,
top and bottom panel embroidered
on finer linen and attached.
20 x 15 cm 8 x 6 in
Furnishing Fabric Fragment
17 th Century
Silk voided velvet, cisele cut
and loop pile on silk satin ground.
14 x 15 cm 5½ x 6 in

EUROPE – Italy
Border Fragment
17 th Century
Assisi
Indigo dyed silk embroidery on linen,
cross stitch and double running stitch.
251 x 14 cm 99 x 5½ in
This is a prototypical example of “Assisi” work
using a single color cross stitch to fill in the background
creating a negative image of the design motif. These
embroidered bands were often made in very long
lengths, and were used to decorate the edges of large
linens such as table cloth or bed covers.
296

EUROPE – Spain
Furnishing Fabric Fragment
ca. 1700
Possibly from Andalucia
Silk floss embroidery in a geometric and
lozenge pattern on gauge weave foundation.
39 x 17 cm 15½ x 7 in
298

EUROPE – France
“Bizarre” Silk Fragment
Early 18 th Century
Lyon
Rare cranberry red “Bizarre” silk brocade
on damask ground with silver metallic
thread in stylized flower shape with
curvilinear, asymmetrical leaf scrolls of
different sizes throughout.
42 x 67 cm 16½ x 26½ in
“Bizarre” silks were often utilized for ecclesiastic
garments and widely used in Denmark and Sweden.
Although these exotic textiles were produced in three
major European weaving centers during the first half
of the 18 th century, there is still some discussion about
their original antecedents. It is clear that Eastern
influences are present; and that the designs resonate
with our modern sensibilities formed by such movements
as Arts Nouveau beginning around 1900.
300

EUROPE – Kosovo
Apron
Mid 20 th Century
Albanian people in Kosovo
Cotton and metallic yarn, slit tapestry technique.
Similar to Syrian weaving techniques.
77 x 46 cm 30½ x 18 in
At least since the beginning of the 20 th century, there
has been a significant Albanian population in Kosovo.
302

EUROPE – Greece
Garment Fragment
ca. 1800
Crete
Skirt border, silk embroidery on cotton in
the Italianate style. Polychrome design using
feather stitch, stem, satin, and chain stitch.
51 x 23 cm 20 x 9 in
A continuous frieze set upon a narrow edge
band is based on flowing floral tendril forms.
The spaces are filled with double-headed eagles,
snakes, flowers, and birds.
304

EUROPE – Greece
Bed Curtain Fragment
18 th Century
Naxos
Red silk floss embroidery on natural
linen, using a darning stitch.
38 x 94 cm 15 x 37 in
The basic diamonds formed by leaf patterns and
rhomboids are organized to create alternating circles
over the entire field. These decorative designs are known
to have Mamluk origins. The stitchery of the elements
is done in different directions so that the reflected light
appears as two different tones of red. The dye used is
from a type of lichen found on rocks along the seashore.
306

EUROPE – Greece
Shawl (shown folded)
19 th Century
Mitelini
Silk embroidery on fine linen silk ground.
41 x 186 cm 16 x 73 in
Although the city of Mitelini is only fifteen miles
from the Turkish coast on the island of Lesbos, the
embroideries produced there exhibit their own special
Greek Island character. This shawl shows a garden
with cypress trees, birds, stylized flowers, and a house
in the center of each end. A variation of a Greek
wave design surrounds the garden. Twisted fringe
at both ends, red silk tassels added. (detail of shawl end, left image)
308

EUROPE – Greece
Carrying Bags (Tagari)
Mid 20 th Century
Crete
Supplementary weft polychrome patterning
in wool and some metallic yarns in vertical
bands of geometric designs.
55 x 33 cm 21½ x 13 in
310

EUROPE – Greece
Cushion
Early 20 th Century
Metsovo
All wool with supplementary weave.
33 x 28 cm 13 x 11 in
The mountain village of Metsovo was one of
the few places that remained independent during
the Ottoman occupation of Greece. The design
shown here is indigenous to the area.
312

EUROPE – Greece
Sleeve End Fragment
Early 19 th Century
Attica
Wedding garment, elaborate gold
embroidery, always backed with yellow
silk thread. Traditionally, eighteen colors
were used in the brightly patterned silk
embroidery on cotton.
43 x 16 cm 17 x 6 in
Skirt (Kamisi) Border Fragment
Early 19 th Century
Attica
Wedding garment, utilizing the standard
eighteen colors, the embroidery shows
many of the commonly used motifs;
blossoms, snails, heads, and roses.
The width of the embroidery border
is an indication of the family status.
38 x 18 cm 15 x 7 in
314

EUROPE – Greece
Apron
Early 20 th Century
Florina
Wool, rich colors, gimp borders,
worn on festive occasions.
30 x 44 cm 12 x 17½ in
Mat
Mid 20 th Century
Crete
All wool, supplementary weaving,
bright colors.
63 x 28 cm 24½ x 11 in
316

EUROPE – Greece
Bed Rug
Mid 20 th Century
Crete
All wool, supplementary weave,
fringe at both ends.
186 x 256 cm 73 x 101 in
Woven in a primarily Christian community,
the piece depicts three churches in panels faintly
reminiscent of mihrab pattern.
318

EUROPE – Greece
Bed Rug
Mid 20 th Century
Metsovo
All wool, flokati technique, loosely
woven with pile on underside, soaked in
water to shrink and tighten the fibers.
203 x 229 cm 80 x 90 in
These bed rugs were woven as dowry pieces.
320

EUROPE – Greece
Socks
19 th Century
Arachova
Knitted woolen socks, front and back.
10 x 39 cm 4 x 15½ in (left)
13 x 23 cm 5 x 9 in (right)
322

EUROPE – Greece
Handbag
20 th Century
Attica
Cotton embroidery on cotton.
15 x 19 cm 6 x 7½ in
324
Handbag
20 th Century
Attica
Silk embroidery on cotton,
originally made as a sleeve end.
18 x 14 cm 7 x 5½ in

AFRICA – Egypt
Decorative Band Fragment (Tiraz )
11 th Century
Fatimid
Tapestry weave, interlocked, with eccentric
wefting; alternating blue and white cotton warp
bands. Blue, black, red, yellow and white silk.
9 x 10 cm 3½ x 4 in
An elaborate interlace strapwork characteristic of the
finest extant costumes of this period. Interstitial spaces
contain confronted and addorsed pairs of doves and other
motifs. The availability of silk in the late antique and
Islamic period enabled the production of such refined
textiles, which spell the end of what has been termed the
“Coptic” tradition.
326

AFRICA – Egypt
Ornamental Tunic Element
6 th Century
Coptic
Brown-black wool looped pile on natural linen.
25 x 27 cm 10 x 11 in
Roundel with four-petaled flower surrounded by pearl
design within a scalloped border.
Ornamental Tunic Insert
3 rd –1 st BCE
Hellenistic-early Roman period
Tapestry weave, interlocked with eccentric
wefting. Lilac wool design and natural linen field.
14 x 15 cm 5½ x 6 in
Reminiscent of a mosaic floor, this design is comprised
of a circle within a square, with a Greek wave edge
border. Within the square are inward-facing split leaves,
and the circle appears to be a pool with flowering plants,
fish, birds, and three swimming figures, one of whom
has wings.
328
Ornamental Costume Insert
6 th Century
Coptic
Tapestry weave, interlocked with eccentric
wefting. Brown-black wool design and natural
linen field.
12 x 16 cm 4½ x 6 in
Elaborate trefoil “trees” extending outwards from the
corners of a central square, which contains a central
octagon surrounded by five roundels per side. A pair of
diamonds reside at each side of the rectangle, containing
quadripartite interlaces, between each pair of smaller
confronted trefoils; a remarkably complex design in
such a small space.

AFRICA – Egypt
Ornamental Tunic Insert
6 th Century
Coptic
Interlocked tapestry weave, linen.
7 x 8 cm 2¾ x 3 in
A black square containing a natural-colored circle,
within the circle a stylized fruiting palm (tree of life);
at each corner of the square, a schematized human
face in profile, looking inward.
330

AFRICA – Morocco
Women’s Shawl (Handira)
Early 20 th Century
Beni Ouarain Berbers
Wool, weft-faced plainweave bands alternating
with decorative bands featuring weft substitution;
twined wool fringe, plus trailing weft ends on
back for padding; two attached wool cords at
center of one long side for fastening around neck.
Ivory, dark brown (natural), red and yellow wool
and white cotton.
174 x 88 cm 68½ x 34¾ in (without fringe)
These distinctive long, narrow and relatively heavy shawls
would have been highly effective in cold weather in the
middle of the Atlas Mountains. White cotton is widely
employed, along with ivory and dark brown wool to create
the 38 decorative and highly varied bands on this shawl,
11 with a variety of diamonds, the rest with variations on
undulating, extended zigzags. The red and yellow wool is
exclusively used for narrow guard stripes to these bands,
and in the two neck cords.
332

AFRICA – Morocco
Blanket
Mid-20 th Century
probably Beni Ouarain Berbers
Weft-faced plainweave. Natural ivory, and red,
yellow, black and blue wool.
221 x 152 cm 87 x 60 in (without fringe)
The natural ivory ground is bouclé, twisted so much that
it gives a nubbly effect, in contrast to the 13 fine pairs
of lines, 12 of which are black, one blue. The 12 broad
bands are red with a yellow stripe through the middle.
334

AFRICA – Maghrib
Bridal Veil (front and back)
Early 20 th Century
Arab Nomads, Tunisia
Metal strip-wrapped and pulled openwork
on two-sided silk twill.
39 x 57 cm 15½ x 20 in
This veil compensates for its effacing function by being
remarkably cheerful in color and design; somewhat acid
green and strong orange colors working harmoniously
with the golden metal. By virtue of the pulled technique,
each figure (bird, fish) and form (heart, diamond,
hexagon, square) is a feast for the eyes. The upper, more
pictorially interesting register is essentially a tree of life
which correlates far to the east, such as Persian and
Indian “kalamkari,” and Isfahani folk embroideries.
336

AFRICA – Tunisia
Shawl (above)
Early 20 th Century
Arab Nomads
Ten colors of floss silk embroidered on
plain weave silk shawl, with strip of cotton
backing across top for strength, and dense
series of floss silk tassels across top.
117 x 114 cm 46 x 45 in (less 13 in fringe)
Dark red silk with black bands, in varying
combinations of narrow and broad, dense band
of embroidery in a herringbone pattern across
top and upper sides in seven colors of floss silk,
beneath which is a second band of alternating
triangles and hands of Fatima. Across the top
is a series of floss silk tassels in 10 colors.
Synthetic dyes.
338
Head cover (Tajira)
Early 20 th Century
Arab Nomads
Wool plainweave, with cotton weft
substitution. Red and black wool with
white cotton decoration.
151 x 100 cm 51½ x 39½ in (without fringe)
The tajira is placed over the hair, and used to
keep the bakhnug from becoming greasy. It has a
simple, finished upper border, often embroidered
but not in this case. The body is red with white bands
and decorative effects in white in weft substitution.
The bottom section contains this technique, but
otherwise comprises nine black and white alternating
bands, wider and narrower. At the bottom is a
fine, 11½ centimeter fringe above which commences
a wonderful line of openwork.

AFRICA – Tunisia
Head cover (Tajira)
Early 20 th Century
Matmata
Wool plainweave, hand spun yarn creating a
bouclé surface finish. Green-black background
with red, yellow and green tie dyed decoration,
fringe at bottom.
81 x 76 cm 32 x 30 in (without fringe)
Another, quite different, tajira worn under the bakhnug.
The tie dyed colored dots decorating the lower half of
this piece is a much less common design theme than
that in the previously shown tajira, which is composed
of woven stripes and edge patterns. An exuberant
9" fringe is woven into the bottom edge of this piece.
340

AFRICA – Tunisia
Head Shawl (Bakhnug)
Early 20 th Century
Arab Nomads
Wool, weft-faced plainweave, with cotton weft
substitution (wool yarns floating on back) Black
dyed, with indigo overdye of cotton details.
179 x 104 cm 41 x 71½ in
The bakhnug was placed on the head over the tajira,
where used, falling to the mid thigh. Such sombre
examples were worn by old women, and could be
used during daily work as well as worn to festive
events. Many motifs were named (combs, snakes,
jewels, tattoos, scorpions.)
342

AFRICA – Algeria
Woman’s Turban Cloth
Mid-late 19 th Century
Silk, weft-faced twill weave. Black, white, red,
yellow, light blue and lilac.
331.5 x 22.6 cm 13½ x 8 3/ 8 in
The elements are simple: bars, bands, squares and
rectangles of color, but the results are remarkably
complex, with none of the successive registers having
the precise color combination and disposition as any
of the others. One long selvedge is complete, the other
cut and seamed, and folded under. In contrast to
the other Maghribi textiles here, this is clearly the
product of a very sophisticated urban weaving atelier.
344

AFRICA – Sub-Sahara
Wearing Blanket
Mid-20 th Century
Probably Burkina Faso
Warp-faced strip weave. Natural white and
black cotton.
216 x 134 cm 85 x 52¾ in
A fine, lightweight textile woven of handspun yarn,
with six strips 22 cm (8¾ in) wide. It features just
enough design to remind us of the method of weaving
in a long strip, and the necessity for careful counting,
although not nearly so faithfully executed here as in
the Mende blanket. From the 15 th century onwards,
numerous European observers commented on the large,
rectangular cloths worn toga-like by upper class men
along great swaths of the West African coast.
346

AFRICA – Sub-Sahara
Wearing Blanket
Mid-20 th Century
Probably Burkina Faso
Warp-faced strip weave. Natural white and
black cotton.
228.6 x 118.7 cm 90 x 46¾ in
A fine, lightweight textile woven with handspun
wefts and machine-spun warps, comprising eleven
strips 10.8 cm (4¼ in) wide. Unlike other such
weavings, where a premium is typically placed on
careful coordination of design elements across strips,
here the closely packed, alternating black and white
bands are neither rigorously woven nor regimented,
thus adding interest.
348

AFRICA – Sub-Sahara
Woman’s Wrap
Mid-20 th Century
Ewe People, SE Ghana or Togo
Warp-faced strip weave with supplementary
weft inlay. Black, white, red and yellow cotton
warps; black, white, red, yellow, green, orange
and fuchsia cotton supplementary wefts.
213.3 x 117 cm 84 x 46 in
This is both a classic and conventional Ewe woman’s
cloth, relatively large at sixteen strips, 7.3 cm (2 7/ 8 in)
wide. The format of paired densely-inwoven blocks
covering the warp entirely separated by a third block with
varying supplementary weft decoration is probably the
most common in Ewe weavings. Another classic feature
is the presence throughout of these supplementary blocks
woven with two-color plied yarn, creating a distinctive,
speckled effect. These are accented by the frequent
presence of all-white blocks. Some of the “interior”
designs derive their form directly from Ashanti Kente
cloth. However, although tremendous discipline on the
part of the weaver is necessary for the overall elongated
checkerboard effect to be realized, one rarely encounters
the format of end panels and field that is standard for
the Ashanti weaving. Instead, the play of the weaver’s
imagination and chance are given freer reign amongst
the Ewe.
350

AFRICA – Sub-Sahara
Man’s Festive Tunic (overleaf)
Mid-late 20 th Century
Woodabe People, Niger
Balanced strip weave. Homespun indigo cotton
ground (save for black/white center strip),
polychrome (red, white, green, yellow, orange)
embroidery and strips of scalloped white
cotton appliqué.
208.5 x 26 cm 82 x 10½ in
These striking costumes are fashioned by the immediate
female relatives of a young Woodabe (also called Bororo)
man for the now famous annual courting dance in
which Woodabe males present themselves to the young
women of the tribe as possible mates. They do so by
beautifying themselves with cosmetics and rolling their
eyes dramatically while engaging in a row dance before
the young women. This tunic displays no fewer than
twenty-two different designs or motifs in its embroidery,
usually in paired panels divided by a strip of white
appliqué, in three instances in one larger panel (69
panels overall). The ground is formed of the narrowest
of gauze-like, homespun indigo-dyed cloth, 1.4 cm (½ in
across), eighteen of them across the tunic, plus the one,
somewhat broader central strip, which appears gray due
to the alternating black and white warps. (detail facing page)
352

AFRICA – Sub-Sahara
Woman’s Ceremonial Hip Wrap
Mid-late 20 th Century
Woodabe People, Niger
Balanced strip weave. Homespun indigo cotton
ground (save for black/white center strip),
polychrome (red, white, green, yellow, orange)
embroidery and strips of scalloped white
cotton appliqué.
138 x 73 cm 54½ x 29 in
Young Woodabe women adopt a similar approach
to their hip wraps as to the tunics they fashion for
their brothers, with exception that they take an
eminently practical attitude to the embroidery work:
only where it will be on display. The ground cloth is
not as fine when compared to the diaphanous material
of the men’s tunics, in this case created from nine strips
8.3 cm (3¼ in) wide. Thirty-nine little square or
rectangular panels displaying eleven different motifs.
356

AFRICA – Sub-Sahara
Fragment of Man’s Ceremonial Robe (Riga)
Mid-late 20 th Century
Hausa People, Nigeria
Natural ivory wild silk embroidered onto
imported light blue commercial cotton
cloth with overall diaper pattern of lozenges
and cricels.
64 x 63 cm 25½ x 25 in
Such prestige garments are worn by Hausa dignitaries
for whom fine imported cloth is considered a status
material, although strip-woven cotton and silk fabrics
are more characteristic of these robes. On special
occasions, those who could afford them would wear
several great robes in order to display their wealth
and status, with the arms folded back in order that
all would be seen. The origins of these elegantly drawn
designs may be traced well back into the 19 th century.
The design is cut off at the level of the original neck
opening, but would have continued to the left, with
a great spiral, and up to the right.
358

AFRICA – Sub-Sahara
Woman’s Cache Fesse (Pikuran)
(above)
Mid-20 th Century
Kirdi People, Northern Cameroon
Polychrome glass beads woven with brown
cotton yarn into a rectangular panel.
25 pairs of 3 blue beads guide the warp
threads to the cowries to form a fringe.
43.2 x 16 cm 17 x 6¼ in
fringe: 5.3 cm 2 3/ 8 in
Mistakenly referred to as “cache sexes,” these
rectangular, loom-woven, beaded articles of clothing
are actually “cache fesses,” to lie across the derrière.
The cotton attachments are tied at the hips with the
true cache sexe. The arrival of tiny European glass
beads during the 19 th century afforded the Kirdi the
opportunity to create these wonderful costume pieces.
360
Man’s Cache Sexe/Aprons
Mid-20 th Century
Fali, Cameroon Grassfields
Fine, homespun indigo cotton strip cloth,
5 cm (2 in) wide, ten strips across, stabilized
by natural cotton embroidery, and by a heavier
1 in strip across the top and sides. Attached
handworked cotton fringe.
left: 53 x 43 cm 21 x 17 in (with fringe)
right: 57.1 x 47.1 cm 22½ x 18 in (with fringe)
left: The seven attached aluminum two-franc coins of
Afrique Equatoriale Française are all dated 1948,
whereas the 10 and 25 centimes coins that serve for
attachment are dated 1913 and 1924 respectively.
The two-franc coins are reverse up, showing an
antelope. The degree of attention lavished on this
and the companion piece suggests that they were worn
for ceremonial purposes and prized by their owners.
right: In this piece, only three of the two-franc
aluminum coins are used, but a total of forty-seven
old plastic buttons are applied, in two rows of seven
to either side, and thiry-three down the middle.
Although the embroidery is less elaborate than on the
first example, it is more dense over the edge bands,
and the fringe is more than double the density.

AFRICA – Sub-Sahara
Woman’s Miniature Ceremonial
Overskirt (Nchakabween)
(above)
Late 19 th Century
Bushong Ethnic Group, Kuba Kingdom,
Democratic Republic of Congo
Raffia palm leaf cloth (woven by men),
embellished with two kinds of embroidery,
a running stitch of sorts, and pile, augmented
by red dye (tukula powder), obtained from
the camwood tree.
56 x 23 cm 22 x 9 in
Full-sized overskirts of this type were reserved for
female members of the Kuba royal family. Miniature
copies, like this piece, are uncommon, and from a
relatively early period. While their precise function is
unknown, like latoon (embroidered squares), they could
have been a sign of wealth. It is structured exactly like
its larger model except that the main border is not
separately made and sewn on, but created by a shift in
the design on the same ground cloth. The outer border is a
characteristic, non-woven attachment found on all of these
skirts. The field features normal Kuba embroidery work
which outlines the pile sections that define the principle
design. The pile is created by bringing the processed raffia
fibre up through the plainwoven ground cloth with a steel
needle. A knife is then run back and forth across the
exposed ends causing them to split, creating the pile.
362
Woman’s Ceremonial Overskirt (Nchak)
Early 20 th Century
Showa Ethnic Group, Kuba Kingdom,
Democratic Republic of Congo
Raffia palm leaf ground cloth (always woven
by men), embellished with two kinds of
embroidery, a running stitch of sorts, and pile,
the pile fibre died black.
122 x 56 cm 48 x 22 in
Nchak is the global term for all women’s skirts
among the Kuba. Each specific type would have its
own name, but these are best known for royal skirts.
This skirt would have been worn horizontally around
the waist in order to secure a much longer underskirt,
which was wrapped around the body diagonally from
breast height down to below the knees. The whole
ensemble was held together with a belt. Like the
miniature Bushong skirt, this example is created
from one ground cloth made by joining two panels of
plainweave material (the length of raffia palm leaves
limits the lengths of individual panels). This is then
traditionally worked by a woman. Its dramatic,
dynamic, and modulated design is characteristic
of Showa work.

AFRICA – Sub-Sahara
Cloth Square (Latoon)
(above)
Mid-20 th Century
Showa Ethnic Group, Kuba Kingdom,
Democratic Republic of Congo
Plainwoven raffia palm leaf fiber enhanced
with running embroidery and pile, the latter
natural and dyed black.
59 x 66 cm 23 x 26 in
The Showa people are traditionally credited with
introducing pile embroidery to Kubaland. Before the
18 th century, woven raffia squares were the primary
currency in the Central Congo. Amongst the Kuba
such squares, exhibiting the investment of time and
creativity, retained their cultural value, and could be
used as gifts or as payment for fines, and were on rare
occasions employed to embellish ceremonial costumes.
This example exhibits the Showa penchant for theme
and variation, sometimes resulting in subtle shifts
by the border finish, it also features the bifurcated
triangles, one half in black pile, that one regularly
sees in Showa latoon. Here only one unit is broken
up in checkerboard fashion by the use of black pile
against natural.
364
Panel from Ceremonial Underskirt (Nchak)
Mid-20 th Century
Bushong Ethnic Group, Kuba Kingdom,
Democratic Republic of Congo
Raffia palm leaf fiber, plainwoven, embroidered
and appliquéd. One of several panels, woven by
men, and typically embroidered by women of
the extended family.
59 x 67 cm 23 x 26½ in
This panel is from one of the basic types of ceremonial
underskirt worn by Bushong women on special occasions.
It contains three small appliqués, which may have
covered breaks in the ground cloth. The elaborate web
of embroidery in a broadly rectilinear format is
characteristic of many of these long skirts as are the
endless knot and “arrow head” motifs.

AFRICA – Sub-Sahara
Panel from Ceremonial Underskirt (Nchak)
(above)
Early 20 th Century
Bushong Ethnic Group, Kuba Kingdom,
Democratic Republic of Congo
Raffia palm leaf fiber, plainwoven, appliquéd
and embroidered; cotton trade cloth. One of
several panels, woven by men, and typically
embroidered by women of the extended family.
63 x 45 cm 25 x 18 in
This panel is from the same basic type of ceremonial
underskirt worn by women of the royal family in the
capital of Mushenge from newly-arrived cotton trade
cloth in the 1920s. Since such cloth was novel at the
time, it was reserved for costume for the vast royal
family. The fragment of blue trade cloth is treated
the same way as the other twelve raffia appliqués in
this panel, sewn on with black raffia fiber. The dense
web of essentially linear embroidery is similar to the
other panel.
366
Cloth Square (Latoon)
3 rd Quarter 20 th Century
Mbenge or Bushong Ethnic Group,
Kuba Kingdom,
Democratic Republic of Congo
Plainwoven raffia palm leaf fiber enhanced
with all-over running embroidery, natural
and dyed black.
46 x 41 cm 18 x 16 in
This striking little raffia square is distinguished
not only by the beauty of its design but by the
exclusive use of overall running embroidery,
accomplished by running the needle under and over
the fibers in the plainweave foundation, always with
one of the cross-fibers underneath the embroidery
fiber leaving virtually no evidence of this work on
the face of the piece.

AFRICA – Sub-Sahara
Woman’s Skirt
3 rd Quarter 20 th Century
Masai People, Kenya
Skirt fashioned of five large and one small
carefully seamed pieces of hide to achieve the
desired form. Applied beadwork.
122 x 109 cm 48 x 43 in
The beads applied on two thicker triple-width bands,
and numerous single bands vertically, many of those in
parallel. Paired beads along lateral edges, plus twelve
little discs of beads. The field is divided into three
vertically oriented sectors. The skirt is worn with the
broader, plain portion around the waist, the beaded
portion down the back, ending in three scalloped forms.
368

AFRICA – Sub-Sahara
Mat (above)
3 rd Quarter 20 th Century
Ndebele People, Republic of South Africa
Reeds placed parallel to each other, and
bound with cotton yarn at twenty-one places
across its length, supplemented by twenty
shorter lengths, sixteen in the field, six of
those in a decorative wave form. Beadwork
panels sewn onto mat.
68 x 43 cm 25 x 19 in
The four separately created bead panels are sewn
down to the mat. Given the character of the beadwork
and the fragile nature of the mat itself, this item must
have ceremonial significance. At one point in the field,
the reeds are deliberately manipulated to produce a
band of openwork. This reflects the extensive openwork
in the white areas of the beadwork. Although white
and black predominate, color wins the day, with mid
and bright blue, dark green, clear and lime green,
clear and opaque yellow, clear and opaque orange,
and clear, colorless beads.
370
Apron for Unmarried Girl (Pepetu)
Mid-20 th Century
Ndebele People, Republic of South Africa
Beads sewn down with cotton yarn to
canvas backing in short strings of nine
to sixteen beads in length.
46 x 34 cm 19 x 13½ in
A mother creates one of these flat aprons for an
unmarried daughter who has undergone initiation,
and is thus of marriageable age. The abstract forms
represent a house, indicating the future of the girl,
married with a home of her own. White beads
predominate, to which are added pink, so popular
in the beadwork of South Africa, black, light blue,
mid and dark blue, opaque lime green and clear
dark green, clear gold, and clear red.

AFRICA – Sub-Sahara
Ceremonial Blanket
Mid-20 th Century
Xhosa People, Republic of South Africa
Commercial wool blanket, beads,
mother-of-pearl buttons.
127 x 94 cm 50 x 37 in
Beads (black, white, red, turquoise and bright
blue) are sewn in four horizontal bands, one
vertical band, and around the edges of the blanket,
coordinated with strips of black cotton “gimp”
sewn down to it. Pairs and threes of the buttons
are also sewn down at regular intervals on the
upper portion of the blanket, the threes flanking
the center line. The decoration is most concentrated
where the blanket would rest on shoulders, upper
back and arms. White garments were restricted
to ceremonial and festival use, as evidenced by the
care taken in this blanket’s decoration.
372

SOUTH AMERICA – Peru
Fragment
ca. 500 A.D.
Nazca
All wool tapestry weave.
19 x 13 cm 7 x 5 in
This piece depicts a deity as the central motif in
a composite image with two more heads appearing
in opposite directions. Possible influence from
Huari culture as seen in the geometricized forms.
374

SOUTH AMERICA – Peru
Ceremonial Chest Cloth (Pechera)
8 th – 11 th Century
Huari
Feather pechera, made of macaw and
parrot feathers on wool and cotton backing.
Wool band at top.
60 x 19 cm 23½ x 7½ in
As early as the first millennium B.C., feathers have
been used in Andean textile art for ceremonial
garments. The colors achieved are bright, and the
patterns usually simple and bold. The wearers of
these garments were obviously in the top echelons of
the society. The fact that the pieces were usually
buried with their owners is the reason that they still
exist in excellent condition.
376

SOUTH AMERICA – Peru
Tunic Fragment
15 th – Mid 16 th Century
Inca
From a Quesana pattern tunic,
tapestry weave, camelid and cotton.
29 x 30 cm 11½ x 12 in
This decorative tunic panel was apparently one
of several similar variations used during this
period as badges of status or merit. The deep
colors along with the slightly off square rectangles
create a powerful design.
378

SOUTH AMERICA – Peru
Panel
11 th – 15 th Century
Chimu
Cotton and wool, slit-weave technique.
58 x 24 cm 23 x 9½ in
Two figures are shown frontally in elaborate
garb and headdresses. The headdresses morph
into stylized bird images.
380

SOUTH AMERICA – Peru
Breech Cloth Fragment
14 th Century
Chancay
Very fine wool tapestry weave, narrow
bands each 7mm wide, sewn together.
Irregular stepped geometric design.
23 x 28 cm 9 x 11 in
The random distribution of soft colors in this
abstract pattern provides a very appealing and
energetic overall design, almost like rippling water
in a pebble lined stream.
382

SOUTH AMERICA – Peru
Edging Strip
13 th – 15 th Century
Chancay
Network embroidery in wool loop
stitch, multicolor fringe, individually
knitted hand motif along inner edge.
26 x 18 cm 10 x 7 in
384

SOUTH AMERICA – Peru
Border Fragment
14 th – 15 th Century
Chancay
Plain weave top strip, wool tapestry weave
band below with latch hook design, robust
twisted thread fringe.
33 x 20 cm 13 x 8 in
386

SOUTH AMERICA – Peru
Miniature Manta for Doll
14 th Century
Chancay
Wool, plain weave.
10 x 18 cm 4 x 7 in
Many dolls were found in burial sites of this
period. Although the dolls were often made in
groups depicting various social activities, this
manta was from a single figure.
388

SOUTH AMERICA – Peru
Plaited Band
200 – 100 B.C.
Paracas (late)
Rare, very finely woven double weave
plaited band. Two sides selvedged. All wool.
70 x 4 cm 27½ x 11½ in
This very rare decorative addition to a sash or head
band is in very good condition for its age. The design
illustrates the interweaving of a band of orange and
gold with a band of pink and blue.
390

SOUTH AMERICA – Peru
Garment
Early 20 th Century
Shipibo people
Plain weave handspun cotton with painted
traditional geometric patterns, natural dye.
Center panel has pattern outlined and
embellished with embroidery in tambour,
stem, and cross stitchery.
151 x 71 cm 59½ x 28 in
Although designs vary in their execution, they
are all related to a common style. The individual
patterns are thought to come to the painter in
dreams from the spirit world.
392

SOUTH AMERICA – Peru
Baby Carrier
Early 20 th Century
Shipibo people
Plain weave handspun cotton wrapper.
Lower edge, bone fringe decorated with
carved, scrimshaw-type geometric patterns,
which would rattle in motion.
58 x 28 cm 23 x 11 in
394

SOUTH AMERICA – Bolivia
Headbands
20 th Century
Aymara
Warp faced, double cloth weave.
Multicolored wool and camelid fibers.
Beaded selvedges. Woven tassels
at one end.
46 x 5 cm 18 x 2 in
48 x 5 cm 19 x 2 in
The motifs displayed in these headbands (winchas)
are absolutely typical; both geometric and animal
forms. The twirled positive-negative hook or wave
motif is used in many different arrangements, sometimes
in cascading bands similar to the Greek wave design.
Multicolored panels at one end are formed by wrapping
bundles of warp extensions.
396

SOUTH AMERICA – Bolivia
Woman’s Mantle
20 th Century
Aymara
Burgundy and charcoal
wool, plain weave.
86 x 122 cm 34 x 48 in
This mantle displays the prototypical elements of
Aymara weaving; stripes and rich, natural colors.
It has been said that the stripes in Aymara textiles
are analogous to the ridges in the landscape, from
valley to mountain and all the various gradations
of color between. Since the late 19 th century, synthetic
dyes have also been extensively used.
398

SOUTH AMERICA – Bolivia
Coca Bags (Ch’uspa)
20 th Century
Aymara
Wool and camelid fibers, plain weave
and double weave, bird and animal forms.
Bottom two with elaborate fringes.
9 x 10 cm 3½ x 4 in 9 x 9 cm 3½ x 3½ in
13 x 16 cm 5 x 6½ in 13 x 13 cm 5 x 5 in
Coca bags are ubiquitous over the entire region.
Since they are made to hold coca leaves, which are
an essential part of Andean life, many of them
are crafted as objects of great beauty.
400

SOUTH AMERICA –Bolivia
Coca Bag (Ch’uspa)
Early 20 th Century
Aymara
Wool, double-cloth weave.
23 x 20 cm 9 x 8 in
Vertical bands of human, bird, and llama
figures alternating with bands of geometric
designs. Natural dyes. Edges decorated with
various colored pom-poms.
402

CENTRAL AMERICA – Mexico
Blouse
Mid 20 th Century
Chiapas
Plain weave, natural wool, washed
and shrunk after weaving for increased
density. Wool tassels and embroidery
around openings.
77 x 59 cm 30½ x 23 in
Many of the indigenous Mayan people of South
Mexico lived in mountainous areas. In this climate,
wool was often used for these garments, which
were worn by both men and women.
404

U.S.A. – Northeast
Belt
Mid 19 th Century
Iroquois
Velvet face on leather backing, glass beadwork
applique, leather ties at each end.
86 x 7 cm 34 x 3 in
The pastoral scene portrayed here is apparently not
traditional Iroquois imagery. It very well may be
influenced by crewel works designed by several
earlier generations of English settlers. The drawing
and execution of the beadwork is very sure handed
and evidently the work of an experienced craftsman.
406