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5<br />

At the beginning of the twentieth century Haddon was an influential figure in both<br />

anthropology and art. He first came to Sarawak in 1898 at the invitation of Charles Hose,<br />

following Haddon’s second expedition to Torres Strait. While in Kuching, Haddon<br />

photographed and made sketches of some hundred Iban cloths at the Sarawak Museum. He<br />

later purchased a number of cloths from Hose and eventually donated this collection to<br />

Cambridge. It was only in 1936 that Haddon published his book on Iban textiles in<br />

collaboration with Laura Start who provided the drawings. The study’s main merit is the<br />

identification of single design motifs which were originally provided by Hose. In fact, most<br />

cloths sold by Hose came complete with tags giving the names of the designs (Figure 1). It is<br />

this documentation that makes Iban cloths in U.K. collections unique.<br />

Figure 1; British Museum (Accession Number 1905-377); skirt cloth; warp ikat; deer pattern<br />

Nonetheless, there are many data that Hose failed to record. Crucially, he did not<br />

inform us how and from whom he collected his data. There is no information on the weavers<br />

of the cloths he obtained, and rarely of the longhouses where they lived. The records in the<br />

British Museum give the place of origin of all Hose cloths as Baram District, but most likely<br />

this is based on the fact that Hose was stationed in the Baram for most of his career. We also<br />

do not know how Hose went about acquiring the large amount of cloths that he eventually<br />

sold. Did Iban bring cloths to him, or did he acquire them during travels upriver in the course<br />

of his official duties More importantly, why were his standards of quality so poor Iban<br />

today would consider many cloths assembled by Hose as mediocre (dye, execution of ikat,<br />

condition, and pattern). For example, almost half of the skirt cloths at Cambridge were<br />

subjected to only one dye process with an inferior brown dye, which saves the weaver the<br />

laborious second tying of the pattern. Nonetheless, the British Museum acquired three pua

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