Calligraphic batik (Kain Kaligrafi). Cirebon, Java, Indonesia.

Cirebon on Java’s north coast produced a group of stylized batik cloth containing ornamental Arab inscriptions for export to the Sumatran Muslim market. Hand drawn in blue and white stylized Arabic script reciting the word Allah.  The other notable element in this finely executed batik tulis is the Dhu’l-Faqar, the double pointed sword of Ali-son in law of prophet Mohammed. The crocheted border finish suggests that this might have been used as a selendang or head covering for the bride and groom at a wedding ceremony otherwise a funeral shroud.

Material: Plain weave cotton, wax resist dyed, batik tulis.

Size: 225x87cm.

Circa: circa 1900-1920.

Cape (Bozugappa). Japan.

Influenced by a Portuguese missionary priest coat in the Meiji period 16th c, this type of coat was once restricted to use by the military elite until the 18th century when it was used by commoner classes as a travel garment.

The term “bozugappa” derives from the Japanese bozu or priest and kappa borrowed from the Portuguese word for cape. Made of indigo coloured cotton with fine ikat - gasuri patterning on the interior lining. 

There are sixteen panels of broad woven stripes laid out in a circular arc with a small upright collar and what is thought to be dear horn buttons.  Between the layers is a paper filling that has been treated to form a warm layer and protect the wearer from rain.

Material: Cotton cloth with fine weft ikat design.

Size: 120cm long.

Circa: Circa 1900.

Blue cloth (Mud cloth). Mali, West Africa.

These distinctive indigo cloths called Mud cloths because river mud is one of the constituents in the process of making the natural mordants and dye. 

The velvet soft cotton is created using a series of narow and individually woven strips which are then stitched together before the design stage begins.

Material: Cotton cloth with fine weft ikat design.

Size: 140x97cm.

Circa: 1950 or earlier.

Door curtain (Noren). Japan.

Door curtain of two indigo linen panels made from tie-dye technique - Nui Shibori. The artist uses home grown indigo and home spun cotton/hemp. Traditionally Noren are split down the centre. A truly collectible item.

Artist: Shindo Hiroyuki, born 1941. 

Education:Kyoto City University.  Shindo’s work has been included in many exhibition worldwide over the past twenty years, most recently in France, India and Israel. Major Museums such as the Stedelijk Museum in Amsterdam,The Art Institute of Chicago, The Cleveland Museum of Art and the Israel Museum have each collected his art.  Since 1997 he has been a professor and head of the textile department of Kyoto College of Art.

Material: Locally grown indigo on natural cotton.

Size: 135x115cm.

Circa: 1980.

Shawl (Selendang). Tuban, Java, Indonesia.

A long indigo dyed batik cloth made from strong home woven cotton. This type may have been used to tie carrying baskets onto the back.   They are not dissimilar to the Cirebon Lockan selendang and carry similar motifs of bold phoenix and ornamental wings. 

The background marbling effect is a result of cracking during the dyeing stage. Colors: blue on white, the canting done with twigs from the lemon tree. 

Material: Natural cotton - indigo dyes.

Size: 330x63cm.

Circa: 1950.

Woman's Cape (Handira). Ahel Tsiouant, Beni Ouarain, Middle Atlas, Morocco.

An indigo-dyed wool Berber cape from the Ahel Tsiouant people in the Middle Atlas Mountains.  With a voluminous pile six centimetres deep, pieces like this one are comparatively rare. The vivid red and ochre weft designs are just visible adding another dimension. The front side shows elegant and finely woven coloured striped patterns and exposes delicate outer selvedges of knotted meshwork and wool tassles. 

Material: Wool.

Size: 205x105cm.

Circa: 1950.

Altar cloth (Tok wi). Pekalongan.

A hand-drawn batik gaily coloured on a red and blue fine cotton base.  The central design contains a mythical lion, surrounded by phoenix and other symbols that are intended to ward off evil. Elaborately decorated altar cloths reflecting elements of Buddhism were important items in Chinese temples and households to ensure prosperity, wealth and well-being. These batik versions were modelled on imported silk and embroidered Tok Wi from China.

Material: Fine cotton batik.

Size: 109x105cm.

Circa: Mid 20th century.

Batik (megamendung). Cirebon.

The emblematic stormy cloud design - megamendung from Cirebon.  The town's artistic development was influenced by the large Chinese community that settled along the north coast of Java.  The pattern takes on a gradation of lines and colours with six shades of blue and grey in the cloud motif.

Material: Fine cotton.

Size: 240x100cm.

Circa: Mid 20th century.

Breast cloth (kemben). Yogyakarta.

A group of three delicately drawn (batik tulis) breast wrappers containing intense patterns of flowers, leafy foliage, birds and butterflies. The colours are beautifully blended and would create a harmonious combination for a room decoration. 

Material: Fine cotton, wax-resist dyed.

Size: approximately 250x50cm.

Circa: 1940-1950.

Breast cloth (kemben). Yogyakarta.

Long narrow cloths worn around the chest leaving the shoulders bare. Indonesian ladies wore a kemben on formal occasions and as ritual dress, today it is replaced by the more modest Kebaya blouse.  The three here were made for the Yogyakarta Kraton. Decorated with an elongated silk lozenge which is supposed to indicate the wearers’ (marital) status.  These types of cloth also function as ceremonial textiles, used as gifts and sacrificial offerings.

Left: Yogyakarta. Ornamental design with stylized wings of the Garuda bird. Dyed in soga brown. Size: 240x50cm. circa 1940. Item no:132

Centre:  Yogyakarta. Lasem design with motif featuring diagonal and alternating geometric pattern with floral surround. Dyed in shades of blue, red and soga brown. Size: 256x50cm. circa 1940.SOLD

Right: Yogyakarta. Motif featuring emblematic wings of the mythical Garuda bird with a background floral pattern in traditional Yogyakarta colors of rich soga brown. Size: 240x50cm. circa 1940. Item no: 133

Material: Hand-drawn on fine cotton with silk field applique.

Breast cloth (Kemben). Yogyakarta, Central Java.

These striking cloths were worn wrapped around the upper body. The border work is hand-drawn (tulis) and wax-resist dyed. The different colour combinations in the elongated field carried significance in early Javanese society though the exact meaning remains unclear. 

Material: Cotton.

Size: 260x52cm (purple) 270x52cm (green).

Circa: Mid 20th century.

Headcloth (iket kepala). Solo.

Head-cloth, worn by men on formal occasions. Traditional design with a lozenge shape center called tengahan. Decorated with animals, peacocks and garuda bird wings, the Garuda is the highly worshipped national symbol of Indonesia. Colors: deep indigo and soga brown.

Material: Hand drawn (batik tulis) on fine cotton.

Size: 100x100cm.

Circa: 1940-1950.

Top Left - Banyumas. Floating lotus. c.1940.100x100cm. Item:09-154

Top Right - Yogyakarta. Ornamental birds. c.1940.100x100cm. Item:09-157

Lower Left - Yogyakarta. Black centre field. c.1970.100x100cm. Item:09-143

Lower Right - Banyumas. Floralistic. c.1940.100x100cm. Item:09-155

Skirt cloths (sarong). Madura.

Instantly recognisable by their vivid colours and courageous bold patterns, this pair of un-sown Madura sarong are from a limited edition and were produced in the Tanjungbumi district - known for fine batik. The drawings are audacious yet rhythmically executed. The alternating pattern of colours play with nature, here depicting mountains, seas, pointed flowers and foliage.

Material: Cotton.

Size: approx. 200x100cm.

Circa: 1970.

Skirt cloth (kain panjang). Solo.

Intricately hand-drawn batik tulis, worn on a formal occasion, pleated around the waist. Produced in Solo/Surakarta, the design contains pairs of bright-eyed birds flirting in a garden of butterflies, large flowers and intense foliage. Bird motifs played both a symbolic and ornamental role in Indonesian society. Colour deep indigo and brown.

Material: Fine cotton.

Size: 250x105cm.

Circa: 1940-1950.

Skirt cloth (Kain panjang). Pekalongan.

Material: Fine cotton.

Size: 264x104cm.

Circa: 1930-40.

Skirt cloth (kain panjang - pagi-sore). Pekalongan.

The contrasting design of pagi-sore (morning-evening) batik is intended for reverse wear in Javanese society. The drawing contains graceful floral, insect and bird imagery set against blue and pink plain background with a diagonal split through the body field (badan). The intricately detailed bouquet borders are beautifully offset with a pale orange down two sides. A finely executed example from a good workshop. The cotton is waxed and crisp to touch.

Material: Fine waxed cotton.

Size: 242x108cm.

Circa: 1940-1950.

Skirt cloth (Kain panjang). Cirebon.

^{A long batik cloth from Cirebon that was used as a hip wrapper. Chinese inspired design depicting four mythical lion-elephant-bird with surrounding motif of rock formations (wadas) and cloud motifs (megamendung).  A splendid and finely worked piece.}

Material: Fine cotton, hand-drawn batik tulis.

Size: 274x104cm.

Circa: 1940 or earlier.

Head and shoulder cloth (selendang). Jambi.

20^th century batik cloth with stylised calligraphy known as kain kaligrafi. The cloth was probably used as a ceremonial shroud or a ritual shoulder cloth. The striped pattern along each end is typical of Jambi batik design. The borders are decorated with a finely crocheted metal twine. Hand-drawn wax resist-dyed batik-tulis on white cotton with indigo dye.

Material: Strong cotton.

Size: 209x86cm.

Circa: Mid to late 20th century.

Calligraphic batik (batik besurak). Bengkulu.

Batik besurak literally means batik containing verses of the Koran. The swirling Tughra motif, is derived from signatures of the Ottoman rulers. The precise meaning of the curvaceous repeat motif remain mysterious however they carry expressions of loyalty and devotion to the Islamic faith, also serving as protective talisman. This piece could have been used as a ceremonial shroud. Wax-resist,hand-drawn, batik tulis.(see similar cloth in 'Batik' by F.Kerlogue)

Material: Very fine cotton.

Size: 235x100cm.

Circa: Mid 20th century.

Calligraphic shawl (selendang). Jambi.

^{There remain contradictory views as to the precise origin of these beautiful calligraphic batiks, some scholars believe that they were produced in Cirebon (north west Java) and were exported to Sumatran towns such as Jambi or Bengkulu, but others are equally certain that they came from Sumatran workshops.  The metallic fringe along each end suggests that it may have been used as a shoulder cloth or shawl. The Koranic phrases in the form of birds contain Laa ilaaha illallah, Muhammad-ur-Rasulullah (there is no God but Allah, and Muhammad is his messenger) and the name of Muhammad is repeated in the surrounding space. Contains several areas of repair and is lined.}

Material: Hand-drawn on fine cotton and lined.

Size: 210x86cm.

Circa: Late 19th or early 20th century .

Ceremonial cloth (selendang). Palembang.

Two magnificently bright silk cloths from Palembang region in south Sumatra. These cloths are also known as Lawon, they were made for ceremonial purposes, presented as gifts, and worn as shawls or selendang for a pre-marriage ritual. The rectangular field design is achieved by the tritik method of sewing and resist-dyeing sections. Today, they make a striking and modernist wall decoration.

Material: Fine silk.

Circa: Late 19th century .

Ceremonial shawl (selendang). Palembang.

This extremely fine, and intricately drawn batik has been ornamented with a layer of gold leaf, a technique known as prada. The colours in the central field are blended shades of deep blue and purple in a repeat pattern inspired by the Indian patola. The a-symmetrical border design, and the triangle design tumpal at one end, gives it an abstract yet perfectly balanced impression. Palembang and Jambi were the main centres producing this distinct type of batik. The cloth was intended to be worn for a ceremonial occasion or celebration. The lack of naturalistic imagery could suggest it might have been made for an Arabic client.

Material: Fine cotton with gold leaf.

Size: 240x105cm.

Circa: Mid to late 20th century.

Ceremonial sarong (Tapis). Lampung, Abung people.

Tubular skirt cloth of cotton warp stripes designed with couched gilt-metal thread. The use of gold thread couching was a prominent decorative feature in ceremonial clothing of the Abung. Richly adorned cloths signified prosperity and noble status.

The Lampung region prospered greatly from its trade in spices (black pepper) thus creating a stratified society. During their numerous elaborate ceremonies (marriage, birth, death and circumcisions) lavish costumes were displayed.

Material: Cotton, metallic yarns.

Size: 120x116cm.

Circa: First part 20th c.

Ceremonial sarong (Tapis). Lampung, Abung people.

The Abung people of Lampung had a rich culture often holding elaborate feasts and ceremonies where heavily embellished costumes showed off their prosperity and were paraded accordingly.  The shimmering tubular tapis is traditionally worn around the waist, secured with a belt with a selendang wrapped over the shoulders.  Warp faced plain weave, embroidered and couched with gilt-metal wrapped cotton with triangular and diamond patterns on a cotton base of brown, blue and red coloured stripes.

Material: Cotton, metallic yarns .

Size: 122x56cm.

Circa: Early 20th century.

Ceremonial sarong (Tapis). Lampung, Abung people.

These gold embellished sarongs belonged to wealthy women in Sumatra and were worn during feasts and ceremonies associated with the life cycles/rites.  They would add splendour to the occasion by showing off these luxurious garments along with a complimentary selendang shoulder cloth that is similarly embellished.  

This old one has been opened, and is sewn from two panels of woven cotton with stripes of earth brown, ochre and blue then embroidered with gold twine, mirrored sequins.  Design of bird motifs, diamonds and zig zag patterns. 

Material: Cotton, metallic yarns .

Size: 110x104cm.

Circa: 1900.

Head and shoulder cloth (selendang). Jambi.

Batiks from the Jambi region were mostly designed in conservative patterns and coloured in muted shades of red and indigo which were popular among Muslim clientele. This piece was worn as a head and shoulder cloth at a wedding. The pattern is achieved by a wood block printing method known as batik cap, although Jambi had developed in own centre of batik production, much of it was produced in the workshops of northern Java for export to Sumatra.

Material: Fine cotton.

Size: 209x89cm.

Circa: Mid 20th century.

Head and shoulder cloth (selendang). Jambi .

Long rectangular cloths executed with a large central lozenge are known as selendang bersidang. Coloured in cream and blue, they are a typical style of Jambi cloth. The lozenge is filled with swirling leaf pattern surrounded by the regular field pattern of coiled florets framed in a triple border design. Wax resist and hand-drawn-batik tulis.

Material: Fine cotton.

Size: 180x88cm.

Circa: Mid 20th century.

Headcloth (Iket kepala). Bengkulu.

This headcloth is from the Bengkulu region in south Sumatra, drawn in stylised calligraphy with eight sitting birds on each side.  There are several areas of old repair.

Material: Fine cotton.

Size: 79x87cm.

Circa: Late 19th - early 20thc .

Headcloth (Iket kepala). Jambi.

An extremely fine man's headcloth. Iket kepala are traditionally folded into shape and worn in a turban like fashion. The batik design is first executed on the cloth and then enhanced in a layer of gold leaf - a technique known as batik prada. 

Material: Fine cotton.

Size: 92x88cm.

Circa: Late19th/early 20th c.

Headcloth (Iket kepala). Jambi.

A fine old hand drawn calligraphic head-cloth with four sitting birds surrounding a central shape containing stylised calligraphic verses. The border fringe is typical of Jambi designs, though the true origin of these batik cloths is not clear, some believe they came from Cirebon and were exported to Sumatra, though others believe they were made in Jambi or Bengkulu for local use.

Material: Fine cotton.

Size: 88x82cm.

Circa: 19th century.

Headcloth (Iket Kepala). Palembang.

A very old and fine silk head-dress that was once worn by a Sumatran man on formal occasions.  The red borders are supplementary weft patterned in gold thread known in South East Asia as songket. It comes from an old German collection.

Material: Cotton with gold yarn.

Size: 88x88cm.

Circa: 1900.

Hip wrapper (kain panjang). Jambi.

The design of this late nineteenth century batik is known as ‘Merek Ngerem’ or brooding hen, and has been carefully drawn by hand on extremely fine cloth with contrasting rows of triangles - tumpal at each end. Contains some invisible repair. For a similar example see – 'Batik' by F.Kerlogue.

Material: Fine cotton.

Size: 226 x103cm.

Circa: Late19th/early 20th c.

Shoulder cloth (selendang). Palembang.

This finely woven and printed cotton cloth was an Indonesian response to the highly prized Indian silk patola textile that was historically traded throughout the Indonesian archipelago. This type became a popular feature in South Sumatran society, its rectangular shape indicates that it was probably worn as a shawl. Beautifully balanced geometric pattern achieved by woodblock printing. Fine cotton, with natural dyes. Colours: deep red and blue on natural cotton.

Material: Cotton.

Size: 182x66cm.

Circa: Mid 20th century or earlier.

Shoulder cloth (Kain Limar). Palembang.

These glowing red and gold cloths were produced by the Malay people of Palembang in South Sumatra and were used as shoulder cloths/selendang worn over the shoulders and secured at the waist with a belt. The sombre purple centre is weft woven silk ikat with a geometric floral pattern, the tumpal ends are embroidered with gold yarn, a decorative supplementary weft technique. The name for this particular type of cloth is Kain Limar.

Material: Silk, metallic yarn brocade.

Size: 192x75cm.

Circa: 1920.

Ceremonial cloth (kain samiran). Buleleng.

A long traditional Balinese textile with a weft faced plain weave composed of great variations of striped colours. In Bali these cloths functioned as a ceremonial wrap simply draped around the waist during a festival. Others are used as shrine wraps or placed at the altar during a temple ceremony.  This piece is believed to have come from the Buleleng court.

Material: Bands of plain woven weft stripe patterning.

Size: 190x49cm.

Circa: Early 20th century.

Ceremonial hanging (Porilonjong). Rongkong, Sulawesi.

A twentieth century porilonjong ceremonial hanging. The meaning of the term pori is to bind or tie and  lonjong refers to long. These outstanding cloths were one of the largest in the repertoire produced by the weaving women of Rongkong district in northern Sulawesi. They were highly popular among various Sulawesi groups especially among the Toraja peoples who valued them for multiple ceremonial purposes.  During a Torajan funeral ceremony these cloths would be hung lengthways to demarcate certain sacred spaces. Woven on a back-strap loom from hand spun fibres with two identical halves produced by the ikat technique of tying and dyeing the warp threads and then stitched together down the centre.  The production involved a considerable amount of material investment and time that took several months to complete.  Decorated with panels of geometric diamond and hook motifs with alternating striped border, the colours appear to be all natural.

Material: Cotton fibres, warp ikat.

Size: 600x93cm.

Circa: 20th century.

Man's headcloth (Siga). Bada district, central Sulawesi.

A paper thin bark-cloth with betel-nut sirih leaves motif and buffalo horn patterns painted with pigments in linear designs detailing elements of everyday life. The preparation technique involves the use of several beating instruments and finally a wooden mallet for the softening finish. Bark cloth was used for clothing and ceremonial apparel among the Bada people. It is one of the earliest methods of fibre craft and decoration developed among southeast Asian groups particularly from remote areas in central and northern parts of Sulawesi. In some groups it is still used today. An example is in Robyn Maxwell's 'Textiles of Southeast Asia'.

Material: Bark-cloth, painted.

Size: 70x70cm.

Circa: Early 20th century.

Headcloth (Siga). Bada district, central Sulawesi.

A paper thin bark-cloth with betel-nut sirih leaves motif and buffalo horn patterns painted with pigments. The preparation technique involves the use of several beating instruments and finally a wooden mallet for the softening finish. Bark cloth was used for clothing and ceremonial apparel among the Bada people. It is one of the earliest methods of fibre craft and decoration developed among southeast Asian groups particularly from remote areas in central and northern parts of Sulawesi. In some groups it is still used today. 

Material: Bark-cloth, painted.

Size: 60x60cm.

Circa: Early 20th century.

Indian cloth . Toraja, Sulawesi.

A decorative painted cloth, probably an adaptation of Indian trade cloth depicting a procession of eight female musicians clad in traditional/ceremonial dress carrying a bird in one hand and an instrument balanced on the shoulder. A blue border albeit frayed surrounds the piece with blue and brown decorative bands of flowers either side of the figural motifs. Found in Sulawesi, and possibly produced in Gujarat for the Indonesian market.

Material: Cotton, painted.

Size: 326x63cm.

Circa: Late19th/early 20th c.

Long cloth . Bali.

A long traditional Balinese cloth that functioned as a head-cloth or breast wrapper. The circlular repeat patterns and border design is made with the age-old pelangi-tie-dye technique, achieving a strong artistic impression. 

Material: Silk.

Size: 300x53cm.

Circa: Early to mid 20th century.

Mawa (Sacred cloth). Sa'dan, Toraja.

A hand painted and printed cloth from the Toraja people on the island of Sulawesi, Indonesia.  The inner field represents an agricultural scene with long horned buffalos inside a corral. Called Mawa' or Ma'a, such textiles were used in rituals and considered sacred. A beautiful piece despite its poor condition. Material: cotton.

Size: 136x102cm.

Circa: Late 19th or early 20th century.

Sacred cloth (Sarita). Toraja, Sulawesi.

A long Torajan sacred ceremonial banner printed using a resist-batik technique on locally woven cloth. The design contains a series of repeat patterned scrolls with figures, birds and buffalo motifs depicting Torajan farm life. During a funeral ceremony sacred Sarita banners would be flown from high poles in front of their Tongkonan/house or wrapped around the head of effigies in commemoration of the dead person.  Colours blue and brown. 

Material: Fine cotton gauze wax resist .

Size: 530x20cm.

Circa: early 1900's .

Sacred cloth (Sarita). Toraja, Sulawesi.

A long Torajan sacred cloth drawn into a series of rectangular panels containing geometric patterns created using a technique of wax resist as well as printing.  Saritas were powerful ceremonial cloths used in rituals such as weddings or funerals.  During a funeral ceremony, a sarita would be flown from tall poles outside the tongkonan traditional house, or wrapped around effigies to commemorate the dead person. Colours beige on blue base.

Material: Fine cotton gauze wax resist .

Size: 664x20cm.

Circa: 20th century.

Sash . Bali.

A long Balinese silk sash.  Decorated using the songket supplementary weaving technique with a zig zag patterning in the field and border triangles. 

Material: Silk with metallic twine.

Size: 210x33cm.

Circa: Early 20th century.

Headcloth . Laos.

Tai Lue people

Material: Cotton woven.

Size: 92x23cm excluding fringe.

Circa: Mid 20th century or earlier.

Headcloth, Laos.

Wrap-around skirt (oi m'bon). Vietnam.

The Mnong are a very small and isolated group from the Dac Lac province, Central highlands, Vietnam. A traditional dress of a Mnong female includes a wrap-around skirt, here created from three woven panels joined side by side, with a dominant geometric pattern in the centre portion of the garment. Weaving was one of the essential skills of Mnong women who were clever at adding abstract design elements and are said to be significant for men when choosing their brides. Woven on a back-strap loom and then embroidered. Light embellishments and fringe tufts. 

Material: Cotton embroidered.

Size: 105x69cm.

Circa: 1920.

Wrap-around skirt (oi m'bon). Vietnam.

Dac Lac province, central highlands.

Material: Cotton embroidered.

Size: 136x70cm.

Circa: 1920.

Wrap-around skirt (oi m'bon). Vietnam.

Dac Lac province, central highlands

Material: Cotton embroidered.

Size: 126x69cm.

Circa: 1920.

Wrap-around skirt (oi m'bon). Vietnam.

Dac Lac province, central highlands

Material: Cotton embroidered.

Size: 105x69cm.

Circa: 1920.

Bridal face cover (kimishek). Turkistan.

An embroidered bridal face cover or kimishek worn by the Karakalpak people of Turkistan. Fine silk embroidery on red felted wool with the back side of garment made from fine old Bukharan ikat with a twisted silk thread fringe. 

Material: Silk, cotton, felt.

Circa: Late 19th or early 20th century.

Ikat-Chapan . Bukhara, Uzbekistan.

Brightly coloured chapans (coats) were worn by both men and women in Central Asia, and were an essential part of a town-persons' wardrobe displaying wealth and prestige. Chapans were also frequently handed out as prestigious gifts or rewards in old Bukharan times. The fabric is patterned with the ikat technique, a complicated process usually done by men, using a resist dyeing method  on either the warp or weft before the threads are woven to create the pattern. The interior of the coat is lined with Russian chintz.

Material: Adras – silk with cotton wefts.

Size: approx. 200x100cm.

Circa: mid to late 19th century.

Embroidery (suzani). Nurata, Uzbekistan.

A suzani from the Nurata region of Uzbekistan. Embroidered with silk threads in a chain (yurma) stitch and (basma) couching on a cotton (carboz) base with a central star motif and bouquet arrangements spreading out from the corners.

Material: Silk on cotton .

Size: 210x170cm.

Circa: Late 19th century .

Ikat panel (Ikat adras). Uzbekistan.

Four ikat panels that have been sewn together for a wall decoration. 

Material: Silk on cotton.

Size: 210x150cm.

Circa: Late19th/early 20th c.

Ikat panel (Baghmal). Bukhara, Uzbekistan.

A beautiful panel of silk ikat velvet from Bukhara with floating boteh and pendant comb motifs in yellow, white, pink and blue on a deep green ground. Mounted on a stretcher.

Material: Silk velvet.

Size: 97x31cm.

Circa: 1880.

Ikat panel (Bhagmal). Bukhara.

A mounted panel of silk ikat velvet with the distinctive rams horn motif in faded colours of white, yellow and pink set against a green background. 

Material: Silk velvet.

Size: 75x38cm.

Circa: 1880.

Gashgai Kelim (Kelim). Persia.

A very fine and precisely woven Gashgai kelim with a striking pattern built up of two lozenges surrounded by scattered diamond motifs. Fresh vivid colour combination, the green is thought to be unusual.  

Material: Wool .

Size: 265x140cm.

Circa: Before 1900.

Prayer suzani (Joinamaz). Shakrisabz, Uzbekistan.

A deep aubergine coloured silk base with fine silk work. A joinamaz is the name given to an arch shaped or prayer suzani. This piece would have formed part of the dowry gift given by the bride to her husband to be. It may have been intended to cover a niche or simply used as a wall decoration. Beautiful, vivid colours with the traditional almond shaped (bodum) motif, or sometimes known in Uzbekistan as the pepper motif. The border outline is also a typical characteristic of Shakrisabz embroidery. The back is lined with beige coloured Russian chintz.

Material: Silk on silk.

Size: 125x95cm.

Circa: Late 19th century .

Embroidery (suzani). Bukhara, Uzbekistan.

A marvelous and well preserved Suzani from the Emirate of Bukhara.  Poppy blossoms and shrubs surround an eight-pointed star in the central field, diagonal bouquets expand into the corners and a repeat of plants and flowering twigs form the ornamental borders. This piece has a very interesting provenance. 

Material: Cotton embroidered with silk.

Size: 197x150cm.

Circa: 1880.

Tent band wall hanging . Kirgyzstan.

Four wool embroidered panels or bands that have been sewn together to make an attractive yurt decoration. Beautifully woven tent bands have for generations been created by the Kirgyz people and they were important to their nomadic life, essentially being used to hold the roof of the Yurt together. Some noticeable areas of restoration where wool has disintegrated. 

Material: Wool on wool.

Size: 140x105cm.

Circa: late 19th or early 20th century.

Yurt decoration . Kyrgyzstan, Central Asia.

A Kyrgyz embroidered tent panel. The main ornamental motifs of central rosette and curved shoots are characteristic of the Kyrgyz pattern.  They are also deeply symbolic; compositions like this one express both their artistic skill and also their ancient beliefs about the world.  The harmonious pattern is embroidered with silk on a brown wool background and framed with a red felt border. Aubergine tassels decorate two sides, the lower side is skillfully decorated with net work and intricately wound blue, green and magenta tassels. A well preserved piece, though some parts of the lower fringe are missing.

Material: Wool .

Size: 74x72cm.

Circa: late 19th or early 20th century.

Wedding veil (Ruband). Tajikistan.

Women's embroidered face covering, ruband, used during the wedding ceremony - an ancient nuptial garment of Tajik women living in the Pamir mountains, but fell out of use around the early 1900’s. Embroidered with cotton base and silk threads, the ornamental motifs of rubands include stylized trees, triangles (reminiscent of Muslim amulets), rhythmical geometrical outlined flowers, birds, notably the rooster (hooros) and peacock (tovoos), and the birds appearing in rooband are always embroidered in red thread to symbolize fire and thus protect the newly wed.

Material: Silk on cotton .

Circa: Mid 20th century.

Woman's mantle (chyrpe). Turkmenistan.

Tekke Turkoman women's mantles, silk embroidered 

 with stylized tulips. Traditionally worn over the tunic 

  (kurta) covering the head and shoulders, with

    the long vestigial sleeves hanging down

       the back and joined by an 

        embroider-ed band. 

         Among the Tekke,

          the chyrpe's color

          indicated the age 

           of the wearer:

          dark blue or

         green for a

         young woman, 

        yellow for a          

       married woman 

      of middle age, and 

     white for the elders.

Material: Silk on silk.

Circa: Mid to late
19th century.

Woman's cape (Handira). Ahel Tsiouant, Beni Ouarain people, Middle Atlas, Morocco.

An indigo-dyed wool Berber cape from the Ahel Tsiouant people in the Middle Atlas Mountains.  With a voluminous pile six centimetres deep, pieces like this one are comparatively rare. The vivid red and ochre weft designs are just visible adding another dimension. The front side shows elegant and finely woven coloured striped patterns and exposes delicate outer selvedges of knotted meshwork and wool tassles. Braided ties are attached. Click on the image to see the front design.

Size: 205x105cm.

Circa: 1950.

Chest cover . Rabat.

Each Moroccan city developed its own particular style of embroidery and in Rabat textiles are generally floss silk on linen in reversible satin stitch. The ground is a fine delicate gauze covered with embroidery before it gets embellished by this intense handiwork.

Material: Silk on cotton .

Size: 138x85cm.

Circa: late 19th or early 20th century.

Cushion cover . Zemmour, Berber people, Middle Atlas, Morocco.

A splendid example of rural weaving from the Zemmour people of the Middle Atlas Mountains.  The Zemmour were a migrating people who never remained in one place for long and over time had accumulated a rich repertoire of weaving techniques and textile patterns that are evident in all manner of objects from bags to blankets.  

This soft and supple cushion cover contains extremely intricate and elegant weave variations interspersed with zig zag and diamond patterned rows of raised wool pile.

The colours are soft tones of red, brown, orange, ochre, blue and green. Some minor repair. 

Material: Wool .

Size: 95x67cm.

Circa: 1900-1910.

Head-dress . Morocco-Berber.

A bridal head-dress worn by the Ida or Nadif Berber people of the Anti-Atlas mountains of Morocco. Bright and lustrous multicolored bobbles on deep red woven ground. The Berber of the Anti-Atlas region created impressive garments using age-old techniques of weaving and patterning.

Material: Wool and silk.

Size: 122x79cm.

Circa: 1925-1950.

Head-dress (adghar). Morocco.

Ida ou Nadif, Central Anti-Atlas people of Morocco. A berber woman’s ceremonial headcloth or adghar. Loosely woven wool, resist-dyed and painted in vivid earth tones. The Ida people popularized the use of henna and have created their own style of painting often seen on their various head adornments. The practice of henna patterning on textiles came to an end around the mid-twentieth century.

Material: Wool.

Size: 140x145cm.

Circa: 1925-1950.

Pillow cover . Zemmour people, Middle Atlas Mountains, Morocco.

Among the most impressive rural flatweaves in Morocco are the masterful and dense compositions made by the Zemmour people. 

Incorporating row upon row of finely patterned bands in traditional Berber designs and a variety of colours, these rich weavings really do stand out.

It was customary for a Zemmour wife to demonstrate her weaving adeptness to her new family and thus enhance her credentials. This early example was used in the home as a pillow cover.

Material: Wool warp and weft.

Size: 185x45cm.

Circa: 1900-1910.

Shawl (Handira). Morocco-Berber.

A blue handira - Berber woman’s shawl from the Ahel Tsiouant–south of Beni Ouarain people of the Middle Atlas mountains. It's an example of a fine piece of weaving in Moroccan culture. The back/interior being the warm side of the shawl has a shiny midnight blue wool pile used for protection against cold winters and having a visual pleasure all of its own. The front side having alternating stripes of clean colors.

Material: Wool and cotton.

Size: 188 x 100cm.

Circa: mid 1900’s.

Shawl (Tanshifa). Algeria.

Silk threads embroidered on a very fine gauze base depicting bouquets of wild flowers. Tanshifa/scarves, were traditionally worn by Algerian women as head coverings on ceremonial occasions.

Material: Silk embroidery on fine cotton..

Size: 246x39cm.

Circa: Late 19th century.

Shoulder cloth (kitfeya). Tunisia.

A woven woollen cloth, worn across the shoulders of Tunisian women in earlier times, to keep the henna and oil away from her clothing. Design of scattered henna tie-dyed circles within stripes complete with fringe at each end.

Material: Soft wool.

Circa: Mid 20th century.

Baby carrier . Kalimantan, Borneo.

The highly treasured baby carrier baskets even came decorated in buttons and this is a rare type with a design that belonged to Long Gelat group of the upper Makaham river in East Kalimantan, the Indonesian part of Borneo.  The interior of the basket is made of rattan type called 'segak', which is attached to the seat of the basket. The three vertical wooden supports have roughly carved facial impressions. Lit: Hornbill and dragon, by Bernard Sellato). 

Material: Beads & buttons, rattan on cotton fabric over a wooden frame .

Size: 47cm (w)x31cm(h).

Circa: Early to mid 20th century.

Kayan (Orang Ulu) Baby basket (Ba). Sarawak, Borneo.

Beaded baby carriers were a functional item used by the Orang Ulu (river people) to safely carry the baby upriver. Finely embellished with traded sead beads, the beadwork pattern of spirit face with curly tendrils carried symbolic associations to the user and was intended to keep misfortunes at bay. The rattling shells and brass bells around the panel serve to frighten off evil spirits and are quite old, probably early 20th century. The beadwork continues around the frame and is in tact, a feature which is unusual to find nowadays.  The interior body is of old rattan of superb quality, with finely plaited rattan shoulder straps attached to the wooden seat. 

Material: Seedbeads and reedwork on a wood base.

Size: 41cm(w)x28cm(h).

Circa: Early to mid 20th century.

Baby basket panels . Sarawak, Borneo.

These fine beaded panels were previously attached to baby baskets of the Orang Ulu (river people), notably the Kenyah/Kayan. Powerful human figure motifs, spirit faces, hornbills, tigers and dragon were popular designs frequently exchanged between the ethnic groups with some restricted to the upper ranks of society- they served to protect the baby from malevolent forces.Clockwise from left: yellow sitting spirit, dragon spirit, curly spirit & hornbills with Ibanic border. Material: glass seed beads.

Circa: Early to mid 20th century .

Beaded head bands (Fa-lap). China.

The Punti women of Hong Kong wore beaded headbands like this for weddings.

Material: Seedbeads on cotton.

Circa: Early 20th century.

Head bands (Fa-lap). China.

The Punti women of Hong Kong wore these beaded headbands for ceremonies such as weddings.

Material: Seedbeads.

Circa: Early to mid 20th c.

Left: In Maloh society, strong spirit motifs were restricted and signify the status of the wearer.

Beaded skirt cloth (kain lekok). Kalimantan.

The Maloh people from West Kalimantan in Borneo, are experts in fine beadwork. They displayed skirts like this on important festive and ceremonial occasions: birth, marriage, death, great harvests. 

Material: Beads, sequins and shell embellishment on a cotton base with felt border .

Size: 50x45cm.

Circa: Mid 20th century.

Beaded Yoke collar (Marik empang). Iban people, Borneo.

The Iban of Sarawak made shoulder yokes of beads with each string or mesh several beads long, they were worn as splendid clothing in ceremonial traditions such as weddings. Among the Dayak population of Borneo beads were highly valued, esteemed for their colour, beauty as well as magicical powers and, because they carried symbols of status. The old and heavy beads on this yoke are secured around the neck with an old string cord.  A full wedding garment of the same type and age of beads can be found in the 'Tun Jugah Foundation' collection in Kuching, Sarawak, Malaysia.

Material: Glass, stone and carnelian beads.

Size: 60cm .

Circa: Early to mid 20th century.

Modesty apron (Cache-sexe). Cameroon.

A larger than average ceremonial apron with a marvellous diamond pattern, created and worn by a Kapsiki lady in the Kirdi mountains of north-west Cameroon.

Material: Beads.

Size: 64x20cm.

Circa: Mid 20th century.

Cache-sexe (Cache-sexe). Cameroon.

A group of small cache-sexe worn by very young girls on ceremonial occasions.  The designs are shared by Kirdi people as well as neighbouring groups in the region.

Material: seedbeads.

Circa: Mid 20th century.

Ceremonial headband . Kalimantan, Indonesia.

An Iban ceremonial headband and two armbands. 

Material: Beads, claws on cotton frame.

Size: 18x4cm & 10x2cm.

Circa: Early to mid 20th century.

Modesty aprons (Cache-sexe). Cameroon.

Beaded "modesty aprons" worn by young girls and women for ceremonial occasions. The brightly coloured geometric patterns reflect designs of the Kirdi mountain people, though patterns were exchanged by a number of neighboring Cameroon groups. The beads are held in place around the lower waist by a fibre cord and it was the local tradition of the farming Kirdi people to decorate their bodies with the aprons and other beaded adornments serving custom and aesthetic expression.   Around the early 1960's the government restricted their public use.

Material: Glass beads, cowrie shells.

Circa: Mid 20th century.

Shaman's cross-belt (manang gerangi). Sarawak, Borneo.

A shaman's ritual cross-belt from a Kanowit longhouse, near Kapit in Sarawak.

Ritual accessories such as this elaborate cross-belt would be worn by a shaman-medicine man or manang as he is known by the Iban people of Borneo.  The traditional shaman was a religious specialist who's role was important in Iban culture as his task was to diagnose and treat disease by directly communicating with the spirit world to dispel malevolent forces.  During a trance dance the cross-belt is hung acoss the body of the shaman, along with other accourtrements that might include bronze bracelets and amulets, he would dance himself into a trance against the sound of beating drums.

Containing approximately eighty small and beautifully carved wooden statues in an extraordinary variety of poses and expressions. Strung with beads, seeds, shells, bear claws, brass bells and a flattened cone shell positioned at the centre of the torso and back. 

Material: Hard wood, beads, shells, bear claws.

Circa: Early to mid 20th century.

Sun hat . Sarawak, Borneo.

The Kenyah are one of the indiginous groups in Borneo belonging to the Orang Ulu, they are renowned for their artistry in beadwork embellishments.

Material: Seed beads, rattan, printed cotton.

Circa: 1950.