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.  Item no: 131

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 by Balinese ladies and 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

Long cloth (Kain panjang). Cirebon.

^{A long batik cloth from Cirebon. Design depicting the Chinese mythical lion-elephant-bird with surrounding motif of wadas – rock formation and megamendung cloud design.  It could be a recent rendition of traditional Cirebon design.  Brown dyes on cream base. One side faded and holes around the borders where it was previously hung.}

Material: Fine cotton, hand-drawn batik tulis.

Size: 274x104cm.

Circa: Late 20th century.

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). Pasisir.

This flamboyant batik skirt cloth was produced in a Banyumas workshop - traditionally known for high quality. The floral edge indicates an Indo-European influence, the motif and design depicting the garuda and other birds and animals are set against a background of small curling buds and leaves. They are purely ornamental and come from the dynamic Pasisir people located along the north coast of Java.

Material: Fine cotton.

Size: 250x100cm.

Circa: Early to mid 20th century.

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). Batang/Pekalongan.

In this example of fine batik, the combination of colours, the ornamental trees and the very detailed background suggest that it was made on the request of a Chinese client and probably came from Batang, the capital of Semarang where much Indo-Chinese batik was produced.  Batang batik did have similarities with Pekalongan designs and both contain variations on bouquet border designs.  The beautiful coral coloured isen background is of the tiniest detail of lozenge shapes and beautifully contrast with the naturalistic elements in the main field.    

Material: Hand-drawn (batik-tulis), wax-resist on fine cotton.

Size: 240x105cm.

Circa: 1930.

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 while unsigned it probably came 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). Jambi, South Sumatra.

A striking skirt-cloth from Jambi-Sumatra worn draped around the hips. Designed in a wonderfully bold and modernist pattern of diagonal zig zag formations framed in naturalistic borders with fine isen filling, and corresponding variants in triangled tumpal edges. Colours of turquoise, navy blue and red.

Material: Fine cotton.

Size: 240x100cm.

Circa: Mid to late 20th century.

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.

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.

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). Padang.

A silk and gilt thread embroidered shoulder cloth with ornate flowers and butterflies intensely couched on a Chinese silk base. Worn by a Minangkabau woman as festive dress.

Material: Silk.

Size: 136x43cm.

Circa: 20th century.

Shoulder cloth (selendang). Palembang.

Brightly coloured tie-dye shawl, also known as ‘rainbow cloth’. The decoration contains star shapes,wavy borders and boteh motifs at each end. The pattern is achieved by using a resist-dye technique of tying (pelangi)and sewing (tritik)areas to produce a bold artistic impression. The borders are fringed with a gilt threads. Worn for ceremonial occasions.

Material: Deep aubergine coloured silk, natural dyes.

Size: 220x80cm.

Circa: early to mid 20th century.

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.

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.

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.

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.

Silk threads with chain (yurma) stitch and (basma) couching on a cotton base. Design of central star floral filled rosette and floral spray motifs from the corners, the border pattern of continuous rows of alternating flower heads. 

Material: Silk on cotton .

Size: 245x150cm.

Circa: 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 .

Embroidery (Shakrisabz suzani). Shakrisabz, Uzbekistan.

The distinctive feature of the Shakrisabz group of suzani is their lively and colourful pattern, here incorporating repeated medallion flowers and bodum motifs. The border design and ornamentation has been executed with intricate details, the central field being reconstructed from a panel or similar age and comprises three panels. The large size indicates that it was a commissioned piece, and it is considered to be one of the largest known suzani's.

Material: Silk foundation with silk embroidery.

Size: 316x260cm.

Circa: Late 19th century .

Fragment (Zili Persane). Persia.

This fragment belonged to a woman's garment.  Various stitches in silk on a cotton foundation. A similar but smaller fragment is in the Brooklyn Museum, also see Hali issue 88, page 107.

Material: Silk on cotton.

Size: 67x64cm.

Circa: 1750.

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 panels (Ikat baghmal). Bukhara, Uzbekistan.

Silk velvet ikats (baghmal) are the most coveted type of ikat and were once the fabric of coats worn by Uzbek and Tajik peoples either rulers or rich merchants, and also presented as prestigious gifts in the Central Asian Khanates.  The skill of producing ikat is more in the artists’ dyeing stages than the weaving, warps had to be tied and dyed numerous times before being arranged onto the loom creating the foundation which is followed by warp threading.

Left: The design resembles an abstraction of rams horns, a motif which is frequently represented in Central Asian arts and which in the local context would have represented power and protection.

Material: Silk, mounted.

Size: 131x33cm.

Circa: 1880.

Right: A gigantic medallion design of tremendous visual impact, elegant form, colours and depth.

See piece from same yardage in "Ikat: Splendid Silks of Central Asia from the Guido Goldman Collection"

Material: silk, mounted.

Size:81x33cm

Circa: 1850

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 .

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.

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.

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.

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.

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 on cotton.

Circa: Early to mid 20th century.

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.

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.

Modesty aprons (Cache-sexe). Cameroon.

Beaded 'modesty aprons' such as these are worn by young girls and women for ceremonial occasions. The brightly coloured geometric patterns in varied configurations were exchanged by Kirdi women and their neighboring groups. The beads are held in place around the lower waist by a fibre cord.  

Material: Beads, cowrie shells.

Circa: 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.