A Rare Chief’s Robe at the Indianapolis Museum of Art

For serious lovers of African textiles the most exciting exhibit of the current show Majestic African Textiles at the Indianapolis Museum of Art (see earlier post here for details)  will be the chance to view this extremely rare robe. At the time of his important survey catalogue Le Boubou C’est Chic (Editions Christoph Merian/Museum der Kulturen, Basel 2000) Bernhard Gardi noted that only 23 robes in this style were known in collections worldwide. Gardi observes that very little is known about the production and use of this style of robe, which he calls “boubous Manding.” He suggests they were made somewhere in the interior of Liberia and/or Sierra Leone where people of Mande origin descended from migrants from Mali were in the majority.

This superb example in Indianapolis can now be added to the small corpus. It’s accession details are:  “Mende people; Sierra Leone, Liberia. royal robe, early 1900s, cotton, wool. Gift of Mr. and Mrs. Harrison Eiteljorg. 1989.808”  I would suggest it is in fact more likely to be made in the nineteenth century.

All photos are copyright Indianapolis Museum of Art, with thanks to Niloo Paydar. Click on the photos to enlarge.

Chief Kai Lunda of Luawa Country, Upper Mendi, circa 1893. He was chief of an area on the border between Sierra Leone, Liberia, and Guinea. Vintage postcard, authors collection.

Boubous tilbi – embroidered robes from Mali

“Boubou tilbi form the most noble, and at the same time the most autonomous, artisanal tradition, in the two ancient cities of Mali, Jenne and Timbuktu, centres of commerce and of culture. Boubous tilbi were made from white cotton, on which can be distinguished very fine and complicated ecru silk embroidery, the silk for which was imported. ….boubous tilbi were a symbol of luxury and wealth. An embroidered robe represented almost three years of work, sometimes more.” Bernhard Gardi Le boubous c’est chic (Editions Christoph Merian, 2000:96) my translation.

Click on the images to enlarge. The robe is in the British Museum, Af1966,01.3, photo courtesy Trustees of the British Museum. Vintage postcards, early C20th, author’s collection.

For more on boubous tilbi see Bernhard Gardi Le boubous c’est chic (Editions Christoph Merian, 2000) and Victoria Rovine Continuity, Innovation, Fashion – Three genres of Malian embroidery, in African Arts 44(3) Autumn 2011.

African Textiles in Hali magazine Spring 2012

The latest issue of Hali magazine (#171, Spring 2012 – available from www.hali.com ) has two worthwhile articles on aspects of African textiles.

This beautiful and rare cloth, formerly owned by the celebrated Parisian couturier Paul Poiret and recently acquired by the MFA Boston, is the subject of an interesting and thought provoking “Masterpiece” appraisal by dealer Andres Moraga.  As he points out there is still considerable uncertainty in the identification of some of these more obscure styles of blue and white cloth, woven with often quite subtle variations over a wide area under the influence of the dispersal of Mande weavers of Malian origin over many centuries. This piece is tentatively attributed to Sierra Leone on the basis of comparison with two published cloths in the Lamb collection (Gilfoy 1987 numbers 8 & 12), but to my mind is far more likely to be from northwestern Ivory Coast along with the two related cloths in the Quai Branly. In fact I would suggest that the two cloths Gilfoy published are likely not to have been woven in Sierra Leone either (for what its worth my guess would be  Mali and northwestern Ivory Coast respectively.) In any event two things are clear. Firstly this is a fine and rare cloth with an exceptional provenance that deserves the consideration it is given in the article. Secondly we can note  how little is known about the cloths of this whole sub-region and how much further research is urgently required.

Ros Weaver’s article Saharan Chic is a well researched introduction to the plant fibre and leather mats of the Tuareg and Maures of the Sahara, illustrated with some superb examples in the collection of Rafaelle Carrieri of the Altai Gallery, Milan.

African Textiles in Africaniste Art–an unusual case.

Marché en A.O.F. signed J.B. Vettiner, 1931. [click all images to enlarge]. From Christie’s sale The Africanists, Amsterdam 1 July 1998. Oil on canvas, preparatory work for a mural painted in the pavilion of the city of Bordeaux at the 1931 International Colonial Exhibition in Paris.

Although this is in most respects a typical colonial genre scene of no outstanding merit, it is unusual because of the detail and accuracy with which the artist has depicted the textiles worn by the participants. Moreover the textiles shown are in several instances extremely rare styles not well represented even in French museum collections. I am intrigued to find these cloths shown in this context and can’t help wondering if they have survived in an obscure French collection, perhaps in Bordeaux, to this day. The scene was clearly not drawn from life – there is no suggestion in the limited biographical information available on the artist, Jean-Baptiste Vettiner (1871-1935), that he travelled in West Africa, and the cloths shown are far too elaborate and expensive to have been worn by porters in the market. Gathering cotton was a frequent theme of colonial imagery as the postcards dating to circa 1910-20 below show.

So what can be said about these cloths ? The image below numbers the main pieces.

1. Wool kaasa blanket from Mali, of the lanndaaka type, with the central motif of the mosque, lanndal, woven by a maabo weaver. Shown  wrongly worn vertically as a kind of hooded burnous rather wrapped horizontally. The kaasa lanndaaka below is in the National Museum of Mali, Bamako – see Textiles du Mali, Bernhard Gardi, 2003.

2 and 4. Indigo dyed cotton cloths with white warp stripes at the selvedge of each strip and coloured supplementary weft float motifs are typical of the Bondoukou region on the northern part of the Ghana/ Côte D'Ivoire border, where they were woven by Dioula, and perhaps Abron or Koulango weavers. The cloth below is on our gallery.

3 and 6. These are really obscure types, related to weft faced cloths woven in West and north west parts of Côte D'Ivoire by weavers who may be Guro, Mande or Dioula, working in a number of as yet undocumented local traditions. The Musee Quai Branly in Paris has a superb collection of related pieces, although unfortunately largely without much useful collection data. Search for Côte D'Ivoire  in their textiles collection database to see more. They have the piece below as Senufo but that is unlikely as the Senufo learned weaving from the Dioula in the early decades of the C20th.

5. Also from Côte D'Ivoire this cloth is an example of a slightly better known but still rare style that we believe to be the work of Guro or Mande weavers. The example below is on our gallery now.

7. One of the more unusual types of Malian blanket, the arkilla bammbu would have been used as a prestige display hanging for a Fulani wedding and is most unlikely to have been worn at all. The detail below is from a cloth in the National Museum of Mali, Bamako – see Textiles du Mali, Bernhard Gardi, 2003.

8. This cloth has embroidered rather than woven decoration, probably the work of a Hausa embroiderer in the north of Côte D'Ivoire. I know of only one related example of this style on a man’s wrap cloth (rather than robes and trousers). Now in the Karun Thakar collection (www.karuncollection.com) it was acquired in Accra and probably collected in northern Ghana.

A Dan Chief’s Robe at Sotheby’s 13 May 2011

Lot 283A at Sotheby’s upcoming auction of African, Oceanic and pre-Columbian Art in New York on 13 May is this interesting robe, collected in Liberia between 1926 and 1930. The simple tailoring of the robe with the cut and folded pocket below the neck and the absence of distinct sleeves is characteristic of the area from Cote D’Ivoire through Liberia into Sierra Leone while the weaving is typical of Mande/Dioula cloth in some northern areas of these countries. Although there is some description of Dan weaving there is very little documentation of the patterns and styles they produced, so I am not clear whether the cloth used for this robe is the work of a Dan weaver or imported by a Dioula trader.

The estimate of USD 6000-9000 seems rather high for a robe that, however unusual in collections, is neither particularly early, nor in my view, of outstanding visual appeal.

West African Robes in the British Museum collection

This rare Liberian robe acquired by the British Museum from Henry Christy in the 1860s (click on the photo for more details) is one highlight among many of what must surely be the world’s most comprehensive and important collection of West African robes. Already numbering several hundred items it was recently augmented by the purchase of the Heathcote collection from David Heathcote, the scholar of Hausa embroidery (search the database using his name in the “Provenance” field to bring up 390 items in this collection, including robes, hats, trousers, embroidery samples etc. ) Derived from north African prototypes these robes are historically linked to the spread of Islam throughout much of West Africa in the course of the 2nd millennium C.E. Together with the related crafts of embroidery and narrow strip loom weaving their distribution closely followed patterns of long distance trade that were dominated by Muslim members of such peoples as the Mande and Hausa. (The relationship between narrow strip weaving and Islam in West Africa is a complex one that I may address in a later post.) Called boubou in Francophone literature and tobe in early Anglophone travellers’ reports, these elaborate man’s gowns were much admired by European visitors to the region and many early examples have found their way to the British Museum.

The best known regional style of robe tailoring and embroidery was the embroidered “riga” associated with the C19th Sokoto Caliphate in northern Nigeria although it had, and in modern versions still has, a much wider distribution as an important style of male prestige dress across a large area of West Africa. The example shown above was woven from magenta dyed waste silk (alharini in Hausa, alaari in Yoruba) from the trans-Saharan trade and was part of the late C19th Beving collection. It retains an early label reading: 'Gown made from strips woven on a narrow loom with European waste silk yarns. Embroidered round neck with green European thread. Lined throughout with strips of native woven cloth of indigo and white yarns and around the hem with native woven cloths of grey waste silk yarns.' Throughout the Hausa, Nupe and Yoruba regions of Nigeria magenta silk formed a key component of a triumvirate of prestige fabrics along with beige local wild silk (Hausa tsamiya, Yoruba sanyan) and a fine indigo dyed check or plaid (Hausa saki, Yoruba etu.) Among the many early examples in the British Museum collection the three saki robes below show increasing degrees of elaboration in the classic Nigerian embroidery design known as “eight knives” (Hausa aska takwas.) [click on photos to go to the object records.]

The British Museum collection is also rich in more rare robe styles, several examples of which we show below.

Boubou tilbi, Djenne region, Mali

Boubou lomasa, Soninke people, Mali

Boubou Manding, Liberia/Sierra Leone

Sierra Leone, Mende or Sherbro people

For more information on West African robes consult the following sources:

Gardi,B. Le Boubou - c'est chic. (2002) – a superb and beautiful book.

Gardi,B. "La broderie" in Bedaux, R. & van der Waals, J. eds Djenné: une ville millénaire au Mali (1994)

Heathcote, D. "Aspects of Embroidery in Nigeria" in Picton,J. ed. The Art of African Textiles (1995) -see bibliography for Heathcot's numerous other articles on Hausa embroidery.

Perani,J. "The Cloth Connection: Patrons and Producers of Hausa and Nupe Prestige Strip-Weave"in History, Design, and Craft in West African Strip-Woven Cloth (1992)

Perani,J. & Wolff,N. "Embroidered Gowns and Equestrian Ensembles of the Kano Aristocracy." in African Arts 25(3) (1992)

Prussin, L. Hatumere: Islamic Design in West Africa (1986) Chapter 8

Worden, S. "Prestige Robes of the Hausa-Fulani in Liverpool Museum" in Text 30 (2002)

To see our some of our current stock, which primarily consists of early Nigerian robes, click here.