“OBIT”: CHRITIE’S SOUTH KENSINGTON IS CLOSING DOWN
SALE 3004B, 25 APRIL 2017, BOSTON
Furthermore, on the flip side, I have never seen any European shawl exhibiting the Sikh motifs in question indigenous to Kashmir of this period, except for those which were exact duplicates –of which many can be found- of those kani woven in Kashmir. The skeptics contend furthermore that since none of these bizarre patterns can be found in contemporary painting, either in India or in Europe, the source of their design must have come from abroad and not India. It’s true that there’s not one known Indian painting that illustrates a Sikh shawl. But this cannot be taken as a measure of its lack of popularity. The Hungarian painter, August Schoefft, in his monumental painting of the court durbar of Maharaja Runjit Singh illustrates very clearly two long Sikh Kashmir shawls employed a curtains in this highly animated scene. Indian artists were not likely to paint a strange new fashion, one insular to a region cut off from the rest of India. Let me point out one important thing. The Sikh designs we are talking about here represent a an extremely narrow segment of a shawl industry known for a seemingly boundless repertoire of shawl designs. One might describe it as a very special artistic movement, albeit short lived, but perhaps not unlike the movements of Cubism or fauvism, both of which had only brief periods of popularity. And like these French movements, the Sikh movement also had its impact on future shawl style.
Nemati Collection Auction sale 11 April 2016, Paris
The importation of broadloom and machine-made yarns into the igbo area was a factor that affected cloth weaving. In order to attract market and face the challenge posed by imported cloths, local weavers had to use imported yarns. Though the imported yarns were too expensive for indigenous weavers, the Akwete weavers adopted the colorful machine-made yarns in place of local cotton threads in their weaving. The Akwete weavers were able to navigate the many changes that accompanied colonialism and capitalism to keep their industry alive and strong. The result was producing beautiful colourful cloths in place of the dominant white and at times dull background. The broad looms, Nkwe were introduced into Akwete in 1946 which reduced time spent in weaving by producing a wider piece at a time against weaving two to three separate pieces of narrow cloths that were later joined together to produce a piece of wrapper. The high cost of the imported broadloom and machine-made yarns led to the idea of forming a cooperative society aimed at obtaining yarn direct from the firms at reduced prices.