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When Anne was working at the Textile Museum with Irene Emery in
1953-54, she analyzed many textiles from the archeological digs in
Peru and textiles that made their way to U.S. via "rag pickers"
(looted grave textile vendors in Peru). During her year at the museum
she became acquainted with the leading Peruvian textile scholars.
Louisa Bellinger and Mary Elizabeth King were in residence there, and
with Emery and Anne, had many lively, heated discussions. In addition
Junius Bird frequently visited -- Bird was the first archeologist to
recognize the significance of preceramic textiles in Peru and was a
source of much knowledge about Peruvian cloth. He was the person who
convinced Irene Emery and the Textile Museum to take on the project
that resulted in The Primary Structures of Fabrics. Anne wove
most of the cotton samples for the book that year.
In this study collection are a few samples and finished pieces that are copies of or derived from Peruvian textiles. Some of these are woven from Anne's beautiful handspun wool from her sheep. Her experience recreating the "Ace Bandage" shows up in these pieces, with overspun threads which move a bit once off the loom and washed, and which is typical of many Peruvian textiles. There are three samples of "huck" weave (long spanning warp and weft floats with plain weave areas in rectangular alignment) plus a finely woven brown and white scarf. Anne had seen a textile at the De Young Museum in San Francisco in this technique, labeled ``from coastal Peru''.
We have included some samples of cloth that two other people have woven as a result of Anne's studies in two techniques. In 1979 Harry Linder wove up some naturally colored handspun 2-ply cotton in the warp and weft supplementary technique published in Tidball's Shuttle Craft Guild Monograph #26, dated 1968, and mailed it to Anne. Linder wove enough cloth to make up a shirt, and reported on this in the October 1979 issue of The Weaver's Journal. In 1999 Santa Cruz Handweavers Guild members, for our participation at CHCH, wove pieces that were inspired by individual samples in this Collection. Ginna Hartzell wove two pieces, a scarf in the supplementary warp and weft float weave technique, and a scarf in a checkerboard pattern of red and white blocks of long warp floats. Both of these beautiful scarves are in a single-ply fine mohair from Anne's flocks. Samples from Hartzell's scarves are included in this part of the Collection.
We have four pieces of gauze weave, two in white handspun wool--a full sized ruana and a sample of it; a piece in blue and red cotton, which seems like an experiment in warp crossing; and a beautiful alpaca throw in a fairly open crossed-warp weave. Anne was very interested in doup "leno" (the European term for this weave) and evidently tutored other people in the technique. See the Household Cloth section for other crossed-warp pieces.
In addition, there are four Peruvian flat braids and five sling braids, which are included in the Bands and Braids grouping of textiles.
Detail of waffle weave blanket
Detail of scarf, Color & Weave,
A project of the Santa Cruz Handweavers Guild
Copyright © 2002 Santa Cruz Handweavers Guild · All rights reserved.