Provenance Information

Thomas Murray, Mill Valley, before 1998. Renee Bertrand, Los Angeles, in 2011. Yale University Art Gallery, New Haven.

Exhibition Information

N/A

Publication Information

;;"Acquisitions," https://artgallery.yale.edu/sites/default/files/files/Pub_Bull_acquisitions_2011.pdf (accessed March 1, 2012).

Section of the AAMD Guidelines relied upon for the exception to 1970

N/D

Explain why the object fits the exception set forth above

N/A

Provenance Information

said to be found by Dario Ramirez, prior to 19 May 1970; owned by André Emmerich, held by Alan Lapiner (ST-0-65), New York, Nov-Dec 1970; Richard Grey Gallery, Chicago, May 1971-?; Ron Messick, Santa Fe, 1990s; private collection, Chicago, purchased from Ron Messick (as per owner), 1990s-2016; acquired by the Princeton University Art Museum, 2016

Exhibition Information

November 1970 Textile Museum, Washington, D.C. (lent but may not have been displayed for public); March 30, 1971–May 8, 1971 Richard Grey Gallery, Chicago

Publication Information

Richard Grey Gallery. 1971. Pre-Columbian Art: Mexico, Meso-America [exhib. cat.]. Richard Grey Gallery, Chicago. Illus., cat. no. 147.
Cordy-Collins, Alana. 1976. An Iconographic Study of Chavín Textiles from the South Coast of Peru: The Discovery of a Pre-Columbian Catechism. Unpublished Ph.D. dissertation, University of California, Los Angeles. Illus., p. 67, fig. 46a (line drawing).
Lapiner, Alan. 1976. Pre-Columbian Art of South America. Harry N. Abrams, Inc., New York. Illus., p. 439.
Cordy-Collins, Alana. 1979. “Cotton and the Staff God: Analysis of an Ancient Chavin Textile.” In The Junius B. Bird Pre-Columbian Textile Conference, May 19th and 20th, 1973. Ann Pollard Rowe, Elizabeth P. Benson, Anne-Louise Schaffer, eds., pp. 51-60. Washington, D.C.: The Textile Museum and Dumbarton Oaks. Illus., fig. 15.

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

Based on the results of provenance research, the Princeton University Art Museum can make an informed judgment that the object was outside its probable country of modern discovery before November 1970. Letter to Junius Bird from Alan C. Lapiner dated 19 May 1970 (AMNH archives) indicates that the Karwa textiles were in Peru but in the process of being transported to the United States. Further, it is likely that this particular textile was part of a group of approximately 120 textiles on loan to the Textile Museum in Washington, D.C. by 1970. In a 1972 publication, Alan Sawyer, then director of the Textile Museum, wrote that these objects were on loan for study and were viewed by a group of scholars on November 1, 1970.

Mary Frame, a former Sawyer student, has most of Sawyer’s slide collection and has shared scans of all related materials. Although this particular object is not among the small number of remaining slides, a number of the Karwa textile slides are appropriately date-stamped May-September 1970 with notes indicating they were with Lapiner at the time. André Emmerich’s papers (Sotheby’s, New York) include mention of this object (ST-0-67 in his registry) and include a date stamped slide of the object labeled “November 1970.” Therefore, it is likely that this particular textile was part of the group of Karwa textiles that was in the United States prior to November 1, 1970.

Provenance Information

Jean Lions, Lima, Peru, mid- to late 1960s, then St. Tropez, France, by late 1960s; sold to David Bernstein Fine Art, New York, N.Y., 1975 [correspondence in curatorial file]; sold to Bettina Schwimmer, Chicago, IL, 1976 [correspondence in curatorial file]; bequeathed to the Art Institute of Chicago, 2016.

Exhibition Information

none known

Publication Information

none known

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

This acquisition falls within two exceptions. First, based on the results of provenance research, the Art Institute of Chicago can make an informed judgment that the object was outside of the country of modern discovery before 1970. In 1975, David Bernstein of David Bernstein Fine Art, N.Y. acquired the object from Jean Lions. According to letters provided by Mr. Bernstein, copies of which are in the curatorial files, Mr. Lions acquired the object by the 1960s while serving in the French diplomatic corps in Lima, Peru; Mr. Lions returned to France by the late 1960s, bringing the object with him. Second, the object was promised to the Art Institute of Chicago prior to 2008. On November 7, 2006, Bettina Schwimmer executed a will that specifically provided for a bequest of the object to the Art Institute of Chicago. A signed and notarized copy of Ms. Schwimmer’s 2006 will is maintained in the curatorial files. The acquisition of this textile is of particular importance as it represents a distinct and unexpected aspect of the ancient Andean textile tradition that is lacking in the Art Institute of Chicago’s permanent collection. Its acquisition allows the museum to present a work to its public that challenges assumptions concerning the nature of ancient Andean textile traditions.

Provenance Information

Collection of Dr. and Mrs. Ernest Barash, by 1985 to 2016; Gift of Dr. and Mrs. Ernest Barash to The Metropolitan Museum of Art, 2016.

Exhibition Information

On loan to The Metropolitan Museum of Art and in display in 1985. The work was subsequently returned to its owner until 1995, when it was exhibited in Ancient Peruvian Mantles, 300 B.C.-A.D. 200, at The Metropolitan Museum of Art, from February 24, 1995 to August 13, 1995. After the exhibition, the work was converted into a long-term loan and has remained on view in Gallery 357.

Publication Information

Frame, Mary. 1995, Ancient Peruvian Mantles, 300 B.C.-A.D. 200. New York, The Metropolitan Museum of Art. Cat. 6.

Section of the AAMD Guidelines relied upon for the exception to 1970

Gift or bequest expected or on loan prior to 2008

Explain why the object fits the exception set forth above

This work has provenance confirmed to 1985, when it was first placed on temporary loan at The Metropolitan Museum of Art. The work was again exhibited, and published, as part of a Metropolitan Museum special exhibition in 1995, and it has remained on long term loan at the Metropolitan since that time. The Metropolitan’s collections are strong in South Coast textiles, both from the Paracas cultures and later Ica featherworks. The Metropolitan has no textile false faces in its collection, and this gift fills an important gap in the Metropolitan’s display of South Coast art.

Provenance Information

Inherited by donor from Richard Levine in 2007; acquired by Levine from Steve Berger of San Francisco in 1992 or 1993.

Exhibition Information

The Andean Tunic, 400 BCE-1800CE. The Metropolitan Museum of Art, March 8-Sept. 18, 2011.

Publication Information

None known prior to DAM acquisition.

Section of the AAMD Guidelines relied upon for the exception to 1970

Cumulative facts and circumstances

Explain why the object fits the exception set forth above

The kings of Chimor ruled much of Peru's ancient north coast desert region. Nobles were entombed with precious metalwork, blackware ceramics, and lavishly decorated garments. This exceptionally well preserved garment has an openwork tapestry structure, decorated with numerous tassels. Constructed in a workshop setting by a team of skilled artisans, it reveals important information on Chimu weaving techniques and production methods. Its acquisition by the Denver Art Museum allows the public to understand the great value attached to textiles by ancient Andean peoples, and the technical and artistic mastery they achieved. It also makes this work available to scholars for research.

Provenance Information

Nathaniel W. Hicks and Carmen Z. Hicks, late 1950s or early 1960s to 1972; Carmen Z. Hicks, 1972 to 1995; William Hicks, 1995 to 2011.

PUBLICATION HISTORY: None.

Exhibition Information

None

Publication Information

None

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

In addition to the ownership history provided by the seller, the late Carmen Z. Hicks stated in a 1991 letter written in connection with a loan of the objects that her husband, the late Nathaniel W. Hicks, acquired and brought the textiles to the U.S. by 1963. This statement is consistent with the provenance of similar textiles. Where collection dates can be determined, all other Chimú white cotton garments in the same style (the so-called Pelican Style) entered public or private institutions (principally in the United States) before 1970.
The tunic is a relatively rare type and fills a significant gap in the Chimú holdings of the Cleveland Museum of Art, where it will join a set of white Pelican Style garments that consists of a mantle (or hanging), a loincloth, a padded hat, a turban, and a tasseled band.

Provenance Information

Andy and Von Long, Denver, Colorado, between the 1960s and 1980s [mode of acquisition unknown]; Private collection, 1989 [mode of acquisition unknown]; Walters Art Museum, 2009, by gift.

Exhibition Information

No known exhibitions.

Publication Information

No known publications.

Section of the AAMD Guidelines relied upon for the exception to 1970

Gift or bequest expected or on loan prior to 2008

Explain why the object fits the exception set forth above

Communications between the Walters Art Museum and the donor of this gift began in November 2005.