Provenance Information

Georgia de Havenon, New York, by 2016, by purchase; Walters Art Museum, 2016, by gift.

Exhibition Information

None known

Publication Information

None known

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

N/D

Explain why the object fits the exception set forth above

Research is ongoing to verify the export date.

Provenance Information

[Found in the cemetery of Giza by an expedition of Egyptian archaeologists in the 1950s]; Professor Dr. Abd el Monem Abubakr, Cairo, Giza University, 1950s, by discovery; Professor Dr. Hans Goedicke, Baltimore, 1957, by official gift [for his assistance in the deciphering of some texts from the excavation at Giza]; Walters Art Museum, 2009, by gift.

Exhibition Information

Egypt's Mysterious Book of the Faiyum, The Walters Art Museum, 6 October 2013-5 January 2014

Publication Information

Jose M. Galan, Ir a buscar Iena; Estudios dedicados al Prof. Jesus Lopez (2001), pp. 102-106

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

The donor attested that this work was exported prior to 1970. Research to verify this is ongoing.

Provenance Information

[André Emmerich Gallery, New York, 1960’s]; Guido and Nelly di Tella, Buenos Aires, 1960’s-2013; Claudia Quentin, New York, 2013-2021

Exhibition Information

On view in the Michael C. Rockefeller Wing, The Metropolitan Museum of Art, September 22, 2015-April 26, 2016 (TR.561.2014; L.2015.14)

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

The work has a reported provenance from 1960’s, when it was acquired by Guido and Nelly di Tella, Buenos Aires, from dealer André Emmerich, New York. The di Tellas sold the Wari tunic to Claudia Quentin, Buenos Aires, in 2013 at which time Mrs. di Tella informed Mrs. Quentin that the tunic came from Andre Emmerich. The di Tella children have confirmed that their parents bought from Mr. Emmerich in the 1960’s and remember Precolumbian textiles in a protected niche in their home since that time. In addition, the conservation technique applied to the Tunic is of a type known from the 1950’s and 1960’s and not used in recent decades.

Provenance Information

With a European dealer. Purchased by MCCM from Sotheby's New York, Sale N09319, March 17, 2015, lot 1108.

Exhibition Information

Pop-up Conservation Lab: Treating the Cosmic Man, Michael C. Carlos Museum, August 12 - September 27, 2019
MCCM Permanent Collection Gallery, September 30, 2019 - April 4, 2021

Publication Information

Unpublished

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 Carlos is committed to conducting provenance research on this object and our entire collection.

Provenance Information

By 1965, Alan C. Lapiner, New York; 1965-2018, private New York collection (object #5)

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

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 14 November 1970. The collector maintained a sequential inventory of their collection with the year of each acquisition specified. The accuracy of the list is demonstrated by a number of works in the inventory that were either published in other collections prior to the collector’s acquisition date or published or exhibited shortly after the acquisition, in each instance with the appropriate ownership history documented. According to the inventory, the collector acquired this work in 1965 from Alan C. Lapiner, a New York art dealer.

Provenance Information

Mr. Julius Bernard Kester purchased this tunic fragment in the United States on June 11, 1984, from Bella Artes, located at 301 Garcia at Canyon Road, Santa Fe, NM 87501. No additional provenance information is available.

Exhibition Information

N/A

Publication Information

N/A

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

N/D

Explain why the object fits the exception set forth above

According to LACMA and AAMD guidelines, if the provenance of a proposed acquisition does not clearly indicate that the antiquity in question was outside its country of origin prior to 1970, the museum may determine to proceed with the acquisition based on an analysis of the benefits and risks, and in accordance with AAMD’s guidelines for the publication of the object and the provenance information known about it, with an explanation of the basis for the museum’s decision. Generally, LACMA believes that, absent evidence of looting or illegal export of any antiquities, but given incomplete provenance establishing that the objects were outside their source countries prior to 1970 and prior to any applicable foreign patrimony laws, it is in LACMA’s and the public interest to accept such objects for the purpose of bringing them into the public domain, caring for them and publishing them, both for scholarly purposes and for the purpose of providing notice to any party, including source countries, that may have a claim or information relating to the provenance of the objects.

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

Erik Jacobsen Collection, to 2019; Yale University Art Gallery, New Haven, Conn.

Exhibition Information

N/A

Publication Information

N/A

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

(sale) Sotheby's, New York, New York, "Pre-Columbian Art," sale 6562, lot 41, May 17, 1994; David Bernstein Fine Art, New York, New York, ca. Nov., 1994

Exhibition Information

no known prior exhibitions

Publication Information

no known prior 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

This work has provenance confirmed to 1994, when it was sold at Sotheby’s, New York. (Sotheby’s was unable to provide any further information regarding earlier provenance.) Since that time it has been loaned repeatedly to the Memphis Brooks Museum of Art. At the museum it has been on nearly constant view as part of the Brooks’ installation of Meso- and South American art. The tabard is the only piece of Inca featherwork in the museum’s collection, and thus fills an important gap in the museum’s holdings.