1988.45 Sleeved tunic (Peru, Chancay)

This late Chancay tunic is a stunning testament of Andean weaving. The waist-high length, long sleeves, and waistband are typical of the Andean coast, with decorative strips of double-bodied birds reflecting Chancay style. The vertical bands of birds alternate with paired blocks that bear diagonal frets angled obliquely from the tunic midpoint. The Chancay tunic is tapestry woven with dyed camelid fiber over a cotton warp (the longitudinal threads on a loom), which is horizontal in relation to the finished tunic, typical of highland weaving. With an embroidered neck and short fringe, this tunic embodies a dynamic blend of regional styles and techniques occurring in Andean textile production during the Late Horizon (1400-1532 CE).

Kimberly L. Jones, PhD, Inca: Conquests of the Andes / Los Incas y las conquistas de los Andes, Label text, 2015.

Chancay: AAT: 300017315

Peru (nation): TGN: 1000056

Chancay (inhabited place): TGN: 1024437

textiles (visual works): AAT: 300014063

textile materials: AAT: 300231565

camelidae (camelid) fiber: AAT: 300310434

cotton (fiber): AAT: 300183670

weaving: AAT: 300053642

warp: AAT: 300227930

weft: AAT: 300227934

tapestry (process): AAT: 300061981

interlocked tapestry: AAT: 300228526

embroidering: AAT: 300053653

fringe (trimming): AAT: 300227830

Late Horizon Period: AAT: 300017332

tunics (main garments): AAT: 300209869

red (color): AAT: 300126225

yellow (color): AAT: 300127794

brown (color): AAT: 300127490

orange (color): AAT: 300126734

pink (color): AAT: 300124707

white (color): AAT: 300129784

stepped frets (meanders (patterns)/motifs): AAT: 300010171

squares (geometric figures): AAT: 300055637

stripes: AAT: 300010230

zigzags (geometric patterns): AAT: 300165028

bands (decorative): DMA

blocks (quilt components): AAT: 300204896

diagonal: AAT: 300010276

animals: DMA

birds (animals): AAT: 300266506

birds (motifs): AAT: 300375751

bicorporeal (double-bodied): DMA

1957-1958: Ursula Schutz, Bern, Switzerland, acquired in Switzerland [1]

From 1958-1988: Christian de la Bruere, New York, purchased from the above [1], [2]

1988: Shango Galleries, Dallas, purchased from the above [2], [3], [4]

From 1988: Dallas Museum of Art, The Roberta Coke Camp Fund, purchased from the above (John A. Buxton, dealer) [2], [3], [4], [5], [6]

[1] The main source for this provenance is letter from Ursula Schutz (dated August 18, 1988), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.

[2] The main source for this provenance is letter from Christian de la Bruere (dated September 07, 1988), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.

[3] The main source for this provenance is Acquisition Checklist (n.d.), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.

[4] The main source for this provenance is existing information in TMS. Exceptions and other supporting documents are noted.

[5] The main source for this provenance is Acquisition Record (dated October 25, 1988), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.

[6] The main source for this provenance is letter from Carol Robbins, Curator of New World and Pacific Cultures at the Dallas Museum of Art, to Stephen Mann (dated August 26, 1988), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.

Apply to objects where number equals 1988.45