Media available: legacy documentation / Collection place: Sacatepequez Department, Guatemala / Accession number: Acc.4518 - Hearst Museum Portal Search Results

Start Over Media available legacy documentation Collection place Sacatepequez Department, Guatemala Accession number Acc.4518

Hearst Museum object titled Faja, hombre, accession number 3-29984, described as Backstrap-loomed, warp-faced plain weave; one piece; ends cut and uncut left unwoven to create fringe. 320 cm x 20.5 cm. Native name/meaning: faja hombre/man's sash. Materials, techniques: Cotton: 2 and 8 singles in white; 1 two-ply in blue, lavender, green and magenta; 3 two-ply in orange. Context of use: Collected by Miguel Hun who donated it to the museum in 1991. Evenly spaced .5" wide colored warp stripes on a white background. Fringes created by leaving warp ends unwoven, the white warps twisted in places with a single warp from an adjoining color warp. Orange wefts located in middle of textile is an unusual feature. Hun wrote: "It was the first piece I ever acquired. It is from circa 1973-74. I was attracted by it because of its unusual combination of colors on a white background. I bought it from a woman from San Antonio Aguas Calientes in front of the Calientes in front of the Cathedral n Antigua. This faja was not for traditional use, but rather for tourists. The threads are cotton and the colors I believe are synthetic. Kakchikel hands definitely made it.

Hearst Museum object titled Faja, hombre, accession number 3-29977, described as Backstrap-loomed, warp-faced plain weave; one piece; loose warps create 4" fringe, which are uncut resulting in loose warps winding back on themselves. 107 cm x 10 cm. Native name/meaning: faja hombre/man's sash. Materials, techniques: cotton: 2 singles black; 1 two-ply in light black, grey, blue, dark and light green, brown, peach, aqua. Context of use: Even multicolored warps stripes are approximately .5" wide. Light black color predominates in this 4" wide faja; red cotton yarn is doubled and looped through middle of piece at one end. Fringe created at each end by slipping sash off the first piece I ever acquired. Its from circa 1973-74. I was attracted by it because of its unusual combination of colors on a white background. I bought it from a woman from San Antonio Aquas Calientes in front of the Cathedral in Antigua. This faja not meant for traditional use, but rather for tourists. The threads are cotton and the colors I believe are synthetic. Kachikel hands definitely made it! (Hun).

Hearst Museum object titled Servilleta, accession number 3-29979, described as Backstrap-loomed, warp predominant plain weave and weft-faced basket weave; one piece; warp ends looped; tassels added. 61 cm x 61 cm. Native name/meaning: servilleta/multipurpose cloth. Materials, techniques: cotton: 2 singles dark blue; 3 singles red and dark blue; 3 two-ply in pink, orange, green, white and lavender. Context of use: Collected by Miguel Hun. Servilleta has a dark blue background with thin red weft stripes; double rows of pink or green stripes alternate every one inch between 2 two-ply lavender wefts. At either warp end there are 2.25" bands of multicolored two-ply wefts in basket weave, occurring above the fringe. Blue and red tassels are .75" long, ball-like, and attached via loops to warp ends. This finish is like the finishes on servilletas from San Antonio Aguas Calientes.

Hearst Museum object titled Textile, accession number 3-30000, described as Backstrap-loomed, warp -predominant plain weave; two faced supp. weft brocading; two pieces joined with randa; end selvages loom-finished. 91.5 cm x 91.5 cm. Cotton hand spun singles in white; 2 singles in red; cotton: 6 singles in yellow, green and red. The red wefts and warps on one end are used as a wrap stitch along three edges as a decorative element; a central band of red occurs on each side of the randa joining the two pieces the stars and butterflies are evenly spaced on the plaid background. Copy of a 1910 servilleta purchased in Santa Maria per collector Miguel Hun. By the time this textile was purchased, there was no hand spinning in this town; perhaps the weaver saved this yarn for creating an older style piece per M. Schevill.