Colorful Textile Panels

A range of vibrant textile panels featuring abstract patterns and animals, showcasing rich colors and intricate weaving techniques from various cultures.

Panel, 20th century, 44 5/16 x 14 1/2 in. (112.55 x 36.83 cm), Wool, Vietnam, 20th century

Panel, 20th century, 44 5/16 x 14 1/2 in. (112.55 x 36.83 cm), Wool, Vietnam, 20th century

Panel from aTunic. Artist: Unknown

Hooked Rug. Dated: c. 1940. Dimensions: overall: 34.5 x 46.2 cm (13 9/16 x 18 3/16 in.) Original IAD Object: 14" long; 26" wide. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Charlotte Angus.

Textile Panel Fragment. Peru, North Coast, Wari-related, 800-1200. Textiles; panels. Camelid fiber and cotton, slit tapestry weave

Egyptian Ornament

Coverlet. Dated: c. 1938. Dimensions: overall: 37.8 x 38.2 cm (14 7/8 x 15 1/16 in.) Original IAD Object: 72" wide; 90" long. Medium: watercolor, graphite, and gouache on paper. Museum: National Gallery of Art, Washington DC. Author: Charles Goodwin.

Egypte. Designed by André Lanskoy (French, born Russia, 1902-1976); France. Date: 1946. Dimensions: 200 × 129.4 cm (78 3/4 × 51 in.)Warp repeat: 39 cm (15 3/8 in.). Rayon, plain weave; screen printed. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museums collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and is associated with two mythological animals devouring humans: an anthropomorphic bird and a shark depicted with a human arm. These composite beings combine animals of the natural world with Nasca supernatural deities who keep the world in order. The panel was converted into a poncho in antiquity, when a head opening was made at the center and long tassels were added at the shoulders. ___________

Embroidered Border Fragment 5th-4th century B.C. Paracas. Embroidered Border Fragment 308060

Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museums collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and is associated with two mythological animals devouring humans: an anthropomorphic bird and a shark depicted with a human arm. These composite beings combine animals of the natural world with Nasca supernatural deities who keep the world in order. The panel was converted into a poncho in antiquity, when a head opening was made at the center and long tassels were added at the shoulders. ___________

Dying template katagami, decoration intended for matter in -body (); Dese - Wi Karakus with large peonies flowers (); 20th century (1901-00-00-2000-00-00);gift (provenance), Japanese (culture), karakus, flowers, cups for bowl, templates, Japanese art

Band, Medium: silk embroidery on linen foundation Technique: embroidered in bokhara couching stitch on plain weave, Wide border of heavy linen embroidered in two shades of red, blue, green and black. Large, bold pattern of tulips alternating with heavily drawn palmette., Turkey, 18th-19th century, embroidery & stitching, Band

Panel, late 19th century, 86 1/2 x 59 1/4 in. (219.71 x 150.5 cm), Cotton, silk; ikat, Uzbekistan, 19th century

Ceremonial Tzute, c. 1980, 47 x 38 1/4 in. (119.4 x 97.2 cm) (irregular), Cotton, acrylic, Guatemala, 20th century

Renaissance ornament

Charlotte Angus, Hooked Rug, c 1940 Hooked Rug

Egyptian Ornament

Bath Wrap, 1980, 74 x 37 in. (187.96 x 93.98 cm), Cotton ikat, Syria, 20th century

Eleanor Rogers, Printed Textile, c 1938 Printed Textile

Velvet panel, c. 1800-1900, 45 7/8 x 22 15/16 in. (116.52 x 58.26 cm), Silk, cotton, Iran, 19th century

Magnus S Fossum, Boston Town Coverlet, 1935 1942 Boston Town Coverlet

Design for a Woven Fabric, Brush and blue, purple, and leteritious gouache on oily tracing paper, Same style as 1909-13-106. Five rows of two repeats each are shown. The repeat consists of an eight-pointed start in an octagon in the top and bottom rows. Blue and purple octagons alternatively. The stars are lateritious in the top and bottom rows, alternatively blue and purple in the others., France, 1825-1850, Drawing, Drawing

Egyptian Ornament

Fragment, Medium: silk, linen technique; plain weave with supplementary warp floats, Vertical stripes with float patterning on the narrower stripes., Selvage at one side., North Africa, 17th-18th century, woven textiles, Fragment

Egyptian Ornament

Decorative design with upright epee. Draughtsman: Carel Adolph Lion Cachet. Dating: 1874 - 1945. Measurements: h 361 mm × w 438 mm. Museum: Rijksmuseum, Amsterdam.

Kantha, 1800s. India, Bengal, 19th century. Embroidery and quilting, cotton; overall: 224.2 x 134.6 cm (88 1/4 x 53 in.).

Panel with Figures 7th century Nasca. Panel with Figures. Nasca. 7th century. Camelid hair. Peru. Textiles-Non-Woven

Border (France); block-printed and flocked on machine-made paper; 48 x 15 cm (18 7/8 x 5 7/8 in.)

Fragment from aTunic. Artist: Unknown

Textile, Medium: cotton Technique: resist-dyed on plain weave, Resist-dyed loosely-woven cotton cloth with four rows of abstracted floral design in red, yellow and white on a dark blue ground. Red boder along one long edge., Gujarat, India, 19th century, printed, dyed & painted textiles, Textile

Mola Panel, 1900s. Republic of Panamá, Gunayala Comarca, Guna people. Cotton, reverse appliqué; overall: 43.2 x 58.4 cm (17 x 23 in.).

Coverlet (Reverse Side). Dated: 1935/1942. Dimensions: overall: 27.9 x 35.6 cm (11 x 14 in.) Original IAD Object: 72" square. Medium: watercolor and gouache on paper. Museum: National Gallery of Art, Washington DC. Author: Cornelius Christoffels.

Cartouches on friezes, scrolls and ornamental nails, 16th century. One with initials of Henry and Catherine from the Chateau de Chenonceaux, the vertical one below it from a chapel in the same castle. Others fromthe historical gallery of Thevet. XVIme Siecle. Hand-finished chromolithograph by Pralon from Albert-Charles-Auguste Racinets LOrnement Polychrome, (Polychromatic Ornament), Firmin-Didot, Paris, 1869-73.

Replica Ancient Egyptian Mat work hanging. Copied from woven mats made of reeds; they were in use as wall decorations in official dwellings and official buildings as well as tombs throughout ancient Egypt. Recreated in 2011

Panel late 19th century. Panel 446852

Fragment from aTunic. Artist: Unknown

Fragment. Lambayeque; Probably north coast, Peru. Date: 1000-1476. Dimensions: 23.2 x 20.6 cm (9 1/8 x 8 1/8 in.). Cotton and wool (camelid), slit and single dovetailed tapestry weave with eccentric and wrapping outlining wefts. Origin: Peru. Museum: The Chicago Art Institute, Chicago, USA.

Textile. Dated: 1935/1942. Dimensions: overall: 65.9 x 50.9 cm (25 15/16 x 20 1/16 in.). Medium: watercolor, graphite, and gouache on paper. Museum: National Gallery of Art, Washington DC. Author: American 20th Century.

Fragment (Border). Chancay; Peru, Central coast. Date: 1000-1476. Dimensions: 13.3 x 54.3 cm (5 1/4 x 21 3/8 in.). Cotton and wool (camelid), slit and single dovetailed tapestry weave. Origin: Peru. Museum: The Chicago Art Institute, Chicago, USA.

Bark painting depicting the story of the hunters of the Wulu-Wulk and the Munapa. Dated 20th Century

Concentric squares with border and apsaras; 1/4 mirror serious; copy of the Fresku from Dunhuang; Fan, Wenzao (Fl. Ca 1900-1950); 1952 (1952-00-00-1952-00-00);Sobecka, Chinese (culture), gift (provenance), graphic prints, Chinese art, Lucia (1919-1993), Łucja (1919-1993)-collection

Saltillo Style Blanket/Sarape, c. 1860-1875. America, Native North American, Southwest, Rio Grande Hispanic, Post-Contact, Classic Period. Tapestry weave: wool; overall: 207 x 119.5 cm (81 1/2 x 47 1/16 in.).

Heinrich Martin, German experimental and innovative abstract artist, who is using a large colour palette. Organic abstraction 11.

Egyptian Ornament

Ceiling on the South Side of Nakht's Offering Chapel 914-1915; original ca. 1410-1370 B.C.. Twentieth Century; original New Kingdom Norman de Garis Davies. Ceiling on the South Side of Nakht's Offering Chapel. Norman de Garis Davies (1865-1941). 914-1915; original ca. 1410-1370 B.C... Tempera on paper. Twentieth Century; original New Kingdom. From Egypt, Upper Egypt, Thebes, Sheikh Abd el-Qurna, Tomb of Nakht, TT 52, chapel, ceiling, MMA Graphic Section, 1914-1915. Dynasty 18

Figure from aMantle. Artist: Unknown

Morocco Fès Qarawiyin Mosque Back of jacket. Swaan, Wim. 1967 or earlier Photographic production materials for Morocco: Marrakesh, Fez, Rabat Photographs of architecture were selected and digitized from these materials. Portraits, ethnographic images, and images of museum objects were excluded. Digital images are arranged geographically, first by country, then by city, then by site complex or monument, with all names in alphabetical order. Location names are derived from the Getty Thesaurus of Geographic Names (TGN)®, Library of Congress subject headings, and scholarly publications. Published images are followed by unpublished images. Versos of prints and slide mounts were not digitized. The information in any handwritten identifications found on these surfaces was incorporated into the metadata for individual images. All digital images are cropped to the edge of the frame and are not color-corrected. Photographic production materials for Morocco: Marrakesh, Fez, Rabat is a small porti

Fragment. Moche-Huari; Possibly Huarmey Valley, north-central coast, Peru. Date: 800 AD-1000. Dimensions: 52.1 x 27.6 cm (20 1/2 x 10 7/8 in.). Cotton and wool (camelid), plain weave with discontinuous wefts and single dovetailed tapestry weave; edged with cross-knit loop stitches. Origin: Peru. Museum: The Chicago Art Institute, Chicago, USA.

Martin Partyka, Bandbox Design, c 1937 Bandbox Design

Knitted Rug. Dated: 1935/1942. Dimensions: overall: 43 x 28.6 cm (16 15/16 x 11 1/4 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Ingrid Selmer-Larsen.

Mola textile by Kuna Indian artist, with an abstract pattern. From the San Blas Archipelago, Panama. Reverse applique design worn on female blouse.

Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museums collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and is associated with two mythological animals devouring humans: an anthropomorphic bird and a shark depicted with a human arm. These composite beings combine animals of the natural world with Nasca supernatural deities who keep the world in order. The panel was converted into a poncho in antiquity, when a head opening was made at the center and long tassels were added at the shoulders. ___________

Mosaics from walls and pavements of houses in Cairo. Arabian design. In black and white marble with red tile. Chromolithograph by Francis Bedford from Owen Jones' The Grammar of Ornament, Quaritch, London, 1868.

Arabian ornament

Embroidered Border Fragment 5th-3rd century B.C. Paracas. Embroidered Border Fragment 308053

Fragment from aTunic. Artist: Unknown

Hopi Kachinas, USA, Chicago, Newberry Library

Chair cover, Kangxi period, 1662-1722, L. 65 ⅝ x W. 25 in. (165.1 x 63.5 cm), Silk tapestry (kesi), China, 17th-18th century, The prominent medallion on the chair suggests that this cover would have been used during the yearly Lantern Festival, which culminated the Chinese New Year's celebration.

Ceiling Fragment A.D. 1914-1915; original ca. 1390-1352 B.C. Twentieth Century; original New Kingdom Hugh R. Hopgood. Ceiling Fragment. Hugh R. Hopgood. A.D. 1914-1915; original ca. 1390-1352 B.C.. Tempera on paper. Twentieth Century; original New Kingdom. From Egypt, Upper Egypt, Thebes, el-Khokha, Tomb of Amenemhat Surer (TT 48), MMA Graphic Section, 1914-1915. original Dynasty 18

Reproduction of the "Shield frieze" fresco. Culture: Mycenaean. Dimensions: Overall: 39 1/2 x 32 in. (100.3 x 81.3 cm). Date: ca. 1325-1250 B.C..Excavated 1910 in the Inner Forecourt of the Tiryns palace.The original restoration was done by E. Gillieron, pere from over two hundred fragments for the German Archaeological Society. Evans used it as the basis for his grand restoration of the shield frescoes in the Domestic Quarter at Knossos (executed by E. Gillieron, fils) where only very small fragments of large-scale shields were preserved. The distinctive figure-of-eight shield motif is an important visual link between Homer's Age of Heroes and Late Bronze Age Greece. It has been suggested that the green pigment of the original fresco was made from powdered malachite imported from Egypt.The original is in the National Archaeological Museum, Athens. Museum: Metropolitan Museum of Art, New York, USA.

Ancient Mexican paintings and hieroglyphics, by Augustine Aglio, color print from Antiquities of Mexico: comprising fac-similes of ancient Mexican paintings and hieroglyphics, by Edward King Kingsborough, volume III, 1831-1848, London.

Pillow Top. Dated: 1935/1942. Dimensions: overall: 40.8 x 50.7 cm (16 1/16 x 19 15/16 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Frank Maurer.

Mola, late 20th century, 13 x 16 5/8 in. (33.02 x 42.21 cm), Cotton; reverse appliqué; needlework, Panama, 20th century

Decorative unit in a mosaic composition, Roman villa with wonderful mosaic floors, 1st-5th century AD Desenzano del Garda, Lake Garda, Italy, Desenzano del Garda, Lake Garda, Italy, Europe

Quilt (Star of Bethlehem). Dated: 1935/1942. Dimensions: overall: 46.8 x 46.4 cm (18 7/16 x 18 1/4 in.) Original IAD Object: 90" long; 84" wide. Medium: watercolor, graphite, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: Charles Bowman.

Decorative Corner from a RitualCloth. Artist: Unknown

Expectation, Klimt, Gustav, 1908.

Crazy Quilt (Section). Dated: c. 1940. Dimensions: overall: 35.9 x 26.6 cm (14 1/8 x 10 1/2 in.) Original IAD Object: 72" wide; 84" long. Medium: watercolor, gouache, and pen and ink on paper. Museum: National Gallery of Art, Washington DC. Author: Ruth M. Barnes.

Byzantine ornament

Royal golden throne, sent as a present from Persian Shah Abbas. Watercolor by Acad. F. Solntsev. Chromolithography by F. Dreher., 1849 - 1853., Moskva. Publisher, Tip. A. Semena. Art, Russian, Chromolithographs

Mola textile by Kuna Indian artist, depicting a bean plant. From the San Blas Archipelago, Panama. Reverse applique design worn on female blouse.

Square late 18th or early 19th century Japan. Square. Japan. late 18th or early 19th century. Silk. Edo period (1615-1868). Textiles-Woven

PINTURA SOBRE PAPEL - ARTE MEXICANO.

Closeup detail of old Portuguese glazed tiles.

PINTURA SOBRE CORTEZA DE ARBOL HECHA POR INDIOS. Location: PRIVATE COLLECTION, MADRID, SPAIN.

Egyptian Ornament

The Key - Version 1; Der Schlussel - Var. 1. Erich Buchholz (1891-1972). Oil on carved wood. Painted in 1921. 45 x 29.8cm.

Greek No 2 Plate XVI From The Grammar of Ornament by Owen Jones published by Day & Son London 1865

Mola textile by Kuna Indian artist, depicting a scene from Kuna mythology , the Chief of the Wild Dogs. From the San Blas Archipelago, Panama. Reverse applique design worn on female blouse.

Panel. Chancay; Central coast, Peru. Date: 1000-1476. Dimensions: 101.9 x 62.9 cm (40 1/8 x 24 3/4 in.). Cotton, plain weave; painted. Origin: Peru. Museum: The Chicago Art Institute, Chicago, USA.

Tapestry Fragment with Plumed Figure 9th-13th century Lambayeque (Sicán). Tapestry Fragment with Plumed Figure 307924

Panel, 20th century, 19 x 19 1/2 in. (48.3 x 49.5 cm), Raffia; cut -pile embroidery, Democratic Republic of Congo, 20th century

Fragment from aTunic. Artist: Unknown

Ancient Mexican paintings and hieroglyphics, by Augustine Aglio, color print from Antiquities of Mexico: comprising fac-similes of ancient Mexican paintings and hieroglyphics, by Edward King Kingsborough, volume III, 1831-1848, London.

Cotton Print, Burylin, Sergei Petrovich (1876-1942)

PORTRAIT OF A GERMAN OFFICIER, by Marsden Hartley, 1914, American painting, oil on canvas. Hartleys composition is an abstract portrait of Karl von Freyburg, a Prussian lieutenant, a friend of the artist who died in World War 1. Von Freyburg is portrayed symbolically with the initials, 'K.v.F.'; his regiment number, 4; his age at death, 24; and the Iron Cross that he received posthumously (BSLOC_2017_7_103)

'Calendar'. China, 19th century. Dimensions: 25x20,5 cm. Museum: State Hermitage, St. Petersburg.

Panel, late 19th-early 20th century, 104 1/4 x 49 1/4 in. (264.8 x 125.1 cm), Cotton, silk; ikat, Uzbekistan, 19th-20th century

Band. Artist: Unknown

Mosaics from the church of Martorana, Chiesa della Martorana, Palermo, Sicily. Handcoloured lithograph by Berth after an illustration by Wilhelm Zahn from his Ornament of All Classical Art Eras, Ornamente aller klassischen Kunst-Epochen, Reimer, Berlin, 1834.

Batik Fabric Piece, early 20th century, 41 x 94 in. (104.1 x 238.76 cm), Cotton; dyed, Indonesia, 20th century

Egyptian columns still image. 1923. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Columns, Columns , Egypt, Architectural decorations & ornaments , Egypt

Applique Bedspread. Dated: c. 1941. Dimensions: overall: 50.3 x 57.8 cm (19 13/16 x 22 3/4 in.) Original IAD Object: 100" wide; 88" long. Medium: watercolor and gouache over graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Arlene Perkins and Charlotte Winter.

Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museums collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and is associated with two mythological animals devouring humans: an anthropomorphic bird and a shark depicted with a human arm. These composite beings combine animals of the natural world with Nasca supernatural deities who keep the world in order. The panel was converted into a poncho in antiquity, when a head opening was made at the center and long tassels were added at the shoulders. ___________

Shaker Silk Kerchief. Dated: 1935/1942. Dimensions: overall: 12.9 x 17.1 cm (5 1/16 x 6 3/4 in.). Medium: watercolor, pen and ink, and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Helen E. Gilman.

Design for a rug. Draughtsman: Carel Adolph Lion Cachet. Dating: 1874 - 1945. Measurements: h 212 mm × w 120 mm. Museum: Rijksmuseum, Amsterdam.

Mola textile by Kuna Indian artist, depicting a monster. From the San Blas Archipelago, Panama. Reverse applique design worn on female blouse.

Kalenderblad Augustus 1899, Carel Adolph Lion Cachet, 1899 print Amsterdam paper August ~ other concepts

Fragment of egyptian papyrus

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