Decorative Textile Fragments

A collection of intricate textile fragments showcasing vibrant designs with floral motifs, elaborate patterns in rich colors, and varying weaving techniques from historical periods in India and Spain.

Rade de Cherbourg (Port of Cherbourg), Medium: linen warp, cotton weft Technique: block printed on plain weave, Polychrome diamond grid formed by flowers and large fruit containing an alternation of two scenes, both titled in French. One scene with a couple and a lamb is titled 'le Mouton Cherie', the other shows boats in a harbor, 'Rade de Cherbourg'. Black, two reds, blue and yellow., Northern France, 1780s, printed, dyed & painted textiles, Fragment, Fragment

Fragment, Medium: cotton Technique: mordant and resist painted and immersion dyed on plain weave (chintz), Imbricated palmette rise from a central point. Other pieces have been added to the fragment which shows parts of another design. Fragment is seamed in center, pieced at bottom., The portion of pattern seen is composed of two large palmettes of imbricated design in red, and purple, with green central stem. They slant right and left from the center and appear to emerge from a cluster of leaves, of yellow, and red, outlined in black. Right and left, projecting from the palmettes are clusters of narrow, sharply pointed leaves in green, red and yellow. Below these are leaves in blue with heavy black outlines. The whole pattern is outlined in a fine, dark wavy line, drawn about 1/8 inch from the leaves. A glaze remains on the material., India, 1700-1725, printed, dyed & painted textiles, Fragment

Alhambra Palace Silk Curtain, mid-1300s. Spain, Granada, Nasrid period. Silk; lampas weave; overall: 438.2 x 271.8 cm (172 1/2 x 107 in.). This is one of two of the largest, most complete, and most ornate curtains to survive from the 1300s when it presumably hung in the royal Alhambra Palace in Granada, the last Muslim stronghold in Spain. Its style, artistic vocabulary, and harmonious proportions reflect the magnificent wall decoration in the Alhambra. The motto of the ruling Nasrid dynasty, "There is no conqueror but God," is inscribed in the end borders and central panel. The inscribed striped silk forming the central panel is more worn, suggesting that it was recycled, most likely during the 1300s.

Textile, Medium: cotton Technique: mordant painted, resist painted and dyed (chintz) on plain weave; glazed, Rich and involved design of flowers and cords in reds, blue, purple, black and green on a khaki background., India, early 18th century, printed, dyed & painted textiles, Textile

Tapestry fragment ca. 1550 probably woven under the direction of Willem de Pannemaker. Tapestry fragment. Netherlandish. ca. 1550. Silk, metal thread. Textiles-Tapestries

Sampler (Spain); silk embroidery on cotton foundation

Rade de Cherbourg (Port of Cherbourg), Medium: linen warp, cotton weft Technique: block printed on plain weave, Polychrome diamond grid formed by flowers and large fruit containing an alternation of two scenes, both titled in French. One scene with a couple and a lamb is titled 'le Mouton Cherie', the other shows boats in a harbor, 'Rade de Cherbourg'. Black, two reds, blue and yellow., Northern France, 1780s, printed, dyed & painted textiles, Fragment, Fragment

Fragment (Japan)

Border, Medium: linen, silk Technique: plain weave embroidered with cutwork, Linen border fragment with silk embroidery and withdrawn elements showing two wide serpentine lines that form diamonds. Both lines have needlemade filling stitches and embroidered decoration. Each diamond is filled with two small rectangles that are embellished with needle made filling stitches. Remaining surface area is decorated with geometric embroidery in blue, pink, yellow and white., Spain, 17th century, embroidery & stitching, Border

Fragment of a Cover 18th century. Fragment of a Cover 450989

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Edo period (1615-1868). Textiles-Woven

The Czartoryski Carpet 17th century The coat of arms on this carpet (in the center and at each end) was mistakenly understood to belong to the Polish Czartoryski family; consequently, the term "Polonaise" was applied to this carpet and others like it. The field is filled with flowers, leaves, and scrolling vines, all typical of Persian carpet design of this period. Polonaise carpets are noted for their extensive use of silk and metal-wrapped silk thread. The somewhat muted colors are due to the silk pile; though valued for its strength and softness, silk does not hold dye as well as wool and its color quickly fades. Polonaise carpets were created both for the local Iranian market and for presentation and sale to Europeans.. The Czartoryski Carpet 450563

Sidewall, Block-printed on handmade paper, Two pieces of original document for 'Dijon,' fruit and flower in diamonds and wreaths., France, ca. 1800, Wallcoverings, Sidewall

Fragment Made 1325-1375 Italy. Silk, gilt-animal-substrate-wrapped linen, warp-float faced 2 1 'S' twill weave with supplementary patterning weft and brocading wefts tied by secondary binding warps in plain and twill interlacings .

Kesa. Japan. Date: 1775-1800. Dimensions: 112.4 x 207.7 cm (44 1/4 x 81 3/4 in.). Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Orphrey Band, late 1400s. Italy, Florence, late 15th century. Lampas weave, silk and gold thread; overall: 32.4 x 42.6 cm (12 3/4 x 16 3/4 in.).

Border, Medium: silk, Technique; woven, Border with a repeating pattern of a scrolling vine. In red, yellow green and white., 17th century, woven textiles, Border

Shawl, Medium: wool Technique: twill tapestry weave, pieced Label: wool twill tapestry, pieced together, Shawl with large-scale leaves. Center in light green with repeated almond shapes in pairs surrounded by floral elements. Center enframed by four outer borders of varying widths. Predominantly red and green., India for European market, 1830-1850, woven textiles, Shawl

Patchwork Quilt. Dated: c. 1936. Dimensions: overall: 52.8 x 43.8 cm (20 13/16 x 17 1/4 in.) Original IAD Object: 88" wide; 144" long. Medium: watercolor, graphite, and gouache on paper. Museum: National Gallery of Art, Washington DC. Author: Ella Josephine Sterling.

Kontusz belt bearing the signature `VB`, from the collection of the Princes Czartoryski Museum of Kraków ; drawing for the publication: `Starodawne pasy polskie przedstawione staraniem i nakładem Dominika Jeżewskiego, malował z natury Władysław Sztolcman . Sztolcman, Władysław Roman (1873-1950), painter

Fragment with falconer and attendant in animated lattice, from a robe, mid-1500s. Iran, Kashan, Safavid period. Silk: velvet, brocaded, pile-warp substitution; gilt-metal thread; overall: 79.4 x 66.7 cm (31 1/4 x 26 1/4 in.); mounted: 89.5 x 74.9 cm (35 1/4 x 29 1/2 in.).

Fragment, Medium: silk, linen Technique: plain compound satin (brocatelle), Addorsed and confronted lions with checkered band motif and flowers in red and yellow., Spain, 17th century, woven textiles, Fragment

Bed curtain border Russian early 19th century This object is from the collection of Natalia de Shabelsky (1841-1905), a Russian noblewoman compelled to preserve what she perceived as the vanishing folk art traditions of her native country. Traveling extensively throughout Great Russia, she collected many fine examples of textile art of the wealthy peasant class. From the 1870s until moving to France in 1902, Shabelsky amassed a large collection of intricately embroidered hand-woven household textiles and opulent festival garments with rich decoration and elaborate motifs. The Brooklyn Museum holdings include many fine examples including the majority of the garments. Portions of Shabelsky's collection are also housed at the Museum of Fine Arts, Boston, the Cleveland Art Museum, and the Russian Museum of Ethnography in St. Petersburg.This piece represents the pinnacle of this type of work wherein overcast stitching covers the entire drawnwork grid, employing numerous colors and elaborate

Pictorial Carpet. Dimensions: Rug: L. 91 1/2 in. (23.4 cm) W. 68 in. (172.7 cm)67.2.2Rug: L. 91 1/2 in. (23.4 cm) W. 68 in. (172.7 cm)Tube: Diam. 6 1/2 in. (16.5 cm)W. 82 in. (208.3 cm). Date: 17th century.This silk carpet combines an unusually dense weave for a Persian carpet, with a composition inspired by Flemish tapestry. While the pictorial scene can be traced to seventeenth-century Europe, the technique and execution point to the Safavid court as the source of patronage and production. It is possible that such carpets were woven in Iran for export or intended as diplomatic gifts. The smaller scale of the buildings suggests the influence of European perspective. The border compartments, whose arrangement is also repeated symmetrically, show figures in European dress, flower vases, and reclining deer. Museum: Metropolitan Museum of Art, New York, USA.

"Tensifa" (Ceremonial Scarf used to Decorate the Mirror of Bride's Chamber), 1700s. Morocco, Tétouan, 18th century. Embroidery: silk on linen tabby ground; overall: 333.9 x 56.6 cm (131 7/16 x 22 5/16 in.).

Marie Lutrell, Quilt, 1940 Quilt

Panel 15th century Italian, Florence. Panel 227017

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Edo (1615-1868). Textiles-Woven

Sidewall (France); block-printed on handmade paper; a) Overall: 61.5 x 52.5 cm (24 3/16 x 20 11/16 in.) b) 15 x 52.5 cm

Fragment, Medium: silk on linen Technique: embroidered on plain weave, Textile fragment. Band showing symmetrical design of a double headed dragon and trees outlined in dark blue silk in reserve against a yellow embroidered background., Italy or Spain, 16th century, embroidery & stitching, Fragment

Fragment, medium: silk, linen, metallic Technique: two integrated structures; 2/1 twill with supplementary warps and wefts plus 3/1 twill., 17th century, woven textiles, Fragment

Fragment of embroidery unknown

Leather (Holland); leather, silvered, painted and varnished; 127 x 112.5 cm (50 x 44 5/16 in.); 1913-34-4

New Künstlichs Modelbuch (Page 31 recto). Dimensions: Overall: 6 5/16 x 8 1/4 in. (16 x 21 cm). Publisher: Bernhard Jobin (Swiss, Porrentruy (Jura) before 1545-1593/1597 Strasbourg). Date: 1600.Published by Bernhard Jobin, Strassburg ().Illustrated title page, poem (2 pages), and 45 pages of designs. Museum: Metropolitan Museum of Art, New York, USA.

Piece 18th-19th century Japan. Piece 66226

Long Cloth ca. 1720s India (Coromandel Coast), for Indonesian market Indian textile makers were highly responsive to their customers desires, adjusting styles to suit specific markets. This design of this cloth represents a rare, loosely drawn version of a European-inspired textile produced expressly for the Indonesian consumer. Indian artists painted the stylized repeating pineapple plant motif so it would resemble fashionable European lace-patterned woven silks. Prototypes are readily identified in silks from Lyon, France, and Spitalfields (London) from about 1700. However, a comparison with the panel of chintz shown adjacent—which was made for the European market—illustrates how Indian artists sought to satisfy Indonesian tastes by creating a freer rendering of the European style.cat. no. 48. Long Cloth 76091

Fragment. Italy. Date: 1575-1600. Dimensions: 26.9 x 23.4 cm (10 9/16 x 9 3/16 in.). Plain compound cloth. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Fragment Made 1601-1700 Italy. Linen, plain weave; embriodered with slik floss in Algerian eye, back, cross, double running, split and smyrna cross stitches; laid work in simple and cross couching; outlined with linen cord, overcast and couched .

Fragment of wool of a cashmere scarf with pattern of palm shapes on blue fond, anonymous, c. 1700 - c. 1725 Fragment of wool of a cashmere scarf with a pattern in white, yellow, pink and red from horizontally ripened palms on which arabesken and stylized flowers. Rim of small palms, closed by Rinceaux. France wool. silk. cotton (textile). cashmere (wool) Fragment of wool of a cashmere scarf with a pattern in white, yellow, pink and red from horizontally ripened palms on which arabesken and stylized flowers. Rim of small palms, closed by Rinceaux. France wool. silk. cotton (textile). cashmere (wool)

Fragment (Japan)

Tapestry. unknown, author

Sidewall (possibly France); flocking on gilt canvas; 197 x 84.5 cm (77 9/16 x 33 1/4 in.)

Embroidered Cover (), 1700s - 1800s. India, 18th-19th century. Embroidery; silk and metallic threads; overall: 157.5 x 88.3 cm (62 x 34 3/4 in.).

Panel from a Tent Lining (Qanat) 17th century The size, shape, and design of this panel tell us that it was probably once joined to a series of similar panels that would have enclosed an outdoor space. These textiles, known as qanats, were used in gardens within the palace compound and for camping during overland journeys. The central motif of a flowering plant is a fantastic hybrid of blossoms including irises and Chinese lanterns.. Panel from a Tent Lining (Qanat). 17th century. Cotton; plain weave, mordant dyed and painted, resist-dyed. Attributed to India, Deccan. Textiles-Painted and/or Printed

Brocade Textile. Culture: Italian. Dimensions: Overall (actual textile): 6 11/16 × 9 15/16 in. (17 × 25.2 cm)Overall (including reconstruction): 18 11/16 × 13 3/16 in. (47.5 × 33.5 cm)Storage (mat): 27 × 20 in. (68.6 × 50.8 cm). Date: 14th century. Museum: Metropolitan Museum of Art, New York, USA.

Panel Made 1401-1500 Italy. Silk, warp-float faced 4 1 satin weave with three-color supplementary pile warp forming cut, voided velvet .

Corporal, Medium: silk, wool, metallic trim, Corporal has a center of red cut and uncut velvet in a large-scale symmetrical foliate design with a border of polychrome cut and uncut velvet on a white satin ground in a floral design. Trimmed with gold ribbon and backed with red wool., Italy, 17th century, woven textiles, Corporal

Piece 18th-19th century Japan. Piece 65802

Panel, 18th century, 41 x 17 in. (104.14 x 43.18 cm), Linen, silk; embroidery, England, 18th century

Fragment Made 1325-1375 Lucca. Silk and gilt-animal-substrate-wrapped linen, warp-float faced 2 1 twill weave with supplementary patterning and brocading wefts bound by secondary binding warps in plain and twill interlacings .

Hooked Rug. Dated: c. 1936. Dimensions: overall: 35.4 x 25.2 cm (13 15/16 x 9 15/16 in.) Original IAD Object: 26" wide; 42" long. Medium: watercolor and gouache on paper. Museum: National Gallery of Art, Washington DC. Author: Ruth M. Barnes.

Cushion Cover (one of a set of four), 1700s. China, Qing dynasty (1644-1911). Silk, metallic thread; overall: 46.4 x 57.1 cm (18 1/4 x 22 1/2 in.).

Sidewall, leather, silvered, painted and varnished, Vining floral pattern on textured ground., Holland, 1750, Wallcoverings, Sidewall

Textile, Medium: silk, metallic yarns Technique: satin damask weave with supplementary weft patterning (brocade), Salmon colored damask weave silk brocaded in metallic yarns with white, green and blue silk showing florals with long curving stems in the bizarre’ style. Both selvages present., France, Europe, late 17th-early 18th century, woven textiles, Textile

Panel (Dress Fabric). Iran (Isfahan). Date: 1700-1750. Dimensions: 198.8 x 58.5 cm (78 1/4 x 23 in.). Origin: Iran. Museum: The Chicago Art Institute, Chicago, USA.

Fragment (China); silk, polychrome paint

Fragment (Japan)

Piece 18th century Japan. Piece. Japan. 18th century. Silk / Compound weave. Edo period (1615-1868). Textiles-Woven

Fragment (Japan)

Palempore with the coat of arms of the Steengracht family, c. 1750 Palempore with weapon Steengracht. The white stock is decorated with a dense flower pattern in red and blue and purple, with details in yellow, interrupted by a narrow edge with a pointed ornament that runs into the wide edge. In the corners of midfield mirabbogen filled with a flower pattern on a red stock. Inside a flower pattern on a white stock. In the center Het Wapenstegracht on a white stock, within a circular frame filled with a flower pattern on a red stock. The ends of the four sides of the cloth are blue. India cotton (textile). gold leaf. wax chintz / painting Palempore with weapon Steengracht. The white stock is decorated with a dense flower pattern in red and blue and purple, with details in yellow, interrupted by a narrow edge with a pointed ornament that runs into the wide edge. In the corners of midfield mirabbogen filled with a flower pattern on a red stock. Inside a flower pattern on a white stock. In

Design for stained glass, Alice Cordelia Morse, American, 1863-1961, Brush and gouache, graphite on paper mounted on tan illustration board, Rectangular design; central rectangle containing twisted blue vines in circular form, central circle with solid blue circle and red dots., USA, late 19th century, architecture, interiors, Drawing, Drawing

Fragment, Medium: S-spun wool warp, S-spun wool and linen weft Technique: dovetail and slit tapestry weave, Woven square with a red ground containing strictly frontal human seated figure with hands raised in each corner; hourglass motif in a blue-green frame between each pair, and in center, a symmetrical motif of a lozenge with four dots on an orange ground. Soumak was used to outline the frames with hourglass motifs. Small area of white cross stitch on bottom left side., Egypt, 5th-7th century, woven textiles, Fragment

Handwoven Table Cover. Dated: c. 1940. Dimensions: overall: 56.1 x 45.8 cm (22 1/16 x 18 1/16 in.) Original IAD Object: 57" square. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Alfred Walbeck and Maud M. Holme.

Polish, silk, double -sided, production belt, Persjarnia's product in Sąk, in the collections of the National Museum in Warsaw from 1917 - a fragment on a 1: 1 scale; Sztolcman, W Adys Aw Roman (1873-1950); 1918 (1918-00-00-1918-00-00);

Fragmentary Band, Probably Part of a Clavus, 800s. Egypt, late Abbasid or Tulunid period, 9th century. Tapestry; linen and wool; overall: 9 x 78.1 cm (3 9/16 x 30 3/4 in.).

TEJIDO HISPANO-MUSULMAN. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Fragments, Medium: silk Technique: 4&1 satin patterned by plain weave, Affronted crowned lions within cartouches in green, yellow and white on red. This is the same design as 1902-1-316 but a different fabric. Among other things the lion's mane is different., Spain, 15th century, woven textiles, Fragments

Arabesques : étoffe de soie : conservée à Toulouse (XIVe. siècle). Linas, Charles de, 1812-1887. Prisse d'Avennes, 1807-1879. Prints, Drawings. 1877. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Architecture, Islamic, Architecture , Egypt , Cairo, Art , Egypt , Cairo, Art, Islamic, Islamic decoration and ornament, Birds, Islamic silk, Textile fabrics, Islamic, Patterns (Design elements)

Sidewall, leather, silvered, painted and varnished, Vining floral design on textured ground., Holland, 1750, Wallcoverings, Sidewall

Crewel Bedspread. Dated: c. 1937. Dimensions: overall: 46.1 x 38.1 cm (18 1/8 x 15 in.) Original IAD Object: 58" wide; 72" long. Medium: watercolor, graphite, and pen and ink on paper. Museum: National Gallery of Art, Washington DC. Author: Mary Berner.

Hanging or portière, Walter Crane, (English, 1845-1915), Medium: linen warp, wool weft Technique: complementary weft weave, Hanging or portière in two shades of green and ochre. A deep border at the bottom is made up of stalks of wheat, with roundels containing a winged male figure flanked by two horses. The side borders contain draped female figues with wings, separated by abstracted pomegranate motifs. The center field has horizontal bands of spirals resembling waves, sunburst patterns, and rows of roundels containing a draped female figure with an oar in a boat with sails. Weave is designed to imitate tapestry., England or USA, 1875-1900, woven textiles, Hanging or portière

Sheet with four borders with guilloche and ribbon patterns Anonymous Possibly by Remondini Family Italian late 18th-mid-19th century View more. Sheet with four borders with guilloche and ribbon patterns. Anonymous , Italian, late 18th-mid 19th century. late 18th-mid-19th century. Relief print (wood or metal). Prints

Fragments of a textile with Medici emblems. Culture: Italian, probably Florence. Dimensions: Overall: 13 1/2 x 12 5/8 in. (34.3 x 32.1 cm); including fringe; greatest dimension in warp direction. Date: ca. 1492.This fragment is all that remains of a spectacular example of the weaver's art. A red satin fabric, visible only in the outline of the design, was used as a foundation for a sumptuous pattern composed of glittering metal threads. Gold and silver metal strips were wound around colored silk threads to create the flexible threads that were then woven into pile loops. This is not technically classed as a velvet because the loops are made from metal thread wefts, not from supplementary silk warps, as in a true velvet.The design is the same as that seen on the back of the birth tray commissioned for Lorenzo de' Medici (see 1995.7): the three feather/plumes encircled by a diamond ring above a scrolling ribbon containing the word SEMPER, meaning "always." The feathers on the textile w

Palampore, Medium: cotton Technique: mordant-painted and resist-dyed (chintz), Half of a palampore with a tree trunk in brilliant light red rises from a mound and curves heavily right before branching toward the top. Various flowers in brilliant red and dull violet with leaves in two shades of blue with red accents appear. Vestiges of yellow remain in leaves of small flower clusters. To left of the curved trunk appears a half medallion formed from ribbon knots and flowers framing a cluster of roses. The mound is comprised of pointed hillocks in reds, blues, and browns with much shading. A pheasant in many colors is perched on a short plant rising from the mound, and a small flowering tree is at the right end. Birds in branches are babblers. Finishing the right side and top, a border about twelve inches wide is composed of narrow festoons of ribbon and small flower clusters, and an outer festoon simulating a pale rose-colored ribbon with flower clusters at each curve in reds, blue, and

Drawing, Design for an Embroidered Horizontal Border of the "Fabrique de St. Ruf"; Designed by Fabrique de Saint Ruf; France; brush and white, yellow, and orange gouache on glazed tracing paper; 31.8 × 24.9 cm (12 1/2 × 9 13/16 in.)

Les Losanges, Jean-Baptiste Marie Huet, (French, 1745-1811), Medium: cotton Technique: copperplate printed on plain weave, Blue and white copperplate printed textile., Jouy, France, 1795-1810, printed, dyed & painted textiles, Textile, Textile

Silk. Iran (Persia, Isfahan). Date: 1650-1700. Dimensions: 62.9 × 48 cm (24 3/4 × 18 15/16 in.). Persian silk. Ispahan. Origin: Iran. Museum: The Chicago Art Institute, Chicago, USA.

Fragment, Medium: linen Technique: needle lace, Fragment of stylized floral and foliated forms in a large scale symmetric scroll design. Pattern connected by brides, picotées, and is interspersed by gaze quadrillée and portes., Italy, 17th century, lace, Fragment

Piece ca. 1720 possibly Italian. Piece. possibly Italian. ca. 1720. Silk and metal thread. Textiles-Woven

Large-leaf proscenium-verdure with boar. unknown c. 1550-1600 Tapestry Dimensions: H 11'6" x W 12'8" Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: unknown Ownership History: French & Co. received from A. Seligmann, Rey & Co., Inc., invoiced 7/1/1930; returned from consignment 11/30/1931. Elaborate proscenium with foreground balustrade with 2 urns on pedestals, & grotesque side columns supporting cornice; central boar in front of balustrade with leopards & other animals; behind balustrade, greenery composed of scrolling acanthus-like leaves & flowering plants inhabited by eagle attacking doe, birds, & other animals (BRD) narrow geometric border with alternating ornamental motifs in lozenges French & Co. stock sheet in archive, 16908-a Related Works: Panels in set: GCPA 0184703, 0236802, 0236804-0236807, 0236810-0236811, 0239822-0239823, 0239824

Fragment, Medium: cotton on bast fiber Technique: embroidered, 19th century, embroidery & stitching, Fragment

Square. Culture: Russian. Dimensions: 44 x 42 inches (111.8 x 106.7 cm). Date: first half 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Panel, Medium: silk, metallic thread Technique: embroidered on taffeta weave; bobbin lace, Panel of white taffeta embroidered in a pattern of flowers in multicolored silks. Vase form in the center with plume-like ornaments in metallic thread. Edged with bobbin lace and metallic trim., France, 18th century, embroidery & stitching, Panel

Rectangular cashmere scarf of printed wool with a full pattern against a white field and a colorful border, anonymous, c. 1820 - c. 1830 Rectangular cashmere scarf of printed wool with a full pattern against a white field and a colorful border. The center pattern consists of a solid white mid -right angle with rectangular edges. This has inward eggplant -colored niches, interspersed with red rosettes. There is an airy edge of fine, light green botas, interspersed with fine twigs and flower arrangements. The peripheral pattern has very wide edges at the two ends with an ongoing pattern of straight, rejuvenating staff (tackling), with an open volute. In between, couples of alternated palm motifs in Wijnrood are together, together under a pointed arch. Fine, light -colored intermediate fillings of twigs and flowers in pink, soft yellow, light green and light blue. In the inner edge a fairly wide track with windows in Spitsoval, in red, filled with the fine twig and flower arrangements. A

Panel Made 1840-1860 France. Silk, warp-faced plain weave .

Silk Made 1650-1700 Iran. Persian silk. Ispahan .

Band fragment, Medium: Warp; S-spun, Z-twist linen. Wefts; S-spun linen, S-spun wools Technique: slit tapestry, Band with images of fish and people., Egypt, 5th-8th century, woven textiles, Band fragment

Silk and Hemp Fragment, 16th century. Spain, 16th century. Plain compound satin (so-called brocatelle): silk and hemp; average: 112.4 x 55.9 cm (44 1/4 x 22 in.).

Textiles, 20th century. Raoul Dufy (1877-1953), Painted cloth with Art Nouveau style drawing.

Tapestry. unknown, author

Piece 18th century() Japan. Piece 65828

Fragment, Snakes and Flowers, 1790-1810. India, Kashmir, late 18th-early 19th century. 2/2 twill tapestry (S), double interlocked; wool; overall: 66.6 x 90.1 cm (26 1/4 x 35 1/2 in.).

Fragment. Dimensions: Rug: L. 22 in. (55.9 cm)W. 28 in. (71.1 cm). Date: probably 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece 18th-19th century Japan. Piece 67550

Panel of a Tent Lining. Dimensions: Textile: H. 77 1/2 in. (196.9 cm)W. 51 in. (129.5 cm). Date: 1700-1740.This panel was decorated using a traditional dyeing technique called kalamkari. This technique ws associated with the city of Burhanpur, which became a center for the production of dyed textiles in the late seventeenth and eighteenth centuries. Burhanpur textiles show great influence from the nearby Mughal tradition, favoring floral motifs within the cusped arches and arabesque decoration. On the Coromandel Coast, different types of kalamkari textiles were produced, including palampores (bed covers) made for the European market, and sarongs and ceremonial hangings traded to Southeast Asia. This panel lined an eighteenth-century Ottoman tent in Bulgaria, and its medallion-based design was probably made to suit that market. Museum: Metropolitan Museum of Art, New York, USA.

Log Cabin Quilt. Dated: 1935/1942. Dimensions: overall: 41.7 x 36 cm (16 7/16 x 14 3/16 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Charlotte Angus.

Piece 18th century China. Piece. China. 18th century. Silk / Compound weave. Qing dynasty (1644-1911). Textiles-Woven

Textile, Medium: silk, metallic thread Technique: 5-harness satin damask with discontinous supplementary weft patterning (brocade) bound in 1/4 twill, Piece of brocaded silk with a 'bizarre' style design of exaggerated curvilinear shapes piercing and being pierced by foliate forms. In gold and silver thread with red accents on a green ground., Europe, late 17th-early 18th century, woven textiles, Textile

Design for a carpet, anonymous, c. 1854 - c. 1864 Manufacturer: Deventeramsterdam paper. gouache (paint) brush Manufacturer: Deventeramsterdam paper. gouache (paint) brush

Fragment

Arabesques : Heitha : tenture de revêtement des lambris (XVIIIe. siècle). Prisse d'Avennes, 1807-1879. Prisse d'Avennes, 1807-1879. Prints, Drawings. 1877. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Architecture, Islamic, Architecture , Egypt , Cairo, Art , Egypt , Cairo, Art, Islamic, Islamic decoration and ornament, Hangings (Textiles), Textile fabrics, Islamic

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