Ornamental Textiles

Intricately patterned textile fragments featuring floral and animal motifs in rich reds and golds, showcasing historic weaving techniques from Italy and Japan.

Leaf with rows with angels with wreaths and ribbons, monogrammist GZ, 1700 - 1850 Leaf with four rows of angels placed at a regular distance from each other with wreath and ribbon surrounded by branches with flowers. paper. block printing (relief printing process) angels. anthropomorphic ornament. ornament derived from plant forms

Fragment. Italy or Spain. Date: 1601-1700. Dimensions: 42.9 x 27.6 cm (16 7/8 x 10 7/8 in.). Silk, satin weave self-patterned by reversing of faces. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Loom Width with Floral and Tiger-stripe Design. Dimensions: Textile: L. 79 5/8 in. (202.2 cm)W. 26 1/2 in. (67.3 cm)Mount: H. 83 in. (210.8 cm)W. 30 in. (76.2 cm)D. 2 in. (5.1 cm). Date: 16th century.This loom width panel features an unusual combination of elements from the çintamani motif and floral iconography. The wavy lines, alternately referenced as "tiger stripes" in the context of çintamani, is paired with a triple sprig of stylized blossoms derived from the repertoire of the nakkashane, the royal workshop. The iconography of this panel is also embellished with tiny geometric details within the lattice framework that resemble wood inlay. The whole composition is overlaid with feathery leaves called saz, and executed with gold metal wrapped thread for maximum effect. Museum: Metropolitan Museum of Art, New York, USA.

Fragment Made 1601-1700 Italy. Silk, satin weave self-patterned by reversing of faces .

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

Design for a rug, Carel Adolph Lion Cachet, 1874 - 1945 drawing tracing paper brush tapestry. carpet, rug

Hanging of velvet late 15th-mid-16th century Italian, probably Florence Velvets patterned with this fifteenth-sixteenth century version of the palmette were named "pomegranate velvets" in the nineteenth century and have had this name ever since.. Hanging of velvet. Italian, probably Florence. late 15th-mid-16th century. Silk and metal thread. Textiles-Velvets

Leaf with rows with angels with wreaths and ribbons, monogrammist GZ, 1700 - 1850 Leaf with four rows of angels placed at a regular distance from each other with wreath and ribbon surrounded by branches with flowers. paper. block printing (relief printing process) angels. anthropomorphic ornament. ornament derived from plant forms

Cotton Kerchief. Dated: c. 1937. Dimensions: overall: 30.2 x 22.9 cm (11 7/8 x 9 in.) Original IAD Object: 36" square. Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Percival Jenner.

Leaf with lanes pattern of wide and narrow lanes with flowers and rosettes, anonymous, c. 1700 - c. 1850 brocade paper Leaf with a job pattern of wide and narrow lanes with flowers and rosettes. Possibly part of a cover. paper. relief printing ornament derived from plant forms

Panel (Possibly from trousers). Iran (Persia, Kashan). Date: 1675-1725. Dimensions: 48.3 x 36 cm (19 x 14 1/8 in.). Silk, brocaded. Origin: Iran. Museum: The Chicago Art Institute, Chicago, USA.

Cover

Length 17th century Italian, Florence The complicated figural composition and the color combination of red and yellow, as well as the choice of materials and technique, relate this fabric to earlier traditions in Florentine weaving. In this example, disparate decorative motifs, arranged in a fluid, nearly narrative manner, have a convincing coexistence despite their symmetrical arrangement: dolphins' tails merge into a cartouche that in turn forms the support for an elaborate vase, which is simultaneously a container for a variety of flowers, in whose leaves nest two birds, and a ledge for two winged figures that confront the amorini, bows and arrows at their feet, below. That this particular composition, with motif variations, is also known in different color schemes and fabric types attests to its popularity as a design for a number of furnishing uses.. Length 230001

Sheet with four borders with guilloche and ribbon patterns late 18th-mid-19th century Anonymous. 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

Textile, Medium: silk, cotton, paper Technique: jacquard woven, A. Flowers, stems and leaves in a 17th Century-inspired design. Red on gold and red background. B. Drawing for the design on point paper., USA, 1906, woven textiles, Textile

Table carpet fragment. Culture: British. Dimensions: L. 77 x W. 38 inches (195.6 x 96.5 cm). Date: late 16th century.Textiles were rarely used as floor coverings in the late sixteenth century, except by the wealthiest individuals, but "carpets" of pile weaves, tapestry weaves, or embroidery were often used to decorate tables. This fragment of a large table carpet displays strapwork motifs typical of other English sixteenth-century decorative arts such as wood carving and plaster decoration, and the ripe fruits, flowers, and vegetables are varieties that often appear on embroidered objects of the period. These include Tudor roses, pomegranates, pears, squash, honeysuckle, and grapes.The somewhat awkward drawing of the armorials suggests that this was not the product of a professional workshop. The table carpet may have been an amateur or semi-professional production, perhaps made by servants and extended family members for use in their own home. However, this project was no small unde

Design on Paper Japan. Paper .

Painted lacquer-work from the Collection at the India House. Chromolithograph by Francis Bedford from Owen Jones' The Grammar of Ornament, Quaritch, London, 1868.

Border; silk

Fragment, Medium: linen warp, cotton weft Technique: block printed on 1&3 (S) twill, Pineapple or artichoke pattern in a heavy ogival framing device, printed in black on a yellow-gold ground., Spain, late 15th-early 16th century, printed, dyed & painted textiles, Fragment

Lampas with dancers and musicians, 1600-1650. Iran, Safavid period. Lampas, brocaded: silk and silver-metal thread; overall: 87.7 x 52.1 cm (34 1/2 x 20 1/2 in.); mounted: 94 x 58.4 cm (37 x 23 in.).

Three strips of 16th-century Italian side and a piece of German side from around 1660, from the collection of the Kunstwerbemuseum in Dresden, Anonymous, 1888 photomechanical print This print is part of a cover with 49 prints and a list of images. Dresden paper collotype lace Artificial museum

Sheet with five borders with abstract and floral designs 19th century Anonymous. Sheet with five borders with abstract and floral designs. Anonymous , 19th century. 19th century. Relief print (wood or metal). Prints

Border, Block-printed, Irise or rainbow paper. Scrolling vine with stylized floral and foliate motifs. Printed in green flock and overprinted with two shades of green. The background shades from pink to yellow. Band of floral rosettes and dentil at lower edge., France, 1820-35, Wallcoverings, Border

Pictorial Carpet 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 seventeenthcentury 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.. Pictorial Carpet 451894

Arabesques : faïences murales de Qasr Rodoun (XVIe. siècle) : 1. 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, Decoration and ornament, Islamic, Arabesques, Faience tiles, Tiles, Islamic

Textile fragment 1750-1899 Russian 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.Naboyka are block-printed textiles used for clothing as well as household objects and book bindings. The design motifs of these textiles are very old, dating to as ear

Moresque from the Alhambra No 4 bis Plate XLII From The Grammar of Ornament by Owen Jones published by Day & Son London 1865

Panel Made 1201-1400 Spain. Silk and linen .

Fragment (Japan)

Textile, Le Meteore; France; cotton; Warp x Weft: 176 x 74 cm (5 ft. 9 5/16 in. x 29 1/8 in.); Bequest of Elinor Merrell; 1995-50-168

Leaf with windscreen pattern with circle motif, anonymous, c. 1700 - c. 1850 Leaf with windscreen pattern with circle motif as field filling, on a continuous horizontal lines stock. Half of a cover, doubled. paper. block printing (relief printing process) ornament derived from plant forms

Textile Fragment 14th-15th century Geometric compositions predominate silk textiles of Nasrid Spain (1232-1492) and the contemporaneous Marinid Dynasty (1269-1465) of North Africa; they are often based on intricate patterns that repeat into infinity. The design of this fragment is centered on rows of eight-pointed stars where each compartment is filled with motifs reminiscent of fleurs-de-lis. While the stars are identical, outlined in red, the color of the fill alternates from blue to yellow. Inscriptions also play a central role here, be they the cartouches formed by interlaces bearing "Eternal Glory," or the two horizontal bands with abstract kufic writing that repeat the word "happiness" in mirror image. A variety of smaller motifs, from the narrow bands of reciprocal blue and white stepped crenellation to palmettes and arabesques, complete this assemblage that echos architectural decoration.. Textile Fragment 450734

Silk and stamped designs, 17th century. Franco-oriental silk design (top) and stamped endpapers in the style of King Louis XIII of France. XVIIme Siecle. Hand-finished chromolithograph by Leveil from Albert-Charles-Auguste Racinets LOrnement Polychrome, (Polychromatic Ornament), Firmin-Didot, Paris, 1869-73.

Tapestry; 1. PO. 18th century (1700-00-00-1750-00-00);Lviv (Ukraine), tapestries, plant ornaments, portraits, decorative fabrics, Polish clothing, church equipment, interior equipment, purchase (provenance)

Panel of ceramic wall tiles decorated with flowers and foliage in the Tomb of Sultan Murad III, Ottoman Sultan, made in Iznik, Turkey, 1546-1595. Turbe du Sultan Mourad III a Constantinople. Panneau de revetment mural. Isnik (vers 1574-1595) Pochoir (stencil) handcoloured lithograph from Alexandre Raymonds Faience Decorative de la Vieille Turquie, Decorative Pottery from Ancient Turkey, Editions Albert Morance, Paris, 1927.

Homespun Coverlet. Dated: c. 1940. Dimensions: overall: 25.1 x 34.9 cm (9 7/8 x 13 3/4 in.) Original IAD Object: 72" long; 60" wide. Medium: watercolor, pen and ink, and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Cornelius Christoffels.

Floral Tent Panel ca. 1635 In the lavish encampments used by Indian rulers when traveling, tents were lined with beautiful textiles. This panel, from the interior of a tent complex probably made for Raja Jai Singh l (r. 1611-67) of Amber, indicates the ambiance of such tent cities. The velvet panel has five compartments, each containing a poppy plant under an arch, with floral and leaf scrolls in the spandrels. The gold decoration was made by covering parts of the design with an adhesive substance, then placing gold leaf on top of the adhesive, beating it into the surface, and burnishing it. Listen to experts illuminate this artwork's story Listen Play or pause #907. Kids: Floral Tent Panel Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Floral Tent Panel 453054

'Ornament over doorway at the entrance, Court of the Lions', 1907. Interior decoration in the palace of the Alhambra, Granada, Spain, which mainly dates from the 14th century. Colour plate 3 from "The Alhambra: being a brief record of the Arabian conquest of the Peninsula with a particular account of the Mohammedan architecture and decoration" by Albert F. Calvert. John Lane, London & New York, 1907

Panel Made 1501-1550 Spain. Linen and silk, satin damask weave .

Decorated Paper, Bookpaper ("Dutch Gilt); Germany; ink, woodblock, stencil support: paper; 22.7 x 35.9 cm (8 15/16 x 14 1/8 in.)

Towel border. Culture: Russian. Dimensions: 12 x 15 in. (30.5 x 38.1 cm). Date: 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.Russian bed curtains and towels were not only used for decorative purposes, but also provided an impo

Ornamento delle belle & virtuose donne, page 9 (verso) 1554 Matteo Pagano Italian Published by Matteo Pagano, Italian, 1515-1588, Venice, bound by Lloyd, Wallis & Lloyd, British, active London after 1821. From top to bottom, and left to right:Design composed of 2 horizontal sections. Top section is narrow and is decorated with various shapes formed by patterns of black triangles. Bottom section almost covers entire grid and is decorated with a pattern of diamonds that contain different images, such as an interlace motif, flowers, and a vase.. Ornamento delle belle & virtuose donne, page 9 (verso) 359158

Fragment, Medium: silk Technique: cut voided supplementary warp pile (velvet) in a plain weave foundation with continuous supplementary weft, Panels with a coral ground and diaper pattern in extra white silk weft. Velvet design arranged in vertical broad bands of angular serpentine with large tulip blossoms and rosettes in coral and green, coral and yellow, coral and white, and coral and blue., Spain, 1800-1850, woven textiles, Fragment

Mosquée cathédrale de Qous : assemblage & détails des pièces du mimbar (XIIe. siècle) : 1. 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, Minbars, Decoration and ornament, Islamic, Woodwork , Egypt , Qûs

Panel, Medium: silk on silk, metallic thread Technique: embroidered on twill weave, Long, narrow shaped panel, probably from a skirt, that is narrower at the top and curved at the bottom. Cream-white twill weave with brocading in a small floral design. Embroidered in multicolored silks, metallic threads and paillettes. Narrow borders and festoons of flowers extend across the panel, each caught with a ribbon and tassels in metallic thread., France, 1775-1800, embroidery & stitching, Panel

Carpet with Repeating Tree Design. Dimensions: Textile: L. 209 in. (530.9 cm)W. 112 in. (289.6 cm). Date: probably late 17th-early 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Kain Sarong (Skirt). Indonesia, Java. Date: 1893. Dimensions: 182.7 x 102 cm (71 7/8 x 40 1/8 in.). Batik dyed. Origin: Java. Museum: The Chicago Art Institute, Chicago, USA.

Türkischer Teppich.. Prints. 1912. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection

Indian scarf end embroidered at Dacca on white muslin, created between 1851 and 1853 by Day & Son. Issued in London, the piece showcases decorative arts related to the Great Exhibition of 1851. The medium includes lithographs and chromolithographs

Panel. France. Date: 1820-1840. Dimensions: 214.3 x 81.3 cm (84 3/8 x 32 in.). Cotton, plain weave; block printed. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Sidewall; machine-printed; 58.5 x 49 cm (23 1/16 x 19 5/16 in.); 1973-42-38

Design for wallpaper featuring rampant lions and crowns 1830-97 Jules-Edmond-Charles Lachaise French. Design for wallpaper featuring rampant lions and crowns 384890

Panel Made 1895-1905 France. Silk, wild silk, and linen, satin weave with patterning wefts bound in twill interlacings; woven on loom with Jacquard attachment . René Beauclair (Designer)

Chintz panel, Medium: cotton Technique: mordants for reds and purples applied over resist by brush and pen; madder dyed; blue applied by brush over resist; yellow applied by brush; chintz on plain weave, Shaped cartouche pieced from a palampore. Background of red and white chintz. Green and white braid applied to outline the edges of the shape., India, 18th century, printed, dyed & painted textiles, Chintz panel

Decorated Bookbinding 1701-1800 Iran. Lacquer and paint on pasteboard with leather . Islamic

Sheet with a running circles pattern with rosettes 19th century Anonymous. Sheet with a running circles pattern with rosettes. Anonymous , Italian, 19th century. 19th century. Relief print (wood or metal). Prints

Tapestry. unknown, author

Needle's jabot consisting of two slips, anonymous, c. 1700 Jabot of natural -colored needle side: Venetian relief side. The pattern consists of curling tendrils with leaves and flowers. The motives are made with feston stitches with recesses and they are equipped with relief contours. Extra relief is made with cordons. Three sides of each slip are equipped with a narrow border with finer praise. The motifs are connected by a soil of bars with (rader) picots. Europe linen (material) Venetian raised work Jabot of natural -colored needle side: Venetian relief side. The pattern consists of curling tendrils with leaves and flowers. The motives are made with feston stitches with recesses and they are equipped with relief contours. Extra relief is made with cordons. Three sides of each slip are equipped with a narrow border with finer praise. The motifs are connected by a soil of bars with (rader) picots. Europe linen (material) Venetian raised work

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

Design for Wallpaper with Alternating Vertical Rows of Pairs of Ornamental Frames of Two Sizes Framed by Interlacing Garlands of Laurel Leaves Tied by a Bow 1870-1900 () Anonymous, French, 19th century Rectangular sheet of paper with a design for a wallpaper from the second half of the nineteenth century, inspired on the style of Louis XVI, forming part of the Neo-Classical Revival that took place in France and Britain from the 1850s on. The style was part of the Classical and Renaissance Revival that took place from about 1850, where the interest on the art and architecture from Ancient Rome and the 15th and 16th centuries was propelled by archaeological discoveries in Greece, Italy and Egypt. Through this style, Classical and Renaissance pieces of art and design were reinterpreted in a variety of forms and motifs, and classical figures, scrolling decorations, strapwork, and grotesques and moresques, became central element in design. This Revival was characterized by the use of desig

Ikat panel, 19th century, 32 5/8 x 15 5/16 in. (82.87 x 38.89 cm), Velvet, silk pile on cotton ikat, Iran, 19th century

Panel (Italy); L x W: 73 × 51 cm (28 3/4 × 20 1/16 in.)

Long cushion cover. Culture: British. Dimensions: Overall: 20 7/8 × 34 1/2 in. (53 × 87.6 cm). Date: ca. 1600.This is one of the most popular Elizabethan embroidery designs; it appears in numerous variations on caps, bodices, skirts and cushions. The motifs were derived from pattern books, herbals, and samplers. Museum: Metropolitan Museum of Art, New York, USA.

Tapestry; Ok. PO. 18th century (1750-00-00-1760-00-00);embroidery, tapestries, purchase (provenance)

Baan Zijddamast with a design of lanes with leaf work, connected hexagons filled with flowers, lobed rectangle filled with birds and dragons and the like, c. 1900 - c. 1920 Baan ZijddaMast with a relatively large design of lanes with leaf work, two connected hexagons filled with flowers, lobed crechhoek filled with birds and dragons, leaves, upright leaf vines, squares filled with connected obschoks and a (lotus) flower, a sixpas filled with a flower And a hexagon, in turn filled with a bird, up rising leaf vines. All this in pink, green, red, blue, white, silver gray, purple and écru on an orange stock. Eastern textile. Japan silk damask Baan ZijddaMast with a relatively large design of lanes with leaf work, two connected hexagons filled with flowers, lobed crechhoek filled with birds and dragons, leaves, upright leaf vines, squares filled with connected obschoks and a (lotus) flower, a sixpas filled with a flower And a hexagon, in turn filled with a bird, up rising leaf vines. All th

Bed curtain border early 19th century Russian 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

Ceiling Paper (USA); Manufactured by Maxwell & Co., S.A. (United States); machine-printed paper, liquid mica; 94.5 x 49.5 cm (37 3/16 x 19 1/2 in.)

Fragment of Persian fabric unknown

Textile late 18th-early 19th century Thailand. Textile 128213

Bookpaper ('Dutch Gilt), Ink, woodblock, stencil Support: paper, Pattern of curvilinear botanical motifs in light green, dark green, purple, and mustard inks; traces of stenciled gold; paper has been embossed by woodblock and/or stencil processes., Germany, 1700-1750, ephemera, Decorated paper, Decorated paper

Textile Design with Alternating Palmettes Decorated with Pearls Flanked by Bundles of Leaves 1840 Anonymous, Alsatian, 19th century Rectangular sheet of paper with a textile design from a group, dated 1840, made in Mulhouse, Alsace, which was an important nineteenth-century center for textile production in the Haut-Rhin region of France. The design consists of alternating palmettes rendered with stipples of dark reddish-brown color over a tan base flanked by a bundle of eight branches with leaves of light tan color, all over a dark reddish-brown base. The palmette is decorated with an inverted tear-shaped pearl flanked by three strips of pearls; all the pearls are colored with white. Only one full motif can be seen in the sheet, with only fragments of the repeats seen in the continuation of the pattern around this central palmette.. Textile Design with Alternating Palmettes Decorated with Pearls Flanked by Bundles of Leaves. Anonymous, Alsatian, 19th century. 1840. Gouache

Frieze (USA); machine-printed paper; 205 x 50 cm (80 11/16 x 19 11/16 in.)

Panel Made 1801-1900 Uzbekistan. linen embroidered with multicolor silk .

Margery Parish, Colcha, c 1937 Colcha

Oak. Designed by William Morris (English, 1834-1896); Sold by Morris & Company, 1875-1940; Possibly woven by J.O. Nicholson (English, 19th century); England, Cheshire, Macclesfield. Date: 1881. Dimensions: 124.6 × 92.7 cm (49 × 36 1/2 in.)Repeat: 80.7 × 52.6 cm (31 3/4 × 20 3/4 in.). Silk; damask weave. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Frieze, Liberty Wall Paper Company, Schuylerville, New York, Machine-printed paper, liquid mica, Large floral medalions enclose foliate medalions and connected by floral swags. Smaller floral swags are suspended from bouquets and run across the top. They connect to smaller foliate medalions which alternate with larger medalions. Metalic gold stipes of beads run across the middle of paper. A gold and green stripe on bottom. Modeled background. Printed in green, gold and yellow., Schuylerville, New York, USA, 1905-1915, Wallcoverings, Frieze

Textile, Country scenes; France; cotton; Warp: 106cm (41 3/4in.) Weft: 73 cm (23 3/4in.) (Edges cut.) Height of repeat : 47 cm; Bequest of Elinor Merrell; 1995-50-186

Paper Fire Grate Cover. Dated: c. 1937. Dimensions: overall: 22.8 x 30.3 cm (9 x 11 15/16 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Vincent P. Rosel.

Textile (China); silk

Leaf with tibaries with flowers and fruits, Johann Wilhelm Meyer, 1740 - 1780 brocade paper Leaf with tibaries with flowers and fruits. With label with inscription: 'H.G. Brantsen / De Jure ... Geldria '. Half of a cover. Augsburg paper. paint (coating) relief printing ornament derived from plant forms

Carpet with Fame and Fortitude Manufactory Savonnerie Manufactory after designs by Charles Le Brun French after designs by Louis Le Vau French 1668-85 In his A New Description of Paris, of 1687, Germain Brice (1652-1727) mentioned work in progress on a great Footcloath in the manner of Turky-work,.. in a place built on purpose at the end of the Cours de la Reine, commonly called the Savonnerie, which is to be the full length of the great Gallery of the Louvre, but is not yet finisht. Brice referred here to a set of ninety-three carpets, of different but related designs, that was being created for the Grande Galerie of the Palais du Louvre in Paris. The Savonnerie manufactory, which received a monopoly from Louis XIII in 1627 to make knotted-pile rugs in the manner of the Levant, experienced its most creative period under Louis XIV, when the workshops were placed under the direction of the kings First Painter, Charles Le Brun. The project to cover with carpets the entire floor of the lo

Border Made 1575-1625 Spain. Linen, plain weave; pulled thread work embroidered with silk back, running and two-sided Italian cross stitches; edged with darning stitches .

Sheet with two borders with draped curtains and floral garlands late 18th-mid-19th century Anonymous. Sheet with two borders with draped curtains and floral garlands. Anonymous , Italian, late 18th-mid 19th century. late 18th-mid-19th century. Relief print (wood or metal). Prints

Renaissance art: bindings and Venetian marquetry. Book binding with oval oil-painting (r), book binding with inside border (l), and marquetry from a 16th-century harpsichord, Cluny Museum. Hand-finished chromolithograph by Lemoine from Albert-Charles-Auguste Racinets LOrnement Polychrome, (Polychromatic Ornament), Firmin-Didot, Paris, 1869-73.

Middle Ages: illuminated manuscript. Decorations with animals, flowers, figures, and birds from an Italian manuscript attributed to Simone Memmi, 14th century, and painted margins and initials from a Suetonius and Justinian manuscripts, 15th century 17-20. Moyen Age. Hand-finished chromolithograph by Daumont from Albert-Charles-Auguste Racinets LOrnement Polychrome, (Polychromatic Ornament), Firmin-Didot, Paris, 1869-73.

Textile Length. Italy, Florence, last quarter of the 17th century. Textiles; panels. Silk and wool satin with silk satin appliqué and silk-cord embroidery, painted

Sit Serie, 1800 - 1900 book Brown cover with leaf motif; 6 sheets with 12 prints on which images of copulating couple; Save in blue cassette with pink spider web motif. paper. color woodcut

Drawing, Wallpaper Design; Austria; brush and gouache, graphite on white paper; 32.6 x 24.3 cm (12 13/16 x 9 9/16 in.)

The Wolf and the Lamb (La Fontaine fable) early 19th century Designed by Jean-Baptiste Huet I French. The Wolf and the Lamb (La Fontaine fable) 229867

Fragment Italian, Venice 17th century

Ceremonial Hanging. India, Gujarat. Date: 1675-1725. Dimensions: 323.5 x 105.4 cm (127 3/8 x 41 1/2 in.). Cotton, plain weave; mordant dyed; hand-painted. Origin: India. Museum: The Chicago Art Institute, Chicago, USA.

Bedspread. Dated: 1935/1942. Dimensions: overall: 30.3 x 22.9 cm (11 15/16 x 9 in.). Medium: gouache and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Millia Davenport.

Moresque from the Alhambra No 3 Plate XLI From The Grammar of Ornament by Owen Jones published by Day & Son London 1865

Panel Made 1860-1880 Lyon. Silk and cotton, satin weave, cut and uncut voided velvet . Mathevon et Bouvard (Producer)

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

Coverlet. Dated: c. 1940. Dimensions: overall: 35.7 x 26.3 cm (14 1/16 x 10 3/8 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Cornelius Christoffels.

Indian art: flora and running ornaments Embroidered fabric 1, borders and grounds from manuscripts 2-23, cloisonnes 24,25, embroidery 26,27 and engravings in niello 28-31. Indien. Hand-finished chromolithograph by F. Durin from Albert-Charles-Auguste Racinets LOrnement Polychrome, (Polychromatic Ornament), Firmin-Didot, Paris, 1869-73.

Two sheets with a job pattern in stars and zigzag lines, Anonymous, 1750 - 1900 Two sheets with vertical job pattern in stars and zigzag lines. With label with inscription: 'J.C.F. Neister ... Pagatore. ' Two separate halves of a cover. paper. block printing (relief printing process) ornament ~ geometric motifs

Medieval ornament

Applique Quilt. Dated: 1935/1942. Dimensions: overall: 45.8 x 38.3 cm (18 1/16 x 15 1/16 in.) Original IAD Object: 113" square. Medium: watercolor, graphite, and pen and ink on paper. Museum: National Gallery of Art, Washington DC. Author: Mary Berner.

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