Textile Fragments and Artifacts

A variety of textile pieces and artifacts showcasing intricate patterns and historical significance. Includes woven silk fragments and engraved surfaces, highlighting craftsmanship.

Recto: View of buildings from lifting si over them Spirit; Verso: A fragment of the composition with human figures holding shields with subtitles; Pczycki, Stanis Aw (Ca 1769-1844); after 1806 (recto); after 1700 (Verso) (1701-00-00-1840-00-00);

Fragment Made 1367-1400 Italy. Silk, warp-float faced 2 1 twill weave with plain interlacings of secondary binding warps and supplementary patterning wefts .

Recto: View of buildings from lifting si over them Spirit; Verso: A fragment of the composition with human figures holding shields with subtitles; Pczycki, Stanis Aw (Ca 1769-1844); after 1806 (recto); after 1700 (Verso) (1701-00-00-1840-00-00);

Częstochowa. Treasury of the monastery in Jasna Góra - a fragment of the Peteksta Kapa from the 18th century; Trzciński, Stanisław (1867-1939); around 1896 (1890-00-00-1900-00-00);

Fragment, 1800s. China, 19th century. Silk; overall: 69.9 x 92.7 cm (27 1/2 x 36 1/2 in.).

Textile; silk; Warp x Weft: 224 x 51 cm (7 ft. 4 3/16 in. x 20 1/16 in.); Bequest of Elinor Merrell; 1995-50-346

Leaf with putti between leaf vines, anonymous, c. 1650 - c. 1850 brocade paper Leaf with putti or angels between leaf vines. Italy (possibly) paper. paint (coating) relief printing anthropomorphic ornament. ornament derived from plant forms. cupids: 'amores', 'amoretti', 'putti'

Template with two branches, Anonymous, 1800 - 1909 Japanese template (Katagami) with a pattern of two branches against a uniform background of vertical lines. Japan paper. silk. tracing paper cutting foliage, tendrils, branches ~ ornament

Fragment, Medium: silk Technique: two integrated fabric structures, 2/1 twill and plain weave, Affronted hounds between stylized leaves in olive green and tan., Italy, 14th century, woven textiles, Fragment

Tableau with three poets: Szymon Szymonowice, Szymon Zimorowice and Jan Gawi Ligber, Jan (-Ante 1814); 1805 (1805-00-00-1805-00-00);

Beauties from the Yoshiwara; Yoshiwara Bijin Awase. Part four (of five); Green cover with pattern of autumnal leaves; Twelve sheets, numbered 49-60; First page, tree with falling leaves, with drowned; Next pages, Courtisanes in various activities, each with randofed about moon and cuckoo.

Genealogical tree of the Krasi family, part left unknown, Krasi ski, Wincenty (1783-1858); 1848 (1848-00-00-1848-00-00);

Fragment; silk, metallics

Stencil 19th century Japan. Stencil. Japan. 19th century. Paper. Edo period (1615-1868). Stencils

Stencil 19th century Japan. Stencil 70670

Textile fragment, Anonymous, 1781 - 1789 Textile fragment, pressure from, among other things, Treurwilg on green crepe background. Japan silk Textile fragment, pressure from, among other things, Treurwilg on green crepe background. Japan silk

Textile fragment, Shibori zome on silk. .

Stencil 19th century Japan. Stencil 70136

Lace. Dated: c. 1936. Dimensions: overall: 34 x 24.7 cm (13 3/8 x 9 3/4 in.) Original IAD Object: 3 1/2" wide. Medium: watercolor, graphite, and gouache on paper. Museum: National Gallery of Art, Washington DC. Author: Gordena Jackson.

Textile, Medium: silk, metal Technique: appliqué and couching on velvet, Green panel of green velvet applique and olive green couching in formal curving vine design on a green background. Border of green velvet, trimmed with gold fringe. Lined in green silk., 17th century, embroidery & stitching, Textile

Textile, Medium: linen on linen Technique: satin, surface, buttonhole, drawn and other embroidery stitches on plain weave, Strip of white linen embroidered in white linen in design of conventionalized flowers and leaves with scrolls., Germany, 18th century, embroidery & stitching, Textile

The Pure Whiteness of Winter dated 1441 Xu Jing Chinese Flowering through snow and cold, plum blossoms are popular symbols of court beauties and of reclusion; as such, they embody romance, tears, lost loves, and the eternal return of springtime. Xu Jing entitled his painting The Pure Whiteness of Winter, partaking of a tradition of imagery in poetry and painting that goes back one thousand years.. The Pure Whiteness of Winter 45671

Shijo Paintings, Anonymous, 1850 - 1900 album Leporello book: Gray -green brokat Cover with leaf vendor motif; At the top left blank title strip; 21 sheets with 20 paintings in Shijo style of landscapes, plants and animals. Japan paper. cardboard. kaft: brocade (textile) drawing

Panel (Two Lengths Joined). Italy, Florence or Venice. Date: 1400-1425. Dimensions: 210.4 × 122.5 cm (82 7/8 × 48 1/4 in.)Repeat: 88.1 × 32.6 cm (34 3/4 × 12 3/4 in.). Silk, satin damask weave. Origin: Florence. Museum: The Chicago Art Institute, Chicago, USA.

Fragment (Japan)

Drawing, Design for an Embroidered or Woven Border of the "Fabrique de St. Ruf"; Designed by Fabrique de Saint Ruf; France; brush and white gouache on glazed tracing paper; 13.1 × 4.6 cm (5 3/16 × 1 13/16 in.)

Five strips of 18th-century side produced in Valencia, from the collection of the Kunstwerbemuseum in Dresden, Germany, 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

Weddings Now Are All the Go (valentine). Thomas Wood; English, 19th century. Date: 1855-1860. Dimensions: 124 × 83 mm (folded sheet). Collaged elements on cut and embossed (designed) ivory wove paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Stencil 19th century Japan. Stencil. Japan. 19th century. Paper. Stencils

Sidewall, Block-printed on handmade paper, A diamond trellis or plaid design, with floral rosettes at the intersection of the finer lines. (a) is very abraded with almost no pigment (other than white) remaining. Printed in white, black and green on a gray ground., France, ca. 1800, Wallcoverings, Sidewall

Panel. Designed by Anna Maria Garthwaite (English, 1690-1763); England, Spitalfields. Date: 1752. Dimensions: 111.8 x 56.65 cm (44 x 22 1/4 in.)Repeat: 18.1 x 25.1 cm (7 1/8 x 9 7/8 in.). Silk, plain weave with supplementary patterning warps. Origin: Spitalfields. Museum: The Chicago Art Institute, Chicago, USA.

Print, Eight Frame Designs; France; etching on laid paper

Floral field and border, White on glazed paper, France, 1780-1815, textile designs, Drawing, Drawing

Damask with Cloud Palmettes and Chinese Characters. Culture: China. Dimensions: Overall: 11 x 8 1/2 in. (27.9 x 21.6 cm)Mount: 15 x 12 1/2 x 1 1/2 in. (38.1 x 31.7 x 3.8 cm). Date: 14th century.Trade or diplomacy must have played a role in the life of textiles such as this example (now darkened but originally blue), which, according to records, was found in Egypt. The palmette pattern originated in Central Asia and the eastern Iranian world. Here, it also features a Chinese cloud border and flawlessly rendered versions of the Chinese character for longevity (shou) in the center of and atop each one. Longevity damasks like this piece must have been present in other regions, too, as they probably inspired the designs of some of the rare surviving late thirteenth- to early fourteenth-century carpets of Konya, Turkey. Museum: Metropolitan Museum of Art, New York, USA.

Fragment (Dress Fabric) Made 1600-1650 Iran. silk .

Free Hand Wall Decoration. Dated: 1935/1942. Dimensions: overall: 39.3 x 50.8 cm (15 1/2 x 20 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Alvin M. Gully.

Tahiti,1891. Artist: John La Farge, American, 1835-1910, M.A. (HON.) 1896

The Gentleman and Cabinet-Maker's Director, 1762. Thomas Chippendale (British, 1718-1779), T. Becket & P. A. de Hondt (British). Paper, leather; 47.9 x 30.5 x 6 cm (18 7/8 x 12 x 2 3/8 in.). Through his designs for furniture and architectural elements, Thomas Chippendale became one of the most influential tastemakers of the 1700s. He published three editions of The Gentleman and Cabinet-Makers Director (1754, 1755, and 1762), which sold widely in Britain, Ireland, and America. This rare French version of the third edition demonstrates his effort to spread his designs for both naturalistic and neoclassical decoration even wider across Europe.

Barking Dog. Łopieński, Ignacy (1865-1941), graphic artist

Fragment (Japan)

Strip application side with emperors crown and iris. Strook natural-colored application side: coniferous lace - Brussels gauze side - applicated on machine tulle. There are two edges at the bottom. The inner and widest consists of a running, flat S-rank, which is overcured by a stalk facing right with a stand-in emperor crown, two hanging irises and two hyacinthen. The outer, ornamental edge consists of palms, under pointed arches, interspersed with a standing twig. The outside is right ended by an eye list. A scattering pattern of hanging bells flowers fills the machining toel above the edges.

Sidewall (USA); machine-printed paper; 28 x 25 cm (11 x 9 13/16 in.)

Stencil 19th century Japan. Stencil 69418

Brocade with Swan Hunt, 1115-1234. China, Jin dynasty (1115-1234). Tabby, brocaded; silk and gold thread; overall: 56.6 x 58.4 cm (22 5/16 x 23 in.).

Design for book binding for Orange commemorative book. Draughtsman: Carel Adolph Lion Cachet. Dating: 1874 - 1945. Measurements: h 288 mm × w 215 mm. Museum: Rijksmuseum, Amsterdam.

Stencil 19th century Japan. Stencil 69253

Embroidery on linen, 19th century, 17 x 42 in. (43.2 x 106.7 cm), silk embroidery on linen, Morocco, 19th century

Four pieces of German side from around 1770, from the collection of the Kunstwerbemuseum in Dresden, Germany, 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

Stencil early 19th century Japan. Stencil 69138

ENCUADERNACION SIGLO XVII - CUERO SOBRE TABL. Location: CATEDRAL BIBLIOTECA. SEGOVIA. SPAIN.

Stencil with Plum Blossoms 19th century Japan. Stencil with Plum Blossoms. Japan. 19th century. Paper reinforced with silk. Stencils

CDK Wyspiały, Stanis Aw (1869 1907)

Keyblock for 'Buddhism Outlook on the World', 1860, Utagawa Sadahide, Japanese, 1807 - 1873, 15 7/16 x 10 5/8 x 1/2 in. (39.21 x 26.99 x 1.27 cm), Wood, Japan, 19th century

Pencil and watercolor study by Carl von Hasenauer of frieze decoration with kymation, anthemion, and pearl rod after the Erechtheion frieze in Athens, with white highlights, 1853.

Silk Squares on Linen 6th-9th century Egyptian A charming example of a silk textile sewn on linen, these two purple square panels, made with a compound weave, would have been applied to a tunic.. Silk Squares on Linen. Egyptian. 6th-9th century. Silk on linen. Made in perhaps Panopolis (Akmium), Egypt. Textiles-Woven

Stencil 19th century Japan. Stencil 70684

Kołtryna, fragmenty tapety papierowej z koscioła w Białyninie. unknown, graphic artist

Sidewall (Belgium), ca. 1700; leather, stamped, silvered, painted

Fragment, Medium: silk Technique: embroidered on satin, Fragment of the outer border with flowers, vines and ribbons., China, 18th century, embroidery & stitching, Fragment

Fragment, Medium: silk, metal wrapped silk thread Technique: satin weave with supplementary weft, Pink ground with satin weave outlining the brocaded design. Very incomplete design of horizontal rows of floral motifs and small birds in red silk and silver and gold thread., Italy, early 18th century, woven textiles, Fragment

View of Interior for Paris Exhibition 1925, with Rugs. Artist: Erik Gunnar Asplund (Swedish, Stockholm 1885-1940 Stockholm). Dimensions: Image: 3 3/4 x 5 13/16 in. (9.6 x 14.7 cm)Sheet: 13 3/4 x 13 3/4 in. (34.9 x 34.9 cm). Date: 1824. Museum: Metropolitan Museum of Art, New York, USA.

Unfinished Mantle Made 100 BCE-200 CE Peru. Wool (camelid), plain weave; embroidered in overcast and stem stitches; edged with cross-knit loop stitches. . Paracas

Sidewall (France); block-printed on handmade paper; 101 x 51.5 cm (39 3/4 x 20 1/4 in.)

Fragment of a Caftan, before 1982. Iraq or Iran, in the style of the Buyid period (945-1055). Silk: lampas weave; overall: 141.5 x 156.5 cm (55 11/16 x 61 5/8 in.).

Frisian with two children between leaf ranks, Heinrich Aldegrever, 1549 print Frisian with leaf vines. In the middle there is a naked boy who holds the tibs, a second naked boy on the left. Germany paper engraving foliage, tendrils, branches ~ ornament. child

Auda (Aube Epine); around 1800 (1790-00-00-1830-00-00);

Stencil 19th century Japan. Stencil 69369

Practice picture, 1799 copper (metal) engraving

A punishment, c. 1924 - c. 1932 copper (metal) etching

Wooden stick depicting a network of cubes transitioning from one blunt form to another, created after 1538, with geometric lines and vertices.

Deraisme, Pierre -Georges (n.1859 - D.1932), comb Arabesques (main title), 1900. Graphite and Gouache on transparent vellum. Petit Palais, Museum of Fine Arts of the City of Paris.

Peonies and Ropes, Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire), Also known as the 'King of Flowers,' the peony (botan) is a symbol of good fortune, bravery, and honor in Japan. Amongst the variety of peonies, ropes are mingling in the background. Silk threads are added to support the stencil structure., Japan, mid 18th - early 19th century, textile designs, Katagami, Katagami

Jean-Charles Worth (1881-1962) and Jean Dunand (1877-1942). "Textile sample". Lamé Gold Brown Gray Silk satin around 1925. Galliera, fashion museum of the city of Paris. 76181-13 Textile sample, brown gray, gold blade, silk satin

Fragment, Bannister Hall Printworks, Richard Ovey, English, active 1790-1831, Medium: cotton Technique: block printed on plain weave; three blue warp threads in each selvage, Printed fragment with a wide border of Chinoiserie motifs and in an allover pattern of pagodas, birds on a tree and vase with flowers. Printed in red on a yellow ground., England, 1804-06, printed, dyed & painted textiles, Fragment

Bible illustrations, c. 1550 - c. 1699 wood (plant material)

Three performances, 1809 - 1869 wood (plant material)

Linnamast napkin with a historical scene ,, 1710 White Linnamasten Napkin with the conquest of cities in the Southern Netherlands. Running edges with flower branches. Installings from the bottom to top Bethune, Douay, Dermond, Mons, St Venan, Air, Victoria Flanders (Possible) linen (material) damask White Linnamasten Napkin with the conquest of cities in the Southern Netherlands. Running edges with flower branches. Installings from the bottom to top Bethune, Douay, Dermond, Mons, St Venan, Air, Victoria Flanders (Possible) linen (material) damask

Composition with winged nymph blowing reeds 1867; by Alexandre de Riquer (Calaf, 1856 - Palma de Mallorca, 1920) Tempera on canvas

Napkin with the plus oultre pattern, anonymous, 1612 Linnamast napkin with the plus Oultre pattern. Midfield: Emperor Charles V with Kroon and with the Rijkszwaard for itself; Under the sword the Rijksappel; Above the emperor a spell band with inscription Carolus; Under the image the crowned columns of Hercules, standing in the water, and enclosed by a text band with inscription: Plus Oultre. Aside a double row of weapons of Dutch regions with the name of the region in Gothic tiny: Zutphen, St Empire, Zeelant, Namur. Above the latter two weapons the year 1612 and a large crowned shield with the weapon of Habsburg. Above that again a double row of provinces: Haynault, Hollade, Flandres, Artois, Luxebourg, Gueldre, Brabande, Limbourg. In the middle, in addition, the weapon of Austria covered by a crowned helmet with lambrequins and hanging with the chain of the Order of the Golden Fleece; Below that the flint, fires and flaming branches. Subsequently, about the full width of the report t

Frieze of a Mural for the Rosewell P. Flower Memorial Library, Watertown, New York, Printed on sensitized paper, Frieze showing classical procession of five female figues half nude, piping man and winged child riding on one of pair of lions drawing chariot., USA, 1904, ornament, Photograph, Photograph

Sidewall - Fragment (USA); machine-printed on machine-made paper; 53 x 32.5 cm (20 7/8 x 12 13/16 in.)

Code Civil, Paris edition, 1810

Figures in a prauw with a net full of luggage in Accra, 1906 - 1945 zinc etching

Fragment (Japan)

PORTADA DACI D'ALLA, nº 11, 10 de noviembre de 1918, siglo XX. Colección privada.

Gypsum Model for a vault Decoration of the Louvre Pierre Edouard Charrier. Share of meeting of the Tuileries at the Louvre 1852-1857, album 3.

Napkin with a hunting scene, anonymous, c. 1550 - c. 1599 Linnamast napkin with a hunting scene. Midfield: Rider at the top left with a hand arch shooting at Hert; On the far left: Boom in which bear; At the top right: house for which water with two swans and to the right a house for which a bridge on which running hunter with lans and three dogs; The far right limit by half tree. The scene is bordered on the bottom by a braided toes hedge, for which a deer was attacked by two dogs; On the far left an archer behind a tree, his handboogs focusing on the deer; On the far right a hunter with hunting horn and spear. Below a falling deer and a felled four -legged friend and five dogs; On the far left a standing figure with a spear focused on a deer; On the far right a rider and a standing figure, both with a spear -oriented spear. Geometric (weaving stitches) Pattern on the back of one of the dogs. At the top wide edge of rush -hour filled filled with flower arrangements including five -poi

Fragment of embroidery unknown

Fragments, Medium: cotton Technique: printed by engraved copper plate on plain weave, Nine fragments of a chinoiserie design with people, buildings with bells, rocks and bridges. All of the fragments together do not give a full unit of the pattern. In blue on white., Jouy, France, ca. 1775, printed, dyed & painted textiles, Fragments

st, Freyung - Palais Kinsky - Architecture Details - Stucco ceiling, Josef Wlha -, photographer

Design for the decoration of a ceiling with strapwork and rinceaux 1830-97 Jules-Edmond-Charles Lachaise French. Design for the decoration of a ceiling with strapwork and rinceaux 384951

Border (France); block-printed and flocked on handmade paper; 71 x 12.5 cm (27 15/16 x 4 15/16 in.)

Tile with fish and lotus flowers in a canal ca. 1279-1213 B.C. New Kingdom, Ramesside This tile once decorated the palace of Ramesses II in Piramesse, which he made into one of the greatest royal cities of ancient Egypt. Thanks to the royal favor and its strategic location, Piramesse soon became an important international trade center and a cosmopolitan metropolis, boasting a harbor, a military base, and temples dedicated to various gods like Amun-Re-Harakhty-Atum, Seth, Astarte, etc. Poems were written in the city's praise, and its name, which translates as "The House of Ramesses, Beloved of Amun, Great of Victories" when fully written, came to us through the Old Testament as Raamses.’ The tiles bear the names of Seti I, Ramesses II and later Ramesside kings, who renovated the palace and changed its decoration through the reigns. New tiles were made, and the old tiles may be have been dismantled and buried together. Based on the tiles, we can still reconstruct quite a number of the f

Tomb Tile. China, Han dynasty, 206 B.C.- A.D. 220. Architecture; Architectural Elements. Gray slab built earthenware with stamped decoration

Ise-katagami stencil, komon; pattern of stylized sparrow figures. warsztat Osugi, author

Stencil 19th century Japan. Stencil 69373

Tile from the walls of Throne Room in Palace of Ramesses II ca. 1279-1213 B.C. New Kingdom, Ramesside This tile once decorated the palace of Ramesses II in Piramesse, which he made into one of the greatest royal cities of ancient Egypt. Thanks to the royal favor and its strategic location, Piramesse soon became an important international trade center and a cosmopolitan metropolis, boasting a harbor, a military base, and temples dedicated to various gods like Amun-Re-Harakhty-Atum, Seth, Astarte, etc. Poems were written in the city's praise, and its name, which translates as "The House of Ramesses, Beloved of Amun, Great of Victories" when fully written, came to us through the Old Testament as Raamses.’ The tiles bear the names of Seti I, Ramesses II and later Ramesside kings, who renovated the palace and changed its decoration through the reigns. New tiles were made, and the old tiles may be have been dismantled and buried together. Based on the tiles, we can still reconstruct quite a

Tile of purple pilaster with tree trunk with curled twigs, leaves, bunches of grapes and surrounded by butterflies, bird, tile pilaster footage fragment ceramic earthenware glaze, baked 2x glazed painted Four adjoining tiles of tile pilaster originally originally one wide.

Sidewall - fragment, Block-printed, Irregular fragment of empire border with drapery swags in cream, brown, and rust with black sprigs and bands superimposed. Printed in black, rust, light brown and off-white., USA, ca. 1805, Wallcoverings, Sidewall - fragment

Fragment late 16th century Italian, Venice. Fragment 230037

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