Textile Fragments & Patterns

Historic textile fragments featuring ornate patterns and designs, showcasing a blend of cultural influences from Islamic to European textiles across centuries.

Textile, Medium: linen warp, cotton weft Technique: block printed on twill weave, Incomplete pattern of banded ogives with central cone and scrolls, with a cherub head in an architectural detail at top of each. Printed in fine black line on natural-colored linen., Catalonia, Spain, late 15th-early 16th century, printed, dyed & painted textiles, Textile

Fragment Made 1301-1500 Granada. Silk and gilt-animal-substrate-wrapped silk, satin weave with plain interlacings of secondary binding warps and patterning wefts . Islamic

Ornamental edge with custodians with animals, Bernard Willem Wierink, c. 1910 print paper armorial bearing, heraldry. fable of Reynard the Fox

Panel (Spain); silk, metallic threads

Fragment. Turkey. Date: 1575-1600. Dimensions: 65.6 x 21.1 cm (25 3/4 x 8 3/8 in.). Silk; lampas technique. Origin: Turkey. Museum: The Chicago Art Institute, Chicago, USA.

Fragment. Dimensions: Textile: H. 15 7/8 in. (40.3 cm)W. 8 1/2 in. (21.6 cm). Date: 15th century.This rectangular silk textile fragment displays a repetitive pattern of small flowers and plants in green, yellow, white, and blue in offset rows on a red ground. From the base of each plant spring small leaves and stems. Above each base, a lotus-like yellow flower with green buds and leaves rises from a palmette. Confronted long-necked birds with raised wings flank the stock.This textile fragment is ornamented with a pattern of confronting long-necked birds perched on flower stalks, facing a taller central lotus. This imagery suggests the principle of the tree of life. At the bottom of the trees, date clusters spring from both sides at the base of the three lotus stalks, suggesting fertility and abundance. Museum: Metropolitan Museum of Art, New York, USA.

Fragment, Medium: silk, metallic yarns Technique: compound twill weave with discontinuous supplementary weft patterning (brocade), Fragment of woven silk with a repeating pattern of a bird perched on a branch of roses arising from a mound. In pale blue, green, and pink silks on a silver metallic ground., Persia, present-day Iran or India, 17th century, woven textiles, Fragment

Fragment 15th-16th century Italian. Fragment 230331

Sutra Cover. Culture: China. Dimensions: 14 x 5 1/2 in. (35.56 x 13.97 cm). Date: 17th century or earlier. Museum: Metropolitan Museum of Art, New York, USA.

Textile, Medium: linen warp, cotton weft Technique: block printed on twill weave, Incomplete pattern of banded ogives with central cone and scrolls, with a cherub head in an architectural detail at top of each. Printed in fine black line on natural-colored linen., Catalonia, Spain, late 15th-early 16th century, printed, dyed & painted textiles, Textile

Fragment, Medium: silk, metallic thread Technique: cut supplementary warp pile (velvet) in a woven foundation, Small fragment in cut velvet of a reclining figure under an arch of small flowers. Ground has silver metallic thread., France, late 18th century, woven textiles, Fragment

Sampler, Medium: silk embroidery on cotton foundation Technique: embroidered in cross, back, buttonhole, four-sided, satin, and running stitches on plain weave foundation, Band of pattern, some with figures. Double-headed eagle, hand of Fatima, camels, deer, bulls, and birds., Spain, mid-19th century, embroidery & stitching, Sampler

Sidewall, Block-printed on joined sheets, Diaper pattern with repeating scene of couple dancing. Diaper framework composed of strung beads resembling vertebrae. Separating the scenes are a pair of feathers in the shape of hearts. Printed in varnished green, mauve, black and white on pale yellow ground. Two pieces of original document for Dinard, couple dancing, France, c. 1780, France, ca. 1780, Wallcoverings, Sidewall

Sampler, Susana Pratt, English, Medium: silk and metal-wrapped silk embroidery on linen foundation Technique: embroidered in satin, double running, stem, montenegrin, cross, chain, eyelet, interlacing, and detached looping stitches on plain weave foundation, Horizontal bands of pattern followed by signature and text 'Fear god and keep his commandments for that is the whole duty of man.', England, 1658, embroidery & stitching, Sampler

Sheet with overall floral pattern on green background late 18th-mid-19th century Anonymous. Sheet with overall floral pattern on green background. Anonymous , Italian, late 18th-mid 19th century. late 18th-mid-19th century. Relief print (wood or metal). Prints

Velvet Fragment with Bird and Flower Design. Dimensions: Textile: H. 21 7/16 in. (54.5 cm) W. 13 3/8 in. (33.9 cm)Mount: H. 26 1/2 in. (67.3 cm) W. 18 in. (45.7 cm) D. 1 in. (2.5 cm). Date: second half 16th century.Among the finest examples of silk velvet in the collection, this fragment is one of a small group of surviving textiles sharing a similar weave structure. While much of this piece appears today as beige, originally the colorful and intricate design floated against a shimmering surface of gold, the background completely covered with flat gilded metal threads, some of which are still visible. Such fabrics were referred to as "gold velvet" by European visitors to the Safavid court. With its finely drawn design, multihued palette, and lavish threads, this textile was one of the most luxurious produced in its day. Museum: Metropolitan Museum of Art, New York, USA.

New Künstlichs Modelbuch (Page 27 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.

Textile and Clothing. Hispano-Arabic. Tissue of green eagles. Pallia type Rotata. 11th-12th century. From Cathedral of Barcelona. Episcopal Museum of Vic. Catalonia. Spain.

Fragment (Egypt); linen warp, wool and linen weft

Sidewall and border, Machine-printed paper, Anglo-Japanesque sidewall and border: a) Sidewall, center motif of terrace with peacock; surrounding it, Japanese decorative motifs. Original gray ground washed off, leaving wrinkled yellow paper as ground; b) border, portrait medallion and urns between border, on yellow ground., USA, ca. 1885, Wallcoverings, Sidewall and border

Kaftan. Dimensions: Back piece: H. 54 in. (137.2 cm) W. 27 3/16 in. (69 cm)Front piece: H. 56 1/4 in. (142.9 cm) W. 26 in. (66 cm)Mount (2003.416a): H. 61 1/2 in. (156.2 cm) W. 32 1/4 in. (81.9 cm) D. 4 1/4 in. (10.8 cm). Date: second half 17th-early 18th century.The back of this fragmentary silk robe, or kaftan, features a design of large gold palmettes and curving serrated saz leaves on a white ground. The design is dotted with carnations and small blossoms typical of the floral style popular in the seventeenth-century Ottoman court. The main panel is almost the full width of the loom on which the textile was made. Kaftans like this would likely have been given as gifts to courtiers and other dignitaries. Museum: Metropolitan Museum of Art, New York, USA.

Fragment from an Orphrey Made 1401-1500 Italy. Silk, linen, and gold gilt strip intergrated compound weave of warp-floatfaced satin weave and weft-float faced twill weave .

Fragment 17th century Italian. Fragment 230138

Piece 18th-19th century Japan. Piece 67330

Vak veloutébehang, anonymous, c. 1700 - c. 1715 A velouté wallpaper that shows a pattern of bronze-green Louis XIV motifs, volutes, acanthus, flower and leaf work on a gilded stock. Northern Netherlands (possibly)Netherlands (possibly) linen (material). wool A velouté wallpaper that shows a pattern of bronze-green Louis XIV motifs, volutes, acanthus, flower and leaf work on a gilded stock. Northern Netherlands (possibly)Netherlands (possibly) linen (material). wool

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Textiles-Woven

Square, Medium: warp; S-spun linen. Wefts; S-spun linen, S-spun wool Technique: tapestry woven, Inner square with nude figure within a vegetive frame., Egypt, 3rd-4th century, woven textiles, Square

Fragment (Border) Made 601 CE-800 CE Egypt. Linen and wool, slit tapestry weave .

Orphrey Panel (Depicting the Nativity). Italy, Florence. Date: 1451-1500. Dimensions: 35 × 56 cm (13 3/4 × 22 in.). Silk and gilt-animal-substrate-wrapped linen, warp-float faced 4:1 satin weave with supplementary patterning and brocading wefts bound by secondary binding warps in a weft-float faced 2:1 twill interlacing. Origin: Florence. Museum: The Chicago Art Institute, Chicago, USA.

Scutari-Decke.. Prints. 1912. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection

Fragment. Italy. Date: 1650-1700. Dimensions: 20.5cm x 14 cm (8 1/16 x 5 1/2 in.). Silk, velvet: cut, uncut, voided; twill weave foundation and gilt strip. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Fragment, Medium: silk Technique: 2/1 twill patterned by plain weave, A bird hangs from underside of branch and looks at dog. In ivory on green., Italy, 14th century, woven textiles, Fragment

Leather (Holland); leather, silvered, stamped, painted; 86 x 64 cm (33 7/8 x 25 3/16 in.)

Fragment 17th century Italian. Fragment 230303

Sidewall, Machine-printed on embossed paper, Framework of vines with shells containing stylized floral and foliate medallion. Printed in olive green, black and ocher on tan ground., 1875-1910, Wallcoverings, Sidewall

Oriental carpet. Oriental carpet (fragment), hexagonal medallifier. There are five hexagonal medallions in midfield, formed by hook figures against an orange-red fond. The wide edge is decorated with square made up of crochet motifs.

Fragmentary Mantle, c. 1400-1532. Peru, South Coast, Ica Valley , Inca Culture, 15th-16th century. Tapestry and fancy twill, brocaded; twill; average: 85.1 x 190.5 cm (33 1/2 x 75 in.).

Piece 18th-19th century Japan. Piece 67665

Fragment, Medium: silk, linen Technique: plain weave with supplementary warps forming float patterns, Fragment with vertical stripes., Morocco, 17th-18th century, woven textiles, Fragment

Fragment with Equestrian Falconer King, 800s. Iran or Iraq, Abbasid period, 9th century. Lampas weave, silk; overall: 34.5 x 28.5 cm (13 9/16 x 11 1/4 in.).

Textile, Medium: silk, metallic thread Technique: supplementary weft patterned 3/1 plain weave, Fragment with a repeating design of palmettes on a gold-colored ground. Palmettes in salmon pink, blue, green, and white. Traces of metallic thread., Iran, 18th century, woven textiles, Textile

Piece 18th-19th century Japan. Piece 67829

Textile Fragment with anIbex

Band. Coptic; Egypt. Date: 201 AD-600 AD. Dimensions: 12.2 × 23 cm (4 3/4 × 9 in.). Wool, tapestry weave. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA.

Fragment 17th century Italian. Fragment 230319

Ma'a (sacred cloth), late 19th-early 20th century, 88 3/16 × 29 1/8 in. (224 × 74 cm) (approx.), Cotton, Indonesia, 19th-20th century

Bliżej Kultury unknown

Fragment of Lampas with multi -colored pattern in jobs, anonymous, 1300 - 1499 Fragment with multi -colored pattern in 5 lanes, including stylized running pattern and an inscription in Arabic whose translation reads: O, great Lord, salvation, glory of the sultan, our master. Granada silk lampas (textile material) Fragment with multi -colored pattern in 5 lanes, including stylized running pattern and an inscription in Arabic whose translation reads: O, great Lord, salvation, glory of the sultan, our master. Granada silk lampas (textile material)

Portion of Silk Gauze Sari 19th century China for Parsi market, Bombay. Portion of Silk Gauze Sari 70596

Wall Painting, Restoration Drawing from Reassembled Fragments. Dated: c. 1940. Dimensions: overall: 35.5 x 26.7 cm (14 x 10 1/2 in.) Original IAD Object: 1/3 actual size. Medium: watercolor, colored pencil, and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Gerald Transpota.

Fragment 17th century Italian, Genoa. Fragment 230291

Square, Medium: wool, linen Technique: slit tapestry with supplementary wrapping, Inner square containing four swastikas within plain outer frame. Paint has been applied to the mount., Egypt, 3rd-4th century, woven textiles, Square

Fragment Made 1200-1250 Egypt. Silk; lampas technique . Coptic

Fragment, 700s. China or Japan, 8th century. Compound twill, silk; overall: 10.5 x 10.7 cm (4 1/8 x 4 3/16 in.).

Panel with the Triumph of Dionysos 4th-6th century Like most textiles from Egypt, this fourth-century panel may have been part of a ritual or festive garment. It was manufactured in the Early Byzantine period from undyed linen and purple wool in tapestry weave technique.Dionysos, the center figure, rides a chariot drawn by two panthers. As the god of wine and intoxication, he holds in his raised right hand a characteristic bunch of grapes. Immediately adjacent to him caper two maenads (female followers). On his far right is a satyr and on the opposite side is an Indian captive in spotted pantaloon. This scene is meant to celebrate a stage in the god's legendary conquest of India, through which he achieves a triumph in this world and a place in heaven. This popular theme was with Egyptian ruler mythology from the time of Alexander the Great, who was also seen as a god. He conquered India in 325 B.C., a few years after founding the great Egyptian city of Alexandria.. Panel with the Trium

Bedcover Made 1700-1900 Greece. Linen, plain weave; pulled thread work embroidered with silk in darning and two-sided Italian cross stitches; joined with silk, needle-made inserts of knotted buttonhole stitches; edged with plied and knotted warp fringe; four loom widths joined .

Fragments, Medium: linen, wool Technique: cut loops of supplementary warp in a plain weave foundation (velvet), Furnishing fabric densely patterned with a straight repeat of a hunting scene: man on foot spearing a boar, and a dog holding a deer at bay. Background is in red and blue stripes while hunting scenes are in shades of tan., northern Europe, 17th century, woven textiles, Fragments

Panel early 16th century Italian, Sicily. Panel 221168

Silk and Gold Textile, 1420-1430. Italy, 15th century. Lampas weave, silk and gold thread; overall: 44.5 x 36.2 cm (17 1/2 x 14 1/4 in.).

GLOSAS A/N TESTAMENT GLOSA. Location: BIBLIOTECA NACIONAL-COLECCION. MADRID. SPAIN.

Sampler (Morocco); cotton, silk

DETALLE DE UNA CASULLA BORDADA DE NAPOLES - SIGLO XVI. Location: CONVENTO DE LAS CLARISAS / MUSEO DE ARTE SACRO. MONFORTE DE LEMOS. LUGO. SPAIN.

Sarong, Medium: silk Technique: tied resist patterning in weft (ikat) on plain weave, Warps are bright yellow and wefts are ikat dyed in dark red with areas reserved in white. the pattern of the central field is composed of highly stylized tree () forms and geometric motifs. A broad band at either end is divided into horizontal units within which are stylized animal and geometric forms., Bali, 19th century, printed, dyed & painted textiles, Sarong

Textile Fragment 9th century. Textile Fragment. 9th century. Wool, linen; plain weave, tapestry weave. Attributed to Egypt. Textiles-Woven

Fragment 16th century Italian. Fragment 230085

Tunic with Crescent Headdress Figures ca. 1460-1540 Chimú Chimú men wore broad tunics, sometimes with a fringe at the bottom, often over elaborate loincloths. This tunic was woven in two panels seamed together at the middle, leaving an opening for the neck. Both the background and the design, a striking composition featuring figures with crescent headdresses, were brocaded using bright red, white, yellow, and ochre camelid-hair yarns that covered a plain brown cotton ground. The lower border was woven with a line of repeating bird motifs and the garment was finished with a double fringe at the bottom. The tunics pattern of repeating figures wearing a relatively plain type of crescent headdress, and a lower border with small birds seen in the border, are characteristic of a late Chimú style (Rowe, 1984). The figures are frontal, their arms outstretched and bent at the elbows, and the digits of the hands oriented outward or upward. The trunk of their bodies is triangular, and the feet p

Border (Greece); silk embroidery on linen foundation

Rocaille cartouches with flowers. Culture: French, probably Beauvais. Designer: After designs by Pierre Edmé Babel (French, Paris 1720-1775 Paris). Dimensions: Back: H. 27 1/2 x W. 25 1/4 in. (69.9 x 64.1 cm); seat: H. 29 x W. 31 in. (73.7 x 78.7 cm). Manufactory: Probably manufactured in the Beauvais. Date: ca. 1735-50. Museum: Metropolitan Museum of Art, New York, USA.

The Story of Judah and Tamar, 1595. Tapestry - one of a set of eight

Bed curtain border first half 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.The highly complex embroidery composition and technique is representative of the quality of Russian handwork. Particularly intriguing is the repeat sty

Sidewall (England); block-printed on handmade paper; 48.5 x 23.5 cm (19 1/8 x 9 1/4 in.)

Border Made 201 CE-500 CE Egypt. Linen and wool, slit tapestry weave . Coptic

Fragment Made 500 CE-600 CE Peru. Cotton and wool (camelid), slit tapestry weave with outlining wefts . Nazca

Fragment, The Lion Strangler; Spain; silk, gilded vellum with silk core

Fragment of a Clavus, late 700s - early 800s. Egypt, Abbasid period, late 8th - early 9th century. Tapestry; linen and wool; overall: 6.4 x 39.1 cm (2 1/2 x 15 3/8 in.).

Chasuble, embroidered unknown

Siapo (tapa cloth), Smoa, maker unknown. Gift of Mrs Lorna A Crawford, 1961.

Fragment with an Arch and a Gemmed Cross. Culture: Byzantine. Dimensions: Overall: 18 7/8 x 25 1/8 in. (47.9 x 63.9 cm)Framed: 23 1/2 x 28 1/2 x 1 1/2 in. (59.7 x 72.4 x 3.8 cm). Date: 5th-6th century.This vibrantly colored fragment of a hanging is a rare example of the survival of an Egyptian textile that may have been part of the furnishings of a Christian site. It is one of two similar fragments given to the Museum by Nanette B. Kelekian. Each is decorated with an arch enclosing an elaborately jeweled form of the Christian cross. No other works of the type are known to have survived. The pieces were probably once part of one large hanging embellished with a series of arches supported by columns. One capital, adorned with grape clusters, and a portion of a column remain on the right edge of this fragment. The cross under the arch has been combined with the Greek letter chi (X) to from a variant on the Christogram widely used by the early church as an abbreviation for the name of C

Towel border 1780-1820 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.The composition of the upper band suggests that the central form is a stylized representation of the goddess flanked by two minor goddesses on horseback. The goddess as tr

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Textiles-Woven

Tapestry Tunic 7th-9th century Wari The Andean region of South America was home to one of the longest, most complex textile histories in the world. Among the most spectacular traditions is that of the Wari Empire. From their highland capital near present-day Ayacucho, the Wari exerted strong cultural and political influence over southern coastal and highland regions of Peru. They introduced a distinctive art style, found on fine polychrome ceramics, exquisite personal ornaments crafted of precious materials, expertly carved works in wood, shell, and stone, and especially on elaborate textiles.In the Precolumbian Andes, sleeveless tunics reaching to the knees and worn over a loincloth were the primary male garment. Tapestry-woven tunics were the most prestigious, and the finest examples were made of up to eighteen miles of handspun camelid wool. As with those of their successors, the Incas, Wari tunics are standardized in size, format, color, and design, suggesting they were produced in

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

Border; linen, silk

Panel (Dress Fabric). Manchu; China. Date: 1880-1890. Dimensions: 84.7 × 172.2 cm (33 3/8 × 67 3/4 in.). Gold embroidered Imperial hanging of plum satin. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Design with six lions ..

Album n � 1. Stained glass project: Decorative grounds Gsell-Laurent workshop. Album n � 1. Stained glass project: Decorative motifs. Pencil and gouache on layer.

Lampas with scenes of wild animals, 1500s. Iran, Safavid period (1501-1722). Lampas weave, brocaded; silk and gold; overall: 49.5 x 14 cm (19 1/2 x 5 1/2 in.).

Figural tapestry. Ghieteels Frans (XVI w.), author

Roundel. Coptic; Egypt. Date: 501 AD-800 AD. Dimensions: 15 × 18.5 cm (5 7/8 × 7 1/4 in.). Linen and wool, tapestry weave. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA.

2 Textile Fragments, Unascertainable, Pieces of a Border, or 2 Textile Fragments, Undetermined Paracas Necropolis. 2 Textile Fragments, Unascertainable, Pieces of a Border, or 2 Textile Fragments, Undetermined, 300 B.C.E.-200 C.E. Cotton, camelid fiber, a: 2 13/16 x 9 1/8 in. (7.1 x 23.2 cm). Arts of the Americas 300 B.C.E.-200 C.E.

Silk with Dogs and Arabic Script in Swaying Bands, 1370-1400. Italy, last third of 14th century. Silk and silver thread; a combination of two weaves, 2/1 twill and 1/5 twill (lampas); mounted: 46.4 x 69.2 cm (18 1/4 x 27 1/4 in.). Arabic script was included in many Italian silk patterns during the 1300s and early 1400s. Usually a few unintelligible but decorative Arabic letters were repeated in the design, but here, the pseudo-Arabic script is prominently displayed in the scalloped bands that support trefoil palmettes. Dogs and birds are incorporated into the pattern in an Italian fashion. During the 1300s and 1400s, Arabic script was featured in luxurious silks woven in Islamic territories, where it symbolized royal power. Spain, Egypt, and to a lesser extent the former Islamic territory of Sicily all produced examples that could have influenced the international silk style created by Italian silk designers. In addition, weavers may also have reinforced the fashion; they migrated fro

Border. Egypt, Akhmîn. Date: 401 AD-600 AD. Dimensions: 24.1 × 8.3 cm (9 1/2 × 3 1/4 in.). Linen and wool, slit tapestry weave. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA.

Sampler. Culture: Dutch. Dimensions: H. 15 5/8 x W. 15 1/8 inches (39.7 x 38.4 cm). Date: 1800. Museum: Metropolitan Museum of Art, New York, USA.

Carpet dated A.H. 1188/ A.D. 1774 This type of prayer rug, with a stepped mihrab niche supported by columns and a lamp or flowers suspended from the center, was created in the town of Gördes. In the late seventeenth century, other weaving centers took up production of this design as well; in Ladik, where the tradition continued through the eighteenth century, they were most often completed in red, blue, yellow, and green, the borders had stemmed tulips, and columns became even more tapered. An inscription on this carpet dates it to 1774.. Carpet 451690

Fragment (Japan)

Panel; linen

Sampler, Francisca Montero, Medium: silk embroidery on linen foundation Technique: embroidered in satin, stem, and cross stitches on plain weave foundation, Center field with IHS and spot motifs, surrounded by concentric bands of floral, geometric and interlacing patterns, embroidered in pale blue, green, terra cotta and peach on a natural ground., Spain, 1826, embroidery & stitching, Sampler

Design no. 12 for an Embroidered or Woven Horizontal Border of the 'Fabrique de St. Ruf', Fabrique de Saint Ruf, Lyon, France, Brush and white gouache on glazed tracing paper pasted on paper, A fantastical plant rises from the hollows of an undulated line. A small plant stands on the wave tops. Somewhat more than four repeats are shown., France, 1805-1815, Drawing, Drawing

Fragment (Spain); silk on linen; Bequest of Marian Hague; 1971-50-60

Two Fragments. India, for the Japanese market. Date: 1675-1725. Dimensions: 54.9 x 18.1 cm (21 5/8 x 7 1/8 in.). Two fragments: cotton, plain weave; stenciled and hand-painted. Origin: India. Museum: The Chicago Art Institute, Chicago, USA.

Textile Fragment 10th century. Textile Fragment 448319

of 3