Decorative Textiles and Tapestries

Vibrant fabrics and tapestries featuring floral and mythical designs, reflecting rich craftsmanship and historic patterns.

'Mosaic binding signed by Le Monnier and bearing the monogram of Maria Josepha of Saxony', c1750 (19 Artist: Le Monnier.

Great leavier thigh with birds and snails. Tapestry, Z.G. "Verdure". Pattern: a plant with large thistle-like curled leaves, in which birds houses, fills in the middle. On the golden ground of the side edges, a décor consisting of a vase is worn by two winged animals, a plant with large lancet-shaped leaves, long stems with rosette flowers, which spread to over the middle, wingerd leaves and pumpkin-like fruits. On the top and bottom edge also on yellow soil ribbons, garlands with pumpkins and calfasy fruits, cucumbers and grape roses. There is a large gourd in the middle of the top edge. Colors: greenish blue in different nuances, the lights and some flowers yellowish. Flanders, 16th century.

Multicolored painted plaque of Faïence. Plaque multicolored painted with a bird, an unknown animal, insects and flower branches framed by lambrequins filled with napkin.

Fragment of a Mandarin Robe, 1700s. China, 18th century. Embroidery, silk and gold thread; overall: 114.5 x 84.2 cm (45 1/16 x 33 1/8 in.).

Textile; silk; Warp x Weft: 138.5 x 55.9 cm (54 1/2 x 22 in.)

Pair of side curtains for a bed early 18th century probably French This pair of embroidered curtains with chinoiserie designs would have decorated the sides of a European state bed of the late seventeenth to early eighteenth century. Originally, these curtains may have been part of a larger suite of furnishings for the decoration of an entire bedroom-a canape (settee) now in the private rooms of Madame de Maintenon at Fontainebleau has very similar embroidered designs.¹ The complete set of bed hangings probably included matching upper valances for the tester, lower valances for the frame supporting the mattresses, and a coordinating bedcover and headcloth, like the set of French bedroom furnishings now in the Metropolitan Museum (see MMA 53.2.1a-d, .2a-d). Oversize fanciful flora, a design element familiar from the so-called bizarre silks, are joined in these curtains by human figures dressed in vaguely Chinese garments, imaginary Asian winged dragons, and pairs of long-tailed birds. E

'Mosaic binding signed by Le Monnier and bearing the monogram of Maria Josepha of Saxony', c1750 (19 Artist: Le Monnier.

Piece 17th century Japan. Piece. Japan. 17th century. Silk / Compound weave. Textiles-Woven

Piece 18th-19th century Japan. Piece 66506

Tapestry. Hungarian; Probably made at the Gödöllo School of Weaving. Date: 1904-1914. Dimensions: 136.5 × 110.1 cm (53 3/4 × 43 3/8 in.). Wool, tapestry weave. Origin: Hungary. Museum: The Chicago Art Institute, Chicago, USA.

Drawing, Design for the Embroidery of the Left Bottom Corner of a Man's Waistcoat of the "Fabrique de St. Ruf," "Gilet" Design; Designed by Fabrique de Saint Ruf; France; brush and gouache on glazed tracing paper; 15.4 × 22.8 cm (6 1/16 in. × 9 in.)

Fragment Made 1600-1800 China. .

Sleeve band Made 1801-1900 China. Couched and embroidered sleeve-bands from a robe, cut and framed as a three-panel folding desk screen. Two lower halves joined to form central frame, top halves form panels at either side. Figures and auspicious symbols in colors and gold on ivory silk grou nd. . Han-Chinese

Margaret Concha, Applique and Embroidered Coverlet, 1935 1942 Applique and Embroidered Coverlet

Anonymous. Vest embroidery project. Lead mine, gouache on cardboard, around 1785/90. Galliera, fashion museum of the city of Paris. 79100-13 Embroidery, cardboard, vest, gouache, lead mine, project, 18th century

Fragment (Furnishing Fabric) Made 1820-1830 England. Cotton, plain weave; roller printed, with additional color added by surface printing .

Procession of Carriages Carrying Booty: Page from a Dispersed Bhagavata Purana Manuscript. Culture: India (Gujarat). Dimensions: Image: 9 in. × 7 1/2 in. (22.9 × 19.1 cm)Sheet: 10 3/4 x 8 3/4 in. (27.3 x 22.2 cm). Date: ca. 1640-50.This scene of recovered booty relates to one of the many battles recounted in the Bhagavata Purana. In this page (from the same manuscript as 1977.450.1), the storytelling elements have given over to patterned foliage populated with carriages bearing chests, guards, and attendants riding camels. The intent is decorative, and no real attempt has been made to relate the figures to one another; it almost recalls the type of repeating pattern found in block-printed textiles. Museum: Metropolitan Museum of Art, New York, USA.

Rank badge, Medium: satin, silk and metal thread Technique: embroidery, Mandarin square (P'u tzu) for civil official of the seventh rank. Embroidery in Pekin stitch and couching showes a mandarin duck surrounded by cloud and water forms and by symbols. Colored silk embroidery on black satin., China, 18th century, embroidery & stitching, Rank badge

Rank badge, Medium: silk and metallic yarns Technique: Pekin stitch and couching on satin weave ground, Mandarin square (P'u tzu) for civil official of the eighth rank. Embroidery in colored silks and gold thread shows quail against a golden sky, with cloud and water forms and auspicious symbols. Lined with blue silk., China, 18th century, embroidery & stitching, Rank badge

Fragment (China); silk; Warp x Weft: 40 x 18 cm (15 3/4 x 7 1/16 in.); 1968-13-4-c

Frieze, Hand-painted canvas, Two arabesque openings divided by foliate pillar. Left opening contains vertical rectangle with grid pattern of flowers and framed by anthemion motifs; right opening contains round scalloped medallion filled with foliage topped with cartouches and at the bottom linked to another medallion. Pattern is framed by pillars that form upper section of design, all filled with plants. Upper margin composed of circular pattern alternating with different colored stars of David. Printed in red, gold, light yellow, and blue., France, 1870-90, Wallcoverings, Frieze

Sidewall, Block-printed, handmade paper, Square of paper showing two motifs of a large-scale geometric pattern. One motif in orange, circular, with repeating blue-black cone shapes, a white design at center and blue-black radial surround. The other motif diamond-shaped., France, 1800-1810, Wallcoverings, Sidewall

Palepai (ship cloth), Medium: cotton embroidery on cotton foundation Technique: embroidered on plain weave Label: cotton embroidered with cotton, Horizontal rectangular panel known as a ship cloth or 'palepai'. Embroidered in dark and light blue, dark red, and white cotton. Two instances of traditional 'ship of the dead' motif, with pattern repeats separated by 'tree of life' designs, although the two ships are not identical. Features a few animals, many human figures (on main deck as well as on outer extensions), and umbrella-like designs, which could be ancestor shrines. Used in naming, circumcision, marriage, and death ceremonies--ceremonies that mark new stages of existence., Indonesia, mid-19th century, embroidery & stitching, Palepai (ship cloth)

Pheasants; preliminary study for a wall covering. Draughtsman: Gerrit Willem Dijsselhof. Dating: 1895 - 1896. Measurements: h 280 mm × w 870 mm. Museum: Rijksmuseum, Amsterdam.

Panel; silk, linen, metal, paper

Woman's Petticoat

Valentine ca. 1880 Anonymous. Valentine. Anonymous. ca. 1880. Cameo-embossed open-work lace paper, chromolithography

Antependium, embroidered flower vase motif unknown

American 20th Century, Centennial Quilt, 1935 1942 Centennial Quilt

Fragments (India); silk on linen; Bequest of Marian Hague; 1971-50-75-a,b

Hanging. Culture: German, Nuremberg. Dimensions: H. 95 x W. 78 inches (241.3 x 198.1 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Seasons and Elements (Summer) (set of four). Culture: French, Paris. Designer: Border probably designed by Jean Lemoyen le Lorrain (1637/38-1709); Possibly after a design by Charles Le Brun (French, Paris 1619-1690 Paris). Dimensions: L. 174 x W. 110 inches (442 x 279.4 cm). Patron: Commissioned for Marquise de Montespan (1641-1707). Date: ca. 1683.Designed and embroidered probably in the convent of Saint-Joseph-de-la-Providence for the Marquise de Montespan (1641-1707), these hanging (46.43.1-.4) may have adorned the king's apartment at the château de Rambouillet. The embroidery representing Air shows the figure of Louis XIV. The other three hangings depict three of the six children of the king and Madame de Montespan, symbolizing Spring, Summer, and Fire. The set almost certainly included Autumn and Winter, as well as water; Madame de Montespan herself was perhaps depicted as Juno, representing Earth. Museum: Metropolitan Museum of Art, New York, USA.

Drawing, Design for a Woven Fabric, Fragment; France; brush and gouache, black paint on oily tracing paper; 38.5 × 19.7 cm (15 3/16 × 7 3/4 in.)

Valance last quarter 16th century British. Valance 228974

Piece 18th-19th century Japan. Piece 67185

Curtain project for French comedy

Netting Birds, Tomb of Khnumhotep ca. 1897-1878 B.C. Middle Kingdom Nina de Garis Davies. Netting Birds, Tomb of Khnumhotep. Nina de Garis Davies (1881-1965). ca. 1897-1878 B.C.. Tempera on paper. Middle Kingdom. Original from Egypt, Middle Egypt, Beni Hasan, Tomb of Khnumhotep (Tomb 3), MMA graphic expedition. Dynasty 12

Over Mantel Picture. Dated: c. 1939. Dimensions: overall: 44.7 x 69.5 cm (17 5/8 x 27 3/8 in.). Medium: watercolor, graphite, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: John Collins.

Sampler (Spain); Embroidered by Augustina Barero; Student of Rosa Artiaga Seremato; silk embroidery on linen foundation

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

Pair of side curtains for a bed. Culture: probably French. Dimensions: Overall (panel .1a-c): 134 × 34 in. (340.4 × 86.4 cm);Overall (panel .2a-c): 137 × 34 in. (348 × 86.4 cm). Date: early 18th century.This pair of curtains, embroidered with chinoiserie designs, would have decorated the sides of a European state bed, usually reserved for important guests. Massive fantasy flora surrounds people dressed in vaguely Chinese garments and fantastic winged Asian dragons. Asymmetry, a feature of Chinese art that confounded and intrigued European observers, appears in these embroideries. Writers from the late seventeenth century and well into the eighteenth remarked on this characteristic that was prevalent in Chinese design and architecture and worlds apart from the balanced proportions championed in Europe. These early chinoiserie embroideries display the designer's attempt to capture this "beautiful disorder" that Europeans found so irresistible. Museum: Metropolitan Museum of Art, New Yo

Piece 18th-19th century Japan. Piece 66653

Aleppo Room. Date/Period: 1600 - 1603. Room. Paint on wood Paint on wood. Height: 2,600 mm (102.36 in); Width: 35,000 mm (38.27 yd). Author: UNKNOWN.

Hanging. Iran. Date: 1893. Dimensions: 301 x 148 cm (118 1/2 x 58 1/4 in.). Linen, plain weave; painted; printed. Origin: Iran. Museum: The Chicago Art Institute, Chicago, USA.

Border 16th century Italian. Border. Italian. 16th century. Embroidered net, buratto, silk. Textiles-Laces

Tile Panel late 18th-early 19th century. Tile Panel 454710

Fraktur ca. 1770-1800 Johann Heinrich Otto By 1770, Otto, a German émigré, had begun to make various forms of fraktur, a style of decorative calligraphy named after a sixteenth-century German typeface. Ottos skill is evident in the pleasing checks and balances of color and form he achieved in the composition of repetitive motifs. For example, the parrots perched at either side of the sheet and the two peacocks that cross necks above the tulip are nearly identical in form but vary in the patterning on their wings. Touches of blue enhance the harmony among the reds, greens, and yellows that dominate in Pennsylvania German fraktur designs.. Fraktur 3410

Two bodhisattwów; Weichi Bazhina (701-800); 18th-19th century (1124-00-00-1124-00-00);Knothe, Jerzy (1917 -2002), Knothe, Jerzy (1917 -2002)-collection, Chinese Buddhism, Chinese (culture), coil painting, Chinese art, purchase (provenance), scrolls, vertical scrolls

Arcades with Riders in Fantastic Thickets ca. 1520-50 South Netherlandish. Arcades with Riders in Fantastic Thickets. South Netherlandish. ca. 1520-50. Wool warp; wool and silk wefts. Textiles-Tapestries

Embroidered picture, Medium: silk and metal-wrapped silk embroidery on linen foundation with pearls, metal, mica Technique: embroidered in rococo, satin, tent, half-cross, romanian, wrapping, and looping (needle lace) stitches with applique on plain weave foundation, The story of Hagar with figures of Hagar and Ishmael both appearing twice, Abraham, Sarah, and Isaac once., England, 17th century, embroidery & stitching, Embroidered picture

Piece 18th century Japan. Piece 72039

Textile; cotton

Landscape expedure with soldiers who attack a woman, Erasmus earlofs, c. 1650 Wall carpet with soldiers who attack a woman and the inscription "Nulli Statui Auto Sexui Parcit Mars". (From a series) Brussels Ketting: Wool. Entry: Wool. Entry: Silk tapestry Wall carpet with soldiers who attack a woman and the inscription "Nulli Statui Auto Sexui Parcit Mars". (From a series) Brussels Ketting: Wool. Entry: Wool. Entry: Silk tapestry

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

Sampler. England. Date: 1650-1670. Dimensions: 66.1 × 21.6 cm (26 × 8 1/2 in.). Linen, plain weave; embroidered with silk. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Valentine 1859-69 Anonymous. Valentine. Anonymous. 1859-69. Cameo-embossed, open-work lace paper, chromolithography, colored paper.

One of a Pair of Chair Strips with Auspicious Patterns. Culture: China. Dimensions: Overall: 64 x 19 in. (162.6 x 48.3 cm). Date: 18th century.Unlike upholstered furniture in the West, chairs in China were, historically, covered only temporarily with textiles. These chair strips (ass also 65.210.1) were designed and woven specifically for the purpose. As is typical of such strips, the length is divided into multiple segments, each bearing a different design for the part of the chair it covers--the front legs, seat, or back--as well as a short segment that hangsbehind the chair.This pair of auspiciously patterned chair strips was appropriate for special occasions such as birthday celebrations. Peaches (symbols of immortality) and the character for longevity (shou) decorate the segment behind the chair, and the front legs are covered with a pattern of pavilions in the sea, which probably refers to the isles of the immortals. Museum: Metropolitan Museum of Art, New York, USA.

Pieced and quilted coverlet late 18th century British Pieced quilts are thought of as an American specialty, but their forerunners survive in small numbers in England, where the technique was also used for matching bed curtains. This strangely balanced arrangement of small pieces provides a cross section of French and English printed cottons of the eighteenth century, many of them not known elsewhere.. Pieced and quilted coverlet. British. late 18th century. Cotton. Textiles-Printed

Wallpaper, 1930s, maker unknown. Gift of Ray and Betty Weeber, 2010.

Design for a Ceiling, Pen and ink on paper, sepia and blue watercolor on paper, Design for a ceiling over a square comparetment, representing a dome with large oculus and large lunettes on each side. Spandrels support crouching atlantid figures. Oculus and lunettes filled with figures in clouds., France, early 17th century, Drawing, Drawing

Panel (Dress Fabric) Made 1725-1775 China. Silk, warp-float faced 7 1 satin weave with supplementary binding warps tying supplementary patterning wefts in twill and self-patterning ground wefts in plain interlacings; two selvages present .

TAPIZ HERALDICO-REPOSTERO-TELAR DE BRUSELAS-1540 APROX-RENACIMIENTO FLAMENCO. Author: FLORIS CORNELIS TALL. Location: LA SEO MUSEO DE TAPICES Y CAPITULAR. SARAGOSSA. Saragossa Zaragoza. SPAIN.

Design for a Woven Fabric of the 'Fabrique de St. Ruf', Fabrique de Saint Ruf, Lyon, France, Brush and blue, white, and purple gouache, impressed squaring lines on oily tracing paper, A row of six shells is shown at the bottom. Vertically disposed boughs with blossoms and leaves rise over it. They rise from behind buyynches of flowers, obliquely dispersed. The ends of the stems are hidden by very large leaves hanging from the end of the boughs. Two motif units are shown., France, 1800-1825, Drawing, Drawing

Hunting and fishing scenes. Culture: British. Dimensions: W. 39 in. (99.1 cm), L. 81 1/8 in. (206.1 cm). Manufactory: Manufactured by Robert Jones. Date: 1769.This furnishing fabric shows fashionably dressed ladies and gentlemen leisurely pursuing the pastimes of hunting and fishing; it represents, both aesthetically and technically, the height of English textile printing in the eighteenth century. By 1761 Robert Jones had established his manufactory at Old Ford in the East End of London and had mastered the secret of colorfast copperplate printing on textiles, a process invented nine years earlier by Francis Nixon of Drumcondra, Ireland. The new technique allowed for much larger repeats and finer modeling of forms than could be achieved with traditional wood-block printing. This compensated for the fact that the complexity of the design and the restrictions of copperplate printing required that only one color be used.In this tour de force Jones combined the best aspects of both proc

Room painting, Moravia, Czechoslovakia, (1928). '19th Century...Room painting designed and executed without stencils by peasant women from the district of Landshut (Moravia)'. After a water-colour in the Narodni Museum, Prague. Plate CXVIII, fig 219, from "An Encyclopaedia of Colour Decoration from the Earliest Times to the Middle of the XIXth Century" with explanatory text by Helmuth Bossert. Ernst Wasmuth Ltd., Berlin, 1928

Chair Seat. Dated: 1935/1942. Dimensions: overall: 38.5 x 46.6 cm (15 3/16 x 18 3/8 in.) Original IAD Object: 17 1/8" high; 21 1/2" wide. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Suzanne Chapman.

Wrapper for the Tapestry Scroll Mingling of Clear and Muddy Water at the Junction of the Jing and Wei Rivers, 1736-95. China, Qing Dynasty (1644-1911), Qianlong reign (1736-95). Silk and metal thread: tapestry weave, painted with ink and colors; warp: 76.2 cm (30 in.); weft: 93.3 cm (36 3/4 in.); overall: 55.5 x 55 cm (21 7/8 x 21 5/8 in.). The cloth to wrap the tapestry scroll, Mingling of Clear and Muddy Water at the Junction of the Jing and Wei Rivers, features a dragon, emblem of imperial power, on an imperial yellow ground.

Vaulted ceiling decorated with grotesques, by Giovanni Francesco Fariano (1681-1753 circa), powder room, King's apartment, Hunting residence (UNESCO World Heritage Site, 1997), by Filippo Juvarra (1678-1736), Stupinigi, Piedmont, Italy, 18th century.

. .

Sp. Col. Chest. Dated: c. 1936. Dimensions: overall: 36.3 x 58.1 cm (14 5/16 x 22 7/8 in.). Medium: watercolor, gouache, and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: E. Boyd.

Red background wall; in the middle, a female figure carrying a kid on her shoulders, symbol of the Summer, mural painting, Pompeii, Campania, Italy, chromolithograph by V Loria from Le case ed i monumenti di Pompei (The houses and the monuments of Pompeii), by Fausto and Felice Niccolini, volume IV - Supplement, plate 20, 1854, Naples.

Korean Hyompae, one of a pair, 19th century, Unknown Korean, 7 11/16 × 9 1/8 in. (19.53 × 23.18 cm)10 × 8 5/8 in. (25.4 × 21.91 cm) (mount), Silk thread embroidery on silk, Korea, 19th century

Panel with a Phoenix and Birds in a Rock Garden. Culture: China. Dimensions: Overall: 88 1/4 x 71 in. (224.2 x 180.3 cm). Date: late 16th-early 17th century.The eight treasures at the top of this panel, which are auspicious motifs derived from Buddhism, reinforce the meaning of the main image--a phoenix surrounded by smaller birds, symbolizing a virtuous monarch or leader welcomed by followers. This massive panel was hung over a wall to demonstrate the owner's power and luxury, reflected in the rich colors and extraordinary craftsmanship. Museum: Metropolitan Museum of Art, New York, USA.

Cushion cover, Medium: wool, silk Technique: tapestry woven, The story of David and Abishag with two women each holding a jug, a man on horseback and another standing behind. Landscape in background and a floral border., Hamburg, Germany, 1610-30, woven textiles, Cushion cover

Design for stained glass, Alice Cordelia Morse, American, 1863-1961, Brush and gouache, graphite on paper mounted on tan illustration board, Rectangular window with scalloped design in yellow and burgundy; upper section contains square, lower design contains lobed circle., USA, late 19th century, architecture, interiors, Drawing, Drawing

Back and Sleeve of a Dragon Robe China The pieces assembled in this panel are parts of a dragon robe or coat made for the Lantern Festival, which takes place on the fifteenth day of the first lunar month-the first full moon of the year. The panel, which has a wide border of silk woven in the eighteenth century, includes the back and one sleeve of a dragon robe with a pattern of a composite lantern framed on three sides by dragons.. Back and Sleeve of a Dragon Robe. China. Silk and metallic-thread embroidery on silk satin damask. Ming dynasty (1368-1644), Wanli period (1573-1620). Textiles-Embroidered

The Shipwreck ofAeneas. Artist: Apollonio di Giovanni, Italian, ca. 1416-1465

Tile, orange, brown, green, and blue on white, flowerpot in square, corner pattern palm, wall tile tile sculpture ceramic earthenware glaze, baked 2x glazed painted

Panel (For a Screen) Made 1875-1900 China. Panels silk, gold-leaf-over-lacquered-paper-strip-wrapped silk, silt tapestry weave; painted; border silk, gold-leaf-over-lacquered-paper-strip-wrapped silk, slit tapestry weave; inner and outer border silk, 4 1 warp-float satin weave; outer edging silk, 7 1 warp-float faced satin weave; lining cotton, plain weave .

Book Cover for the Holy Bible. England. Date: 1690-1710. Dimensions: 15.6 × 9.6 × 4.7 cm (6 1/8 × 3 3/4 × 1 7/8 in.). Linen, plain weave; embroidered with silk floss and silk creped yarns, gilt- and silvered-metal-strip-wrapped silk, and gilt-metal purl in reverse tent, satin, and tent stitches; couching and French knots. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Detail of a painted wall in the Sheesh Mahal mirrored hall hall of mirrors, Kuchaman Fort, Kuchaman, Rajasthan state, India, Asia

Panel. Date/Period: 1610-40. Panel. Medium: silk and metal-wrapped silk. Technique: Velvet with cut loops of supplementary warps in a 4&1 satin weave foundation with three warps in each pile warp unit. Use of pile warp substitution. Use of supplementary facing wefts bound 1Z4 twill order. Use of looped discontinuous supplementary wefts bound in 2Z3 twill order. Author: UNKNOWN.

Design for an Embroidered or Woven Horizontal Border of the 'Fabrique de St. Ruf,' Unfinished, Fabrique de Saint Ruf, Lyon, France, Brush and white gouache on glazed tracing paper pasted on paper, Lacy flower boughs stand over an undulated double row of stars and a scalloped stripe. Somewhat more than two repeats are shown., France, 1805-1815, Drawing, Drawing

Children playing among trellises. Giulio Romano (Italian, 1492/99-1546) (designed after) draughtsman Pannemaker, Wilhelm de (Netherlandish (before 1600) - Flanders, act. 1535-1578) (workshop) weaver c. 1550-1570 Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: Brussels Ownership History: Galerie Ruf, Rastatt in 1983. Germany, Rastatt, Galerie Ruf. Inscriptions: City mark on lower guard, left seen in GCPA 0237403 At top, boys picking grapes from trees; boys playing & gathering grapes (foreground); landscape with buildings (background) (BRD) garland of grape leaves & masks Related Works: Panels in set: GCPA 0237389-0237413

Sections of an Embroidered Frieze, 1625-1649. England, Period of Charles I (1625-1649), 17th century. Petit-point embroidery; wool and silk; overall: 43.7 x 164.4 cm (17 3/16 x 64 3/4 in.).

Fragment, Medium: cotton Technique: printed on plain weave, Fragment shows a large leafy tree with two grazing cows beneath it. At left, two barking dogs. In red on white ground., France, late 18th century, printed, dyed & painted textiles, Fragment

fine arts, tapestry, ""Edles Paar bei der Falkenbeize auf Wachteln"" (Noble couple hunting quails with a falcon), detail, wool, knitted, Basel, Switzerland, circa 1484 / 1491, Historical Museum Basel

Fraktur. Culture: American. Dimensions: 13 3/16 x 16 9/16 in. (33.5 x 42.1 cm). Maker: Johann Heinrich Otto (ca. 1733-ca. 1800). Date: ca. 1770-1800.By 1770, Otto, a German émigré, had begun to make various forms of fraktur, a style of decorative calligraphy named after a sixteenth-century German typeface. Otto's skill is evident in the pleasing checks and balances of color and form he achieved in the composition of repetitive motifs. For example, the parrots perched at either side of the sheet and the two peacocks that cross necks above the tulip are nearly identical in form but vary in the patterning on their wings. Touches of blue enhance the harmony among the reds, greens, and yellows that dominate in Pennsylvania German fraktur designs. Museum: Metropolitan Museum of Art, New York, USA.

Sampler. Date/Period: 1828. Sampler. Medium: silk embroidery on linen foundation. Technique: embroidered in cross and eyelet stitches on plain weave foundation. Height: 390 mm (15.35 in); Width: 410 mm (16.14 in). Author: Elizabeth Rowe Terry.

The representation consists of an unadorned rectangle containing a crane in a stretched shape which is picked by a hawk, in the upper right corner a blossom branch in blue and in the lower left corner an opened flower in gray contours, around the representation frame lines in a decorative motif and various decorative borders with floral motifs in bright colors, The wide margin of the leaves has a honeycomb pattern and is bordered with a narrow edge with tendrils and flower buds, the outer plain edge is light green, mostly damaged and crumbled, verso calligraphy in decorated leaves. Around the representation a number of narrow ornamental borders with floral motifs in a leaf with a flower motif in honeycomb, bordered with the same edge as the inner edge, the representation is taped, heavy damage on the leaf, verso calligraphy with an ornamental edge stuck around., Hawk with crane., draughtsman: anonymous, Deccan, 1719 - 1723, sierrand, :, brush, h 229 mm × w 368 mm, h 78 mm × w 115 mm, h

Manufacture of Aubusson (Creuse) (n. - d.), Green with animated pagoda of birds (common name). Textiles, wool and silk. Petit Palais, Museum of Fine Arts of the City of Paris.

Two Ladies Personifying Taste and Touch () third quarter 17th century British. Two Ladies Personifying Taste and Touch () 229036

Valance (England); silk, linen

Le tempe de l'amour, Gorgerat Frères et Cie., (Nantes, France, 1783-1815), Medium: cotton Technique: printed by engraved copper plate on plain weave, Assortment of scenes of goddesses and humans. In red on white., ca. 1785, printed, dyed & painted textiles, Textile, Textile

Maker: John Vanderbank the Elder, British, active 1689-1717, TheConcert, ca.1700, Wool and silk, 340.4 × 525.8 cm (134 × 207in.), British, 18thcentury, Textiles

A Darbar of Jahangir. Date: early 17th century. Origin: India. Period: Mughal dynasty. Ink, color, and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

This mosaic pavement of a church (illustration dates to 1880s) belongs to period when realism was leading insensibly from pagan to Christian art. A copy was made by an Italian per order of Napoleon III and then in Louvre. In 1860, it was discovered in neighborhood of Sour (Typre) at Kahilberam - mosaic had been used as a pavement of church. It is believed mosaic dated to 4th century and then used in church in 6th or 7th century.

Textile Fragments 15th-16th century This silk textile composed of fifteen fragments, including two in a private collection, depicts three forms of the vyala, a mythological creature whose leonine body is combined with parts of other animals. This form had its origins in traditional Indian art, where it was used in architectural settings as a symbolic guard for Hindu temples. Here, all three vyalas are winged, and the central form has the head of an elephant.. Textile Fragments 453340

Korean Hyompae, one of a pair, 19th century, Unknown Korean, 7 3/4 × 9 3/16 in. (19.69 × 23.34 cm)10 1/8 × 8 5/8 in. (25.72 × 21.91 cm) (mount), Silk thread embroidery on silk, Korea, 19th century

Laila and Majnun in the wilderness. Laila and Majnun in the wilderness. Around the show a three decorative edges, the inner with a floral pattern of natural-colored paper on a blue background, then a series of colored frame lines and an unmerked natural-colored border and then another blue, wider border with a coarse floral pattern in natural and frame lines on the inner edge .

of 2