Floral Textile and Wallpaper Designs

Charming textile panels and wallpaper designs showcasing floral patterns and ornamental elements in a range of colors and styles.

Fragment, Medium: cotton Technique: mordants for black and narrow red stripe applied by pen; madder dyed; blue applied by brush or immersion over resist; chintz on plain weave, Stripes of blue and white flowers. Stripe on left on a yellow lattice background., India, 18th century, printed, dyed & painted textiles, Fragment

Panel Made 1725-1745 Lyon. Silk, plain weave with supplementary patterning warps and supplementary patterning and brocading wefts bound in weft-float faced 1 3 twill interlacings . Style of Jean Revel (Designer)

Sidewall, Block-printed on handmade paper, Repeating scene of a dog drinking at a fountain. The fountain is composed of an eagle or other large bird spewing water and a pair of dolphins. This scene alternates in drop repeat with spray of roses and other flowers. Printed in green, brown, yellow, blue, pinks, white on gray ground., France, 1780, Wallcoverings, Sidewall

Erwin Stenzel, Chintz, c 1936 Chintz

Sidewall (France); block-printed on handmade paper; 92 x 72 cm (36 1/4 x 28 3/8 in.)

Embroidery in the form of a back shield of a choir hood, 1700 - 1715 Embroidery in the form of a back shield of a choir cap, which shown multicolored floral motifs on linen, including a bouquet. linen (material) embroidering Embroidery in the form of a back shield of a choir cap, which shown multicolored floral motifs on linen, including a bouquet. linen (material) embroidering

Panel. England. Date: 1715-1735. Dimensions: 86.4 × 54.4 cm (34 × 21 3/8 in.)Point repeat: 75 cm (29 3/8 in.). Silk, warp-faced, weft-ribbed plain weave with weft-float faced twill interlacings of secondary binding warps and supplementary brocading wefts à la disposition. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Pieces (3) early 18th century Italian Panels such as thiswith its extraordinary patterns in long repeatswere called "bizarre" by the Danish scholar Slomann, who believed they were made in India. Most scholars consider them an exotic phase in the history of European silk weaving.. Pieces (3) 229150

Panel Made 1701-1725 France. .

Textile, Medium: crewel wool on cotton Technique: embroidered on plain weave, Half of panel for settee seat or back, of undyed cotton cloth embroidered in chainstitch in bright polychrome crewels with long wiry flowering sprays rising from the lower to the top border. Scalloped bordering line in shades of yellow, with symmetrical accenting flower motive set in each scallop; on three sides of panel., England, 18th century, embroidery & stitching, Textile

Fragment, Medium: cotton Technique: mordants for black and narrow red stripe applied by pen; madder dyed; blue applied by brush or immersion over resist; chintz on plain weave, Stripes of blue and white flowers. Stripe on left on a yellow lattice background., India, 18th century, printed, dyed & painted textiles, Fragment

Fragment, Medium: silk; tempera Technique: printed and painted on plain weave, Two fragments of white silk painted in polychrome tempera. Design of twisting branches, wrapped with pink ribbon, from which spring varicoloured flowers and foliage and berries., China, 18th century, printed, dyed & painted textiles, Fragment

Ernest Capaldo, Printed Cotton, c 1940 Printed Cotton

Silk fabric with silver threading - fragment, from the collection of Szymon Poprzęcki. Kotarbiński, Mieczysław (1890-1943), draughtsman, cartoonist

Sidewall, Block-printed on handmade paper, Vertical rectangle. Rectangular framework of twisted ribbons, running diagonally, in black and white dots, with tassels hanging from points of intersection. Vertical serpentines of slender vine with flowers and foliage in black and white. Slip printed in two colors with one woodblock to give a shadow effect., France, ca. 1770, Wallcoverings, Sidewall

Joined Fragments: Velvet Panel with Rows of Flowers mid-17th century Textiles depicting formally arranged, naturalistic flowers on a neutral background were produced in great numbers during the reign of the emperor Shah Jahan (r. 1628-58). This distinctly Mughal decorative style developed from the influence of European herbal illustrations on traditional Indian depictions of nature. Despite their connection to medical illustrations these roses and lilies, while naturalistic, have been altered for aesthetic reasons and are not botanically correct.. Joined Fragments: Velvet Panel with Rows of Flowers. mid-17th century. Silk, cut and voided velvet, with continuous floats of metal thread. Attributed to India. Textiles-Woven

Drawing, Design for Flowered Fabric or Wallpaper; FRANCE & U.S.A.; brush and blue and grey gouache, graphite on wove paper

Textile Panel. Dimensions: Textile: L. 82 in. (208.3 cm) W. 23 1/4 in. (59.1 cm)Mount: L. 90 1/2 in. (229.9 cm)W. 29 in. (73.7 cm)D. 1 in. (2.5 cm)Wt. 45 lbs. (20.4 kg). Date: first half 17th century.This piece was probably used as a furnishing fabric. The flower forms reflect the saz (black pen) style that originated with black ink drawings and became particularly popular in the arts of Turkey and Iran in the late sixteenth and early seventeenth centuries. Hallmarks of the saz style appearing in this work include large blossoms pointing alternately to the left and right, which seem to consist of several separate flower heads emerging in succession. Also characteristic are the stems that grow directly from the rocky base. Museum: Metropolitan Museum of Art, New York, USA.

Arabesques : mosquée d'El-Bordeyny : frises et bordures des petites chambres (XVIIe. siècle). Prisse d'Avennes, 1807-1879. Prisse d'Avennes, 1807-1879. Prints, Drawings. 1877. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Architecture, Islamic, Architecture , Egypt , Cairo, Art , Egypt , Cairo, Art, Islamic, Islamic decoration and ornament, Arabesques, Friezes (Ornamental bands) , Egypt , Cairo, Borders (Ornament Areas)

Textile, Medium: cotton Technique: relief printed on plain weave, Twising columns with a trophy of flowers in the center. In three shades of red on white., France, ca. 1780, printed, dyed & painted textiles, Textile

Sheet with tibaries with flowers and berries with point stock, Johann Wilhelm Meyer, 1740 - 1780 brocade paper Leaf with tendrils with flowers and berries with point stock. Numbered below: No. 2. Possibly used as a cover. Augsburg paper. paint (coating) relief printing ornament derived from plant forms

Leaf with ornament of birds between tendrils with flowers and fruits, anonymous, c. 1700 - c. 1850 brocade paper Leaf with ornament of birds between tendrils with flowers and fruits. Used as a cover. paper. relief printing ornament derived from plant forms. ornament derived from animal forms

Calico. Dated: c. 1936. Dimensions: overall: 27 x 22.9 cm (10 5/8 x 9 in.). Medium: watercolor, graphite, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: Florence Stevenson.

Panel for a skirt or petticoat 1690-1710 British By the late seventeenth century, the appeal of Far Eastern goods and motifs had reached most levels of English society. Those who could not afford a cabinet mounted with imported Asian lacquer panels or a suite of tapestries like those produced by John Vanderbank (see MMA 53.165.2) could still satisfy their taste by wearing a petticoat or other fashionable accessory decorated with exotic motifs. In 1688 John Stalker and George Parker published A Treatise of Japanning and Varnishing, which includes twenty-four copperplate designs that could be used to decorate a variety of objects (see MMA 32.80.2). This book also gives detailed instructions on how to create imitation lacquer, or japanning, on various household objects. The text shows a lack of specificity regarding culture and geography that was typical of the period. For example, in their preface, the authors sing the praises of Japan and its architecture, but in the instructions the re

Sidewall, Machine-printed, embossed, gilded, Conventional lotus design in tan and olive embossed on cream ground. Outline of design embossed and gilded., USA, 1890-1900, Wallcoverings, Sidewall

Mise-en-carte (Point-paper). Designed by Germain Frères; France, Lyon. Date: 1785. Dimensions: 55.3 × 49.25 cm (21 3/4 × 19 3/8 in.). Ink and gouache on hand drawn graph paper. Origin: France. Museum: The Chicago Art Institute, USA.

Leaf with pattern of large flowers, anonymous, c. 1700 - c. 1850 brocade paper Leaf with pattern of tulips and other large flowers. Part of a cover. paper. paint (coating) relief printing ornament derived from plant forms

Sidewall, Block-printed and embossed paper, Imitation tapestry weave, with multi-colored floral and foliate motifs, on dark green glossy ground., USA, 1880-1900, Wallcoverings, Sidewall

Sidewall sample, Machine-printed on paper, Fragmentary wallpapers from sample book, including aesthetic-style and Anglo-Japanesque designs., 72 pages of samples., USA, 1880-90, Wallcoverings, Sidewall sample

Textile, Oberkampf & Cie., (Jouy-en-Josas, France, 1759-1815), Medium: cotton Technique: block printed (black, 2 reds), other colors applied by brush, plain weave foundation, Exotic flowering plants in bright colors scattered on a white background., Jouy, France, ca. 1796, printed, dyed & painted textiles, Textile

Piece 18th-19th century Japan. Piece 66441

Textile, Medium: cotton Technique: block printed with additional colors applied by brush on a plain weave foundation, Clusters of naturalistic flowers in blue and white, pink and red, surrounded by green leaves with yellow veining on a dark brown ground., France, late 18th century, printed, dyed & painted textiles, Textile

Chintz appliquéd quilt ca. 1835-40 Mary Malvina Cook Taft This quilt is appliquéd with pieces of chintz to form a Tree of Life motif at its center, recalling the design of popular imported Indian bed hangings, called "palampores." Chintz-appliquéd quilts such as this one were most popular in the South during the first half of the nineteenth century. According to family history, Mary Malvina Cook Taft made the quilt for her trousseau. She probably made it about 1835, since she was born in 1812 and probably married in her twenties, as was common at the time. There is no documentation of where the piece was made, but stylistically it seems most closely related to documented bedcovers from Maryland, Virginia, and South Carolina.. Chintz appliquéd quilt 13869

Textile (France); cotton; warp; 219 cm (86 1/2 in.) by weft (selvedge to selvedge): 85cm(33 1/2 in.) Pattern: Height of repeat: 17 in ( 43 cm.) As printing surface was wider than the fabric, about 1 inch of the repeat is missing.

Frieze, Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, Machine-printed paper, A scrolling acanthus leaf design, repetitive in a wave-like formation on a cream ground. A scalloped line topped by a line of small acanthus leaves run across the bottom. Printed in white, gold, and shades of green., Hoboken, New Jersey, USA, 1905-1915, Wallcoverings, Frieze

Two textile fragments, textile fragment, Textile fragments, two, embroidery of flowers and leaves with kirikane on brown ground., anonymous, Japan, 1751 - 1764, Horeki period, silk, height 11 cm × width 29.2 cm × height 4, 4 cm

Piece with pheasants and exotic flowers 1765-75 Bromley Hall The textile printing works at Bromley Hall, Middlesex, England, was one of the larger early manufactories set up in the environs of greater London. Calico printers had been on the site since the 1740s, when the manufactory was operated by a Quaker family named Ollive that had reputedly been in the business since the late seventeenth century. This piece was probably produced when the business was run by the Talwin and Foster families, between about 1763 and 1783. The factory continued to operate until 1823 under the name Foster & Co.¹ A Bromley Hall pattern book of 144 copperplate designs printed on paper is preserved in the Victoria and Albert Museum, London, and contains patterns dating from about 1760 to 1800.² Though the design for the present fabric is not included in this book, there are a number of similar patterns incorporating birds and large flowers, and such finely drawn avian patterns appear to have been one of the

Calico. Dated: 1940. Dimensions: overall: 34.9 x 29.5 cm (13 3/4 x 11 5/8 in.). Medium: watercolor, gouache, and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Marie Lutrell.

Fragment (Dress Fabric) Made 1745-1760 England. Silk, gilt-and-silvered-metal strips, and gilt-and-silvered-metal-strip-wrapped silk, plain weave with supplementary patterning warps, supplementary patterning wefts, and supplementary brocading wefts

Coverlet and Fragments, c. 1760-1770. Philippe de Lasalle (French, 1723-1805). Embroidered satin and silk; overall: 305.3 x 201.3 cm (120 3/16 x 79 1/4 in.); average: 75 x 82 cm (29 1/2 x 32 5/16 in.).

Quilt. Dated: c. 1937. Dimensions: overall: 48.3 x 39.6 cm (19 x 15 9/16 in.). Medium: watercolor, graphite, and pen and ink on paper. Museum: National Gallery of Art, Washington DC. Author: Daniel Fletcher.

Joseph Lubrano and A Zimet, Historical Printed Textile, c 1940 Historical Printed Textile

Trial-proof for a printed vertical border, Brush and watercolor on paper, Right, blue and yellow iris blooms (some printed without color) rise vertically among heavy foliage; left, scattered flowers (some indicated in outline only)., France, 1780-1800, ornament, Drawing, Drawing

Shawl, c. 1870, 123 1/2 x 57 1/2 in. (313.69 x 146.05 cm), Tapestry weave; wool; needlework, Iran, 19th century

Length of Textile, early 1700s. France or Italy, early 18th century. Silk with supplementary weft brocading; overall: 81.7 x 56 cm (32 3/16 x 22 1/16 in.).

A Panel from a Porticoes Series Made 1775-1800 France. Wool and silk, slit and double interlocking tapestry weave . Jean-Baptiste Oudry

Fragment, silk woven, design of polychrome groups of foliage with branches on a white background., ca. 1835, woven textiles, Fragment

Sidewall (France); block-printed; 65 x 49.5 cm (25 9/16 x 19 1/2 in.)

Piece 18th-19th century Japan. Piece 67179

Paris, Lefebure, Francois, Bouquet of tendrils with flowers and leaves., The bouquet is in a landscape with Paris in the background., print, ornament print, prints, ornament prints, height 155 mm, width 102 mm, Work conception, French, after a design by, 1631 - 1726, second quarter 17th century, third quarter 17th century, fourth quarter 17th century, paper, engraving, engraving (printing process), print maker, printmaker, Publication (Event), Publication, publisher

Sidewall - Fragment; block-printed; 47 x 30 cm (18 1/2 x 11 13/16 in.)

Salesman's sample, Medium: silk Technique: embroidered, Sample of dress trimming of white silk embossed and cut out in leaf and flower shapes and pasted on thin white plain cloth to form wide and narrow border. Mounted in paper folder., France, early 19th century, embroidery & stitching, Salesman's sample

Fragment, 1715-1725. France, 18th century, Period of Louis XV (1723-1774). Silk, gold and silver filé, silver strips; overall: 61 x 53.3 cm (24 x 21 in.).

Design for a Waistcoat, Black crayon, various gouache colors on paper, Design and sketch for the embroidery of men's waistcoats. Recto: A dark blue and violet stripe are at left. Beside these are to alternate a flower bunch and a flower bough of which two are shown. Plants of two different designs each growing beneath two netted wings form vertical staggered rows. Flower boughs are shown in the intervals. Verso: The pocket and the field show plants frowing from scalloped panels., France, 1780-1790, Drawing, Drawing

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

Frieze, Alfred Peats Company, Machine-printed paper, liquid mica, Acanthus W-shape crowned by a foliate arbor encasing a bouquet. Acanthus and three-flower bouquet between. Repeating stylized flowers suspended from top metalic gold stripe. Verterbrate band of laurel leaves on bottom. Green background that is darker on bottom and gets light toward the top. Printed in green, metalic gold, maroon, pink, beige and white, USA, 1905-1915, Wallcoverings, Frieze

Sidewall And Border (France); block-printed, handmade paper, joined; 20 x 46.5 cm (7 7/8 x 18 5/16 in.)

Sidewall (France); block-printed on joined sheets; Overall: 44 x 59.5 cm (17 5/16 x 23 7/16 in.)

Detail of Japanese textile print

Triumfa España en las Americas (The Triumph of Spain in the Americas) late 18th century Spanish This printed fabric demonstrates the potential for textiles to serve as platforms for political and social declarations. See also MMA 26.189.2. Of probable Spanish origin, Triumfa España en las Americas depicts "America" as a Native American female upon a litter supported by two young men among stylized flora. Europeans began personifying the Americas as an exotic native woman in the sixteenth century, but the inclusion of the legend "Triumfa Espana en las Americas" suggests that the designs authors were attempting to communicate something more explicit than the portrayal of the colonial Americas as a noble (but still inferior) savage. For most of the eighteenth century, Spanish rule in the Americas was marked by intense civil conflict across an exceptionally broad spectrum of colonial society, largely in response to the waves of colonial administrative reforms effected by the Bourbon ruler

Panel, 18th century, 85 1/2 x 22 1/4 in. (217.17 x 56.52 cm), Silk; cut and uncut voided velvet, Italy, 18th century, It was the Italians in the 14th and 15th centuries who developed velvet weaving to the level of an art form. Technological advances, which enabled manipulation of individual pile threads, gave designers tremendous freedom to exploit the rich texture. Velvets, such as this panel which was made in Genoa, were used for everything from men's dress suits and women's ball gowns to wall coverings and upholstery fabric. Italy maintained leadership in the production area of heavy, rich opulent velvets for hundreds of years.

Fragment of a woven fabric, anonymous, c. 1700 - c. 1720 A fragment of bizarre silk tissue. Green and beige stripes, on which a pattern of leaves, a parasol, Chinese architecture with a Pagoda-shaped building with a gate in which a lion. Same as BK-NM-1237 (two pieces) Amsterdam silk. A fragment of bizarre silk tissue. Green and beige stripes, on which a pattern of leaves, a parasol, Chinese architecture with a Pagoda-shaped building with a gate in which a lion. Same as BK-NM-1237 (two pieces) Amsterdam silk.

Sampler, Medium: cotton, silk Technique: embroidered in darning stitch in plain weave, Cotton embroidered with silk in showing design of a delicate ribbon-tied spray of flowers including an iris, daffodil and thorny stem of roses., possibly France, possibly Germany, early 19th century, embroidery & stitching, Sampler

Tapestry. unknown, author

Martin Partyka, Wall Decoration, c 1938 Wall Decoration

Scarf or Cover. Turkey. Date: 1701-1725. Dimensions: 166.5 x 51.3 cm (65 1/2 x 20 1/4 in.). Kerchief, embroidered in rose spray pattern. Origin: Turkey. Museum: The Chicago Art Institute, Chicago, USA. Author: ANONYMOUS.

Michael Lauretano, Free Hand Decorated Wall, c 1939 Free Hand Decorated Wall

Frieze (USA); Manufactured by York Card & Paper Co.; machine-printed paper; 90.5 x 49 cm (35 5/8 x 19 5/16 in.)

Anonymous. Vest embroidery project. Lead mine, gouache on cardboard, around 1780/85. Galliera, fashion museum of the city of Paris. 79098-29 Embroidery, cardboard, vest, gouache, lead mine, project, 18th century

Panel (Dress Fabric) Made 1775-1800 France. Silk, stripes of warp-float faced satin weave and stripes of two-clor complementary weft plain weave with supplementary patterning warps and self-patterned by ground weft floats; both with supplementary brocading wefts .

Piece 18th-19th century Japan. Piece 66553

Panel, Medium: sil, metallic thread, sequins Technique: silk embroidery on silk foundation with appliqué, Panel of light blue silk, intended for a skirt, has an embroidered border in colored silks, metallic thread and sequins, and an appliqué of white net. Design of reversed S-curves supporting a heart-shaped frame with a lion masque at the center. Above frame are flower sprays. Narrow border below worked in gold. Above, in the body of the skirt, are detached flower sprigs in rose, blue and brown with metallic thread., France, early 19th century, embroidery & stitching, Panel

"Les Perdrix" (The Partridges) 1771-72 Philippe de Lasalle French This design was commissioned in the early 1770s as part of the decoration for a salon in the Palais Bourbon in Paris. Ten years later, in the early 1780s, it was used again in the Grand Palace in Peterhof, the country residence of the Russian empress Catherine the Great. In the Peterhof Palace, the textile was used in a boudoir that was decorated en suite, meaning that the same textile was used for the walls, furniture covers, and curtains. It was a popular pattern, and in addition to the Museum's piece with a pale blue background, examples with different background colors such as red, green, and yellow exist in other museum collections in the United States and Europe.The work of designer and entrepreneur Philippe de Lasalle came to the attention of Catherine the Great through their mutual acquaintance, the philosopher Voltaire. In 1771, Lasalle produced several woven portraits of reigning monarchs, including Louis XV of

Quilt. Dated: 1935/1942. Dimensions: overall: 42.7 x 50.6 cm (16 13/16 x 19 15/16 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Charlotte Angus.

Francis Law Durand, Infant's Quilt (Detail), c 1937 Infant's Quilt (Detail)

Fragment of Pillow Cover or Panel of Bedspread, 1800s. Greece, Sporades Islands, Skyros, 19th century. Embroidery: silk on linen tabby ground; overall: 47 x 40.4 cm (18 1/2 x 15 7/8 in.).

Frieze, Robert Graves Co., New York, New York, Machine-printed paper, liquid mica, On light gray ground, clusters of green vines and white and pink flowers in arch form with staggered yellow butterflies., New York, New York, USA, 1905-1915, Wallcoverings, Frieze

Textile, Medium: silk and metallic thread on hemp Technique: stencil resist with embroidery, Detail of a landscape with rocks, various leafy stalks and flowering branches in shades of blue on a cream ground. A few small areas are printed in a brownish shade with white dots or completely reserved in white. Small area of couched metallic thread and orange and green silk embroidery., Japan, 18th century, printed, dyed & painted textiles, Textile

Embroidered Christening Blanket. Dated: c. 1937. Dimensions: overall: 63.3 x 43.9 cm (24 15/16 x 17 5/16 in.) Original IAD Object: 17 1/2" high; 24" wide. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Phyllis Dorr.

Panel Made 1732-1733 France. Silk, plain weave with supplementary patterning warps, supplementary facing wefts and brocading wefts, and self-patterned by two-color complementary ground wefts; two fragments pieced . Courtois (Designer)

Fragment 18th century Italian, Venice. Fragment 230068

Design for a Panel or Wallpaper () with an Ornamental Frame with Scrolls and a Shell Decorated with Garlands and Bundles of Flowers and Fruits and a Monogrammed Oval Frame 1870-1900 () Anonymous, French, 19th century Rectangular sheet of paper with a design for a panel or 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 char

Drawing, Design for an Embroidered Border of the "Fabrique de St. Ruf"; Designed by Fabrique de Saint Ruf; France; brush and gouache, incised lines on glazed tracing paper; 17.2 × 9 cm (6 3/4 × 3 9/16 in.)

Drawing, Design for a Woven Fantastic Plant of the "Fabrique de St. Ruf"; Designed by Fabrique de Saint Ruf; France; brush and gouache on oily tracing paper; 19.1 × 32.3 cm (7 1/2 × 12 11/16 in.)

Untitled Valentine (Flowers on Green Background). Unknown Artist; American or English, 19th century. Date: 1860-1869. Dimensions: 67 x 95 mm (folded sheet). Collaged elements and gold and green paint on cut and embossed (designed) ivory wove paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Drawing, Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"; Designed by Fabrique de Saint Ruf; France; brush and white gouache on glazed tracing paper; 5.1 × 13 cm (2 in. × 5 1/8 in.)

Marian Curtis Foster, Quilt, c 1938 Quilt

Panel. France. Date: 1801-1825. Dimensions: 62.0 × 53.9 cm (24 3/8 × 21 1/4 in.)Weft repeat: point repeat. Silk, warp-float faced 7:1 satin weave with plain interlacings of secondary binding warps and self-patterning ground wefts. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Flowers Flowers, 19th century. Ink and light color on paper, mounted on cloth, 69 3/8 x 76 in. (176.2 x 193.0 cm). Asian Art 19th century

Ernest A Towers, Jr, Applique Coverlet, c 1936 Applique Coverlet

Design for the Embroidery of the Lower Part of an Overskirt of the 'Fabrique de St. Ruf,' Unfinished, Fabrique de Saint Ruf, Lyon, France, Graphite, pen and ink, brush and gouache on paper, Two flying birds. A row of cones forms an inner frame, floral motifs and ribbons the outer frame., France, ca. 1785, Drawing, Drawing

Three flowers, Anonymous, 1760 - 1770 drawing An ornament of three flowers along a border with a repetitive pattern. Design for an embroidery for a silk cardigan or dressing gown. deck paint. gouache (paint) brush flowers ~ ornament

Textile, Medium: cotton Technique: roller printed, Repeat length of white cotton printed in red with a late-style Chinoiserie design showing Chinese-style figures amid tree branches and foliage. A male figure swings on a rope tied from tree branches while a standing female figure with a parasol and a bird in her hand stands looking down on a male seated figure., England or France, early 19th century, printed, dyed & painted textiles, Textile

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

Fragment Made 1705-1706 France. Silk, gilt-and-silvered-metal-strip-wrapped silk, warp-float faced 7 1 satin weave with supplementary patterning wefts, supplementary brocading wefts, and self-patterned by areas of plain weave .

Border (USA); machine-printed on embossed paper; 64 x 39 cm (25 3/16 x 15 3/8 in.)

Sidewall (possibly England); block printed on ribbed paper; 46 x 53.5 cm (18 1/8 x 21 1/16 in.)

Sidewall, Block-printed on joined sheets, Diaper pattern composed of acanthus leaves. A basket with floral bouquet is contained within each cartouche. Printed in ocher, red and pink on yellow ground., possibly France, possibly USA, 1820-50, Wallcoverings, Sidewall

Frieze, W.H. Mairs & Co., 1855, Machine-printed paper, Alternating motifs, showing possibly American Indian influence. The motifs are medallion-shaped, with every second motif rising above the next. A minor band of ornament run along the top and bottom edges. The entire design is overprinted with pin dots and dashes. Printed in red, green, brown, tan and black on a background that shades from a cream-color at the top to a pale yellow-ocher at the bottom. Pattern number 1816., Brooklyn, New York, USA, 1905-1915, Wallcoverings, Frieze

Turkey, Istanbul, Tile inside Topkapi palace

Drawing, Floral design for printed textiles; Designed by Louis-Albert DuBois (Swiss, 1752-1818); Manufactured by Fabrique de Fazy aux Bergues; France; brush and gouache, graphite on cream wove paper

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