Historic Textiles and Embroidery

A collection of intricate textiles depicting animals and flora, showcasing craftsmanship through vibrant embroidery and various cultural styles.

Leaf with four winding lanes wounded by tendrils with flowers and fruits, 1750 - 1820 brocade paper Leaf with four winding side -like tracks wounded by tendrils with flowers and fruits, placed at a regular distance from each other. paper. paint (coating) relief printing ornament derived from plant forms

Textile with Animals and Birds. Culture: Italian. Dimensions: Overall (with painted reconstruction): 17 1/2 × 9 5/8 in. (44.4 × 24.5 cm)Right fragment: 17 1/2 × 4 3/16 in. (44.4 × 10.7 cm)Left fragment: 10 3/16 × 2 7/16 in. (25.9 × 6.2 cm)Storage (Mat): 27 × 17 in. (68.6 × 43.2 cm). Date: ca. 1250-1300. Museum: Metropolitan Museum of Art, New York, USA.

Rank Badge with Mallow Flower early 19th century China The mallow flower on this badge was the insignia of civil officials in the Sacred Music Department of the Qing government who performed slow rhythmic dances at court rituals. This type of badge appears in the Huang chao li qi tu shi, an illustrated set of imperial regulations from 1759.. Rank Badge with Mallow Flower. China. early 19th century. Silk and metallic thread embroidery on plainweave silk. Qing dynasty (1644-1911). Textiles-Embroidered

Embroidery, Medium: silk Technique: embroidered on satin weave, China, 19th century, embroidery & stitching, Embroidery

Textile (France); silk; Warp x Weft: 156.6 x 63 cm (5 ft. 1 5/8 in. x 24 13/16 in.)

Embroidered picture, Medium: silk and metallic embroidery on linen canvas Technique: embroidered in tent stitch, Embroidered picture. Two depths: in foreground, a woman with child speak to a bearded man; in background, an angel looks over a landscape with trees, a castle, and a tent from which emerge a woman and child. Border of animals and flowers include: lion, hare, dog, tiger, parrot, squirrel, stag, and bee. Framed and glazed., England, late 17th century, embroidery & stitching, Embroidered picture

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

Leaf with four winding lanes wounded by tendrils with flowers and fruits, 1750 - 1820 brocade paper Leaf with four winding side -like tracks wounded by tendrils with flowers and fruits, placed at a regular distance from each other. paper. paint (coating) relief printing ornament derived from plant forms

Fragment with arcade and palmettes, 1200s. Spain, probably Granada. Silk and gold thread: tapestry weave; overall: 17.8 x 10.8 cm (7 x 4 1/4 in.); mounted: 26.4 x 19.7 cm (10 3/8 x 7 3/4 in.).

Panel Fragment 7th century. Panel Fragment. 7th century. Linen, wool. Attributed to Egypt. Textiles

Painted Panel of Character "Whistle", early 1900s. Korea, Joseon dynasty (1392-1910). Hanging scroll, ink and color on paper; unmounted; overall: 236.5 x 80.3 cm (93 1/8 x 31 5/8 in.).

Leaf with twelve different scenes in four rows of three, Anonymous, 1800 - 1825 brocade paper Leaf with twelve scenes in four rows of three, in the top left, hunter on Hert, at the top right sail ship in Haven, drinking beef with shepherdin, playing the sheep with sheep at the top right. paper. paint (coating) relief printing hoofed animals: deer. hunting, chase. herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.. harbour

Kesa Made 1850-1890 Japan. Heri, yÙ, and jÙ silk, cotton and gold-leaf-over-lacquered paper strip, twill weave with twill interlacings of secondary binding warps and supplementary patterning wefts; shiten and niten silk, cotton and gold-leaf-over-lacquered paper strip, twill weave with twill interlacings of secondary binding warps and supplementary patterning wefts; cords silk, twill oblique interlacing; lining cotton, weft-faced mixed twill weave self-patterned by main warp and ground weft floats .

Fragment Made 1701-1900 Japan. Compound twill, silk & silvered paper; 3 strips to m.m. .

Hanging mid-18th century. Hanging 451611

Design on Paper Japan. Paper .

Piece 18th-19th century Japan. Piece 67144

Throne Seat Cover, Kangxi period, 1662-1722, L.34-3/8 x W.47-1/4 in, silk, China, 17th-18th century

Piece 18th-19th century Japan. Piece 67312

Fragment; silk, metallic thread (frisé and filé)

Panel with Dragon 17th century China This fragment of a larger embroidered textile utilizes polychrome silks and two other types of thread. Gold metallic thread is especially prominent in the background, and thread made from peacock feathers wrapped around a silk core is seen in the scales of the dragon.. Panel with Dragon 53620

Textile, Medium: cotton Technique: printed by engraved roller on plain weave, Two scenes, possibly of the crusades on a background of grape leaves. In red on white. Signature under one of the scenes on the left., Alsace, France, early 19th century, printed, dyed & painted textiles, Textile

Textile Fragment 6th-8th century Byzantine. Textile Fragment. Byzantine. 6th-8th century. Linen, wool. Textiles-Woven

Mandarin Square, 20th century, L.69 x W.18 in., China, 20th century

Sheet with six rows with different vehicles, Paul Reimund, 1783 - 1815 brocade paper Leaf with six rows with various horses drawn vehicles. Numbered at the bottom: 70. Nuremberg paper. paint (coating) relief printing four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach. two-wheeled, animal-drawn vehicle. animal-drawn sledge (Dutch: 'toeslede')

Textile (France); Company: Thierry Miegs; cotton; Warp x Weft (a): 58.5 × 83.5 cm (23 1/16 × 32 7/8 in.) Warp x Weft (b): 54.5 × 83.5 cm (21 7/16 × 32 7/8 in.) Warp x Weft (c): 26 × 83.5 cm (10 1/4 × 32 7/8 in.) Repeat H: 71.5 cm (28 1/8 in.)

Panel. Coptic; Egypt. Date: 201 AD-500 AD. Dimensions: 25.1 × 21.6 cm (9 7/8 × 8 1/2 in.). Linen and wool, tapestry weave. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA.

Tejido de Santa Maria de l'Estany, siglo XII.

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

Arras - verdure. unknown, author

Tapestry with Armorial Bearings and Badges of John, Lord Dynham. Culture: South Netherlandish. Dimensions: 152 x 145 in. (386.1 x 368.3 cm). Date: ca. 1488-1501.John, Lord Dynham was a naval commander under five kings and treasurer of England from 1486 to 1501. The inscription around the garter is the motto of the Order of the Garter, to which Lord Dynham was appointed in 1487. The tapestry was probably woven to commemorate this event. The supporters in the form of stags -- or harts -- refer to Lord Dynham's family seat, Hartland. The repeated device of the topcastle of a warship with javelins leaning against the railing and swallow-tailed pennants flying above refers to Lord Dynham's distinguished naval career. Museum: Metropolitan Museum of Art, New York, USA.

Fragment, Medium: wool, linen Technique: dovetail and split tapestry weave, Tapestry-woven square mounted with glue on wool plain weave. At each corner, strictly frontal nimbate figures on red ground with hands raised; at right angles to warp. The pair at bottom of the square inverted 180 degrees from the pair above. Between them, and in center, a medallion containing each a bird; those at side on tan ground, in center on pink ground, in the direction of warp. These medallions and outlines of figures and birds worked in soumak. The square has a brown plain outer border. On the red ground, small dots with centers are used as fillers., Egypt, 6th-8th century, woven textiles, Fragment

Fragment with Landscape, Hunters, and Ibexes, before 1982. Iran, style of the Abbasid period (750-1258). Silk: lampas weave; overall: 39.5 x 44.5 cm (15 9/16 x 17 1/2 in.).

Lambal or fragment with chinoiseries in sitsen application ,, c. 1700 - c. 1750 Lambal or fragment with an image of three Chinese acrobats between flowering branches. European dressed women are on the left and right of the branches. The lambal is part of three lambles (or fragments) with invnrs. BK-16441-B to BK-16441-E and a SPREI BK-16441-A. Eastern textile. India textile materials. linen (material) printing Lambal or fragment with an image of three Chinese acrobats between flowering branches. European dressed women are on the left and right of the branches. The lambal is part of three lambles (or fragments) with invnrs. BK-16441-B to BK-16441-E and a SPREI BK-16441-A. Eastern textile. India textile materials. linen (material) printing

Lampas with scenes of wild animals, late 1500s-early 1600s. Iran, Safavid period (1501-1722). Silk and gilt-metal thread: lampas, brocaded; overall: 55.4 x 28.5 cm (21 13/16 x 11 1/4 in.). Amidst small floral motifs, deer, and antelopes, cheetahs in one row attack deer, while in the alternating row lions seize wild asses.

MOSAICO DEL FRONTAL DE LA CAPILLA DE LOS MARTIRES. Location: IGLESIA COLEGIAL DE SANTA MARIA LA MAYOR. TALAVERA DE LA REINA. Toledo. SPAIN.

The Abduction of Helen from a set of The Story of Troy probably first half 17th century Chinese, Macao, for export market Embroidered in China, this depiction of the abduction of Helen is monumental both in scale and in the freedom granted to the embroiderers, who included many Chinese motifs and interpretations within a purely Western narrative. A quintessential account in the Western classical tradition, the story of the Trojan War inspired large sets of European tapestries; the earliest documented set was presented to Charles the Bold in 1472.¹ This embroidered hanging, too, was part of a large set, of which the Metropolitan Museum owns three, and four are preserved in other collections.² All have the same border, including an armorial at each corner that does not correspond completely with any known arms. Perhaps it is an erroneous rendering of the arms of the Mascarenhas family of Portugal; the nobleman Francisco Mascarenhas served as governor of Macau from 1623 to 1626. The abduc

Textile 18th century China or Japan. Textile 53674

Still-life of a lacquer panel inscribed withpoems. Artist: Katsushika Hokusai, Japanese, 1760-1849

Persischer Jagdteppich, Detail.. Prints. 1912. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection

Leather (Holland); leather, stamped, silvered, painted

Dragons Chasing Flaming Pearls 13th century Central Asia. Dragons Chasing Flaming Pearls. Central Asia. 13th century. Silk, metallic thread. Textiles-Tapestries

Square, Medium: cotton, silk and metal Technique: embroidered, Square of sheer cream-colored cotton, embroidered on all four sides with colored silks and metal thread. Design of detached motifs: an island with trees; and a galley with oars raised in a single line., Near East, late 19th century, embroidery & stitching, Square

Vestigia delle Terme di Tito. Ornamentation of vault called in fondo carnino’, in room 27. Carlone, Marco (1742-1796), graphic artist, Smuglewicz, Franciszek (1745-1807), draughtsman, cartoonist, Brenna, Vincenzo (1745-1820), draughtsman, cartoonist, Mirri, Ludovico (1738-1786), publisher

The ruins of Niya (simplified Chinese: 雅遗址; traditional Chinese: 雅遺址; pinyin: Níyǎ Yízhǐ), is an archaeological site located about 115 km (71 mi) north of modern Minfeng Town (also called Niya) on the southern edge of the Tarim Basin in modern-day Xinjiang, China. The ancient site was known in its native language as Cadota, and in Chinese during the Han Dynasty as Jingjue (Chinese: 精絕; pinyin: Jīngjué). Numerous ancient archaeological artifacts have been uncovered at the site. Niya was once a major commercial center on an oasis on the southern branch of the Silk Road in the southern Taklamakan Desert. During ancient times camel caravans would cut through, carrying goods from China to Central Asia.

Print, Book Paper: Exotic Animal; Germany; color woodblock print support: green laid paper; 37.7 x 42.5 cm (14 13/16 x 16 3/4 in.) Mat: 40.6 x 55.9 cm (16 x 22 in.)

Ramayana Scene Indian. Ramayana Scene, ca. 1850. Ink on paper, pounced for transfer, sheet: 8 1/4x 12 1/2 in. (21.3 x 30.5 cm). Asian Art ca. 1850

Fragment (Japan)

One of a Pair of Chair Strips with Auspicious Patterns 18th century China Unlike upholstered furniture in the West, chairs in China were, historically, covered only temporarily with textiles. These chair strips (see also 65.210.2) 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 coversthe front legs, seat, or backas 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.. One of a Pair of Chair Strips with Auspicious Patterns 51337

Piece 18th-19th century China. Piece 66269

The Moon and Her Children from a Set of the Planets mid-16th century After a print by Barthel Beham German. The Moon and Her Children from a Set of the Planets 219787

Textile Fragment. Persia, Safavid, late 15th-early 16th century. Textiles; fragments. Silk double weave

Huntsman Presenting a Captured Heron to a Lady Falconer ca. 1500-1530 South Netherlandish. Huntsman Presenting a Captured Heron to a Lady Falconer. South Netherlandish. ca. 1500-1530. Wool warp; wool and silk wefts. Textiles-Tapestries

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

Boucheron, necessary (main title), 1935. Graphite, ink and gouache on the front, ink and gouache on the back on film -coated vellum. Petit Palais, Museum of Fine Arts of the City of Paris.

Painting. Date/Period: 1856. Width: 41.5 cm. Height: 145 cm. Author: UNKNOWN.

Family tree of Frederik and Ottheinrich van Palts -Neuburg (plate 16), monogrammist HS, after David Kandel, 1535 - 1594 print Basel paper letterpress printing family lineage, pedigree, genealogical tree or table

Fragment, before 1961. Iran or Iraq, Buyid period, early 11th century. Silk: lampas weave; overall: 71.1 x 95 cm (28 x 37 3/8 in.).

Gluttony from a set of The Seven Deadly Sins Between ca. 1550 and 1560 Pieter Coecke van Aelst Netherlandish The great Renaissance artist, Pieter Coecke van Aelst, conceived this series as a spectacular procession of sinners spread across seven tapestries of monumental scale. Each tapestry is dedicated to a particular vice, or Cardinal Sin, represented in female form riding a carriage, surrounded by a colorful retinue of personalities from classical history, mythology and the Bible, embodying the corruption in question. Here, winged Gluttony, wine-leaves in her hair, seated in her harpy-drawn chariot, is preceded by the gourmands Cleopatra, Alexander the Great and Silenus, whilst young Bacchus leads the way. In the background, the Old Testament heroine, Judith, can be seen dispatching the drunken Holofernes, in a vignette of the virtue of Temperance overcoming its sinful counterpart.Although it is not known who owned this particular tapestry, many editions of Coeckes Seven Deadly Sins

The Falcon Hunt ca. 1500-1530 Southern Netherlands Tapestries with lush floral backgrounds -- known as millefleurs (from the French, meaning "a thousand flowers") -- were popular from about 1400 to 1550 and were produced throughout the Southern Netherlands. Typical of such works, The Falcon Hunt depicts a scene of courtly lifea young nobleman leading a lady and attendant on a hunt. The three figures seem to "float" in space, as the artist paid little attention to creating an illusion of depth. The tapestry has been trimmed on all four sides, and the tops of the rose bushes on the lower left edge indicate that it must have been a great deal larger than it is today. A strip of fabric from a contemporary tapestry was added along the top at some point in the object’s history.. The Falcon Hunt 459953

Piece 17th century China. Piece 71438

A white pavilion in a hilly landscape with setting sun, on the roof of the pavilion two men with guns and a third man half visible, in front of the window downstairs two ladies watching, behind a large safety net right through the scene two bloodthirsty tigers and some hunters behind the rocks. The scene is framed by a grey piping in black lines and a wide red border., Tiger hunt, draughtsman: anonymous, Kotah, c. 1830, paper, brush, brush, h 262 mm × w 365 mm, h 215 mm × w 305 mm

Rama and Sita in Royal Palace (recto), c. 1890. Shri Gobinda Chandra Roy. Woodcut with black ink and handcolored with yellow, green and red paint on paper; secondary support: 29.7 x 47.7 cm (11 11/16 x 18 3/4 in.); painting only: 27 x 38.6 cm (10 5/8 x 15 3/16 in.).

Story of Gombaut and Macée. Culture: possibly French. Dimensions: L. 108 x W. 64 1/2 inches (274.3 x 163.8 cm). Date: ca. 1600.This tablecloth closely follows a tapestry set, known as the Loves of Gombaut and Macée, to represent the carefree, sexually enlivened lives of the shepherds Gombaut and Macée. Its border illustrates incidents taken from the first six tapestries of the set, embroidered in tent stitch using wool and silk in brilliant red, pink, blue, and dark blue-green colors. The tablecloth is also based on a set of eight woodcuts by John Le Clerc, made about 1587, which are thought to have been copied from the tapestry series. The widespread popularity of the story is apparent from the number of its depictions that have survived.The scenes shown extol the ideal pleasures of Arcadian life. Macée washes her feet in a stream and later raids a bird's nest with Gombaut in a scene taken from the first tapestry. Then they play tiquet, a game similar to croquet, and a man smacks a

Drawing, Design for a Ceiling; France; pen and ink on paper, sepia and blue watercolor on paper; 31.5 × 31.5 cm (12 3/8 × 12 3/8 in.)

Piece. Culture: Japan. Dimensions: 9 7/8 × 5 1/8 in. (25.1 × 13 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Textile, Country scenes; Produced by A. Henry (French); France; printed by engraved roller on cotton plain weave.; Warp: 134cm (52 1/2in.) Weft: 71.5cm (25 1/4in.) Bothy selvedges present.) Height of repeat: 64.5cm (25 1/4in.); Bequest of Elinor Merrell; 1995-50-190

"Horseman and Fragment of Text", Folio from a Shahnama (Book of Kings) ca. 1330-40 Abu'l Qasim Firdausi. "Horseman and Fragment of Text", Folio from a Shahnama (Book of Kings) 454880

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

Antwerp, Maes, Joseph, Broderies, XVIe siècle, Two pieces of embroidery with scenes of Christ at table, from the abbey of Grimsbergen, recto - stamped, photomechanical print, page, photographs, photographically illustrated books, BRODERIES executed vers, recto - printed, BRODERIES. - PL. 4., JJvY, height 225 mm, width 341 mm, photographer, 1882 - 1887, paper, papier, collotype, photolithography, fotolithografie, Belgian, 1838 - 1908, clichémaker, Work conception

Screen.The scenes have been cut out from the thick, dark brown lacquer, and subsequently decorated in colours. This is known as Coromandel lacquer, after the Coromandel coast, the East coast of India, from where many Asiatic luxury goods were shipped to Europe. A Dutch ship and traders from Holland are depicted. These foreigners obviously bemused the Chinese artist.

Tapestry with Boys at Play. Culture: China. Dimensions: Overall (before conservation): 93 1/2 x 70 in. (237.5 x 177.8 cm). Date: 17th century.This large polychrome silk tapestry has two parts. The main, lower, section features a theme termed "the hundred boys." Small groups of little boys (83, to be exact) are shown engaged in various activities, such as falconry, archery, fishing, boating, reading, music, kite-flying, horseback riding, and playing with a ball. One boy rides a fantastic animal (qilin) through the sky. The boys are in a mountainous landscape that is punctuated with partial pavilions, trees (pine and willow, among others), and flowers (peonies and plum blossoms, among others) and is also inhabited by a pair of deer and a pair of cranes. The top section, separated from the main part by a band of rosettes, features a pair of confronted phoenixes in flight facing a peony branch, surmounted by a circular sun among clouds, and surrounded by cloud forms and beribboned auspici

Ceremonial Banner (palepai) Lampung people 19th century This is an exceptional ceremonial banner (palepai) from Semangka Bay in Lampung, Sumatra, Indonesia. Woven with cotton and metallic wrapped yarns in the supplementary weft technique this is a particularly rare and exceptional example. Also known as ships cloths due to their iconography which often depict large ships and reflects the vibrant cosmopolitanism of the area, this palepai is a particularly rare and exceptional example featuring a single vessel in blue with a complex array of iconography typical of the genre, here picked out in red thread and other contrasting colors to highlight the designs. These include a boldly graphic area of densely formed interlocking blocks of scrolling - a feature of the left of the textile that is echoed at either side of the prow and stern of the central vessel - and emulates the dynamic rise and fall of the waves as the vessel moves through the water as well as a more literal representation of

MUSEO TEJIDO. Location: CATEDRAL DE SANTA MARIA. ASTORGA. LEON. SPAIN.

Fragments (Germany); silk, metal

Piece 18th century Japan. Piece 72016

Valance, Kangxi period, 1621-1722, L. 181 x W. 37 ⅜ in. (459.74 x 93.98 cm), Embroidered silk brocade, China, 17th-18th century

Hanging, 1 of 7 Pieces Hanging, 1 of 7 Pieces, ca. 1610-1620. Painted resist and mordants, dyed cotton, 108 1/4 x 37 3/4 in. (275 x 95.9 cm). Asian Art ca. 1610-1620

"The Deposed Monkey King Drops Figs for the Tortoise and the Two Become Friends", Folio from a Kalila wa Dimna second quarter 16th century This manuscript contains seventy-eight paintings and many text folios telling the famous tales of the jackals Kalila and Dimna. Based on the book of ancient Indian animal fables, the Panchatantra written by Vidyapati (Bidpai), the stories spread all over the Middle East where they became wildly popular. This manuscript has a strong flavor of Mamluk Egypt in the figure styles and bold drawings, with hints of Ottoman tulips and Safavid turbans. However, the burnt orange palette and darkly-inked lines have led to an attribution to Sultanate Gujarat where it is suggested this manuscript was copied from an Egyptian original. Its life in India is also attested by a Devanagari inscription at the end, although the rest of the Arabic text is written in a strong, left-leaning naskh-like script.. "The Deposed Monkey King Drops Figs for the Tortoise and the Two

The Turf Inn, Medium: cotton Technique: printed by engraved plate on plain weave, A horse race taking place in front of a grandstand with the sign 'The Turf Inn'. In red on white., England, 1780-90, printed, dyed & painted textiles, Textile, Textile

Hanging with children at play 19th century China This large polychrome silk embroidery features a popular motif known as the hundred boys.” To express the desire for a prosperous family, hundreds of male children at play are depicted, usually in a beautiful garden. Here, 250 boys are engaging in various activities, such as wrestling, hide and seek, butterfly catching, deer riding, and playing with a ball. Each child is embroidered in a different posture with simple but fluid outlines, which required not only intensive skill but also artistic sensibility. Hangings like this usually served as wall decorations in wedding celebrations.. Hanging with children at play. China. 19th century. Silk and metal thread embroidered on silk satin ground. Qing dynasty (1644-1911). Textiles-Embroidered

Hanging for Wedding. Culture: China. Dimensions: Overall: 126 x 57 in. (320 x 144.8 cm). Date: second half 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Wisdom King of Passion (Aizen Myōō), 1500s. Japan, Muromachi period (1392-1573). Hanging scroll; color on silk; including mounting: 58.4 x 26.6 cm (23 x 10 1/2 in.).

Rank Badge (buzi), 1850-99. China, Qing dynasty (1644-1911). Silk; slit tapestry weave (kesi); overall: 29.5 x 32 cm (11 5/8 x 12 5/8 in.).

Bandbox or Hat Box. Dated: c. 1940. Dimensions: overall: 22.3 x 29.9 cm (8 3/4 x 11 3/4 in.) Original IAD Object: 12" high; 15" wide. Medium: watercolor, gouache, and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Jessie M. Youngs.

Fragment (Japan)

Rank Badge (China); silk and metallic embroidery on silk foundation

TunicFragment. Artist: Unknown

Summer edition, 1906 book Part two of three. Gray fabric about cardboard cover on which the title in Roman letter on the back; A peacock printed in green and gold on the front with the title; Inside cover decorated with a flower motif in gold; one color wood cut by Kajita Hanko; The text section has 456 pages; advertisement in color for Shin Shosetsu; Colophon. paper. textile materials letterpress printing / color woodcut

Patch. Lambayeque; Peru, Probably north coast. Date: 1000-1476. Dimensions: 17.8 x 15.2 cm (7 x 6 in.). Origin: Peru. Museum: The Chicago Art Institute, Chicago, USA.

Embroidery, Germany 19th century. Beginner's work, embroidered in cross-stitch on linen, with the maker's initials, D.L. and the date 1841.

Piece 18th-19th century Japan. Piece 67703

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

Ceremonial mantle. Date/Period: 100 BCE - 100. Plain cotton weave embroidered with threads of camelid fibre. Height: 1,420 mm (55.90 in); Width: 2,860 mm (112.59 in). Author: Paracas style.

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

Doggersbanklint.Wide ribbon, with centrally printed a picture in color: two mermaids, the left with a flagpole with red-white-blue flag against right shoulder, sitting on fish () With opened beak from which a water stream comes with inscription (Doggersbank); The judge with flagpole with red-white-blue pennant with inscription (Kinsbergen) against left shoulder; With left hand, she holds a skylocket high, which is also kept up by the other mermaid with the left hand.

Textile with a Forested Landscape late 14th-early 15th century India (Gujarat), for the Indonesian market One of the finest surviving examples of its type, this spectacular full-length cloth is composed of a series of stylized but still identifiable interlocking trees that form a densely forested landscape. A number of Indonesian communities prized these textiles, including the Toraja of central highland Sulawesi, who refer to them as Maa, or cloths of the ancestors. The late fourteenth- to early fifteenth-century date of this piece demonstrates that the trade in Gujarati-painted and printed cotton goods to Indonesian markets was well established long before the Portuguese arrived in India.cat. no. 3b. Textile with a Forested Landscape. India (Gujarat), for the Indonesian market. late 14th-early 15th century. Cotton, painted resist and block-printed mordant, dyed. Textiles-Painted

Fragment (Japan)

Ramayana Scene Indian. Ramayana Scene, ca. 1850. Ink on paper, pounced for transfer, sheet: 8 3/8 x 12 in. (21.3 x 30.5 cm). Asian Art ca. 1850

Job with professions in Acht Rijen, Johann Georg Eckart, 1820 - 1854 brocade paper Leaf with professions in eight rows: at the top left copper printer, at the top right of Wagenmaker, bottom left book printer, below furniture maker, a paper maker in the middle. Nuremberg paper. paint (coating) relief printing handicrafts ~ other plant material. handicrafts, craftsman at work. printer

Flying Bats, Mulberry paper (kozo washi) treated with fermented persimmon juice (kakishibu), silk threads (itoire), Motif of bats flying in multiple directions cut from brown paper, their wings interlaced to form a continuous pattern. There are faint silk threads visible throughout the negative space to reinforce the overall structure., Japan, late 18th-early 19th century, textile designs, Katagami, Katagami

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