Islamic Textiles and Embroidery

Contains exquisite textile fragments from the Islamic period, featuring elaborate patterns and rich colors, highlighting craftsmanship in fabric art.

Fragment printed cotton with decor: Monuments de Paris .. Fragment Cotton with show in rolling pressure and block print in the colors red, yellow, purple and yellow. Links Alternates the Pont Neuf on which the equestrian statue of Hendrik IV with the Panthéon; On the right the Fontaine des Innocents with Perrault's Oostgevel from the Louvre. The performances are caught in medallions and cartouches. Portraits of the French kings Hendrik II, Henry IV, Louis XIV and Louis XVI are in small medals between the performances.

Fragment of a Caftan, before 1982. Iraq or Iran, in the style of the Buyid period (945-1055). Lampas weave, silk; overall: 50.5 x 49.2 cm (19 7/8 x 19 3/8 in.).

Square

Fragment. Italy. Date: 1201-1300. Dimensions: . Silk, twill weave, brocaded with metal thread. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Fragment (From an Orphrey Band) Made 1401-1500 Italy. Silk, gold, and silver gilt strips wound around silk fiber core and gold wire, integrated compound-weave of warp-float faced satin weave and twill weave with supplementary patterning and brocading wefts forming weft loops .

Warsaw. Floor (wood intarsia) in the Conference Study at the Throne Room of the Royal Castle - fragment in the scale of 1:10. Sztolcman, Władysław Roman (1873-1950), draughtsman, cartoonist

Sidewall, Composition paper, embossed in relief, Imitation leather. Samples of composition paper wallcovering imitating leather, embossed in relief. From third floor library at 21 East 72 Street, New York City., Japan, 1875-1900, Wallcoverings, Sidewall

New Künstlichs Modelbuch (Page 3 recto) 1600 Bernhard Jobin Swiss Published by Bernhard Jobin, Strassburg ().Illustrated title page, poem (2 pages), and 45 pages of designs.. New Künstlichs Modelbuch (Page 3 recto) 680397

Panel with the Triumph of Dionysos. Dimensions: 8.62 in. high 13.37 in. wide (22 cm high 34 cm wide). Date: 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

Design for a Woven Fabric, Fragment, Gouache on oily tracing paper, mounted, A slope of a zig-zag thread is fastened to a leaf bough shaped like an ovoid. A plant is inside the slope, some of its parts carrying the thread. Irregularly shaped at left bottom., France, 1815-1840, Drawing, Drawing

Fragmentary Tile, Probably Arrow-Shaped in Origin, and Modern Filling late 12th-13th century, with 20th-century fills Whether loose or on a building, Iranian glazed tiles fascinated scholars and collectors for aesthetic reasons. The tiles role in the decoration of facades and minarets in the second half of the eleventh century became an early subject of academic investigation. This tile shows a once-common restoration that isoverzealous by todays standards: the missing portion was reconstructed and filled in, and the painting completed. Before museum conservators separated the filling, the restoration would have been barely detectable. The tile originally had a different, probably pointed shape (see the small trace of a corner on the bottom right).. Fragmentary Tile, Probably Arrow-Shaped in Origin, and Modern Filling 447188

Fragment. Egypt. Date: 969 AD-1171. Dimensions: 4.1 × 11.4 cm (1 5/8 × 4 1/2 in.). Plain simple cloth; linen, brown with age; embroidered with red silk in satin stitch and darning stitch. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA. Author: Islamic.

Fragment of a Tunic, 400s - 600s. Egypt, Byzantine period, 5th - 7th century. Tapestry weave; wool and linen; overall: 25.5 x 39.2 cm (10 1/16 x 15 7/16 in.).

Woman's veil (Odhani), first quarter 20th century, 61 x 82 in. (154.94 x 208.28 cm), Cotton; tie and stitch resist dye, India, 20th century

TEJIDO DE LANA COPTO. Location: ALHAMBRA-MUSEO TEXTIL. GRANADA. SPANIEN.

Fragment, Medium: Wool Technique: Chain stitch on plain weave., Fragment of a larger fabric patterned by small standing figures holding sticks - two rows each of four figures. Selvedge at left side and bottom remaining., Peru, 500-1200, embroidery & stitching, Fragment

Textile Fragment with Skeletal Figure Paracas. Textile Fragment with Skeletal Figure, 100 B.C.E.-1 C.E. Cotton, camelid fibers, frag. a: 7 1/2 x 8 3/4 in. (19.1 x 22.2 cm). The backward-bent pose of this skeletal figure with long, streaming hair and a fan or knife in its hand is associated with sacrificial victims and death. At the throat, a square-shaped wound suggests a decapitation. Alternatively, the figure has been interpreted as the seminal being of a mythic transformation sequence in which supernatural beings evolve into more complex, composite figures such as the Plant Beings seen nearby. Arts of the Americas 100 B.C.E.-1 C.E.

Sarape, c. 1870-1890. America, Native North American, Southwest, Mexico, Saltillo, Post-Contact, Transitional Period. Tapestry weave: cotton and wool; overall: 207 x 105.4 cm (81 1/2 x 41 1/2 in.).

Panel. Italy. Date: 1601-1625. Dimensions: 44.4 x 55.8 cm (17 1/2 x 22 in.). Linen, plain weave; drawn work embroidered in darning, hem, overcast, and Russian overcast stitches. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Fragment. Iran. Date: 1001-1300. Dimensions: 10.2 x 12.7 cm (4 x 5 in.). Silk. Origin: Iran. Museum: The Chicago Art Institute, Chicago, USA.

Man's cloth, c. 1940, 59 1/4 x 97 in. (150.5 x 246.38 cm), Cotton; strip woven, supplementary weft patterning, Ghana, 20th century, Both Ewe and Asante weavers create unusual, dynamic cloths by alternating two or more stripe patterns. The Asante name for this style is Mmbam (mixed cloth); the Ewe refer to it as Sasa. The strips are often dramatically different from one another, but the pattern blocks usually share a similar color palette and design features which unify the disparate elements. The use of multiple stripe patterns reflects a conscious design choice and is not a way to use up odds and ends of leftover strips or to recycle older cloths.

Leaf with double -headed eagle and spreading pattern of leaf vines, anonymous, c. 1690 - c. 1730 brocade paper Leaf with in the middle, on the fold, a crowned double -headed eagle and spreading pattern of leaf vines. Used as a cover for a publication from 1709. Germany paper. relief printing ornament derived from plant forms. double-headed eagle (+ heraldic animals)

Textile fragment 6th-7th century Coptic. Textile fragment. Coptic. 6th-7th century. Linen, wool. Made in Byzantine Egypt. Textiles-Woven

Textile, Medium: cotton Technique: printed and glazed, Fragment showing an incomplete repeat of a fruit basket and flowers. Background in light brown and pattern in shades of brown, yellow and green., England, 19th century, printed, dyed & painted textiles, Textile

Fragment. Coptic; Egypt. Date: 501 AD-800 AD. Dimensions: 15.2 × 11.4 cm (6 × 4 1/4 in.). Linen and wool, tapestry weave. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA. Author: Ancient Egyptian.

Elongated cornice tile. unknown, manufacturer

Towel border. Culture: Russian. Dimensions: 18 x 6 in. (45.7 x 15.2 cm). Date: early 19th century.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 plant form in this towel border appears to be representative of the goddess in the birthing positi

Fragment of a Large Hanging, 800s. Egypt, Tulunid period, 9th century. Tapestry weave: wool; overall: 29.2 x 29.5 cm (11 1/2 x 11 5/8 in.).

Textile with Phoenix, Winged Animal and Flowers. Culture: Central Asia. Dimensions: 9 5/16 x 6 1/2 in. (23.7 x 16.5 cm). Date: 13th-early 14th century.Few silks better represent the imagination and vitality of Central Asian textiles of the Mongol period than this piece, with its angry birds and strange, incomplete winged beasts against an airy floral background. Other Central Asian textiles of this type survive in European church treasuries and show dynamic interactions among the various imaginary creatures of their patterns. Such designs had a strong effect on fourteenth- to fifteenth-century Italian silks, which are known for their energy and humor. Museum: Metropolitan Museum of Art, New York, USA.

Diebitsch Carl von (1819-1869), ornamentation (without date): Detail, possibly tile with floral decor. Pencil and colored pencil watercolored on the box, 31.9 x 32.2 cm (including scan edges) Diebitsch Carl von (1819-1869): Ornamentik

Armenischer Tierteppich; Indischer Blütenteppich.. Prints. 1912. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection

Embroidered Mantle Fragment 5th-2nd century B.C. Paracas. Embroidered Mantle Fragment. Paracas. 5th-2nd century B.C.. Camelid hair. Peru. Textiles-Woven

Segmentum, 700s - 800s. Egypt, Umayyad period (661-750) or Abbasid period (750-1258). Tapestry weave; wool and linen; overall: 8.7 x 8.1 cm (3 7/16 x 3 3/16 in.).

PLACA DE CINTURON-BRONCE-VISIGODO. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPANIEN.

Fragment of the shroud; 30 BCE-395; Roman period (-30-00-00-395-00-00);

Sutra Cover with Butterflies Studs, before 1149, Unknown Japanese, 17 3/16 × 12 3/8 × 1/4 in. (43.66 × 31.43 × 0.64 cm), Silk brocade, bamboo, brass and mica, Japan, 12th century

Textile, Medium: cotton Technique: double cloth, both cloths slightly warp-faced plain weave. 1 to 1 relationship in both warp and weft. Note: selvage on one side intact., Geometrical standing human figure with headdress holding a staff in one hand and fan-shaped object in the other. Colors are dark brown and tan-brown. Wave scroll border on one side., Peru, 1100-1500, woven textiles, Textile

Fragment (Egypt); warp; s-spun linen. wefts; s-spun linen, s-spun wool

Drawing, Design for the Embroidery of the Left Bottom Corner of a Man's Waistcoat of the "Fabrique de St. Ruf"; Designed by Fabrique de Saint Ruf; France; brush and gouache on glazed tracing paper; 17.1 × 33.3 cm (6 3/4 × 13 1/8 in.)

Two Tapestry-woven Panel Fragments, 1000-1460s. Central Andes, North Coast, Chimú people. Camelid fiber and cotton, tapestry weave; overall: 88 x 51 cm (34 5/8 x 20 1/16 in.); mounted: 99.1 x 63.5 cm (39 x 25 in.).

Hood for a cope. Culture: Italian, Florence. Dimensions: Without fringe: H. 16 x W. 16 1/2 inches (40.6 x 41.9 cm). Date: late 15th-early 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Fragment goudleer, anonymous, 1700 - 1800 A piece of relief pressed gold leather, consisting of two sheets. A palace façade has been applied to a dark red stock in dark gold, for which a high tree. There is a peacock in the tree and above the crown of the tree there are a hunter with dogs, deer and an ever at a fountain, in which two seahorses. In the background a semicircular architecture. See also: BK-NM-11078-A. Italy (possibly) leather. A piece of relief pressed gold leather, consisting of two sheets. A palace façade has been applied to a dark red stock in dark gold, for which a high tree. There is a peacock in the tree and above the crown of the tree there are a hunter with dogs, deer and an ever at a fountain, in which two seahorses. In the background a semicircular architecture. See also: BK-NM-11078-A. Italy (possibly) leather.

8 of Horns, from The Cloisters Playing Cards ca. 1475-80 South Netherlandish The Cloisters set of fifty-two cards constitutes the only known complete deck of illuminated ordinary playing cards (as opposed to tarot cards) from the fifteenth century. There are four suits, each consisting of a king, queen, knave, and ten pip cards. The suit symbols, based on equipment associated with the hunt, are hunting horns, dog collars, hound tethers, and game nooses. The value of the pip cards is indicated by appropriate repetitions of the suit symbol. The figures, which appear to be based on Franco-Flemish models, were drawn in a bold, free, and engaging, if somewhat unrefined, hand. Their exaggerated and sometimes anachronistic costumes suggest a lampoon of extravagant Burgundian court fashions. Although some period card games are named, it is not known how they were played. Almost all card games did, however, involve some form of gambling. The condition of the set indicates that the cards were ha

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

CODICE AUREO - GUARDAS 1033-39-(EN SPIRA). Author: ESCUELA DEL RHIN. Location: MONASTERIO-BIBLIOTECA-COLECCION. SAN LORENZO DEL ESCORIAL. MADRID. SPAIN.

PINTURA INSPIRADA EN TEMAS ROMANOS PROFANOS - NAVE TRANSVERSAL - 812/842 - PRERROMANICO. Author: MAGIN BERENGUER ALONSO (1918-2000). Location: IGLESIA DE SAN JULIAN DE LOS PRADOS. Oviedo. ASTURIAS. SPAIN.

Fragments, Medium: silk Technique: damassé brocaded, Brown damask with brocading in gold and silver metallic thread and orange silk. The brocaded pattern has allegorical figures and exotic birds and flowers., Europe, ca. 1690, woven textiles, Fragments

Towel border early 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 plant form in this towel border appears to be representative of the goddess in the birthing position. The goddess and tree of life are often interchangeable i

Fragment (Japan)

Lucille Lacoursiere, Textile Print, c 1938 Textile Print

Fragment from aGarment. Artist: Unknown

Altar cloth 15th century Italian, Sicily. Altar cloth 221185

Fragment, 700s. China or Japan, 8th century. Compound twill, silk; overall: 30.5 x 21 cm (12 x 8 1/4 in.).

Piece 18th century Japan. Piece 71555

Mantle Nasca. Mantle, 100-200. colored wool embroidery and cotton field, 105 1/8 x 54 5/16 in. (267.0 x 138.0 cm). Arts of the Americas 100-200

Hand drawing. Hand drawin background

Medallion, Medium: silk, wool Medium: embroidered and appliquéd, Embroidered medallion with an appliquéd bird in the center., possibly 13th century, embroidery & stitching, Medallion

Mantle Corner Fragment, c. 700-1100. Peru, South Coast, Wari Culture, Middle Horizon, 8th-12th Century. Cotton and camelid fiber; plain weave with supplementary weft (brocade); overall: 47 x 45 cm (18 1/2 x 17 11/16 in.).

Designs with a Chinese ideogram. Colour woodcut ().

Fragment of a Ship Flag. One half of a ship flag, painted on one side. It bears the Half Spanish king arm, surrounded by the chain the order of the golden fleece; On the flight side on a hill an ionic column with imperial crown and surrounded by a banderole with the inscription. Along the sides a meander band. The royal arm differs from Charles V and Philip II by the Jerusalem Cross in the top right corner. This fragment is almost identical to the next song.

Tile (Spain); earthenware; 1907-36-3

Fragment. Italy. Date: 1625-1675. Dimensions: . Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Roundel 6th-7th century. Roundel 445852

Fragment of a Clavus from a Tunic, 700s - 800s. Egypt, Abbasid period(), 8th - 9th century. Tapestry (originally inwoven in tabby ground); linen and wool; overall: 16.3 x 33.7 cm (6 7/16 x 13 1/4 in.).

Burial society plaque with depiction of the preparations for burial. Date/Period: 1801. Plaque. Handwritten on parchment; ink and tempera Handwritten on parchment; ink and tempera. Author: UNKNOWN.

Ikat Cloth, 109 1/8 x 49 1/2 in. (277.18 x 125.73 cm) (without fringe), Cotton, Lombok Island

Spain: Silk textile featuring two peacocks, Almeria, al-Andalus, 12th century CE

Panel, China

Design for an Embroidered or Woven Horizontal Border of the 'Fabrique de St. Ruf', Fabrique de Saint Ruf, Lyon, France, Brush and white gouache, graphite on glazed tracing paper pasted on paper, Plants of two different designs alternate over scroll rinceaux and a waved row of beads and a curved stripe. Slightly more than one and one-half repeats are shown., France, 1805-1815, Drawing, Drawing

Border. Artist: Unknown

Valentine ca. 1880 Anonymous. Valentine. Anonymous. ca. 1880. Cameo-embossed open-work gilded lace paper, chromolithography, die-cut scrap, colored paper

RELIEVE EN CERAMICA - SIGLO XX. Author: ARCADIO BLASCO PASTOR (1928-2013). Location: GALERIA SKIRA. MADRID. SPAIN.

Embroidered Mantle Fragment 5th-2nd century B.C. Paracas. Embroidered Mantle Fragment. Paracas. 5th-2nd century B.C.. Camelid hair. Peru. Textiles-Woven

Fragment (Japan)

Quilt. Dated: c. 1937. Dimensions: overall: 29.4 x 36.3 cm (11 9/16 x 14 5/16 in.) Original IAD Object: 72" wide; 76" long. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Magnus S. Fossum.

Men's house painting from Papua New Guinea. Dated 20th Century

Fragment (Democratic Republic of the Congo); bark, raffia

Fragment 17th century Italian Punto in arialiterally, "stitches in the air"is one of the earliest styles of needle lace, which is itself developed from cutwork of primarily geometric design. When lacemakers transitioned to using a foundation of threads laid out according to a pattern drawn on parchment, they were able to incorporate more fluid lines and curves into their designs.. Fragment 214815

Textile Fragment 6th century Coptic. Textile Fragment. Coptic. 6th century. Linen, wool. Made in Byzantine Egypt. Textiles-Woven

Fragment (Japan)

Figure from aMantle. Artist: Unknown

Textile (Egypt); 1915-24-1-b

Textile Fragment 6th-7th century. Textile Fragment 444054

Rouvenat, Léon (1809-1874). Loop and during. Graphite pencil, ink, watercolor wash and white gouache enhancement on tray paper glued on paper. S.D. Petit Palais, Museum of Fine Arts in the city of Paris

Textile Design with Vertical Rows of Groups of Three Rectangles Framed by Garlands of Branches and Separated by Rows of Groups of Four Pearls 1840 Anonymous, Alsatian, 19th century Rectangular sheet of paper with a textile design from a group, dated 1840, made in Mulhouse, Alsace, which was an important nineteenth-century center for textile production in the Haut-Rhin region of France. The pattern is made up of vertical rows of groups of three rectangles framed by garlands of branches of light tan color with offsetting thorns of dark reddish-brown color separated by vertical rows of groups of four pearls over a light tan ground with dark reddish-brown stipples. The rectangles are colored with purple and orange; the pearls are colored with white.. Textile Design with Vertical Rows of Groups of Three Rectangles Framed by Garlands of Branches and Separated by Rows of Groups of Four Pearls. Anonymous, Alsatian, 19th century. 1840. Gouache

Border, Block-printed on handmade paper, Design consists of a 'patchwork style' imbrication of irregular shapes containing stylized trees. The edgings are the reverse of one another: narrow bands of s or reverse-s shapes connecting partially petalled discs. Printed in red, yellow, blue, green, black and white., H# 194, France, 1820-40, Wallcoverings, Border

Letter in Ta'liq Script. Calligrapher: Darvish 'Abdullah Munshi. Dimensions: H: 10.2 in (26 cm) x W: 7.1 in (18 cm). Date: A.H. 911/A.D. 1505-6. Museum: Metropolitan Museum of Art, New York, USA.

Wall Panel from a Black Ground Frescoed Room. Unknown

Ornament tile with diagonal decor, wall tile tile sculpture ceramic earthenware glaze, baked 2x glazed painted Rippled shard square Zandstraat Rotterdam City Triangle Probably found during groundwork for the construction of the City Hall or the Post Office former Zandstraat and surroundings.

Noh Costume (Nuihaku) with Books and Nandina Branches second half of the 18th century Japan On this robe, scattered books decorated with seasonal motifs and poetic patterns evoke the aristocratic world of the Heian period (794-1185) and literary masterpieces such as The Tale of Genji. At the same time, they reflect the rise in publishing and literacy during the Edo period. Among the patterns on the books are waves with seashells (upper back, left) and flat bamboo baskets with cherry blossoms (lower back, left). The naturalistic depiction of the auspicious nandina plant, with its colorful red and pink berries, appears from hem to shoulder. Such tree patterns are commonly found on garments from the late eighteenth century, but are unusual for a Noh robe. With its solid gold ground, this robe is especially splendid, and it was likely worn by actors playing upper-class women. Listen to experts illuminate this artwork's story Listen Play or pause #8842. Noh Costume (Nuihaku) with Books and

Plaque with the Symbol of the Evangelist Mark ca. 1100 French This plaque, part of an ensemble including four plaques with the symbols of the evangelists and a central roundel with the crucifixion, probably from a book cover, can be securely attributed to the celebrated pilgrimage abbey of Saint Foy at Conques, France's richest surviving repository of medieval goldsmith's work. Several of the rare works dispersed from the abbey's treasury in the nineteenth century share with others still in situ a technique, style, and palette uniquely combined during the abbacy of Bégon III in the late eleventh century. For these pieces the monk goldsmiths employed superimposed copper plaques, the lower one to receive the delicate cloisons that define features and drapery, the upper one cut to delineate the silhouettes of the figures and the cross. Hallmarks of the style include the single cloison used to define eyebrows and noses and the thin loop of gold that creates cowlicks. In the Metropolitan's

Embroidered Fragment, 18th-19th century. Spain, 18th-19th century. average: 16.9 x 17.8 cm (6 5/8 x 7 in.).

Handwoven Coverlet (Detail). Dated: c. 1937. Dimensions: overall: 36.7 x 34.7 cm (14 7/16 x 13 11/16 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Fred Peterson.

Fragment, Medium: Warp; S-spun linen. Wefts; S-spun wool, S-spun linen Technique: slit tapestry with supplementary weft wrapping, A roundel, in monochrome tapestry, depicting a figure in a skirt holding a shield on one hand and a long weapon on the other. The roundel has a scalloped border., Egypt, 4th-5th century, woven textiles, Fragment

Shawl 19th century Kashmir shawls are known for being part of the sophisticated male dress/garderobe at the court of the Mughal Emperor Akbar (r. 1555-1605). They became items of fashionable dress in Europe by the late 18th century and had reached the peak of their popularity there during the first half of the 19th century. Leaders of fashion such as the Empress Josephine in France and Emma Hamilton in Britain owned large collections of Kashmiri shawls, which elegantly complemented the loose-fitting "Empire" fashions of the time. By the mid-19th century, the designs became denser and more elaborate. The traditional pine-cone pattern became highly stylized to accommodate European tastes. The elaborate design of this shawl is typical of the kind woven in India for the British and European market in the 19th century. While the finest Kashmiri shawls are made of soft and expensive pashmina wool (the soft under-hair of the Himalayan goat) and have designs woven on the loom, many examples fr

Border. Artist: Unknown

Fragment from the Border of aTunic. Artist: Unknown

Panel from aLoincloth?. Artist: Unknown

Third Phase variant, c. 1880, 69 × 53 1/4 in. (175.26 × 135.26 cm), Wool, pigments, United States, 19th century

Fragment (Peru); cotton, wool

Pillow Cover, 1800s. Greece, Ionian Islands, 19th century. Embroidery: silk on linen tabby ground; overall: 54.6 x 42 cm (21 1/2 x 16 9/16 in.).

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