Ornamental Textile Fragments

Diverse textile fragments showcasing embroidery and tapestry techniques from different periods, rich in floral motifs and intricate designs.

Table cover, Medium: linen, silk Technique: embroidered in satin and chain stitch, Cream-colored linen table cover, with wide border designs worked in polychrome silks of pale green, yellow, pale rose, light blue, dark blue and dark green. Edged with border of dark green needle lace. Design made up of detached motifs of a leaf or feather pattern, much used in Spanish embroidery; at ends on inner border of curving vines enclosing birds holding flower in beak, and crowned lion. Stitches, largely satin stitch; bodies of animals outline in contrasting colors in chain stitch. Soft floss silk used., Spain, 18th century, embroidery & stitching, Table cover

Fragment, Medium: wool, linen Technique: embroidered on warp-faced plain weave, Fragment of a wall panel with a vertical pattern of urns and scrolls forming bases for floral forms, one above the other., France, 18th century, embroidery & stitching, Fragment

Fragment (From a Vestment) Made 1401-1500 Florence. Silk, gilt-animal-substrate-wrapped linen, and gilt-metal-strip-wrapped silk, warp-float faced 4 1 satin weave with supplementary brocading wefts and patterning wefts .

Woven Tapestry Fragment mid-8th century The overall pattern on this tapestrywoven cloth, possibly a floor covering, with staggered rows of rosettes, resembles textiles depicted on the rock reliefs of the late sixth- to early seventh-century Sasanian monument at Taqi Bustan. On the basis of inscriptions on two closely related textiles, this fragment has been dated to the reign of the Umayyad caliph Marwan II (r. 744-49).. Woven Tapestry Fragment. mid-8th century. Wool; tapestry weave. Attributed to Iran, Iraq, or Egypt. Textiles-Woven

'Polonaise' Carpet 17th century When, in 1878, a carpet similar to this one was exhibited in Paris, it was assumed that the coats of arms woven into the rug were Polish and that the rug was made in Poland. It was later recognized that this group, distinguished by a silk pile and metallic brocading, was Persian, made during and after the reign of Shah 'Abbas I, beginning around the end of the sixteenth or early seventeenth century. The name, however, persisted, and more than 200 examples still bear the name. Many pairs of the type also survive.The type of design on this carpet has its roots in earlier Iranian carpets, but the rich silk pile, highlighted with gold and silver brocading, and muted but lively colors, signaled a change from the past. The tightly controlled overall pattern of compartments formed by overlapping cartouches in orange, yellow, red, green, and brown on a silver-and-gold brocaded ground is adorned by floral and leaf-vine systems with palmette motifs. Reports of Eur

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Edo (1615-1868). Textiles-Embroidered

Fragment. Italy. Date: 1501-1600. Dimensions: 40.7 × 22.8 cm (16 × 9 in.). Embroidered with silk. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Fragment of embroidery unknown

Table cover, Medium: linen, silk Technique: embroidered in satin and chain stitch, Cream-colored linen table cover, with wide border designs worked in polychrome silks of pale green, yellow, pale rose, light blue, dark blue and dark green. Edged with border of dark green needle lace. Design made up of detached motifs of a leaf or feather pattern, much used in Spanish embroidery; at ends on inner border of curving vines enclosing birds holding flower in beak, and crowned lion. Stitches, largely satin stitch; bodies of animals outline in contrasting colors in chain stitch. Soft floss silk used., Spain, 18th century, embroidery & stitching, Table cover

Border 17th century Italian, Sardinia. Border 222694

Kontusz belt from the workshop of Paschalis Jakubowicz, from the collection of Stanisław Ursyn-Rusiecki ; drawing for the publication: `Starodawne pasy polskie przedstawione staraniem i nakładem Dominika Jeżewskiego, malował z natury Władysław Sztolcman 1. Sztolcman, Władysław Roman (1873-1950), painter

Fragment. Dimensions: 56 in. high 22.00 in. wide (142.24 cm high 55.9 cm wide). Date: second half 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Leaf with weapon with French lilies and pattern of animals between ranks, anonymous, c. 1690 - c. 1790 brocade paper Leaf with in the middle, on the fold, a crowned coat of arms with three French lilies in a pattern of animals (hunting dog with deer, various birds, feline) between tendrils. paper. relief printing ornament derived from plant forms. ornament derived from animal forms. hunting, chase

Piece 16th century British. Piece. British. 16th century. Silk on canvas. Textiles-Embroidered

Length of Textile, 1500s. Italy or Spain, 16th century. Brocade; silk, linen, and metal; average: 43.3 x 58.1 cm (17 1/16 x 22 7/8 in.).

Fragment. Dimensions: H; 12 3/8 in. (31.4 cm)W. 54 1/2 in. (138.4 cm). Date: first half 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Fragment, Medium: silk, metallic Technique: supplementary weft floats on plain weave foundation, Closely spaced floral repeat on tangerine foundation., Iran, 19th century, woven textiles, Fragment

Damask Fragment, 1500s. Italy, 16th century. Damask; overall: 53.5 x 50 cm (21 1/16 x 19 11/16 in.).

Textile late 14th-early 15th century Italian. Textile 468125

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Edo period (1615-1868). Textiles-Woven

Julie C Brush, Kerchief, c 1936 Kerchief

Fragment, Medium: cotton Technique: block printed (2 reds, 2 purples and black), yellow and blue are applied by hand, plain weave foundation, Horizontal and vertical border which coordinate with each other. Piece is made of several smaller fragments pasted together. Horizontal border of flowers and pastoral lozenges. Vertical border of draperies and classical scenes., Europe, ca. 1800, printed, dyed & painted textiles, Fragment

Sampler, Medium: silk, linen, and beads on canvas Technique: cross, stem, buttonhole, satin, long-armed cross, feather, chevron, and knots, embroidered on plain weave foundation; counted stitches, Several different patterns and motifs including vase of carnations and grapes, sprays of flowers, cornucopia of flowers, curving vines, and geometric patterns in colored silks and white cotton. At the lower right is a pattern of birds and trees in embroidery with beads, each sewn on independently., Mexico, 19th century, embroidery & stitching, Sampler

Cope, Hood And Orphrey (Spain); silk, metallic thread

Border. Italy. Date: 1601-1700. Dimensions: 38.8 x 13.7 cm (15 1/4 x 5 3/8 in.). Linen, plain gauze weave; embroidered with silk floss in running, double running and satin stitches. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Kontush belt from the manufacturing facility of Paschalis Jakubowicz, owned by archbishop Adolf Józef Jełowicki, presented during the retrospective exhibition "Sztuka i kultura polska na Litwie i Rusi" Polish art and culture in Lithuania and Ruthenia or???????????????????. Sztolcman, Władysław Roman (1873-1950), painter

Fragment of red and yellow brocatel with a pattern of a wrapped crown from which flowers rise, anonymous, c. 1590 - c. 1610 Fragment or canvas of red and yellow satin brocade, with scarce blue, with pattern of cartouche formed by sphinxes in which three flower branches emit from crown. Around it volutes. Spain Ketting an element: Silk. Entry: Linen (Material) broach Fragment or canvas of red and yellow satin brocade, with scarce blue, with pattern of cartouche formed by sphinxes in which three flower branches emit from crown. Around it volutes. Spain Ketting an element: Silk. Entry: Linen (Material) broach

Embroidered Border, 1500s-1600s. Italy, 16th-17th century. Embroidery; silk on linen; overall: 11.8 x 29.2 cm (4 5/8 x 11 1/2 in.).

Fragment, Medium: linen warp; wool and linen weft Technique: two pieces sewn together; the top appliquéd to the bottom. Bottom fabric plain weave with bands of weft loops. Top square of tapestry (plain weave with slits, wrapped warps and slanted wefts)., Central square with four figures carrying animals and objects in brown, red, green and yellow, framed by a deep border of loops., Egypt, 5th-6th century, woven textiles, Fragment

Fragment, Medium: silk, metallic Technique: woven, slit tapestry, Large scale floral and leaf design., China, 15th century, woven textiles, Fragment

. Ink and gouache on hand drawn graph paper .

Sampler, Medium: silk embroidery on cotton foundation Technique: embroidered in long-armed cross, satin, double-running, running back, stem, four-sided and knot stitches on plain weave foundation, Unfinished sampler embroidered in polychrome silks, with eleven bands of pattern: confronted horses, addorsed birds, and geometric borders., Mexico or Spain, 18th century, embroidery & stitching, Sampler

New Künstlichs Modelbuch (Page 28 recto). Dimensions: Overall: 6 5/16 x 8 1/4 in. (16 x 21 cm). Publisher: Bernhard Jobin (Swiss, Porrentruy (Jura) before 1545-1593/1597 Strasbourg). Date: 1600.Published by Bernhard Jobin, Strassburg ().Illustrated title page, poem (2 pages), and 45 pages of designs. Museum: Metropolitan Museum of Art, New York, USA.

Sampler. Lucy Potter (American, active c. 1791); Mary (Polly) Balch's Academy; United States, Rhode Island, Providence. Date: 1791. Dimensions: 43.5 x 34.3 cm (17 1/8 x 13 1/2 in.). Linen, plain weave; embroidered with silk in cross, Rococo, Roumanian, satin, stem, and tent stitches. Origin: Rhode Island. Museum: The Chicago Art Institute, Chicago, USA.

Fragment. Italy, Lucca. Date: 1390-1410. Dimensions: 34.6 x 17.1 cm (13 5/8 x 6 3/4 in.)Warp repeat: 18.6 cm (7 1/4 in.). Silk and gilt-metal strip, plain weave with supplementary facing wefts and supplementary pile warps forming cut and uncut voided velvet. Origin: Lucca. Museum: The Chicago Art Institute, Chicago, USA.

Panel, 19th century, L.66 x W.52 in., satin, silk threads; needlework, Turkey, 19th century

Ikat wall hanging, c. 1850-1875, 51 1/2 x 32 1/2 in. (130.81 x 82.55 cm), Silk ikat, Uzbekistan, 19th century

Silk Fragment, 15th century. Spain, Mudejar, 15th century. Lampas weave, silk; average: 57.8 x 14.6 cm (22 3/4 x 5 3/4 in.).

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

Design for "Angels of Praise" window. Artist: Louis Comfort Tiffany (American, New York 1848-1933 New York). Culture: American. Dimensions: Overall: 21 5/8 x 11 1/16 in. (54.9 x 28.1 cm)Design: 17 13/16 x 5 15/16 in. (45.2 x 15.1 cm). Maker: Possibly Tiffany Glass and Decorating Company (American, 1892-1902); Possibly Tiffany Glass Company (1885-92). Date: late 19th-early 20th century. Museum: Metropolitan Museum of Art, New York, USA.

Cover. Culture: Italian, Abruzzi. Dimensions: Overall: 61 1/2 × 86 1/2 in. (156.2 × 219.7 cm). Date: 17th-18th century. Museum: Metropolitan Museum of Art, New York, USA.

Fragment with jewel-like silk, 800s. Iraq, probably Baghdad. Silk: plain weave, brocaded; overall: 17.1 x 12.7 cm (6 3/4 x 5 in.).

Textile (Portugal); cotton; Warp x Weft: 63.5 x 31 cm (25 x 12 3/16 in.) H x W: 160 x 78 cm (5 ft. 3 in. x 30 11/16 in.)

Fragment (Japan)

Half Tunic, 16th century. Peru, South Coast, Inca Culture, Colonial Period, 16th century. Interlocked tapestry; cotton and wool; overall: 92.7 x 72.1 cm (36 1/2 x 28 3/8 in.).

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

Frieze, Machine-printed paper, American Southwest Indian motifs. Borders printed two across (mirror). Alternating large and medium geometric, floral medallions connected by polygonal blocks with geometric patters. Top band has dentil pattern. Background of miniscule alternatng vertical dashes and dots. Paper is ungrounded. Printed in blue, dark yellow, dark reds, green, black and grey., USA, 1905-1915, Wallcoverings, Frieze

Sampler, Medium: silk, wool canvas Technique: embroidered, Embroidered sampler. Silk on wool canvas showing Adam and Eve surrounded by plants and animals. Below, three moralizing Bible verses and figures with a brick house and large chalice. Meandering green border with plants and birds., Italy, early 19th century, embroidery & stitching, Sampler

Piece 18th-19th century Japan. Piece 67219

Band late 15th century () Italian (). Band. Italian (). late 15th century (). Silk, metal thread. Textiles-Woven

Fragment from a Coptic Hanging 5th century This large rectangular textile incorporates both Roman and Christian imagery. Arcades containing hunters on horseback recall Roman sources, while the roundels with angels are clearly Christian. Similar imagery, such as the baskets of fruit, is found on the wall paintings of Umayyad desert palaces in Syria.Early textiles such as this, woven by Coptic Christians, have survived the centuries due to the dry climate and the Christian perpetuation of the Egyptian practice of burying the dead in garments sometimes shrouded in large cloth wrappings. Such textiles were woven in wellorganized workshops that continued to function in the early Islamic period.. Fragment from a Coptic Hanging 444378

Band, Medium: linen Technique: withdrawn element work, Fragment of a band with geometric birds, flowers and plants., Italy or Spain, 16th-17th century, lace, Band

Book cover with stripe, geometric, and floral pattern 18th century Anonymous. Book cover with stripe, geometric, and floral pattern. Anonymous , Italian, 18th century. 18th century. Relief print (wood or metal). Prints

Chasuble with Medallion Depicting John the Baptist Made 1575-1625 Italy. Linen, plain weave underlaid with silk, plain weave with insert medallion of silk, warp-float faced satin weave; embroidered with silk and gilt- and silvered-metal-strip-wrapped silk and linen in satin, split and stem stitches; couching and French knots; edged with silk and gilt-metal-strip-wrapped silk, plain weave with patterning wefts and complementary weft weave tapes; lined with silk, plain weave . Andrea del Sarto (Painter)

Drawing, Design for the Embroidery of a Waistcoat of the "Fabrique de St. Ruf"; Designed by Fabrique de Saint Ruf; France; brush and yellow gouache on glazed tracing paper, laid down on paper; 17.2 × 28.9 cm (6 3/4 × 11 3/8 in.)

Hooked Rug (Cotton). Dated: c. 1940. Dimensions: overall: 35.5 x 44.8 cm (14 x 17 5/8 in.) Original IAD Object: 38" wide; 45 3/4" long. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Charlotte Angus.

Sutra Cover with Pattern of Various Flowers with Leaves and Scrolling Stems 16th century China Sutra cover with repeating pattern of various flowers with leaves and scrolling stems on a small-scale overall background of a geometric fret that incorporates the swastika (wan, signifying 10,000); gold metallic thread on a dark blue background. Silk satin with supplementary-weft patterning in metallic thread.. Sutra Cover with Pattern of Various Flowers with Leaves and Scrolling Stems. China. 16th century. Silk and metallic thread. Ming dynasty (1368-1644). Textiles-Woven

Ceremonial Banner (Palepai Maju). Culture: Lampung. Dimensions: L. 162 x W. 48 1/2 in. (411.5 x 123.2 cm). Date: probably 18th century.In Indonesia textiles have great value as ritual objects and as a form of wealth. Among the most spectacular are the "ship cloths" of the Lampung region in Southern Sumatra, which often depict large ships. This unique beaded ship cloth is perhaps the finest surviving example of the type. The dimensions and design of this textile relate to wall hangings called "palepai," which were displayed by aristocrats on important ceremonial occasions such as marriages, circumcisions, and funerals.The composition is dominated by two ships. The ship on the left, set in a night sky, holds a pyramidal shrine representing a sacred mountain or tree. The ship on the right, in a dawning sky, carries what may be a throne ("pepadon," or seat of merit). The ships are separated by a third ship, which bears a mountain. Museum: Metropolitan Museum of Art, New York, USA.

Ellen Duncan, Mosaic Pattern in Doorstep, c 1936 Mosaic Pattern in Doorstep

Sampler; silk, flat metal, and metal-wrapped silk embroidery on linen foundation

Album n � 1. Detail of a window: red rosettes on gray background; Entourage with blue and red background According to the Gsell-Laurent workshop. Album n � 1. Detail of a window: red rosits on gray background; Entourage with blue and red background. Chromolithography.

Carpet, Qianlong period, 1736-1795, L. 75 ½ x W. 49 in (190.5 x 124.46 cm), Silk, cotton, China, 18th century

Border, Medium: silk Technique: embroidered (cross and double running stitches) on gauze weave, Strip embroidered with red and black silk using cross stitch and double running. Pattern showing people in architectural setting between two borders of conventionalized floral forms., China, 1736-96, embroidery & stitching, Border

Panel; silk, metallic thread

Square 17th century Italian, Venice. Square 218054

Fragment. Italy. Date: 1625-1675. Dimensions: 19.5 x 11.5 cm (7 3/4 x 4 5/8 in.). Silk. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Domino paper, Block-printed, stencilled, Rectangular pieced portion of a sheet, with paired checkered serpentine bands, colored blue, entwined by serpentine bands of small flowers periodically set with larger rose-like flowers, colored pink and blue. Field white, with groundwork of black broken lines. White margin on one long and two short sides., France, 1745-60, Wallcoverings, Domino paper

Textile panel. Culture: Russian. Dimensions: 40 x 16 1/2 in. (101.6 x 41.9 cm). Date: 1650-99. Museum: Metropolitan Museum of Art, New York, USA.

Corner clip of an Eastern carpet, Anonymous, 1600 - 1650 The middle edge is decorated with a palmet, tendrils, lotuses and a cloud band against a green stock. There are alternating a lotus and rosette on the outside zoom. Herat (possibly) wool The middle edge is decorated with a palmet, tendrils, lotuses and a cloud band against a green stock. There are alternating a lotus and rosette on the outside zoom. Herat (possibly) wool

George V Vezolles, Patchwork Quilt, c 1937 Patchwork Quilt

Fragment of a Shawl Border, 1815-1825. India, Kashmir , 19th century. Tapestry twill; wool and silk; overall: 34.1 x 38.7 cm (13 7/16 x 15 1/4 in.).

GUADAMESI ESTAMPADO EN PIEL DE CARNERO N0 280. Location: MUSEE D'ARTS DECORATIFS. MADRID. SPAIN.

Fragment, Medium: silk Technique: woven, Red and white bands of Kufic inscriptions and arabesques. Very abraded., Near East, 16th-18th century, woven textiles, Fragment

Fragment of "Aleuj" Embroidery, 19th century. Morocco, Fez, 19th century. Embroidery: silk on cotton tabby ground; average: 45.1 x 22.9 cm (17 3/4 x 9 in.).

Fragment (Italy); silk embroidery, silk foundation

Panel, Medium: cotton, silk Technique: cross stitch embroidery, Panel of coarse cotton embroidered at one end in red silk with sections in violet. The other end shows embroidery in yellow-green and pale blue. Highly conventionalized border designs and stylized trees., Morocco, 19th century, embroidery & stitching, Panel

Take -up belt of the workshop in the Soko, W Asno Antoni's bad luck, exhibited at the retrospective exhibition "Art and Polish culture in Lithuania and Ruthenia" organized by the Faculty Monuments of the Kresowa Guard Society in Warsaw in 1921 - a fragment on a 1: 1 scale; Sztolcman, W Adys Aw Roman (1873-1950); 1921 (1921-00-00-1921-00-00);

Chaice veil, eddroided unknown

Bed curtain 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.In Russian culture the Sirin, Alkonost, and Gamayun are mythical birds with the head and often breast of women. The Sirin, based on the Siren of Greek mytho

Centennial Quilt. Dated: 1935/1942. Dimensions: overall: 44.5 x 39.5 cm (17 1/2 x 15 9/16 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: American 20th Century.

Sampler (Spain); Embroidered by Josefa D. Paz; silk embroidery on linen foundation

Decoration of the p Ycin called "well" in the center of serious; copy of the Fresku from Dunhuang; Zhang, Dingnan (Fl. Ca 1900-1950), Rong Bao Zhai (1672-); 1952 (1952-00-00-1952-00-00);Sobecka, Chinese (culture), gift (provenance), graphic prints, Chinese art, Lucia (1919-1993), Łucja (1919-1993)-collection

Fragment with palmette arches with Alhambra wall pattern, 1300s. Spain, Granada. Silk and gilt-metal thread: lampas weave; overall: 48.3 x 25.4 cm (19 x 10 in.); mounted: 58.1 x 35.2 cm (22 7/8 x 13 7/8 in.).

Ralph Atkinson, Economy Red Handkerchief, 1938 Economy Red Handkerchief

Sampler, Medium: silk embroidery on linen foundation Technique: embroidered in cross and counted satin stitches on plain weave foundation, A grassy promenade in front of a large building, with domestic animals and a man and woman in the foreground. The promenade is flanked by rows of trees. The spaces are filled with birds, flowering plants, and verses. In the upper left and right corners, pairs of angels hold wreaths encircling the initials E and T. Surrounded on four sides by a carnation border., The verse reads:, God counts the sorrows of his saints, Their groans affect his ears, He has a book for their complaints, A bottle for their tears, USA, 1810, embroidery & stitching, Sampler

Suzani, 99 x 81 in. (251.46 x 205.74 cm), Cotton, silk, button; needlework, Uzbekistan

Piece 18th-19th century Japan. Piece 66760

Mandarin square buzi unknown

Story of Gombaut and Macée ca. 1600 possibly French 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 girl. A bagpipe player performs, the two shepherds dance, and they feast on b

Handkerchief (France); silk

Roundel. Coptic; Egypt. Date: 501 AD-800 AD. Dimensions: 19.7 × 21.7 cm (7 3/4 × 8 1/2 in.). Linen and wool, tapestry weave. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA.

Fragment from an Embroidered Border, 1500s. Greece, Cyclades Islands, Southern Group, 16th century. Embroidery: silk on linen tabby ground; overall: 18.9 x 54 cm (7 7/16 x 21 1/4 in.).

Drawing, Ceiling in Hadrian's Villa, with Nymphs, Centaurs, Stags, and Elephants; Architect: Unknown (Italian); Italy; pen and colored inks, brush and watercolor, guache, over traces of graphite on paper; 27.7 x 38.4 cm (10 7/8 x 15 1/8 in.)

Silk Fragment, 14th century. Spain, Islamic period, 14th century. Lampas weave with areas of compound tabby, silk; average: 38.8 x 20.3 cm (15 1/4 x 8 in.).

Dalmática del Tern de Sant Valeri, 1215-1275. Museu del Disseny de Barcelona.

Pendon Navas de Tolosa. Tapestry. Silk and silver threads. Almohade. 1212-1250. Burgos, Monastery of las Huelgas. Location: MONASTERIO DE LAS HUELGAS-MUSEO DE RICAS TELAS. BURGOS. SPAIN.

Band with Figures of Women and Angels, 1500s-1600s. Italy, 16th-17th century. Bleached linen: needle lace, filet/lacis (knotted ground and darned in two directions); overall: 42.6 x 144.3 cm (16 3/4 x 56 13/16 in.). Likely a religious scene, female figures bear crosses on their chests facing angels playing a keyboard instrument. Later piecing and repairs have distorted the appearance of the central figure to that of a double-tailed mermaid. The top part of her dress has been replaced with an extra bust and set of arms. This is especially visible when comparing the bottom of her dress with the dresses of the far left and far right figures.

Textile Panel, 18th Century, embroidered with coloured threads. Repeats of a large tulip head motif in orange, magenta, blue and green. Floss silks on linen, darning stitch.

Album # 2; Glass project for the Jesuites of Mondre (Villefranche): Ornament Gsell-Laurent workshop. Album # 2; Stained glass project for Jesuits of Mongr� (Villefranche): Ornament. Pencil, watercolor.

Valance. China. Date: 1799. Dimensions: 113.4 × 126 cm (44 3/4 × 49 5/8 in.). Top: cotton, plain weave; block printed; narrow band: silk, warp-float faced 5:1 satin weave with weft-float faced 1:2 'S' twill interlacings of secondary binding warps and supplementary patterning wefts; upper and lower panels: silk and gold-leaf-over-lacquered-paper-strip-wrapped silk, slit tapestry weave with interlaced outlining wefts; painted details; outer bands: silk and gold-leaf-over-lacquered-paper-strip-wrapped silk, dovetailed tapestry weave; ribbon: silk, plain weave with supplementary patterning warps; outer edging: silk, warp-float faced 4:1 satin weave; lined with cotton, plain weave; painted inscription. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Cope first half 17th century (velvet) Armenian merchants played an important role in facilitating trade in and outside Iran, so when the Safavid ruler Shah 'Abba' (r. 1587-1629) planned to revitalize Iran's economy, he resettled a community of Armenians from the city of Julfa to his new capital, Isfahan. From there, the Armenians helped Iran's famous silk reach markets around the world. This cope probably comes from an Armenian church in Isfahan, as suggested by the presence of Armenian bishop-saints and Armenian inscriptions on the orphrey attached to its long straight edge. The cope was pieced together from robes (the seams are still visible) of a type of costly, popular seventeenth-century Persian velvet.. Cope 446655

of 3