Textile Art and Decorative Designs

Fragments and designs from various eras, featuring intricate patterns, embroidery samples, and historic textiles showcasing craftsmanship.

Nederland, Shepherds with cows, Netherlands, Two shepherds with two cows; on the right in the background a flock of sheep in front of a stable., print, prent, prints, engravings, ., height 321 mm, width 440 mm, print maker, prentmaker, 1700 - 1799, second quarter 18th century, tweede kwart 18e eeuw, third quarter 18th century, derde kwart 18e eeuw, paper, papier, engraving, graveren (drukprocedé)

Fragment, 900s - 1000s. Byzantium, 10th-11th century. Compound twill, brocaded; silk and gold; overall: 46.4 x 54.6 cm (18 1/4 x 21 1/2 in.); mounted: 61.9 x 67 x 2.5 cm (24 3/8 x 26 3/8 x 1 in.).

Two decorative designs, Carel Adolph Lion Cachet, 1874 - 1945 drawing paper. pencil

Sampler, Medium: linen embroidery on linen foundation Technique: embroidered in pattern darning and deflected element work on plain weave foundation with, Whitework. Sprays of flowers and leaves with practice stitches at the edges., Northern Europe, late 18th-early 19th century, embroidery & stitching, Sampler

Textile Fragment 9th century. Textile Fragment 448056

Deraisme, Pierre -Georges (n.1859 - D.1932), rings and monograms (main title), 1905. Graphite, ink on transparent rives vellum. Petit Palais, Museum of Fine Arts of the City of Paris.

Nederland, Shepherds with cows, Netherlands, Two shepherds with two cows; on the right in the background a flock of sheep in front of a stable., print, prent, prints, engravings, ., height 321 mm, width 440 mm, print maker, prentmaker, 1700 - 1799, second quarter 18th century, tweede kwart 18e eeuw, third quarter 18th century, derde kwart 18e eeuw, paper, papier, engraving, graveren (drukprocedé)

Designs for candlesticks, c. 1864 - c. 1894 Designs for candlesticks with figures and parts thereof. Paris tracing paper. pencil

Textile Fragment late 15th century Metal-wrapped thread lends a shimmering quality to this triangular textile fragment decorated with an ogival framework. Ogival medallions were used in a range of media, including bookbindings, metalwork, and textiles, during the Timurid period. The kitabkhana (imperial workshop and library) set decorative trends in the arts of the book that were then translated into these media, generating a cohesive artistic style.. Textile Fragment. late 15th century. Silk, metal wrapped thread; lampas. Attributed to Iran. Textiles-Woven

Textile fragment with repeating pattern of elephants 18th-19th century Japan. Textile fragment with repeating pattern of elephants. Japan. 18th-19th century. Silk. Edo (1615-1868). Textiles-Woven

Textile with Birds and Horned Quadrupeds Flanking a Tree of Life 11th-12th century The motif of confronted animals on either side of a tree has a long history in Iran, but it became popular throughout the Byzantine empire and in the area around the Mediterranean Sea where Iranian textiles were traded. Because imitations were made in Europe, it is often quite difficult to determine where textiles of this design were made.. Textile with Birds and Horned Quadrupeds Flanking a Tree of Life 451090

Textile with Brocade. Culture: Italian. Dimensions: Overall (a only): 23 1/2 × 6 1/2 in. (59.7 × 16.5 cm)Overall (b only): 3 7/16 × 3 1/8 in. (8.7 × 8 cm)Storage (Mat): 27 × 17 in. (68.6 × 43.2 cm). Date: late 14th century. Museum: Metropolitan Museum of Art, New York, USA.

Christ on a Goldsmith's Cross. Dated: c. 1450/1470. Dimensions: sheet (irregular fragment): 14.1 x 9.9 cm (5 9/16 x 3 7/8 in.). Medium: woodcut. Museum: National Gallery of Art, Washington DC. Author: French 15th Century.

Riva, No 2 Made 1879-1880 United States. Cancelled copper plate . James McNeill Whistler

Malowidło ścienne: Święty Szczepan, pierwszy męczennik. unknown, painter

Design for the Decoration of Firearms. Culture: French, Versailles. Designer: Workshop of Nicolas Noël Boutet (French, Versailles and Paris, 1761-1833). Dimensions: 1 3/4 x 5 7/8 in. (4.5 x 14.9 cm). Date: ca. 1797-1805. Museum: Metropolitan Museum of Art, New York, USA.

Eastern interior with two Turks and servant, c. 1924 - c. 1932 copper (metal) etching

Piece 18th-19th century Japan. Piece 66408

Design for Ornament, possibly Flocked Wallpaper 19th century Anonymous, British, 19th century British. Design for Ornament, possibly Flocked Wallpaper 386506

Egypt, Thebes, Luxor, Valley of the Kings, Tomb of Ramses IV (KV2), Third passage, detail of the frescoed ceiling decorated with star motifs

Deraisme, Pierre -Georges (n.1859 - D.1932), collar (main title), 1900. Graphite on transparent vellum. Petit Palais, Museum of Fine Arts of the City of Paris.

Volant of application side with flower basket, anonymous, c. 1890 - c. 1899 Volant of natural -colored application side, bobbin side with some details in needle side applied on mechanical tulle. A fond along the inside is becoming increasingly stuffed towards the Schulprand. It is a running pattern of a few branches and openwork flower baskets (needle side), the handle of which is very high and decorated with a bow with waving slippery. Large and small scallops with small and large roses form the sculptes, from which a stiff branch rises and an S-shaped curved branch, which rises from an open worked C-Volut. Belgium (possibly) linen (material) Volant of natural -colored application side, bobbin side with some details in needle side applied on mechanical tulle. A fond along the inside is becoming increasingly stuffed towards the Schulprand. It is a running pattern of a few branches and openwork flower baskets (needle side), the handle of which is very high and decorated with a bow with

Seven Birds in Bamboo Tree Nest. Artist: Unidentified Artist. Culture: China. Dimensions: 5 x 6 3/4 in. (12.7 x 17.1 cm). Museum: Metropolitan Museum of Art, New York, USA.

Turban end with tiraz, 1031. Egypt, Fatimid period, Caliphate of al-Zahir, 1031. Plain weave with inwoven tapestry weave: linen and silk; overall: 29.1 x 54.6 cm (11 7/16 x 21 1/2 in.).

Greek Ornament

Plate. Dated: 1935/1942. Dimensions: overall: 25.7 x 27.4 cm (10 1/8 x 10 13/16 in.). Medium: watercolor, graphite, and pen and ink on paperboard. Museum: National Gallery of Art, Washington DC. Author: Samuel Faigin.

Charles Sprague Pearce, Study for a Border Design, 1890 1897 Study for a Border Design

Cosmetic Box, Tomb of Qenamun. Artist: Norman de Garis Davies (1865-1941). Dimensions: H. 11 cm (4 5/16 in.); W. 21.5 cm (8 7/16 in.)scale 1:1Framed with 30.4.179 and .180: H. 33 cm (13 in.); W. 47.9 cm (18 7/8 in.). Dynasty: Dynasty 18. Reign: reign of Amenhotep II. Date: ca. 1427-1400 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Panel with Cross and Griffins 6th-7th century This wooden panel, possibly from a piece of furniture, is decorated with three roundels like those on textiles. A Greek cross is flanked by a pair of confronted griffins, mythological creatures whose images were often represented in the art of the ancient world.. Panel with Cross and Griffins 453632

Envelope to Jan Veth, Jan Toorop, in or before 1895 paper. ink writing (processes) / pen

Panel (Morocco); cotton, silk

Tiraz Textile Panel. Dimensions: L: 22 in (55.9 cm) x 26 in (66 cm), mounted and framed. Date: 10th century. Museum: Metropolitan Museum of Art, New York, USA.

Flower Garden - Lewis Estate. Dated: c. 1936. Dimensions: overall: 50.8 x 38.4 cm (20 x 15 1/8 in.). Medium: watercolor, gouache, and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Virginia Richards and William Merklin.

Lala Eve Rivol, Petroglyph Design, 1935 1942 Petroglyph Design

Fragment zijdeweefsel, anonymous, 1904 Fragment of 3 glued pieces, strongly signed, of red-green silk with pattern of vulerd and bothered griffins. Italydraughtsman: Krefeld Ketting an element: Silk Fragment of 3 glued pieces, strongly signed, of red-green silk with pattern of vulerd and bothered griffins. Italydraughtsman: Krefeld Ketting an element: Silk

Fragment (Border) Made 1801-1900 Russia. Linen; drawn work and embroidered .

Japanese koto or 13-string harp made of kiri wood with elaborately decorated head and foot. Chromolithograph from an illustration by William Gibb from A.J. Hipkins' "Musical Instruments, Historic, Rare and Unique," Adam and Charles Black, Edinburgh, 1888. Alfred James Hipkins (1826-1903) was an English musicologist who specialized in the history of the pianoforte and other instruments. William Gibb was a master illustrator and chromolithographer and illustrated "The Royal House of Stuart" (1890), "Naval and Military Trophies" (1896), and others.

Design for the Decoration of a Gun Stock ca. 1795-1805 Workshop of Nicolas Noël Boutet French. Design for the Decoration of a Gun Stock 652970

Roman fresco of a still life. Herculaneum. Hare, sparrow, lobster, fruit etc. ITALY.

Lazio Roma Rome S. Paolo34. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture fragments, tomb sculpture fragments, sculptural fragments, inscribed tomb markers, sculpture, fresco painting, mosaics Specific Location: Basilica Antiquities: Architectural sculpture fragments, tomb sculpture fragments, sculpture fragments General Notes: the "tomb markers" need to be sorted and catalogued German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Image of a capital in the Roman Catholic St. Franciscus Church in Oudewater.n.b. The church nowadays has the address Kapellestraat 15.

Roman Procession. Artist: After Polidoro da Caravaggio (Italian, Caravaggio ca. 1499-ca. 1543 Messina). Dimensions: 4-1/4 x 15-5/8 in. (10.8 x 39.7 cm). Date: 1499-1543. Museum: Metropolitan Museum of Art, New York, USA.

Yokohama, Hobu Shokai, Bunrei, Maekawa, Bunrei gafu, Bunrei Picture Album, inside cover - pasted on, Volume two (of two), re-bound in brown hard cover with yellow fantasy pattern; two endpapers; original white cover with rosette-shaped emblem and bright pink title strip at top left; bright pink cover leaf, title page; 33 leaves: two sheets of text; 31 sheets with illustrations of flowers and birds, of which 24 illustrations on a single sheet and twenty on a double sheet; cover leaf (detached), colophon; two endpapers of new binding., book, prints, Japan (collection), CJ Mensing. Bookbinder Amsterdam, height 347 mm, width 265 mm, 1837 - 1917, print maker, 1885 - 1885, fourth quarter 19th century, paper, color woodcut, Publication (Event), Publication, Japanese, publisher

Textile Fragment, 1500s (probably). Italy, 16th century (probably). Plain compound satin; silk and metal thread; overall: 130.8 x 56.8 cm (51 1/2 x 22 3/8 in.).

Fragment (Italy); silk; Warp x Weft: 48 x 75.3 cm (18 7/8 x 29 5/8 in.)

Panel (Dress or Furnishing Fabric) Made 1901 Vienna. Silk and cotton, warp-faced weft-ribbed plain weave; watered (moirÈ); appliquÈe with silk and cotton, warp-faced weft-ribbed plain weave and warp-float faced satin weave; embroidered with silk and cotton, in chain and overcast stitches . Joseph Maria Olbrich

TEJIDO DE LA DINASTIA FATIMI-S X-ESCRITURA ARABE ("AL-MULK LI-LLÀH:EL PODER PERTENECE A DIOS). Location: ALHAMBRA-MUSEO TEXTIL. GRANADA. SPAIN.

Eugene Shellady, Toleware Tin Tray, 1936 Toleware Tin Tray

Abstract composition with geometric figures, William Gear, 1947 drawing paper. deck paint brush Abstract, Non-representational Art

Fukusa (Gift Cover) Made 1890-1900 Japan. Patterned side silk, plain weave (shioze); dye extracted though a discharge dyeing technique and chemical dye stripper (bassen) and painted with India ink (sumi); embroidered with silk and gold-leaf-on-lacquered-paper-strip-wrapped silk, laidwork and couching; lined with silk, ink and stamped with ink; sewn with front and lining matched in size (Tachikiri awase); silk, running controlling stitches along all edges; corners gold-leaf-over-lacquered-paper-strip-wrapped cotton, knotted and replied fringe tassels .

A design for a fan depicting a pastoral scene with Chinese figures on horses. Watercolour painting by a Chinese artist.

Fragment, Medium: silk Technique: cut and uncut supplementary warp pile in a satin foundation (pile-on-pile velvet), Small and very incomplete fragment with a white satin ground and large-scale floral design in salmon, pink, maroon, and green cut and uncut pile., Italy, 1750-1800, woven textiles, Fragment

Fragment with Sempervivum tectorum motif 16th century Flemish or French. Fragment with Sempervivum tectorum motif. Flemish or French. 16th century. Wool, bast fiber. Textiles-Velvets

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

Frieze (France); block-printed on handmade paper; 50 x 48 cm (19 11/16 x 18 7/8 in.); 1974-28-4-a,b

DIBUJO EN COLOR. Author: CORRAL CARMEN. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Fragment ca. 1600 Italian. Fragment 213462

Fragment of a Tiraz-Style Textile, 1081 - 1094. Egypt, Fatimid period, latter part of Caliphate of al-Mustansir, c. AH 475-487 (A.D. 1081-1094). Tabby ground with inwoven tapestry ornament; linen and silk; overall: 21.6 x 43.8 cm (8 1/2 x 17 1/4 in.).

Design for Domed Ornament. Artist: Anonymous, British, 19th century. Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

The Brooklyn Oracle Papyrus The Brooklyn Oracle Papyrus, October 4, 651 B.C.E. Papyrus, pigment, ink, Overall: 10 15/16 × 210 5/16 in. (27.8 × 534.2 cm). The Brooklyn Oracle Papyrus records the petition of a man named Pemou on behalf of his father, Harsiese. Harsiese was an ordinary priest in the service of the god Amun-Re at Karnak, but he wished to leave that god's service and join the priesthood of the neighboring temple of Montu-Re-Horakhty. Because temple personnel were seen as the property of the divinity, the god had to be consulted about any change in staff. Pemou asked for the god's advice on behalf of his father, and the god responded favorably. To record the verdict, Pemou had this papyrus drawn up and decorated. The papyrus shows the procession of a image of Amun-Re, the fragments of whose shrine can be seen above the carrying poles borne by the priests. Above the shrine appear two ostrich-feather fans shading the god from the sun. In front of the priestly file stand the h

Musical Trophy. Artist: Charles Monblond (French, 19th century). Dimensions: 14 3/16 x 11 15/16in. (36 x 30.3cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Fragment from a Child's Tunic: Sleeveband I, 600s-700s. Egypt, Umayyad period (661-750). Wool and linen: tabby weave, inwoven tapestry ornament; overall: 12.7 x 26 cm (5 x 10 1/4 in.).

Altar Hanging, 19th century, 144 x 35 1/4 in. (365.76 x 89.5 cm), Silk, embroidery, China, 19th century

Magic knife fragments (2) ca. 1981-1640 B.C. Middle Kingdom. Magic knife fragments (2). ca. 1981-1640 B.C.. Ivory. Middle Kingdom. From Egypt, Memphite Region, Lisht North, Cemetery, MMA excavations, 1920-22. Dynasty 12-13

Stencil early 19th century Japan. Stencil. Japan. early 19th century. Paper. Edo period (1615-1868). Stencils

Piece Japan. Piece 70746

Campania Salerno Padula Monastery of S. Lorenzo8. Hutzel, Max 1960-1990 There are views of a number of antiquities. Their specific location within the monastery is unknown. There are two views of the tomb of Tommaso Sanseverino and one view of a statue. There are views of the altar, the frescoed ceiling and statues in niches. niches. Views are of the ceiling, paintings, and statues in niches. There are views of the loggia and its balustrade. There are two views of the ceiling fresco. There are views of the fountain, portico, columns and capitals. There are views of the votive cross, loggia, and landscaping. There are views of the cloister, the fountain, and the loggia. There are views of the colonnade, the floor, and frescoes. There are general views of the cloister, the fountain, and the columns. There are interior views of the church altar, the valuted, frescoed ceiling, and comprehensive coverage of the two choir stalls. There are exterior views of the carved wooden door. There are

Design for stained glass, Alice Cordelia Morse, American, 1863-1961, Brush and gouache, graphite on paper mounted on tan illustration board, Two square windows in green, yellow, and frames of burgundy, knotted designs at center., USA, late 19th century, architecture, interiors, Drawing, Drawing

Umbria Terni Orvieto S. Giovenale35. Hutzel, Max 1960-1990 Medieval: Architecture (15th century), architectural sculpture Object Notes: Original church ancient German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Washington Crossing the Delaware 18th-19th century Robert Lovett. Washington Crossing the Delaware 370824

Mexico, Guanajuato, San Miguel de Allende, close-up of mural on wall

Sea anemones, Gerrit Willem Dijsselhof, 1876 - 1924 drawing paper. chalk brush Coethorentarata: Sea Anemone

Hippopotamus Head A.D. 1914-1915; original ca. 1479-1458 B.C. Twentieth Century; original New Kingdom Hugh R. Hopgood. Hippopotamus Head 544583

Allegories of Faith and Hope, Flanking the Zuccaro Emblem. Federico Zuccaro (Italian, about 1541 - 1609)

Embroidered Fragment 7th century Nasca. Embroidered Fragment 308017

Household, Jean-François-Julien (n.1783-D.1864), partial plan of the garden of the Place des Vosges. (Dummy title). Green and black pencil and wash on layer paper. Carnavalet museum, history of Paris.

Design for a Stage Set at the Opéra, Paris: Church Interior 1830-90 Eugène Cicéri French. Design for a Stage Set at the Opéra, Paris: Church Interior 358958

Piece 18th-19th century Japan. Piece 67042

Eastern engraving on bronze, close-up. Oriental patterns on metal

Salesman's sample, Medium: silk Technique: embroidery and applique on woven satin foundation, Small panel of blue-green satin with border design embroidered with white, blue, yellow and orchid silks; green, white and orchid chenille; with white satin and net appliqué. Pattern of wisteria and large pointed leaves with lower bands of arabesques., France, early 19th century, embroidery & stitching, Salesman's sample

Fragment of Embroidery, 18th century. Spain, Southern, 18th century. Embroidery, silk threads on silk ground, linen appliqué; average: 28 x 43.2 cm (11 x 17 in.).

Relief of the Borobudur (borobedour), near Magelang, Dutch East Indies; 83. Borobeour. Relief of the Borobudur (Borobedour), near Magelang, Dutch East Indies

Compositional Sketches after Raphael and other artists (recto), c. 1800. France, 18th century. Graphite; sheet: 19.3 x 23.1 cm (7 5/8 x 9 1/8 in.).

Kesa Made 1801-1900 Japan. While this work may initially appear to be a decorative hanging showing various forms of marine life, closer inspection reveals that it is indeed a kesa pieced into a composition of seven columns. The embroidered decoration is not aquatic at all but rather consists of three varieties of motifsa phoenix, Paulownia flowers and leaves, and the family crest of the Tokugawa family, which ruled Japan during the Edo period. From each of these motifs emerge three or four curving tendrils. Unpatterned areas were planned to fall in the folds when the kesa was worn.. Silk; plain weave self-patterned by rows of gauze crossings, embroidered with silk .

Italy, Lombardy, Brescia, Decorative frescos from Temple of Brescia

Ceiling plan for the Red Theatre, Leningrad by Malevich, Kasimir Severinovich (1878-1935) / Private Collection / 1931 / Russia / Ink on paper / Opera, Ballet, Theatre,Abstract Art / 33x41,3 / Suprematism

MATERIA OCRE SOBRE TELA VIRGEN - 1969 - TECNICA MIXTA/LIENZO - 196X171 CM. Author: ANTONI TAPIES (1923-2012). Location: BANCO URQUIJO. Barcelona. SPAIN.

Portrait of a Seated Woman and Man. Jacob Byerly (American, 1807 - 1883)

Plaque (probably Italy); wood, carved

Elevation of a Baptismal Font, Augustus Welby Northmore Pugin, 1812-1852, British, Augustus Charles Pugin, 1762-1832, French, undated, Pen and black ink on thin, smooth, cream tracing paper, Sheet: 11 x 11 3/4 inches (27.9 x 29.8 cm), angels, architectural subject, baptismal fonts, elevations (drawings), Gothic (Medieval)

Mountain Hermitage in Summer Wang Wen (Chinese, 1497-1576). Mountain Hermitage in Summer, 16th century. Hanging scroll, ink on paper, overall: 93 x 30 3/16 in., 35 in. with rollers. Asian Art 16th century

Painting of three Westerners, Zhang Rulin, 1738 Painting of three Westerners. China ink. dye. silk Painting of three Westerners. China ink. dye. silk

Basketball player; Płoński, Michał (1778-1812); 1805 (1805-00-00-1805-00-00);

Mountains with Birds. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: Overall: 13 x 23 5/8 in. (33 x 60 cm)Image: 6 3/8 x 19 1/2 in. (16.2 x 49.5 cm). Date: late 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Hawks, late 15th century, 45 1/4 × 21 13/16 in. (114.94 × 55.4 cm) (image)76 × 27 3/16 in. (193.04 × 69.06 cm) (overall, without roller), Ink and light colors on silk, China, 15th century, Chinese eagle and hawk compositions were designed to capture not only the birds regal appearance, but also its fierce spirit as a hunting companion or bird of prey. Such temperament is vividly demonstrated in the painting depicting the hawk and a fallen egret: while the hawk is imposing and calm, the egret is panicky and terrified, engaged in a mortal struggle. Paintings of eagles and hawks from the Ming dynasty are often invested with moral messages. The image of a large eagle or hawk standing on a lofty cliff surrounded by a roiling sea has a symbolic overtone that comes from a pun - the Chinese term standing for ocean wave or tide is pronounced in the same fashion as the word meaning court. Thus ‘Qingchao duli can be read as ‘standing alone in clean tides, or ‘standing along in a clean court.

Linen mark (Type II) ca. 1961-1917 B.C. Middle Kingdom. Linen mark (Type II). ca. 1961-1917 B.C.. Linen. Middle Kingdom. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb MMA 507 (The Slain Soldiers), from body no. 20, MMA excavations, 1926-27. Dynasty 12

Rectangular edge tile in purple with hinged decor of flower, leaves and bunch of grapes, called grape half, edge tile wall tile tile sculpture ceramic earthenware glaze, baked 2x painted

Deraisme, Pierre -Georges (n.1859 - D.1932), brooch (main title), 1905. Transparent vellum graphite. Petit Palais, Museum of Fine Arts of the City of Paris.

Two Unarmed Dutch Ships Attacked by Three Chinese with Guns, by Anonymous Chinese artist, c. 1750-1800, ink on paper (BSLOC_2016_2_229)

Fresco fragment; Italy; about 70; Fresco; 40 x 450 cm (15 3,4 x 177 3,16 in.)

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