Textile Designs and Embroideries

Various textile fragments and embroidered works featuring floral patterns and intricate designs, showcasing craftsmanship from different historical periods.

Fragment, Medium: cotton on bast fiber Technique: embroidered, Europe, 19th century, embroidery & stitching, Fragment

Fragment textiel, anonymous, 1781 - 1789 Textile fragment, pressure and embroidery, two bundles of hay on a sea -green background. Japan silk Textile fragment, pressure and embroidery, two bundles of hay on a sea -green background. Japan silk

Textile Fragment, print and embroidery on bronze pink crepe., anonymous, Japan, 1751 - 1764, Horeki period, silk, height 27.8 cm × width 19 cm

Quilt. Dated: c. 1937. Dimensions: overall: 53.5 x 48.6 cm (21 1/16 x 19 1/8 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Charles Bowman.

Piece 18th century Japan. Piece 71726

Verdure Tapestry with Giant Leaves Mid-16th century Wool; silk Southern Netherlands; now Belgione (probably Oudenaarde)

Embroidery, England 19th century. Silk embroidery on linen with a series of hems with floral motifs, containing a central scene depicting watering deers.

Coverlet. Dated: c. 1936. Dimensions: overall: 35.4 x 26.4 cm (13 15/16 x 10 3/8 in.). Medium: watercolor, graphite, and gouache on paper. Museum: National Gallery of Art, Washington DC. Author: Ruth M. Barnes.

Project number 1599 of the Fabrique de St. Ruf, for Gentleman's Embroidered Waistcoat, Mademoiselle Bailieu, French, active ca. 1785, Pen and brown ink, brush and gouache on off-white laid paper, Waving boughs and flowers decorate the pocket flap and lower left corner of waistcoat. Framing border with tiny boughs. Reverse: sketches of bowl in wreath and festoons and corner motif., France, ca. 1785, embroidery & stitching, Drawing, Drawing

Sutra Cover. China. Date: 1590-1599. Dimensions: 34.9 × 12.2 cm (13 3/4 × 4 3/4 in.)Warp repeat: 20.5 cm (8 in.). Silk and gold-leaf-over-lacquered-paper strip, plain weave with supplementary brocading wefts bound in plain interlacings. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Sidewall - fragment, Block-printed on handmade paper, Portion of an urn with floral sprays. Printed in green, blue, black and faded pinks. The paper is not white, but a light brown, and has a coarse texture. Formerly used as a book cover., England, 1770-80, Wallcoverings, Sidewall - fragment

Boucheron, Etui basket 18th century (main title), 1935. Graphite, ink and gouache on the front, gouache on the back on film -coated vellum. Petit Palais, Museum of Fine Arts of the City of Paris.

Fragment, Medium: silk, metallics Technique: woven, Hunting scenes including a man mounted on horseback in one row, and a woman holding gun in another., 17th century, woven textiles, Fragment

Textile. Date/Period: Ca. 1792. Textile. Medium: cotton. Technique: block printed on plain weave foundation. Height: 505 mm (19.88 in); Width: 400 mm (15.74 in). Author: Oberkampf & Cie.

Fragment with pattern of French lilies in Ruiten, Anonymous, 1900 Fragment red silk with pattern in yellow of French lilies in windows. A star or flower on the intersections of the windows. Pattern is signed. Europedraughtsman: Krefeld Necklace and impact: Silk. samite twill Fragment red silk with pattern in yellow of French lilies in windows. A star or flower on the intersections of the windows. Pattern is signed. Europedraughtsman: Krefeld Necklace and impact: Silk. samite twill

Fragment Made 401 CE-600 CE Egypt. Linen and wool, tapestry weave . Coptic

Quilt central panel and outer border: 17th century; inner border: second half of 17th century Chinese, for European market, and European The embroidered portions of this cloth were probably once part of a large marriage bedcover made in China for export. Later, the precious bedcover was cut up, and portions were pieced together with a delicate quilted European floral silk to create the panel as it appears today.¹ Its relatively small size indicates that it may have served as a christening or bearing cloth for a child being carried to the baptismal font for christening.² At the very center of the textile are three bands from the original coverlet, one with a roundel containing a scene of a man and a woman flanking a tree, perhaps inspired by traditional depictions of Adam and Eve. The blossoming tree grows from a large container decorated with a continuous pattern of hexagons, a Chinese design suggesting longevity, and on the tree is a bleeding heart pierced with arrows, a secular symbo

Tile, Earthenware, Iran (formerly known as Persia), 16th century, tiles, Decorative Arts, Tile

Crewel Embroidery. Dated: c. 1936. Dimensions: overall: 25.5 x 29.3 cm (10 1/16 x 11 9/16 in.). Medium: watercolor, graphite, and pen and ink on paper. Museum: National Gallery of Art, Washington DC. Author: Fanchon Larzelere.

Les Quatre Parties du Monde, Jean-Baptiste Huët, (French, 1745-1811), Oberkampf & Cie., (Jouy-en-Josas, France, 1759-1815), Medium: cotton plain weave Technique:printed by engraved plate., Design in blue on a white background. Deer, ostrich, monkeys, elephant and part of the figure of Asia., Jouy-en-Josas, France, ca. 1785, printed, dyed & painted textiles, chef de piece, chef de piece

Drawing, Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"; Designed by Fabrique de Saint Ruf; France; brush and white gouache on glazed tracing paper; 7.5 × 15.8 cm (2 15/16 × 6 1/4 in.)

Panel. United States. Date: 1701-1725. Dimensions: 94 x 97.8 cm (37 x 38 1/2 in.). Linen, twill weave; embroidered in woolStitches: Stem, long & short, outline, French knot, bullion, block shading, split. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Textile (France); Made by Lecier Freres; cotton; Warp x Weft (a): 33 × 98 cm (13 in. × 38 9/16 in.) Warp x Weft (b): 86 × 97.5 cm (33 7/8 × 38 3/8 in.); Bequest of Elinor Merrell; 1995-50-260-a,b

Band (Italy); silk on linen; Bequest of Marian Hague; 1971-50-81

Design on Paper Japan. Paper .

Mandarin Squares, 19th century, 12 5/8 x 11 5/8in. (32.1 x 29.5cm), Silk, metal threads, China, 19th century

Brussels, Belgium. Art Nouveau architecture that graces the city

Design for a Waistcoat, Pencil and various gouaches on paper, Design for the embroidery of the left bottom part of a man's waistcoat. The waistoat and the pocket are brown edged. The decoration consists of flower boughs; roses and tulips are included., France, 1780-1790, Drawing, Drawing

Fragment. France. Date: 1645-1675. Dimensions: 45.5 x 52.5 cm (18 x 20 in.). Silk, satin damask weave. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Drawing, Design for the Embroidery of the Lower Front Part of an Overskirt of the "Fabrique de St. Ruf," Unfinished; Designed by Fabrique de Saint Ruf; France; graphite, pen and ink, brush and gouache on paper; 53.1 × 38.3 cm (20 7/8 × 15 1/16 in.)

M Louise Kent, Hand Woven Coverlet, c 1939 Hand Woven Coverlet

Scarf crepe de Chine with a white ground, which on both sides a multicolored pattern of flowers, Wiener Werkstätte, c. 1910 - c. 1914

Sampler, 1750. America, 18th century. Embroidery; average: 37.8 x 31.8 cm (14 7/8 x 12 1/2 in.).

Figural tapiser; Ghieteels, Frans (16th century); 2. PO. 16th century (1550-00-00-1600-00-00);

Lillian Causey, Quilt, c 1936 Quilt

Panel (England); Made by Bannister Hall Printworks; Produced by Charles Swainson (English); Client: Proctor and Brownlow; cotton

Pietra Dura work, City palace, marble inlay, Jaipur, Rajasthan, India Copyright: xHemantxPatil/DinodiaxPhotox

Textile with Aquatic Birds and Recumbent Animal 13th century Eastern Central Asia or North China The free arrangement of animals on a rhythmic background of geometric leafs is typical of Eastern Central Asian textiles of the eleventh to the thirteenth century. The design is also seen on Chinese tapestries of the period. A similar example was excavated from the burial pagoda of a Buddhist monk, Haiyun (1203-1257), in Beijing, attesting to the strong ties between Chinese and Central Asian textiles at the time.. Textile with Aquatic Birds and Recumbent Animal 39495

Flowers and Birds Around a Tree with Feathery Branches. Turkey, late 16th century. Manuscripts; folios. Ink, opaque watercolor, gold on découpé

Drawing, Design for a Woven Fabric, Fragment; France; blue, green, rose, yellow, and black gouache on oily tracing paper, mounted; 11.6 × 16.1 cm (4 9/16 × 6 5/16 in.)

Iran, Tehran, Laleh Park, Carpet Museum of Iran, traditional Iranian carpet detail

Sampler, Medium: silk and cotton embroidery on linen foundation Technique: embroidered in cross stitches on plain weave foundation, Five bands of motifs starting with harlequin, birds, curving floral bands, strawberry, two houses in landscape and a ship., Italy, mid-19th century, embroidery & stitching, Sampler

Fragment (France); silk

Fragment; silk

Anonymous. Vest embroidery project. Lead mine, gouache on cardboard, around 1780/85. Galliera, fashion museum of the city of Paris. 79099-11 Embroidery, cardboard, vest, gouache, lead mine, project, 18th century

Isabelle De Strange, Friendship Quilt, c 1937 Friendship Quilt

Linen, hand-printed, Russian Applied Art

Anonymous. Vest embroidery project. Lead mine, gouache on cardboard, around 1780/85. Galliera, fashion museum of the city of Paris. 79098-5 Embroidery, cardboard, vest, gouache, lead mine, project, 18th century

Wallpaper Sample Book Morris & Company (London, England, 1875 - 1940). Wallpaper Sample Book, before 1917. Printed paper, 21 1/2 x 14 1/2 in. (54.6 x 36.8 cm). Decorative Arts before 1917

La Maison qui brule, Medium: cotton Technique: printed by engraved copper plate on plain weave, Two prominent images, a wine press at the left and a burning house at the right with other spaces filled with people, buildings, and other rural scenes. In red on white., Nantes, France, ca. 1785, printed, dyed & painted textiles, Textile, Textile

Rank badge, Medium: silk embroidery on silk foundation Technique: embroidered with satin and couching stitches on satin weave, Rank badge for a civil official. Embroidered silk showing a bird facing a sun disk surrounded by auspicious symbols. Ground of clouds with diagonal lines at bottom and meandering key border. Seam down the center. Lined with blue silk., China, mid- 19th century, embroidery & stitching, Rank badge

Hanging, Syrian Pomegranate Tree; Designed by Lydia Bush-Brown (American, 1887-1984); USA; silk

Tile. unknown, factory

Design for an Embroidered or Woven Horizontal Border of the 'Fabrique de St. Ruf', Fabrique de Saint Ruf, Lyon, France, Brush and white gouache on glazed tracing paper, Five big lace leaves in heart shape form an undulating leaf stem. A waved line is at the bottom., France, 1805-1815, Drawing, Drawing

Sampler, Mary Hallowell, American, Medium: silk embroidery on linen foundation Technique: embroidered in cross, half-cross, satin, stem, rococo, chain, four-sided, roumanian and running stitches on plain weave foundation, Large basket of flowers with scattered motifs including birds, squirrels, butterflies, and floral sprays, with a verse and inscription; the border is made up of four different floral patterns. The verse reads:, I am often like the lonesome dove, That mourns its absent mate, From hill to hill from vale to vale, Its sorrows to relate, But canaans land is just before, Sweet spring is coming on, A few more beating winds and rains, And winter will be gone, Eastern Pennsylvania, USA, 1832, embroidery & stitching, Sampler

Sampler (USA); Embroidered by Sally Follansbe (American, 1773 - 1813); silk embroidery on linen foundation

Valentine 1847-1870 Esther Howland. Valentine. Esther Howland (American, Worcester, Massachusetts 1828-1904 Quincy, Massachusetts). 1847-1870. Cameo-embossed, open-work lace paper, chromolithography, colored paper

Sampler, Medium: silk embroidery on linen foundation Technique: cross and satin stitches on plain weave, Border (different on each of four sides) enclosing alphabets, initials, date and detached motifs., Italy, 1853, embroidery & stitching, Sampler

Sampler, Ann Honilon, Medium: silk embroidery on wool foundation Technique: embroidered in cross, tent, satin, stem, plush and couching stitches on plain weave Label: wool embroidered with silk, Square embroidered sampler with a woman and a spotted dog, a cow, and a peacock surrounded by birds and insects, flanked by a crowned thistle and a crowned rose. Stylized grapevine border. In a cartouche at the top, a verse:, Immortal made what should we mind, so much as Immortalitie, of beings for a Heaven designed, what but a Heaven the care should be, England, ca. 1760, embroidery & stitching, Sampler

Wounded Animal in a Hunting Scene, Tomb of Userhat A.D. 1922; original ca. 1427-1400 B.C. Twentieth Century; original New Kingdom Charles K. Wilkinson. Wounded Animal in a Hunting Scene, Tomb of Userhat. Charles K. Wilkinson. A.D. 1922; original ca. 1427-1400 B.C.. Tempera on paper. Twentieth Century; original New Kingdom. From Egypt, Upper Egypt, Thebes. Dynasty 18

top view of hand painted gray batik silk scarf top view of hand painted gray batik silk scarf with abstract floral pattern isolated on white background ,property released Copyright: xZoonar.com/ValeryxVoennyyx 9191399 ,model released, Symbolfoto ,property released

Don Quichotte (Don Quixote) (Furnishing Fabric). Possibly after design by Jean Jacques Lagrenèe le Jeune (French, 1739-1821) after engravings by Charles Nicolas Cochin l'Aîné (French, 1688-1754), Magdaleine Hortenels Cochin (French, 1683-1767), Jean Baptiste Haussard (French, 1679/80-1749), and Louis Silvestre l'Aîné (French, 1664-1740); Based on paintings by Charles Antoine Coypel (French, 1694-1752); France, Nantes. Date: 1780-1790. Dimensions: 84.2 × 95.2 cm (33 1/8 × 37 1/2 in.). Cotton, plain weave; copperplate printed. Origin: France. Museum: The Chicago Art Institute, USA. Author: Jean-Jacques Lagrenée.

Agatha Wilkens, Sampler worked in cross-stitch in colored silk on loosely woven cream-colored linen, marked AW, sampler embroidery needlework images silk linen, textile embroidery cross stitch Square piece of loosely woven linen with selvedge on the left and narrow hem of 0.4 cm along the other edges. The patch is not evenly distributed, although the sword points more or less coincide on the left and right of the central axis. There is embroided in cross stitch with silk in the colors black golden brown rust brown brown beige carmine pink old pink turquoise blue shades embroided: AW handicrafts spy Canaan Dutch Lion Dutch Garden

Drawing, Corner Design for Mosaic Floor; USA; brush and watercolor, pen and black ink, graphite on paper

Valentine 1850-1870 Esther Howland. Valentine. Esther Howland (American, Worcester, Massachusetts 1828-1904 Quincy, Massachusetts). 1850-1870. Gilded, open work, cameo embossed paper, chromolithography, colored paper

Edith Towner, Crazy Quilt Detail, c 1937 Crazy Quilt Detail

Floral Garlands with Border. Date/Period: Ca. 1801. Drawing. Brush and gouache, graphite, pen and black ink on white wove paper. Author: Louis-Albert DuBois.

Sampler (USA); Embroidered by Mary Bridge (American); silk embroidery on linen foundation

Les Vendages (The Vintage), Medium: cotton Technique: printed by engraved plate on plain weave, Valance made of one complete width and three incomplete widths of the pattern., Design of grape gatherers, dancers, an inn, a bewigged gentleman in a swing and another bewigged gentleman holding a bottle and lying under a tree., Jouy, France, 1770-84, printed, dyed & painted textiles, Valance, Valance

Panel. England. Date: 1601-1625. Dimensions: 73.7 × 203.2 cm (29 × 80 in.). Cotton; Jacobean crewelwork; embroidered in satin, knot, outline, brick, cross, long, short, and French knot stitches. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Margery Parish, Chest, c 1938 Chest

Embroidered Sampler. Culture: American. Dimensions: 16 1/2 x 17 in. (41.9 x 43.2 cm). Maker: Barbara Landis (1816-1884). Date: 1827.Compared to Barbara Beiler's sampler made seventeen years earlier (34.100.216), Barbara Landis's example shows more of the influence of her English-speaking neighbors. Barbara Landis was a member of the Mennonite sect, and German would have been spoken in her home. Her family, however, must have had some interaction with neighbors outside their immediate group, since Barbara's rather awkwardly spelled motto is traditionally found on samplers made by girls who lived in Pennsylvania's English community. The use of a house as a central motif is also very rare in Pennsylvania German samplers and again illustrates links Barbara must have had with the wider world. Museum: Metropolitan Museum of Art, New York, USA.

Kontusz belt bearing the signature `Fabryk. Kobyłki`, owned by Józef Szpetkowski ; drawing for the publication: `Starodawne pasy polskie przedstawione staraniem i nakładem Dominika Jeżewskiego, malował z natury Władysław Sztolcman 1910-` Historic Polish ???????????????????. Sztolcman, Władysław Roman (1873-1950), painter

Fragment, Medium: silk Technique: painted on tabby weave, Flowering branches with pomegranates painted in polychrome. A curved stem runs through the center., France, 18th century, printed, dyed & painted textiles, Fragment

Sampler, Medium: silk on linen Technique: cross, stem and satin stitch on plain weave foundation, primarily counted stitches, Adam and Eve with the Tree of Life and isolated motifs of animals, birds and flowers., England, 1750-1800, embroidery & stitching, Sampler

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.).

Textile, Medium: silk Technique: satin stitch embroidery and appliqué, Embroidery in design of flowering rose sprays with insects worked in satin stitch. Border of scrolls and leaves worked in lace stitches and appliqué., France, early 19th century, embroidery & stitching, Textile

Panel early 19th century Japan. Panel. Japan. early 19th century. Indigo blue dyed cotton ground with cranes, tortoises, pines and bamboo reserved in white and painted in dyes. Textiles-Painted and Printed

Katabira (Summer Kimono) Fragment with Bamboo, Plum Blossoms, and Fans. Japan, early 18th century. Costumes; principal attire (entire body). Ramie plain weave, stenciled imitation tie-dye (kata kanoko shibori) with silk and gilt paper wrapped silk thread embroidery

Fukusa (Gift Cover) Made 1801-1825 Japan. Patterned side silk, warp-float faced 4 1 satin weave (shusu); embroidered with silk and gold-leaf-over-lacquered-paper-strip wrapped silk in Chinese knot, satin, single satin, surface satin, stem and straight stitches; paper-strip wrapped cotton padded satin stitches; laidwork and couching; painted India ink (sumi) detailsLined (re-lined) with silk, plain weave with creped wefts (chirimen); interlined with cotton; plain weave; padded with waste silkSewn with padded lining extending beyond front at center on all four side (Yatsuzuma); silk, running controlling stitches along edges .

Hooked Rug. Dated: c. 1937. Dimensions: overall: 27.8 x 35 cm (10 15/16 x 13 3/4 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: William P. Shearwood.

Aconit. Martin, Anna. Prints, Botanical illustrations, Design drawings. 1896. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Decoration and ornament , Plant forms

"Les Travaux de la Manufacture" 1783 Oberkampf Manufactory French This is one of the best known copperplate-printed textiles produced at the Oberkampf factory and it presents an abundance of information regarding the complexity of the textile printing process. There are a total of fourteen different scenes depicting activities involved in the process. The designer, Jean-Baptiste Huet, and a female colleague are depicted outdoors sketching, dyers mix colors, and printers apply the printing bocks. The drying of the finished cloth on the grounds of the factory completes the picture. The concept of printing scenes from a manufacturing process exemplifies the Enlightenment fascination with human accomplishments.Jean-Baptiste Huet, an extremely successful decorative painter, was commissioned by Oberkampf to create this design to celebrate the factory's award of the title Manufacture Royale. Huet was then named chief designer at the factory. The formula of individual scenes carefully integrat

Don Ouixote, Gorgerat Frères et Cie., (Nantes, France, 1783-1815), Medium: cotton Technique: printed by engraved copper plate on plain weave, Incidents from the story of the same title by Miguel Cervantes. In red on white., France, 1785, printed, dyed & painted textiles, Textile, Textile

Textile

Borders, Block-printed on handmade paper, NOTE: component A - is made up of approx. 100 fragments of the same border, divided into 2 PACKETS. The main pattern of this border consists of a band of alternating vertical leaves and arrow heads connected at the base by a system of curls. Three stripes run along the upper edge, while the lower edge is banded by a string of pointed ellipses connected by round beads. Each 'ellipse' is outlined in dots and contains a sprig that points in the opposite direction of its neighbor. Printed in dark blue-green, light green, gray, white, mustard yellow and mauve-gray on a black background., France, 1794-1825, Wallcoverings, Borders

Towel border first quarter 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 myt

. Tapestry with yacht scene. In a forest landscape with the open space, hunters are engaged in the bird shooting, while in the foreground a panther () Hunters and dogs are rushed. Edges with grotesken and cartouches.

Thumbelina is ridiculed by the Lady Cockchafers, who laugh at her for having only two legs and no feelers. Illustration to a fairytale by Hans Christian Andersen, first published 1835. Date: 1959

Sleeve Band China 19th century View more. Sleeve Band. China. 19th century. Silk, metallic thread; on silk. Qing dynasty (1644-1911). Textiles-Embroidered

Piece ca. 1770 Nixon & Co.. Piece. British, Phippsbridge, near Merton, Surrey. ca. 1770. Cotton and linen. Textiles-Printed

Hood Made 1775-1825 France. Silk, warp-faced, weft-ribbed plain weave; embroidered with silk floss and yarns, gilt- and silvered-metal-strip-wrapped silk, and silvered-metal strips in satin, split, and stem stitches; couching, padded couching, laid work and French knots; edged with silk and gilt-metal-strip-wrapped silk, woven tapes and fringe .

Mourning sampler. Date/Period: 1838. Mourning sampler. Medium: silk and human hair embroidery on linen foundation. Technique: embroidered on plain weave foundation. Height: 435 mm (17.12 in); Width: 480 mm (18.89 in). Author: Mary Bechler.

Sample of Persian Calligraphy from a Mughal Album Ali Haravi. Sample of Persian Calligraphy from a Mughal Album, 16th century; margins 17th century. Ink, opaque watercolor, and gold on paper, image: 7 13/16 x 3 14/16 in. (19.8 x 9.7 cm). Set against a gilded background, two couplets of romantic poetry appear in the elegant nastaʿlīq script. The face of the beloved, considered the reflection of divine love, is fittingly compared to a bright moon and admired for its beauty: Your face is flushed [and has become [like a bright moon; you have exalted your stature [and have become the envy of the [tall cypress.” A signature identifying the lowly scribe, ʿAli” may refer to the talented sixteenth-century calligrapher Mir ʿAli al-Husayni al-Katib al-Haravi, also known as Mir ʿAli. The calligraphy was mounted on a seventeenth-century Indian album page decorated with flora and fauna in a Europeanizing style typical of the Mughal artistic tradition. It is possible that the folio, like the p

Frank J Mace, Fan, 1935 1942 Fan

Rank badge with peacock. Culture: China. Dimensions: 11 × 11 in. (27.9 × 27.9 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Border, Block-printed on paper, Wide top band containing dense mixture of exotic flowers and roses. Beneath this is a narrow band resembling egg and dart, but appears to be a floral motif. Printed in orange, green, pink white shades of gray and yellow on deep brown ground., H# 609, France, 1795-1835, Wallcoverings, Border

Detail of exquisite wall painting in the Sheesh Mahal hall, Samode Palace, Samode, Rajasthan state, India, Asia

Fragment (Japan)

Fragment with Buddhist Jar supported by a Lotus, 1300s. China, 14th century. Embroidery, needlelooping; silk and gold thread, silvered and gilded paper; overall: 7.8 x 9.4 cm (3 1/16 x 3 11/16 in.).

Patchwork Quilting. Dated: 1939. Dimensions: overall: 40.8 x 35.6 cm (16 1/16 x 14 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Harvey Thoss.

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