Textile Fragments and Patterns

Woven silk fragments showcasing intricate floral and nature-inspired designs from various cultural textile traditions.

Chinese Figures, Medium: cotton Technique: printed by engraved plate on plain weave, Off-white cotton, copperplate-printed in a red Chinoiserie design, in the style of Jean-Baptiste Pillement. A young man and a servant carrying a standard ascend a floating stair to a pavilion, amid fantastical foliage. The panel shows one full repeat, and parts of two others. The fabric is pieced at the top, quilted and interlined with wool., England, 1765, printed, dyed & painted textiles, Textile, Textile

Unknown, story of Alexandre and Nicolas: the tribute request to Philippe de Macedonia by a messenger from Nicolas d'Arménie; The interview with Alexander or Persia without Nicolas; The battle between Armenians and Macedonians, with the death of Nicolas; The surrender of the inhabitants of Caesarea to the Macedonians (main title), 1470. Organic. Textile. Wool, silk. Tapestry, 5 to 6 chain threads at the centimeter. Petit Palais, Museum of Fine Arts of the City of Paris.

Fragment of the fabric; beginning of the 18th century (1712-00-00-1718-00-00);bizarre, fragments of silk fabrics, silk fabrics of the 18th century, patterned fabrics

Textile, Technique: block printed on plain weave, Four men and two dogs attacking a bear who has apparently killed a man who is lying underneath him. There is a small town in the distance. The design is repeated in a brick arrangement., Russia or Germany, 17th-19th century, printed, dyed & painted textiles, Textile

Panel with boys at play 17th century China This large polychrome silk tapestry features a motif called the hundred boys,” an expanded version of children at play, to express the desire for a prosperous family. Little boys (eighty-three, to be exact) engage in various activities, such as archery, boating, falconry, fishing, horseback riding, kite flying, music making, playing with a ball, and reading. Each child is woven in a different posture with simple but fluid outlines, which required not only great skill but also an artistic sensibility. Panels like this usually served as wall decoration in elite houses.. Panel with boys at play. China. 17th century. Silk, metallic thread, and feather thread tapestry. Qing dynasty (1644-1911). Textiles-Tapestries

Table Frontal, 1368-1644, L.42 X W.29-3/8 in., Silk tapestry (kesi), China, 14th-17th century, This panel includes a large mythical animal associated with rulers and power. The beast, called a qilin, sits within a landscape of flowers and symbols of good fortune. It was altered sometime after it was made; the upper section was removed and a double border was added. The outer border appears to come from a dragon robe dating to the late 1600s. Look closely to see the small bat above the qilins head. It is in a different style and of a finer technique than the rest of the fabric, so it was likely a later addition, perhaps added along with the borders.

Coxcombs, maize and morning glories. Date: 17th century. Origin: Japan. Ink, color, gold, and silver on paper. Period: Momoyama period. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Psyche et l'amour, Petitpierre & Compe., (Nantes, France, founded 1770, Medium: cotton Technique: printed by engraved copper plate on plain weave, Design in red on white ground. At top a goddess drawn by birds in the clouds. At bottom, the Three Fates cut the thread of Psyche's life while Cupid mourns., Nantes, France, ca. 1790, printed, dyed & painted textiles, Chef de piece, Chef de piece

White-ground Japanese sarasa (wasarasa) blanket with repeating pattern of foreigners and elephant amidst flowers, 18th century, Unknown Japanese, 117 × 114 1/2 in. (297.18 × 290.83 cm), Cloth: cotton and felt; katazome (stencil resist), Japan, 18th century

Project Friesland Decorate Pavilion Decoration Perfumery Piver Exposure Universal 1900 Right Panel Albert Besnard (Paul Albert Besnard, said, 1849-1934). Friesland project decorating the P�r�rie Piver pavilion at the 1900 Universal Exhibition (right sign). Gouache and black stone on wrinkled paper, partially silver.

Field of twelve tiles, Anonymous, c. 1700 - c. 1750 Field of twelve tiles (3 x 4) each with a blue -painted landscape with shepherd, shepherd or sailing ship within an octagon surrounded by sprinkled purple. In the corners, a carnation. Netherlands earthenware. tin glaze majolica Field of twelve tiles (3 x 4) each with a blue -painted landscape with shepherd, shepherd or sailing ship within an octagon surrounded by sprinkled purple. In the corners, a carnation. Netherlands earthenware. tin glaze majolica

Panel. France. Date: 1701-1725. Dimensions: 20 1/2 × 20 in. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Ancient wall painting from the early imperial era, Rome. Antike Wandmalerei aus der fruehen Kaiserzeit, Rom. Chromolithograph by Eduard Deventer from Ernst Ewalds Farbige decorationen, alter und never Zeit (Color decoration, ancient and new eras), Ernst Wasmuth, Berlin, 1896.

Drawing, Hunting with Torches in Mexico; Jan van der Straet, called Stradanus (Flemish, 1523-1605); Engraved by Adriaen Collaert (Flemish, ca. 1560 - 1618); Published by Philips Galle (Flemish, 1537 - 1612); Netherlands; pen and brown ink, brush and brown wash on paper

Fragment (France); cotton

Adam & Eve Embroidered Picture. Dated: c. 1938. Dimensions: overall: 48.9 x 38.1 cm (19 1/4 x 15 in.) Original IAD Object: 13' high; 8 3/4" wide. Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Martha Elliot.

Textile with Dragons, Phoenixes, and Other Animals 18th century China. Textile with Dragons, Phoenixes, and Other Animals. China. 18th century. Silk lampas. Qing dynasty (1644-1911). Textiles-Woven

Textile (England); After Henry Bunbury; cotton

Hanging. Pracownia Anny z Sanguszków Radziwiłłowej (Biała Podlaska ; manufaktura ; fl. ca 1720-ca 1740), embroidery workshop

Fragment Made 1590-1610 Italy. Silk and silver gilt strips, plain weave with supplementary patterning wefts and supplementary pile warps forming cut, uncut, and voided velvet; stamped .

Printed Cotton. Dated: c. 1941. Dimensions: overall: 57.5 x 49.3 cm (22 5/8 x 19 7/16 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Ernest Capaldo.

Garden Ornament. Pierre Gabriel Berthault (French, 1748-1819). Engraving;

Printed Textiles. Dated: c. 1940. Dimensions: overall: 28.7 x 36.1 cm (11 5/16 x 14 3/16 in.) Original IAD Object: 15" wide. Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Ernest Capaldo.

Panel Made 1601-1700 England. Silk, satin weave; embroidered .

Flowers of a Hundred Worlds (Momoyogusa): Wisteria (Fuji), 1909-10. Kamisaka Sekka (Japanese, 1866-1942). Color woodcuts with gold and silver; sheet: 29.9 x 22.1 cm (11 3/4 x 8 11/16 in.). This print from a set of three woodblock printed albums displays the graphic design prowess of Kamisaka Sekka. The images were first distributed one by one to subscribers to the series but later were reissued in bound form, like this book, for mass consumers. Each print features a vignette taken from nature or Japanese literature. Many of the scenes have a long history in Japan, originating in the 900s or 1000s and having been interpreted by all manner of artists since that time. Sekkas selections hew closely to precedents from the Rinpa style originated by painter Tawaraya S?tatsu (c. 1570-c. 1640) and calligrapher Honami K?etsu (1558-1637).

Barth Erwin (1880-1933), Luisenstädtische Canal in Berlin (1926-1926): Perspective view with a view of the flower bush garden in the former Luisenstadt channel (entrance area on Köpenicker Straße), stamp. Light break on the box, 54.1 x 81 cm (including scan edges) Barth Erwin (1880-1933): Luisenstädtischer Kanal, Berlin

Scroll Cover for Imperial Calligraphy. Culture: China. Dimensions: Overall: 15 x 13 1/2 in. (38.1 x 34.3 cm).This wonderful textile illustrates the continuation of the use of luxurious tapestries as covers for paintings and calligraphies. The inscription states that it was produced to accompany the Qianlong Emperor's calligraphy of his own essay discussing the difficulty and ease of founding and maintaining an empire. As a tailor-made cover for an imperial work, the tapestry is superb: the body of the dragon is executed in gold thread, and the flowers and leaves are rendered in subtle hues and shades. Museum: Metropolitan Museum of Art, New York, USA.

Whose Sleeves (Tagasode) 17th century Japan. Whose Sleeves (Tagasode) 42671

Edward Francis Burney, 1760-1848, British, Amateurs at Tye Wig Music, Undated. Pen and black ink over red graphite on medium, slightly textured, beige wove paper.

Sidewall, Machine-printed, possibly USA, 1875-1920, Wallcoverings, Sidewall

Ernest Capaldo, Printed Cotton, c 1941 Printed Cotton

Purse, Medium: silk, gold-wrapped silk, horsehair (ID: lab) Technique: tapestry woven with continuous and discontinuous wefts, Oblong flat pouch with silk and metallic thread showing a design of 'the Fox and the Grapes,' in red, green, shades of blue and yellow on dark background. Same pattern on both sides., France, 1640-1700, costume & accessories, Purse

Breaking a Plum Branch on a Snowy Night; Bamboo in Snow 19th century Attributed to Reizei Tamechika. Breaking a Plum Branch on a Snowy Night; Bamboo in Snow. Attributed to Reizei Tamechika (1823-1864). Japan. 19th century. Two folding fans mounted on panels; ink, color and gold on paper. Edo period (1615-1868). Paintings

Textile, Medium: cotton Technique: tied-resist patterning in weft (kasuri), indigo dyed, plain weave, Textile with checkerboard desing of two alternating geometric patterns created in the weft ikat or kasuri technique. Pattern described as 'seal script.', Narumi, Honshu, Japan, late 19th century, printed, dyed & painted textiles, Textile

Uchishiki (Altar Cloth). Japan. Date: 1801-1825. Dimensions: 65 x 64.7 cm (25 5/8 x 25 1/2 in.). Silk and gold-leaf-over-lacquered-paper strip, slit tapestery weave (kossu); backed with silk, plain weave, creped wefts; tassels: painted and plied. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Japan: Illustrated Biography of Prince Shotoku in ten panels, panels three and four. Painting on silk, Hata no Chitei, Heian Period (11th Century), Tokyo National Museum

Writing Box with Design of Six Poets under a Cherry Tree and a Pine. Culture: Japan. Dimensions: H. 1 1/8 in. (2.9 cm); W. 8 1/8 in. (20.6 cm); L. 8 3/4 in. (22.2 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Mosaic Floor Panel. Unknown

Piece 18th-19th century China. Piece. China. 18th-19th century. Silk. Qing dynasty (1644-1911). Textiles-Woven

Medallion with Five-Clawed Dragon (long) late 17th century China This dynamic dragon (long) surges across a golden ground. The brownish green thread of the dragon's body and head is made of peacock feathers.. Medallion with Five-Clawed Dragon (long). China. late 17th century. Silk, metallic thread, and peacock feather tapestry (kesi). Qing dynasty (1644-1911). Textiles-Tapestries

Table screen with immortals and landscape 18th century China. Table screen with immortals and landscape 40518

Corner of Needlepoint Cushion. Dated: c. 1936. Dimensions: overall: 35.6 x 24.8 cm (14 x 9 3/4 in.) Original IAD Object: 15" high; 15" wide. Medium: gouache and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Natalie Simon.

View of houses and vegetation in Buitenzorg, c. 1921 Outdoor care copper (metal) etching Outdoor care

Design for a ceiling painted with trompe l'oeil clouds 1830-97 Jules-Edmond-Charles Lachaise French. Design for a ceiling painted with trompe l'oeil clouds 385124

Fragment; linen

Adolph Opstad, Applique Coverlet (Detail), c 1941 Applique Coverlet (Detail)

Mrs Goodwin, Window Seat Cover, c 1938 Window Seat Cover

Textile, Medium: cotton Technique: printed by engraved copper plate on plain weave, Scenes illustrating a story of a lost young woman. In purple on white., France, early 19th century, printed, dyed & painted textiles, Textile

Valance (England); silk embroidery on silk foundation, linen backing

Leaf with windscreen pattern (one of eight identical sheets), Anonymous, 1850 - 1950 decorated paper Japan China paper. Japanese paper. paint (coating). block printing (relief printing process) ornament ~ geometric motifs

Textile (France); cotton; Warp x Weft: 148.5 x 86 cm (58 7/16 x 33 7/8 in.); Bequest of Elinor Merrell; 1995-50-370

Fragment (France); cotton

Tile, earthenware, tin glaze, Set of 8 square tiles, each painted in underglaze blue on white with a different Biblical scene and 'spider's head' corner motifs; mounted in wooden rectangular frame, 2 across, 4 down., Netherlands, ca. 1700-25, ceramics, Decorative Arts, Tile

Fan, frame frame: golden characters and landscapes on a black background. GAL1985.200.4 Characters with painted faces on mother -of -pearl, cut leaf

Fire Screen with Shell-Matching Game, c. 1870-80. France, 19th century. Gilt wood frame with embroidered silk gift cover mounted as a panel; overall: 135.9 x 86.4 x 40.6 cm (53 1/2 x 34 x 16 in.).

Sheet in two sections with pink and green scenic pattern 18th century Anonymous. Sheet in two sections with pink and green scenic pattern. Anonymous , 18th century. 18th century. Relief print (wood or metal). Prints

Sampler (USA); Embroidered by Esther Ann Frost (American); silk embroidery on linen warp, cotton weft; Frame H x W x D: 24.1 x 24.8 cm (9 1/2 x 9 3/4 in.) Warp x Weft (unframed): 21.6 x 22.2 cm (8 1/2 x 8 3/4 in.)

Fantasy marble in two shades of green and orange, Anonymous, 1900 - 2000 marbled paper paper. paint (coating) phantasy marbled paper

Leaf with grid of hexagons filled with floral pattern, anonymous, 1850 - 1950 decorated paper Japan China paper. Japanese paper. paint (coating). block printing (relief printing process) ornament ~ geometric motifs. ornament derived from plant forms

Paint painting: an overview. .

Writing box with patterned paper, Kamisaka Yukichi, c. 1910 - c. 1925 Square writing box in paint with a decoration in Maki-e with the gold in the entire plane of torn fragments of paper with decorations of trees, plovers and water, part of a set with the paper box AK-C-2019-1-2. Kyoto lacquer (coating) lacquering Square writing box in paint with a decoration in Maki-e with the gold in the entire plane of torn fragments of paper with decorations of trees, plovers and water, part of a set with the paper box AK-C-2019-1-2. Kyoto lacquer (coating) lacquering

Sidewall (USA); block-printed; Overall: 51 x 49.5 cm (20 1/16 x 19 1/2 in.)

A Princess and Demons before a Nobleman: A Leaf from a Poetical Romance Relating to Shah Alam I (recto); Stenciled Scenes of Lion and Gazelle (verso), c. 1710. Mughal India. Opaque watercolor with gold on paper (recto); ink and gold on pink-speckled paper (verso); page: 43 x 28.9 cm (16 15/16 x 11 3/8 in.). The source story of this painting remains enigmatic to scholars, but it includes a range of depictions of the other”--from the foreign to the demonic. A prince kneeling in front of his horse addresses a lady; the moon in front of her face may identify her as Mahliqa (moonlike” in Arabic), the Chinese princess identified by inscription on the adjacent page. A group of men whose eyes hang vertically stand behind her. Horned figures with grass skirts lie slain behind them, presumably killed by the kneeling prince conspicuously holding a bow. The city in the background, at the top of the painting, is populated solely by women, and its eight surrounding walls are interspersed with sla

Noh Robe (Nuihaku) with Butterflies, Chrysanthemums, Maple Leaves, and Miscanthus Grass second half of the 18th century Japan The term nuihaku is a compound word made up of two textile techniques: embroidery (nui) and application of metallic leaf (haku). Elegant costumes like this one were mainly used for roles of young female protagonists in Noh plays. In the Edo period, landscapes and autumn grasses associated with poetry and classical literature became popular motifs for this type of robe. On this example combining spring and autumn imagery, playful butterflies fly over colorful chrysanthemum flowers, scattered maple leaves, and curving miscanthus grass. The waist area is left undecoratedin the seventeenth century these garments were used as outer robes and were often worn turned down at the waist. The style of the design and the embroidery recall Momoyama-period (1573-1615) robes, as well as folding screens and Kōdaiji maki-e lacquers with similar compositions.. Noh Robe (Nuihaku)

Erotic scenes, anonymous, c. 1700 - c. 1790 Four round glasses in a wooden stress with handle. On the far left: a woman looks away from the man who stands next to her and makes a defend gesture. The man has a candle in one hand, a piece of paper in the other. To the right of that: a naked woman is in bed. Next to her is a dressed woman who extends both arms to her. To the right of that: Leda and De Zwaan. Leda, naked, sits on the waterfront with the swan over her. On the far right: a woman is sitting on the waterfront. In one hand she has a cloth, the other hand she has between her legs. Netherlands glass. wood (plant material). oak (wood). oil paint (paint)

Panel from a Choros (lighting frame) 12th-14th century Byzantine. Panel from a Choros (lighting frame). Byzantine. 12th-14th century. Cast copper alloy. Metalwork-Copper alloy

Furisode Made 1801-1900 Japan. Silk, 4 1 satin damask weave, rinzu; yuzen dyed, painted, and stenciled; embroidered with silk and gold-leaf-over-lacquered-paper-strip-wrapped cotton in satin and single satin stitches; laid work, couching, and Chinese knots; lined with silk, plain weave; dyed with beni, safflower .

Case (Inrō) with Design of Chinese Lions (Karashishi) with Peonies and on Bridge 18th-19th century Japan. Case (Inrō) with Design of Chinese Lions (Karashishi) with Peonies and on Bridge 58684

Piece 18th-19th century Japan. Piece 67014

Hanging Made 1876-1900 United States. The images on this hanging signal that it may be a souvenir of Mexico. The octagonal piece of fabric in the center features the national coat of arms an eagle eating a serpent grasped in its talons while standing on a prickly pear cactus. Irregularly shaped pieces of fabric surround this central image and contain painted scenes that depict bullfighting, pre-Columbian sculpture, flowers, butterflies, views of the landscape, and scenes of everyday life. The collection and combination of these scenes suggest that the hanging could be an expression of affection for a place well known and loved or a place imagined through armchair travel.óMaking Memories Quilts as Souvenirs, October 20, 2017-April 1, 2018. Pieced, painted and embroidered quilt; silk and cotton velvet weaves; silk embroidery threads; metal, silk and cotton cord .

The Anatolian peninsula with modern place names. Date/Period: Ca. 1565. Oil painting on wood. Height: 115 mm (4.52 in); Width: 92 mm (3.62 in). Author: EGNAZIO DANTI.

Sidewall, Machine printed on paper, Design of four scenes: 'La Chine Rapids, Canada', 'The Thousand Isles', 'Falls of Montmorency', 'Victoria Bridge, Montreal'. Each scene is the same size and shown in a similar frame of gilt molding with beading. Printed in blue, yellow, green and brown., England, ca. 1870, Wallcoverings, Sidewall

Book cover with overall splotchy pattern 19th century Anonymous. Book cover with overall splotchy pattern. Anonymous , 19th century. 19th century. Relief print (wood or metal). Prints

Chariot Drawn by Lions with Amorini (recto), first half 1500s. Italy, 16th century. Pen and brown ink and brush and brown wash over black chalk; framing lines in brown ink; sheet: 9 x 42.4 cm (3 9/16 x 16 11/16 in.).

Handkerchief Made 1812 London. Cotton, plain weave; copperplate printed . Rymer and Son (Engraver)

Frieze (USA); machine-printed paper; 90.5 x 49.5 cm (35 5/8 x 19 1/2 in.)

Textile, La foire du Caire (The Cairo Fair); Manufactured by Petitpierre et Cie; France; cotton; Warp x Weft: 91 x 93.5 cm (35 13/16 x 36 13/16 in.); Bequest of Elinor Merrell; 1995-50-288

PATOS EN EL NILO - MOSAICO POMPEYANO PROCEDENTE DE LA CASA DE FAUNO. Location: NATIONAL MUSEUM OF ARCHAEOLOGY. NEAPEL. ITALIA.

Sidewall (possibly England); block-printed paper

Bandbox. Dated: c. 1937. Dimensions: overall: 68.6 x 53.4 cm (27 x 21 in.). Medium: watercolor, graphite, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: Harold Merriam.

Fragment (Japan)

GREECE, CRETE, HERAKLEON, PALACE OF KNOSSOS, THE QUEEN'S MEGARON AND DOLPHIN FRESCO

Small Card Decorated with Mount Fuji and Flowers Christopher Grant La Farge (American, 1862-1938). Small Card Decorated with Mount Fuji and Flowers, 1880. Watercolor and metallic paints on one-ply card stock, 3 1/2 x 5 in. (8.9 x 12.7 cm). Created for use as calling cards, place cards, or menu cards, these charming items indicate how the Japan craze” permeated all facets of artistic production. Grant La Farge’s familiarity with Japanese motifs (such as Mount Fuji, chrysanthemums, and bamboo shoots) undoubtedly came from his family. His father, the artist John La Farge, embraced Japanese aesthetics in his own art and also collected and published widely on Japanese art; Grant La Farge’s mother, Margaret, was the grandniece of Commodore Matthew Perry. American Art 1880

Azulejo, mural made of painted ceramic tiles, rural scene, two women sewing and stitching, on the local theatre in Funchal, Madeira, Portugal, Europe

of 2