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Emperor's ceremonial twelve-symbol coat of yellow k'ossu with nine five-clawed dragons, those in profile clasping the Heavenly Jewel. Background of loosely drawn cloud forms, bats, and good luck emblems in shades of blue, green, violet, red, rose, and gold. At bottom wide border of tossing waves dotted with flowers, flower vases, swastika and other emblems. At sides, center front and back where coat is slit, small areas of slanting, wavy stripes. Similar reduced border at elbows, where sleeve is extended by a strip of ribbed yellow silk finished with cuffs of dark blue k'ossu. Band of same dark blue k'ossu around neck and down front to under arm. Coat lined with figured blue silk and lightly interlined. Yellow ceremonial coats worn in sacrifices to earth.

Manchu Emperor’s ceremonial twelve-symbol jifu court robe, 1723-1735

China

G103

#1121 Former Classification: Textiles - Tapestry

Temple hanging, 18th century

China

Not on View
Tapestry coat, orange ground with large floral and phoenix decoration.

Tapestry coat, 19th century

China

Not on View
no # on label Former Classification: Textiles - Tapestry

Temple hanging, 18th century

China

Not on View
#1123 Former Classification: Textiles - Tapestry

Temple hanging, 18th century

China

Not on View
tapestry; warp undyed wool, 7½-8 ends per cm., weft dyed wool and silk, 24-28 ends per cm.; woven at the Royal Beauvais Manufactory; from the series Grotesques; lining is sewn to the tapestry

The Camel, designed 1686–1688 (woven 1688–1695)

Jean-Baptiste Monnoyer and collaborators; Cartoonist: Jean-Baptiste Monnoyer; Weaver: Royal Beauvais Manufactory under Philippe Behagle; Sponsor: Phillipe Behagle

Not on View
Queen Esther and King Ahasuerus, wool and silk, Flemish XVc fragment from the center of a much larger piece, probably from a set of four to six tapestries narrating the story of Esther Ahasuerus; warp undyed wool, 5-7 ends per cm., weft dyed wool and some dyed silk, 20-32 ends per cm.

Esther and Ahasuerus, c. 1460-1485

Flanders

Not on View
one of a set of four tapestries, with woodland scene in grove of trees; the huntsmen have made a fire of logs, and one of them stands before it warming his hands, while a second dressed in crimson holds two panting brown hounds on leash. Beyond, a third hunter shields face from fire with left hand, and holds in his right a trophy of the hunt; warp undyed wool, 7½-9 ends per cm., weft dyed wool and silk, 28-40 ends per cm.

The End of the Hunt, c. 1650

Unknown designers and cartoonists, Flanders

Not on View
A piece from the tapestry cycle woven for Marie de' Medici, The Stories of Queen Artemisia, based on an epic account by Nicolas Houel; weaving attributed to the workshop of Lucas Wanderdalle in the Faubourg Saint-Marcel manufactory of Marc de Coman and François de la Planche; warp undyed wool, 6½-8 ends per cm., weft dyed wool and silk, 20-48 ends per cm.

The Queen Distributing the Booty, designed 1562–1565 (woven 1611–1627)

attributed to Workshop of Lucas Wandandalle at the Faubourg Saint-Marcel manufactory of Marc de Comans and François de la Planche; Delineator: Central design by Antoine Caron; Designer: Border design by Guillaume Dumée; Designer: Border design by Lauren Goyot; Cartoonist: Central cartoon by a painter active in France; Designer: Border design and cartoon by Guillaume Dumée and Laurent Guyot

Not on View
From the series The Medallion Months. The Month of September, symbolized by a vintage scene depicted in an oval medallion of which the frame carries the twelve signs of the zodiac alternated with pairs of classic female figures each holding an hour glass. In the upper spandrels Semele and Jupiter; in the lower spandrels a pair of lovers and a peasant cutting gapes. Elaborate border of fruits and figures outlined by guilloche band. Well preserved, colors fresh. This tapestry one of a set of twelve months of which seven pieces are known to exist. Materials warp undyed wool, 7-8½ ends per cm., weft dyed wool and silk, 22-120 ends per cm.

Month of September, 1525-1528

Circle of Bernard van Orley; Designer: Circle of Bernard van Orley

G340

Curtain Hangings, pair of faded lacquer-red k'ossu. Design of two five-clawed dragons in gold in a field of large, loose clouds in shades of blue, green, yellow, brown, peach, pink, and dull gold. Note use of peacock feathers for details in dragons and Heavenly Jewel. At bottom, the Eternal Sea, with wide wavy stripes and deeply rolling waves among which appear cloud heads and symbols of the Eight Precious things. Across the top, a twelve-inch valance on which appear three gold medallions containing five-clawed dragons in blue. Clouds in the surrounding field. Lining and hanging band of faded pink satin of floral medallion design.

Pair of imperial curtain hangings, mid 18th century

China

G103

Imperial robe of gold k'ossu with nine five-clawed dragons in blue. In the ground, loosely drawn clouds, the eight Taoist emblems, the bat, flowering branches with peach and couble peach, peonies and narcissus in shades of blue, red, rose, green, peach, yellow, mauve, and brown. Border with narrow band of slanting wavy stripes below tossing wave. Note that the sacred mountain, as well as certain other parts of border, has been painted. Same border treatment at elbows, where sleeves continue with a section of black satin and are finished with an inferior quality of dark blue k'ossu with dragons, clouds, bats, etc. Edging of black and gold brocade; same k'ossu collar and band. Coat slit back and front; lined with thin, gold colored damask. K'ossu broken at shoulders and on collar.

Manchu Man's Semiformal Court Robe (chi-fu), 1723-1735

China

Not on View
Ecru background; pattern of a triangle with stripes in blue, green, orange, sky blue; triangle yellow

%C2%A9 Kenneth Noland %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

Ute Point, 1991

Kenneth Noland; Weaver: Ramona Sakiestewa

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Throne seat cover of blue k'ossu with the same floral and emblem design as 42.8.238, except for double peach here seen in panel. Central panel oblong instead of shaped; border wider and no boxed border. Painted details. Lining of yellow satin with cloud pattern. Inscription on back.

Throne Seat Cover, early 1800s

China

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one of a pair of chair covers of pale rust-colored k'ossu with dragon, peony, and spotted deer design in gold thread and colors. see 42.8.226 for companion pieces. Lining of dull chartreuse-yellow satin

Chair cover, 1662-1722

China

Not on View
Altar Frontal of gold kesi with large seated, four-clawed dragon in green, partially woven with peacock feathers. In the field are loose, fat clouds, and Buddhist symbols in shades of blue, green, brown, brick-red, tan, and yellow. Below, the waves and sacred Mountain of the Eternal Sea. Note cloud restorations of finer kesi. In upper valance section of brown kesi, set off from main field by an uneven band of watery, run-together clouds, appear the sun disc flanked by two white cranes in a cloud field. Colors include red, green, yellow, and blue. Lining of strips of bright blue satin damask of medallion design.

Altar Frontal, early 17th century

China

Not on View
fragment of football-shaped design; organic motifs; dark brown on tan. The piece is sewn on a cotton fabric.

Textile Fragment, Date Unknown

Coptic

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two fine woven panels, hand sewn with black background; each panel has a woven multicolored side border (6") and horizontal multicolored bands in different geometric pattern at each end; attached mostly black fringe

shawl, c. 1975

India

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pink flower edged with scrolls on red ground. Former Classification: Textiles - Tapestry

Upholstery for pair of chair arms, 18th century

France

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eagle perched on branch looking at smaller bird perched on plinth; landscape in background; scrolls and floral swags over red ground at edges. Former Classification: Textiles - Tapestry

Upholstery for chair back, 18th century

France

Not on View
small weaving in black, light tan, medium tan, brown, white and grey, with grey edging and thin grey tassels at corners; geometric design of radiating diamonds with triangle motifs. Former Classification: Textiles - Tapestry

%C2%A9 2011 Edith Yazzie

Textile, 2011

Edith Yazzie

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black ground; white V-shaped element on top half

%C2%A9 Jan Groth

Sign, 1979

Jan Groth; Weaver: Benedikte Groth

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central scene of two hunters with three dogs attacking a stag; other dogs and figures on horseback and running in background; border with figures, putti, flowers, fruit and swags

Hunting the Stag, mid 17th century

Unknown designers and cartoonists, Flanders

Not on View
bright multicolors; geometric and floral designs and motifs with pairs of doll images; long fringes with thick pompons that include shiny plastic strips

Woman's hair band, c. 1970s

Kaqchikel Maya

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multicolored; eleven smiling abstracted faces in various colors; short braids at LRC and ULC; white heading band on back

%C2%A91964 Helena Hernmarck

Sun Worshippers, 1964

Helena Hernmarck

Not on View
Latin Cross placed in front of wreath. Secondary design of alternating rosettes and leaf forms along vertical edges. Woven in Egypt about 5-6th century for church use, possibly as a sanctuary curtain. Plain weave with tapestry patterning. Pall with a Latin Cross. Woven fabric

Curtain, 5th-6th century

Coptic

Not on View
part of a larger group of millfleurs armorial tapestries woven in Bruges; warp undyed wool, 4-4½ ends per cm., weft dyed wool, 18-28 ends per em.

Allegorical "Millefleurs" Tapestry with Animals, c. 1530-1545

Belgium

Not on View
Set of four tapestries, with landscape scenes and figures inspired from the Hunts of Maximilian, now in the Louvre and woven after the cartoons of Bernard Van Orley, also preserved in the Louvre. Woven at sides with bases sustaining figures of putti and decorated with ram's heads. Embellishment of festoons, pendant bunches of fruits and flowers. Top border with scrolled, oblong cartouche in center, which contains a miniature landscape scene, supported by winged cherubs. Similar cartouche, with swags of fruit and flowers in bottom border. .1 Awaiting the Chase In the immediate foreground trwo huntsmen, one of whom reclines against a tree and caresses a hound. The hunters wear short doublets and broadrimmed hats. Hunters' horns are slung over their shoulders.; warp undyed wool, 7-8 ends per cm., weft dyed wool and silk, 24-40 ends per cm.

Awaiting the Chase, c. 1650

Unknown designers and cartoonists, Flanders

Not on View
One of set of four tapestries, with landscape scenes and figures inspired from the Hunts of Maximilian, now in the Louvre and woven after the cartoons of Bernard Van Orley, also preserved in the Louvre. Woven at sides with bases sustaining figures of putti and decorated with rams' heads. Embellishment of festoons, pendant bunches of fruits and flowers. Top border with scrolled, oblong cartouche in center, which contains a miniature landscape scene, supported by winged cherubs. Similar cartouche, with swags of fruit and flowers in bottom border. Hunting the Hare In immediate foreground a bearded huntsman, wearing a crimson cap, a blue doublet with half armor and short trunks, holds a spaniel in leash. He runs towards left where two hounds pursue the hare up a hill. In middle distance another huntsman, with spear, holds off two other hares.; warp undyed wool, 8-8½ ends per cm., weft dyed wool and silk, 24-36 ends per cm.

Hunting the Hare, c. 1650

Unknown designers and cartoonists, Flanders

MS

The Education of the Young King, wool, silk, French XVIc a piece form the tapestry cycle woven for Marie de' Medici, The Stories of Queen Artemisia, based on an epic account by Nicolas Houel; woven in the Faubourg Saint-Marcel Manufactory of Marc de Comaus and Frauçois de la Planche; warp undyed wool, 6-7 ends per cm., weft dyed wool and silk, 24-40 eds per cm.

The Education of the Young King, designed 1562–1565 (woven 1611–1627)

Central design attributed to Antoine Caron , or an artist of his generation; Cartoonist: Central cartoon by Laurent Guyot and workshop; Designer: Border design and cartoon probably by Guillaume Dumée and Laurent Guyot; Weaver: Faubourg Saint-Marcel manufactory of Marc de Comans and François de la Planche

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shawl, doshalla (long shawl) finely woven of olive green with design of rambling floral sprays and leaves in green, rose, yellow, orange, blue outlined in embroidery stitch; two borders on ends, the wide outer one composed of vari-colored stripes alternating with olive green, all with Mihrab tops enclosing single flowering plants; lined at one end with strip of black cotton, and furnished at one end with brass rings for hanging, fringed ends, narrow border on sides

Shawl, c. 1870

Iran

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'Eye-Dazzler' blanket; Germantown yarn, wool; bordered sides, banded ends, selveged, outline pattern, tie-offs secure.

'Eye-dazzler' Blanket, c. 1890-1895

Diné (Navajo)

Not on View
a piece from the tapestry series Loves of the Gods (Amou des Dieux) produced by the Royal Beavais Manufactory, under the entrepreneur André-Charlemagne Charron; warp undyed wool, 6-9 ends per cm.; weft dyed wool and silk, 24-over 60 ends per cm.

Apollo and Clytie, 1747-1767

François Boucher; Cartoonist: François Boucher; Weaver: Royal Beauvais Manufactory under André-Charlemagne Charron; Sponsor: André-Charlemagne Charron

Not on View
a piece form the tapestry cycle woven for Marie de' Medici, The Stories of Queen Artemisia, based on an epic account by Nicolas Houel; woven in the Faubourg Saint-Marcel Manufactory of Mark de Comans and François de la Planche, between 1611 nd 1627; warp undyed wool, 5½-7 ends per cm., weft dyed wool and silk, 28-40 ends per cm.

Heralds on Horseback, designed 1610–1612 (woven 1611–1627)

attributed to Laurent Guyot; Weaver: Faubourg Saint-Marcel manufactory of Marc de Comans and François de la Planche; Designer: Border design by Guillaume Dumée; Designer: Border design by Guillaume Dumée; Cartoonist: Laurent Guyot and workshop; Cartoonist: Guillaume Dumée and Laurent Guyot

Not on View
a piece form the cycle of tapestries woven for Marie de' Medici, The Stories of Queen Artemisia, based on an epic account by Nicolas Houel; woven in the Faubourg Saint-Marcel Manufactory of Marc de Comans and Frauçais de la Planche between 1611 and 1627; warp undyed wool, 6-7½ ends per cm., weft dyed wool and silk, 32-40 ends per cm.

The Coronation Sacrifice, designed c. 1610 (woven 1611–1627)

Border design and cartoon probably by Guillaume Dumée and Laurent Guyot; Weaver: Faubourg Saint-Marcel manufactory of Marc de Comans and François de la Planche

Not on View
two panels sewn together; cotton warp, wool weft, tapestry weave; serrated striping in red, blue and black.

Saltillo Serape, 19th century

Mexico

Not on View
tapestry; warp undyed wool, 7-9 ends per cm.; weft dyed wool and silk, 26-44 ends per cm.

The Meeting of Dante and Virgil, 1546-1549

Francesco Salviati; Assistant: Giovanni Stradano; Designer: Francesco Salviati

Not on View
Former Classification: Textiles - Tapestry

The Ship of Virtues, c. 1528–40

Netherlands

Not on View

Dance in a Park, c. 1782–1800

Unidentified designer and cartoonist, probably Aubusson Tapestry Workshop, France; Weaver: Aubusson Tapestry Workshop, France

Not on View
a piece from the tapestry series woven for Marie de' Medici, The Stories of Queen Artemisia, based on an epic account by Nicolas Houel; weaving attributed to the workshop of Lucas Wandandalle in the Faubourg Saint-Marcel Manufactory of Marc de Comans and François de la Planche; warp undyed wool, 7-8 ends per cm., weft dyed wool and silk, 20-48 ends per cm.

Exercise in the Assault and Defense of a Bastion, designed 1562–1565 (woven 1611–1627)

Central design by Antoine Caron; Cartoonist: Central cartoon by Laurent Guyot; Designer: Border design and cartoon probably by Guillaume Dumée and Laurent Guyot che; Weaver: Weaving attributed to the workshop of Lucas Wandandalle

Not on View
from the second Chinese Series (Tenture Chinoise), a total of six pieces; warp undyed wool, 8-9 ends per cm., weft dyed wool and silk, 20-44 ends per cm.

The Chinese Fair, designed 1742 (woven 1743-1745)

François Boucher; Cartoonist: Jean-Joseph Dumons; Weaver: Ad. Camousse at the Royal Beauvais Manufactory under Jean-Baptiste Oudry and Nicolas Besnier

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Tapestry. On a mille-fleur ground a knight wearing a sword and a surcoat, probably of velvet, with a design of large flowering pomegranites on a serpentine band. He carries a chalice in his right hand and a jewelled coronet in his left. Plain narrow red border badly worn. Some restoration. Partially lined with white cotton.

One of the Three Magi on a "Millefleurs" Ground, early 16th century

Unknown Flemish or French

Not on View
high warp tapestry in cream and shades of blues and purple depicting a herd of caribou

%C2%A9 Marcel Marois

Interrupted Passage (Passage interrompu), 1986-1987

Marcel Marois

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One of set of four tapestries, with landscape scenes and figures inspired from the Hunts of Maximilian, now in the Louvre and woven after the cartoons of Bernard Van Orley, also preserved in the Louvre. Woven at sides with bases sustaining figures of putti and decorated with rams' heads. Embellishment of festoons, pendant bunches of fruits and flowers. Top border with scrolled, oblong cartouch in center, which contains a miniature landscape scene, supported by winged cherubs. Similar cartouche, with swags of fruit and flowers in bottom border. Hunting the Deer Rolling countryside with sturdy elm at left. In immediate foreground a huntsman holding spear and sounding horn, in middle distance one of his companions on horseback and another on foot, pursue the deet who advances towards the left.; Warp undyed wool, 7½-8 ends per cm., waft dyed wool and silk, 24-28 ends per cm.

Women Hunting the Fox, c. 1650

Unknown designers and cartoonists, Flanders

Not on View
a piece from the tapestry cycle woven for Marie De' Medici, The Stories of Queen Artemisia, based on an epic account by Nicolas Houel; woven in the Faubourg Saint-Marcel Manufactory of Marc de Comans and François de la Planche between 1611 and 1627; warp undyed wool, 7-8 three fourths ends per cm., weft dyed wool and silk, 28-40 ends per cm.Proper left H.158 in. (13' 2"); center H.158-1/2 in. (13' 2-1/2"); proper right H.157-3/4 in. (131' 1-3/4"); bottom W. 237-1/2 (19'9-1/2"); center W.235-1/2 in. (19'7-1/2"); top W. 239 in. (19'11").

The Riding Lesson, designed 1562–1565 (woven 1611–1627)

Central design by Antoine Caron; Cartoonist: Central cartoon by Laurent Guyot; Designer: Border design and cartoon probably by Guillaume Dumée and Laurent Guyot; Weaver: Woven in the Faubourg Saint-Marcel manufactory of Marc de Comans and François de la Planche

Not on View
fragment of a larger tapestry, much wider and probably slightly higher; warp undyed wool, 6-8 ends per cm.; weft dyed wool and silk, 20-40 ends per cm.

Courtly Personages in a Landscape, c. 1520-1525

Belgium

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tapestry; warp undyed wool, 5-6½ ends per cm.; weft dyed wool, 22-26 ends per cm.; tapestry has been cut, and was originally any where from a yard or two wider to over three times its present width

The Falconers, 1435-1445

France

Not on View
Tapestry; fragment from a much larger piece, although no other fragments of this tapestry or other versions are known; warp; undyed wool 6-7 ends per cm.; weft dyed wool and silk, 18-44 ends per cm.

The Virgin and Saint John, c. 1520

France or Flanders

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Background ecru; brushed large V--color red, yellow, blue, green, brown, purple, rose, orange, violet

%C2%A9 Paul Jenkins

Phenomenon Peel of Bells Cross, 1972

Paul Jenkins; Weaver: Gloria F. Ross; Workshop: Aubusson Tapestry Workshop, France

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Side Chair, gilded wood frame, French, XVIIIc cat. card dims H 36 x seat 17 x 19 Back 16-1/2 x 19

Side chair, 18th century

Georges Jacob

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Woven jute with tridimensional parts; shade of brown to charcoal

%C2%A9 Magdalena Abakanowicz

Abakan Noirovale, 1969

Magdalena Abakanowicz

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Red ground with white blue green yellow brown in geometric patterning; center band has white ground with large and small camels and human figures (?)

Bed cover, 19th century

Tunisia

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deer hunt with the story of Diana and Actaeon

Deer Hunt with the Story of Diana and Actaeon, c. 1580-1620

Flanders

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a piece from the Cycle of Tapestries woven for Marie de' Medici, The Stories of Queen Artemisia, based on an epic account by Nicolas Houel; woven in the Faubourg Saint-Marcel manufactory of Marc de Comaus and Frauçois de la Planche between 1611 and 1627; warp undyed wool, 7-8½ ends per cm., weft dyed wool and silk, 28-36 ends per cm.

Soldiers With Vases and a Litter, designed 1600–1606 (woven 1611–1627)

Central design attributed to Henry Lerambert; Cartoonist: Central cartoon attributed to Laurent Guyot; Designer: Border design and cartoon probably by Guillaume Dumée and Laurent Guyot; Weaver: Woven in the Faubourg Saint-Marcel manufactory of Marc de Comans and François de la Planche

Not on View
a piece from the cycle of ten tapestries woven for Marie de' Medici, The Stories of Queen Artemisia, based on an epic account by Nicolas Houel; woven in the Faubourg Saint-Marcel manufactory of Marc de Comans and Frauçois de las Planche; warp undyed wool, 7 ends per cm., weft dyed wool and silk, 24-36 ends per cm.

The Philosophers, c. 1611-1627

Central design and cartoon by a painter active in France , about 1610-1617; Artist: Border design and cartoon probably by Guillaume Dumée and Laurent Guyot; Weaver: Faubourg Saint-Marcel manufactory of Marc de Comans and François de la Planche

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The Journey and Temptations of the Prodigal Son, wool and silk, Flemish XVc ; Warp undyed wool, 4-6 inds per cm., weft dyed wool and silk, 24-36 ends per cm.

The Journey and Temptations of the Prodigal Son, c. 1507-1540

Flanders

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From the stroies of Apollo, a set of five illustrating the myths of Apollo, god of the sun and of music; here the satyr Marsyas is being flayed alive; the border, which is treated as though it were a carved picture frame, includes the bee emblem of the Barberini family, in whose palace the tapestry remained until the late 19th century; possibly woven after a design by Nicolas Poussin, or Gaspard Duguet

Apollo and Attendants Flaying Marsyas, 3rd quarter 17th century

Clemente Maioli; Cartoonist: Clemente Maioli; Weaver: Maria Maddalena della Riviera and workshop in the Barberini Manufactory, Rome

Not on View
Tapestry; warp undyed wool, 6-7 ends per cm.; weft dyed wool and silk, 28-40 ends per cm.

Battle Scene, c. 1570-1600

Belgium

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St. Joseph and the Christ Child, c. 1714–30

Copied from a painting by an imitator of Federico Barocci; Cartoonist: attributed to Giuseppe Chiari; Weaver: the papal San Michele Manufactory

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tapestry; warp undyed wool, 6½-8 ends per cm., weft dyed wool and silk, 20-60 ends per cm.

Joseph Ruler over Egypt, c. 1548-1555

Circle of Michiel Coxcie; Cartoonist: Circle of Michiel Coxcie

Not on View
Mandarin coat of orange with designs of dragons and wave border around bottom; tapestry weave

Manchu Man's Semiformal Court Robe (jifu), 19th century

China

Not on View
Tapestry panel, showing a hunting party feasting at a table under a tree, from which a canopy is suspended, and is attended by dogs, servants and musical entertainers. Mille fleur foreground, with landscapes in right and left background. Flowers, trees, and landscapes entirely in tans and greens. Two of the figures in red, the rest wear tans, blues, browns and a little very pale brick. The general color impression of panel, however, is green and brown.

Country Wedding, first half of the 17th century

France (northern), Flanders or Holland

Not on View
Banner, one of two (cf.25.363); red satin ground embroidered with three rows of figures, terminating at top in green satin scroll, set with mirror discs, and at bottom with scroll and four purple streamers reversible.

Temple Banner, 19th century

China

Not on View
celadon green ground with orchid and butterfly roundels; diagonal stripes with wave and mountain pattern at hem

Manchu Woman's Informal Court Robe, late 19th century

China

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Mandarin robe of Imperial yellow decorated with royal 5-clawed dragon; K'ossu weave

Manchu Empress' Semiformal Court Robe, 1821-1850

China

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Picture hanging of soft brick-red kesi representing 'The Feast of Peaches,' a favorite subject with the Chinese. In the upper left, Xi Wangmu descends from her clouds on the phoenix. At the upper right are the gateway and stairs to paradise. beneath are the gods of office, longevity and happiness, and the Eight Immortals. In the field are spreading pine trees, peach trees, bats, the crane, spotted deer, and other symbols of longevity and immortality. Shades of blue, green, red, peach and tan. Painted details. A kesi (silk tapestry) picture which was hung in the Imperial Palace of the Forbidden City in Beijing on special occasions. This is an outstanding example of this type of weave. It is 3 x 5 feet. The background is of old rose or peach, a shade of which the Chinese were especially fond. The other colors are blended with the skill which characterizes old work of this nature. The scene is one that is familiar to the Chinese, representing 'The feast of the Peaches' (Bao Dao Hui), which took 3,000 years to ripen and conferred immortality on the partakers. Xi Wangmu, the Goddess of the Western Heavens, is descending from the clouds on her phoenix to attend the feast. The gateway and stairs leading into Paradise, situated in the Kunlun Mountains, show at the upper right. The three Gods of longevity, Office and Happiness are seated in the center of the borders of the 'Lake of Gems', Yao Chi; the eight immortals with two attendants appear in the lower part of the picture. The peaches, crane, pinecones, scattered fungus, spotted deer, etc.; typify longevity and immortality. This picture is of the Qianlong period (1736-1795). Former Classification: Textiles - Tapestry

Pictorial Hanging Illustrating the Feast of Peaches, late 18th century

China

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Imperial robe of red k'ossu with diaper ground of green quatrefoil medallions, enclosing narcissus blossom, and gold swastikas. Nine 5-clawed dragons in gold, those in profile clutching the Heavenly Jewel. Five of the ancient twelve symbols appear on this robe the sun and moon on shoulders; the axe and [double happiness (?)] on left and right breast, and over right shoulder blade the constellation in gold. Over the left shoulder blade in gold [another symbol]. In field are loose clouds, bats, Buddhist symbols, leafy branches of garlanded swastikas in shades of blue, green, red, pink, soft violet, olive green, and yellow. Conventional border of slightly wavy slanting lines in body colors; tight clouds, and rolling waves from which emerge branches of coral. Below the border on sleeve a band of dark blue k'ossu of body design, seperated from a deep cuff of the same by a narrow band of black and gold brocade which ia also used to edge cuff. Collar band of same blue k'ossu. Robe lined with yellow gauze of medallion design. Fine, firm k'ossu.

Manchu Woman's Semiformal Court Robe (jifu), 18th-19th century

China

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Top Coat, imperial (?). of very bark blue silk with eight kesi medallions enclosing five-clawed dragons, clutching the Heavenly Jewel, in gold. Medallions of conventional universe design, with earth, sea and heaven symbols, loose clouds, bats, long-life characters and Buddhist emblems in shades of blue, green, red, pink, soft violet, olive-green, and yellow. Conventional border of slightly wavy slanting stripes; tight cloud groups; rolling waves in which appear swastikas, coral and symbols of the Eight Precious Things. Deep, wide cuffs in kesi of body design. Edging of black and gold brocade.Coat slit at sides, open all the way up front, and lined with thin orange silk.

Manchu Nobleman's Semiformal Insignia Surcoat (Gunfu), 1736-1795

China

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Coat of deep blue silk with a design of eight large kesi medallions containing large hydrangeas and butterflies in shades of pink, green, blue, yellow, and mauve. Conventional border of slightly wavy stripes in body colors and olive green; narrow row of tight clouds; rolling waves in which appear bats, coral, and symbols of the Eight Precious Things. Wide sleeves with border design at wrists and three small medallions of body design above. Cf. 42.8.88,91. Coat slit in back, open in front, and lined with thin blue silk.

Manchu Woman's Informal Court Surcoat, 19th century

China

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Banner, one of two; red satin ground embroidered with three rows of figures, terminating at top in green satin scroll, set with mirror discs, and at bottom with scroll and four purple streamers reversible.

Temple Banner, 19th century

China

Not on View
Altar frontal of pale brick red kesi with design representing a blue-scaled chilin in a field of flowers, large fat clouds, and symbols in shades of blue, green, pink, yellow, brown and grey. Across the top a band of watery, run-together clouds.(?) Note the bat, of finer, later kesi inset above cloud over chilin's head. Double border inner one of worn, all-over flower and cloud pattern of brocade in shades of light green, yellow, blue and pink; outer of gold and blue kesi of dragon and cloud pattern, perhaps originally part of a robe? The kesi weave is quite coarse. It has been badly worn, and is mended in places. Lining of yellow satin which has been pieced out.

Table Frontal, 1368-1644

China

Not on View
Imperial k'ossu robe of K'ang Hsi (?) blue with all-over tendril pattern of gold in ground, nine five-clawed dragons. Loosely drawn clouds in shades of green, yellow, rose, and aubergine, and spaced motifs of red bats enfolding a gold character with their wings. These are supplemented by bats in yellow, white and rose. Fine border design of rolling waves sprinkled with sprays of flowers, Buddhist and Taoist symbols. From the waves emerge sprags of marcissus, pagodas, etc. Note areas where waves have been painted. Sleeves finished with a band of dark blue k'ossu decorated with universe and dragon motif, above a widely flaring cuff of the same K'ossu. Collar and front band of same k'ossu. Coat slit at sides and lined with yellow raw silk. Inscription inside front.

Manchu Woman's Semiformal Court Robe (jifu), 1723-1735

China

Not on View
weft interlock tapestry and brocade patterning; blue/green and metallic gold; red/orange band on one end

Sari, 20th century

India

Not on View
Blue ribbon with gold border and fringe and geometric designs of green, black, puple and cerise. Tapestry weave.

Ribbon, 19th century

Russia

Not on View
Sleeveless vest of medium blue kesi with sprays of plum blossom in red, pink, green, and purple. Border of black kesi with same design, bound all around with green satin. On the bottom a long-tassled fringe in rust, yellow, pink, and green. Lining of blue-figured silk.

Woman's Unofficial Informal Vest, 19th century

China

Not on View

Prayer Kilim, 1875-1900

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Chair cover of red kesi. In the upper section wide, loose, joining clouds; peaches with the longevity character in gold; magnolia and peony blossoms, and a phoenix in shades of blue, pink, green, yellow and tan. In the lower sectionin a shaped, quatrefoil medallion, slender Kangxi-type dragons in green and tan on a medium blue ground. Below, a spotted deer in a landscape with peaches, fungus, and a branching pine tree. In the field are Buddhist and other symbols. The colors are those of the upper section. Lining of crimson satin.

Chair cover, Kangxi period, 1662-1722

China

Not on View
Tapestry panel showing coat of arms in center and stylized foliage on red background as border. Moth holes and old mends. Woven Fabric.

Cushion front, 17th century

Not on View
Imperial twelve-symbol robe of yellow kesi with nine 5-clawed dragons in field, those in profile clutching the Heavenly Jewel. Diaper background of swastikas and quatrefoil medallions enclosing a conventionalized 4-petal flower, (Cf. 42.8.20) against which appear in addition to the twelve ancient symbols, two versions of long life character, loosely drawn clouds, and bats. Tones of blue, green, red, pink, mauve, violet, yellow, and pink. wide border of slightly wavy slanting stripes in body colors, separated by a line of regularly disposed tight clouds from the spray and overlapping waves in which appear Daoist emblems, swastikas, and branches of coral. Border design repeated on sleeve above a strip of pale corn-colored silk ending in cuffs of dark blue kesi of body design and edged with a strip of fretwork brocade in gold and black. Collar band of the same. Painted areas in wave section of border. Note embroidered eyes of dragons; similarity of design to 42.8.20; and the increased use of violet in color scheme. Appearence of olive green in clouds. Coat slit at sides and lined with thin yellow silk.

Manchu Empress's Semiformal Twelve-Symbol Court Robe (jifu), 1736-1795

China

Not on View
Coat of blue-black k'ossu with eight large medallions containing Buddhist symbols, peonies, narcissus, etc., in shades of blue, green, red, pink, and peach color. Conventional border of straight slanting lines in body colors, yellow, mauve, and olive green; tight clouds, rolling waves in which appear bats, coral, and symbols of the Eight Precious Things. Wide sleeves with border design at wrists and three small medallions of the body design above. Cf. 42.8.88. Coat slit in back, open down front, and lined in turquoise blue damask of floral pattern. Painted details.

Medallion Robe, 19th century

China

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from the series 'The Garden of Pomona'; central design shows allegorical figure of a woman playing a harp, attended by two female figures; border of small figures alternating with floral design

Offering to the Goddess Ceres, late 16th century

Flanders

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Imperial robe of yellow satin embroidered by couching narrow strips of braided silk in shades of blue, rose, pink, green, yellow, mauve, aubergine, and red to the ground. Nine five-clawed dragons in blue with accents of red, pink, and white. Loosely drawn clouds on ground. Border of slanting wavy stripes in above colors with clouds separating stripes from rolling waves across which a group of bats fly to left and right of central mountain motif. Upper section of border design repeated at elbows of sleeves which are finished with a section of blister-ribbed satin terminating in dark blue satin cuffs embroidered with a dragon, clouds, etc., in same technique as body of robe. Collar and front band of same dark blue edged with narrow band of blue and gold brocade. Coat slit at sides and lined with thin yellow silk having good luck design on a fretwork ground.

Manchu Empress' Semiformal Court Robe, 1662-1722

China

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tapestry weave on plain weave structure; probably a fragment from a larger tapestry

Large-Leaf Verdure Tapestry Fragment with Birds, 16th century

Flanders

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Chair cover of brick-red k'ossu that has faded in exposed areas. In the top section, in a loose cloud field, a white crane. Just below, a medallion of gold k'ossu with lotus flower and various symbols. In the surrounding field are Buddhist symbols. Colors include shades of blue, green, pink, tan, yellow and red. In the lower section, in a shaped medallion, two dragons of K'ang Hsi type in green and dark blue on a medium blue ground. Below, in a cloud field, a white crane and good luck symbols. At the bottom, the waves of the Eternal Sea. Colors include shades of blue, green, yellow, brown, black. Note the restored block area of clouds. Border of tan satin brocaded with dragons and clouds in colors and gold. Bindings of medium blue silk. Lining of gold colored figured silk.

Chair cover, Kangxi period, 1662-1722

China

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palm leaves in blues, greens, pink, red, orange and yellow; symbol in purple in LRC

Copyright %C2%A9 Sheila Hicks. All rights reserved.

Palm, 1985

Sheila Hicks

Not on View

Temple hanging, 18th century

China

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abstracted figural design, edged in black; black-bordered shapes in blue and cream, and red and cream stripes, and in solid blue, red, and cream; weaving mounted on a shaped board, edged and backed with black

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris

Personnage, 1974

Jean Dubuffet; Weaver: Archie Brennan

Not on View
abstract image in shades of blue, tan and brown; irregular linear loop designs; short tan braids, LLC and URC; blue heading band on back

%C2%A91963 Helena Hernmarck

Alpha, 1963

Helena Hernmarck

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White wool is undyed native handspun, yellow and light red are 3 ply saxony, dark red is bayeta, cochineal dyed, blue is indigo dyed handspun.

Late classic child's blanket, c. 1865-1870

Diné (Navajo)

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the main field of the tapestry is divided into two horizontal compositions by an inscription on a horizontal center band that reads DA FE MOMRVERVARE V SE FEM V ARTE DAARL. F'S. ANNOAM 63/1; warp undyed bast figer, 4-4½ ends per cm. weft dyed wool, 18-34 ends per cm. Former Classification: Textiles - Tapestry

The Wise and Foolish Virgins, 17th century

Norway

Not on View

Ecclesiastical Stole, Date Unknown

Syria

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Cushion cover depicting Faith, Charity, and Hope, tapestry, Flemish XVIc cat. card dims W 20-3/4 x L 21-3/4'; originally one of a pair with 23.29.2, assumed to have been the top and bottom of a pillow

Cushion cover, c. 1600-1650

Germany

Not on View
Handwoven tapestry; background green chiné; large black areas (some woven double warp); large white ecru areas, some woven double warp; beige chiné; pattern with orange, white and black silk

Copyright of the artist%2C artist%27s estate%2C or assignees

after Multiple Image, 1975-90

Conrad Marca-Relli; Weaver: Pinton S.A., Felletin, France; Producer: Gloria F. Ross

Not on View
Imperial 12-symbol robe of Kangxi blue kesiwith nine 5-clawed dragons in gold, those in profile grasping the Heavenly Jewel. Scattered through ground are loose cloud forms, bats, the double peach, swastika, and sprays of flowers. On this robe the twelve symbols, with exception of the sun, moon, constellation, and mountains, appear ont he border, which is formed of a rather narrow area of slanting wavy stripes with rolly waves, clouds, and Buddhist and Daoist symbols. A similar border in miniature at elbows where sleeves continue with a wide band of wave and earthe designs embroidered on poor quality blue sild, and end in an embroidered cuff edged all around with band of modern gold and black brocade. Collar and front band of dark blue kesi edged with same gold and black brocade. The disposition of the twelve ancient symbols is thought to indicate an early practice. On front border appear the phoenix, dragons, and the cups; dragons, phoenix, and cups with some painting. On back border are the fire, water, weed, millet, the axe. Coat slit at sides and lined with thin blue silk. Kesi worn and patched. Color appears faded in spots, but may be soiled.

Manchu Woman's Semiformal Twelve-Symbol Court Robe, Kangxi period, 1662-1722

China

Not on View
twill tapestry weave, embroidered and fringed ends

Shawl, c. 1870

India

Not on View
Cushion cover depicting Faith, Charity, and Hope, tapestry, Flemish XVIc cat. card dims W 20-3/4 x L 21-3/4'

Cushion front, c. 1600-1650

Unknown designer and cartoonist, German (Northern Germany)

Not on View
tapestry; brocade; face dyed (on orange); geometric patterning down edges in metallic thread; body of textile is deep indigo with small circles of metallic; wide area of tapestry at ends

Headcover, 19th century

India

Not on View
vertical stripes with diagonal stripes in various graded bright multicolors; tan strip with tan fringe at bottom; thin tan strip at top

Tapis III, 1978

Diane Itter

Not on View
Robe of green kesi with all-over design of peonies, orchids, plum blossoms and butterflies. Sleeves and collar banded with black k'esi of bat design. Cuffs of white satin embroidered wit flower sprays. Trimming the kesi band of clooar and opening is a band of floral brocade braid which is shaped into a scrolled line at under arm opening/ Inferior k'ossu with much painted detail. Robe slit at sides and lined with pink silk.

Manchu Woman's Unofficial Informal Robe, Guangxu period, 1875-1908

China

Not on View
red linen; solid background with a circle defined by vertical stripes 1/2 in. wide warp face; at the top left the warp is braided (1 x 28 in.); one metal rod (covered with the warp) at the top, one at the bottom; fringe 8 in. at the bottom; fringe 5-1/2 in. decrease to 2-1/2 in. at the top

%C2%A9 Lenore G. Tawney Foundation

Red Sea, 1974

Lenore Tawney

Not on View

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