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Looking for medina, metius, media, medic?

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

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bag, piece of Paisley shawl, cream and yellow silk background with floral design in several colors, chiefly blue and rose; rose silk lining

Bag, 18th century

Scotland

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pouch style with black crocheted edging all around; red and tan bands on top edge; pouch has design of birds and animals in blue, green and maroon on tan

Bag, early 20th century

Unknown (Aleppo)

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red wool samurai bib, with round laurel wreath in tan and brown thread in C, with two brown dragons facing each other at T on neckline, with a peach swirling "shell" at TC; decorative gold threaded band at neckline; purple silk backing

Samurai bib with laurel wreath and dragons, 15th-19th century

Japan

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bag, made from pieces of two shawls, the side shown in picture has a design of leaves and flowers in red, blue, green and beige on a cream silk background; the other side is all wool, much coarser, with an all over pattern, mainly red; borders from two other shawls; red wool lining

Bag, 19th century

Scotland

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natural color

Djellaba (coat), 1989

Hadj Tahar

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Hand block printed.5" arches divided by stripes.7.5" vert. rpt., 1.25 horiz. rpt. Hand block printed.5" arches divided by stripes.7.5" vert. rpt., 1.25 horiz. rpt. (red/green)

%C2%A9 Jack Lenor Larsen%2C Inc.

(Indian Silk), 20th century

Jack Lenor Larsen, Inc.

Not on View
vest-like garment; green wool; horizontal tab with button closure on chest; black frogs with white button holds down vertical front flaps at upper chest; front flaps are metallic gold and tan brocade; yellow wool elements on shoulders embellished with blue crisscross stitching; white wool applique on upper back of three leaves inside a circle; off-white lining fabric woven with white-on-white diamond patterns

Campaign vest (jinbaori), 19th century

Unknown Japanese

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long, black braided cord with buttons, beads, colored bands, tassels and pairs of large striped multicolored felted balls at ends

Woman's hair ornament, 1970s

Jat

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brown wool; three thick rolled strands, echa ending in two thin decorative beaded and tasseled multicolor strands; attached at "top"; tape piece at top says "1168"

Headpiece, c. 1940

Bedouin

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wool knit and woven boots with tapered tightly embroidered pointed toe; long black legging has geometric multicolored embroidery in horizontal bands that attach to very tight, woven foot (dark colors); inset over top of instep is tightly embroidered in multicolors; coarse multicolored applied or sewn sole; braid tassel at center front of one boot

Pair of Boots, c. 1930

Azerbaijan

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eight streamers hang from top embroidered square on green with center red diagonal square; eight streamers at bottom and five tabs at top, all embroidered (green, red, blue); unlined

Hundred Bird Streamer Apron/Skirt, Date Unknown

Miao

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pounded indigo on three sides; top embroidery on red wool in purples, blues, greens, and white; attached straps embroidered on red cotton in similar colors; ties cut; center panel of red wool embriodered in similar colors; three sided striped border; three outside edges bordered in red wool and red and white cotton; top of center panel has different embroidered band on silk; open blue lining

Baby Carrier, Date Unknown

Miao

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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

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envelope-style pouch with long multicolored braided cord closure; embroidery in maroon, yellow, white, green and brown with large cross and "E" motifs on back; front has edging bands of black with yellow, red and white starbursts; striped and plain appliqués

Bag for Koran, early 20th century

Turkmenistan

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square panel; brown felt with multicolored (predominately red) embroidery of floral and sunburst motifs with central medallion and four corner medallions; predominately red and white knit scroll trim with multicolored fringe; crocheted trim at top; red and grey printed paisley, star and flower backing

Ilgich, 19th century

Khirgiz (?)

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black velvet body with red felt trim; embroidered with predominately purple and red repeating organic designs; tan striped, and purple and white flower print backing

Tent band, late 19th-early 20th century

Kyrgyzstan

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band has 4 cross stitched geometric designs bordered by pink on 3 sides and plaid gingham; black velveteen pleated skirt is banded on sides with red, white and green embroidery on yellow; bottom has embroidery bordered in green and red damask; tan ties have cross stitch desgin with crude yellow and red "flowers"

Apron, from a three-piece set, Date Unknown

Miao

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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

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brimmed straw hat with conical top; clusters of red, green, and yellow ribbons hang over brim and from top; red and yellow silk tassel on top. Textile - Non-Woven

Hat, Date Unknown

Maya

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blue; central beaded round medallion with leaf designs and organic shapes; large beaded floral designs in lower corners; silk appliqué in predominantly pink, green and yellow on bottom hem and part of sides in floral and geometric designs; six appliquéd stars at bottom in pink and cream; blue backing (modern)

Dance Blanket, c. 1840-1850

Anishinaabe (Ojibwe) or DakhĂłta

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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

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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

Not on View
four panels joined to form skirt; alternating bands of varying colors red, yellow, blue, red, green, pink and white and varying band widths; panels not lined up to match pattern on each

Skirt, 20th century

Tibet

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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

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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
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

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Dance in a Park, c. 1782–1800

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

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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
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; 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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after a cartoon by Charles Lebrun, made for the Duc de Crequey in the 1680s; one of a set of four panels, with each of the other three combining a season and the element associated with it; 'Spring' is equated with 'Air'

An Allegory of Spring, c. 1680

Charles LeBrun

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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

Not on View
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

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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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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
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
wool challis, silk embroidery

Petticoat (in process), 20th century

United States

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woven striped design in cream; fringe on short sides

Haik, early 20th century

Morocco

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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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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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towel, of woolen in two weights embroidered at each end with an elaborate design composed of flowers, leaves and baskets in yellow, pale rose, blue and tinsel; there is a border of stylized leaves and flowers and between this and the slightly fringed ends is a narrow strip of drawn threads

Towel, 19th century

Turkey

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blocks arranged in Barn Raising pattern; block centers of red wool; strips in variety of solid colors and prints; blue edge binding; back is black and white small floral print on grey ground

Log Cabin (Barn Raising) Quilt, c. 1890

Unknown

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red and white on black background fabric; multicolor satin stitch figures and floral patterns; large square with two wide bands above; red wool extensions edged and lined in indigo cotton; remnants of yellow metal-wrapped edging surround individual motifs; lined in indigo cotton; silk embroidery threads

Baby Carrier, Date Unknown

Miao

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vest-like garment; body made thickly-twisted rust colored paper fibers; front vertical flaps and lining of printed fabric--green printed with orange butterflies and foliage; yellow wool shoulder decorations embellished with light blue crisscrosses; medallion on upper back of white wool in the form of a bird with outstretched wings

Campaign vest (jinbaori), 19th century

Unknown Japanese

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beige linen bottom sections; heavy wool; large geometric embroidery in dark blue and orange on beige cotton; applique on top front and back and on large wide sleeves; attached shawl is 10-1/2" x 8-1/2" linen with rows of geometric and floral tape bordering a center beige cotton applique; long and narrow woven and wound trim (10) hang from shawl, two with metal discs

Jacket, Date Unknown

Miao

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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

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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

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3 pairs of necktie shaped embroidery on salmon pink fabric; gold metallic ground with green and yellow scrolling vines with red and white striped 'pods'

Three uncut tabs for Anghaka, 18th century

India

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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'

Cushion front, c. 1600-1650

Unknown designer and cartoonist, German (Northern Germany)

Not on View
Red background with five black stripes; black collar, puckets, cuffs; mulitcolored birds embroidered on front and back; decorative patterns with ribbons.

Man's jacket, 20th century

Maya

Not on View
Square mat of white woolen material with border embroidered in silk and cotton threads in design of small palmettes, leaves and flowers. Wool.

Square Mat, 19th century

India

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long brown jacket with orange wool lining, PR; large inside pocket; black cord and metallic thread design embroidery and edging; orange thread and metallic thread appears to have been wrapped together, creating special effect; quality embroiery and sewn details indicate a garment for man of high standing; all seams corded

(Sheikh?) Jacket, c. 1920

Bedouin

Not on View
5" bands of cloth sewn together to make up ground fabric; long sleeves; straight open placket (no fastenings) on front; brown and white pinstriped background and purple, pink, aqua, yellow embroidery and mirrors

Boy's Jacket, mid 20th century

Mangal

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Square panel of pashmina (wool from Tibetan goat), dark red ground, scarcely visible, covered with all-over embroidery in chain stitch representing animals, trees and human beings. The outer border consists of multiple scenes, each framed by an Indo Islamicate arch. These scenes gesture at painting traditions of the time, and depict interior and exterior court, hunting, leisure, parade, and battle scenes. Central circular motif emanates from roundel containing untranslated Persian inscription. Red predominating color except for center and corners where pale blues, greens and yellow predominate. Corners and central circle have elaborate use of gold threads. Lined with mauve sateen. Tears on border.

Embroidered Tablecover, 19th century

India

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Inlay brocade on twill ground; left panel of a set of three

%C2%A9 Laura Foster Nicholson

Bounty and Thrift, 1989

Laura Foster Nicholson

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inlay brocade on twill ground; right panel of a set of three

%C2%A9 Laura Foster Nicholson

Bounty and Thrift, 1989

Laura Foster Nicholson

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Single element of original multiple grouping, -- thick hanks of linen thread bound in three places along length with colored wool and silk thread in burgundy, purple, orange, pink, blue, red and saffron

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

Wall Hanging, 1988

Sheila Hicks

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Shidong style; Festival and Wedding Jacket (Oushe Dark Dress); bast fiber, rubbed indigo dye, cotton, silk, applied embroidered panel at shoulders and sleeves, woven ribbon at neck.

Festival and Wedding Jacket (Oushe Dark Dress), 19th-20th century

Miao

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wool twill and broken twill; plain weave cotton; supplemental weft; three panels; black, red, yellow, green; left edge bound with red cotton

Panel, 20th century

Kachin

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tapestry weaving; on plain dark red wool geometrical pattern with metallic thread, purple, green, black, blue silk on front, sleeves, back (V-shaped, high half part of the back); metallic gold thread at edges; plaid wool fabric lining

Man's Aba (Coat), 19th-20th century

Syria

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khaki colored coat with black collar; round fasteners with blue decorative thread tied in bows at top collar and at center opening; vertical band of cloth at PL breast

Traveling coat of kudzu fiber (kuzufu dōchūgi), 19th century

Unknown Japanese

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bust portrait of Christ as a child with light wavy hair, with a high hairline, with head turned slightly toward PR; Christ squeezes a bunch of grapes in his PR hand, with the juice running into a white footed bowl; Christ holds a small bunch of grapes in his PL hand, which are reflected in the silver cross-topped domed cover in foreground; small portions of view of a landscapes in top corners; portrait in a tondo, with flowers in each corner

The Infant Christ Pressing the Wine of the Eucharist, c. 1500

Netherlands

Not on View
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 Conans and François de la Planche; warp undyed wool, 6½-7½ inds per cm., weft dyed wool and silk, silver and silver-gilt yarns, 24-40 ends per cm.

The Gifts, designed 1610–1617 (woven 1611–1622)

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

Not on View
red, cream, and brown ground with discontinuous supplementary weft and warp patterning in purple, yellow, white, and brown

Woman's Belt (faja), 20th century

Maya

Not on View
A piece for 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; warp undyed wool,6½-7½ ends per cm., weft dyed wool and silk, silver and silver-gilt yarns, 26-64 ends per cm.

The Queen’s Entry into the Harbor of Rhodes, designed 1562–1568

Central design by Antoine Caron; Cartoonist: Cartoon attributed to Henry Lerambert; Weaver: Faubourg Saint-Marcel Manufactory of Marc de Comans and François de la Planche; Designer: Border design attributed to Henry Lerambert

Not on View
red ground; central and side stripes border two areas of banding; geometric patterning; DSWP of silk bands and tassels

Saddle Cover (rataya), first half of the 20th century

Morocco

Not on View
rectangular panel, central body white and unadorned; supplimentary weft patterning of red bands at each end, additional band of diamonds in purple, green and orange; end with more embroidery has a triange which terminates banding and points into body of towel

Bride's Gift Towel, late 19th century

Macedonia

Not on View
Black and white warp-faced striped ground; center one-third is covered by magenta wrapping which is couched to ground cloth; floral embroidery accomplished in satin, chain and plaited stitches.

Woman’s belt (Faja), 20th century

Maya

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inlay brocade on twill ground; center panel of a set of three

%C2%A9 Laura Foster Nicholson

Bounty and Thrift, 1989

Laura Foster Nicholson

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weft-faced with supplementary weft patterning Zaiane culture

Cape (Handira), 20th century

Zemmour

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Wool, cotton and silk. Natural wool with white cotton weft alternating to make very thin stripes in weft faced plain weave. Natural wool warp. At one end there is a thin stripe of red, followed by natural, follwed by two thin blue stripes. The other end is the same but with black stripes instead of blue. Along both sides silk has been introduced to make three groupings of short stripes near the edge on the proper right side and two groupings of similar stripes near the edge on the proper left . These shorter stripes are various combinations of red, purple, brown, cream (all silk), white (cotton and black (wool) and are approximately three inches long. Tufts of the silk embellish the stripes on the face of the Haik on all groupings except one grouping of seven stripes near one end which is embellished on the reverse. Warp is bound tightly in small groupings near edge of textile at both ends. Fringe varies but averages about three inches.

Headcover (Amendil), 20th century

Ida ou Semlal Amazigh (Berber)

Not on View

Sash, 19th century

Uzbekistan

Not on View

Sherpa Cloth II, 1979

Larsen Design Studio, New York; Designer: Weaving Co. McNutt; Producer: Jack Lenor Larsen, Inc.; Mill: McNutt Weaving Co., Ltd.

Not on View

Somesuch, 1990

Larsen Design Studio, New York; Producer: Jack Lenor Larsen, Inc.

Not on View
Fringe with warp-twined (LM) heading, No backing cloth. Black twill-woven wool ground with wool, silk, and synthetic? embroidery. There is a wool fringe. No backing is present. Reverse exposes stitching. Applied, narrow edging all four sides. Ground cloth has vertical, center seam. 09-26-2005 fibers tested ,microscope analysis:wool,silk .No synthetic. Christine Lien

Ilgich, 19th century

Kungrat

Not on View
No backing cloth. Hand jwoven indigo-dyed pieced wool ground with polychrome wool and silk embroidery. There is no finishing treatment on the edges. Red dominates. Large center square pattern with 2 1/2" - 3" border all sides.

Tent hanging, early 20th century

Kyrgyz or Kazak

Not on View
Fringe with warp-twined heading (LM), ikat and pieced, printed band, No backing cloth. Pieced handwoven red wool ground with wool embroidery. The top edge is bound with wool. There is applied wool fringe on the other three sides. No backing is present. Fringe in sections of different colors; green, gold, tan and pink.

Ilgich, 19th century

Kungrat

Not on View

Upholstery for pair of chair arms, 18th century

France

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Upholstery for pair of chair arms, 18th century

France

Not on View

Upholstery for chair seat, 18th century

France

Not on View

Upholstery for chair back, 18th century

France

Not on View

Upholstery for pair of sofa arms, 18th century

France

Not on View

Upholstery for chair seat, 18th century

France

Not on View

Upholstery for chair seat, 18th century

France

Not on View

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