showing 300 of 309 results matching medium:"Wool, cotton". (load 9 more)

advanced
info

Looking for medina, metius, media, medic?

bag with wide shoulder strap with beaded geometric designs; back of strap and interior of bag printed brown fabric; front panel of bag beaded with geometric shapes; top panel and back of bag red wool; 17 short beaded hanging tails with red wool tassels; body of bag trimmed in blue

Bandolier Bag, c. 1870-1900

Anishinaabe (Ojibwe)

Not on View
red and white jacquard coverlet, wool, American

Jacquard Coverlet, 1855

William Ney

Not on View
beaded panel with geometric design at bottom of bag; fringe with strung beads and red tassels; simple quillwork design of flowers on body of bag

Man's Pouch, c. 1800

Anishinaabe (Ojibwe) or DakhĂłta

Not on View
rug, garden type withflowering trees in beige, peach, red, green on a dark blue background; 3 floral borders of which center and widest is predominantly dark blue; wool on cotton warp, Senna knot; wool on cotton warp

Rug, c. 1900

Iran

Not on View
Doshalla, or long shawl, hand-loom woven, made of jamawar, a patterned shawl cloth woven by the yard, and finished with separate woven borders. Design of alternating vertical stripes. The wide one carrying a running floral design in which pinks are the chief blossom, the narrow one a reciprocal floral band. Pale blue ground. Wide end borders with a band of large cones. Black cotton lining. # 8.

Doshalla, 19th century

India

Not on View
Long shawl, of hand-loom woven patchwork with a design of inserted floral medallions in shades of green, red, turquoise blue, and yellow. Field carries large cones and arabesques. Design and colors show European influence. Partially lined with black cotton. #11 in travelling exhibition.

Long Shawl, 19th century

India

Not on View
Square Shawl, hand-loom woven , of patchwork. The design of spreading circles, carrynig paired cones and floral and leaf patterns, is bordered by a wide band of interlocking arch.

Square Shawl, 19th century

India

Not on View
Square shawl, of hand-loom patchwork with a design of large scrolls and serpentine border. The outer border is embroidered on strips of plain colored wool. Colors chiefly red, yellow, blue, green; lining of black cotton. Badly worn and darned in middle field. One corner turned back on field and stitched down. #13 in travelling exhibition.

Square Shawl, 19th century

India

Not on View
Long Shawl, of hand-loom woven patchwork. The design of floral cones, arabesques and leaves is uncommon, and does not repeat throughout the length of the shawl. An exceptionally fine example with great delicacy of detail. Lining of black cotton. #12 in travelling exhibition.

Long Shawl, 19th century

India

Not on View
Pillow Case, Shemaka or Soumak, with typical geometric designs in tan, red, blue, green and yellow. A wide border with geometrical designs on a red ground is flanked by narrow borders carrying the reciprocal sawtooth in black on a beige ground, sides overcast with colored yarns, blocked with green cotton fabric. Woolen warp and woof.

Pillow Case, 19th century

Not on View
Shemaka or Soumak Pillow Case with typical geometric designs in tan, red, blue, green and yellow. A wide border with geometrical designs on a red ground, is flankled by narrow borders carrying the reciprocal sawtooth in black on a beige ground. Sides overcast with colored yarns, backed with green cotton fabric.

Shemaka Pillow Case, 19th century

Not on View
Ghiordes Prayer Rug. The blue prayer niche is fringed with small rosettes in profile. The tan spandrel above the arch carries a vine and flower design that is quuite naturalistic. There are three borders each outlined by a narrow brown guard stripe of saw tooth design. On the ivory ground of the main border conventionalized flowering plants are placed in square formation. The ends are worn. The bottom has a narrow fringe of frayed warp thread, but a narrow web still remains at the top edge. The sides are finished with an added silk selvedge. Ghioredes knot. Warp woolen; woof, cotton.

Rug, 19th century

Turkey

Not on View
Rug, so-called 'dragon' type; dark blue field witrh geometrical floral and leaf designs, hook and 'S' shapes in blue, green, red and white. Two borders seperatews by a barber pole guard stripe. The outer stripe has a geometrical flower and knop pattern connectedd by vines on an ivory field. The innner border is of wine glass design on a rose field. Selvedged with cotton, short warp fringe at each end. Closely woven with nap cut very short. Ghiordes knot. Woolen warp; cotton woof.

Rug, 19th century

Not on View
Plain weave seersucker. Horizontal repeat 8 1/2 inches. Mothproofed. Plain weave seersucker. Horizontal repeat 8 1/2 inches. Mothproofed. Shell White

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

Mohair Plisse, 1962

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

Not on View
worsted. Jacquard upholstery. Ribbed weave. 1" geo. Squares form straight & diag. Designs.rust, blue, moss green. 12" sq. pattern repeat. Opaline

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

Labyrinth, 1981

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

Not on View
tightly woven; three sections, two primarily red with vertical strips of embroidery; third section has large solid grey piece in center

Skirt, early 20th century

Kachin

Not on View
three long rectangular panels hand-sewn on length to from wide bias wrap with long self fringed ends; four hand-woven ties--green gold and two pink ties; panels are: yellow/black plaid, red/green plaid, black/white; white cotton sewn label #137 at one end

Man's Waist Wrap (Kusak), Second quarter of the 20th century

Turkey

Not on View
Frieze with all wool face. Blue uncut? wool pile with cotton back. Blueberry

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

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View
woven textile; Jacobean tree(?) on white ground French tag Echantillon

Furnishing Fabric, early 20th century

Erickson and Weiss

Not on View
woven band; borders warp-face patterning; central diamonds are supplementary weft; rust, orange, brown

Tent Band, 1910-1920

Uzbekistan

Not on View

Djelaba (Hooded Jacket), c. 1944

Morocco

Not on View
red, orange, green and white plain-weave based float weave pattern; with palm leaf end

Belt, 20th century

Mexico

Not on View
Yattha Charkhab; triple panel wool brocade on wool background; horizontal stripes in reds, blues, orange, greeen, white with same color discontinuous supplementary weft design; ends bound with blue cotton.

Yattha Charkhab, 20th century

Bhutan

Not on View
man's coverlet, wool and cotton with tassels (Bouki serra), African XXc stored in box; dims 76 x 35'; stored with 86.100.24,25 Name: Sakhalare. Used for great festivities and market days. Worn folded over left shoulder. S85-94.

Man's Coverlet (Sakhalare), 20th century

Fulani

Not on View
jaquard with floral design; indigo wool and white cotton

Coverlet, 1833

United States

Not on View
one paneled black skirt with five white cotton stripes

Skirt, c. 1930

Tzotzil Maya

Not on View
woven piece sewn to dark rust colored fabric bag (or pillowcase?); horizontal rows of weaving in purple, orange, lavender, brown, black and rust with narrow cream borders at top and bottom; geometric designs; some designs with circles and diagonals

%C2%A91963 Helena Hernmarck

"Alpha" Study, 1963

Helena Hernmarck

Not on View
two otter hide tubes with hide tassels and long beaded and hide-detailed pendants; cross-body shoulder strap of red and blue felt with blue and white beads and bells; geometric beading in mostly triangular shapes

Bow Case and Quiver, c. 1885

Apsáalooke (Crow)

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

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

%C2%A9 Robert Davidian

Batushka, 1991

Robert Davidian

Not on View
wool weft, cotton warp; border enclosing varigated background with central diamond motif; red, blue, yellow and white colors

Saltillo Serape, c. 1750-1800

Mexico

Not on View
Saddle bag with front of black woolen material embroidered in the center with a triangle placed in an oblong and surrounded by four borders filled with diamond shapes or triangles. The back is cotton and has two leather loops attached at the top.

Saddle bag, 19th century

Russia

Not on View
Two panels sewn together; burgundy background with white, green, ochre motifs; at each end section 11: high is white motif squares with blue lines

Woman's wedding veil (Odhani), 20th century

Bishnoi Jat

Not on View
black woven poncho with 1/2" wide blue woven stripe on each side; finished on 4 sides with red and green cotton thread, zigzag machine stitched; green and yellow cotton curly machine sewn selvedge around edges; weave has vertical 11" long button hole in central part for head; square design on edge

Man's Poncho, 1960-1970

Quechua

Not on View
black and rust felt rug with white cording around all cut edges; geometric design includes stars and organic shapes

Rug, late 19th-early 20th century

Kirghiz

Not on View
blue wool jacket with bat wing sleeves; red wool lining with paper interface, braid tape and two inside pockets; balck heavy braid and coil embroidery over entire vest; decorative buttons on lower sleeve and shoulders; large loops on sleeve side edges; probably military

Man's Jacket, 19th century

Turkey

Not on View
fine embroidery of geometric shapes in running strip to form a collar; done in red, yellow, green and blue yarn on red wool banat face; beige cotton backing is pieced and larger than embroidered part

Collar for neck of a chirpi, 1930-1940

Uzbekistan

Not on View
red, blue wool/linen jacket; upper body, front and back and sleeves embroidered and appliqued in geometric design; separate but attached rectangular collar is orange, black and red on white

Jacket, Date Unknown

Miao

Not on View
black veil with orange tie-dyed designs of diamond and dot shapes and borders; nine yellow and white embroidered medallions with raised four-mirror centers near center, multi-colored center strip; border of heavily embroidered and mirror designs at both ends; bottom end has center, dangling pompom; two selvedges; two fringed ends

Woman's Wedding/Festival Veil, c. 1975

India

Not on View
red, blue, tan wool chain stitch embroidery; two panels of three oval shapes divided by sewn-on white shells, which also surround entire panel; another row of shells hang freely from three sides: three fabric and shell tassels, two in center of long edge, two at short edge corners; embroidery applied to padded, gauze-like cotton

Neck Panel from a Hat, c. 1900

Banjara

Not on View
multi-colored wool chain stitch embroidery; two rows of four squares in pie shapes, diamonds and zig-zag designs; rows of shells divide the panels in half in both directions; clusters of shells at bottom corners and sides; row of shells surround; embroidery applied to tan, gauze-like cotton; edged in red cotton

Neck Panel from a Hat, c. 1900

Banjara

Not on View
red, blue, green; double band weave with four tassels at each end; cotton velvet ties, 9" from each end; silk braid leads to the tassels

Woman's Belt, 1950

Syria

Not on View
two panels sewn together at top with central neck opening; purple, pink, black and green stripes; faded blue-grey edging; multicolored stitching between panels

Poncho (Aymara), 19th century

Bolivia

Not on View
Repp weave Vert. Stripe of varying widths, some with chevrons. Vert. Rpt. 5"; horiz. Rpt. 12". Shades of red & blue Aubergine

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

Turkoman, 1978

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

Not on View
dark red with center seam; 7 to 7-1/2" wide, yellow embroidered borders with mirror designs at both ends; two selvedges; finished hems at both ends

Woman's Festival Veil, 20th century

India

Not on View
cotton applique; embroidered and applique felt rug; applied braided fringe; finger looped(?) edge; red ground with four diamond patterns across central stripe, each diamond divided into four

Felt Mat, 20th century

Afghanistan

Not on View
tunic with a tan field; body has vertical thin red and blue striping; shoulders and around waist supplementary weft patterning of bands decorated in blue and red geometric designs; cloth design in red and blue around neck with ribbons of fabric grouped along edges (extensions of the design)

Tunic (KĂĽshung), 20th century

Bhutan

Not on View
tunic with solid blue body with applique embroidered decorative side panels, shoulders and collar; decorative theme of triangles within squares in colors of red/green or red/blue; ribbons of fabric grouped along edges (extensions of the design)

Ngoshingka (tunic), 20th century

Bhutan

Not on View
2 panels machine stitched; weft faced stripes of green, purple and blue wool and stripes of indigo dyed cotton ikat

Shawl (Perraje), 1930-1935

Maya

Not on View
dark red with black and cream woven brocaded designs; stripes at each end and at center with rows of diamonds and half-diamonds to R and L of center; red fringe

Head scarf (Amendil), early 20th century

Ida ou Nadif Amazigh (Berber )

Not on View
red, orange, black, and white with red and black embroidery

Quechquemitl, 20th century

San Pablito Puebla

Not on View
shoulder bag with wide strap with beaded twining vine with multicolored leaves against a white beaded background, with green wool trim at edges; top of bag is red wool decorated with symmetrical floral beading; body of bag decorated with multicolored leaf design with two small birds at top, facing one another, against a white beaded ground; dark green and white beads and maroon wool tassels on fringe at bottom

Bandolier bag, c. 1900-1930

Anishinaabe (Ojibwe)

Not on View
small beaded panel with beaded strips/tabs terminating in pairs of turquoise or light purple wool yarn tassels forming fringe; medium blue beads on ground, with symmetrical forms with steps and zigzags in predominately pink, golden yellow-orange and dark blue beads

Apron panel, from a three-piece set, Date Unknown

United States

Not on View
beaded panel with beaded strips/tabs terminating in pairs of turquoise or light purple wool yarn tassels forming fringe; four tabs have light blue and red stripes, central tab has red ground with two light blue diamonds; body has medium blue beads on ground, with symmetrical X-like forms with steps and zigzags in predominately pink, dark blue, red and yellow beads, with dark blue "X" at center, one pink "X" at top and one partial pink "X" at bottom

Sash, one of a pair, from a three-piece set, Date Unknown

United States

Not on View
beaded panel with beaded strips/tabs terminating in pairs of turquoise or light purple wool yarn tassels forming fringe; four tabs have light blue and red stripes, central tab has red ground with two light blue diamonds; body has medium blue beads on ground, with symmetrical X-like forms with steps and zigzags in predominately pink, dark blue, red and yellow beads, with pink "X" at center, one dark blue "X" at top and one partial dark blue "X" at bottom

Sash, one of a pair, from a three-piece set, Date Unknown

United States

Not on View
small pouch; red threads; white, red, medium blue, dark blue, pink, yellow, orange and green beads; panther on white ground with long curling tail on one side; radiating diamond designs on opposite side; white edging at top

Charm Bag, c. 1870-1880

Meskwaki (Sac and Fox)

Not on View
red boot; pink backing; two large beaded flowers with leaves on body of boot; dangling bead loops at center of flowers and sole of boot at toe and heel; predominately clear beads

Container, 20th century

Haudenosaunee (Iroquois)

Not on View
pouch-style bag; front panel beaded with five repeating geometric motifs (predominately pink, light blue, tan) on white beaded ground; nine beaded fringe dangles with yarn tassels; checkerboard motif beaded strap, in blue, green, white, purple and olive

Bandolier Bag, 1860s

Anishinaabe (Ojibwe)

Not on View
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

Not on View
black with tan design; stripes down center, blocks of triangles and diamonds top and bottom, bands of stripes and designs next to fringed sleeve edges

Woman's Cape, 20th century

Tunisia

Not on View
Green wool coat embroidered in silver and gold. Body of coat made of gored sections with an all-over design of single blossoms embroidered in gold. On either side of front opening a shaped panel solidly embroidered in a design of stylized floral sprays and arabesque. A large panel of same design covers three quarters of back of coat. Opening and bottom edged with a narrow n\band embroidered with pear forms and blossoms, and bottom\m corners, font and back, with large flower-filled pears. Dolman sleeves with embroidered epaulet sections. Lining of colored, striped cotton.

Coat, 18th century

India

Not on View
3 panels stitched together; 1 panel is primarily dark blue in the center; 2 panels primarily patterned with geometric designs

Skirt, 20th century

Kachin (Jingpho)

Not on View
central diamond pattern; purple borders with blue corner blocks and feather wreath quilting; narrower inner border of pinkish-red with blue corner blocks and pinwheel and stacked triangles; inner diamond of purple with eight-pointed quilted star bordered with another pinkish-red band with purple corners quilted with pinwheels and stacked triangles; blue triangles at sides of inner diamond with quilting of roses at one end and tulips at other end; purple wool edge binding; cotton cloth on back with red clover and dot print on black-red ground

Diamond in Square quilt, c. 1910

Unknown Amish

Not on View
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
long pillow with tapestry woven cover; brightly colored with geometric designs, birds and deer on top; underside has bands of various colors and designs; fabric scrap pompons at corners

Pillow, 19th century

Sweden

Not on View
black fringed shawl; triangular shape; black fringe on two edges; wide band of cross stitch embroidery in reds with blue and yellow accents along fringed edges; four cross-shaped motifs in center area of shawl

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

Shawl or head cover, March 2001

Om Mohamed

Not on View
Fringe with warp-twined heading, warp-twined bands, Pieced, printed lining. Dark red wool ground with polychrome silk embroidery. Patterned silk tape edging with red silk fringe border all four sides. The backing is printed cotton fabric (red polka dots). Applied braid with fringe, all four edges. Chain stitch.

Ilgich, late 19th century

Kungrat or Durmen

Not on View
Braided-net fringe, embroidered band, Lined. Red wool ground with polychrome silk embroidery. The applied border on all sides is overall cross stitch embroidery in silk on a cotton ground. The backing is red cotton fabric. Part of a hanging loop is present on the PR corner.

Uuk kap Ilgich, late 19th century

Lakai

Not on View
Braided-net fringe, fringe with warp-twined (tablet) heading, warp-twined (LM) edge, cloth band, Pieced ikat and printed lining. Black wool ground with polychrome silk embroidery, red wool edge binding, braided silk fringe with wrapped tassels. The red wool panel at the center is pieced with silk/cotton ikat under the flap. The panel is backed with printed cotton fabric, same as flap backing. Chain stitch

Tabaklau ilgich, late 19th-early 20th century

Kungrat or Durmen

Not on View
Wrapped and knotted lattice treatment on pieced fringe with warp-twined (tablet) heading, Pieced, printed lining. Black wool ground fabric with polychrome silk embroidery. The knotted fringe is silk. A printed cotton backing is attached to three sides by machine stitching and handsewn on the other. Center square with three borders. Top border not embroidered. Hand stitched to lining. Chain Stitch.

Ilgich, late 19th century

Kungrat

Not on View
Pieced fringe with warp-twined (tablet) heading and cloth band Pieced, block-printed lining. Pieced black ground, mostly wool but with some cotton at the top. Polychrome silk embroidery in chain stitch. Silk/cotton ikat binding at the top edge. Nine medaillions, mostly red. The embroidery is presently hand stitched to a fabric covered mount; the verso is not visible. Mounted and stiched through white flannel on a black wool covered strainer.

Ilgich, late 19th-early 20th century

Kungrat or Durmen

Not on View
Braided-net fringe, Bag back: striped cloth, lined. Black wool ground with polychrome silk embroidery. There is a braided silk fringe with wrapped tassels of silk, cotton, and metal. The backing is cotton twill, striped in red and white. Center square with borders on all four edges.

Ilgich, late 19th-early 20th century

Kungrat

Not on View
Braided-net fringe with tassels, cloth band. Black wool ground with polychrome silk embroidery. The edges are trimmed with a band of silk cross stitch embroidery on a cotton ground. There is an attached braided silk fringe with wrapped cotton and silk tassels. The embroidery is presently hand stitched to a fabric covered mount. the verso is not visible. Ikat strip at top.

Ilgich, 20th century

Kungrat

Not on View
Braided-net fringe, Pieced ikat lining. The ground fabric is tan cotton flannel, with polychrome silk embroidery. There is a braided cotton finge with wrapped cotton tassels. Chain stitch dominates. Colorful ikat lining.

At torba ilgich, late 19th-early 20th century

Lakai

Not on View
Handwoven band, Printed lining. Red wool ground, pieced in the upper six inches. Polychrome silk and synthetic embroidery. There is a woven cotton edging strip on the four sides. The hanging tabs are silk/cotton ikat. The cotton backing is printed with 'moderne' angular gray shapes on a red ground. Chain stitch separated with back stitch dominate fill.

Ilgich, late 19th-early 20th century

Lakai

Not on View
Braided-net fringe, ikat band at top, Bag back: pieced, striped cloth and printed lining. Black wool ground with polychrome silk embroidery. There is a braided cotton edging which probably was originally finished with tassels. Now, it has been trimmed and turned to the reverse to form a binding. The opening of the bag is outlined in synthetic/cotton ikat fabric. Printed cotton fabric forms the inside surface of the bag. Chain stitch dominates fill.

Ilgich, late 19th-early 20th century

possibly Durmen

Not on View
Fringe with warp-twined (tablet) heading, warp-twined (LM) edge, cloth band, Two printed linings. Black wool ground with polychrome silk embroidery. The edges are bound with cotton fabric, and finished with two varieties of red silk fringe. The central red square is outlined with a silk woven edging. The part of the square covered by the flap is red cotton fabric. There is a printed red cotton backing. Three-side designed border and red wool center square are pieced. Flap is embroidered and edged with fringe. Chain stitch.

Tabaklau ilgich, late 19th-early 20th century

Kungrat or Durmen

Not on View
Braided-net fringe, Pieced, striped lining. Black wool ground with polychrome silk embroidery. There is a wide woven silk edging with silk and cotton tassels. The backing is woven striped cotton. Two tassels near bottom corners are inset bound above woven edge. Lower left corner has 2 tassels underneath.

Da-our, late 19th-early 20th century

Lakai

Not on View
Fringes with warp-twined (LM) headings, Pieced, printed lining Brushed red wool ground with polychrome silk embroidery. There are two different fringes on the edges; one, on the top and PL, is all silk; the other, on the bottom and PR, is silk and cotton. The backing is pieced from two printed cotton fabrics. There are two intact hanging loops. Chain stitch dominates.

Ilgich, late 19th-early 20th century

Dasht-i-Kipchak (probably Kungrat)

Not on View
Multiple fringes with warp-twined heading, warp-twined (LM) edge. Printed lining. Black wool ground with polychrome silk embroidery and cotton and silk fringes. There is a printed cotton backing, and a silk/cotton ikat edging on the reverse. Center square of large patterns with border on sides and bottom.

Ilgich, late 19th-early 20th century

Kungrat

Not on View
Black wool pieced ground with polychrome silk embroidery through a printed cotton substrate. There is no binding, edge finishing, or backing. Red basting stitch along one edge for 12".

Ilgich, early 20th century

Kungrat or Durmen

Not on View
padded saddle cover with ovoid beaded medallion in each corner-white ground with leaves and flowers, trimmed in red fabric; red wool stitching around edges; four decorative flaps at corners-white beaded ground with multicolored beaded flowers and leaves; flaps have red wool tassels with grey, brown and clear beads on fringe

Pad Saddle, 19th century

probably NÄ“hiyawak (Cree)

Not on View
banding at short sides border central field of central diamond stripes; two stripes have single spaced diamonds; red ground; short fringe at short side

Haik, Head covering, Second quarter of the 20th century

Ida ou Nadif Amazigh (Berber )

Not on View
orange design on blue ground; fiscia beads throughout; silver colored trim; baluchistan

Man's Hat, 20th century

Iran

Not on View
cream ground with cream and white threads and loosely-woven fabric; abstract circular design with loops and twists of yarn and looping fabric

%C2%A9 Nancy Hemenway Barton

Nest, 20th century

Nancy Hemenway Barton

Not on View
large piece of cloth with honey comb design, open on one long side with 2 short added open pieces at corners on opposite side; embroidered geometric designs overall; light blue hem

Pants, Date Unknown

Nupe

Not on View

Armchair, c. 1906

John S. Bradstreet; Maker: John S. Bradstreet and Company; Maker: Tiffany Studios (glass shades, fireplace tiles)

G320

The Dance, 1905–1910

attributed to Karl Krenek

Not on View
pieced cotton

Barn-raising pattern quilt, c. 1890

United States

Not on View
woven, blanket-like object with pile created with multicolored threads on back; chevrons on front, each woven in different pattern with white, blue, red, orange and tan yarn on maroon ground; rows of sequins sewn on top in a grid; twisted brown fringe on one short end

Blanket (Hanbel), late 19th-early 20th century

Morocco

Not on View
Portion of camel's saddle bag or cover, red and cream. Broad and narrow bands of finely knotted short pile with geometric designs alternate with plain woven bands of purplish red. At bottom 8-1/4' band of short pile, cream ground with geometric designs in red, black and brown. Short cream fringe. Worn down center and top edge. Four tears or holes mended, two unmended holes.

Portion of camel's bag, early 19th century

Kazakhstan

Not on View
Yattha Dhenkhep; double panel wool brocade on wool background; discontinuous supplementary weft pattern in rose, pink, blues on dark brown ground; edges bound in cotton. Bed Covering

Mattress cover (Yathra denkheb), 20th century

Bhutan

Not on View
Gold warp, white weft Gold warp, white weft (Metallic gold/white)

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

Inca Gold, 1966

Bolan Fabrics; Producer: Jack Lenor Larsen, Inc.

Not on View
Black wool ground with polychrome silk embroidery. There is a block printed cotton substrate through which the embroidery is worked. A hand written inscription is seen on one edge of the substrate. There is no finish treatment on the edges, and backing. Three edges are turned under and basted; one edge is raw and partially detached. Center square surrounded by border. All is embroidered. Chain stitch.

Ilgich, early 20th century

Kungrat

Not on View
Braided-net fringe, embroidered band, Pieced lining. Felt-like red wool ground with polychrome silk embroidery. The edges are finished in narrow cotton tape with overall cross-stitch embroidery in silk. A crocheted cotton edging with integral fringe is sewn to the bottom edge. There are two intact hanging loops; the PL loop is embroidered in silk cross-stitch and the PR is woven cotton/ Red, black, green, yellow designs: Nine symbols. Horizontal pieced red lining.

Uuk kap Ilgich, late 19th-early 20th century

Lakai

Not on View
Crocheted fringe, cloth and ikat bands, Pieced, printed lining.Black wool ground with polychrome silk embroidery. Two fabrics are used in the edge binding: black cotton and silk/cotton ikat. There is a braided cotton fringe with metal discs. The backing is pieced printed cotton fabric. Center square motif with wide border, all four sides. Chain stitch.

Ilgich, late 19th-early 20th century

Kungrat

Not on View
Embroidered band Pieced, printed lining The black ground is primarily plain weave wool, with a black cotton sateen strip at the top edge. The embroidery is worked in chain stitch with silk thread. The 5/8" wide, applied red and white cross-stitched edging is worked in silk thread on cotton. There is floral print cotton backing. Pieced lining.

Uuk kap Ilgich, 19th century

Lakai

Not on View
Fringe with warp-twined heading, embroidered and cloth bands, Pieced, printed lining. Red and black plain weave wool ground in the visible area; under the flap the ground is pieced from printed cotton fabrics. The embroidery is worked in polychrome silk threads. There is an edge binding of red cotton fabric. The applied fringe is silk. There is a backing of red printed cotton fabric.

Tabaklau ilgich, late 19th-early 20th century

Kungrat or Durmen

Not on View
black and dark red resist printed fabric; decorated with nine yellow and white embroidered medallions with raised mirror centers; multi-colored embroidered strip down center; each end heavily embroidered with small mirror patterns (multicolored); two selvedges; two fringed ends

Woman's wedding veil (Phulakiya ludaki), mid 20th century

Vaghadia Rabari

Not on View
Ikat band, Bag back: striped cloth, printed and woven linings. Black wool ground with polychrome silk embroidery. There is a silk/cotton ikat band at the top edge that folds 1 1/4" into reverse. there are two corded silk/cotton hanging loops at top center and top left. The interior of the bag is pieced of plain and printed cotton fabrics. The backing is a woven striped silk/cotton fabric.

Ilgich, late 19th century

Kungrat

Not on View
Overcast stitching attaches front to back, cloth band at top Striped lining. The face is pieced from red plain weave wool and black cotton twill fabric. The embroidery is worked in silk thread. The bag is backed with pieced red cotton flannel. The top edge of the back is bound in woven striped cotton. The edges of the bag are not finished, but simply overcast with white cotton thread. Chain stitch.

Kaichidon, 19th-20th century

Dasht-i-Kipchak

Not on View
Fringe with warp-twined heading, cloth band . The red ground is pieced from red cotton flannel and red plain weave wool fabrics. There is a pink cotton sateen strip at the top edge under the fringe. The embroidery is worked in silk. Green cotton bias-cut cotton binds the edges. The fringe is green cotton. There is a printed cotton substrate, through which the embroidery is worked. No backing is present. Chain stitch.

At torba ilgich, 19th century

Lakai

Not on View
unlined pounded indigo with batik inserts on upper sleeve and yoke and curled up back in circle patterns--blue, orange, white and gold; blue and white cuffs; jacket design has flared sides with vents and PL closure with ties; PL front short with inside ties; lower edges curved with applied tape bindings; applied embroidered shoulder bands and upper neck--floral patterns--blue, green and yellow on red; distinctive upper neck square closure; 2" woven band at front edges--similar colors

Jacket, Date Unknown

Miao

Not on View
front: red background with diamonds surrounding brown field with red, purple and yellow flowers; red band near top with possible inscription; back: tan with 2 brown rectangles at bottom; pink squares at top; pink and brown border

Double Rya, 18th century

Sweden

Not on View
large brushed areas green, dust pink and gold on a brown background; some blue, orange, ochre touches; brown border lined with orange; at each corner same orange motif; natural brown wool weft woven between each row of pile; black wool edged the piece

Carpet, 1914

Roger Fry; Manufacturer: Omega Workshops, Ltd., London

Not on View
red and orange floral motif with black accents on light brown background; tan, red, and orange floral border with black background; tan edges

Malayer Rug, early 18th century

Persian

Not on View
wood circular background (support frame) covered with 100% unbleached natural linen fabric visible in some areas; long cords wrapped with yarn and sewn in rows to the background; cord ends are free, some are interlaced; several hanks of linen and skeins twisted; colors are natural, ecru, orange, dark red, purple, brown, yellow, light blues, ochre, variegated (purple, red, brown)

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

Labyrinth of Communication, 1990-1991

Sheila Hicks

Not on View
landscape/waterscape in series of blue and greys; thin island at left, middle ground in dark blue; mist on water's edge in white, longer yarn; tassel of three tied threads at all four corners

%C2%A9 D.Y. Begay

Nahookosji Hai (Winter in the North)/Biboon Giiwedinong (It is Winter in the North), 2019

D.Y. Begay

Not on View
cream colored with fringe on one short side; geometric patterns along long sides in orange, white, blue and green; three stripes with geometric designs at short sides. Surface ornamentation (Needlework)

Veil, 20th century

Ait Ouaouzguite Amazigh (Berber)

Not on View
with love knot

Man's bag, Date Unknown

Kachin (Jingpho)

Not on View
Printed cloth band. Red wool ground with polychrome silk embroidery and printed cotton twill binding. The gringe has been removed since photography by donor. The embroidery is worked through a substrate of printed cotton fabric. There is no backing.

Ilgich, late 19th century

Lakai

Not on View
Bag back: ikat print with printed lining, Pieced, printed linings. The wool ground was originally red, but has faded to orange. Embroidery threads are silk. The backing is red cotton fabric. The bag is lined with two different red cotton printed fabrics. There is a cotton binding on all edges, but it is worn and mostly missing on the face of the bag. Chain stitch dominates. Six large motifs filled with different symbols.

Uuk kap Ilgich, late 19th-early 20th century

Lakai

Not on View
Embroidered bands, Pieced, printed lining. Red wool flannel ground with polychrome silk embridery. Cross stitch embroidered bands form a border on all edges. Hanging loops are also embroidered in cross stitch; the bands and hanging loops are worked in silk thread on cotton fabric. There is a red print cotton backing on the shield. The uppermost of the two embroidered motifs forming the design is unusually fine in execution. Lined in red cotton.

Uuk kap Ilgich, late 19th century

Lakai

Not on View
Fringe with warp-twined (LM) heading, cloth band, Pieced, printed lining. Five medallions on red wool ground with polychrome silk embroidery. There is a woven striped cotton edge binding, and cotton fringe. The borders are pieced of black and dark red wool, with black cotton at the PR upper corner. The backing is printed red cotton with yellow motifs.

At torba ilgich, late 19th-early 20th century

Lakai

Not on View
Warp-twined (LM) edge, Pieced lining. Loose, balanced red plain weave wool ground with polychrome silk embroidery and silk embroidered binding. There is a red cotton backing. Yellow, green, black designs completely covered in chain stitch type embroidery. Center pineapple shape with scrolls and tooth-edge extenders.

Uuk kap ilgich, late 19th century

Lakai

Not on View
Embroidered bands. Pieced dark red wool ground with polychrome silk embroidery. Chain stitch bands in two designs outline the edges; one pattern on top edge and upper inch of PR side, and a different pattern on the other edges. Three tassels are composed of cotton, silk, and metallic threads over a cotton core. The embroidery is presently hand stitched to a fabric covered mount; the verso is not visible. Mounted and stitched to white scrim and sheer screen and a white linen covered strainer. Red.

Uuk kap ilgich, late 19th century

Lakai

Not on View
Pieced, printed lining (also forms edge finish). Red wool ground with polychrome silk and synthetic embroidery. The printed cotton backing is turned to the front along the edges to form a self-binding. Chain stitch outlining with back stitch fill.

At torba ilgich, late 19th-early 20th century

Lakai

Not on View
Braided-net fringes with tassels, warp-twined (LM) and embroidered bands, assumed LM braid. Pieced, printed lining. Chain stitch, black wool ground with polychrome silk embroidery. There is a woven silk fringe with wrapped silk/cotton tassels on all four sides. There is a silk-on-cotton embroidered finishing band on the bottom edge. The backing is pieced from two different printed cotton fabrics. The fringe and tassels at the upper edge appear to be a later addition; they are a different pattern and color from the rest. woven fringe is in sections of random colors. Some tassels are wrapped with metal wire or wrapped metallic cord.

Da-our, late 19th-early 20th century

Kungrat

Not on View
Cloth band, Pieced ikat lining. Green wool flannel ground with polychrome silk embroidery, red cotton edge binding, and silk/cotton ikat backing. Five-sided.

Uuk kap Ilgich, late 19th-early 20th century

Lakai

Not on View
Cloth band, No backing cloth, pieced and printed lining. Red wool ground fabric pieced with black cotton pieced velvet border, embroidered with silk threads. The backing is printed cotton fabric. One hanging tab at top. Chain stitch, herrinbone.

Tent hanging, 19th-20th century

Kyrgyz or Kazak

Not on View
Natural colored ground with a total of nine bands of supplementary patterning in burgundy, blue, orange and yellow at ends

Woman's dress (Afaggou), 20th century

Ihahan Amazigh (Berber)

Not on View
standing faceless doll with long black yarn hair; doll wears a flowered tunic blouse with blue ground and tiny orange and pink flowers, with white beading at hem and cuffs, and white and pink beads around collar; silver bead "buttons" at top front; black wool shin covers with black wool skirt; skirt and shin covers are decorated with pink, pale green and white beads in floral motifs; leather moccasins decorated with pink and pale green beads in floral motifs; two strands of pink beads around neck; doll holds a tiny pink and light tan basket; doll has a black wool crown-like hat deocrated with pink and white floral motif beading; another similar larger basket accompanies doll

Female corn husk doll with two baskets, one of a pair, c. 1900-1930

Woodlands

Not on View
standing faceless doll with long black yarn hair; doll wears a flowered shirt with blue ground and tiny orange and pink flowers, with white beading at hems and cuffs and silver bead "buttons"; black wool pants with black wool apron; both apron and pants are decorated with pink, pale green and white beads in floral motifs; leather moccasins and pouch with shoulder strap decorated with pink and pale green beads in floral motifs; pink and white beaded choker necklace; doll holds a wooden club with a stylized owl face; separate dome-shaped hat with rush-colored feathers overall--3 long pointed feathers on top of hat

Male corn husk doll with feathered hat, one of a pair, c. 1900-1930

Woodlands

Not on View

City College NY Theater Curtain, 20th century

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

Not on View

Shearling, 1966

Suzanne Huguenin; Mill: Joynel Company Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Somerset Heath, 1969

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

Not on View

Shearling, 1966

Suzanne Huguenin; Mill: Joynel Company Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Mutation III, 1970

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

Not on View

Novello, 1960-1980

Larsen Design Studio, New York; Designer: Wendell Riggs; Mill: Ernesto Cruz Granada; Producer: Jack Lenor Larsen, Inc.

Not on View

Charlemagne, 1983

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

Not on View

Charlemagne, 1983

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

Not on View

Broken Arrow, 1984-1990

Larsen Design Studio, New York; Mill: Jacob Rohner AG; Producer: Jack Lenor Larsen, Inc.

Not on View

Broken Arrow, 1984-1990

Larsen Design Studio, New York; Mill: Jacob Rohner AG; Producer: Jack Lenor Larsen, Inc.

Not on View

Boom, 1973-1979

Larsen Design Studio, New York; Designer: Marga Hielle-Vatter; Mill: Rohi Fabrics; Producer: Jack Lenor Larsen, Inc.

Not on View

Fabula, 1964-1967

Larsen Design Studio, New York; Designer: Marga Hielle-Vatter; Mill: Rohi Fabrics; Producer: Jack Lenor Larsen, Inc.

Not on View

Cochibamba, 1966

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

Not on View

Boom, 1973-1979

Larsen Design Studio, New York; Designer: Marga Hielle-Vatter; Mill: Rohi Fabrics; Producer: Jack Lenor Larsen, Inc.

Not on View

Boom, 1973-1979

Larsen Design Studio, New York; Designer: Marga Hielle-Vatter; Mill: Rohi Fabrics; Producer: Jack Lenor Larsen, Inc.

Not on View

Chimor, 1985

Jack Lenor Larsen, Inc.

Not on View

Intaglio, 1979

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

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Four Square, 1979-1982

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

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Labyrinth, 1981

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

Not on View

Four Square, 1979-1982

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

Not on View

Noah's Ark, 1982

Jack Lenor Larsen, Inc.

Not on View

Marriage blanket (Arkila kerka), c. 1960

Fulani

Not on View

Lamaist priest hat, early 20th century

China

Not on View

Length of Cloth, 19th century

Armenia

Not on View

Coverlet, c. 1830

United States

Not on View

Coverlet, 1855

United States

Not on View

Coverlet, one of a pair, 1825-1850

United States

Not on View

Coverlet, 1852

United States

Not on View

Coverlet, 1842

United States

Not on View

Coverlet, one of a pair, 1825-1850

United States

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Chimor, 1985

Jack Lenor Larsen, Inc.

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Intaglio, 1979

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

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Chimor, 1985

Jack Lenor Larsen, Inc.

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Intaglio, 1979

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

Not on View

Chimor, 1985

Jack Lenor Larsen, Inc.

Not on View

Intaglio, 1979

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

Not on View

Intaglio, 1979

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

Not on View

Labyrinth, 1981

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

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Intaglio, 1979

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

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Fantasy Park, 1981-1991

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

Not on View

Downwind, 1974

Marga Hielle-Vatter; Mill: Rohi Fabrics; Producer: Jack Lenor Larsen, Inc.

Not on View

Border, Date Unknown

Peru

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Noah's Ark, 1982

Jack Lenor Larsen, Inc.

Not on View

Lineage, 1985

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

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Noah's Ark, 1982

Jack Lenor Larsen, Inc.

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Lineage, 1985

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

Not on View

Solarus, 1985

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

Not on View

Sweet water, 1985-1986

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

Not on View

Bloomsbury, 1985-1992

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

Not on View

Turkoman, 1978

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

Not on View

Sweet water, 1985-1986

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

Not on View

Turkoman, 1978

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

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Ribcord, 1982-1990

Larsen Design Studio, New York; Mill: British Furtex Ltd; Producer: Jack Lenor Larsen, Inc.

Not on View

Turkoman, 1978

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

Not on View

Solarus, 1985

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

Not on View

Solarus, 1985

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

Not on View

Turkoman, 1978

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

Not on View

Bloomsbury, 1985-1992

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

Not on View

Turkoman, 1978

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

Not on View

Charlemagne, 1983

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

Not on View

Fantasy Park, 1981-1991

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

Not on View

Grand Tour, 1978

A. Johnston; Designer: Larsen Design Studio, New York; Mill: Old Deerfield (printer); Producer: Jack Lenor Larsen, Inc.

Not on View

Rug, late 18th century

Spain

Not on View

Rug from the Prindle House, c. 1910

United States

Not on View

Belt, 20th century

Greece

Not on View

Furnishing Fabric, early 20th century

Erickson and Weiss

Not on View

Furnishing Fabric, early 20th century

Erickson and Weiss

Not on View

Furnishing Fabric, early 20th century

Erickson and Weiss

Not on View
big size rectangular weaving with geometric pattern in the four hooks and henna-painted designs in the boards and the field

Draped garment (afaggou), 20th century

Ida ou Nadif Amazigh (Berber )

Not on View
Cloth band, Pieced, printed lining. Red wool round with polychrome silk embroidery, cotton edge binding and printed cotton backing. Square center design and four corner images. Pieced, red print lining. Chain stitch dominates.

At torba ilgich, late 19th-early 20th century

Lakai

Not on View
Cloth bands on reverse edge, No backing cloth, lining fragments. Hand woven coarse red wool ground fabric with polychrome wool embroidery. One edge has a narrow embroidered border (top in photo). On the reverse, there is a striped cotton edging on three sides. There is no backing, binding, or fringe. Ground fabric is pieced near/over edge. Large center square with border of smaller motifs on all four sides.

Ilgich, early 20th century

Kungrat

Not on View
Fringe with warp-twined heading, warp-twined band, Printed cloth bands on reverse edge, No backing cloth. Pieced black wool ground with polychrome silk embroidery. The panel is edged with cotton woven tape and fringe. There is no backing. There are printed cotton bands on the edges of the reverse.

Tabaklau ilgich, late 19th century

Semiz

Not on View
Embroidered band at top, Striped lining. Red plain weave wool ground with polychrome silk embroidery. The diagonally pattered silk edge binding is embroidered. Cotton tape cross-stitched in silk thread forms a border at the upper edge. The hanging loops are cotton. Sewn on tassels are constructed of cotton and metallic threads, in bundles of three. Striped cotton fabric is secured to the reverse of the panel with starch paste, There is no finished backing.

Uuk kap Ilgich, late 19th-early 20th century

Lakai

Not on View
Embroidered band at top, Pieced ikat lining. Heavy plain weave wool ground with tan warp and black weft. Polychrome silk embroidery. embroidered chain stitch borders are integral on the sides and bottom edge. The top border is applied, embroidered in silk on silk and hand sewn in place. There is a silk/cotton ikat backing. Raw and frayed edges are seen on the face, suggesting a missing fringe or binding.

Da-our fragment, late 19th-early 20th century

Lakai

Not on View
Fringes with warp-twined (LM) heading, wide embroidered bands . Overall cross stitch embroidery in silk, synthetic, and cotton threads on a cotton ground with center vertical join. The borders are attached red wool bands with chain stitch dominating, backed with cotton fabric. The panel is trimmed with cotton fringe. There are two intact hanging loops. No backing is present; the construction technique is clearly visible on the reverse.

Wall hanging, 19th century

Shahrisabs or Kitab center with Kungrat borders

Not on View
Braided-net fringe, cloth band, Pieced plaid lining. Red cotton flannel ground with polychrome silk embroidery. There is a wide braided band at left and lower edge, with silk and metallic wrapped tassels. A green silk binding finishes the upper edge. There is a woven plaid cotton packing, secured to the reverse with starch paste. Made to lie flat at corner with fringe hanging over edge.

Segusha, 1930-1940

Lakai

Not on View
Rootlike coiled forms in shades of orange to red and gold; emerging from a beige woven ground

%C2%A9 Ritzi and Peter Jacobi

Exotica, 1977

Ritzi Jacobi; Artist: Peter Jacobi

Not on View

Needlepoint pillow after Henri Fantin-Latour's Roses, 20th century

Kaffe Fassett

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Palace Facade, 20th century

Jack Larsen; Producer: Jack Lenor Larsen, Inc.

Not on View

County Check, 1981

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

Not on View

Larsen Plush II, 1985

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

Not on View

Larsen Plush II, 1985

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

Not on View

Delineation, 1988-1990

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

Not on View

Coachcloth, 1987

Jack Lenor Larsen, Inc.

Not on View

County Check, 1981

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

Not on View

Larsen Plush II, 1985

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

Not on View

Larsen Plush II, 1985

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

Not on View

County Downs, 1982

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

Not on View

Coachcloth, 1987

Jack Lenor Larsen, Inc.

Not on View

Larsen Plush II, 1985

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

Not on View

Delineation, 1988-1990

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

Not on View

Larsen Plush II, 1985

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

Not on View

Delineation, 1988-1990

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

Not on View

Larsen Plush II, 1985

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

Not on View

County Downs, 1982

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

Not on View

Coachcloth, 1987

Jack Lenor Larsen, Inc.

Not on View

Coachcloth, 1987

Jack Lenor Larsen, Inc.

Not on View

Esplanade, 1973-1982

Larsen Design Studio, New York; Mill: Tisca Tischauser & Co.; Producer: Jack Lenor Larsen, Inc.

Not on View

Delineation, 1988-1990

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

Not on View

Fragment of Man's Sock, 19th century

Greece

Not on View

Fragment of Man's Sock, 19th century

Greece

Not on View

Child's Hat, c. 1940

Not on View

Coverlet, 1825-1850

United States

Not on View

Delineation, 1988-1990

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

Not on View

Delineation, 1988-1990

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

Not on View

Coachcloth, 1987

Jack Lenor Larsen, Inc.

Not on View

Coachcloth, 1987

Jack Lenor Larsen, Inc.

Not on View

County Downs, 1982

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

Not on View

County Downs, 1982

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

Not on View

Delineation, 1988-1990

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

Not on View

County Check, 1981

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

Not on View

Coachcloth, 1987

Jack Lenor Larsen, Inc.

Not on View

Delineation, 1988-1990

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

Not on View

Coachcloth, 1987

Jack Lenor Larsen, Inc.

Not on View

Delineation, 1988-1990

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

Not on View

Coachcloth, 1987

Jack Lenor Larsen, Inc.

Not on View

Crosswind, 1974

Marga Hielle-Vatter; Mill: Rohi Fabrics; Producer: Jack Lenor Larsen, Inc.

Not on View

Chevril, 1979

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

Not on View

Delineation, 1988-1990

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

Not on View

Delineation, 1988-1990

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

Not on View

Delineation, 1988-1990

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

Not on View

Chevril, 1979

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

Not on View

Coachcloth, 1987

Jack Lenor Larsen, Inc.

Not on View

County Check, 1981

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

Not on View

At Ibiza, 1973

Don Cameron; Weaver: Kawashima Textile Mills, Ltd.; Producer: Shuttle Art Ltd.

Not on View

Continuity, 1973 (designed 1971)

Ibram Lassaw; Weaver: Kawashima Textile Mills, Ltd.; Producer: Shuttle Art Ltd.

Not on View

Band, late 19th century

Uzbekistan

Not on View

Band, late 19th century

Uzbekistan

Not on View

Nutria, 1977-1981

J.A. Raymakers & Co.; Producer: Jack Lenor Larsen, Inc.

Not on View

Mahratta, 1973

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

Not on View

Nutria, 1977-1981

J.A. Raymakers & Co.; Producer: Jack Lenor Larsen, Inc.

Not on View

Bas-relief, 1995

Jack Lenor Larsen, Inc.

Not on View

Nutria, 1977-1981

J.A. Raymakers & Co.; Producer: Jack Lenor Larsen, Inc.

Not on View

Saville Row, 1976

Larsen Design Studio, New York; Designer: Marga Hielle-Vatter; Mill: Rohi Fabrics; Producer: Jack Lenor Larsen, Inc.

Not on View

Tibet, 1973

Larsen Design Studio, New York; Mill: Weberi Escheu A.G. (WEAG); Producer: Jack Lenor Larsen, Inc.

Not on View

Tibet, 1973

Larsen Design Studio, New York; Mill: Weberi Escheu A.G. (WEAG); Producer: Jack Lenor Larsen, Inc.

Not on View

Bas-relief, 1995

Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Pomegranate, 1953

Jack Larsen; Mill: Jack Lenor Larsen Inc.; Producer: Jack Lenor Larsen, Inc.

Not on View

Rug, from the Prindle House, c. 1910

United States

Not on View

Mat, 20th century

Mexico

Not on View

Pair of Men's Leggings, 19th century

Apsáalooke (Crow)

Not on View

Wedding blanket (Arkilla munga), 20th century

Fulani (made for Tuareg)

Not on View

Bar None, 1985

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

Not on View

showing 300 of 309 results matching medium:"Wool, cotton". (load 9 more)

Download results as CSV