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multicolored--predominately red and blue; bands of irregular geometric designs and wavy lines with ornate patterning; white fringe on one end — Carpet, about 1990
Amazigh (Berber)

G250

Red textile with blue, green, tan, and white woven pattern; pattern consists of four white crosses with blue tips in corners, surrounded by stepped blue/white and green/tan diamond borders with a blue/white diamond outlined at center; red background is various shades of red, with more muted pink-red at top, bolder, orange-reds at center and bottom; navy blue border; small opening in center (incorporated into weaving). — Blanket, c. 1875
Navajo

G260

third phase late classic chief's blanket with mostly symmetrical pattern of stepped diamonds, partial diamonds, and stripes in reds, indigo, natural, brown, and gray; large central diamond with layers of red, indigo, and indigo/natural stripes with gray cross in center; partial diamonds on edges and corners; gray zigzag lines at corners and two opposite sides; two opposite selvedge edge indigo and other two are red; tightly woven — Chief's blanket (Hanoolchadi), c. 1865
Navajo

G230

woven wall hanging with overhead view of a hunter wearing a rust-red coat, black pants and grey and brown boots, holding a harpoon and a rope, creeping along ice and snow toward a mottled grey seal in LRC; brown and grey forms at top; sleeve bands at top and bottom with wooden cleats; white twisted rope through top sleeve as hanging cord — Creeping Up, 1980
Sarah Maniapik; Weaver: Olassie Akulukjuk

G260

tulip blossom in red, orange, yellow and white in LRC; green ground; long straight stem (?) at left; black heading band on back — "Spring Tulips" Study, 2003
Helena Hernmarck

G281

dark blue wool with yellow, red and white stripes at one end; appliquéd silk ribbon in white, lavender, light blue and medium blue forming U-shaped section with strips of symmetrical stepped flower and leaf designs; 4 red silk hand silhouettes, trimmed in white beads; green silk trim — Friendship Blanket, c. 1900
Wazhazhe (Osage)

G261

Tree of Life rug; Ghiordes knot — Rug, 19th century
Turkey

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Rug, large, Shirvan Khilim. Three broad stripes of blue with hexagonal motives alternating with broad triple band in green, red and dark brown. This khilim has large openwork spaces. Wool — Rug, 19th century
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shawl, four borders and corner butha woven seperastelt and stitched to black center. Pieces of embroidery carry the design over into the center; design of interlacing buthas in several colors, chiefly red; border design is a simple repeat not fitted around the corners; fringe at ends — Shawl, 19th century
India

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Rough plain weave. 2 1/2 vertical pattern repeat, horizontal repeat 1to 1 1/4". Rough plain weave. 2 1/2 vertical pattern repeat, horizontal repeat 1 to 1 1/4". (light olive) — Quimbaya Crepe, 1966
N/E; Producer: Jack Lenor Larsen, Inc.

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Rough plain weave. 2 1/2 vertical pattern repeat, horizontal repeat 1to 1 1/4". Rough plain weave. 2 1/2 vertical pattern repeat, horizontal repeat 1to 1 1/4". (Sage) — Quimbaya Crepe, 1966
N/E; Producer: Jack Lenor Larsen, Inc.

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Vert repeat 48", Horz repeat 25".Wool double weave. Rectangle shapes ranging from 1/4 to 1" in width and 1/2 to 2" length. Gradating color change in waves. Polychrome — Landis II, 1982-1990
Larsen Design Studio, New York; Designer: Richard Landis; Mill: Alliance Textiles, Ltd.; Producer: Jack Lenor Larsen, Inc.

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Rough plain weave. 2 1/2 vertical pattern repeat, horizontal repeat 1to 1 1/4". Rough plain weave. 2 1/2 vertical pattern repeat, horizontal repeat 1to 1 1/4". Yellow Orange — Quimbaya Crepe, 1966
N/E; Producer: Jack Lenor Larsen, Inc.

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Hand woven plain weave. Weft threads of natural and dark tan alternating. Warp is same. Hand woven plain weave. Weft and warp threads of red and rust alternate. Backed with acrylic latex, moth-proofed. Brambleberry — Donegal, 1969-1971
Larsen Design Studio, New York; Mill: Gaeltarra Eireann; Producer: Jack Lenor Larsen, Inc.

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Hand woven plain weave. Weft threads of natural and dark tan alternating. Warp is same. Hand woven plain weave. Weft threads of natural and dark tan alternating. Warp is same. Oyster — Donegal, 1969-1971
Larsen Design Studio, New York; Mill: Gaeltarra Eireann; Producer: Jack Lenor Larsen, Inc.

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Plain balanced weave. Plain balanced weave. Moonstone — Cashel, 1970-1972
Larsen Design Studio, New York; Mill: Orr; Producer: Jack Lenor Larsen, Inc.

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Plain balanced weave. Plain balanced weave. Moonstone — Cashel, 1970-1972
Larsen Design Studio, New York; Mill: Orr; Producer: Jack Lenor Larsen, Inc.

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long tan textile with appliquéd tan and brown geometric shapes; the geometric shapes include circles, squares, and lines bent at a 90 degree angle; edges are hemmed — Dance skirt, early 20th century
Kuba

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predominantly black textile with multicolored geometric designs; geometric figures include diamonds, triangles, and "x"s; textile constructed of six long strips; geometric patterns are white, brown, and tan in color — Bed screen (arkilla kerka), 19th century
Fulani

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saddle bag style, with pouch on each side; predominately brown; pouches woven with horizontal bands with green, red and dark tan stripes, radiating diamond designs, blocks of green, blue and tan, repeating squared-off S shapes bordered in orange, interlocking parallelograms and geometric shapes with diamond centers — Camel bag, 20th century
Afghanistan

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bright red-orange with plaid design in white, green and black; twisted fringe on all four sides — Head cloth, from a five-piece costume, 21st century
Pao

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dark blue background with supplemental weft in paisley pattern in dark red, pink, off-white and apricot; embroidered inscription of maker at top with Islamic date of 1350 i.e. 1925; used as band to wrap around waist — Shawl, Date Unknown
Iran

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slightly marled grey-brown yarn; multicolored end bands in purple, red, orange, pale orange, grey, yellow and white in geometric bands with squares, checks and chevrons; grey fringe — Man's shawl, mid 20th century
India

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striped bag with shoulder strap and tassels at lower corners; woven stripes in alternating pattern--green stripe with white center bordered with single rows of black, white and yellow; wide stripe of black and white geometric pattern with pink and green center stripe; border at edge of wide stripe of green stripe and red stripe — Bag, 20th century
White Lahu

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reversible; geometric designs and birds; white, red, pink, maroon, green; maroon and white ties — Belt, 20th century
Bolivia

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reversible woven design of white, pinks, maroon, red, green and blue geometric shapes, animals, birds and figures; braided at one end — Belt, 20th century
Bolivia

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reversible weave; geometric designs, birds, horses and flowers; red, pink, maroon, green, white; repeating "V" borders — Belt, 20th century
Bolivia

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reversible weave; maroon, white, pink, green, blue with geometric designs, horses, figures, birds and other small animals — Belt, 20th century
Bolivia

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reversible; woven geometric designs and animals and birds; maroon, reds, greens, pinks — Belt, 20th century
Bolivia

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high and low pile, wool, high twisted wool in yellow, orange, brown and beige — Handwoven Rug, 20th century
United States

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linen warp, wool chenille filler and Philippine braids — Handwoven Floor Covering, 20th century
Cranbrook Art Museum

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wool chenille filler and handspun jute; black and beige — Handwoven Runner, reversible, 20th century
United States

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linenwarp, wool chenille weft; synthetic and Rovana pile handspun Mexican wool plus synthetics; brown, beige, black — Handwoven Area Rug, 20th century
United States

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linen warp on chenille: beige, brown, white — Handwoven High Pile Rug, 20th century
United States

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warp: linen; weft: charcoal wool, chenille — Rug or Floor Pillow, 20th century
United States

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wool warp, wool/wool chenille; purple, turquoise; mounted on masonite with staples or tacks — Handwoven Couch Upholstery, 20th century
Cranbrook Art Museum

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wool warp, wool/wool chenille filler, lime, yellow; mounted on masonite with staples or tacks — Handwoven Upholstery Fabric, 20th century
Cranbrook Art Museum

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primarily light brown/rust--multicolors; horizontal patterned stripes (zigzags, diamonds, X's) with five vertical zigzag bands; checked pile bands with central squares at ends, with stripes and twisted orange fringe at short ends; heading band on back at one short end (top) — Rug, c. 1980
Morocco

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six strips stitched together with a narrow tan, white, brown and yellow patterned band at center; cream, dark brown and tan with touches of yellow; various patterned and plain bands with patterned bans at center with a variety of diamond and triangle motifs; some twisted tassels at short sides — Blanket, second half of 20th century
Fulani

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six strips stitched together with a narrow tan, white, brown and yellow patterned band at center; cream, dark brown and tan with touches of bright yellow-orange; central motifs with diamonds and triangles--similar motifs at each end flanked by a brown band with white, brown and yellow diamonds and a brown band with broken white line at center; some twisted tassels at short sides — Blanket, second half of 20th century
Fulani

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wide black band at center; narrow black bands at long sides; horizontal wide red and narrow white stripes; pairs of blue L shaped stitching on either side of neck opening — Poncho, 18th century
Aymara

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Handwoven alternating heavy & lt. Warp & weft Ecru White — Doria I, 1957
Larsen Design Studio, New York; Designer: Dona Raquel Vivas; Mill: Penaranda; Producer: Jack Lenor Larsen, Inc.

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Plain weave with medium yarn. Plain weave with medium yarn. Burnt orange. Burnt Orange — Doria II, 1963
Larsen Design Studio, New York; Designer: Dona Raquel Vivas; Mill: Penaranda; Producer: Jack Lenor Larsen, Inc.

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Balanced Plain weave, natural colors. Balanced Plain weave, natural colors. Platinum — Alabaster, 1968
Marga Hielle-Vatter; Mill: Rohi Fabrics; Producer: Jack Lenor Larsen, Inc.

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Jacquard interlocking overlapping designs of swirled flower petals, geometrics in a variety of weaves. Vert. Rpt. 18"; horiz. Rpt 25.5".. Black & white. Domino — Figuration, 1972-1982
Marga Hielle-Vatter; Mill: Rohi Fabrics; Producer: Jack Lenor Larsen, Inc.

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wool, sleeveless sweater that is mostly brown in color; geometric, rising pyramid-like structure, with four fin-shaped protrusions extending out of right and left edges, two on each edge, rendered in a muted salmon color with blue outline; yellow colored elements at the top of the structure as well as in the center of the structure; blue triangular shape, flanked by green and yellow rectangle shapes are located beneath the pyramid structure; muted salmon trapezoid shape with thin black horizontal lines at the bottom, possibly representing stairs, with a yellow colored geometric mound that is adorned with a light blue dot in the center; two curving brown shapes with small, blue dots in center right and left edges; yellow colored sections behind the brown shapes with three blue floral shapes on each side — Pullover sweater vest, 1971
Mary Hillier Thompson

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black, cream, and light brown; geometric patterns with triangle motifs at center; stepped cream zigzags around borders — Rug, late 1960s
Mary Willetto

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black, cream, red and grey; geometric patterns with square at center with zigzags, diamond and chevrons; zigzags on two long sides — Rug, early 1970s
Faye Yazzie

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neutral colors: tans, browns, greys, black, white, dull reds; cars and trucks, store with "7-UP" sign, cows, houses, trees and scrubby foliage, snow-covered mountains, stepped designs in sky — Rug, early 1970s
Fanny Mann

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predominately blue; blues with maroons/reds and cream; abstract design; received as one piece--separated into a diptych on 3/16/15 — Blue Wash 1, 1984
Helena Hernmarck

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predominately cream; blues with maroons/reds and cream; abstract design; received as one piece--separated into a diptych on 3/16/15 — Blue Wash 2, 1984
Helena Hernmarck

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two horizontal panels stitched together; four red, orange and yellow tulip blossoms on a dark green ground; black heading band on back — Four Tulips, 1999
Helena Hernmarck

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small tapestry woven in greens, reds, oranges, brown, yellows; close-up view of a leaf; attached heading band on back — Kari's Leaf, 2004
Helena Hernmarck

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small tapestry woven in purples, blues, brown, cream, oranges; reflections on a glass building; heading band on back — Exterior Reflections, 2005
Helena Hernmarck

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brown and cream borders; grey ground with two stepped diamonds with brown centers and orange and dark brown borders, with orange triangles at corners; stepped squares in light brown, dark brown, cream and orange at long sides; two corners have twisted brown tassels — Red Mesa textile, c. 1920
Navajo

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cream, blue-grey, white, brown and pale green; plain stripes at top and bottom; blue-grey stripes with stepped zigzag-like designs in white trimmed with either brown or cream alternate with stripes with either brown and white or blue-grey and white thunderbirds with open wings — Rug, Date Unknown
United States

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grey, white and two shades of yellow; stripes of various widths and colors; wide yellow stripes with shapes consisting of two stepped forms in white or light yellow flanking a grey stepped form; metal gromet attached to one corner tassel — Rug, Date Unknown
Diné (Navajo)

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cream, dark brown, light brown and blue; cream ground; central radiating stepped diamond design with three blue diamonds at center; diamond shaped starbursts in rows of like colors; brown border with cream starbursts at short ends; stepped zigzags and brown triangle bands at long sides; twisted medium tan tassels/fringe at short ends — Rug, Date Unknown
United States

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light and medium tan, light brown, white, grey, pink and rust red; plan stripes of various widths and colors; three patterned grey stripes--two with stepped white diamonds surrounding brown diamonds with two white triangle at center, one stripe with pink bowtie shapes — Rug, Date Unknown
United States

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blue ground with red border with stepped motif at long sides; red text at top: "THE LORD IS MY SHEPHERD"; black sheep below text; brown fringe — Rug, Date Unknown
United States

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six strips stitched together; brown with subtle variations in color; some twisted tassels at short sides — Blanket, second half of 20th century
Fulani

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Yattha Dhenkhep; double panel wool brocade on wool background; discontinuous supplementary weft medallion motifs in blue, red, beige wool in dark brown wool ground; center seam and 2 smaller scetions attached at one end; black cotton binding at both ends. — Yattha Dhenkhep, 20th century
Bhutan

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Poncho, Bolivia — Poncho, 1960-1970
Bolivia

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fabric sample — Doria, 1942-1986
Jack Lenor Larsen

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Woman's Shawl (lliclla), Bolivia — Woman's Shawl (lliclla), 20th century
Bolivia

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Skirt (Aksu), Bolivia — Skirt (Aksu), 1950-1960
Bolivia

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Poncho (Man's outer garment, ceremonial), Quechua — Poncho (Man's outer garment, ceremonial), 20th century
Quechua

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Woman's ceremonial overskirt, Quechua — Woman's ceremonial overskirt, 20th century
Quechua

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pile; brown and tan striped ground; rectangles and L shapes in predominately orange with subtle stripes; braided fringe on one end — Carpet, c. 2000
Chichaoua Amazigh (Berber)

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red, blue, green and ivory coverlet; 2 panels joined at center; motifs striped floral designs (abstract); 3 sides fringed; side borders floral and foliate designs - signed and dated — Coverlet, 1850
Charles Wiand

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red, green, black and off-white coverlet; stripes of floral designs enclosed in octagons alternate with smaller floral designs in diamonds; borders on sides; fringe on sides and one end — Coverlet, 1844
Charles Wiand

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grey and cream ground; image of an oversized envelope with three cancelled stamps in URC, purple U.S. Customs stamp below address, red and white sticker, and yellow and blue airmail sticker at left; white heading band on back — Envelope from Sweden, 1992
Helena Hernmarck

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pale green ground; 14 rectangles with design of three ticket stubs--dark orange and purple; black heading band on back — Ticket Dazzler, 1994
Helena Hernmarck

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third phase late classic chief's blanket with mostly symmetrical pattern of stepped block diamonds, partial diamonds, and stripes in red, indigo, natural, brown, green, and mustard yellow; central diamond with layers of red, indigo/green blocks, with green-tipped indigo cross at center; partial matching diamonds on edges next to center diamond; partial diamonds in each corner and two sides in red, indigo and yellow; large stripes of brown and natural in background; thinner stripes of indigo, red, and brown at center and parallel sides; indigo selvedge edge; tassels tied in corners; tightly woven — Chief's blanket (Hanoolchadi), c. 1865
Navajo

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Navaho serape with mostly symmetrical stepped diamonds-within-diamonds pattern primarily in red with dark indigo blue and natural color; two ends have a striped border; one end has 4 stripes and the other has 5 stripes; indigo selvedge edge; red and indigo tassels tied on each corner; tightly woven — Serape, c. 1865
Navajo

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two panels with central opening; bands of dark brown with rows of stripes of various widths in rose, pink, olive, yellow, blue, pale green and cream, with bands of brown or red with white in wave designs; central pair of bands with floral motifs in reds, cream and blue — Poncho, 18th century
Aymara

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predominately black with red and dark pink stripes at long sides; green border stitching around neck opening — Poncho, 18th century
Aymara

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Promethean Orange, Charlene Burningham — Promethean Orange, c. 1971
Charlene Burningham

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Navajo Late Classic Serape with mostly symmetrical stepped diamond pattern in dark indigo blue, natural, and green on a red field; three center indigo diamond outlines each with smaller diamonds inside in indigo and green colors; on either side of center is repeating natural color diamond outlines with indigo diamonds in center; along outside edge of design are 3 indigo center cut diamonds with alternating indigo and green cut diamonds inside, peaks are taller on one edge than the other; indigo selvedge edge; indigo tassels tied on each corner; tightly woven — Serape, c. 1865
Navajo

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woven in blues, white, browns, light grey, greens; abstracted image with brown lines similar to handwritten text; grey heading band on back — "Ballyhooly Document" Study, 2002
Helena Hernmarck

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small panel in greys, tans, dark orange with brown linear central design; braided trim extending beyond edge of panel at LLC and URC — "Beta" Study, 1963
Helena Hernmarck

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knit coat and scarf; bright and dark purple, black, brown, maroon, and tan; coat: checker ombre panels on front and back; black shoulder pad linings; pocket at each side; striped side panels; black chest and sleeves with purple squares; bands of purple ombre stars on front, back and sleeves; bobbles border bands of stars and buttons; black square buttons with flowers on upper body and ends of sleeves; proper right sleeve has band reading, "Don't fence me in / Give me land, lots of land under starry skies above" scarf: square, striped purple, brown, black, tan, stripe with scalloped edge — "Don't Fence Me In" coat and scarf, c. 1983
Linda Mendelson

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woven in oranges, golds, browns, tans, multicolored cream and pink; upper middle section with dark brown letter on cream with pink and silver and tan background; slanted diagonal section descending from URC and widening toward middle in cream/pink and tan; heading band on back — "History of Money" Study, 1997
Helena Hernmarck

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woven in purples, rose, browns, light and medium blues, cream, tan; rolling land in foreground; figures in a canoe in URC; braided trim extends beyond edge of panel at LRC and ULC; green heading band on back — "Journey" Study, 1977
Helena Hernmarck

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Woman's shawl mantle, ceremonial, complementary warp patterning — Mantle, 20th century
Quechua

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blue and white with blue hand-woven binding — Double Weave Coverlet, 1990
Irene Wood

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Woman’s ceremonial half overskirt (aksu), Quechua — Woman’s ceremonial half overskirt (aksu), 20th century
Quechua

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kussaba or square shawl; the ground is of black wool, parts of which have been woven separately and fastened together; shawl is completely covered with floral and arabesque designs; border woven separately and added; supplementary border of fringed strips of colored woolen; the design has been outlined in embroidered stitch; alike on both sides — Shawl (kussaba), 18th century
India

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Woman’s ceremonial half overskirt (aksu), Quechua — Woman’s ceremonial half overskirt (aksu), 20th century
Quechua

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bright multicolors; central band with zigzag-edged radiating diamonds in warm colors (predominately red, orange, yellow) flanked by bands of radiating diamonds in cool colors (predominately turquoise, greens, purples); black and white crosses in rows across diamond patterns; pink band at edge short end, with brown edging and brown tassels at corners — Deep Brain Stimulation, 2011
Melissa Cody

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Woman’s ceremonial half overskirt (aksu), Quechua — Woman’s ceremonial half overskirt (aksu), 20th century
Quechua

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Doshalla, or long shawl, with plain white rectangular center and border of repeated palmettes with elongated neck, in soft blended colors giving and all-over tone of mauve. Embroidered fringed ends. Great weight of shawl indicates that it was probably not madein Kashmir. — Shawl (doshalla), 19th century
India

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sqaure shawl, small, with ground of yellow wool, the central portion of which is decorated by large circles, butha and lotus; border of fine floral design woven separately and added; supplementary border of fringed strips of colored wool — Shawl, 19th century
India

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Rug, small black khilim, with a lozenge design in black and tan. Fringed ends. — Khilim rug, 19th century
Turkey

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Prayer Rug, 19th century

Turkey

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patchwork kussaba or square shawl, woven in pieces which have been joined together. Design of elongated palm leaves with a curving design of white scrolls. The center is of black, and the outer pieces have been joined to it, red, yellow, gree black and lavendar. The border is made up of small vari-colored strips fringed and embroidered. Mohammedan signature (?) and date in central field. — Shawl, 19th century
India

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Rugs, with floral designs in dark blue, red, green, and yellow. The corners of the field have a stiff floral design on a field of old rose, central medallion has an all-over pattern. Three borders, one being the tortoise design. This piece is woven like a Soumak but has the designs of a Persian Kurdistan. Sides overcast. Woolen warp and weft. — Rug, 19th century
India

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corner fragment of an Indian shawl; border in shades of rose with black center, conventional scroll and floral design — Corner fragment of a shawl, 19th century
India

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Khilim Rug A diagonal pink, flower and foliage pattern filling the center with three borders around the edge. — Khilim Rug, 19th century
Iran

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Prayer rug of Kazak type., Typical prayer arch, formed by narrow, ivory bands, which extend transdversely at each side to the borders. At the bottom of the field is a second, square arch. Light red field, scattered with geometric and conventionalized flower forms. Three borders carrying variations of the reciprocal clover leaf design. Sides finished with red woolen cording. Ends worn, ends in short warp fringe. Ghiordes knot. Woolen warp and woof. — Prayer Rug, 19th century
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