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A work made of linen, wool, silk, cotton, rayon, nylon and metal foil laminated in cellulose acetate film, plain weave of discontinuous wefts.

Tapestry, Early 1960s

Martta Taipale

A work made of silk, plain weave with creped wefts (chirimen); stenciled and resist dyed (yûzenzome: ita-age, kata itome, shigokizome and suri yûzenzome, shigokizome).

Furoshiki (Wrapping Cloth), early Shôwa period (1926–1989), 1926/35

A work made of silk, 4:1 satin damask weave, rinzu; yuzen dyed, painted, and stenciled; embroidered with silk and gold-leaf-over-lacquered-paper-strip-wrapped cotton in satin and single satin stitches; laid work, couching, and chinese knots; lined with silk, plain weave; dyed with beni, safflower.

Furisode, late Edo period (1789–1868)/ Meiji period (1868–1912), 19th century

A work made of silk, plain weave; screen printed.

Fragment, 1903/32

Mathilde Flögl

A work made of book with nine color screenprints on white wove paper, in box.

A Book of Silk Screen Prints: Multiple Panel Paintings 1973-1976, 1992

Robert Mangold

A work made of linen, plain weave; bands of cut and drawn thread work in darning, interlocking lace, satin, and needle lace filling stitches; bands of needle lace or a cut and drawn thread grid and bands embroidered with silk and linen in algerian eye, back, cross, long-armed cross, two-sided italian cross, double running, running, satin and a variety of buttonhole stitches.

Sampler, 1690

Parnell Mackett

A work made of silk, warp-float faced 4:1 satin weave; embroidered with silk and gold-leaf-over-lacquered-paper-strip-wrapped silk in flat, knot, satin, padded satin, surface satin, split, and stem stitches; laid work and couching; four panels joined.

Panel (Furnishing Fabric), Qing dynasty (1644–1911), 1820/30

A work made of silk and mohair, pusher machine lace.

Half Shawl, 1860s

A work made of linen, plain weave; embroidered with silk and linen in leaf, individual satin, satin, split and stem stitches; french knots, laid work, couching and linen padded couching.

Altar Frontal, Late 17th century

A work made of woven in one piece (hikikaeshi); mon side: silk, plain weave; resist dyed and stenciled (yûzenzome: hikizome); patterned side: silk, plain weave; resist dyed and stenciled (yûzenzome: utsushinori yûzenzome, bokashizome and hikizome); interlined with cotton, plain weave; silk, running "controlling" stitches along all edges; corner: silk, knotted, re-plied fringe tassels.

Fukusa (Gift Cover), 1912/26, Taishô period (1912–1926)

A work made of hanging scroll; ink, colors, and gold on silk.

The Buddha Preaching the “Perfection of Wisdom” (Prajnaparamita) Sutra, 14th century

A work made of silk, bands of bunch, spider, and square netting; embroidered in cloth and overcast stitches; cotton cords with silk cut tassels.

Pair of Mittens, c. 1850

A work made of silk, satin weave with supplementary pile warps forming cut and uncut voided velvet.

Fragment, 16th century

A work made of silk, warp-float faced 3:1 twill weave with supplementary patterning wefts tied by secondary binding warps in plain interlacings.

Fragment, Mamluk period (1250–1517), 14th/ 15th century

A work made of cotton and silk, plain weave with brocading wefts.

Blouse (Huipil), 1930/39

Maya

A work made of silk, bands of satin weave and bands of satin weave with supplementary patterning wefts bound in satin interlacings; fringe.

Ceremonial Shawl (Kata), Ming dynasty (1368–1644), 15th/16th century

A work made of cotton, silk, and gilt-metal-strip-wrapped cotton; in bands of plain weave, plain weave with supplementary patterning wefts and slit and dovetailed tapestry weave; ends of wool, plain weave; fulled; edged with tape of cotton and gilt-metal-strip-wrapped cotton and gilt-metal strip, plain weave with supplementary wefts; underlaid with tape of cotton, plain weave with extended paired weft and silvered-metal coil fringe.

Ceremonial Waist Sash (ikak pinggang), 19th century

Minangkabau

A work made of silk, warp-float faced twill weave with supplementary pile warps forming cut solid velvet; embroidered with gilt paper and gold-leafed-paper-strip-wrapped cotton and silk in satin and stem stitches; laid work, couching and french knots; fringe of gilt-paper-strip-wrapped cotton and silk, wrapped and braided; lined with silk, weft-float faced satin weave self-patterned by areas of plain weave.

Portière, 1880/1900

Anna G. Lyman

A work made of silk, warp-float faced 7:1 satin weave; embroidered with silk and gold-leaf-over-lacquered-paper-strip-wrapped silk in knot, split, and straight stitches; laid work and couching; lined with silk, plain weave.

Buzi (Court Rank Badge), Qing dynasty (1644–1911), 1850/75

Manchu

A work made of silk, warp-float faced 3:1 's' twill weave self-patterned by areas of plain weave; edge bands and center back: silk, warp-float faced 7:1 satin weave; embroidered with silk, gold-leaf-over-lacquered paper, and gold-leaf-over-lacquered-paper-strip-wrapped silk in satin and knot stitches; laid work and couching; inner collar and closures: silk, weft-float faced 1:7 satin weave; collar patches: silk, warp-float faced 7:1 satin weave; lined with ramie, plain weave; lining fragments: silk, warp-float faced 4:1 satin weave.

Vestment (For a Second-degree Taoist Priest), Qing dynasty (1644–1911), 1801/50

Han-Chinese

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