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A work made of silk, warp-float faced 7:1 satin weave; screen printed.

Bat Flower (Furnishing Fabric), 1964/66

Tzaims Luksus

A work made of silk, satin weave with twill interlacings of brocading and some self-patterning ground wefts and plain interlacings of secondary binding warps and some self-patterning ground wefts.

Panel, c. 1735

A work made of cellulose film, silk, acetate, metal foil laminated in cellulose acetate film, polyester film, and synthetic film, plain weave.

Sample (Handbag Material), 1954

Dorothy Liebes

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 woven in one piece (hikikaeshi); mon side: silk, slit and single dovetailed tapestry weave (tsuzure); patterned side: silk, slit and single dovetailed tapestry weave (tsuzure); controlling stitches: silk, running “controlling stitches” along all edges; corners: silk, knotted fringe tassels.

Fukusa (Gift Cover), late Edo period (1789–1868)/ Meiji period (1868–1912), 19th century

A work made of silk, warp-float faced 4:1 satin weave; appliquéd with linen, plain weave; embroidered with silk in tent stitches and embroidered with silk, linen, gilt-metal strips, wires, purl, and gilt-metal-strip-wrapped silk in bullion, cross, satin, and stem stitches; raised work in a variety of buttonhole, raised stem, and trellis stitches with buttonhole and bullion picots; couching and embroidered cut pile; embellished with seed pearls and glass beads.

Needlework, 1698

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

Steinbrecher (Stone Breaker), 1910/18

Maria Vera Brunner

A work made of cotton and silk, plain weave with brocading wefts; joined with cotton in cretan stitches.

Woman's Shawl or Headdress (Tzute), 1900/50

Maya

A work made of silk, stripes of plain weave and of satin weave with plain interlacings of secondary binding warps and ground wefts and self-patterned by main warp floats cut away leaving satin weave rectangles on plain interlacing; painted; two panels joined.

Muslin, 1996

Marie-Hélène Guelton

A work made of silk, warp-faced plain weave; same lining; edged with bobbin lace of metal thread; embroidered in silk floss, gold metal strip wrapped on silk core—used singly and as 2-ply twist, metal strip; stitches: long and short, couching, stem, knot, herring-bone (threaded with metal strip) couching in brick and other patterns.

Chalice Cover, 18th century

A work made of silk, bobbin straight lace (in bands).

Cape Collar, 1850/75

A work made of linen, plain weave; embroidered with silk.

Sampler, 19th century

A work made of steel, iron, gilding, wood, and textile (silk velvet).

Sword, c. 1500

A work made of silk and gilt-metal-strip-wrapped silk, warp-float faced 7:2 twill weave with twill interlacings of secondary binding warps and supplementary patterning and brocading wefts.

Panel, 1860/80

Mathevon et Bouvard

A work made of wild silk, plain weave; block printed.

Panel, c. 1900

Charles Francis Annesley Voysey

A work made of silk and animal-substrate-wrapped linen, warp-float faced 5:1 satin weave with weft-float faced 1:3 's' twill interlacings of secondary binding warps and supplementary patterning wefts.

Fragment, 1350/1400

A work made of silk, warp float-faced 7:1 satin weave with supplementary binding warps which tie supplementary brocading wefts and ground wefts in plain weave; with inset ovals of silk, warp-float faced 7:1 satin weave with supplementary brocading wefts tied in twill weave by ground warps; seam embroidered in satin stitch.

Panel, Louis XVI period, 1750/75

Philippe de La Salle

A work made of woven in one piece (hikikaeshi); mon side: silk, twill weave self-patterned by areas of plain interlacing; stenciled and resist dyed (yûzenzome); embroidered with silk and gold- leaf-over-lacquered-paper-strip-wrapped silk in laidwork and couching patterned side: silk, plain weave (shioze); stenciled (yûzenzome; suri yûzenzome and bokashizome) and painted with india ink (sumi) and gold; embroidered with silk and gold-leaf-over-lacquered-paper- strip-wrapped silk in single back and satin stitches, laidwork and couching silk running "controlling " stitches along all edges corners: gold-leaf-over lacquered-paper-strip-wrapped cotton knotted, re-piled tassels.

Fukusa (Gift Cover), 1890/1912, late Meiji period (1868–1912)

A work made of linen, silk and gilt-animal-substrate-wrapped linen, bands of weft-float faced 1:2 twill weave with inner warps and bands of weft-float faced 1:2 complementary twill weave.

Portion of an Orphrey Band with Coat-of-Arms, 15th century

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