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27 warps Stock Photos and Images
RF2HW3YM1–Art inspired by Girl Feeding Chickens from the series known as the Enfants de Boucher, ca. 1770–80, French, Paris, Wool, silk (27 warps per inch, 10-11 per cm.), confirmed: 28 3/4 × 21 1/4 in. (73 × 54 cm), Textiles-Tapestries, After a painting by François Boucher (French, Paris 1703–, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2A2HNE3–Fragment, 1601/35, Italy, Silk, plain weave with supplementary pile warps forming cut, uncut, and voided velvet, 27.9 x 14.2 cm (11 x 5 5/8 in
RM2HHR1NE–Girl Feeding Chickens from the series known as the Enfants de Boucher ca. 1770–80 After a painting by François Boucher French. Girl Feeding Chickens from the series known as the Enfants de Boucher. After a painting by François Boucher (French, Paris 1703–1770 Paris). French, Paris. ca. 1770–80. Wool, silk (27 warps per inch, 10-11 per cm.). Textiles-Tapestries
RMRXD16J–Fragment. Italy. Date: 1601-1635. Dimensions: 27.9 x 14.2 cm (11 x 5 5/8 in.). Silk, plain weave with supplementary pile warps forming cut, uncut, and voided velvet. Origin: Italy. Museum: The Chicago Art Institute.
RM2HGY65H–The Sacrifice of Isaac probably made between 1561 and 1613 Attributed to the weaving workshop funded by William Sheldon. The Sacrifice of Isaac. Related to a composition by Cornelis Bos (Netherlandish, Hertogenbosch ca. 1510?–before 1566 Groningen). British, probably Barcheston or Bordesley. probably made between 1561 and 1613. Silk, wool, silver-thread (27-29 warps per inch, 12 per cm.). Textiles-Tapestries
RM2H10YJX–Silk Fragments with Palmette Blossoms, 700s. Egypt or Syria, Umayyad period (661–750) or Abbasid period (750–1258). Silk: complementary weft-faced twill with inner warps (samit); overall: 22.5 x 29.5 cm (8 7/8 x 11 5/8 in.); mounted: 27.9 x 34.9 cm (11 x 13 3/4 in.).
RM2AKKF6G–Post Office Edinburgh and Leith directory . CORDAGE BOLT-ROPES. Hawsers, Warps, White Ropes.Manilla Hope, Kamber-lines.Log-lines, Fishing-lines.Marline House-lines.Composition and Iron Thimbles.Palms, Needles, Sail-Hooks.Marlinespikes, Fids, &c. W. U. begs to call the attention of Emigrants to the above. MISCELLANEOUS ADVERTISEMENTS. LI. YOUNG, Bain & Co.), Britannia Iron and Wire Works, 27 EAST CROSSCAUSEWAY, EDINBURGH, MANUFACTURE and Supply every de-scription of Wire Netting and WireTrellis, Gates and Railings, Ornamentaland Strained Wire Fences, OrnamentalFlower Stands for Drawing Rooms, a
RF2HW3YGN–Art inspired by Musicians and Dancers from a set of five Grotesques, designed ca. 1688, woven ca. 1690–1711, French, Beauvais, Wool, silk (21-27 warps per inch, 8-9 per cm.), Overall (confirmed): 115 x 196 1/2 in. (292.1 x 499.1 cm), Textiles-Tapestries, Style of Jean Berain (French, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2B0JGH5–Probably manufactured in the Beauvais, Rocaille cartouche with flowers, French, probably Beauvais, ca. 1735–50, French, probably Beauvais, Wool, silk (20-22 warps per inch, 8 per cm.), 11 × 6 in. (27.9 × 15.2 cm), Textiles-Tapestries
RF2HW3WR2–Art inspired by The Camel from a set of five Grotesques, designed ca. 1688, woven ca. 1690–1711, French, Beauvais, Wool, silk (21-27 warps per inch, 8-9 per cm.), H. 118 x W. 208 1/2 inches (299.7 x 529.6 cm), Textiles-Tapestries, Style of Jean Berain (French, Saint-Mihiel 1640–1711, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RMRX5BDB–Fragment. Peru, Central Coast. Date: 900 AD-1470. Dimensions: 27.5 x 21.2 cm (10 7/8 x 87 3/8 in.). Top: cotton, plain weave with paired warps. Center: cotton, plain weave double cloth; two selvages present. Origin: Peru. Museum: The Chicago Art Institute.
RM2H10YA2–Silk Decorative Tunic Band with a Hunter, 700s. Egypt or Syria, Umayyad period (661–750) or Abbasid period (750–1258). Silk: complementary weft-faced twill with inner warps (samit); overall: 27.3 x 6.7 cm (10 3/4 x 2 5/8 in.); mounted: 34.9 x 14.3 cm (13 3/4 x 5 5/8 in.).
RM2AWJFX8–Annals of the South African MuseumAnnale van die Suid-Afrikaanse Museum . Fig. 33. A. Start to cylindrical twill, warps and wefts knotted in pairs, 25. B-C. Start to cyl-indrical twill, warps and wefts split from folded wider strand, 27. D. Start to cylindricaltwine warps joined by first row of weft; work curved so that edges meet and wefts continue in a spiral, 28. BASKETWORK OF SOUTHERN AFRICA 91. Fig. 34. Garden basket, lattice twined wicker—one lattice, two wefts, start at open base latercovered with a small mat; all elements palm. Ronga, Lebombo, 1954 (UCT 54/15). Height 285 mm. Sewn Stra
RM2M9225Y–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2B0JGH4–Probably manufactured in the Beauvais, Rocaille cartouche with flowers, French, probably Beauvais, ca. 1735–50, French, probably Beauvais, Wool, silk (20-22 warps per inch, 8 per cm.), 11 × 6 in. (27.9 × 15.2 cm), Textiles-Tapestries
RF2HW3WRE–Art inspired by The Offering to Bacchus (from a set of five Berain Grotesques), designed ca. 1688, woven ca. 1690–1711, French, Beauvais, Wool, silk (21-27 warps per inch, 8-9 per cm.), H. 115 x W. 80 inches (292.1 x 203.2 cm), Textiles-Tapestries, Style of Jean Berain (French, Saint-, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RMRXEB7M–Panel. France. Date: 1720-1740. Dimensions: 242.3 × 66.1 cm (95 3/8 × 26 in.) Warp repeat: 68.6 cm (27 in.). Wool and linen, plain weave with supplementary pile warps forming cut solid velvet; stamped; of a type known as 'velours de trek'. Origin: France. Museum: The Chicago Art Institute.
RF2HW3YG5–Art inspired by The Elephant from a set of five Grotesques, designed ca. 1688, woven ca. 1690–1711, French, Beauvais, Wool, silk (21-27 warps per inch, 8-9 per cm.), Overall (confirmed): 116 x 181 in. (294.6 x 459.7 cm), Textiles-Tapestries, Style of Jean Berain (French, Saint-Mihiel, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RMRM3ARK–. Annual report of the Board of Regents of the Smithsonian Institution. Smithsonian Institution; Smithsonian Institution. Archives; Discoveries in science. Fig. 23. detaii, of mixed twined we.winc;. (Outside.) resembling latticework. Dr. J. W. Hudson calls this technic tee. This is a short and convenient word, and may be used for a specilic name. The tee-twined weaving consists of four elements, {a) the upright warp of rods, (/>) a horizontal warp crossing' these at right angles, and (r, d) a regular plain-twined weaving of two elements, holding the warps tinnly together. (See tig. 27.) In
RM2M9225P–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2KF18–Fragment, c. 1550, Italy, Florence, Florence, Silk and gilt-metal strip, warp-float faced satin weave with supplementary facing wefts and supplementary pile warps forming cut and uncut voided velvet, 27.3 × 25.1 cm (10 3/4 × 9 7/8 in
RMRX8K4Y–Orphrey Fragment. Italy, Florence. Date: 1450-1500. Dimensions: 22.5 × 27.4 cm (8 7/8 × 10 3/4 in.). Silk and gilt-animal-substrate-wrapped linen, warp-float faced satin weave with twill interlacings of secondary binding warps and supplementary patterning and brocading wefts. Origin: Florence. Museum: The Chicago Art Institute.
RF2HW3YGA–Art inspired by Violin and Lute Players from a set of five Grotesques, designed ca. 1688, woven ca. 1690–1711, French, Beauvais, Wool, silk (21-27 warps per inch, 8-9 per cm.), H. 117 x W. 76 inches (297.2 x 193 cm), Textiles-Tapestries, Style of Jean Berain (French, Saint-Mihiel 1640–, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RF2HTYDMD–Art inspired by Holster, 17th–18th century, Italian or Spanish, Dark red silk warp-float faced 3/1 broken warp chevron twill weave with supplementary pile warps forming cut solid velvet., 14 x 11 in. (35.6 x 27.9 cm), Textiles-Miscellaneous, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RF2HTWC4E–Art inspired by Rocaille cartouches with flowers, ca. 1735–50, French, probably Beauvais, Wool, silk (20-22 warps per inch, 8 per cm.), Back: H. 27 1/2 x W. 24 in. (69.9 x 61 cm); seat: H. 29 x W. 31 in. (73.7 x 78.7 cm), Textiles-Tapestries, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2M92231–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2JRP6–Fragment, 1722/27, France, Silk, warp-float faced 7:1 satin weave with supplemenatry patterning wefts bound in 3:1 twill interlacings and self-patterning ground wefts tied by supplementary binding warps in plain interlacing, 55.8 × 51.1 cm (22 × 20 1/8 in
RMRXF8RJ–Fragment. Italy. Date: 1601-1650. Dimensions: 15.3 x 27 cm (6 x 10 5.8 in.) Repeat: 11.3 x 6.1 cm (4 1/2 x 2 3/8 in.). Silk, plain weave with supplementary pile warps forming cut, uncut, and voided velvet. Origin: Italy. Museum: The Chicago Art Institute.
RF2HTWAN5–Art inspired by Rocaille cartouches with flowers, ca. 1735–50, French, probably Beauvais, Wool, silk (20-22 warps per inch, 8 per cm.), Back: H. 27 1/2 x W. 24 in. (69.9 x 61 cm); seat: H. 29 x W. 31 in. (73.7 x 78.7 cm), Textiles-Tapestries, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2M9225T–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HMJE–Panel, 1750/75, France, silk, plain weave with additional patterned warps, 48.9 × 27.3 cm (19 1/4 × 10 3/4 in
RMRX57C8–Fragment. Nazca or Wari; Peru, south coast, Nazca Valley, Tunga. Date: 200 AD-900 AD. Dimensions: 55.9 × 68.6 cm (22 × 27 in.). Wool (camelid), plain weave of discontinuous warps and wefts; embroidered in double running stitches; edged with cross-knit loop stitches. Origin: Peru. Museum: The Chicago Art Institute.
RF2HTWC4J–Art inspired by Rocaille cartouches with flowers, ca. 1735–50, French, probably Beauvais, Wool, silk (20-22 warps per inch, 8 per cm.), Back: H. 27 1/2 x W. 25 1/4 in. (69.9 x 64.1 cm); seat: H. 29 x W. 31 in. (73.7 x 78.7 cm), Textiles-Tapestries, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2M9225E–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HNF9–Fragment, 1601/75, Italy, Silk, plain weave with supplementary pile warps forming cut, uncut, and voided velvet, 15.3 x 27 cm (6 x 10 5.8 in
RMRXJYWB–Border. France. Date: 1830-1840. Dimensions: 101.8 × 27.4 cm (40 1/8 × 10 3/4 in.). Silk, warp-float faced 4:1 satin weave with weft-float faced 3:1 plain and twill interlacings of secondary binding warps and supplementary patterning wefts. Origin: France. Museum: The Chicago Art Institute.
RF2HTWANW–Art inspired by Rocaille cartouches with flowers, ca. 1735–50, French, probably Beauvais, Wool, silk (20-22 warps per inch, 8 per cm.), Back: H. 27 1/2 x W. 25 1/4 in. (69.9 x 64.1 cm); seat: H. 29 x W. 31 in. (73.7 x 78.7 cm), Textiles-Tapestries, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2M9225G–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2JRNY–Panel, 1601/25, Italy or Spain, Italy, Silk, plain weave with supplementary pile warps forming cut and uncut voided velvet, 69.5 x 66.2 cm (27 3/8 x 26 in
RMRX5HY5–Fragment. Italy. Date: 1575-1600. Dimensions: 31.5 x 27 cm (12 3/8 x 10 5/8 in.). Silk, warp-float faced 3:1 broken warp chevron twill weave with gilt-metal-strip supplementary facing wefts and supplementary pile warps forming cut and uncut voided velvet. Origin: Italy. Museum: The Chicago Art Institute.
RF2HW3YX4–Art inspired by Armchair (one of a set of six), 1769–71, British and French, Gilded fruitwood; wool and silk (22-24 warps per inch, 9-10 per centimeter), 41 1/2 × 28 1/2 × 27 in. (105.4 × 72.4 × 68.6 cm), Woodwork-Furniture, John Mayhew (British, 1736–1811), and William Ince (British, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2M92264–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HNEG–Fragment, 1575/1600, Spain, Silk, plain weave with paired warp and with two-color supplementary pile warps forming warp floats and uncut voided velvet, 20.3 x 27.2 cm (8 x 10 3/4 in
RMRXHHJM–Panel. Italy or Spain. Date: 1601-1625. Dimensions: 69.5 x 66.2 cm (27 3/8 x 26 in.) Repeat: 6 x 5.3 cm (2 3/8 x 2 1/8 in.). Silk, plain weave with supplementary pile warps forming cut and uncut voided velvet. Origin: Italy. Museum: The Chicago Art Institute.
RF2HW3YYE–Art inspired by Armchair (one of a set of six), 1769–71, British and French, Gilded fruitwood; wool and silk (22-24 warps per inch, 9-10 per centimeter), 41 3/4 × 28 1/2 × 27 in. (106 × 72.4 × 68.6 cm), Woodwork-Furniture, John Mayhew (British, 1736–1811), and William Ince (British, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2M9225C–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HNHT–Fragment, 1450/1500, Italy, Silk, warp-float faced 4:1 satin weave with supplementary pile warps forming cut voided velvet, stamped, 70 x 49.3 cm (27 1/2 x 19 3/8 in
RMRX55D7–Border. Italy. Date: 1401-1500. Dimensions: 11.6 x 27.1 cm (4 1/2 x 10 5/8 in.). Silk, gold gilt strip wound around linen fiber core, warp-float faced satin weave with supplementary patterning wefts tied by supplementary binding warps in twill interlacing. Origin: Italy. Museum: The Chicago Art Institute.
RF2HW3Y9P–Art inspired by The Sacrifice of Isaac, probably made between 1561 and 1613, British, probably Barcheston or Bordesley, Silk, wool, silver-thread (27-29 warps per inch, 12 per cm.), H. 8 1/2 x W. 11 3/4 inches (21.6 x 29.8 cm), Textiles-Tapestries, Related to a composition by Cornelis, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2M9225D–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RF2B8YY7W–Fragment, c. 1550, Italy, Florence, Florence, Silk and gilt-metal strip, warp-float faced satin weave with supplementary facing wefts and supplementary pile warps forming cut and uncut voided velvet, 27.3 × 25.1 cm (10 3/4 × 9 7/8 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
RM2A2HP7Y–Fragment, 1775/1800, France, Silk, velvet: cut and voided, printed, with supplementary patterning warps and wefts tied in plain weave, against twill weave foundation, 69.5 × 21.2 cm (27 3/8 × 8 3/8 in
RMRX5JBA–Fragment. Italy. Date: 1501-1600. Dimensions: 56.8 x 56.6 cm (22 3/8 x 22 1/4 in.) Repeat: 36.7 x 27.4 cm (14 1/2 x 10 3/4 in.). Silk, satin weave with supplementary pile warps forming cut and uncut voided velvet. Origin: Italy. Museum: The Chicago Art Institute.
RM2M9222W–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RF2B8XKD8–Fragment, 1722/27, France, Silk, warp-float faced 7:1 satin weave with supplemenatry patterning wefts bound in 3:1 twill interlacings and self-patterning ground wefts tied by supplementary binding warps in plain interlacing, 55.8 × 51.1 cm (22 × 20 1/8 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
RM2M9225M–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2KAY0–Three Borders, c. 1780, France, Lyon, Lyon, Silk, warp-float faced, satin weave with supplementary pile warps forming cut, uncut and voided velvet, a: 70.8 x 20 cm (27 7/8 x 7 7/8 in
RMRX5DMD–Fragment. Italy. Date: 1450-1500. Dimensions: 70 x 49.3 cm (27 1/2 x 19 3/8 in.) Repeat: 61.1 x 30.3 cm (24 x 12 in.). Silk, warp-float faced 4:1 satin weave with supplementary pile warps forming cut voided velvet; stamped. Origin: Italy. Museum: The Chicago Art Institute.
RF2B8XJYJ–Panel, 1601/25, Italy or Spain, Italy, Silk, plain weave with supplementary pile warps forming cut and uncut voided velvet, 69.5 x 66.2 cm (27 3/8 x 26 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
RM2M9226H–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2KDRP–Apron, 1800/25, Switzerland, Silk, plain weave with supplementary patterning warps, block printed and stencilled or painted, two selvages present, ribbon ties: warp-float faced satin weave, 68.5 x 86.6 cm (27 x 34 1/8 in
RMRX8W6F–Fragment. Spain. Date: 1575-1600. Dimensions: 20.3 x 27.2 cm (8 x 10 3/4 in.) Repeat: 5.3 x 5.7 cm (2 1/8 x 2 1/4 in.). Silk, plain weave with paired warp and with two-color supplementary pile warps forming warp floats and uncut voided velvet. Origin: Spain. Museum: The Chicago Art Institute.
RF2B8YME8–Three Borders, c. 1780, France, Lyon, Lyon, Silk, warp-float faced, satin weave with supplementary pile warps forming cut, uncut and voided velvet, a: 70.8 x 20 cm (27 7/8 x 7 7/8 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
RM2M9225H–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2KGG0–Orphrey Fragment, 1450/1500, Italy, Florence, Florence, Silk and gilt-animal-substrate-wrapped linen, warp-float faced satin weave with twill interlacings of secondary binding warps and supplementary patterning and brocading wefts, 22.5 × 27.4 cm (8 7/8 × 10 3/4 in
RMRXHE1J–Salesman's Sample. France, possibly Lyon. Date: 1780-1790. Dimensions: 27.3 × 27.7 cm (10 3/4 × 10 7/8 in.). Silk, plain weave with supplementary patterning warps and supplementary patterning wefts; appliquéd with silk, plain weave; embroidered with silk floss and yarns in outline, satin, padded satin, single satin and stem stitches; French knots. Origin: France. Museum: The Chicago Art Institute.
RF2B8YW5J–Apron, 1800/25, Switzerland, Silk, plain weave with supplementary patterning warps, block printed and stencilled or painted, two selvages present, ribbon ties: warp-float faced satin weave, 68.5 x 86.6 cm (27 x 34 1/8 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
RM2M9226P–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HMHH–Border, 15th century, Italy, Silk, gold gilt strip wound around linen fiber core, warp-float faced satin weave with supplementary patterning wefts tied by supplementary binding warps in twill interlacing, 11.6 × 27.1 cm (4 1/2 × 10 5/8 in
RMRX7CMP–Chasuble. Italy. Date: 1501-1525. Dimensions: 123.7 x 70.1 cm (48 3/4 x 27 5/8 in.) Warp repeat: 30 cm (11 3/4 in.). Silk, warp-float faced 4:1 satin weave with three and four-color supplementary pile warps forming cut voided velvet; edged with woven tape; lined with silk, plain weave. Origin: Italy. Museum: The Chicago Art Institute.
RF2B90226–Orphrey Fragment, 1450/1500, Italy, Florence, Florence, Silk and gilt-animal-substrate-wrapped linen, warp-float faced satin weave with twill interlacings of secondary binding warps and supplementary patterning and brocading wefts, 22.5 × 27.4 cm (8 7/8 × 10 3/4 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
RM2M9226N–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HN48–Chasuble, 1501/25, Italy, Silk, warp-float faced 4:1 satin weave with three and four-color supplementary pile warps forming cut voided velvet, edged with woven tape, lined with silk, plain weave, 123.7 x 70.1 cm (48 3/4 x 27 5/8 in
RMRX12EN–Fragment. Italy, Florence. Date: 1540-1560. Dimensions: 27.3 × 25.1 cm (10 3/4 × 9 7/8 in.) Repeat: 11.5 × 5.7 cm (4 1/2 × 2 1/4 in.). Silk and gilt-metal strip, warp-float faced satin weave with supplementary facing wefts and supplementary pile warps forming cut and uncut voided velvet. Origin: Florence. Museum: The Chicago Art Institute.
RF2B8YAT8–Panel, 1401/50, Italy or Spain, Italy, Silk and gilt-metal-strip-wrapped silk, warp-float faced 4:1 satin weave with supplementary brocading wefts bound by main warps in weft-float faced 1:2 'Z' twill interlacings and with supplementary pile warps forming cut voided velvet, 65.8 x 49.9 cm (27 7/8 x 19 5/8 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
RM2M9226M–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HNHE–Fragment, 1575/1600, Italy, Silk, warp-float faced 3:1 broken warp chevron twill weave with gilt-metal-strip supplementary facing wefts and supplementary pile warps forming cut and uncut voided velvet, 31.5 x 27 cm (12 3/8 x 10 5/8 in
RMRXCT41–Fragment. France. Date: 1702-1725. Dimensions: 82.5 × 27.7 cm (32 1/2 × 10 7/8 in.) Warp repeat: 57.3 cm (22 1/2 in.). Silk and gilt- and silvered-metal-strip-wrapped silk, warp-float faced 4:1 satin weave with secondary binding warps tying supplementary brocading wefts and two-color complementary ground wefts in twill interlacings. Origin: France. Museum: The Chicago Art Institute.
RF2B8XJXM–Chasuble, 16th century, Italy, Silk, plain weave with supplementary patterning wefts and plain interlacings of secondary binding warps and silvered-metal strip supplementary facing and some supplementary patterning wefts, tapes of silk, gilt-metal strips, and gilt-metal-strip-wrapped silk, inner tape: plain weave with supplementary patterning warps, edge tape: plain weave self-patterned by warp and weft floats, lined with linen, plain weave, glazed, 116.8 x 69.4 cm (45 7/8 x 27 1/4 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art rei
RM2M922A5–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HME3–Panel, 1450/1500, Italy, Silk, plain weave variation with supplementary gilt-metal-strip wrapped silk facing wefts forming weft loops in areas and with supplementary pile warps forming cut, pile-on-pile, voided velvet, 70.5 × 60.6 cm (27 3/4 × 23 7/8 in
RMRX963F–Fragment from an Orphrey Band Depicting the Nativity. Italy. Date: 1401-1500. Dimensions: 27.3 x 34.3 cm (10 3/4 x 13 1/2 in.) Weft repeat: 27.3 cm (10 3/4 in.). Silk and gilt-animal-substrate-wrapped linen, warp-float faced 4:1 satin weave with weft-float faced 1:2 'S' twill interlacings of secondary binding warps and supplementary patterning wefts. Origin: Italy. Museum: The Chicago Art Institute.
RF2B8YE0Y–Chasuble Showing the Arms of France, 16th century, Flanders, France or Spain, Flanders, Linen and wool, plain weave with supplementary pile warps forming solid cut and uncut velvet, stamped, (known as velours de trek), edged with linen, warp-faced plain weave with extended ground weft uncut fringe off one side, lined with linen, plain weave, glazed, 128.5 × 70.2 cm (50 5/8 × 27 5/8 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern tech
RM2M9225W–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HMP4–Fragment (From a Chasuble), 1475/1500, Italy, Silk and gilt-metal-strip-wrapped silk, satin weave with supplementary brocading wefts bound by main warps in a twill interlacing and supplementary pile warps forming cut, voided velvet, 107.6 × 27.8 cm (42 3/8 × 11 in
RMRX5MY6–Panel. Italy or Spain. Date: 1401-1450. Dimensions: 65.8 x 49.9 cm (27 7/8 x 19 5/8 in.) Weft repeat: 19 cm (7 1/2 in.). Silk and gilt-metal-strip-wrapped silk, warp-float faced 4:1 satin weave with supplementary brocading wefts bound by main warps in weft-float faced 1:2 'Z' twill interlacings and with supplementary pile warps forming cut voided velvet. Origin: Italy. Museum: The Chicago Art Institute.
RF2B90C8M–Uchishiki (Altar Cloth), Edo period (1615–1868), 1750/1800, Japan, Silk and gold-leaf-over lacquered-paper strip, warp-float faced 4:1 ‘Z’ twill weave with weft-float faced 1:2 ‘Z’ twill interlacings of secondary binding warps and supplementary patterning wefts, lining: cotton, plain weave, 66.2 x 68.4 cm (26 1/8 x 27 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
RM2M9226J–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HPN1–Fragment, c. 1712/15, France, Silk and gilt- and silvered-metal-strip-wrapped silk, warp-float faced 4:1 satin weave with secondary binding warps tying supplementary brocading wefts and two-color complementary ground wefts in twill interlacings, 82.5 × 27.7 cm (32 1/2 × 10 7/8 in
RMRXK02G–Three Borders. France, Lyon. Date: 1770-1790. Dimensions: a: 70.8 x 20 cm (27 7/8 x 7 7/8 in.) b: 59.2 x 11.5 cm (23 1/4 x 4 1/2 in.) c: 69.8 x 3.5 cm (27 1/2 x 1 3/8 in.). Silk, warp-float faced, satin weave with supplementary pile warps forming cut, uncut and voided velvet. Origin: Lyon. Museum: The Chicago Art Institute.
RF2B8Y919–Lily (Fragment), 1870/77 (produced c. 1875/1940), Designed by William Morris (English, 1834–1896), Produced by Morris & Company, 1875–1940, Woven by Yates & Co., later Wilton Royal Carpet Factory Ltd., founded 1741, England, Wiltshire, Wilton, England, Wool and cotton, plain weave with supplementary pile warps forming cut solid pile, woven on loom with Jacquard attachment, 43.6 × 68.7 cm (17 1/8 × 27 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic en
RM2M9226F–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2K5F7–Panel, 1401/50, Italy or Spain, Italy, Silk and gilt-metal-strip-wrapped silk, warp-float faced 4:1 satin weave with supplementary brocading wefts bound by main warps in weft-float faced 1:2 'Z' twill interlacings and with supplementary pile warps forming cut voided velvet, 65.8 x 49.9 cm (27 7/8 x 19 5/8 in
RMRX5M7G–Chasuble. Italy. Date: 1501-1600. Dimensions: 129.6 x 69.4 cm (51 x 27 1/4 in.). Silk, warp-float faced 3:1 'S' twill weave with supplementary pile warps forming cut solid velvet; Orphrey: silk, warp-float faced 7:1 satin weave; embroidered with silk and gilt-metal-strip-wrapped silk in satin, split, stem and straight stitches; couching; edged with gilt-metal-strip-wrapped linen diamond twill and gilt-metal-strip-wrapped silk plain weave tapes. Origin: Italy. Museum: The Chicago Art Institute.
RF2B90C83–Ôhi (Stole), late Edo period (1789–1868), 1800/68, Japan, Heri, jô: silk, warp-float faced 2:1 ‘Z’ twill weave with supplementary patterning wefts, shiten: Silk and gold-leaf-over-lacquered-paper-strip, warp-float faced 2:1 ‘Z’ twill weave with weft-float faced 1:2 ‘Z’ twill interlacings of secondary binding warps and supplementary patterning wefts, lining: silk, predominant warp, weft ribbed, plain weave, 130.4 x 27.6 cm (51 1/4 x 10 7/8 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography ins
RM2M92267–Poncho or Tunic Nasca. Poncho or Tunic, 100-200 C.E. Camelid fiber, 74 7/16 x 27 9/16 in. (189.1 x 70 cm). This large panel is the most elaborate example of the discontinuous warp and weft technique in the Museum’s collection. With this technique, the warps and wefts on the textile change with every color and weaving session, rather than being continuous along the length and width of the fabric (see diagram). The bold designs on the red background include three large, colorful supernatural beings connected to several smaller figures. The largest figure wears a green and yellow feline pelt and
RM2A2HPM8–Chasuble, Late 13th/14th century, Iran (Persia, Tabriz), Tabriz, Silk, plain weave with twill interlacings of secondary binding warps and gilt-animal-substrate-wrapped silk supplementary facing wefts, supplementary pile warps forming cut voided velvet, edged with gilt-metal-strip-wrapped silk, bobbin-made tape, lined with silk, plain weave, 107.5 x 70.6 cm (42 1/4 x 27 7/8 in
RMRX141C–Chasuble. Iran (Persia, Tabriz). Date: 1275-1400. Dimensions: 107.5 x 70.6 cm (42 1/4 x 27 7/8 in.) Repeat: 3.2 x 3.2 cm (1 1/4 x 1 1/4 in.). Silk, plain weave with twill interlacings of secondary binding warps and gilt-animal-substrate-wrapped silk supplementary facing wefts; supplementary pile warps forming cut voided velvet; edged with gilt-metal-strip-wrapped silk, bobbin-made tape; lined with silk, plain weave. Origin: Tabriz. Museum: The Chicago Art Institute.
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