Database / Artworks
Artworks

Rug Sample
Marianne Strengell
Linen, nylon, cotton, wool, modacrylic metallic strip encased in polyester film, weft-faced plain weave with supplementary wrapping wefts forming cut and uncut pile through a technique known as "Ghiordes knots;" knotted warp fringe · 1950
Art Institute of Chicago

Rug Sample
Marianne Strengell
Wool, cotton, linen, rayon, jute and nylon, weft-faced plain weave with weft bands of pile woven from woven fringe and chenille yarn ground wefts and by supplementary wrapping wefts forming cut pile through a technique known as "Ghiordes knots;" knotted warp fringe · 1950
Art Institute of Chicago

Rug Sample
Marianne Strengell
Linen, wool, cotton, and saran, weft-faced plain weave with supplementary wrapping wefts forming cut and uncut pile through a technique known as "Ghiordes knots;" knotted warp fringe · 1950
Art Institute of Chicago

Rug Sample
Marianne Strengell
Cotton, jute and wool, plain weave with two-color complementary wefts; knotted warp fringe · 1950
Art Institute of Chicago

Rug Sample
Marianne Strengell
Linen and wool, weft-faced plain weave with supplementary wrapping wefts forming cut pile through a technique known as "Ghiordes Knots"; knotted warp fringe · 1950
Art Institute of Chicago

Rug Sample
Marianne Strengell
Linen, wool and cotton, weft band plain weave, weft-wrapping and 'countered' weft-wrapping; knotted warp fringe · 1950
Art Institute of Chicago

Placemat
Folly Cove Designers
Cotton, plain weave; block-printed; cut warp and weft fringe · 1950
Art Institute of Chicago

Panel (Reproduction of T'ang Textile)
Tatsumura Textile Company Ltd.
Silk, three color complementary warp plain weave with inner wefts and self-patterned by inner weft floats; knotted warp fringe · 1950
Art Institute of Chicago

Panel (Drapery Fabric)
reg/wick Hand Woven Originals
Cotton, rayon, and metal foil laminated in cellulose-acetate-film-wrapped cotton, bands of plain and twill weaves; warp fringe · 1948
Art Institute of Chicago

Furnishing Fabric
Else Regensteiner
Rayon, wool, cellulose, and acetate-film-laminated-metal-foil-wrapped cotton, plain weave; warp fringe · 1946
Art Institute of Chicago

Sample (Up 130 W #4)
Robert D. Sailors
Rayon, polyester, and cotton, plain weave with extended warp fringe · 1945
Art Institute of Chicago

Carpet
Marta Maas-Fjetterstrom
Linen and wool, plain weave with supplementary wrapping wefts forming cut pile through a technique known as “Ghiordes Knots,” knotted warp fringe · 1944
Art Institute of Chicago

Rug Sample
Marianne Strengell
Linen, wool and cotton, weft-faced plain weave with supplementary wrapping wefts forming cut pile through a technique known as "Ghiordes Knots;" knotted warp fringe · 1943
Art Institute of Chicago

Kosso walani
Bamana
10 strips of cotton, undyed and dyed with indigo and commercial orange dye; weft faced, strip woven, machine stitched together, finished with twisted fringe · 1940
Art Institute of Chicago

Panel (Hanging)
David Fredenthal
Linen, wool, cotton, and rayon, plain weave with supplementary brocading wefts; knotted and plaited main warp fringe · 1937
Art Institute of Chicago

Akbazi (Shoulder Cloth)
Ida Ou Nadif
Wool, plain weave; appliquéd with nylon machine knitting and wool and rayon felt; embroidered with wool, wax-coated-wool, and rayon in buttonhole, cross, long-armed cross, and stem stitches; back stitch couching; knotted wool and cut fringe · 1930
Art Institute of Chicago

Sash (Banda) or Belt (Faja)
Maya
Cotton and wool; stripes of warp-faced plain weave alternate with stripes of plain weave derived simple float weave; warp fringe · 1930
Art Institute of Chicago

Headband (Cinta)
Maya
Cotton and silk; twill and slit tapestry weave with inserts of eccentric wefts; in slit tapestry weave area grouped warps; applied silk fringe · 1930
Art Institute of Chicago

Headband (Cinta)
Maya
Cotton and wool, plain and twill slit tapestry weave with eccentric wefts; cotton, tassels and fringe · 1930
Art Institute of Chicago

Headwrapper (ta po lai)
Lauktu Chin
Sides: cotton, warp striped, warp-faced, weft ribbed plain weave; ends embroidered with cotton in double running stitches terminating in cotton, knotted cut fringe tassels at selvage edge; center: cotton, warp-faced, weft ribbed plain weave with supplementary patterning wefts; all warp ends twined, plied, and knotted over cotton, cut to form pom-poms · 1930
Art Institute of Chicago

Woman's Breast-Cover (marankite, lian pi)
Mru Chin
Cotton, warp striped, warp-faced, weft ribbed plain weave with supplementary patterning wefts; embellished with discontinuous supplementary wrapping elements; ends embroidered with cotton and wool in buttonhole stitches; couching; selvage fringe of cotton with glass beads; and end fringe of cotton and glass beads, knotted around wool · 1925
Art Institute of Chicago

Kosso fin Dourou or Kosso fin Dourou Dyourou (Blanket of five blacks or Blanket of five black lines)
Bamana
10 strips of cotton, undyed and dyed with indigo; weft faced with supplementary weave, strip woven, machine stitched together, finished with twisted fringe · 1925
Art Institute of Chicago

Woman's Beaded Breast-Cover (ne kouk)
Khumi Chin
Cotton, plain weave with patterning wefts; ends embroidered with cotton in double running stitches; all edges finished with cotton, glass-bead and seed-pod fringe terminating in outer silk or silk and cotton-knotted fringe · 1925
Art Institute of Chicago

Le Jardin (The Garden)
Jean Lurçat
Wool, plain weave with supplementary wrapping wefts forming solid cut pile through a technique known as "Ghiordes knots"; attached wool, knotted fringe · 1925
Art Institute of Chicago