{"title":"Gold \u0026 Yellow Fabric","description":null,"products":[{"product_id":"chintamani-imperial-eucalyptus-flax-fabric","title":"Chintamani Imperial, Eucalyptus \/ Flax Fabric by the Yard","description":"\u003cp style=\"margin-bottom:0.6em;\"\u003e'Chintamani Imperial' begins in a fragment of early Ottoman brocaded velvet, woven in an imperial workshop at Bursa. Held in the Cleveland Museum of Art, with a second example at The Metropolitan Museum of Art, each jewel was carefully redrawn by hand — a ring inside a ring, three dots at its centre — to retain the character of the original.\u003c\/p\u003e\n\n\u003cdetails style=\"margin:0;\"\u003e\n\u003csummary style=\"font-weight:bold;text-decoration:underline;cursor:pointer;margin:0;\"\u003eRead More...\u003c\/summary\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Source\u003c\/h3\u003e\n\u003cp\u003eThe cloth was made to be the most expensive thing in the room, and it succeeded.\u003c\/p\u003e\n\u003cp\u003eBursa was the Ottoman Empire's first capital and the centre of its silk trade — Iranian silk and domestic both, moving through the city and onto looms that turned it into the costliest cloth the empire produced. This piece came off a loom in an imperial workshop. The crimson pile is almost twice as dense as later monochrome velvets: density was the luxury, the part you could see from the doorway before you were close enough to see the pattern.\u003c\/p\u003e\n\u003cp\u003eWoven into it, the çintamani — Sanskrit for a jewel that grants what you wish for. In Ottoman hands it became three discs, a ring inside a ring with three dots at the centre, and two wavy bands beneath. It turns up so often in Ottoman art that Cleveland's own record calls it a favoured motif and possibly an unofficial imperial emblem. Possibly, because no sultan ever decreed it. It was never law. The court simply kept choosing it.\u003c\/p\u003e\n\u003cp\u003eThen the cloth came apart. What survives are fragments in two American cities — one in Cleveland, one in New York, the Met's piece twenty-eight inches by eleven and a half. That one was sold to the museum in 1915 by Indjoudjian Frères, dealers in Paris, and it went on show that same winter in the Special Exhibition of Textiles. Bought in one season, hung in the next. Four thousand miles from Bursa.\u003c\/p\u003e\n\u003cp\u003eThe velvet was cut down and the empire is gone. The emblem it carried was never granted by anyone and never taken away.\u003c\/p\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Specifications\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSource:\u003c\/strong\u003e Brocaded silk velvet, Bursa, Turkey. The Cleveland Museum of Art, accession 1943.313\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSecond example:\u003c\/strong\u003e Silk Velvet Fragment with Tiger-Stripe and 'Cintamani' Design, 16th century, Turkey. The Metropolitan Museum of Art, accession 15.125.6, Gallery 460\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRepeat:\u003c\/strong\u003e 8 in horizontal, 10 in vertical, half-drop\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eReferences:\u003c\/strong\u003e Louise W. Mackie, \u003cem\u003eSymbols of Power: Luxury Textiles from Islamic Lands, 7th–21st Century\u003c\/em\u003e (Cleveland Museum of Art \/ Yale, 2015), p. 291, fig. 8.10\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/details\u003e\u003cbr\u003e\u003cbr\u003e\u003ch2\u003eThe Cloth\u003c\/h2\u003e\r\n\u003ch3\u003eDecor Chenille\u003c\/h3\u003e\r\n\u003cp\u003eA short, dense pile with a velvet-like surface on a firm woven ground. Fine striations catch the light as it moves across the room, deepening the colour. Substantial weight keeps a clean line on upholstery and gives tailored drapery a decisive fall.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 100% polyester\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 56 in printable (57 in full)\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 400 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, cushions, headboards, heavy drapery\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003ch3\u003eCotton Linen\u003c\/h3\u003e\r\n\u003cp\u003eA fine, even linen-cotton weave. Colour prints cleanly while the woven surface remains visible, keeping solid grounds from going flat without softening fine linework. Light in the hand, it falls in narrow, supple folds and filters light rather than blocking it.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 55% linen, 45% cotton\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 54 in printable\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 250 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, curtains, table linens, pillows\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"NeoTex.cloud-2","offers":[{"title":"Linen Cotton Blend \/ Yard","offer_id":46265835225224,"sku":"164343-NTX-018-232-STX","price":88.0,"currency_code":"USD","in_stock":true},{"title":"Linen Cotton Blend \/ Sample","offer_id":46265835257992,"sku":"164343-NTX-018-827-STX","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Yard","offer_id":46265835290760,"sku":"164343-NTX-133-232-STX","price":105.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Sample","offer_id":46265835323528,"sku":"164343-NTX-133-827-STX","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/2914\/5480\/files\/tiled_preview_square_20260723_005350.png?v=1785691074"},{"product_id":"chintamani-imperial-verdigris-honey-fabric","title":"Chintamani Imperial, Verdigris \/ Honey Fabric by the Yard","description":"\u003cp style=\"margin-bottom:0.6em;\"\u003e'Chintamani Imperial' begins in a fragment of early Ottoman brocaded velvet, woven in an imperial workshop at Bursa. Held in the Cleveland Museum of Art, with a second example at The Metropolitan Museum of Art, each jewel was carefully redrawn by hand — a ring inside a ring, three dots at its centre — to retain the character of the original.\u003c\/p\u003e\n\n\u003cdetails style=\"margin:0;\"\u003e\n\u003csummary style=\"font-weight:bold;text-decoration:underline;cursor:pointer;margin:0;\"\u003eRead More...\u003c\/summary\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Source\u003c\/h3\u003e\n\u003cp\u003eThe cloth was made to be the most expensive thing in the room, and it succeeded.\u003c\/p\u003e\n\u003cp\u003eBursa was the Ottoman Empire's first capital and the centre of its silk trade — Iranian silk and domestic both, moving through the city and onto looms that turned it into the costliest cloth the empire produced. This piece came off a loom in an imperial workshop. The crimson pile is almost twice as dense as later monochrome velvets: density was the luxury, the part you could see from the doorway before you were close enough to see the pattern.\u003c\/p\u003e\n\u003cp\u003eWoven into it, the çintamani — Sanskrit for a jewel that grants what you wish for. In Ottoman hands it became three discs, a ring inside a ring with three dots at the centre, and two wavy bands beneath. It turns up so often in Ottoman art that Cleveland's own record calls it a favoured motif and possibly an unofficial imperial emblem. Possibly, because no sultan ever decreed it. It was never law. The court simply kept choosing it.\u003c\/p\u003e\n\u003cp\u003eThen the cloth came apart. What survives are fragments in two American cities — one in Cleveland, one in New York, the Met's piece twenty-eight inches by eleven and a half. That one was sold to the museum in 1915 by Indjoudjian Frères, dealers in Paris, and it went on show that same winter in the Special Exhibition of Textiles. Bought in one season, hung in the next. Four thousand miles from Bursa.\u003c\/p\u003e\n\u003cp\u003eThe velvet was cut down and the empire is gone. The emblem it carried was never granted by anyone and never taken away.\u003c\/p\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Specifications\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSource:\u003c\/strong\u003e Brocaded silk velvet, Bursa, Turkey. The Cleveland Museum of Art, accession 1943.313\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSecond example:\u003c\/strong\u003e Silk Velvet Fragment with Tiger-Stripe and 'Cintamani' Design, 16th century, Turkey. The Metropolitan Museum of Art, accession 15.125.6, Gallery 460\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRepeat:\u003c\/strong\u003e 8 in horizontal, 10 in vertical, half-drop\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eReferences:\u003c\/strong\u003e Louise W. Mackie, \u003cem\u003eSymbols of Power: Luxury Textiles from Islamic Lands, 7th–21st Century\u003c\/em\u003e (Cleveland Museum of Art \/ Yale, 2015), p. 291, fig. 8.10\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/details\u003e\u003cbr\u003e\u003cbr\u003e\u003ch2\u003eThe Cloth\u003c\/h2\u003e\r\n\u003ch3\u003eDecor Chenille\u003c\/h3\u003e\r\n\u003cp\u003eA short, dense pile with a velvet-like surface on a firm woven ground. Fine striations catch the light as it moves across the room, deepening the colour. Substantial weight keeps a clean line on upholstery and gives tailored drapery a decisive fall.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 100% polyester\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 56 in printable (57 in full)\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 400 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, cushions, headboards, heavy drapery\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003ch3\u003eCotton Linen\u003c\/h3\u003e\r\n\u003cp\u003eA fine, even linen-cotton weave. Colour prints cleanly while the woven surface remains visible, keeping solid grounds from going flat without softening fine linework. Light in the hand, it falls in narrow, supple folds and filters light rather than blocking it.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 55% linen, 45% cotton\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 54 in printable\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 250 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, curtains, table linens, pillows\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"NeoTex.cloud-2","offers":[{"title":"Linen Cotton Blend \/ Yard","offer_id":46265835356296,"sku":"164639-NTX-018-232-STX","price":88.0,"currency_code":"USD","in_stock":true},{"title":"Linen Cotton Blend \/ Sample","offer_id":46265835389064,"sku":"164639-NTX-018-827-STX","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Yard","offer_id":46265835421832,"sku":"164639-NTX-133-232-STX","price":105.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Sample","offer_id":46265835454600,"sku":"164639-NTX-133-827-STX","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/2914\/5480\/files\/tiled_preview_square_20260724_012844_67109204-fc71-42f7-ac05-b5ae8176c646.png?v=1785691073"},{"product_id":"chintamani-imperial-forest-floor-flax-fabric","title":"Chintamani Imperial, Forest Floor \/ Flax Fabric by the Yard","description":"\u003cp style=\"margin-bottom:0.6em;\"\u003e'Chintamani Imperial' begins in a fragment of early Ottoman brocaded velvet, woven in an imperial workshop at Bursa. Held in the Cleveland Museum of Art, with a second example at The Metropolitan Museum of Art, each jewel was carefully redrawn by hand — a ring inside a ring, three dots at its centre — to retain the character of the original.\u003c\/p\u003e\n\n\u003cdetails style=\"margin:0;\"\u003e\n\u003csummary style=\"font-weight:bold;text-decoration:underline;cursor:pointer;margin:0;\"\u003eRead More...\u003c\/summary\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Source\u003c\/h3\u003e\n\u003cp\u003eThe cloth was made to be the most expensive thing in the room, and it succeeded.\u003c\/p\u003e\n\u003cp\u003eBursa was the Ottoman Empire's first capital and the centre of its silk trade — Iranian silk and domestic both, moving through the city and onto looms that turned it into the costliest cloth the empire produced. This piece came off a loom in an imperial workshop. The crimson pile is almost twice as dense as later monochrome velvets: density was the luxury, the part you could see from the doorway before you were close enough to see the pattern.\u003c\/p\u003e\n\u003cp\u003eWoven into it, the çintamani — Sanskrit for a jewel that grants what you wish for. In Ottoman hands it became three discs, a ring inside a ring with three dots at the centre, and two wavy bands beneath. It turns up so often in Ottoman art that Cleveland's own record calls it a favoured motif and possibly an unofficial imperial emblem. Possibly, because no sultan ever decreed it. It was never law. The court simply kept choosing it.\u003c\/p\u003e\n\u003cp\u003eThen the cloth came apart. What survives are fragments in two American cities — one in Cleveland, one in New York, the Met's piece twenty-eight inches by eleven and a half. That one was sold to the museum in 1915 by Indjoudjian Frères, dealers in Paris, and it went on show that same winter in the Special Exhibition of Textiles. Bought in one season, hung in the next. Four thousand miles from Bursa.\u003c\/p\u003e\n\u003cp\u003eThe velvet was cut down and the empire is gone. The emblem it carried was never granted by anyone and never taken away.\u003c\/p\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Specifications\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSource:\u003c\/strong\u003e Brocaded silk velvet, Bursa, Turkey. The Cleveland Museum of Art, accession 1943.313\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSecond example:\u003c\/strong\u003e Silk Velvet Fragment with Tiger-Stripe and 'Cintamani' Design, 16th century, Turkey. The Metropolitan Museum of Art, accession 15.125.6, Gallery 460\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRepeat:\u003c\/strong\u003e 8 in horizontal, 10 in vertical, half-drop\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eReferences:\u003c\/strong\u003e Louise W. Mackie, \u003cem\u003eSymbols of Power: Luxury Textiles from Islamic Lands, 7th–21st Century\u003c\/em\u003e (Cleveland Museum of Art \/ Yale, 2015), p. 291, fig. 8.10\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/details\u003e\u003cbr\u003e\u003cbr\u003e\u003ch2\u003eThe Cloth\u003c\/h2\u003e\r\n\u003ch3\u003eDecor Chenille\u003c\/h3\u003e\r\n\u003cp\u003eA short, dense pile with a velvet-like surface on a firm woven ground. Fine striations catch the light as it moves across the room, deepening the colour. Substantial weight keeps a clean line on upholstery and gives tailored drapery a decisive fall.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 100% polyester\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 56 in printable (57 in full)\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 400 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, cushions, headboards, heavy drapery\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003ch3\u003eCotton Linen\u003c\/h3\u003e\r\n\u003cp\u003eA fine, even linen-cotton weave. Colour prints cleanly while the woven surface remains visible, keeping solid grounds from going flat without softening fine linework. Light in the hand, it falls in narrow, supple folds and filters light rather than blocking it.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 55% linen, 45% cotton\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 54 in printable\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 250 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, curtains, table linens, pillows\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"NeoTex.cloud-2","offers":[{"title":"Linen Cotton Blend \/ Yard","offer_id":46265835487368,"sku":"164342-NTX-018-232-STX","price":88.0,"currency_code":"USD","in_stock":true},{"title":"Linen Cotton Blend \/ Sample","offer_id":46265835520136,"sku":"164342-NTX-018-827-STX","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Yard","offer_id":46265835552904,"sku":"164342-NTX-133-232-STX","price":105.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Sample","offer_id":46265835585672,"sku":"164342-NTX-133-827-STX","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/2914\/5480\/files\/tiled_preview_square_20260723_005152.png?v=1785691074"},{"product_id":"mughal-poppy-blackcurrant-marigold-fabric","title":"Mughal Poppy, Blackcurrant \/ Marigold Fabric by the Yard","description":"\u003cp style=\"margin-bottom:0.6em;\"\u003eA late seventeenth-century dastarkana—an Indian summer carpet hand-drawn in kalamkari and conserved at The Metropolitan Museum of Art—was the starting point for Mughal Poppy. Drawn down to three-fifths scale, every hand-painted line was translated to preserve the painterly look of the original kalam. Ground takes three-quarters of the surface, leaving wide, breathing fields around each plant so the density stays inside the motif without closing a room in.\u003c\/p\u003e\n\n\u003cdetails style=\"margin:0;\"\u003e\n\u003csummary style=\"font-weight:bold;text-decoration:underline;cursor:pointer;margin:0;\"\u003eRead More...\u003c\/summary\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Source\u003c\/h3\u003e\n\u003cp\u003eSomeone cut the original up. Twelve feet of hand-painted poppies, sliced into puzzle-piece shapes to fit around a column, or a tent post, or a smaller room—no one wrote down which. What reached the museum in 1982 was a little under half: plain-weave cotton from the Mughal period, mordant-painted and resist-dyed, the poppies drawn by hand rather than stamped from a block. Green was made by painting yellow over indigo. On most surviving kalamkaris the yellow is gone and only the blue is left; on this one it held.\u003c\/p\u003e\n\u003cp\u003eIt came in with the Alice and Nasli Heeramaneck Collection, a gift of Alice Heeramaneck, and then sat for thirty-two years because the border was too fragile to handle. Conservation ran past a hundred hours—the binding removed, tideline stains lifted with poultice, the cloth humidified flat until the creases relaxed. It went up in Gallery 464 in 2015, in the Department of Islamic Art, on a slanted board held by insect pins, because no one was willing to put a stitch through it.\u003c\/p\u003e\n\u003cp\u003eThe conservators chose not to join the fragments back together or reconstruct what was lost. That was deliberate, out of respect for what the object had actually lived through. The carpet as a whole stays broken. But the design was made to be lived with—walked on, sat beside, used—and it spent thirty-two years in a drawer. The fragments held a complete plant and the rhythm that placed it. That was enough to bring it back out.\u003c\/p\u003e\n\u003cp\u003eIt will never be a floorspread again. The poppies stop abruptly on a slant board in Gallery 464. Now they keep going—row after row, past the corner, the way they did before someone cut it up.\u003c\/p\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Specifications\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSource:\u003c\/strong\u003e Fragment of a floorspread, late seventeenth century, India. The Metropolitan Museum of Art, accession 1982.239a\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRepeat:\u003c\/strong\u003e 24 in (12 in half-drop)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/details\u003e\u003cbr\u003e\u003cbr\u003e\u003ch2\u003eThe Cloth\u003c\/h2\u003e\r\n\u003ch3\u003eDecor Chenille\u003c\/h3\u003e\r\n\u003cp\u003eA short, dense pile with a velvet-like surface on a firm woven ground. Fine striations catch the light as it moves across the room, deepening the colour. Substantial weight keeps a clean line on upholstery and gives tailored drapery a decisive fall.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 100% polyester\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 56 in printable (57 in full)\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 400 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, cushions, headboards, heavy drapery\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003ch3\u003eCotton Linen\u003c\/h3\u003e\r\n\u003cp\u003eA fine, even linen-cotton weave. Colour prints cleanly while the woven surface remains visible, keeping solid grounds from going flat without softening fine linework. Light in the hand, it falls in narrow, supple folds and filters light rather than blocking it.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 55% linen, 45% cotton\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 54 in printable\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 250 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, curtains, table linens, pillows\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"NeoTex.cloud-2","offers":[{"title":"Linen Cotton Blend \/ Yard","offer_id":46265835749512,"sku":"164972-NTX-018-232-STX","price":88.0,"currency_code":"USD","in_stock":true},{"title":"Linen Cotton Blend \/ Sample","offer_id":46265835782280,"sku":"164972-NTX-018-827-STX","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Yard","offer_id":46265835815048,"sku":"164972-NTX-133-232-STX","price":105.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Sample","offer_id":46265835847816,"sku":"164972-NTX-133-827-STX","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/2914\/5480\/files\/tiled_preview_square_20260725_012512.png?v=1785691077"},{"product_id":"mughal-poppy-indigo-marigold-fabric","title":"Mughal Poppy, Indigo \/ Marigold Fabric by the Yard","description":"\u003cp style=\"margin-bottom:0.6em;\"\u003eA late seventeenth-century dastarkana—an Indian summer carpet hand-drawn in kalamkari and conserved at The Metropolitan Museum of Art—was the starting point for Mughal Poppy. Drawn down to three-fifths scale, every hand-painted line was translated to preserve the painterly look of the original kalam. Ground takes three-quarters of the surface, leaving wide, breathing fields around each plant so the density stays inside the motif without closing a room in.\u003c\/p\u003e\n\n\u003cdetails style=\"margin:0;\"\u003e\n\u003csummary style=\"font-weight:bold;text-decoration:underline;cursor:pointer;margin:0;\"\u003eRead More...\u003c\/summary\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Source\u003c\/h3\u003e\n\u003cp\u003eSomeone cut the original up. Twelve feet of hand-painted poppies, sliced into puzzle-piece shapes to fit around a column, or a tent post, or a smaller room—no one wrote down which. What reached the museum in 1982 was a little under half: plain-weave cotton from the Mughal period, mordant-painted and resist-dyed, the poppies drawn by hand rather than stamped from a block. Green was made by painting yellow over indigo. On most surviving kalamkaris the yellow is gone and only the blue is left; on this one it held.\u003c\/p\u003e\n\u003cp\u003eIt came in with the Alice and Nasli Heeramaneck Collection, a gift of Alice Heeramaneck, and then sat for thirty-two years because the border was too fragile to handle. Conservation ran past a hundred hours—the binding removed, tideline stains lifted with poultice, the cloth humidified flat until the creases relaxed. It went up in Gallery 464 in 2015, in the Department of Islamic Art, on a slanted board held by insect pins, because no one was willing to put a stitch through it.\u003c\/p\u003e\n\u003cp\u003eThe conservators chose not to join the fragments back together or reconstruct what was lost. That was deliberate, out of respect for what the object had actually lived through. The carpet as a whole stays broken. But the design was made to be lived with—walked on, sat beside, used—and it spent thirty-two years in a drawer. The fragments held a complete plant and the rhythm that placed it. That was enough to bring it back out.\u003c\/p\u003e\n\u003cp\u003eIt will never be a floorspread again. The poppies stop abruptly on a slant board in Gallery 464. Now they keep going—row after row, past the corner, the way they did before someone cut it up.\u003c\/p\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Specifications\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSource:\u003c\/strong\u003e Fragment of a floorspread, late seventeenth century, India. The Metropolitan Museum of Art, accession 1982.239a\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRepeat:\u003c\/strong\u003e 24 in (12 in half-drop)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/details\u003e\u003cbr\u003e\u003cbr\u003e\u003ch2\u003eThe Cloth\u003c\/h2\u003e\r\n\u003ch3\u003eDecor Chenille\u003c\/h3\u003e\r\n\u003cp\u003eA short, dense pile with a velvet-like surface on a firm woven ground. Fine striations catch the light as it moves across the room, deepening the colour. Substantial weight keeps a clean line on upholstery and gives tailored drapery a decisive fall.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 100% polyester\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 56 in printable (57 in full)\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 400 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, cushions, headboards, heavy drapery\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003ch3\u003eCotton Linen\u003c\/h3\u003e\r\n\u003cp\u003eA fine, even linen-cotton weave. Colour prints cleanly while the woven surface remains visible, keeping solid grounds from going flat without softening fine linework. Light in the hand, it falls in narrow, supple folds and filters light rather than blocking it.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 55% linen, 45% cotton\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 54 in printable\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 250 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, curtains, table linens, pillows\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"NeoTex.cloud-2","offers":[{"title":"Linen Cotton Blend \/ Yard","offer_id":46265836404872,"sku":"164968-NTX-018-232-STX","price":88.0,"currency_code":"USD","in_stock":true},{"title":"Linen Cotton Blend \/ Sample","offer_id":46265836437640,"sku":"164968-NTX-018-827-STX","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Yard","offer_id":46265836470408,"sku":"164968-NTX-133-232-STX","price":105.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Sample","offer_id":46265836503176,"sku":"164968-NTX-133-827-STX","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/2914\/5480\/files\/tiled_preview_square_20260725_012508_408969b6-e958-4ee2-b9ed-40f54d9d468c.png?v=1785691078"},{"product_id":"mughal-poppy-ivory-marigold-fabric","title":"Mughal Poppy, Ivory \/ Marigold Fabric by the Yard","description":"\u003cp style=\"margin-bottom:0.6em;\"\u003eA late seventeenth-century dastarkana—an Indian summer carpet hand-drawn in kalamkari and conserved at The Metropolitan Museum of Art—was the starting point for Mughal Poppy. Drawn down to three-fifths scale, every hand-painted line was translated to preserve the painterly look of the original kalam. Ground takes three-quarters of the surface, leaving wide, breathing fields around each plant so the density stays inside the motif without closing a room in.\u003c\/p\u003e\n\n\u003cdetails style=\"margin:0;\"\u003e\n\u003csummary style=\"font-weight:bold;text-decoration:underline;cursor:pointer;margin:0;\"\u003eRead More...\u003c\/summary\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Source\u003c\/h3\u003e\n\u003cp\u003eSomeone cut the original up. Twelve feet of hand-painted poppies, sliced into puzzle-piece shapes to fit around a column, or a tent post, or a smaller room—no one wrote down which. What reached the museum in 1982 was a little under half: plain-weave cotton from the Mughal period, mordant-painted and resist-dyed, the poppies drawn by hand rather than stamped from a block. Green was made by painting yellow over indigo. On most surviving kalamkaris the yellow is gone and only the blue is left; on this one it held.\u003c\/p\u003e\n\u003cp\u003eIt came in with the Alice and Nasli Heeramaneck Collection, a gift of Alice Heeramaneck, and then sat for thirty-two years because the border was too fragile to handle. Conservation ran past a hundred hours—the binding removed, tideline stains lifted with poultice, the cloth humidified flat until the creases relaxed. It went up in Gallery 464 in 2015, in the Department of Islamic Art, on a slanted board held by insect pins, because no one was willing to put a stitch through it.\u003c\/p\u003e\n\u003cp\u003eThe conservators chose not to join the fragments back together or reconstruct what was lost. That was deliberate, out of respect for what the object had actually lived through. The carpet as a whole stays broken. But the design was made to be lived with—walked on, sat beside, used—and it spent thirty-two years in a drawer. The fragments held a complete plant and the rhythm that placed it. That was enough to bring it back out.\u003c\/p\u003e\n\u003cp\u003eIt will never be a floorspread again. The poppies stop abruptly on a slant board in Gallery 464. Now they keep going—row after row, past the corner, the way they did before someone cut it up.\u003c\/p\u003e\n\u003ch3 style=\"margin-top:1.2em;\"\u003eThe Specifications\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSource:\u003c\/strong\u003e Fragment of a floorspread, late seventeenth century, India. The Metropolitan Museum of Art, accession 1982.239a\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRepeat:\u003c\/strong\u003e 24 in (12 in half-drop)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/details\u003e\u003cbr\u003e\u003cbr\u003e\u003ch2\u003eThe Cloth\u003c\/h2\u003e\r\n\u003ch3\u003eDecor Chenille\u003c\/h3\u003e\r\n\u003cp\u003eA short, dense pile with a velvet-like surface on a firm woven ground. Fine striations catch the light as it moves across the room, deepening the colour. Substantial weight keeps a clean line on upholstery and gives tailored drapery a decisive fall.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 100% polyester\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 56 in printable (57 in full)\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 400 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, cushions, headboards, heavy drapery\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003ch3\u003eCotton Linen\u003c\/h3\u003e\r\n\u003cp\u003eA fine, even linen-cotton weave. Colour prints cleanly while the woven surface remains visible, keeping solid grounds from going flat without softening fine linework. Light in the hand, it falls in narrow, supple folds and filters light rather than blocking it.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 55% linen, 45% cotton\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 54 in printable\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 250 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, curtains, table linens, pillows\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"NeoTex.cloud-2","offers":[{"title":"Linen Cotton Blend \/ Yard","offer_id":46265836273800,"sku":"164969-NTX-018-232-STX","price":88.0,"currency_code":"USD","in_stock":true},{"title":"Linen Cotton Blend \/ Sample","offer_id":46265836306568,"sku":"164969-NTX-018-827-STX","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Yard","offer_id":46265836339336,"sku":"164969-NTX-133-232-STX","price":105.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Sample","offer_id":46265836372104,"sku":"164969-NTX-133-827-STX","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/2914\/5480\/files\/tiled_preview_square_20260725_012510.png?v=1785691078"},{"product_id":"ogee-ivory-marigold-fabric-by-the-yard","title":"Ogee, Ivory \/ Marigold Fabric by the Yard","description":"\u003cp style=\"margin-bottom:0.6em;\"\u003eA single scrap of plain-weave cotton from India, about the size of an index card, held just enough geometry to work out an entire room-scale lattice. Accession 6.177 at The Textile Museum in Washington, D.C., carries no recorded date and no maker's name—only eight inches by four of surviving cloth: a doubled-rope lattice, a four-petal flower at every intersection, and a diagonal vine of leaves and small buds threading the cells.\u003c\/p\u003e\n\n\u003cdetails style=\"margin:0;\"\u003e\n\u003csummary style=\"font-weight:bold;text-decoration:underline;cursor:pointer;margin:0;\"\u003eRead More...\u003c\/summary\u003e\n\u003cp\u003eGeorge Hewitt Myers acquired the fragment in 1951. He had founded The Textile Museum in 1925, in his own home on S Street in Washington, with 275 rugs and 60 related textiles he had been gathering since 1896. By the time 6.177 entered the collection, Myers had spent more than five decades gathering pieces across the globe—from Anatolian village rugs and Egyptian Mamluk carpets to archaeological textiles from Peru. Today, the museum he started holds more than 21,000 textiles spanning five thousand years.\u003c\/p\u003e\n\u003cp\u003eAt eight inches by four, the original fragment is densely packed. Almost none of its tight detail would read at an architectural scale. The translation opened the drawing—giving slightly larger flowers and more breathing room around the medallions while keeping the underlying ogee geometry exact, allowing painterly nuances the tiny original couldn't carry across a room.\u003c\/p\u003e\n\u003cp\u003eThe original piece survives in cream, indigo, madder red, and a brown-tan in the leaves. These renderings extend that historical palette across [COLOURWAY COUNT] colorways without breaking the structural logic of the design. The lattice runs unbroken again, at full scale, for the first time in a very long while.\u003c\/p\u003e\n\u003c\/details\u003e\u003cbr\u003e\u003cbr\u003e\u003ch2\u003eThe Cloth\u003c\/h2\u003e\r\n\u003ch3\u003eDecor Chenille\u003c\/h3\u003e\r\n\u003cp\u003eA short, dense pile with a velvet-like surface on a firm woven ground. Fine striations catch the light as it moves across the room, deepening the colour. Substantial weight keeps a clean line on upholstery and gives tailored drapery a decisive fall.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 100% polyester\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 56 in printable (57 in full)\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 400 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, cushions, headboards, heavy drapery\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003ch3\u003eCotton Linen\u003c\/h3\u003e\r\n\u003cp\u003eA fine, even linen-cotton weave. Colour prints cleanly while the woven surface remains visible, keeping solid grounds from going flat without softening fine linework. Light in the hand, it falls in narrow, supple folds and filters light rather than blocking it.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eComposition:\u003c\/strong\u003e 55% linen, 45% cotton\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 54 in printable\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 250 gsm\u003c\/li\u003e\r\n\u003cli\u003e\r\n\u003cstrong\u003eFor:\u003c\/strong\u003e Upholstery, curtains, table linens, pillows\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"NeoTex.cloud-2","offers":[{"title":"Linen Cotton Blend \/ Yard","offer_id":46269949182088,"sku":"164977-NTX-018-232-STX","price":88.0,"currency_code":"USD","in_stock":true},{"title":"Linen Cotton Blend \/ Sample","offer_id":46269949214856,"sku":"164977-NTX-018-827-STX","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Yard","offer_id":46269949247624,"sku":"164977-NTX-133-232-STX","price":105.0,"currency_code":"USD","in_stock":true},{"title":"Upholstery Chenille \/ Sample","offer_id":46269949280392,"sku":"164977-NTX-133-827-STX","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/2914\/5480\/files\/tiled_preview_square_20260725_013622.png?v=1785801260"},{"product_id":"architectural-stripe-forest-floor-flax-fabric-by-the-yard","title":"Architectural Stripe, Forest Floor \/ Flax Fabric by the Yard","description":"Custom design\u003cbr\u003e\u003cbr\u003e\u003ch2\u003eThe Cloth\u003c\/h2\u003e\r\n\u003ch3\u003eDecor Chenille\u003c\/h3\u003e\r\n\u003cp\u003eA short, dense pile with a velvet-like surface on a firm woven ground. 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