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These are corrections for known errors in the book. Please submit others (through “Contact Us”) so that we can provide the most accurate information to our readers. Thank you!

p. 4, col. 2, ” . . . the Lausanne Biennial exhibitions, begun by Jean Lurçat and Pierre Pauli . . . ”

p. 200, col. 2, fifth to last line “. . . light bouncing off the woven work . . . ”

p. 218, para. 3 “The Dovecot weavers used a deep black wool and mohair blend as background.” [A deep blue-black was used only for “Sky Cathedral II.”]

p. 219 Caption for plate 47 lists incorrect provenance; see Checklist entries 47-48 on p. 335 for correct information.

p. 238, col. 2 The first two wall hangings Ross and Noland did together were in the hooked-rug technique; the third was handwoven in tapestry weave at the Dovecot Studios.

p. 288 The man in the photo is misidentified as Ernie Trova; his actual identity is not currently known.

p. 299, plate 96, and p. 341, entry 96 We sincerely regret the inaccuracy of colors represented in the image of “Maritimus,” 1989, a pile-woven oval-shaped GFR Carpet designed by Jack Youngerman and produced by Edward Fields & Co. The actual colors are two distinct shades of blue, plus a rich brown at the bottom of the oval. For a more accurate rendering, please see Maritimus in true colors.

p. 333, entry 26 Correct name of weaving studio: Kennedy/Kunstadt Tapestries. Weaver: Janet L. Kennedy.

p. 344, n. 5 Insert at end of note 5: “In her 1980 dissertation, Alice Zrebiec describes the late nineteenth-century introduction of European tapestry to the American public by several companies whose efforts presage those of Gloria Ross.”

p. 355, final entry: Zrebiec, Alice M. 1980 American Tapestry Manufactures, 1893-1933. Doctoral dissertation, Institute of Fine Arts, New York University, New York.

p. 367, final entry: Zrebiec, Alice M. 344n5 (chap. 1)

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