Author Archives: Jen Segrest

12th Century: So-called bag of King Stephen of Hungary

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So-called bag of King Stephen of Hungary

Reliquary Pouch, Russian, 2nd half of the 11th / 12th century

Item link page at Vienna Art History Museum

Textile; Silk, linen, gold thread embroidery, silk embroidery, silver, gilded, topaz, pearls, garnets, glass stones / embroidered

H. 15.5 cm, W. 13.5 cm

Older tradition linked the origin of this richly embroidered bag to the person of the first Christian king of Hungary, Stephen (István) I (around 969 – 1038). According to current knowledge, the phonetic image and the orthography of the texts embroidered on the front and back in Cyrillic script indicate that textile work emerged in Russia after the middle of the 11th century, so that the bag was previously used at best to store relics from 1083 canonized ruler may have served. The actual function of the pocket-shaped container at the time of its creation has not yet been determined. An original liturgical purpose seems obvious due to the psalm texts embroidered on the back, which are known from the liturgy of the Greek rite. However, direct comparison examples are missing. The bag owes its outstanding position among the medieval works of the spiritual treasury to the fact that it is one of the oldest surviving monuments of Russian embroidery art. The front is entirely covered by gold embroidery, which encloses various medallions with colored figures in silk embroidery. Christ is enthroned in the middle, surrounded by the four archangels, a seraph and a cherub as well as Saints Basil and Nicholas. The back shows a red silk fabric into which a cross and the above-mentioned inscriptions are embroidered with gold and red, yellow and green silk. The overall effect of the embroidery, which corresponds to works of goldsmith or mosaic art, is of an exceptionally high level: there are almost 700 stitches on one square centimeter. This suggests that it was created in an important artistic center, such as one of the great Russian monasteries. The bag probably only received its current closure at the bottom edge with a metal rod and the large topaz attached, as well as the small cross made of garnets on top, in the 17th century.

Currently issued:Imperial Treasury ViennaRoom II

IMAGE RIGHTS Vienna Art History Museum, Spiritual Treasury

INV. NO. Treasury, GS Chapter 186

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11th Century: Reliquary Bag with plaques and pearls 11th Century: reliquary cross 12th Century: Roger II Dalmatic 17th Century: waxblossed reliquary figures 12th Century Byzantine pearled decorative circle 17th Century: Purple velvet purse 12th Century: Pearled Cushion 17th Century: Drawstring Bag, 1610-1650 15th Century: Crib of the Infant Jesus 13th Century: Ciborium/Ziborium (Host Box) 16th Century: Pearled Panel 16th: Drawstring Bag 17th Century: Game Bag 17th Century: purple velvet pouch 16th Century: Ventian purse

14th Century: stole

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The stole

2nd quarter of the 14th century, Italian

Item Link at Vienna Art History Museum

Textile; yellow silk: Louisine, patterned with black silk (eagle) and gold threads, pearls, gold-plated silver appliqués with granulation, pit-enamel in silver, cell-enamel in gold, glass stones

L. 599 – 602 cm, W. 21 – 23 cm

The stole is sewn together from a total of eight different sized pieces of the same gold-woven fabric. Most of the black silk eagles have disappeared, leaving only their round medallions framed with double rows of pearls. These alternate with a total of 68 appliqués made of gold-plated silver, which, like the long sides of the stole, are bordered by double pearl cords. All pearl cords and most of the appliqués are lined with parchment to protect the precious silk fabric. The enamels in the appliqués lie on several layers of precisely cut, written paper, which can be dated to the 14th century based on the characters. The stole appears to have been made based on the model of the probably damaged Norman predecessor (or a Hohenstaufen intermediate) – possibly for Louis the Bavarian. What is remarkable is its excessive length, which does not allow it to be worn like a liturgical stole. It therefore appears to have been modeled on the loros worn by the Byzantine emperor – imitated by the Normans in their garb. With the help of mosaic depictions of Roger II and William II in Palermo, the traditional way of wearing the loros wrapped around the shoulder and hip can be reconstructed, which also solves the mystery of the various pieces from which the Viennese stole is sewn together . When sewing these pieces together, attention was paid to the alignment of the eagles so that they always stand upright when wrapped correctly. In any case, the memory of the imperial sash seems to have soon been lost; The stole was equated with that of the priest’s regalia and was worn crossed over the chest despite being too long.

Currently issued: Imperial Treasury ViennaRoom 10

IMAGE RIGHTS Vienna Art History Museum, Secular Treasury

INV. NO.Treasury, WS XIII 8

 

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14th Century Stole (detail) 14th Century: Mitre of St. Isidoro 13th Century: possible stole end 14th Century: San Lorenzo Mitre 13th Century: Stole 14th Century: Amalfi Mitre 14th Century: Nola Mitre 14th Century: Border 14th Century: Chausable Edging 15th Century: Minden Mitre 14th Century: Altar Edging 12th Century: Roger II Dalmatic 15th Century: The Linköping Mitre 14th Century: Cope 14th Century: Marienwerder Cope

11th Century: reliquary cross

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The Reich Cross, dated 1024/25, 1325

Reliquary: West German; Foot: Prague

Oak core, fabric, gold sheet, precious stones, antique cameos, pearls; RS and sides: niello, iron pin for use as a lecture cross; Foot: silver, gold-plated, enamel

Item page at Vienna Art History Museum

The Imperial Cross represents a highlight of medieval goldsmith’s art and was created during the reign of Emperor Conrad II (1024-1039). The front is densely decorated with gemstones and pearls, while the back shows a niello drawing of the twelve apostles, the apocalyptic lamb and the four evangelist symbols.

H. 77.5, W. 70.8 cm

Total height: 92.5 cm

Foot: H. 17.3 cm

Side panels: “ECCE CRVCEM DOMINI FVGIAT PARS HOSTIS INIQVI. HINC, CHVONRADE, TIBI CEDANT OMNES INIMICI”; Cross base: “ANNO MILLENO TERCIO QVINQVAGENO SECVNDO KAROLVS AVGVSTVS ROMANVS REXQVE BOHEMVS HOC LIGNVM DOMINI TALI PEDE SIC DECORAVIT”

Like the imperial crown, the imperial cross is also filled with deep symbolic meaning. First of all, it is a symbol of Christian triumph, since Christ overcame his death on the cross through the resurrection. Since Emperor Constantine won his victory at the Milvian Bridge (312) under the protection of the cross, the cross was also considered a national emblem of the Roman Empire, an idea that was consciously continued by Charlemagne and to which the Ottonian and Roman Empire also relied early Salal rulers. The Imperial Cross can therefore be interpreted as a sign of Christian triumph, victory and imperial representation. It is part of a series of famous imperial foundations, at the beginning of which is a jeweled triumphal cross (crux gemmata), which Theodosius II had erected on Golgotha ​​Hill before 450. The Imperial Cross is not only a triumphant crux gemmata, but also a relic container. Parts of the front can be removed in panels and reveal the recesses inside in which the imperial relics were once kept: in the cross arm the Holy Lance (inv. no. SK_WS_XIII_19) and in the shaft the cross particles (inv. no. SK_WS_XIII_20) . These extremely valuable passion relics were considered a pledge of the “royal salvation” and the victorious power of the ruler. The meaning of the relics finds a perfect correspondence in the shape of the shell that contains them, which surpasses all secular symbols of power in terms of symbolic power.

Vienna Art History Museum, Secular Treasury

INV. NO. Treasury, WS XIII 21, Imperial Treasury ViennaRoom 11

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17th Century: beaded prayer bookcover

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A CHARLES II BEADWORK AND EMBROIDERED PRAYER BOOK COVER, CIRCA 1660-1680

Item auction page at Christie’s

The front and back covers with maidens representing Hope and Faith surrounded by flora and fauna, the spine with a hound and a hare, within a later shadowbox frame

71⁄4 in. (18.4 cm.) high; 10 in. (25.4 cm.) wide

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17th Century: Cockatrice Jewelry box 17th Century: Beaded Casket 17th Century: basket 1662 17th Century: basket 1660 17th Century: Beaded bellows 17th Century : basket 1660 17th Century: basket 1670 17th Century: basket 1659 17th Ventury: basket 1660 17th Century: dressing mirror, 1670 17th Century: 1662 Mirror 17th Century: 1628 Beaded Bag 17th Century: 1659 Basket 16th Century: Beaded Book 17th Century: beaded silk purse

17th Century: basket 1660

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A CHARLES II BEADWORK LAYETTE BASKET
CIRCA 1660

Item auction page at Christie’s

Depicting a pair of figures with spot motifs of plants animals and insects, the borders with further figures and flowering plants, some damage to the sides
13 in. (33 cm.) wide

Previously sold Christie’s South Kensington, Costume and textiles, 14 December 2006, lot 3260.
A similar basket dated 1659, is in the Victoria Albert Museum, No. T.69-1936

Related Items:

17th Century: basket 1659 17th Ventury: basket 1660 17th Century: basket 1662 17th Century : basket 1660 17th Century: 1659 Basket 17th Century: basket 1670 17th Century: Basket, 1650-1700 17th Century: dressing mirror, 1670 17th Century: Beadwork basket, c. 1675 17th Century: Beadwoven Panel (1657) 17th Century: mirror 17th Century: 1662 Mirror 17th Century: Beaded bellows 17th Century: Beaded Casket 17th Century: waistcoat

17th Century: basket 1659

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Charles II era basket, 1659

Link to Sotheby’s listing

Beadwork baskets were special creations, as they were not for any practical purpose, and are often decorated with celebratory imagery. They were often created to mimic the forms of silver christening baskets. This example could be commemorating a wedding, as fruit and foliage are often suggestive of fecundity. Beads began to be imported from Venice and Amsterdam around 1630, and they were instantly popular since they were interpreted as symbols of the exotic.

A basket with a similar composition and also worked in beads and depicting Charles II and Catherine of Braganza in the center is in the collection of The Metropolitan Museum of Art (39.13.1).

Overall in excellent condition. Decoration to faces is now lacking due to loss of silk thread. Some beads are lacking, minor restorations. Silk lining restored and the beadwork base replaced.

Height 8 1/4 in. by Width 13 1/2 in. by Length 22 in.

Signed MARY BLOMFIELD/ ANNO 1659, reverse with a label printed International Art Treasures Exhibition Assembly Rooms Bath 1973 Exhibit No. 158.

Provenance: Christie’s, South Kensington, July 14, 1992, sale 4716, lot 162.

Exhibited : International Art Treasures Exhibition, Bath, 1973

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17th Ventury: basket 1660

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Charles II era basket, 1660

Link to Sotheby’s listing

Mounted on wooden boards, the slanted sides worked in brightly coloured beads depicting a genteel couple with silk faces and hands flanking a manor house with mica windows; the sides with female allegories of the senses with silk faces and hands, flanked by a camel, leopard, stag and unicorn and flowers and insects; the external sides covered in green silk brocade with silver-thread ribbon borders

Height 4 in. by WIdth 19 in. by depth 14 1/2 in.

In good conserved condition with scattered losses to beads primarily around top edges. Canvas backing to bottom panel with minor buckling, and wear and discolouration to raised work commensurate with age, with some re-working to faces. Later green silk and metallic thread borders with minor wear and discolouration consistent with age and use. Colour in catalogue photos is generally accurate; overall colour perhaps slightly more grey under certain light.

Provenance

Sir Frederick Henry Richmond, Bt (1873-1953)
Christie’s South Kensington, An Important Collection of Needlework, June 23, 1987, lot 118
Garry Atkins, London

Exhibited

Victoria & Albert Museum, London
Milwaukee Art Museum, Strung, Woven, Knitted and Sewn: Beadwork from Europe, Africa, Asia and the Americas, November 21, 1997- January 18, 1998

Related Items:

17th Century : basket 1660 17th Century: basket 1670 17th Century: basket 1662 17th Century: 1659 Basket 17th Century: dressing mirror, 1670 17th Century: Basket, 1650-1700 17th Century: Beadwoven Panel (1657) 17th Century: Beadwork basket, c. 1675 17th Century: Beaded bellows 17th Century: Beaded Casket 17th Century: mirror 17th Century: 1662 Mirror 17th Century: beaded silk purse 17th Century: bag 1623 17th Century: waistcoat

17th Century : basket 1660

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Charles II era basket, 1660

Link to Sothebys listing

Mounted on wood, depicting a King and Queen worked on satin ground flanked by a tent and houses; the sides with flowers, fruits, trees, a deer, leopard, kingfisher and parrot and covered on the outside with green silk; raised on a base decorated with insects and flowers

Wear, losses, discolouration and oxidation to satin ground commensurate with age, and scattered losses to beadwork. Later green silk in good condition. Colour in catalogue photos is accurate.

Height 3 3/4 in. by Width 16 in. by Depth 12 in.

Provenance

Mary Bellis, Hungerford
Christie’s London, The Mary Bellis Collection, May 21, 1987, lot 76
Leslie Maas

Related Items:

17th Century: basket 1670 17th Century: basket 1662 17th Century: dressing mirror, 1670 17th Century: 1659 Basket 17th Century: mirror 17th Century: Basket, 1650-1700 17th Century: Beadwoven Panel (1657) 17th Century: 1662 Mirror 17th Century: 1625-1650 Beaded bag 17th Century: Beadwork basket, c. 1675 17th Century: waxblossed reliquary figures 17th Century: Beaded bellows 17th Century: waistcoat 17th Century: Beaded Casket 16th: Drawstring Bag

17th Century: basket 1670

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CHARLES II era basket, 1680

Link to Sotheby’s listing

Multi-coloured beads worked on a cream silk ground with openwork sides; the base with a raised-work courting couple flanked by a leopard, lion, castle, pear and orange trees; the sides and handles in blue and white with flowers in each corner; with a protective Perspex case; losses and restoration to openwork

Height 5 1/2 in. by Width 21 in. by Depth 18 in.

Scattered losses and minor oxidation to beads throughout, with some splits to wires in pierced trellis sides, and one section restored entirely with white beads; visible in catalogue photographs. Raised work panel with losses and disclouration to silk ground and scattered losses and lifting to beadwork elements, consistent with age. Metal frame slightly mis-shapen in places, commensurate with age and handling.

Provenance: Leslie Maas

Exhibited

Milwaukee Art Museum, Strung, Woven, Knitted and Sewn: Beadwork from Europe, Africa, Asia and the Americas, November 21, 1997- January 18, 1998

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17th Century: basket 1662 17th Century: dressing mirror, 1670 17th Century: 1659 Basket 17th Century: mirror 17th Century: Basket, 1650-1700 17th Century: 1662 Mirror 17th Century: Beadwoven Panel (1657) 17th Century: Beaded Casket 17th Century: Beadwork basket, c. 1675 17th Century: Beaded bellows 17th Century: 1628 Beaded Bag 17th Century: waistcoat 17th Century: beaded silk purse 17th Century: 1625-1650 Beaded bag 16th: Drawstring Bag

17th Century: basket 1662

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Charles II era basket, 1662

Link to Sotheby’s Listing

Scattered losses to beads, visible in catalogue photographs. Metal handles and frame slightly mis-shapen in places with consequent light undulating to beaded panels, consistent with age and handling. Beaded ribbon borders surrounding bottom of basket slightly lifting in places with small losses.

Height 7 in. by Length 18 1/2 in. by Depth 13 1/2 in.

Initialed MB and dated 1662 on a white beaded ground, the base depicting a man and woman flanking the Royal Oak with the face of Charles II surrounded by deer, a leopard, dogs and a fox; the openwork sides and handles worked in multicolor stripes; some losses

Provenance: Alistair Sampson Antiques, Ltd., London

Exhibited

Milwaukee Art Museum, Strung, Woven, Knitted and Sewn: Beadwork from Europe, Africa, Asia and the Americas, November 21, 1997- January 18, 1998

Related Items:

17th Century: basket 1670 17th Century : basket 1660 17th Ventury: basket 1660 17th Century: Basket, 1650-1700 17th Century: 1659 Basket 17th Century: 1662 Mirror 17th Century: dressing mirror, 1670 17th Century: mirror 17th Century: Beadwork basket, c. 1675 17th Century: Beadwoven Panel (1657) 17th Century: Beaded Casket 17th Century: bag 1623 17th Century: Beaded bellows 17th Century: 1628 Beaded Bag 17th Century: waistcoat

17th Century: bag 1623

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Beaded bag, 1623

Link to Sotheby’s listing

Signed TH GUIFT OF A FRIEND 1623

In good condition, with old restorations and later stitching along two vertical seams running from the bottom to the top border in between the I and E of ‘FRIEND’ and between ‘GIFT’ and ‘OF’. Wear and old restorations to the green ribbon border along the top

Height 4 in.

Provenance

Mayorcas Ltd, London, January 1976;, Vogel Collection no. 233

 

 

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17th Century: waxblossed reliquary figures

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Wax Reliquary figures of St. Tiburtius & St. Valerianus
Munich, Germany, Early 17th century

Artist: Hans Krumper, 1570(?) – 1634

Material: Wax figure, glass eyes, real hair, silk, gold lamé, tulle, gold embroidery, pearls, oak wood, ebony pads, gold enamel, copper, gold-plated or painted, steel, gold-plated brass

St. Tibertius

INV. NO. Treasury, GS D 71 : www.khm.at/de/object/99040/

DIMENSIONS H. 36 cm, W. 22.5 cm
LABELING “S.TIBVRTIVS”; “S. Crispini M.”
IMAGE RIGHTS Vienna Art History Museum, Spiritual Treasury

 

St. Valerianus

INV. NO.Treasury, GS D 70:www.khm.at/de/object/99039/

DIMENSIONS H. 36 cm, W. 22.5 cm, D. 19.5 cm
LABELING “S. VALERIANVS”; “S: Maurity”
IMAGE RIGHTS Vienna Art History Museum, Spiritual Treasury

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17th Century: dressing mirror, 1670

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A Charles II beadwork and faux tortoiseshell dressing mirror, circa 1670

Sold at auction by Sotheby’s

Description: beadwork, wood, faux tortoiseshell

Dimension: height 26 1/2 in.; width 20 in. (67.3 cm; 50.8 cm)

Condition: Overall good condition; the faces of the figures replaced with later infilling; the center of the large flower to the right hand side above the fox also infilled; left corner beneath the upper left figure with losses; colors are vibrant and the beadwork is stable and beautifully executed; mirror plate appears to be replaced and with some crystallization and pitting; some minor knicsks and wear to ebonized edge.

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17th Century: mirror 17th Century: 1662 Mirror 17th Century: basket 1670 17th Century: beaded prayer bookcover 17th Century: Cockatrice Jewelry box 17th Century : basket 1660 17th Century: basket 1659 17th Century: basket 1662 17th Century: Beaded bellows 17th Ventury: basket 1660 17th Century: basket 1660 17th Century: Beadwoven Panel (1657) 17th Century: Beaded Casket 17th Century: Fork, 1650-1800 17th Century: waistcoat

17th Century: Gloves 1620s

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Pair of gloves

British,

The rich brown leather of these gloves is unusual; most surviving gloves from the seventeenth century are lighter in color. However, the motifs embroidered on the gauntlets—pea pods and blossoms—were quite common during the period. Pea pods were often associated with romantic love. They are found on both household furnishings and other accessories of dress, such as a woman’s jacket of about the same date in the Museum’s collection (23.170.1).

Medium: Leather, satin worked with silk and metal thread, spangles; long-and-short, satin, detached buttonhole, couching stitches; metal bobbin lace; silk and metal ribbon

Dimensions: L. 13 1/2 x W. 6 1/2 inches (34.3 x 16.5 cm)

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17th Century: mirror

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Mirror depicting scenes from the Book of Esther, 1650 or later

Mirror plate with losses to silvering and foxing. Beadwork with some losses, most extensively to the bottom left corner where the flower is lacking. Metal border with losses, bending and replacements. The faces of the figures are all lacking. Some restorations to beadwork. This mirror underwent professional conservation in 2014. Some earlier restorations were taken away and new beads were added to those areas.

Beadwork, like needlework, was produced by both young girls and professionals. Schools that taught needlework also taught this unique craft, as noted in an advertisement of 1681 by Hannah Woolley that stated “I can work well all manners of work.. all kinds of Beugle [bead]-work, upon wyers or otherwise..”. Beads had been imported from Venice and Amsterdam as early as the 1630s. Beads, unlike silk threads, retain their colors so that beadwork mirrors reveal the original colorful quality of seventeenth century embroidery.

Dimensions: Height: 26 3/4 in. by Width 22 in.

Provenance:

1: Freeman’s Auction, Philadelphia, November 13, 2013, sale 1476, lot 138.

2: Sotheby’s, January 20 2016,  lot 471.

A mirror of similar form was sold Sotheby’s New York, June 9, 2014, lot 167.

Related Items:

17th Century: dressing mirror, 1670 17th Century: 1662 Mirror 17th Century: basket 1670 17th Century: basket 1659 17th Century : basket 1660 17th Century: Beaded bellows 17th Century: basket 1662 17th Ventury: basket 1660 17th Century: beaded prayer bookcover 17th Century: bag 1623 17th Century: waistcoat 17th Century: Beadwoven Panel (1657) 17th Century: basket 1660 17th Century: Fork, 1650-1800 17th Century: 1625-1650 Beaded bag

13th Century: possible stole end

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Gold, silk, 1300-99, German

V&A Accession number 8565-1863 | link to item page @ V&A

Possibly connected to German stole @ the V&A

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13th Century: Stole

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“Manipel”, First half of 13th Cen.

V&A Accession number 8588-1863 | link to item page @ V&A

Possible companion piece at V&A here

The maniple has been part of liturgical dress for Roman Catholic deacons, priests and higher clergy since the 9th century. It is worn hung over the left forearm and was probably carried as a formal sign of office. It echoes the shape and decoration of the longer stole which is usually worn around the neck.

A long narrow band, broadening at the ends to a trapezoid shape and finished with fringes, it usually has a device at each end. In this case, the beaded embroidery comprises a striking geometric pattern. Specifically religious references are evident in the small painted image of the Virgin and Child on the left end, and the wording woven into the strip that went round the neck.

On the far right and left is written: O SPES DIVINA VIA TUTA POTENS MEDICINA PORRIGE SUBSIDIUM MISERIS O SANTA MARIA PROTOGE SALVA BENEDIC SANCTIFICA

Closeups are from my visit to the V&A visit, read notes here.

 

Related Items:

13th Century: Halberstadt Mitre 13th Century: possible stole end 13th Century: Ciborium/Ziborium (Host Box) 13th Century: Orphrey, 1220-1224 13th Century: Halberstadt Antependium 13th Century: German Panels 16th Century: Russian Mitre 15th Century: Kreuzlingen Mitre 13th Century: Halberstadt Antependium 13th Century: Cap, belt, cote, mantle, surcote and other fragments of Fernando de la Certa 15th Century: Minden Mitre 14th Century: Altar Edging 14th Century: Mitre of St. Isidoro 15th Century: Mantle of the Order of the Golden Fleece 15th Century: The Linköping Mitre

17th Century: Basket, 1650-1700

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Beaded basket, English, 1650-1700

V&A Accession number T.41-1946 | link to item page @ V&A

Basket beaded in green, yellow, blue, red, white, and orange within a glass case. The beadwork depicts Susannah and the Elders with a lion, leopard, and kingfisher on the bottom of the basket, framed by the sides of the basket which are composed of leaves, flowers, and fruit trees.

Dimensions of case: : 240mm W: 655mm D: 550mm

Related Items:

17th Century: 1659 Basket 17th Century: Beadwork basket, c. 1675 17th Century: 1662 Mirror 17th Century: Beaded Casket 17th Century: Beadwoven Panel (1657) 17th Century: Fork, 1650-1800 17th Century: 1625-1650 Beaded bag 17th Century: dressing mirror, 1670 17th Century: waistcoat 17th Century: purse 1634 17th Century: Drawstring Bag, 1610-1650 17th Century: mirror 17th Century: 1628 Beaded Bag 17th Century: beaded silk purse 17th Century: Beaded bellows

17th Century: Fork, 1650-1800

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Fork, 1650 to 1800

V&A Accession number M.71-1950 | link to item page @ V&A
Tw o pronged steel fork with a tapering cylindrical handle covered with coloured beadwork. Length, 8 inches.
Cutler’s mark: a falchion (a broad curved, convex edged sword.)

Related Items:

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17th Century: purse 1634

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1634, English

V&A Accession number T.55-1927 | link to item at V&A

The most luxurious embroidered purses, made in leather, velvet and silk, were used by both men and women. Women’s purses were similar to those carried by men, but smaller, taking the form of tasselled bags that closed with tasselled drawstrings. These were often embroidered, while beadwork on leather was also popular. The decoration on this purse depicts a sprig of green and yellow acorns between a pair of birds with lozenges and flowers. It is inscribed ‘I PRAY GOD TO B(sic) MY GUIDE 1634’.

A number of early 17th-century beaded bags bear mottos or expressions relating to charity, friendship or luck. These two examples carry the messages, ‘I pray God to B my guide 1634’ [T.55-1927] and ‘Hit or miss there it is 1628’ [T.250-1960]. They would have been used to carry either sweet-smelling herbs or small gifts. V&A, Room 40, Bags: Inside Out. (12/2020)

Bibliography: John Lea Nevinson, Catalogue of English Domestic Embroidery of the Sixteenth & Seventeenth Centuries, Victoria and Albert Museum, Department of Textiles, London: HMSO, 1938, p.100, plate LXXII

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17th Century: waistcoat

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1600-1620 English waistcoat

Woman’s waistcoat, 1600-20, British; linen embroidered with coloured silks, metal threads, spangles, glass beads

V&A Accession Number:T.106:1 to 4-2003 | Item page at V&A

Description: Four pieces forming a woman’s waistcoat made of bleached linen and embroidered with coloured silks, silver and silver-gilt filé and spangles. The pattern of the embroidery comprises a lattice of geometric strapwork in plaited braid stitch with threads. Worked inside the strapwork compartments are flowers, fruits and leaves in coloured silks in detached buttonhole stitch. The grapes are similarly worked, but raised for a three-dimensional effect.

History: The waistcoat was probably altered in the 1620s to wear as masque costume. The fronts were removed, shortened and new gores added, then sewn to new silk backs (not meant to be seen when worn). The waistcoat probably had a scattering of silver-gilt spangles. Many more, each topped with a glass bead, were added, filling the linen ground and almost obscuring the pattern of the embroidery.

The waistcoat has been associated with Sutton Court in Somerset for several centuries, according to information provided to the Museums, Libraries and Archives Council.

The alterations and addition of more spangles and beads may have been done to adapt the waistcoat for use as a masque costume. Sir Francis Bacon’s essay, On Masques and Triumphs of 1594, makes a number of recommendations about costumes for the masque, including “oes or spangs, as they are of no great cost, so they are of most glory. As for rich embroidery, it is lost and not discerned.”

Historical significance: Lavishly embroidered waistcoats were fashionable during the first two decades of the 17th century and are often seen in portraiture, usually worn with a petticoat and loose gown as formal day wear. The embroidery on this example represents a unique variation on other multi-coloured needlework designs of the period. The foundation pattern in plaited braid stitch with silver-gilt thread is in a strapwork design, a geometrical outline rather than the curving stems usually seen. The three-dimensional rendering of the grapes is a particularly rich treatment of the form. This particular waistcoat once had its linen ground completely covered with spangles, each topped with a tiny bead, an addition probably made for masque costume.

Summary: These pieces once formed part of a woman’s waistcoat and are beautiful examples of the splendour of British embroidery between 1600 and 1620. The foundation pattern in plaited braid stitch with silver-gilt thread is strapwork, a design also used in other decorative arts of this period. The leaves and flowers are filled in with a detached buttonhole stitch in a variety of coloured silks. The grapes have been worked over thick padding to give them an almost three-dimensional shape.

The waistcoat was altered to wear as part of a costume for a masque (masked ball), with the additional spangles and beads added to make the waistcoat gleam in the candlelight. The British philosopher and writer Francis Bacon (1561-1626) wrote an essay, ‘Of Masques and Triumphs’, in 1594, advising on the colours and decorations most effective for masque costume. He recommended spangles, ‘as they are of no great cost, so they are of most glory. As for rich embroidery, it is lost, and not discerned.’

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16th Century: Portrait of Anne of Cleves

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Anne of Cleves by Holbein, c.1539 @ The Louvre

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18th Century: Beaded bag

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1700-1750 (made), France

The finest beadwork in the 18th century was made in France, where accessories such as bags, pocket cases and shoe uppers were produced. Netting created a dense, beaded surface with very fine, multi-coloured beads. This bag depicts three female allegorical figures, including Justice, and the goddess, Athena.

Object details

Silk, glass; hand-woven, netted Silk (Textile), Beads, Silk Cord,
Length: 10cm (approx)
Width: 12.5cm (approx)
Bag of ivory silk thread netted with coloured glass beads, worked in 4 shield-shaped sections and lined with pink silk sarsenet. . Each section bears an allegorical female figure, including Justice, or goddess, Athena. The bag appears to have been cut down through the beading a new casing and drawstring added.
The finest beadwork in the 18th century was made in France, where accessories such as bags, pocket cases and shoe uppers were produced. Netting created a dense, beaded surface with very fine, multi-coloured beads. This bag depicts three female allegorical figures, including Justice, and the goddess, Athena.

 

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16th Century: Portrait of a lady, 1510

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015

Artist:  Conrad Faber
Dated: 1510
Dimensions: 34 cm x 44 cm
Inventory number: 560
Museum:Royal Museum of Fine Arts Antwerp

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13th Century: Ciborium/Ziborium (Host Box)

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Beaded container for the Holy Host

Second half of the 13th Century, Schnutgen Museum, Köln (Cologne) Germany

In german: Ziborium mit perlstickerei, Niedersachen, 2, Halfte 13 JH

Translated: Wooden core, embroidery with glass beads, freshwater pearls, and metal bead appliqué on parchment. H. 29.5 cm, Dia. 10 cm (Inv. N 42)This precious and extremely rare vessel of extraordinary artistic quality was created to store the consecrated host for the Eucharist.

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Cat. Kunsthistorische Ausstellung 1876, 58, no. 364 (A. Schnütgen) – Kleinschmidt 1903,332 – Witte 19116 – von Bock 1963, 287-288- Cat. Schatzkammer 1991, 143-144, no. 42 (L. von Wilckens) – von Euw 1993b, 40-41 – Sporbeck 1996, 18-19 – Depierraz 2012, 10-11 – Roth 2018, 45-46, 61.

From: Museum Schnütgen in Cologne: A Survey of the Collection (2017) Edited by Moritz Woelk and Manuela Beer

Some Color Pictures from “Stadt im Wandel: Kunst und Kultur des Bürgetums in Norddeutchland 1150-1650”

Some pictures from: https://www.bildindex.de/document/obj05071467?medium=rba_c005536
Some photos are copyright courtesy the most gracious Racaire at www.racaire.com

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13th Century: Cap, belt, cote, mantle, surcote and other fragments of Fernando de la Certa

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Cap belonging to Ferdinanado de la Certa – died aged 20, 1211 or 1275, Spanish

Some Color pictures: Marianne Perdomo

For Mantle and fragments, click here to jump to bottom.

Cap:

Belt:

Cote/Surcote:

For Mantle and fragments, click here to jump to bottom.

According to the article by Benjamin L. Wild (2011): Emblems and enigmas: Revisiting the ‘sword’ belt of Fernando de la Cerda, Journal of Medieval History, 37:4, 378-396.

“In 1942, in the monastery of Santa Maria de los Regalis Huelgas (Burgos, Isapniya), served as a place of coronation and burial place of Spanish kings from the time of its founder, Alfonso VIII, was the tomb of Fernando de la Cerda, the eldest son of Alfonso X of Castile. Inside the tomb stone was placed the body 19-year-old Infanta in a luxurious, richly embroidered silk dress. Mastery of work, wealth and beauty, and not inferior to the waist, the waist is on the Infanta. This belt, unlike other clothing, jewelry heraldic symbols of Castile and Leon, had the marks of the royal houses of England, France and Navarre; presumably on the buckle emblem of Champagne. On the belt, there are also nine other heraldic symbols, not known in the thirteenth century Castile. Where does this thing and whose work he did not know until now, but there is debate about the three versions of its origin: Spanish, French or English.

Basis belt size 1920 mm long and 42 mm wide was woven on the plates and decorated with tiny blue and white glass beads. Inner face with black light green silk embroidered with gold thread. Both ends of the belt are attached two silver gilt plate about 150 mm long. To one of them is fastened the buckle and the other serving as the shank, has a trapezoidal shape and tapers somewhat towards the end. Both plates are decorated with pearls and sapphires, each taken four coated with a thin layer of enamel shield with heraldic images. Heraldic shields placed on the shank, rotated by 90 degrees with respect to all the others who are on the belt. This testifies to the manner of wearing this belt, which included hanging Shank – like the image is on the statue of King John Lackland of England (1199 – 1216), which is in Worcester Cathedral. Belt buckle has a trapezoidal shape.

Its hinged lid, designed to regulate the length of the belt and clip it at the right place, is one tripartite shield. Cover decorated with pearls, sapphires and one carnelian. 19 silver gilt belt pads divide into 20 equal parts by 75 mm. Each pad is attached on both sides, in the center – the pearl inset. Arched suspension-mount disposed between the first and second plates (counting from the buckle).

It is also made of gilded silver and decorated with pearls and sapphires, repeating motif buckle and tang. 20 sections belt decorated with alternating patterns. 10 of them are filled with intricate geometrical ornament in diamond-shaped framework, none of the images are not repeated, although they are very similar – including on a blue and white color scheme. 10 other sections filled constituents heraldic shields, some of which are repeated also on the buckle and the shank. Shields also made ​​in white and blue color, so it is unlikely that they reflect the actual color shown on them emblems. White and blue colors were not a couple inherent Heraldry Europe XIII century. Shields keep embroidered with white beads birds sitting on divided into 8 segments wheels. The remaining space between the wheel and shield busy little blue birds. Attempts to identify the heraldic symbols of those boards still causing heated debate and has not been successful: no consensus on this issue has not been worked out.”

From patrimonionacional.es (musuem item link):
Google Translated from Spanish
DATE: Before 1275
MATTER AND TECHNIQUE:Silk, metallic threads, glass, water bottles, cabochons. Fabric, embroidery, die cut, crimped
DIMENSIONS: Height greater 15.7 cm; lower height 13.5 cm; diameter 19 cm
COLLECTION: Royal Pantheon of Las Huelgas de Burgos, grave of Infante Don Fernando
LOCATION: Monastery of Sta. María La Real de Las Huelgas
STOCK NUMBER: 00650523
DESCRIPTION: This headdress has a cylindrical shape with a lining and strips of fabric for adjustment. It is decorated on the surface with barracks of castles and lions. The castles are designed with blue beads on a golden silver surface that is arranged on a red background of vitreous beads, and the lions are embroidered on the background of pearl beads. Top with two metal perimeter strips on the top and bottom that are decorated with cabochons and incised decoration with shields of castles and lions.
The Monastery of Santa María la Real de las Huelgas de Burgos, founded in 1187 by Alfonso VIII and Leonor Plantagenet, served during the thirteenth and fourteenth centuries as a pantheon of the Castilian royal family. The opening of its graves, carried out for a scientific purpose of study, occurred between 1942 and 1944, and provided what is to date the best set of medieval civilian clothing in the world, both in quantity and quality. Despite the violent openings suffered throughout history, one of the burials of the pantheon, attributed to Emperor Alfonso VII, remained intact until the twentieth century. After its opening and study, the infant Fernando de la Cerda (1255-1275), heir of Alfonso X the Wise, was awarded. The grave, with all its contents intact,
The infant was buried with his own suit, complemented by a ring in his right hand, a beautiful belt, his sword, and some spikes. His body rested on several pillows in a wooden coffin lined, both outside and inside, with rich textiles. Unlike previous times, the men of the 13th century liked to cover their heads with different headdresses, an exceptional example being this mortarboard decorated with the infant’s weapons.
The mortarboard is made by a cylindrical beech wood frame, which serves as a support, covered by a thin white canvas lined with crimson taffeta, on which the heraldic decoration is arranged. The chinstrap is made with two fragments of fabric sewn in round, decorated with a crimson geometric composition outlined in black on a golden background.
The decoration of castles of castles and lions are the weapons that corresponded to the infant, firstborn of Alfonso X, and responds to the taste for the so-called heraldic fashion, typical of the second half of the thirteenth century, in which this decorative motif invades all kinds of surfaces. In the context of the Monasterio de las Huelgas, he adorns several royal graves and decorates the textile trousseau and clothing, such as the saya, the ball and the mantle of the same infant, or the mantle of King Ferdinand III the saint.
This type of ceremonial headdress, called mortarboard or bonnet, is framed within the generic type of leather, which according to Carmen Bernis would be a more general voice for all types of garments worn on the head. Inspired by the military world, its origin lies in the cylindrical helmets of the early thirteenth century, and caused a furor among the privileged classes. The Book of Games and Las Cantigas by Alfonso X el Sabio offer several examples of people touched with this type of mortarboard, which in the case of royal representations, is adorned with the barracks of castles and lions, following the same colors as this model.
Only three copies of this type of headdress are preserved: the one belonging to the infant Don Felipe (+ 1274), son of Fernando III, extracted from his grave in the church of Santa María la Blanca in Villalcázar de Sirga (Palencia) and preserved in the National Archaeological Museum; that of King Alfonso X (+1284), buried in the cathedral of Seville and still in his sepulcher; and the richest of all, this specimen belonging to the infant Fernando de la Cerda, found his grave in the Monastery of Las Huelgas.
BIBLIOGRAPHY
BERNIS MADRAZO, Carmen, Spanish medieval clothing. Madrid: Diego Velázquez Institute of the Higher Council for Scientific Research, 1956.
DESCALZO, Amalia. “Les vêtements royaux du monastère Santa Maria la Real de Huelgas.” In Fashion and clothing in late medieval Europe, edited by Regula Schorta and Reiner Christoph Schwinges, 97-106. Switzerland: Abegg-Stiftung, Riggisberg, 2009.
GÓMEZ MORENO, Manuel. The royal Pantheon of the Strikes of Burgos. Madrid: Higher Council for Scientific Research, 1946.
HERRERO CARRETERO, Concha. Catalog of the Museum of Medieval Fabrics. National Heritage, 1988
PIDAL MENENDEZ, Faustino. Heraldry of the royal house of León and Castilla: 12th-16th centuries. Madrid: Hidalguía, 2011.
YARZA LUANCES, Joaquín. Rich clothes. The monastery of Las Huelgas and its time 1170-1340. [cat. exp. Madrid, Royal Palace]. National Heritage, 2005.

Mantle and other fragments: (not beaded, but felt it was important to include)

Fragment of the mantle of Fernando III

Date: Prior to 1252

Material and Technique: Fabric: Silk Brocade

Dimensions: Height: 45cm Width: 35cm

Place of Production: Silk Fabric: Sevilla

Holding Institute: Armeria del Palacia Real Madrid

This fragment shows the coat of arms of Castile-León: a red lion on a white ground (León) and a golden castle with three towers on a red ground (Castile). The King´s mantle would have consisted of countless such fields arranged in an chessboard pattern. This exceptionally finely worked tapestry was probably made by Muslim weavers in the service of the Christian kings.

It is probably this strip belonged to the lower end of the mantle, since it includes a portion of the broder, formed by a series of horizontal stripes of blue, yellow, red and gold.

In the Libro de los Juegos, Alfonso X. is depicted wearing a similar mantle.

 

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12th Century: Roger II Coronation Mantle

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Mantle of Roger II of Sicily (detail) made in 1133, Kunsthistorische Museum, Vienna

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13th Century: Fredrick II Gloves

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Gloves of the Holy Roman Emperor, Frederick II

Early 13th century, before 1220
Vienna, Weltliche Schatzkammer

Circumference of the wrist opening: 24 (25) cm Length from the wrist to the point of the middle finger: 25.5 (27) cm

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OBJECT LOCATION: Imperial Treasury Vienna, room 10

OBJECT LABEL Textile; liturgical garment; coronation regalia

CULTURE; PalermoDATING; before 1220

DIMENSIONS; L. 26.3 or 27.7 cm, W. 12 cm

INVENTORY NO. Treasury, WS XIII 11

Some Images kindly provided by Prof Michael Greenhalgh, and Kunsthistorisches Museum Vienna, Secular Treasury

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14th Century: Border

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Translated of card from photo 1:

Wienhausen * Kloster Wienhausen * Jewelry border *

15. Century?? * Velvet (green); Linen: Pearl: Gold sheet:

Silver plate: gemstone * embroidered; applied * 22.5 x 204 cm * The coat of arms border (14. Century)) * Neckline

Neg. No. LAC 7.091/5 * color * Picture taken 1942/1944

Translation of card from photo 2:

IFDN 11 168 (13×18)

Wienhausen, former Cistercian monastery, Aurifrisia, above pearl embroidery on linen background with gold and silver sheet metal, 15. Century. (?) , below green velvet with pearl embroidery and decorative sheets, 15.

Century. (?) .

(Recording 1939)

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15th Century: The Linköping Mitre

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Believed to be mitre of Kettil Karlsson (Vasa) (c. 1433 – 11 August 1465)

More info:

  1. Swedish History Musuem page on this item
  2. Another Musuem page on mitre
  3. Research paper: The Linköping Mitre: Ecclesiastical Textiles and Episcopal Identity by Ingrid Lunnan Nødseth

Description: Covering gold, silk and pearl embroidery. The Annunciation, S. Peter, S. Paul. Wadstone work. 35 enamel medallions, Christ, apostles, saints. (Exhibited 1997). Deposited in SHM 1868.

Remark: Good, fragile

Events: Surveyed/Collected in Linköping, Linköping, Östergötland, Sweden. Used in Linköping, Östergötland, Sweden.

Material: Textile
Measurements:
Width: 300 mm.
Height: 790 mm.

Theme: On display, T54072
Collection: C4
Inventory number: 3920
Subnumber: 1
SHM Object identity: 96338
Anställd vid SHM SHM

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17th Century: Purple velvet purse

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Purse of purple velvet, comprising four sides bearing alternately the crowned monogram ‘DG’ or ‘ML’ or two intertwined hands under a burning heart, embroidered with multicolored silk, gold thread, pearls, sequins and rubies, anonymous, c. 1600 – c. 1625
Rijksmuseum – more info

(Google translated) Purple velvet Pouch, consisting of four chips on which alternately the crowned monogram ‘DG’ or ‘ML’ or two entwined hands under a burning heart, embroidered with multicolored silk, gold thread, pearls, lovers and rubies. Model: Each patte ends in tip and has five holes through which a cord of braided silk – ending in spheres and acorns – is pulled through. Lined with red silk; now fades to pink. Decoration: in the middle of each fries a shield at the top ending in a tip and crowned with a floral ornament of (originally gilded?) Silver canetille, freshwater pearls and a ruby in the middle. At the bottom, the shield flares into a point and the same lines form two curls in which a violet is made up of (gilt?) Silver canetille, freshwater pearls and a ruby in the middle. A monogram of freshwater pearls and gold thread is embroidered under a three-point crown. The seams between the different pattes are covered with a trimming of braided gold wire. The purse ends at the bottom center in a stepped ornament of braided gold wire (probably around a wooden core) ending in four braids with a ball. The drawstring ends in acorns and balls of braided gold wire

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15th Century: Crib of the Infant Jesus

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Crib of the Infant Jesus

15th century, South Netherlandish

The pillow and blanket of the crib, are embroidered with with gold work, enameled pieces and pearl work.
Made in Brabant, South Netherlands

Met Museum NYC, Gift of Ruth Blumka, in memory of Leopold Blumka, 1974 Accession Number: 1974.121a–d

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14th Century: Mitre of St. Isidoro

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Mitre of Saint Isidoro

Embroidered with gold, pearls and precious stones 14th century, Bologna
Museo Davia Bargellini.

Mitra di s. Isidoro, ricamo in oro, perle e pietre preziose, 14th century, Bologna, Museo Davia Bargellini.

Showing at the Complex of the Seven Churches in Bologna, Italy.

Photos below graciously provided by Alison Petrisek of Running With Scissors:

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17th Century: Beaded bellows

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A pair of silver mounted bellows with working mechanism, decorated on both sides with small glass beads; on other side in a floral pattern and on the other with a central cartouche with a scene of a lack and gentleman in a landscape.

English, cira 1690)
Length: 22 in / 36 cm
Width: 10in/233 cm

From: The Needle’s Excellency and Other Textiles (Publisher: Mallett, London, 1997)

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18th Cetury: Beaded panel

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English, circa 1700. Framed: 39 x 45cm

From: The Needle’s Excellency and Other Textiles (Publisher: Mallett, London, 1997)

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17th Century: beaded silk purse

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Beads and pearls embroidered on silk, on both sides, 6×6 inches. English.

From: The Needle’s Excellency and Other Textiles (Publisher: Mallett, London, 1997)

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17th Century: Beadwoven Panel (1657)

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Panel Made in 1657

In the collections at the V&A, London, not on display.

ARTIST/MAKER
Unknown
PLACE OF ORIGIN
England (made)

Coloured and transparent glass beads threaded together on silk

OBJECT DETAILS

CATEGORY
Textiles
OBJECT TYPE
Panel
MATERIALS AND TECHNIQUES
glass beads threaded onto silk ground
Glass Beads
Silk
BRIEF DESCRIPTION
beaded, 1657, English; Coloured beads, floral decoration with inscription
PHYSICAL DESCRIPTION
Coloured and transparent glass beads threaded together on silk
DIMENSIONS
  • Height: 16.5cm
  • Width: 31cm
  • Unmounted depth: 0.5cm
MARKS AND INSCRIPTIONS
Naturs flowers soon doe fade ful long we last cause art us made ARW 1657

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14th Century: Cheb Antependium

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Antipendium (altar hanging) of Cathderal/Chapel of Cheb*
Approx. 1300 AD.

Okay, I freely admit I’m extremely interested in this piece since it seems to have stayed in the very cathedral/town where it was made, and lived, and is still in such great shape. I have some research on Cheb and these locations mentioned in the plate descriptions, see it after the pictures below.

Four pictures from Jessica Grimm who has this blog entry, that you must really go to as she has done a great write up on it.

*also known as Eger (see note after plate description) Dimensions: 88cm x 228cm. Museum der stadt Cheb, Czechoslovakia.
SOURCE: “La Riqueza del Bordado Eclesiastico en Checoslovaquia”, by Zoroslava Drobna, 1949

Plate info in spanish:
Antipendium bordado con abalorios multicolores (perlitas de cristal) y con coralitos rosáceos. En dos filas, una encima de la otra, que constan de diez arcadas semicirculares, tiene colocadas las figuras de la Vírgen María, de Cristo, de santos y de santas. En su parte superior consta de una tira o franja, en la cual se hallan sobrepuestas o aplicadas cabezas, pintadas y más recientes, de santos y una tira con una inscripción mulitada por restauraciones posteriores. las figuras y las arcadas han sido borodadas sobre pergamino, borado que años más tarde ha aplicado o cosido sobre una tela de seda roja. Probablemente ha sido confeccionado por las monjas del convento de Santa Clara de Cheb para la cahilla del castillo de Cheb. Proximiades del año 1300 Dimensiones 88cmx228cm Museo Municipal de Cheb.

Plate info in English – to the best of my talents and using an online translator:
Altar hanging embroidered with multicolored glass beads (glass pearls?) and with rosaceous coralitos. In two rows, one upon the other of ten semicircular arches around the figures of the Virgin Maria, Christ, saints. In the top part it consists of a border which has overlapping or applied heads, painted and more recent, of saints and a strip with an inscription mutilated by later restorations. The figures and the arches have been embroidered on parchment, embroidered over years and applied or sewn on red silk fabric. Probably was made by the nuns of the convent of Saint Klara of Cheb for chapel of the castle of Cheb. Approx. 1300 AD. Dimensions 88cm x 228cm. City Museum of Cheb, (Czechoslovakia.)

 

RESEARCH ON THIS PIECE’S ORIGINS

Notes About Cheb, Czech Republic: during the Middle Ages, and even into fairly modern times, Cheb (which is directly on the modern German/Czech border) has changed hands to and from Germany many times. Map of modern Czech Bohemian Province: Cheb can be seen almost extreme right, junst under the little finger section that shoots into Germany, right along the border. Youc an see how this could have changed hands many times. (another map has Cheb clearly marked extreme west point of Czech.)As a result, Germany calls it Eger and Czechoslovakia calls is Cheb.

You will see this listed more often as being from “Eger (Cheb)” more than “Cheb” alone. To make this even more confusing – There is also a Eger, Hungary It’s made my researching this piece a bit difficult, added to that all, Czechoslovakia was called “Bohemia” in period. Here is a period map of Cheb when it was Eger, Germany – the chapel of St. Klara is clearly marked in the high res pic entitled “De germania, Egrana ciuitas, olimde imperio Romanorum hodie uero regno Bohemiae subiecta”That last link calls Cheb “Located on Ohre river near the German border; town fell to Bohemian king Otakar I in 13th cen.; was often damaged by war, including in Hussite wars (1419-1436), Thirty Years’ War (1618-1648) & War of Austrian Succession (1740-1748). ”

The Czech.cz history page, mentions German Colonization inthe 13th Century. Now, Locating the piece’s orgin in Cheb (Then named “Eger”):The plate description above says this was: “Probably was made by the nuns of the convent of Saint Klara of Cheb for chapel of the castle of Cheb.” Let’s break this down.

You can see some of these Cheb locations, as they stand now that are mentioned above, at Cheb’s Wepage and the above map link which I think shows them in period as well. So does this page.

The convent was founded as a Franciscan church, and functioned as such for a couple hundred years, but converted to a Minorite (“Minores”) order in the 1500’s – which is whwen this map was made. (go about half way across) *right* next to the what we conclude to be the very Convent of St Klara (“S:Klara”) Cheb’s page even notes the order change: “Franciscan church: The Minorite church was built simultaneously with a convent after 1247 when Franciscans settled in Cheb. A vestry and adjacent portion of walling has been preserved from the original building from the mid-13th Century. A cloister of the convent from the 1st half of the 14th Century is one of the most beautiful landmarks in the town’s historical center.” So we know it was there at the right time, and we know it’s still there. Now, If you look at the modern pic of the Minorite churchand the period map of Cheb when it was Eger, Germany, you can see a definite resemblance of the modern and to the towers of “S:Klara” and the adjacent”Minores” in the map, which would be the Minorite Church.

In the 15th Century a bunch of Franciscan monasteries converted sub order called Minorite, who I thinks were a little more conservative, even more than the “Poor Clare’s” who were founded by St Clare and who’s tenants included strict cloistering away from the world and devout poverty.

We know that the the Convent of St Klara was adjacendt to the “Minorite” church from the map. We’re at the very least in the right area of town, and it’s really cool to at least see in period where it came from, if it is from where they say.

John Moorman, MEDIEVAL FRANCISCAN HOUSES, St. Bonaventure (NY): The Franciscan Institute, 1983:[page 169:] FRANCISCAN FRIARY AT “EGER (Cheb): Franciscan Province of Saxony or Bohemia, Leipzig.”Before 1256 (AFH v, 362). In 1270 the town was burnt down, including the church of the friars. Four friars and ten others were burnt to death in the church (AF ii, 83). It became Observant in due course, but the date of this is uncertain. Some say 1463 (“Beiträge Sächs. 1907, 9); others give 1465 (AFH v, 362) or 1472 (FS i, 239).”[page 582] POOR CLARES at Eger “Founded c. 1270 being built next to the friars’ convent (AFH v, 362-3). Some put the date as 1264 and say that the house was affiliated to Seusslitz (S. Chiara 438). In 1465 some sisters were sent from Nuremberg to carry out reforms (AF ii, 417-8).”Abbesses: “c. 1270: Adelheit von Lobhaus (Wauer, Entstehung 141n); 1469: Felicity Trautmann (AF ii, 418, 477); 1469 Margaret Grunther (Priorissa) AFii, 418, 477)”

And who was it made for?
It says in the plate description… ” …for chapel of the castle of Cheb” (again, it was Eger)Cheb’s page shows them too. Here’s the castle and here’s the castle’s chapel interior (and A detail picture). Here’s a modern Map of Cheb , you an see the castle (#4) up in the the northern bend of the river.
#8 is the convent.
#3 is where the piece lives now, the Musem of Cheb.

The Beads: Where did they come from?

Cheb is located less than 40 Kilometers from the small bavarian town of Bischofsgrun, Germany, which is just a few miles on the other side of the modern Czech/German Border.Bischofsgrun is important in many ways. It is one of the first glassmaking capitols in that part of Europe. A “glass hut” (translation from web) was found dating from 900. “Bischofesgrune” was first mentioned in 1242. The tradition of glass-making was first mentioned in 1340 (*1). by 1536 they had 39 glass houses (*2). Duke Albrecht V requested the court cartographer to a map of Bavaria in 1554-1561. In it he included the desctiption as: “Here there are many Glassworks, (producing) blown glass, exceptional mirror glass, and glass beads.” (*3). Modernly Bischofsgrun is famed for it’s history as a medieval stained glass center, and is part of many “glass tours” for those who study glass history. I think it’s a good possibility the beads may have come from Bischofsgrun, or even perhaps there was an even closer factory. Glass makers were considered a reputable and desirable industry.

(*1).source: Bischofsgrun, Germany glass tour website
(*2) source: Bischofsgrun, Germany website
(*3) source: Sibyll Jorgstaff, Glass Beads Of EuropeNEW Text about Cheb History: Following text from this page on Cheb:

The history of Cheb, one of Bohemia’s oldest towns, dates from the 9th century. The remains of a Slavonic settlement have been found on the site of todays castle, in its strategic location above the Ohre river. The first reference to Cheb was in a document by Germany king Heinrich IV., in 1061. The town was then called Egre, derived from “Agara”, the Celtic name of the river running through it and taken into German as “Eger”. The Czech name goes back at least to 1322. During the 12th century, Cheb came under the administration of the margraves of Vohburg and German colonization followed. In 1149, Cheb came under the House of Hohenstauf. Friedrich Barbarossa, the emperor and the most significant member of the family, made Cheb a stronghold of his power politics aimed against the Principality of Bohemia. Czech rulers, however, also proved interested in the regions strategic location. Using the claim to inheritance as a pretext, Premysl Otakar II invaded the once Slavonic territory in 1266 and temporarily annexed it to Bohemia. Until 1305 the region was administered by Vaclav II, Otakars son, who gained control over it as part of the dowry of his wife Guta, a daughter of the Emperor Rudolph of Hapsburg. Although the town was repeatedly taken by the German Empire after Vaclavs death, the inhabitants of Cheb maintained good relations with Bohemia and, after the Premyslid dynasty, became growingly concerned about stability. The permanent annexation of Cheb to the Bohemian Crown Lands came in 1322. John of Luxembourg, the Czech king, acquired the region from Ludwig the Bavarian as a hereditary pledge in recognition of service in the fight for the Emperors throne.

In the 14th century, Cheb was one of the leading towns in the kingdom, being the fourth biggest in Bohemia with a population of 7300. It received many privileges: the Golden Bull made Cheb inhabitants free of duties and tolls throughout the Empire, they had a provincial parliament, a provincial high court, and the minting right (1235). An important trade route, the Via Regia, led through town. During the Hussite wars, the town sided with Catholics and was the point of departure for the 1421 and 1427 crusades. History records the diplomatic negotiations of the Basel Ecclesiastic Council and the Hussites over the conditions of the latters attendance. Chebs faith in Jiri of Podebrady, the “Hussite” king, was confirmed not only by this many visits but also by his childrens weddings taking place in the town.

During the Thirty Years War, Cheb suffered attacks by Swedish, Saxon and imperial troops. The town went down in European history on the bloodstained date of 25 February 1634, when Albrecht of Wallenstein, the Emperors high commander, died at the hands of the Irish captain Deveroux.

Because of the war and the general decline of towns, the economy became stagnant. By a 1652 decree issued by Ferdinand III, Cheb was converted into a military fortress. When completed in 1740, however, the mighty Baroque structure was outdated and challenge to French troops laying siege two years later. An imperial contract brought leading Baroque architects to Cheb: K.Dienzenhofer, P.Bayer, G.Alliprandi, A.Pfeffer and others. Thanks to them the town boasts some marvelous buildings, e.g. St Clares Church, the Dominican monastery, the town hall, etc. The towns appearance was dramatically changed by the early 19th century. The fortifications were pulled down and a large part of the original Gothic town wall together with the gates was demolished. And still another event, deprived Cheb of its medieval features: the great fire of 1809. It destroyed more than 100 houses. Chebs oldest church, St John the Baptist, included.

Industrial development brought revival, in both economy and culture. In 1938, came the Munich agreement, followed by World War II. The ultimate displacement of German residents, eventually depopulated Chebs historical center, accelerating a catastrophic decay of monuments. Only resolute refurbishment put an end to such dilapidation (1956-1969). Since 1989 Cheb has become a notable culture and bussines center. International activities, like Euroregio Egrensis, have restored the tradition, and the unique character of the region.

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13th Century: Halberstadt Antependium

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372454915_85ce8b15b0_b

Some pics below from: http://fraubevin.blogspot.com

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13th Century: Halberstadt Antependium

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 german12thAltar frontal of the high altar of Halberstadt Cathedral

Lower Saxony, second half of the 13th century, Halberstadt, Cathedral Museum, No. 203
Throne: about 58 cm high

(Some pictures from Bevin Butler’s blog post)

Detail. Red satin faded to old rose. Bead embroidery on parchment and linen. Coral and glass beads of cylindrical and spherical form, opaque and transparent. Predominant colors: coral red, two shades of green, dark blue shading, to light blue, turquoise, aubergine (i.e. eggplant purple), gold, black.

All the seed pearls and most of the violet glass beads and the gilded plaques are now missing. The outer edge and inner fields of the throne had metal plaques with Romanesque foliage and palmettes (their imprints remain on the material). The effect of the whole is impaired by the white patches left where the seed pearls and gold plaques have disappeared.

Pictoral History of Embroidery, M. Schuette (Library of Congress # 64-13379) [Gestickte Bildteppiche des Mittelalters (in english: Art of Medieval Tapestry), Leipzig1930.] Frederick A. Praeger, Inc, Publisher, New York 1964, 64 University Place, New York 3, New York

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17th Century: Drawstring Bag, 1610-1650

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Drawstring bag

English, 1610–50

Item info from: https://collections.mfa.org/objects/119711

DESCRIPTION: Red silk satin embroidered with gold metallic threads, seed pearls, metal purl, spangles, and bits of colored glass. Baroque design. Embroidery stitches include laid and couching, beading, bullion knots, braid stitch. Green and metallic braided cords and strap at top; two wood-core drawstring pull tassels covered in seed pearls, with silk, metallic thread and spangles. Green silk lining.
PROVENANCE: Ex-Seligman Coll. (London); Elizabeth Day McCormick collection; Gift to the MFA, October 14, 1943
DIMENSIONS: Overall (without tassels and cord): 6 x 6 cm (2 3/8 x 2 3/8 in.)
CREDIT LINE: The Elizabeth Day McCormick Collection
ACCESSION NUMBER: 4:3.1080

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17th Century: Portrait of a young woman from a Gdańsk patrician family, around 1625-35

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Portrait of a young woman from a Gdańsk patrician family, around 1625-35.
Artist unknown.
From the collection of Museu Sa Bassa Blanc.

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17th Century: Spangled ruff in Portraits of Doña Ana de Velasco y Girón

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She must have loved this amazing ruff with dangling silver pointed spangles, this looks like the same one and same person over a few decades! Must have ben her signature item.

 

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17th Century: Portrait of Krystyna Lubomirska, after 1603

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(Polish) National Musuem in Warsaw

More:

 

 

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17th Century: Portrait of a lady with an elaborate jewelled headdress

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Spanish School, 17th Century
Portrait of a lady with an elaborate jewelled headdress
oil on canvas
28 x 22 in. (71.1 x 55.9 cm.)

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17th Century: Hungarian wedding dress

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WOMAN’S CORSET-BODICE AND SKIRT
Mid-17th Century
MAGYAR NEMZETI MÚZEUM
(Hungarian National Museum)
Budapest, Hungary

Earlier researches attributed the costume to Pál Esterházy’s (1635–1713) first wife Orsolya Esterházy (1641–1682) and later to his second wife Éva Thököly (1659–1716). The original owner can no longer be traced but the cut and the embroidery ascertain that either could have worn it at her wedding. Contrary to Western European customs, in Hungary later generations gladly donned the ornate costumes of their forebears on some festive occasion. The suite was restored by Mrs Sándor Borsi between 1969 and 1971.

The skirt and the attached bodice constitute an outstanding ensemble of old Hungarian costume, a harmonious alloy of the exotic oriental traditions of earlier centuries and elements of the fast-changing Western European fashions.

(Note from Jen: I’m going to guess the red beads are Coral, I have many such examples of coral beads from Germany in earlier centuries. I’m trying to find more on this.)

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16th Century: Ventian purse

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Translation via Google Translate:

Purse

Venice, end of the 16th century.
13x8x6 cm.

Cut velvet dark green silk embroidered in silver-gilt and silver yarn and curly, pearls, the application technique, the technique of blue silk satin stitch, silver sequins. Suspension and borders in gilt silver cord twisted yarn. Pink taffeta lining. The bag, unusual shape, could fulfill most uses: purses, comosuggests chuisa front pocket with a cord, door dust orportaprofumi. Wisely suspended the waist of the dress, very much in vogue, the ‘bag-shaped lute “and very valuable both for the quality of the embroidery and the richness of the materials for setting stistica.The plant motifs that adorn every part of the accessory are made with grace and richness of details highlighted by the many pearls placed in various parts in order to highlight the preziosita. This refined accessory, which certainly emphasized the sumptuousness of a ceremonial dress, it was probably a gift love, how can suggest two hearts pierced by two arrows, according to a custom widespread in the Renaissance.

The original description, in Italian:

BORSA

Venezia, fine del XVI secolo.
Cm. 13x8x6

Velluto tagliato di seta verde scuro ricamato in argento dorato e argento filato e riccio, perle, nella tecnica di applicazione; seta azzurra nella tecnica del punto raso; pailettes d’argento. Sospensione e bordure in cordoncino intrecciato d’argento dorato filato. Fodera in taffetas rosa acceso. La borsa, forma insolita, poteva assolvere a piu usi: portamonete, como suggerisce la tasca anteriore chuisa da un cordoncino, porta polveri o portaprofumi. Sapientemente sospesa alla cintura dell’abito, come imponeva la moda, la “borsetta a forma di liuto” e alquanto preziosa sia per la qualita del ricamo e la richezza dei materiali che per l’impostazione stistica. I motivi fitomorfi che ornano ogni parte dell’accessorio sono stati realizzati con grazia e ricchezza di particolari evidenziati dalle numerose perle collocate in varie parti per sottolinearne la preziosita.Questo raffinatissimo accessorio, che certo ribadiva la sontuosita di un abito cerimoniale, probabilmente era un dono d’amore, come possono suggerire i due cuori trafitti da due frecce, secondo un’usanza molto diffusa nell’epoca rinascimentale.

© I Mestieri della moda a Venezia dal XIII al XVIII Secolo. Ala Napoleonica E Museo Correr, Venice. 1988.

 

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17th Century: purple velvet pouch

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Purse of purple velvet, consisting of four pattes on which alternately the crowned monogram ‘DG’ or ‘ML’ or two entwined hands under a burning heart, embroidered with multicolored silk, gold thread, pearls, spangles and rubies, anonymous, c. 1600 – c. 1625

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17th Century: Game Bag

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Embroidered game bag: silk, silver, and gold on velvet (Dresden 1609)

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17th Century: 1625-1650 Beaded bag

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Small flat bag of coloured beads netted on a foundation of thick linen thread, and patterned with bird and flowers and inscribed ‘IN HOP ME HART DOTH REST’. With brown, green, white, yellow and blue beads. Lined with chamois leather. Above the beadwork is a band of material of green silk covered with a pale pink silk.

Link to item @ V&A

There is also a pink satin lining and pink ribbon handles. The pink silk and satin are probably later additions.

‘IN HOP ME HART DOTH REST’ (Inscribed in beadwork above the birds and flowers)

  • Width: 13cm
  • Length: 11.5cm
  • Width: 5.125in
  • Length: 4.5in

 

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17th Century: 1662 Mirror

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Looking glass or mirror, seven inches wide, in a wide frame with beadwork decoration arranged in two full-height verticals and two short horizontal panels

top and bottom. Yellow cord runs between the vertical and horizontal panels.

Design

In each corner a medallion containing a figure of a woman, one of them being Diana with a bow and dog, the others represented with a horse, an alligator, and a cock. In the upper rectangle are three seated women (possibly the three Fates spinning) with a naked recumbent man below. To the left is Venus with Cupid and a peacock and, above, her chariot drawn by a pair of doves. To the right is a clothed woman, possibly Charity, with three naked children. Below is a composition of flowers, birds and beasts. Along the upper edge the inscription: ‘IM6 6W2’. The sight and back edges of the frame are lined with tooled brown leather, worked in a geometric pattern.

2018 – in a modern glazed case

  • Height: 71.1cm
  • Width: 66cm (Note: Thickness of frame estimated at 4cm.)

H 2′ 4″ W 2′ 2″ 2018 In a modern glazed case 75 x 70 x 6.5cm
Link to V&A page

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17th Century: 1659 Basket

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Examples of beadwork that can be associated with makers whose names and dates are known suggest that they were usually made by teenage girls from affluent families. Their function is uncertain. They may have been used as layette baskets, which held baby clothes, because they are similar in form to silver examples. But it has also been suggested that they were made to celebrate betrothals or used at wedding ceremonies to hold gloves, sprigs of rosemary or other favours given to guests. Most examples depict a couple as the central motif. All of the design elements may be found in silk embroidery on domestic furnishings of the period.
Link to item @ V&A

Materials & Making
The basket is made from glass beads strung on linen thread and fine wire, supported on a wire frame lined with silk. Beadwork keeps true, clear colours, an advantage over coloured silks and wools, the usual materials for embroidery. A beaded cushion in the V&A dated 1657 bears the inscription ‘natvrs flowers soon doe fade ful long we last cavse art vs made’.

Ownership & Use
Another beaded basket of identical design exists, with only the name and date different. This suggests that it may have been worked from a type of kit, or possibly made to commission as a gift, with the recipient’s name added.

1659, English; Signed Sarah Gurnall
set with the maker or recipient’s name : sarah gvrnall avgvst 24 anno 1659

  • Height: 11cm
  • Width: 46.5cm
  • Depth: 36cm

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17th Century: 1628 Beaded Bag

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A number of beaded bags from the early 17th century survive. Their stylized floral patterns and less expensive materials imitate the elaborate embroidered versions carried by the aristocracy. Many bear mottos or expressions relating to charity, friendship or luck, which suggests that they may have been used for gifts of money.
Link to page @ V&A

Materials & Making
The development of the ‘drawn-glass’ technique about 1490 allowed the manufacture of large numbers of small, round, coloured beads with a central hole, of the type used in this purse. The glassworks on the island of Murano near Venice were the most famous during the Renaissance, but by the early 17th century the technology had spread to glass-making centres in Amsterdam and Bavaria. Beads were produced mainly for trade with North America and Africa, but they were also sold in Europe for use in embroidery.

Subjects Depicted
The expression ‘hit or miss’ is first recorded in the English language in William Shakespeare’s play Troilus and Cressida published in 1606, where it has the same meaning of random luck that it has today. The expression may have derived from a country dance also known as ‘hit and miss’, recorded as early as 1626.

Purse of brown glass beads on a ground of netted silk. With a diamond diaper pattern in blue and white beads with clusters of green and blue beads at the intersections. In each diamond a letter ‘S’ in dark blue beads is surrounded by white and yellow beads. Lined with leather and buff silk. Two tassels of buff silk ribbon at the bottom.

  • Height: 8.9cm
  • Width: 12.7cm
  • Depth: 1cm

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17th Century: Beaded Casket

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Casket

English ca. 1650-1660 (made)

Wooden casket decorated with panels of glass beads sewn onto a canvas ground. On the lid is a figure of Justice depicted with her attributes of sword and scales. On the sides are cupid and a seated lady, on the back a mermaid and swan. The casket has metal handles at the sides and a key in the centre front. There is a shallow drawer at the bottom of the front side. No other internal fittings remain.
  • Width: 270mm
  • Height: 155mm
  • Depth: 290mm

Link to Object @ the V&A

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REUNION: THE BEA’D GEES

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The V&A owns these three pieces. Not much has been known other than they were German and late 13th Century. All three are solid glass seed beadwork on parchment with ink underdrawings, but that is there the simlairity ends. The pointed piece on the right which is presumed to be part of an Orphrey, featuring he Virgin Mary.

The squares and the Orphrey remnant are NOT related despite sometimes being shown together. I have never believed the right piece, the pointed longer one, belongs with the squares, and as it turned out from looking at copies of the file sheets on each it was stated they were acquired a year apart. Having seen them mere inches away in the flesh I can say my long suspicions I that I think they are from the same area in Germany around the same time, but are not done by the same person and not for the same piece. The styles are too divergent (the heads face opposite directions, for just a start). As a result, I have put the long piece on it’s own page where I discuss it since I have seen it in person.

To see detailed closeup photos taken during my 2002 visit to the V&A of these pieces, click here (members only)

Back to the saints squares:

When searching in Halberstadt’s museum listing at Bildindex I discovered many new pieces of beadwork I hadn’t seen before, one of them was a familiar looking textile fragment likely from a edging for an altar or wall hanging also called an “antipendium”. Almost immediately I knew what I was seeing. It features a band of silk the bottom has tassels capped with beaded roundels and in the center one very lonely, yet familiar looking saint beaded on a square parchment. As thin the V&A piece and many others) the face of the saint was picked bare of it’s pearls, but it’s obvious that there were round shapes that had been removed (the attachment stitches at still intact). After seeing this kind of thing in many other beaded pieces I’m sure that there were large round stamped gold foil decorative pictorial Brakteat (bezants) of nearly 5″ in size that were snipped at the punched holes in the metal and removed from the intact threads.

  This photo is from a book from the 1920’s pre color photography, it’s been colored at the press, so it’s not exaclty correct. But from the colors represented you can tell the beads are the same as the V&A pieces. Cobalt blue, turquise, coral, and gold.. Pearls and “plättchen” have been looted just as the V&A squares. The rows of beads match as well. AS you will see below.

I am attempting to judge size to verify these are in fact from the same item. I thought since they are so simliar, I’d show my work on this problem. All pieces were reduced and rotated to fit with in set dimensions using guide lines. So getting the pics to all be roughly the same size was key place to start to see if the are actually the same size in real life. Someone is gonna ask me to prove it, so here. Enjoy.

THEORY: If the number of beaded rows to fill two identical shaped areas is (roughtly) the same, they should be in theory be the same size. If it was a bigger piece reduced down to match a smaller piece in dimensional size the largerwould have more visiable rows of beads than the smaller piece becasue in reality while the beads are the same size there is more area to fill and would require more beads I more rows to complete it. Make sense? I also figured since they have started to look familiar now I have have named them after three brothers whom they resemble to make referring to them easier. Ladies and Gents, I present…

THE BEAD GEES

The easiest way to show the rows of bead was to take the clearest one, (Barry here) and draw over the lines of his rows. I did it in red as you can see. Instead of redrawing the lines of Robin’s beads and going blind, I overlayed Barry’s bead outline on Robin and Maurice’s rows, which I think proves the case better than anything else could.

Barry (V&A) Robin (Germany) Maurice (V&A)
Barry one is simliar to Robin over in Germany in many ways so this is the one I used to establish they are from the same hand. The way the blue background was treated, the neckline of the tunic. The number of rows around the halo and the way the corners have been filled (I’d called it mitered if it were woodwork) and the beads themselves are our keys here judging Robin’s size using Barry as our guide. Robin has as you can see has an almost identical design as Barry sans the sexy beard and famous ‘Something About Mary’ Hair-Do. His corners aren’t filled with any shapes as Maurice’s are, but his halo is the same as Maurice. While Robin is not a great shot there are clear highlights to match lines up with. Since Maurice lives with Barry in London, and I’ve visited them both in person and can vouch (as the picture above can) that they are the same size and “match” in all the right ways, as it were. He’s mainly here to fill out my theme and look pretty. Besides, when I was in my Bee Gees phase growing up I never liked Maurice. So there.
The pictures demonstrate the similarities using all three saints. Key: B=Barry R=Robin M=Maurice While not exact (it’s impossible to match exactly with beadwork) it’s clear looking at the composite pictures that they are the same size, but are designed and sewn by the same hands. Each beadworker works their beads differently, so to see multiple similarities in the pieces in different locations is encouraging. The angle of the faces, the colors, the three rows of gold beads on the border, the neckline, the cape, the two tone striping of the hair.the design of the eye, the rosy dots on the cheeks. These guys are truly brothers.
This is a great example of the Robin (R) and Barry (B) pieces. (The Barry picture is one I took during my V&A visit, thus the angle.) What this shows is that the beads are the same size and the scale of the pieces is the same, it also shows the same working style. The way the corners are worked is, for me, the clincher. As I said every beadworker works differntly, and to see such a dead match for the number of rows in the blue and the way the rows are filled, the way the gold lines and the halos match up, – well tats all the is all the proof I personally need. Everything meshes. I am 100% postive that Barry and Maurice at the V&A were originally on the textile fragment at the Halberstadr Dom Museum with Robin. Perhaps that’s one Beegees reunion that can happen someday.

This is my digitally recontructed example of what this edging might have looked like complete with the two squares from the V&A in London.

COMPUTER RECREATION OF ALL KNOWN PIECES AS COMPLETE HANGING

COMPUTER RECREATION OF ALL KNOWN PIECES AS COMPLETE HANGING

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16th C Pearled Panels

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(The last three pics seem to be from a third panel i can so far not find a whole pic of)

From: https://archive.org/details/geschichtederli03bock/page/89/mode/1up?view=theater

Bild 37.
Albenparura. Prag, Domschatz.(Aus Podlaha u. Sittler, Der Domschatz zu Prag) ist bloß eine mit einem solchen ausgestattet, die aus der Neustädter St Johannes-Kirche zu Hannover stammende, mit M. XX 6 bezeichnete Albe im Pro-vinzialmuseum daselbst. Die Bordüre setzt sich aus Vierpässen zusammen,Welche mit einem Wappenschild gefüllt sind und durch Blattwerk voneinandergeschieden werden. Bemerkenswert ist, daß aber auch hier in der Mitte desSaumes die Paruren nicht fehlen. In der Neuzeit ging es den Albenparuren ähnlich wie dem Besatz desAmiktes. Während indessen bei letzterem die Verzierung ganz aufhörte, be-

Bild 38.
AlbeDparura. Prag, Domschatz.(Aus Podlaha u. Sittler, Der Domschatz zu Prag.) 90 Erster Abschnitt. Die liturgischen Untergewänder. gann bei der Albe eine rückläufige Bewegung, indem wieder Vollbordürenan Stelle der Paruren traten. Ein gutes Beispiel einer solchen Albe, eine Schöpfung des 16. Jahr-hunderts, findet sich in der ehemaligen Stiftskirche zu Goß in Steiermark.Der breite Besatz, der sich um den ganzen Eand derselben hinzieht, ist teilsin mehrfarbiger Seide teils in Goldstickerei ausgeführt1. Im allgemeinen hielt das Außermodekommen der Alben- und Amiktparuragleichen Schritt, wie sie ja auch so ziemlich zur gleichen Zeit aufgetretenwaren und in gleichem Maß sich verbreitet hatten. Freilich auch nur imallgemeinen. Denn wie wir noch gegen Ende des 16. Jahrhunderts dort Amikt-besätze antreffen, wo die Zierstücke der Alben, wie es scheint, schon außerGebrauch gekommen waren, so begegnen uns umgekehrt diese hie und danoch, nachdem jene bereits eine Weile von de

 

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Outside link: Veil and Edge Beading

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I used to have a PDF for a class on some basic veil edging work and a little research. It was corrupted over the years and  recently was asked to try to find it and was unable to.

But I did find THIS. And it’s far superior to what I had, and why re-invent the wheel when I can spread the love. So it’s linked below!

Point any Questions about it to the author, Dona Yasmina who has contact info on the last page of the document.

Practically Period and Perfectly Practical Prettification: Basic Steps in Beaded Edging
by Dona Alessandra Bentivegna da Faenza, called Yasmina, Barony of Thescorre

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16th Century: Portrait of Hedwig Jagiello

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Hedwig Jagiello (1513-1573)

Hedwig Jagiello was born on March 15., 1513 in poznań and died on February 7., 1573 She was a polish princess from 1535 to 1535 until 1535

Hedwig was the daughter of the king of Poland. From Poland from his marriage to Barbara references, daughter of hungarian pala and magnet Stephan references.

She married on 1. September 1535 in krakow on 1. September 1535 in Krakow. Four children were born four children:

• Elisabeth (born). 1537; gesture. He married Duke Franz Otto, married to Duke Franz Otto of Brunswick-Lüneburg (Born 1595). 1530; gesture. 1559
• Sigismund (born). 1538; gesture. 1566), Prince of Brandenburg, Archbishop of magdeburg and bishop of Berlin
• Hedwig (born). 1540; gesture. 1602), princess of Brandenburg, married to Duke Julius of Brunswick-Wolfenbüttel
• Sophia (born). 1541; gesture. 1564), princess of Brandenburg, married to Wilhelm Von Rosenberg

The Strictly Catholic Princess held on her faith, even when her husband turned to Lutheran teaching and began the reformation in Brandenburg. Joachim had released his wife to accept the new marriage or to remain faithful to the old man.

She accompanied her husband in 1541 to regensburg in 1541 When Joachim accepted Luther’s teaching, she remained with her catholic faith in her Catholic Faith, which gave her the spouse after interventions from Krakow.

After the death of Joachim II. In 1571 she lived at the castle of ruppin castle in old ruppin. She died there at the age of 59 on February 7., 1573.

.
Source:
Www. Gene. Org
Www. Berlin-the capital. They
Www. DB-Thueringen. They
(Digital Library Thuringia)
Www Yes Wow! PL
(German Historical Institute Warsaw)
Www. Universes-Mercatores-of-Hansa-Theutonicorum. From
(Universitatis Jagellonica Cracoviensis acta scientiarum)

Literature:
– Johann Dorner: Duchess Hedwig and her court state: everyday life at the castle castle according to original sources of the 15. th century, volume 53 of Burgundy’s history leaves
– Juliane Jacobi: Pre-Modern Education: Self-and foreign descriptions in the early modern period (contributions to historical education research, volume 41), page 216, ISBN 10: 9783412204921 AND ISBN 13: 978-3412204921

Image: Hedwig Princess of brandenburg at 1535, portrayed by Hans Krell (1490-1565)

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16th Century: Bostocke Sampler

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All photos Copyright: © Victoria and Albert Museum, London 2017. All Rights Reserved

From the V&A page:

Linen sampler embroidered with silk and metal thread with pearls and beads.In the area above the inscription are the following motifs: an owl in a tree, a dog with collar and lead, a lion passant guardant, a chained and muzzled bear in a field of daisies, a tree with a squirrel and a pelican in her piety, a crouching hind, a spray of cowslips and a small dog with ‘IVNO’ above it. There are also three small motifs that have been unpicked, which appear to be a castle on an elephant, a squirrel cracking a nut, and a raven. All of these motifs are worked in cross stitch except for the large dog which is filled in with closely worked arrowhead stitch. There are also two tiny examples of metal thread interlacing in the top right corner. The rest of the sampler is filled with formal geometrical and floral repeating patterns. These are worked mainly in back stitch, but there are examples of work in more complicated stitches showing that the back stitch was intended to be a grounding for further elaboration. Other stitches include satin, chain, ladder, buttonhole and detached buttonhole filling, couching in patterns, coral, speckling, two-side Italian cross, bullion and French knots and beadwork. The colours are brown, greens, red, pink, blue, white and yellow.
Place of Origin England (made)

Date: 1598 (made)
Artist/maker: Bostocke, Jane (maker)
Materials and Techniques” Embroidered linen with coloured silk and metal threads, seed pearls and beads

Marks and inscriptions” ‘JANE BOSTOCKE 1598 / ALICE LEE WAS BORNE THE 23 OF NOVEMBER BE / ING TWESDAY IN THE AFTER NOONE 1596’
The lettering of the inscription is worked in back stitch with Algerian eye stitch punctuation except for the letters ‘BOSTOC’ which are worked in seed pearls over a back stitch foundation.

Dimensions Length: 42.6 cm, Width: 36.2 cm

Object history note: According to research published by Martyn Freeth (see bibliography), Alice Lee and Jane Bostocke were first cousins, both grandchildren of Thomas Lee (1500-62) of Langley and Jane Corbet of Moreton Corbet in Shropshire. The 3 motifs which have been unpicked are crests or badges from Jane’s side of the family, while those still in place are from Alice’s.

Descriptive line: Sampler of embroidered linen with coloured silk and metal threads, seed pearls and beads, made by Jane Bostocke, England, dated 1598.

Bibliographic References:
(Citation, Note/Abstract, NAL no) Browne, Clare and Jennifer Wearden, eds. Samplers from the Victoria and Albert Museum. London : V&A Publications, 1999. 144 p., ill. ISBN 1851773096.
Clabburn, Pamela. Samplers. Princes Risborough : Shire Publications, 1998. ISBN 07478 0365 X, pp.7-9
Roach, Audrey. Secrets of the Sampler. Country Life, 1 May 2003
Tarrant, Naomi, ‘The Jane Bostocke Sampler’ in Shropshire Family History Society Journal vol.29 part 4, p.151
Freeth, Martyn, ‘The Bostocke Sampler – A postcript’ in Shropshire Family History Society Journal March 2009
King, Donald, The Earliest Dated Sampler (1598) : Jane Bostocke’s gift to Alice Lee, Connoisseur, CXLIX, 234 (1962)

Materials Linen; Silk; Metal thread; Pearls; Beads

Techniques Weaving; Embroidery

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16th Century: Portraits of sisters, and family.

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Family Portrait of Armgard and Walburgis, Countesses of Rietberg and parents, Count John II of Rietberg and Agnes of Bentheim-Steinfurt in Rietberg. Piece was mutilated in 19th-century and reassembled from 3 pieces.Detail: Armgard and Walburgis, Countesses of Rietberg
Portraits by Tom Ring

 

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16th Century: Portraits of Susanna of Bavaria

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Artist: Peter Gertner (attr.) – Unknown

Susanna of Bavaria (2 April 1502 – 23 April 1543)
Susannah of Bavaria on Wikipedia

Suzanna of Bavaria, Margravine of Brandebourg-Culmbach by Barthel Beham

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16th Century: Portraits of Sophie of Mecklenburg

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Sophie of Mecklenburg-Güstrow (4 September 1557 – 14 October 1631)

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16th Century: Portrait 1511

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Portrait of the Margrave Casimir of Brandenburg
1511, lime panel, Pinakothek at Munich

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16th Century: Portraits of Anne of Denmark

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Anne of Denmark (12 December 1574 – 2 March 1619), Queen consort of Scotland, England and Ireland

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16th Century: Portraits of Barbara Radziwill

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Barbora Radvilaitė; 6 December 1520/23 – 8 May 1551) was Queen of Poland and Grand Duchess of Lithuania

More Portraits of  Barbara Radziwill

This is a unique case, being her clothing is so unique and she appears to have many different pieces of this cowl as well as other beadwork so I decided to lump her all into one page.

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16th Century: Portrait

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Portrait of Felicitas von Wallbrunn, 1539 : Mittelrhein-Museum, Koblenz. Germany  by Hans Abel the Younger (1506-1567)

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16th Century: Portrait Wilhelm IV of Bavaria and his wife Jacoba of Baden, 1525

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Duke Wilhelm IV of Bavaria and his wife Jacoba of Baden (1526) by Hans Schwab von Wertinger

Museum Veste Coburg

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16th Century: Portrait 1545

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Conrad Faber Portrait of Anne von Glauburg1545

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16th Century: Portrait 1518

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 1518 Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Anna Buchner

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16th Century: Portrait 1513

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Lucas Cranach (Northern Renaissance Painter, 1472-1553)  and his workshop  Portrait of a Woman 1513

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16th Century: Portrait

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Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Princess Maria of Saxony

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16th Century: Portrait

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Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Portrait of a Young Lady Holding Grapes

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16th Century: Portrait of Saxon Princesses

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Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Portrait of a Young Woman 1530

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16th Century: Portrait 1530

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Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Portrait of a Young Woman 1530

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16th Century: Portrait 1528

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Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Portrait of a Woman 1528

 

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16th Century: Portrait 1541

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LUCAS CRANACH (1472 – 1553) | A Lady in a green velvet and orange dress and a pearl-embroidered black hat – 1541.

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16th Century: Beaded Bag

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Beaded leather bag, 1630s, British; inscribed ‘heare et is hit or miss’, acorn pattern

 

A number of beaded bags from the early 17th century survive. Their stylized floral patterns and less expensive materials imitate the elaborate embroidered versions carried by the aristocracy. Many bear mottos or expressions relating to charity, friendship or luck, which suggests that they may have been used for gifts of money. This example is inscribed ‘heare et is hit or miss’.

The development of the ‘drawn-glass’ technique about 1490 allowed the manufacture of large numbers of small, round, coloured beads with a central hole, of the type used in this purse. The glassworks on the island of Murano near Venice were the most famous during the Renaissance, but by the early 17th century the technology had spread to glass-making centres in Amsterdam and Bavaria. Beads were produced mainly for trade with North America and Africa, but they were also sold in Europe for use in embroidery.

The expression ‘hit or miss’ is first recorded in the English language in William Shakespeare’s play Troilus and Cressida published in 1606, where it has the same meaning of random luck that it has today. The expression may have derived from a country dance also known as ‘hit and miss’, recorded as early as 1626.

Text from: https://collections.vam.ac.uk/item/O74982/purse-unknown/http://collections.vam.ac.uk/item/O158778/bag-unknown/

Physical description: A flat, square leather bag, covered with red, white, green, yellow and blue glass beads in a repeating pattern of stylized acorns. It has silver thread loops, silk tassels and holes in the leather for a drawstring

Place of Origin: Great Britain (made)

Date: 1630-1639 (made)

Materials and Techniques: Kidskin, glass beads, linen thread, silk thread, silver thread; hand sewn, hand beaded

Dimensions: Length: 13.0 cm approx., bag only, Width: 14.6 cm approx., bag only

Beaded leather bag, 1630s, British; inscribed ‘heare et is hit or miss’, acorn pattern

Bibliographic References (Citation, Note/Abstract, NAL no): John Lea Nevinson, Catalogue of English Domestic Embroidery of the Sixteenth & Seventeenth Centuries, Victoria and Albert Museum, Department of Textiles, London: HMSO, 1938, p.100

Materials: Kidskin; Glass beads; Linen thread; Silk thread; Silver thread

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16th Century: Beaded Portrait

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AN EXTREMELY FINE AND RARE ENGLISH PORTRAIT IN NEEDLEWORK DEPICTING QUEEN ELIZABETH I, CIRCA 1580
MEASUREMENTS: 6 3/4 by 6 1/2 in.; the panel 4 3/4 by 4 1/2 in.

Delicately worked in polychrome silks, silver and gold metal threads ornamented with seed pearls and glass beads, the face painted on vellum. Gloriana shown standing on a terrace wearing a feather plumed hat worked with seed pearls, with a ruff above a couched bodice with similar ballooned sleeves, the dress diapered with silver thread and sequins and flossed polychrome silk bands, and with a yellow lined short cape, with cut painted paper hands, one holding a plumed fan, the other gloves(?).

The sky worked in silver thread and centered by a shining star above a vista of rolling hills and woods with a town in the upper right, to the left a knotted garden centered by an elaborate fountain surmounted by Eros holding a bow, to the right a small landscape with buildings and enclosed fields with a scene of dogs chasing a stag, partly enclosed by a bower of red roses, white lilies and yellow dog roses, with a pair of birds and a robin.

The foreground with balustrades before a paved terrace, one end with square pot with a climbing white flowers, perhaps eglinton, the foreground with a further balustrade ornamented with roundels enclosing fleurs de lys; the panel within a gold metal thread square tape with silver thread square jewels and with fleur de lys corners, and with an outer blue tape threaded with a gold thread and a red silk snake ornamented with seed pearls, joined at the top, and interspersed with woven green silk leaves. – Sotheby’s

This was sold at Sotheby’s in April of 2004 for $153,600.

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16th Century: Russian Mitre

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Mitre | Russia; Moscow | 1595

Damask cloth, silver, satin, gold threads, silk threads, pearls | The Kremlin State Historical & Cultural Museums

Belonged to Patriarch Job (1585-1605)

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16th Century: Beaded Book

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Photograph of a precious 16th century embroidered prayer book with embroidered decorative binding in the collection of the Folger Shakespeare Library.

The rare book volume includes bible Psalms and the cover is embroidered with silver thread, gold thread, and tiny pearls.

From http://www.shakespearelibraryimages.com/stock_photography_images/folger-shakespeare-library-2/?pid=125

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16th Century: German-Saxon Portrait

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Hans Krell (before 1586). 16th C: Early German-Saxon (Cranach) Gown

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16th Century: Pearled Panel

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PALIOTTO, detail Sicily, about 1520-1540
Palermo, Cathedral Treasury Detail: 21 x 34 cm.

Velvet with applied work of pearls and gold embroidery; gold ornaments of the 13th century. Figures and foliage scrolls in couched work with applied pearls; gold threads laid in pairs, gold cords for the outlines. Faces embroidered with silk. The paliotto was a gift from Archbishop Jean Carandelet (1520-1544)

Lit.: E. Steingraber, Antique Jewelry, London 1957, p. 40.

Source: Schuette, Marie and Sigrid Muller-Christensen: Pictorial History of Embroidery ; NY: Frederick Praeger, 1964

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16th Century: The Annunciation

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RUNNER SQUARE OF THE BANNER OF JULIUS II: THE ANNUNCIATION

Upper Rhine, 1513 Basle, Historiches Museum (1882-1892)
Height: 129 cm. Height of the detail: 43 cm. Italian white silk damask. Relief embroidery, or nue’, needle painting. Abundant use of pearls, silver-gilt sequins gold thread. Faces covered with silk and embroidered. The banner was an honorific gift from Pope Julius II to his faithful allies of Basle as a sign of his gratitude for their assistance in the capture of Pavia. On 2nd July 1512, the Council of Basle commissioned the banner in Milan and a year later ordered a copy for use from a foreign embroiderer and from the Basle Goldsmith Jorg Schweiger. His design for the silver-gilt sceptre of the angel was preserved in the Amberbach Collection and is now in the Hostorisches Museum at Basle.

Lit,: W. Schneewind, Die Waffensammlung, Schriften des Historischen Museums III, Basle 1958, p. 74 – A.B. Bruckner, Schweizer Fahnenbuch, p. 171-175, pl. 38.Source: Schuette, Marie and Sigrid Muller-Christensen: Pictorial History of Embroidery ; NY: Frederick Praeger, 1964.

Color photo credit link: Kiriel du Papillon

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14th Century: Sudarium with Spangles

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photo from: http://www.wkneedle.org/stars-spangles-studs/

I am seeking more info on this piece, I am guessing it to be 13-14th century.

Unlike Bezants (brakteats) which are like one sided stamped coins with intricate designs, spangles are usually plain and are hung from holes and sparkle.

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16th: Drawstring Bag

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Pictures & info from: https://www.mfa.org/collections/object/drawstring-bag-119706

Drawstring bag
English
late 16th–early 17th century

Overall (without tassels and cord): 13.3 x 13 cm (5 1/4 x 5 1/8 in.

Silk satin emroidered with silk, gold metallic threads, metal purl, and seed pearls Braided silk and metallic cords and tassels

Small square drawstring bag. White silk satin embroidered with polychrome silk, gold metallic threads, metal purl, and seed pearls. Design of flower flanked by birds and cornicopias; floral motifs fill out ground. Stitches include laid and couching, scroll couching, satin stitch, raised work, and knots.

Salmon/white/metallic cords with two silk and metallic covered-wood tassels; three similar tassels at base. Pink silk lining. White satin is fraying at top and bottom to reveal vertical pink and green wefts.

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15th Century: O’Dea Mitre

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The O’Dea Mitre, ca. 1420. Made in Dublin, the name of the artist is engraved – Thomas O’Carryd, artifex faciens. The infulae or pendants appear to have suffered much as they are devoid of most of the ornaments that once adorned them. This image is the property of the Dean and Chapter of Limerick Cathedral.

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15th Century: Portrait

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Portrait of a young lady of fashion
c.1460 by Paolo Uccello

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16th Century: Painting

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Lucretia by Lucas Cranach the Elder,1512

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14th Century: Christ child cloak

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Clothing for a Child Christ Statue(?)
Second half of 14th Cen.
In German: Bildbekleidung aus der Marktkirche Hannover, Mitte bis 2. Halfte 14 Jh.

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16th Century: Portrait

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Portrait of a woman,16th c.

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17th Century: Flinderhaube

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This is from a SCA researcher, who did a rather spectacular bit of research into those amazing gold German cauls you see often. Sometimes they look like beads, but sometimes they don’t, and here is a bit of info on what they are!

I will just send you there since it’s not entirely beads, even though a decorative thing with a hole technically qualifies, but it is late to post period so – off you go!

Flinderhaube – project documentation

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15th Century: Portrait

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Wedding portrait from Jakob Fugger the rich and his wife Sibylla Artzt by Thomas Burgkmair

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15th Century: Mariazell Chausable

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BASILIKA MARIAZELL CHASUBLE 
Austria, about 1470 Pilgrimage Church of Mariazell, Styria
Treasury Height: 129 cm.
Height of the detail: 43 cm.

Cross Orphrey with the Virgin, Saints Barbara and Dorothy and, at the sides, Saints Catherine and Ursula. Relief embroidery with gold brocade, pearls, gold thread and silk. The Child, and the faces and hands, in silk, in satin and stem stitch. Background of couched gold threads.

Color photos courtesy: Basilika Mariazell, via Tina M Comroe
B/W photos: Schuette, Marie and Sigrid Muller-Christensen: Pictorial History of Embroidery ; NY: Frederick Praeger, 1964.

Information provided by Basilika Mariazell  English translation: (Google)
BID: P1-A-49Aa-97

Standort: Südschatzkammer,

Kasten 3, Lade 1

Entstehungszeit: 4. Viertel des15. Jhdt.Thema:

A. Kasel, rotText:

A. Kasel

1. Größe: Rückenteil:135 cm x 81 cm Vorderteil: 105 cm x 80cm Schulternaht

2. Grundgewebe: im VT und in den Seitenteilen des RT siehe

Dokumentation Fr.Ing.Klein

Lampas, lanciert in Gold; viele Stückelnähte im Grund Kettatlas mit GK

rote Seide und GS rosa Seide; Musterung: Schußatlas mit BK und LS

und Flottierungen des LS, BK: rote Seide, LS: Goldlahn glatt Motive: typ.

Granatapfelmusterung des späten 15.Jhdt.: reihig versetzt angeordnet

spitzlagige Granatapfelmotive, umrahmt von Nelken und kleinen

Ornamenten; umschlungen werden die Granatäpfel von gebündelten

Girlanen aus Eichenlaub mit Eichelfrüchten, Pinien, geschlossenen

Granatäpfeln und Akanthusblättern;

3. Musterung: Reliefstickerei im Kreuz

Stickgrund im Kreuz: leinwandbiniges Gewebe – siehe

Dokumentation Fr.Macho, BDA Arsenal Technik und Material: Gold-,

Perlen- und Seidenstickerei siehe Bericht Dr. Koller und

Dokumentation Fr. Macho, BDA

Motive: figurale Darstellungen in reich verzierten

Architekturbaldachinen (Gottesmutter mit Kind, Hl. Katharina, Hl.

Ursula, Hl. Barabara, Hl. Dorothea); gestickte Borte siehe Bericht Dr.

Koller

4. Borten: gestickte Borten am Kreuz

5. Bänder: keine; sondern Schlaufen, die nur tw. erhalten sind: in

Knopflochstich mit roter Seide; Knöpfe fehlen

6. Futter: rosafarbenes Leinengewebe, LW

Bezeichnung: – Tinte: Schrift im Original erhalten “Augspurg “

mit stilisiert dargestelltem Augsburger Stadtwappen (Pinienzapfen):

Kreis mit aufgesetztem Dach

Bemerkungen:

Alte Inv. Nr.: 1.P 49-97

Alte Inventarnummern: Basilika: Nr. keine,

Gerhard Rodler : Nr. 59

Bermerkung: Experten geben als Entstehungszeit dieser Kasel das

späte 15.Jhdt. an; damit können die Angaben von Gerhard Rodler

über König Ludwig von Ungarn als Spender, ca. 1370, nicht stimmen.

Die Kasel wurde für die Präsentation bei der Landesausstellung in der
Steiermark 1996 in Mariazell restauriert (Kreuz mit
Reliefstickerei von Fr. Macho, Werkstätten des BDA, Arsenal;
Granatapfelstoff und Futterstoff von freischaffenden
Textilrestauratoren: Fr. Ing.Gabriele Klein und Fr. Ing. Tina Lindner).
Bericht Dr. Koller: Ausstellungskatalog der LA 1996 in Mariazell
“Schatz und Schicksal” Seite 133 – 144 Dokumentation Fr. Macho
befindet sich im BDA, Arsenal Wien Dokumentation Fr. Ing.Klein
wurde im Rahmen der Restaurierung geschrieben und befindet sich in
der Studiengalerie der Basilika Mariazell

Zustand:
Für den liturgischen Gebrauch nicht geeignet!
nach der Restaurierung sehr gut

Restaurierung:
Ja

 BID: P1-A-49Aa-97

Location: South Treasury, Box 3, drawer 1

Date of origin: 4th quarter of 15th Century

Topic: A. Chasuble, red

Text: A. Chasuble

1.Size: back part: 135 cm x 81 cm front part: 105 cm x 80 cm shoulder seam

2. Base fabric: in the VT and in the side parts of the RT see Documentation

Fr.Ing.Klein Lampas launched in gold; many piece seams in the basic chain atlas with GK red silk and GS pink silk;

Pattern: shot atlas with BK and LS and floats of the LS, BK: red silk, LS: Goldlahn smooth motifs: typ.

Pomegranate pattern from the late 15th century: staggered in rows Pointed pomegranate motifs framed by cloves and small ones Ornaments; the pomegranates are embraced by bundled Giraffes made of oak leaves with acorns, pine trees, closed Pomegranates and acanthus leaves;

3. Pattern: Relief embroidery in the cross Embroidery base in the cross: plain weave – see Documentation Fr.Macho, BDA Arsenal

Technology and material: gold, Pearl and silk embroidery see report by Dr. Koller and Documentation Ms. Macho, BDA

Motifs: figural representations in richly decorated Architectural canopies (Mother of God with Child, St. Catherine, St. Ursula, St. Barabara, St. Dorothea); embroidered border see report by Dr. Rage 4.

Trims: embroidered trims on the cross 5. Ribbons: none; but loops that only tw. are preserved: in Buttonhole stitch with red silk; Buttons are missing 6. Lining: pink linen fabric, LW

Designation: – Ink: The original text “Augspurg” has been preserved with stylized depicted Augsburg city arms (pine cones): Circle with the roof on Remarks: Old inv. No .: 1.P 49-97 Old inventory numbers:

Basilica: No. none,

Gerhard Rodler: No. 59

Note: Experts give this as the time this chasuble was created late 15th century at; thus the information from Gerhard Rodler about King Ludwig of Hungary as donor, ca.1370, not to vote. The chasuble was made for presentation at the state exhibition in the Styria restored in Mariazell in 1996 (cross with Relief embroidery by Fr. Macho, BDA workshops, Arsenal; Pomegranate fabric and lining fabric by freelance workers

Textile restorers: Ms. Ing.Gabriele Klein and Ms. Ing. Tina Lindner).

Report from Dr. Koller: Exhibition catalog of the LA 1996 in Mariazell “Treasure and Destiny” Pages 133 – 144

Documentation Fr. Macho located in the BDA, Arsenal Vienna Documentation Fr. Ing.

Klein was written as part of the restoration and is located in the study gallery of the Mariazell basilica Condition:

Not suitable for liturgical use! very good after the restoration

Restoration: Yes

 

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15th Century: Mantle of the Order of the Golden Fleece

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THE VESTMENTS OF THE ORDER OF THE GOLDEN FLEECE

Netherlands, Brussels (?), second and third quarter of the 15th century
Vienna, Schatzkammer A complete set for a chapel:
two hangings for the altar, i.e. frontal and dossal (Frontier, Dossier).

Both 117 x 327 cm; chasuble, 147 x 131 cm; dalmatic and tuncile, both 154 x 125 cm; three large copes, each 164 x 330 cm Stout linen ground. The frames of the pictorial panels are of red velvet with gold bands. Embroidery in gold thread, pearls, topazes, sapphires. Coloured silks in a great variety of shades; red, bluish, pink, brownish red, carmine, flame red, blue in various shades, apple green shading to olive green, ochre, lilac, violet, greyish brown, and various shot tones. Or nue’; heads and hands in needle painting; split and satin stitches and couched work. Each of the panels were then sewn together and framed with the gold borders. Extraordinarily good state of preservation. The age of the work is apparent only in the occasional detachment of the embroidery from the background, some loose threads and very slight losses of pearls.

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15th Century: Halberstadt mitre with four saints

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Miter With Four Saints. c. 1401/1500. Dom und Domschatz Halberstadt. Halberstadt, Germany. Bildindex der Kunst und Architektur. 7 Jul 2011.

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15th Century: Portrait after 1451

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GERTNER, PETER (Nuremberg circa 1495/1500 – after 1541)
Susanne, electoress of the Pfalz as Salome.
Oil on panel. 48 x 37 cm.

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15th Century: Portrait 1460

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Portrait of a Lady in Red, probably 1460-70, Italian, Florentine. National Gallery, London.

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15th Century: Portrait 1530

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Lucas Cranach (and his workshop) | Portrait of a Young Woman, 1530

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15th Century: Portrait 1515

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(c) National Trust, Waddesdon Manor; Supplied by The Public Catalogue Foundation

 

Lucas Cranach the Elder(1472–1553), Portrait of an unknown lady (formerly called ‘Sybille of cleves, wife of John Frederick of Saxony’), 1515.

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15th Century: Aurifrisien

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Date:1401/1500?
Item:Border Type :Textile Art
Material/Technique: Pearl; Linen; Gold sheet; Silver plate; green velvet; embroidered
Collection: Wienhausen, Klostermuseum

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15th Century: Portrait

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UNKNOWN 
from the”Medieval European Jewelry” by Ronald Lightbowen.
Victoria & Albert Musuem, LondonThanks to Roxelana for this one.

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15th Century: Portrait

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UNKNOWN
from the”Medieval European Jewelry” by Ronald Lightbowen.
Victoria & Albert Musuem, London

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15th Century: Portrait

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Hemma von Gurk wearing the Order of the Swan by Sebald Bopp,c. 1490

Artist active at the court of Ansbach (?) c 1490, Thyssen-Bornemisza CollectionSource: the book Early German Painting 1350-1550

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15th Century: Portrait

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Petrus Christus – Portrait of a Young Woman [c.1470]

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13th Century: Host Box

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15th Century: Kloster Ebstorf Panels

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15th Century: Montecassino mitre

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Photo credit: http://thefarsight2.blogspot.com/2009/11/mighty-mitres.html

 

A 15th-century mitra preciosa that was commissioned by Pope Leo X. From the treasury of Montecassino.

 

Photo credit: http://thefarsight2.blogspot.com/2009/11/mighty-mitres.html

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15th Century: Minden Mitre

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The Annunciation worked on a mitre from Minden of c.1400
Silk, pearls, and silver-gilt motifs; the scene on the reverse is the Virgin Enthroned.

From: “Medieval Craftsmen: Embroiderers,” by Kay Staniland, University of Toronto Press, 1991, pp. 46-48. ISBN: 0-8020-6915-0

Elaborate medieval embroideries were often further enhanced by the addition of pearls and other precious and semi-precious stones, gold or silver ornaments, enameled plaques or, very occasionally at this period, glass beads or discs, whilst some are almost exclusively composed of these ornaments and might not properly be considered as embroideries. These powerful symbols of class and wealth were at least as widely seen in the church as in royal or aristocratic courts: many of these rich creations were the gift of wealthy patrons seeking influence or favors. However, it would eventually be this very enrichment which ensured the destruction of these pieces, for once the gold, jewels, and pearls were removed, the ground would quickly be recycled. So much of this work has disappeared that it can now be difficult to envisage the extravagance involved, though the imagination is aided by fifteenth-century paintings which, with their naturalistic and precise approach, frequently portray these jewel-enriched garments. Coupled with the boldly designed and colored Italian silks and velvets the effect must indeed have been sumptuous and impressive.

Pearls were very popular in the Middle Ages, especially tiny seed pearls, which were much used in place of jewels in crowns, or to form haloes, birds, masks, or other decorative motifs. English royal accounts of the fourteenth century reveal that these pearls cost between £1 and £2 per ounce. Together with a range of other, larger pearls, some colored, originating from the East or from Scotland, they were frequently employed upon festal or jousting garments at the French and English courts and often massed together to form decorative motifs. In 1345-9, for example, Edward III’s armourer John de Cologne made five hoods of white cloth for the King and his friends, each worked with blue dancing men and fastening at the front with buttons of large pearls. They required 2350 large pearls, together with velvet, silk and gold thread. These richly embroidered hoods were fashionable at the time and there are many entries listing the expensive requirements for them.

The mitre from Minden, a rare and almost complete survival from the Middle Ages, shows the technique used in an ecclesiastical context, combined with plaques and golden ornaments, whilst the single mask and few acorns of pearls still in place on the Butler-Bowden cope show something of the original richness of the embroideries.

The incorporation of gold ornaments similarly enlivened the decoration, catching the light and adding an impressive three-dimensional quality. The ornaments, as with pearls, could simply be assembled and sewn into place and did not therefore demand the services of skilled embroiderers. Rather, they involved goldsmiths to create them in specially carved moulds, drawing these craftsmen into the large embroidery workshops. Also catching the light in embroideries were “doublets” — tiny discs of glass of a type still seen in Indian embroideries — which appear to have come from Venice.

Countless similar examples are described in both the English and French royal accounts of the fourteenth century, none of which, sadly, have survived. For the Christmas and New Year festivities in 1393-4, two gloriously extravagant and light-hearted concoctions of this kind were created for Richard II: a white satin doublet embroidered in gold with orange trees on which hung one hundred silver-gilt oranges, and a “hancelyn” (believed to be a loose outer garment), also of white satin which was embroidered with leeches, water and rocks, and amongst which were placed fifteen silver-gilt mussels and fifteen silver-gilt whelks. How these must all have sparkled in the subdued lighting of the medieval royal halls. Late medieval taste was particularly attracted to light-reflecting ornaments on clothing and horse-harness where movement would produce a multitude of glinting reflections. Consequently gold and silver motifs of all shapes and sizes were incorporated into embroidery. In 1441 the Goldsmiths Company confirmed and renewed their Ordinance for Making Spangles which fixed prices. These “spangles” were the equivalent of modern sequins, mall, round, thin pieces of glittering metal with a hole in the centre to admit a thread; some were rectangular in shape and sewn at one end only, whilst ohers survive in situ on embroideries but a number have turned up in archaeological contexts, perhaps the small lost hoards of people in flight from invaders.

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15th Century: Kreuzlingen Mitre

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The monastery Kreuzlingen was founded around 1125 by the Constance Bishop Ulrich I as Augustinian Monastery. The Mitra, a magnificent goldsmith work with translucent enamels and elaborate beadwork, now in the inventory of the Historical Museum Thurgau in Frauenfeld, is so far attributed to the Abbot Erhard Lind.

Legend has it that Pope John XXIII. as a gift on the occasion of an overnight stay of the Pope and his more than 600-member allegiance in the monastery Kreuzlingen on October 27, 1414 on the way to the Constance Council to the Abbot handed over.

The Mitra is an exquisite late medieval goldsmith’s work of outstanding importance. It will be presented for the first time after the restoration in 2014 at the Constance Council outside the premises of the Historisches Museum Thurgau. In collaboration with the scientific management and textile restorers of the Abegg Foundation, the Competence Center for Textile Restoration in Riggisberg, the showpiece will be extensively examined and conserved art historically and art-technologically.

Text via: http://hj-bleier.de/projekte-metallrestaurierung/kreuzlingen-mitra-15-jh/

 

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14th Century: Chausable Edging

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Photo credit: valdovurumai.lt

 

Bona Sforza’s gift of a chasuble sewn with pieces of a 13th to 14th-century Byzantine-style crown that is sometimes associated with the Lithuanian rulers (Skarbiec Paulinów na Jasnej Górze, Częstochowa)

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17th Century: Beadwork basket, c. 1675

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Said to have been made by Elizabeth Clarke (1655-99) when she was about twenty years old. These baskets may have been made to celebrate betrothals and used to hold gloves or sprigs of rosemary given to wedding guests.

Liz Athur’s “Embroidery 1600-1700 at the Burrell Collection.”
London: John Murray, 1995. ISBN: 0-7195-5413-6

Thanks to: Lady Karen Larsdatter

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12th Century: Crown of Constance of Aragon

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Constance of Aragon was an Aragonese infanta who was by marriage firstly Queen of Hungary, and secondly Queen of Germany and Sicily and Holy Roman Empress. She was regent of Sicily from 1212–1220.

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14th Century Stole (detail)

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Dating 2nd quarter of the 14th century
Earliest date 1325
Latest date 1350

Description
The stole is sewn together from a total of eight different sized pieces of the same gold-weaved fabric. Most of the eagle designs were made of black silk, leaving only their round medallions framed with double rows of pearls. These alternate with a total of 68 appliqués in gold-plated sterling silver, which, like the long sides of the stole, are bordered by double pearl cords. All pearl strings and most of the appliqués are lined with parchment to protect the precious silk fabric. The emails in the appliques lie on several layers of precisely cut, described paper, which can be dated due to the characters in the 14th century.

The stole seems to have been modeled after the well-damaged Norman precursor (or a Hohenstaufen intermediate) – possibly made for Ludwig the Bavarian. Noteworthy is their excessive length, which does not allow them to wear like a liturgical stole. So she seems to have worked on the example of the Loro, which was carried by the Byzantine emperor – imitated by the Normans in their garb. With the help of mosaic representations of Roger II and Wilhelm II in Palermo, the traditional way of wearing Loros around the shoulders and hips can be reconstructed, which also solves the riddle of the various pieces from which the Viennese stole is sewn together , When stitching together these pieces, the orientation of the eagles was taken into consideration, so that they always stand upright with correct winding. In any case, the memory of the imperial sash soon seems to have been lost; the stole was equated with that of the priesthood and crossed over in spite of excess length on the chest.

Textile; liturgical garment; coronation; stole

Dimension L. 599 – 602 cm, B. 21 – 23 cmItalian

Textile; yellow silk: Louisine, patterned with black silk (eagle) and gold threads, pearls, gilded silver appliqués with granulation, mine enamel in silver, cell enamel enamels in gold, glass stones

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16th Century: Russian Mitre

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Mitra ШИТЬЕ/Митра Век: XVI-XVII Место хранения: Государственный музей искусств Грузии Размер: 28,5 х 19,5 Edit
Mitra SHIT'Ye/Mitra Vek: XVI-XVII Mesto khraneniya: Gosudarstvennyy muzey iskusstv Gruzii Razmer: 28,5 kh 19,5

Mitra SEAT / Mitra Century: XVI-XVII Location: State Museum of Art of Georgia Size: 28.5 x 19.5

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11th Century: Chalice Base

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Unfortunately, this is all I have on this. If I find more it will go in here.

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16th Century: Portrait

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Portrait of a woman, possibly by Conrad Faber von Kreuznach, early 16th century

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16th Century: Portrait

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HEUSLER, ANTON (ATTRIBUTED TO) (Circa 1500 – 1562)

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16th Century: Portrait

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Portrait of Hedwig Jagiellon, Electress of Brandenburg by Hans Krell, ca. 1537 (PD-art/old), Jagdschloss Grunewald; most probably portrayed in her wedding dress with monogram S of her father Sigismund I of Poland on sleeves

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16th Century: Portrait

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Portrait of a Woman | Bartholomew Bruyn (the Elder) (Art) | Image Index of Art & Architecture

https://www.bildindex.de/document/obj05011068?part=0&medium=koeln_2579017

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16th Century: Portrait

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Portrait of Sibylla Kessel, detail (ca. 1540-1545)
Bartholomäus Bruyn (the Elder)

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16th Century: Geweihter Hut (Hat)

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Info from: https://www.khm.at
Geweihter Hut

CULTURE
Italian

DATING
1567

OWNER
Archduke Ferdinand II son of Ferdinand I of Habsburg Austria, sovereign of Tyrol (1529 – 1595) – GND

MANUFACTURER / IN
Flaminio de Gatto, (Seidensticker) (around 1565 – 1570)

MATERIAL / TECHNOLOGY
Hat: black velvet, gold-plated edging, real pearls, sword: silver, gilded, wood, gold cloth

 

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15th Century: Border with brakteats

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Date:1401/1500?Type:Textile ArtMaterial / Technique:green velvet; Linen; Pearl; Gold sheet; Silver plate; Edelstein; embroidered; applied
Dimensions:22.5 x 204 cm

Collection:Wienhausen, Kloster Wienhausen

Description:The crest border (14th century), which was once sewn on the upper edge

Link to this page:https://www.bildindex.de/document/obj20017930

Record of:Bildarchiv Foto Marburg

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17th Century: Ironing Crown

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Ironing crown (belongs to the head reliquary of St. Walburga)

Location: Scheer, Catholic parish church of St. Nicholas & former collegiate church
Date:1601/1700

Item:Krone
Genus:Applied Arts

Material / Technique:enamel, pearl, gemstone

Link to this page:https://www.bildindex.de/document/obj20745011

Record of:Bildarchiv Foto Marburg

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16th Century: Portrait

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Élisabeth de Valois, by Juan Pantoja de la Cruz, 1565

Queen consort of Spain
Tenure: 22 June 1559 – 3 October 1568
Born: 2 April 1545 Palace of Fontainebleau
Died: 3 October 1568 (aged 23) Royal Palace of Aranjuez

Bio: https://en.wikipedia.org

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17th Century: Cockatrice Jewelry box

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This jewellery case is decorated with beadwork, a popular embroidery technique in the 17th century, in which tiny glass beads were threaded in sequence and sewn into place. The padded central panel lifts open to show a compartment for jewellery, lined with pink taffeta. The quality of glass beads and other material, and the involvement of a cabinet-maker in making the beadwork up into such a box, would mean that it could only be made within a household which could afford such outlay. Being such an intricate and relatively precious thing, the case’s owners (Martha and her successors) would have handled it very gently; thus it remains in good condition today.

People
Martha Edlin (1660-1725) worked a series of embroideries during her childhood, including this jewellery case, which were cherished by her descendants and passed down through the female line in her family for over 300 years. We know little about her life, except that she married a man called Richard Richmond and appears to have been a prosperous widow living in Pinner in Greater London at the time she drew up her will, with daughters and grandchildren.

Materials & Making
Following the usual development of needlework skills in a young educated girl in the mid-17th century, Martha Edlin embroidered a sampler in coloured silks at the age of eight, and a more complicated piece in whitework and cutwork at nine. By 1671, her eleventh year, she had embroidered the panels of an elaborate casket, and two years later this beadwork jewellery case. The needlework skills she demonstrated in these pieces would be important attributes in her adulthood, in the management of her household and the making, mending and decoration of her own and her family’s clothes.

Wooden jewellery case covered with embroidered silk with coloured silks, metal purl and glass beads. Takes the form of a recessed compartment with a padded hinged lid with a tiny lifting ring, and a wide flat surrounding frame, and it stands on four feet. The inside of the case is lined with pink silk and fitted out with slots for jewellery along one side. The outside top surface is covered with white silk satin embroidered with coloured silks and glass beads.

On the lid, surrounded by an oval wreath formed by silk-wrapped leaves of parchment, is a cockatrice in a tree, with flowers around, and worked in glass beads. Outside the wreath are flowers and a leopard worked in silks in tent and rococo stitches, with the name ‘Martha Edlin’ above and the date ‘1673’ below. On the frame surrounding the lid are birds and flowering plants worked in beads.

The corners of the frame rest on four round wooden feet. The underside is lined with marbled paper. The edges and seams are covered with silver braid.

  • Height: 8.9cm
  • Width: 36.8cm
  • Depth: 31.8cm
Honestly there is so much info about this piece on that link it would be silly to NOT send you there.
Shire Album # 57 “Beadwork” Pamela Claburn Says:
A cockatrice within a wreath, flowers, and the inscription “Martha Edlin” Dated 1673. Satin embrodered with silk, glass beads and stiffened ribbon; tent and roccoco stitches and couch work. Detail: 12″x14″ (30.5×35.5 cm), Detail of the lid of a embroidered jewel case.”
Source for some pictures: The Victoria and Albert’s Textile Collection: Emroidery in Britain from 1200 to 1750 Donald King and Santina Levey Canopy Books, 1993, A division of Abbeyville Press, Inc. ISBN: 1-55859-652-6

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14th Century: Cope

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german-cope-lg

In German: Seidenkasel mit perlbesticktem Krenz Siede: Italien (?), 2 Halfte 13 Jh.,

Krenz: Niedersachsen (Braunschwieg), 3 Viertel 15 Jh.

Pictures: “Stadt im Wandel: Kunst und Kultur des Bürgetums
in Norddeutchland 1150-1650”

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15th Century: Coral Chausable

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Picture: Art Institute of Chicago

Chasuble, 1601/75

Silk, warp-float faced satin weave; underlaid with linen, plain weave; embroidered with linen, silk, gilt-metal strips, and gilt-metal-strip-wrapped silk in satin and split stitches; laid work, couching, padded couching; beaded with coral beads; edged with gilt-metal strip and gilt-metal-strip-wrapped silk, twill and plain weaves; lined with silk, plain weave
113.5 x 66.8 cm (44 5/8 x 26 1/4 in.)

 

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14th Century: Nola Mitre

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“Mitre” – Sienese and Southern Italian Goldsmiths, about 1330-1355 – Nola, Cathedral – Angevin Naples – Temporary exhibition – Museum of the Treasure of Saint January in Naples

Color Pictures via flickr user *Karl* – clicking will take you to the pic

 

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14th Century: Amalfi Mitre

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Mitre – Amalfi, Museo Diocesano – Neapolitan Workmanship – first quater of the 14th century – Pearls and golden plates with precious stones – Angevin Naples – Temporary exhibition – Museum of the Treasure of  Saint January in Naples

Color Pictures via flickr user *Karl*

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14th Century: San Lorenzo Mitre

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BeadedMitre-fullMitre – Cathedral of San Lorenzo at Scala/Ravello – Southern Italian Goldsmiths – 13th-14th century – Red silk with pearls and golden plates with enamelled Apostles – Angevin Naples – Temporary exhibition – Museum of the Treasure of Saint January in Naples

Color Pictures via flickr user *Karl* – clicking will take you to the pic

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14th Century: Reliquary Bag

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14th Century: Paintings

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Hours of Bertrando dei Rossi Visconti, Bibliotheque Nationale, MS lat 757 f380, Lombardy, 1385.

Taticum sanitatis, Italian c. 1390-1400, Bibliotheque Nationale, Paris

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14th Century: Marienwerder Cope

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372559191_8348dbf779_oMarienwerder Cope

Pretty sure this is the back of a priest’s cope, as they almost always have a cross on the back.

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14th Century: Altar Edging

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First half of 14th Cen.
Coral, Gold and Glass beads.

In German: Furlegeraus Kloster Isenhagen Niedersachsen 2, Viertel des 14 Jh.

Pictures from “Stadt im Wandel: Kunst und Kultur des Bürgetums in Norddeutchland 1150-1650”

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14th Century: Marienwerder Antependium

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altarbehang05

CHRIST IN GLORY
Antependium from Closter of Marienwerder Lower Saxony
14th C. Hanover, Kestnermuseum (W.M. XXII, 5)
102 x 180 cm.
Detail: Mandorala, 38 cm high

Chinese red silk damask, 14th century; seed pearls, coral beads, semi-precious stones in metal settings, stamped parcel-gilt silver plaques, stars and rosettes. Black, turquoise coloured and gold glass beads. Applied work and bead embroidery. The figures are worked on parchment. The silver plaques on the outer border of the altar frontal (not shown here) bear the arms of the Hamersen family.

Lit.: Norddeutsche Goldschmiedearbeiten und Stickereien des Mittelaltars. Ausstellung, Museum fur Kunst und Gewerve, Hamburg 1948, No. 92 – Sonderausstellung, Kestnermuseum, Hanover 1956/57, No. 54

Source: Schuette, Marie and Sigrid Muller-Christensen: Pictorial History of Embroidery ; NY: Frederick Praeger, 1964.

Antependium aus Kloster Marienwerder
Niedersachsen, frühes 14. Jh.
chinesische Seide mit Stickereien aus Seide, Perlen, Halbedelsteine, Glasflüsse, vergoldete Silberplättchen
102 x 180 cm
Hannover, Kestner-Museum
Inv.Nr. W.M. XXII,5

Christus thront in der Mandorla, umgeben von den vier Evangelistensymbolen.

Krone und Schleier. Kunst aus mittelalterlichen Frauenklöstern (Ausst.kat. Bonn, Essen), München 2005, Kat. 55.

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13th Century: Cap of Alfonso X

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birrete alfonso X imagen_envia

Alfonso X (also occasionally known as Alphonso, Alphonse, or Alfons, 23 November 1221 – 4 April 1284), was the King of Castile, León and Galicia from 30 May 1252 until his death in 1284.

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12th Century: Alb of William II of Sicily, 1153-1189

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Künstler: Palermo, Königliche Hofwerkstätten
Palermo, 1181 mit späteren Ergänzungen

Alb, garment worn for the coronation by Emperors of the Holy Roman Empire. Yellowish taffeta, gold trimming gold embroidery and pearls. Inscription says Alb was made for Norman King William II by the Royal workshop in Palermo, Sicily. 1181. Inv. XIII 7

Textil; liturgisches Gewand; Krönungsornat
Textil; Seide, Golddrahtstickerei, Perlen, Smaragde, Saphire, Amethyst, Spinell, Granat, Opal, Brettchengewebe
Translation: Silk, goldwork embroidery, pearls, Emerald, Sapphire, Amethyst, Spinel, Granat, woven strap (inkle?)
H. 154 cm, B. 127 cm

Inschrift:
“+OPERATV(M) FELICI VRBE PANORMI XV. ANNO D(OMI)NI W(ILLELMI) D(E)I GR(ATIA) REGIS SICILIE DVCAT(VS) APVLIE ET PRINCIPAT(VS) CAP(VE) FILII REGIS W(ILLELMI) INDICTIO(N)E XIIII.”; arabische Tulut-Schrift (Übersetzung s. Kat. Schatzkammer 1987)

Kunsthistorisches Museum Wien, Weltliche Schatzkammer

 

Alb of William II of Sicily (1153-1189).

The precious silk gown was used at the coronations of the kings and emperors of the Holy Roman Empire. There are Latin and Arabic inscriptions on the edge of the broad hem at the bottom. These tell us that the robe was created in Palermo under King William II in the year 1181. In 1194 the alb, along with the coronation robe (and the blue chasuble) was inherited by the Hohenstaufen dynasty and thus passed to the empire as part of the treasure of the Norman kings. Unlike the liturgical alb, the Alb was originally a royal outer garment.

Of particular importance, however, is the fact that on the Alb the embroidery on the cuffs executed in 1181 has been repaired, but the embroidery on the breast has been covered with younger embroidery executed around 1220.

The bottom border shows two motifs made in gold – pairs of confronted lions on white ground and pairs of confronted griffins on a purple ground fabric. Along the upper and lower border run a Latin and Arabic inscriptions indicating it was made for William II in the Royal Workshop of Sicily.

Materials included silk, gold wire embroidery, pearls, emeralds, sapphires, amethysts, spinells, garnets, opals, 154 cm long, 127 cm wide at the hem.

(Source: medieval.webcon.net.au via thegentlemanscloset.tumblr.com)

Alb of William II of Sicily (1153-1189).

The precious silk gown was used at the coronations of the kings and emperors of the Holy Roman Empire. There are Latin and Arabic inscriptions on the edge of the broad hem at the bottom. These tell us that the robe was created in Palermo under King William II in the year 1181. In 1194 the alb, along with the coronation robe (and the blue chasuble) was inherited by the Hohenstaufen dynasty and thus passed to the empire as part of the treasure of the Norman kings. Unlike the liturgical alb, the Alb was originally a royal outer garment.

Of particular importance, however, is the fact that on the Alb the embroidery on the cuffs executed in 1181 has been repaired, but the embroidery on the breast has been covered with younger embroidery executed around 1220.

The bottom border shows two motifs made in gold – pairs of confronted lions on white ground and pairs of confronted griffins on a purple ground fabric. Along the upper and lower border run a Latin and Arabic inscriptions indicating it was made for William II in the Royal Workshop of Sicily.

Materials included silk, gold wire embroidery, pearls, emeralds, sapphires, amethysts, spinells, garnets, opals, 154 cm long, 127 cm wide at the hem.

(Source: medieval.webcon.net.au)

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13th Century: Reliquary hanging

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13th Century reliquary hanging, German

Bezants, beaded tassle tops and beads around the little glass (?) insets.

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13th Century: Halberstadt Mitre

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12th Century Halberstadt Catherdral Mitre

Info from : http://www.lda-lsa.de

A mitra with animal symbolism from the Halberstadt cathedral treasure

The bishop’s headdress from the Halberstadt cathedral treasure embroidered on the most sumptuous of pearls impressively demonstrates the magnificence of the medieval church service as well as the great craftsmanship of contemporary textile art. The Mitra is almost completely preserved except for two formerly hanging on the back, wide bands and looks amazingly fresh in the color of the jewelry elements. In addition to gilded jewelery sheets and colored stones in golden versions, the variety of small pearls made of red coral, colorful glass flows and gilded metal and combined with river pearls is particularly impressive.

For a long time it was thought that these pearls were imported. However, there is evidence that freshwater pearl mussels were more abundant in native waters before being almost completely eradicated by depletion in the 18th century. Therefore, for the Lower Saxony beadwork – to which the Mitra belongs – pearls from the provenances of the Lüneburg Heath may well have been used.

The background for the beadwork, which is embroidered on pattern-precise parchment, is a thin gold foil. The two decorative bands, called Circulus and Titulus, are particularly broad and elaborate on this Miter . Horizontally, the Mitra move around many entwined tendrils with vine leaves, into which two quadruple-shaped medallions are integrated on the front and back. In miniature they depict representations of medieval animal symbolism, which was recorded in the compendium of the Physiologus, which has been immensely popular since early Christian times: On the detail illustration of the obverse, an eagle flies out of its nest with a young bird in its capture.

In the interpretation of salvation history, the eagle Christ immediately approaches the sun, the symbol of God, to whom he feeds a human child. In the neighboring medallion, the pelican, animating and nurturing the young with his blood, is shown. On the opposite side, the Phoenix rises from its ashes with its wings spread wide , and a lion bends over its still-born, unbroken boy to bring it to life with his breath . All four motifs are allegories of the resurrection of Christ and symbolize the Christian hope of the resurrection of the dead. This central content of faith finds a visible expression in a special way in the celebration of Easter, for which occasion the precious miter was probably determined.

Text: Dorothee Honekamp-Könemann
Internet: Dorothee Menke

 

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14th Century: Sudarium

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372452974_b4c9a55526_o

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13th Century: Square Reliquary Box

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Niedersachsen, second half of 13th Cen.
Domkammer, Münster, Germany

Pictures from “Stadt im Wandel: Kunst und Kultur des Bürgetums in Norddeutchland 1150-1650”

Color pictures via: http://www.domkammer-muenster.de/index.php?myELEMENT=197224

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15th Century: Lamb Of God

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a2cfdc0685fca9667ffb174cd2cbe8dd

The Lamb of God
Southern Germany, about 1450-1470 Munich
Bayerisches Nationalmuseum (NN 1100)
Diameter: 8 cm

Red velvet with gold sequins. Relief embroidery. Linen ground with pearls.
Halo and banner in gold and silk embroidery in couched work, satin and chain stitch.
On the other side of the lid is the Veracon, in silk embroidery.

 

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13th Century: Shoes of the Holy Roman Emperor Frederick II

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https://www.khm.at/de/object/100434/

1220, Shoes of the Holy Roman Emperor Frederick II
Kunsthistorische Museum, Vienna (Sicily, beginning of the 13th century)

More info @ Kunsthistorisches Museum Vienna, Secular Treasury

Altered in Nuremberg between 1612 and 1619 Calf with red silk and gold edging; precious stones and pearls;L 25.5 cm and 26 cm each .¾

Like the gloves, these shoes were presumably made before 1220 for the Emperor Friedrich II.

  • OBJECT LABEL Textile; liturgical garment; coronation regalia
  • CULTURE German; Palermo (board fabric)
  • DATING 1612 – 1619; 12th / 13th century
  • MATERIALS/TECHNOLOGY Textile; Red samite, tablet fabric with gold thread, pearls, amethysts, sapphires, emeralds, antique glass stone; Sole: cow leather

  • DIMENSIONS H. 10.8 cm, L. 25.8 or 25.6 cm

  • Kunsthistorisches Museum Vienna, Secular Treasury, INVENTORY # Treasury, WS XIII 13

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13th Century: Orphrey, 1220-1224

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In some sources this pointed orphrey end is often paired with two bead saints heads, from the same museum since they are similar in time frame, and materials. Since they are not from the same piece I am seperating them.

V&A Accession number 8274-1863 | Item page @ V&A

All but the first picture were taken by myself, Jen Segrest.

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Tools of the Trade

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beading-tools1-600x600

Thread:
First off I can’t say enough about using the right thread. That said, Coast and Clark, while being a FINE machine thread, has no place in a bead tool box. It simply can’t handle being drug through glass over and over. Glass beads while they may appear smooth, have microscopic teeth almost, the poly/cotton simply can’t handle it.

For woven work, try to use only 100%nylon NYMO brand style beading thread, which come in copious colors and thicknesses.

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For fabric based work, use the more expensive sewing thread in your local fabric shop, those european ones of 100% long grain polyester (my preference if doing fabric based beadwork).

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They usually price at $4 or less for a under 200 yards. The brand I use is  Mettler Metrosene. The 100% poly stuff last SOOOO much longer, you’ll thank me later. Trust me, I’ve had Coats and Clark break after three stitches, I’m trying to teach you to not make my mistakes.

I very rarely break or fray using them like I did when I used Coats & Clark.The thread goes a long way so just bite down and buy it, it’ll last years, and most times you can use it to the end of the string.

Thread Conditioner:
Traditionally beeswax was used for bead threads, but it’s the modern day and there are better alternatives. Beeswax is heavy and it will gunk up fine fabric, maker thread tacky and stiff, clog teeny bead needle eyes and bead holes. Instead, use something called “thread heaven”, available at any sewing store. It’s a silicone soft wax type material but leaves thread supple an silky and won’t leave a nasty residue in your needles.

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Hardwood ruler:
Never eyeball a straight line, sometimes pulling the fabric as you have to will skew straight lines, keep redrawing it with a stiff ruler. I use a six inch as it fits better in my box.

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Mechanical Pencil:
ALWAYS use pencil, never ever use a pen, it can and will most probably bleed.

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In time if you can draw it with a mechanical pencil, taking in to coinsideration bead widths, then you can bead it.The eraser also works somewhat on cloth if the mark is light enough.

If you have colored cloth use a colored pencil, so it will wash out.

Fine tip scissors:
If you say really change you mind on a finished section that is partially or even totally secured down, do not despair, just hold the scissors against the cloth and clip across it, under the beads like you were trimming hedges. It will cut the securing threads, and keep your lacing stitchs intact, and you can literally peel off the beads like a bandaid. It’s cool. DONT use a Seam Ripper unlless your a VERY sure hand, one false move and you’ll cut the fabric as well as the thread.

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Thimble and rubber needle puller:
ThimbleSometimes pulling a needle through can be tough, hole sizes can vary. Both these help, put you thumb over the bead in question HARD and pull or push the needle through. Putting pressure on the bead seems to help keep the bead from cracking, if it does, don’t despair, tack down the thread that went through and then out a new one in and then quickly lace it to the beads to either side.

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Needles:
Well duh! But unlike my thread rant, I DO prefer coats & Clark bead needles (they have a yellow package). But, I am not sure they are even made anymore, luckily I have a old collection of the I’m still working through.

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Otherwise your real only other choices are British needles, while highly acclaimed seem to be more brittle, at least to me. I once used a pack of 20 on ONE medallion . They just kept snapping. But if you DO want to buy Brit needles, I like PONY over JOHN JAMES.I like them best because they BEND, and don’t break, and that’s a GOOD thing. Always save the bent needles, they come in handy and are ofttimes more comfortable and easier to use.

shoppingshopping-1A pack of 20 of either comes in a little envelope and go for about $5, much cheaper than buying 4 in a pack in the long run.

More often then not you will lose needles by breakage at the eye. I often pitch them for losing plating. Loss of plating can damage delicate fabrics and cut thin threads, so don’t use a damaged needle.

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Cheat Sheet: German Terminology

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Here are some basic terms you will encounter in German art books or plate listings. If you can pick out at least these terms you should have the basics.

Materials

Textil/Textilen – Textile/Textiles
Seide = Silk
Leinen – Linen
Wolle = Wool
Baumwolle = Cotton
Metall = Metal
Edelmetall = Precious Metal
Silber = Silver
Geld/Gold = Gold
Holz = Wood (as in made of, a “wooden” object)
Baum = Tree
Korallen = Coral
Email, Emaille = Enamel
Kette = Chain
Bein = Bone
Elfenbein = Elephant Ivory
Glas = Glass
Kristall = Crystal (Glass)
Bergkristall = Crystal (Quartz)

Perle/Perlen = synonymous for beads and pearls of all kinds.
Glasperlen = specifically beads made of glass
Flußperlen = “Water perles”/Freshwater Pearls. Only seen occassionally.

Schmuck = many meanings… jewelry, ornament, embellishment, trinket… sparklies!

Schmuckbrakteaten = decorative coinlike discs, usually gold. These are a thin stamped highly detailed and decorative gold discs of foil usually sewn onto altar hangings or liturgical ceremonial wear. Sometimes seen applied to paintings as well. Usually seems to be interchangable with Plättchen. The same as us calling the fake round shiny metal things on belly dance scarves “coins”. They look like them, sorta, but aren’t.

Plättchen = discs or plates (known as bezants in sca)
Goldplattchen = Gold discs (known as bezants in sca)

Stäbchen = Sticks, also refers both to knitting and crochet needles as well as chopsticks, and bugle-shaped beads.

Item Terminology

Stickerei = Embroidery
Perlenstickerei = Beaded Embroidery
Gestickt = Embroidered
Gewebt = Woven
Reliquien, Reliquiare = Reliquary
Ziborium = Container for the Holy Host (Communion wafer)

Farben = Color, coloring

Colors:
Rot = Red
Gelb = yellow
Grün = Green
Blau = Blue
Purpur = purple
Schwarz = Black
Weiß = White

Musuem, Art and Location terms

Kunst = Art
Künstler = Artist

Sammlungen, Sammlung = Collection
Museumsführer = Musuem Guide (brochure)
Ausstellungen = Exhibitions
Ausstellungskatalog = Exhibitions Catalog
Landesmuseum = State Museum
Orte = Places, location
Stadt = City, municipality
Staat, Staaten = State (region/province)
Öffentliche = Public, as in publically owned or operated.
Halböffentlich, Halböffentlicher = Semi-public
Privatbesitz = Private Hands (Private Collection/Collector)

Historisches = Historical
Geschichte = History
Kunstgewerbe = Arts and crafts, applied arts
Sonstiges = Miscellaneous, assorted, various

Kirche/Kirchen = Church (Parish)
Dom = Cathedral
Dommuseum = Cathedral Musuem
Domschatz = Cathedral Treasure
Kunstschatz = Art Treasure
Schatz = Treasury

Kloster = Monastery, friary, cloistered religious order (singular)
Klöster = Monasteries, friaries, cloistered religious orders (plural)
Frauenkloster = Convent, nunnery (singular)
Frauenklöster = Convents, nunneries (plural

Time and Numbers

Jahr/Jahren = Year/Years
Abbreviated is “j”
Useage: 1635 jahren or jahr 1478

Jahrhundert – Century
Abbreviated is “jh”
Useage: 16. jahrhundert is 16th century – not 1600′s.

Centuries are always in numerals, followed by a dot (example “14. Jh”). They are never spelled out as we do in English, like the words “fourteen” or “fourteenth”.

Handwritten number 1′s can look like a ^ possibly dotted as a letter “i” would be, so they can be very confusing on some handwritten records if you don’t know what you are looking at.

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13th Century: German Panels

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On parchment with beads and seed pearls
German, 13th Century Blue glass, red coral, gold and seed pearls (most salvaged/looted) on parchment with linen thread.

The two detached pieces are in the V&A collection (below)

The other (still attached to the edging) is in a museum in Germany.

Link to V&A page Link to V&A page

The pair in the V&A appear for all intents and purposes to have been removed from the German piece and were sold in the late 40’s (war happens). I have worked up a comparison, they are as best I can deduce made by the same hand. You can find my notes on them here.

This selection of pictures is to compare contrast the  items as they they are assumed to have originated from the same piece.

While they are technically two different pieces, I have decided to  present them together as they are from the same work.

Beadwork, (Shire Album #57), by Pamela Clabur

“The american indians… here the beads are threaded and laid on the ground material. The attaching thread is quite separate and is brought up from below and catches down the thread between the two beads. this is in effect, a form of couching.” “Exactly the same method of attachment was used in the german beadwork of the 12th Century. Here it is combined with with the sewing on of single beads where the design required it, but it can be seen that are long strands of the same colours and only a very few single colors even in such detailed parts of the design as the faces. Six hundred years later the method was still being used”

Bead Embroidery By Joan Edwards.

“Long before needlewomen of the nineteenth century discovered the possibilities of beadwork, comparatively coarse beads had been used in various parts of Europe for embroidery for a very long time indeed. A great deal of work was done, for example, during the thirteenth and fourteenth centuries in Lower Saxony, examples of which can be seen in Hanover and Darmstadt. The beads were usually attached to vellum, and it has been suggested that the existence of this beadwork might-like the German whitework or “opus teutonicum” of the Middle Ages-be interpreted as a sign of poverty amongst the German convents at this time, and that the beads were perhaps a substitute for work in pearls, precious metals, and the coveted Byzantine enamels. Nevertheless, the vestments and hangings must have gleamed with considerable beauty in the dark, candle lit cathedrals and churches, shining through the dimness like the stained glass in the windows, and there seems little doubt that the designs were good and well drawn.”

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12th Century: Pearled Cushion

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Pearled Cushion, Germany
Assuming 12th Century

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12th Century Byzantine pearled decorative circle

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11th Century: Reliquary Bag with plaques and pearls

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Reliquienbeutel, Trier, around 993

IN GERMAN: “Beutel für eine Kreuzreliquie, Vorderseite, Stickerei mit Perlen, vergoldeten Appliken und Spiralknoten. Trier, nm 993. Nürnberg, Germanisches Nationalmuseum (KG 562)
Auch noch aus dem späten 10.Jahrhundert stammt der mit bunter Seide in Ketten-, Stiel- und versetztem Flachstich auf Leinen gestickte Alexanderflug in Würzburg, der dort lange mit der großen bemalten seidenen Kiliansfahne verbunden gewesen ist.

Der wohl von Anfang an für Hildesheim bestimmte, wahrscheinlich aber noch in Trier um 993 gearbeitete Beutel für eine Kreuzreliquie in Germanischen Nationalmuseum, Nürnburg, ist aus rotem, ungermustertem Samit. Auf seiner Vorderseite wirkt die Aufnäharbeit mit Perlenkränzen um vergoldete Appliken in Kreuz- und Herzform, teilweise mit eingelassenen Glasflüssen, rot gefärbtem Bernstein oder gefaßten Almandinen sowie mit vier Goldspiralknoten wie Goldschmiedewerk, während auf der Rückseite Goldfäden in versenkter Anlegetechnik verarbeitet sind.


IN ENGLISH (translated via internet):

Bags for a Kreuzreliquie, front, embroidery with beads, gilded Appliken and spiral knots. Trier, Nm 993. Nuernberg, Germanic national museum (kg of 562) Also still from the late 10. century originates the Alexanderflug in peppering castle, gestickte with multicolored silk in chains -, handle and transferred flat pass on linen, which was connected for a long time with the large painted be-being those Kiliansfahne there.

Probably from the outset for Hildesheim the determined, probably however still in Trier around 993 bags worked for a Kreuzreliquie in Germanic national museum, Nuernburg, is from red, ungermustertem Samit. Its front the sewing on work with bead rings affects around gilded Appliken in cross and heart form, partly with let in glass rivers, red colored amber or calm Almandinen as well as with four gold spiral knots such as gold forging work, while on the back gold threads are finished in sunk putting on technology.

Bag for a cross relic, front, embroidery with pearls, gilded Appliken and Spiralknoten. Trier, nm 993rd Nuremberg, germanic national museum (KG 562)
Also yet out of the late 10. century the Alexanderflug embroidered with colorful silk in chains, handle and staggered flat sting on lines in Würzburg, that comes painted been is there long with the large silk Kiliansfahne connected.

That probably from the beginning for Hildesheim determined, probably however yet in Trier around 993 worked bags for a cross relic in germanic national museums, Nürnburg, is out of red, ungermustertem Samit. On its front, the Aufnäharbeit with pearl wreaths influences gilded around Appliken in Kreuz- and heart form, partial with admitted glass rivers, red colored amber or calm Almandinen as well as with four Goldspiralknoten as well as gold smith work, during the back gold threads in sunk designed technology processed are.

Thanks to Roxelana Bramante for her typing this for me.

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12th Century: Roger II Dalmatic

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DALMATIC , PART OF THE INSIGNIA OF THE HOLY ROMAN EMPIRE
Sicily, Palermo, Royal Workshop, 1130 – 1140, Period of King Roger II.
Viuenna, Weltliche Schatzkammer
Cuff: 21 cm wide.
Lower border: 21 cm wide

The robe has the shape of a tunicella with a narrow upper part, long sleeves that taper towards the edge and a skirt that expands towards the hem with side gussets.
Both the blue – with madder and Waid dyed – unbleached base fabric as well as the red, patterned trim of the hem and the cuffs is Samit (scratched silk). Above and below, the wide hem border is bounded by double pearl cords. Gold embroidery in sunk planting technique adorns this border with lilies and palmette shapes. The technical implementation of the embroidery is so close to that of the coronation mantle that one can assume a simultaneous emergence.
A special feature is the embroidery of the cuffs: pearl strings framing palmette motifs whose inner surfaces are filled with gold tubes, which were flattened after sewing. This technique is, as far as we know, unique. The lower edge of the cuffs are decorated with violin-shaped, densely juxtaposed appliqués with gathered cellular enamel, which are stylistically and technically so similar to the mounts on the coronation mantle that there is no doubt about a connection between the two garments.

The neckline of the robe is covered with a 3 cm wide Brettchenborte, which is contoured by means of individually sewn beads. This border is the same as it was sewed on the Alba.
For the first time clearly identifiable the robe appears as a “blue skirt” in a document of the year 1350, with the transfer of the treasury to Charles IV is confirmed, but may well in the mention of a “Rock of Samit” in the inventory of 1246 also already recognize the tunicella.
The tunicella was worn at the coronation under the Alba

Text From: http://www.khm.at/de/objektdb/detail/100470/

The dalmatic is of deep purple silk. The apparles illustrated, however, – a cuff and the lower border – are made of a silk material resembling that of the Coronation Mantle. The gold thread is underside couched, but on the cuff the gold is in the form of minute tubes with the couching thread passed through them. Pearls, gold plaques, enamels and filigree work. According to Fillitz the garment may belong to the same set of vestments as the Coronation Mantle.

Lit.: H. Fillitz, Die Insignien und Kleinodien des Heiligen Romischen Reiches. Vienna-Munich 1954, p. 58, Figs. 27, 28 – P. E. Schramm and F. Mutherich, Denkmale der deutschen Kinige und Kaiser, Munich 1962, p. 182, No. 181

Source: Schuette, Marie and Sigrid Muller-Christensen: Pictorial History of Embroidery ; NY: Frederick Praeger, 1964.

Deep Purple Silk Dalmatic of 1130-40
Cuff detail of the deep purple silk dalmatic of 1130-40 from the insignia of the Holy Roman Empire. It is a product of the royal workshops of Roger II in Palermo. Minute golden tubes fill the pearl motifs whilst the sumptuous effect is increased by the use of large coloured enamel motifs.

From: “Medieval Craftsmen: Embroiderers,” by Kay Staniland, University of Toronto Press, 1991, p. 46. ISBN: 0-8020-6915-0

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START HERE – READ ME!

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Favor panel done 131637033

When I started this over 15 years ago, and I was told beadwork “wasn’t period” in the medieval time period. Well, as you will see from the sources I’ve proven that it is since and I don’t hear that argument to much anymore. I wanted to make sure others didn’t either. That’s why I created this site – which I’m currently working on remodeling.

You can find the old site here in the mean time…. http://old.medievalbeads.com

My old pictures from the site, as well as my personal pictures from museums, are also currently organized on my flickr at: https://www.flickr.com/photos/verybigjen/collections/72157594588174008/

I also have newer finds and newer found better pictures on my pinterest that will  be added here: http://www.pinterest.com/jensegrest/medieval-beads/

If you see anything here that can help you in your studies, your documentation or your teaching, please take it,but please provide links and credits back to this site so then others can examine this field more in depth (and see them in full-color where possible).

See something I am missing information on? Something I don’t have at all? Email me

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