Tag Archives: extant

17th Century: Textile panel with beadwork, 1661

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Ko © Ashmolean Museum, University of Oxford (image)

Textile panel with beadwork

English, 1661 (date of creation)

Dimensions: 25 x 41cm (height x width)

Frame: 37.2 x 53.5 x 4cm (height x width x depth)

Inscription/mark: Wit wealth, good birth and beauty nidowe but virtue in a virgin doth, inscription

Presented by Micheál and Elizabeth Feller, in honour of Professor Christopher Brown, CBE, 2014.

Accession no: WA2014.71.7

Reference URL: https://collections.ashmolean.org/object/787446

Further reading:

Brooks, Mary M., Feller, Elizabeth; Holdsworth, Jacqueline, Micheál & Elizabeth Feller The Needlework Collection: 1 (UK, Hascombe; Needleprint, 2011), page illustrated: 119

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17th Century: Mid 1600’s Beaded bag

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© Ashmolean Museum, University of Oxford (image)

Beadwork bag with royal beasts and motto
English, mid-17th century (date of creation)

Dimensions: 16.5 x 23cm (height x width)

Inscription/mark: B M, Initials

Presented by Micheál and Elizabeth Feller, in honour of Professor Christopher Brown, CBE, 2014.

Accession no.: WA2014.71.29

Reference URL: https://collections.ashmolean.org/object/787469

Further reading

Brooks, Mary M., Feller, Elizabeth; Holdsworth, Jacqueline, Micheál & Elizabeth Feller The Needlework Collection: 1 (UK, Hascombe; Needleprint, 2011), page illustrated: 118

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17th Century: Beaded bag, 1631

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© Ashmolean Museum, University of Oxford (image)

 

Gift of a Friend sweetbag

English, 1631 (date of creation)

Material and technique: netted beadwork; glass beads, linen, leather, silk ribbon

Dimensions: 12.5 x 18cm (height x width)

Inscription/mark: THE GIFT OF A FRIEND 1631, on front and back in beadwork

Presented by Micheál and Elizabeth Feller, in honour of Professor Christopher Brown, CBE, 2014.

In the collection of the Asmolean Musuem, Oxford, UK

Accession no.: WA2014.71.33
https://collections.ashmolean.org/object/787473

Further reading:
Brooks, Mary M., Feller, Elizabeth; Holdsworth, Jacqueline, Micheál & Elizabeth Feller The Needlework Collection: 1 (UK, Hascombe; Needleprint, 2011), page illustrated: 114

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17th Century: An Killam 1627 beaded purse

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Private collection of Jen Funk Segrest

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17th Century: Beaded drawstring purse

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View page at Leslie Antiques

An exceedingly rare beaded purse with multicolored glass beads on a leather base, and with beaded and wood toggle closures. This early purse might be unique because of its age and that the date is actually worked into the decoration as part of the phrase “Gift of a Friend 1632”. The interior of the purse is of a very soft, fine leather, probably deerskin or lambskin.

Especially considering its age the purse is in excellent and exceptional condition, with all the beadwork present. One of the pendent tassels at the bottom is missing, and there is some expected and minor wear to the material above the beadwork. All parts of the bag are structurally sound. The size is 5″ wide by 4 1/2″ tall, not including the tassels or drawstrings.

 

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13th Century: mantel

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Capa Leonis. Cope, which was used during Sigismund’s coronation in 1414, Aachen Cathedral Treasury.

The magnificent choir robe is one of the most valuable textiles in the Aachen Cathedral Treasury.

Not only are the 100 silver bells that adorn the lower hem of the coat, originally made of dark red velvet, unusual, but also the decoration of the border: embroidered, silver-gilt rosettes are applied to a gold background, the centre of which is decorated with pearls or precious stones. Tiny, crocheted parrots sit on the branches and foliage that stretches like a net over the entire fabric of the border.

Local tradition sees the robe as the choir robe that Pope Leo III wore at the legendary consecration of St. Mary’s Church in Aachen in 805. The garment is definitely not that old; it probably only dates back to the 14th century. It is assumed that the robe was used at the coronation and enthronement of King Charles IV in 1349, Sigismund in 1414 and Charles V in 1520 in St. Mary’s Church in Aachen, the German coronation church.

Cologne, 14th century

(Unable to tell, but I think the “daisies” are beads or possibly french knots)

 

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15th Century: linen and silk with brakteats, likely a stole end?

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14th Century: border with brakteats

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15th Century: altar border with seed beads and brakteats

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Lüneburg * Art collection in the Lüne Monastery near Lüneburg * Lüneburg, 15. Jh. ?: Border * Silk, glass beads, linen and metal

 

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17th Century: Omophorion of Patriarch Hadrian. 1691

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Pearl embroidery. Omophorion of Patriarch Hadrian. 1691

Жемчуное шитье.Омофор патриарха Адриана.1691

 

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14th Century?: border with bratkeats

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Need to find info.

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15th Century: mitre

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15th Century: mitre

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14th Century: Borders with brakteats and plaques

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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

Bildarchiv Foto Marburg

Translated from photo D1:

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

Translated from photo D18:

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: mitre

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15th Century: mitre

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14th Century: Christ child cloak

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14th Century: Christ child cloak

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14th Century: Christ child cloak

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14th Century: brakteats

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14th Century: Christ child cloak

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14th Century: Crist child cloak

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12th Century: brakteat

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German States, Sacrum Imperium Romanum (HRR Holy Roman Empire)
Reign: probably Henry the Long (1173 – 1227)
Mint: Braunschweig-Lüneburg, Duchy
Date: ca. 1195/1227 AD
Nominal: Bracteate (Brakteat)
Material: Silver Sheet metal
Diameter: 20mm
Weight: 0.49g
Reference: Bonhoff 102
Reference: Berger 494
Reference: Reitz 16 a
Description: Lion standing right, head facing; pellet to right
Comment: Henry (V) the Elder (the Long) of Brunswick (born around 1173/74; died 28 April 1227 in Brunswick) from the Guelph family was Count Palatine of the Rhine from 1195 to 1212. The eldest son of Duke Henry the Lion and Matilda of England, he had been married since January or February 1194 to Agnes of Staufen, the heiress daughter of Count Palatine of the Rhine, Conrad of Staufen. This marriage produced three children, Henry the Younger, Irmengard of the Rhine and Agnes. In his second marriage he was married to Agnes of Landsberg, daughter of Margrave Konrad II of Lower Lusatia (died 1266), from 1211. This marriage remained childless. Since his only son had died childless in 1214 at the age of 17, Henry the Elder designated his nephew Otto the Child, the son of William of Lüneburg, as heir to his estates in 1223. Henry the Elder was buried in Brunswick Cathedral. It is highly probable that Henry donated the St. Gallus relic to the castle chapel of St. Galli at Lauenrode Castle outside Hanover, thereby expressing his secular patronage and feudal lordship over Conrad II. expressed

 

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14th Century: Marienmantelchen

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14th Century: silk brakteats hanging

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15th Century: Sarnan Child with Bezants/Brakteats

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17th Century: pastoral panel

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English beadwork pastoral panel second half 17th century

Item auction page at Sotheby’s

Framed: 46cm. high, 68cm. wide; 1ft. 6in., 2ft. 2in., Textile visible: 31cm. high, 52cm. wide; 1ft., 1ft. 8in.

Worked in polychrome glass beads, with central standing figure of female holding a flower, flanked by initials E & L, set in a fantastical landscape with small animals and trees and large insects and flowers; mounted within later glazed frame

There are small clear beads worked over the cream textile ground, which is slightly discoloured. There are small marks to the far edges and some dark markings to the insect legs and antennae. Due to the material used the beads are in good condition and with good colour. This is framed with special reflective glass which does prevent a clear view of the panel.

There was a great demand for rich materials and elaborately ornamented pieces and also a fascination in the natural world.  Pattern books emerged which had a great influence on design. An Italian, Federico Vinciolo published a pattern book, which due to popularity had to be constantly reprinted. European printers were all influenced by each other. In England illustrations in herbals were initially the source for inspiration, which later in the 17thcentury were supplied as patterns by the print sellers and merchants marked satin panels with the designs which could be purchased, worked by the embroiderer in the techniques and colours she desired, and then could be brought back to the merchant to be made up into the caskets which could be individualised to the requirements of the client with regard to the contents of the casket.An extremely influential English book and print seller, was John Stent (born c.1615-1617) who had by 1662 accumulated the most extensive and diverse stock of engravings of any of his English competitors or predecessors, publishing at least 218 different plates of natural history subjects which were used by artists, teachers and embroiderers and were available at different prices, as broadsheets or as books including a three part work, A Book of Flowers Beasts, Birds and Fruits, in three parts, 20 leaves in each l’art. See Alexander Globe, Peter Stent London Bookseller Circa 1642-1665. Stent’s inventory included that of earlier engravers and printers, including Thomas Johnson’s work of 1530, and most importantly he was indebted to the four-part natural history work engraved by the German Jacob Hoefnagel, and designs by his father, printed in 1592, Stent also commissioned and used new designs by Wenceslaus Hollar, John Dunstall and John Payne and Johann Sibmacher all producers of pattern books. Many of the biblical embroideries derive from Continental designs and were based on Gerard de Jode’s compilation, Thesaurus Sacrarum Historiarium Veteris Testamenti, of 1585, which comprised of engravings by different artist and was used for wallpaintings, plasterwork, silver and textiles. Many of the English interpretations from the print designs of the distinctive needlework motifs are identiable and repeated in the distinctive style of the textile panels and in this example in beadwork interpretation.

Beck, Thomasina, Gardening with Silk and Gold, A History of Gardens in Embroidery, Published by David and Charles, 1997, Chp.2 &4, Stuart & Georgian Gardens, pp.40-63 & pp.80-99, comprehensive discussion of the inspiration of garden design.
Brooks, Mary M, English Embroideries of the Sixteenth and Seventeenth Centuries, in the Collection of the Ashmolean Museum, London, 2004, discussion on collectors, makers, sources and stitches, and illustrations of the specific pieces in the collection.
Morrall, Andrew and Watt, Melinda, English Embroidery from the Metropolitan Museum of Art, 1580-1700, `Twixt Art and Nature’, Yale University Press, for comprehensive discussion and illustration of the subject and techniques of embroidery and needlework used.
Synge, Synge, Art of Embroidery, History of Style and Technique, The Royal School of Needlework,London, 2001, Chapter Five, The Seventeenth Century, pp.110-159

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17th Century: garden beadwork picture 1670

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Stuart beadwork and silk picture circa 1670

Item auction pages at Sotheby’s | auction 1 | auction 2 

depicting a standing male and female figure clothed in contemporary dress withing flowering foliage before a recumbant leopard and lion and a perched parrot and other bird.  Within a later frame

framed 13 1/4 in. by 16 1/2 in.; panel approximately 10 3/4 in. by 13 3/4 in.

33.7 cm; 41.9 cm; 27.3 cm; 34.9 cm

Item auction page at Sotheby’s | auction 1

This is a charming textile panel. The glass bead motifs are in relief, especially the corner animals. The glass beadwork is in very good condition overall. The faces and shoulders of both figures are opaque glass, the hands and arms, are possible replacements, as the surface is different, and there are silk threads visible around the base of the left arm of the lady (hand holding flowers), and there is possibly glue residue to beads above the left hand of the male (the hand peeping out from the cloak – without arm visible). There are some losses, for example to the bow trims to the cloak and shoes of the male figure, as visible in the photograph. Some of the tiny blue beads are present along the lower edge of the box frame (having fallen off). There are some tiny stitches to the silk satin ground, in area lower right of grass supporting female figure, and the area just left of lion’s head in lower right corner. There is some shadowing and minor wear and minor split, in area around the male figure, as visible in the photograph to the left of his arm and head, and right of his head above the cloak. There is velvet ribbon trim around the edges. It is mounted within a glazed boxed, ebonised frame, and the panel is mounted against another textile panel, visible at the right hand and left hand side especially. Being a box frame allows for the relief motifs to be protected. The charm of glass beads is that they keep their colour.
This vibrant and intricate beadwork picture, depicting a late 17th century couple amongst exotic fauna and flowering flora, belongs to a well-established group of pictures made from the 1660s through the early 1680s around the restoration of the monarch of Charles II. Many of these pictures depict Royal figures such as Charles II with his consort Catherine of Braganza, biblical figures such as King Solomon and the Queen of Sheba as well as Adam and Eve, and couples about to be married.  Beadwork, because of its fragile nature, is one of the rarer survivals of the decorative arts to have survived from the latter half of the 17th century. The coloured glass beads naturally retain their original strong hues, most of the surviving articles being in the form of pictures and baskets.  For a beadwork basket depicting Charles II and Catherine of Braganza with allegories of the Four Continents, see, A. Morrall and M. Watt, eds., English Embroidery from The Metropolitan Museum of Art, 1580-1700: ‘Twixt Art and Nature’, New Haven and London, 2008, pp. 134-5, fig. 13-13a; exhibition at The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, December 11, 2008-April 12, 2009.  For other beadwork/needlework pictures depicting a similar subject, Morrall and Watts, op. cit. nos. 27, 55 and 56. pp. 163, 216, 217, 219. For a number of related beadwork pictures, see also Xanthe Brooke, The Lady Lever Art Gallery Catalogue of Embroideries, Phoenix Mill, Gloucestershire, 1992, nos. LL5272, LL5276, LL5257, LL5264, LL5341, LL5342, LL5343. 

Item auction page at Sotheby’s | auction 2

Very good condition; the beads retain vibrant colors and there does not appear to be losses to the beads; the female figure with a hairline crack running through her face; the hands to the female figure with painted restoration; the male figure with a very minor and slight hairline crack to his face; the male figure’s hands with losses to three fingers of his proper left hand and with losses to fingers of proper right hand; the silk background appears to have yellowed and darkened but is in good condition; the velvet border to the silk background with some minor losses at the corners. Not examined out of frame.

This wonderfully vibrant and intricate picture worked in raised beadwork depicting a late 17th century couple amongst exotic fauna and flowering flora belongs to a well-established group of pictures made from the 1660s through the early 1680s centering the restoration of the monarch of Charles II.  Many of these pictures depict Royal figures such as Charles II with his consort Catherine of Braganza, biblical figures such as King Solomon and the Queen of Sheba as well as Adam and Eve, and couples about to be married.  The present picture may fall in to the later category commemorating a marriage.  The setting is reminiscent of the Garden of Eden, with overtones of fruitfulness and prosperity.  Beadwork, because of its fragile nature, is one of the rarer survivals of the decorative arts to have survived from the latter half of the 17th century. The colored glass beads naturally retain their original strong hues, most of the surviving articles being in the form of pictures and baskets.  A beadwork basket depicting Charles II and Catherine of Braganza with allegories of the Four Continents, is illustrated, A. Morrall and M. Watt, eds., English Embroidery from The Metropolitan Museum of Art, 1580-1700: ‘Twixt Art and Nature’, New Haven and London, 2008, pp. 134-5, fig. 13-13a; exhibition held at The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, December 11, 2008-April 12, 2009.  A number of other similar beadwork/needlework pictures depicting a similar subject are also illustrated (Morrall and Watts, op. cit. nos. 27, 55 and 56. pp. 163, 216, 217, 219). For a number of related beadwork pictures, see also Xanthe Brooke, The Lady Lever Art Gallery Catalogue of Embroideries, Phoenix Mill, Gloucestershire, 1992, nos. LL5272, LL5276, LL5257, LL5264, LL5341, LL5342, LL5343.  A beadwork basket depicting Adam and Eve sold in these rooms, April 9, 2009, lot 34 ($40,625).

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17th Century: beaded stumpwork panel

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Beaded stumpwork panel, third quarter 17th Century

Item auction page at Sotheby’s

Height with frame 14 1/2 in. by 16 1/4 in.; 36.8 by 41.3 cm.

the whole composition is comprised of a variety of raised stumpwork elements rendered in multicoloured beads on a silk ground, depicting a gentleman and lady with flowers and insects, and a country house
In good condition with very minor tears and wear to silk background and scattered split threads and losses to beads. Frame with rubbing to gilt and ebonized surface.

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17th Century: beadwork picture

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Charles II era, mid 17th Century

Link to item auction page at Sothrey’s

Height with frame 17 1/2 in. by Width 22 in.; 27.9 by 38.1 cm.

of multicolored beads within a wire grid framework; depicting a lady and gentleman below a crown flanked by a lion and unicorn; in a parcel gilt and ebonized moulded frame

In good condition overall, with a few split threads and scattered losses of beads. The white bead square backgrounds detached from the grid frame in a few places. Not examined out of frame, which has rubbing and scattered minor nicks to the ebonized and gilt surfaces.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above.
Related panels with a similar distinctive grid pattern appear as the base in several surviving 17th-century beadwork baskets, including examples in the Fitzwilliam Museum, Cambridge; the Treasurer’s House, York (National Trust); and the Royal Ontario Museum, Toronto.  Beadwork baskets are traditionally thought to have been a domestic art fashioned by gentlewomen from wealthy households, using expensive glass beads imported from Amsterdam and Venice. It has also been suggested that individual components were professionally manufactured and sold as kits.

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17th Century: beadwork floral picture 1653

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An English Beadwork  picture dated 1653

Item auction page at Sotheby’s

Height with frame 19 in. by Width 23 in.; 48.3 by 58.4 cm.

multicolored beads, depicting a lady and gentleman flanking a bouquet of flowers; the back panel with an ink inscription
In reasonably good condition overall, with scattered splits to threads and losses to beads consistent with age, primarily in the central top and upper left borders and the woman’s right hand. Underlying canvas backing with slight undulations in places. Wear to gilt and ebonized frame consistent with age.

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17th Century: beadwork on silk picture

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Charles II beadwork and silk picture, 17th century

Link to item auction page at Sotheby’s 

With frame 14 1/2 in. by 18 1/2 in.

Depicting Venus, Adonis, and Cupid, worked in colored glass beads and stumpwork on a satin ground, within a later giltwood frame
Some minor tears and losses to satin foundation with the most extensive being to the uppermost edge. Silk needlework to stumpwork oxidized to expose fabric beneath. Beadwork generally intact with some minor, occasional losses, mostly to house at upper right. Giltwood frame with rubbing to gilding and minor chips and losses. Some old wood worm damage to reverse of frame. Please note that this needlework has not been examined out of frame.

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17th Century: beadwork picture 1657

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Charles II Beadwork Picture, dated 1657

Link to item auction page at Sotheby’s

Depicting a tree flanked by a deer and dog with male and female figure at either side, with initials and date 1657. In later walnut frame.

Height 8 in. by Width 13 3/4 in.

 

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17th Century: beadwork bag 1690

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ENGLISH WILLIAM AND MARY BEADWORK BAG, CIRCA 1690

Height without straps 4 in.

Fine polychrome beads threaded on net ground, four individual panels, each with white ground and floral spray alternating between rose and carnation, joined together with needle looping, lined in blue silk satin; now mounted on a wooden post and base with a Perspex case.
In reasonably good condition, with scattered losses and replacements to beadwork, and end of one gold thread gauze handle is detached, visible in catalogue photo. Later blue silk lining. Losses and flaking to black paint on modern base

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17th Ventury: footed beaded box

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CHARLES II BEADWORK BOX, THIRD QUARTER 17TH CENTURY

Link to item page at Sothebys

Height 8 1/2 in. by Width 12 in. by Depth 8 1/4 in.

Interior lined with handcolored paper depicting animals, flowers, and religious scenes.
Beadwork with losses, most notably to the majority of the faces and some of the flowers to the top. Trim missing 5″ from left side of top. Some areas of restoration to the beadwork. Velvet lining the interior of the top with scratches and marks. Interior paper lining with some small tears. This casket underwent conservation in 2007.

 

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17th Century: beadwork box 1670

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CHARLES II BEADWORK BOX, THE BEADWORK CIRCA 1670

Link to Auction pages at Sotheby’s: auction 1 | auction 2

Height 5 in. by Width 8 in. by Depth 5 1/4 in.

of rectangular form; multicolored beads on a white ground depicting a courtly couple on the lid; the front with a leopard and leaping hare, the sides and back with flowers and insects; the borders with metallic thread braiding; the interior and bottom lined with marbled paper, on wooden bun feet.
In good conserved condition with scattered losses and replacements to beads. Losses and restoration to faces. Lid is with slight warping due to age, but still closes easily. Feet, metallic thread braiding and marbled paper lining later.

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17th Century: beadwork box 1680

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CHARLES II LINEN AND SILK BEADWORK BOX, THE BEADWORK CIRCA 1680

Links to item pages at Sotheby’s: auction 1 | auction 2

Height 7 in. by Width 12 1/4 in. by Depth 9 1/4 in.

Depicting allegories of the Cardinal and Theological virtues; the top with Charity flanked by two children; the front with Temperance holding vessels and Prudence holding a serpent; the sides with Fortitude holding columns and blindfolded Justice with a balance and sword; the back panel showing Hope with an anchor and Faith reading a Bible; all surrounded by richly varied flora and fauna; the interior with compartments, drawers and secret drawers, red-painted and decorated with punched gold borders and hand-coloured engravings of hunting scenes; on a support covered in green felt and red velevet (worn)
In good conserved condition, with scattered losses and replacements to beads and losses and re-working to faces and hands. Linen and silk ground with discolouration and wear consistent with age. Losses, wear and oxidation to gold thread ribbon borders. Interior with scattered discolouration and losses to lining, and mirror panels with foxing and losses to silvering.

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17th Century: beaded casket 1680

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Charles II Beadwork Casket, Probably Netherlands, circa 1680

Link to Sotheby’s auction page

Rectangular form with domed lid; the black ground with multicoloured glass beads decorated with floral sprays on all sides; the interior lined in red silk

Height 4 3/4 in. by Width 11 in. by Depth 7 1/2 in.

A virtually identical casket, almost certainly from the same workshop, was in the Simon Sainsbury collection, sold Christie’s London, Simon Sainsbury: the Creation of an English Arcadia, June 18, 2008, lot 189.

 

 

 

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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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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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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: 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

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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 Century: 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

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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

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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

Related Items:

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 Century: 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

 

 

Related Items:

17th Century: Beaded drawstring purse 17th Century: Beaded bag, 1631 17th Century: 1628 Beaded Bag 17th Century: purse 1634 17th Century: 1625-1650 Beaded bag 17th Century: An Killam 1627 beaded purse 16th Century: Beaded Bag 17th Century: Mid 1600’s Beaded bag 17th Century: beaded silk purse 17th Century: Drawstring Bag, 1610-1650 17th Century: beadwork bag 1690 17th Century: basket 1660 17th Century: purple velvet pouch 17th Century: basket 1662 17th Century: beadwork box 1680

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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11th Century: Reliquary Bag with plaques and pearls 17th Century: Reliquary Crown of St Walburga 13th Century: Square Reliquary Box 13th Century: Ciborium/Ziborium (Host Box) 17th Century: Beadwoven Panel (1657) 17th Century: Beaded bellows 17th Century: dressing mirror, 1670 13th Century: Halberstadt Antependium 15th Century: Crib of the Infant Jesus 14th Century: Borders with brakteats and plaques 17th Century: Drawstring Bag, 1610-1650 17th Century: Purple velvet purse 14th Century: Altar Edging 14th Century: Reliquary Bag 17th Century: Game Bag

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: garden beadwork picture 1670 17th Century: 1662 Mirror 17th Century: beadwork on silk picture 17th Century: beadwork box 1670 17th Century: basket 1670 Default Thumbnail17th Century: beadwork picture 1657 17th Century: beadwork box 1680 17th Century: beaded stumpwork panel 17th Century: beadwork picture 17th Century: pastoral panel 17th Century: beadwork floral picture 1653 17th Century: Cockatrice Jewelry box 17th Century: beaded prayer bookcover 17th Ventury: footed beaded box

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: waistcoat 17th Century: Drawstring Bag, 1610-1650 17th Century: Flinderhaube 17th Century: Spangled ruff in Portraits of Doña Ana de Velasco y Girón 17th Century: beaded silk purse 17th Century: Purple velvet purse 17th Century: 1628 Beaded Bag 17th Century: Portrait of a young woman from a Gdańsk patrician family, around 1625-35 17th Century: purse 1634 17th Century: 1659 Basket 17th Century: 1625-1650 Beaded bag 16th: Drawstring Bag 17th Century: Hungarian wedding dress 17th Century: Portrait of Krystyna Lubomirska, after 1603 17th Century: Portrait of a lady with an elaborate jewelled headdress

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: basket 1670 17th Century: basket 1662 17th Century : basket 1660 17th Century: basket 1660 17th Century: basket 1660 17th Century: basket 1659 17th Century: 1662 Mirror 17th Century: Beadwork basket, c. 1675 17th Century: Cockatrice Jewelry box 17th Century: beadwork box 1670 17th Century: 1625-1650 Beaded bag 17th Century: Beaded Casket 17th Century: dressing mirror, 1670 17th Century: bag 1623

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.)

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17th Century: 1625-1650 Beaded bag 17th Century: 1662 Mirror 17th Century: Beaded bellows 17th Century: Basket, 1650-1700 17th Century: mirror 17th Century: waistcoat 17th Century: 1659 Basket 17th Century: Drawstring Bag, 1610-1650 17th Century: beaded silk purse 17th Century: Beadwoven Panel (1657) 17th Century: Beaded Casket 17th Century: 1628 Beaded Bag 18th Century: Beaded bag 17th Century: purse 1634 17th Century: Game Bag

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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17th Century: Gloves 1620s 17th Century: Drawstring Bag, 1610-1650 17th Century: Hungarian wedding dress 17th Century: 1659 Basket 17th Century: Beaded bellows 17th Century: beaded silk purse 17th Century: dressing mirror, 1670 17th Century: Spangled ruff in Portraits of Doña Ana de Velasco y Girón 17th Century: Flinderhaube 17th Century: 1628 Beaded Bag 17th Century: 1662 Mirror 17th Century: mirror 17th Century: Beadwoven Panel (1657) 17th Century: Fork, 1650-1800 17th Century: Beaded Casket

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.

 

Related Items:

17th Century: 1628 Beaded Bag 16th Century: Beaded Bag 18th Cetury: Beaded panel 17th Century: 1625-1650 Beaded bag 17th Century: beaded silk purse 17th Century: purple velvet pouch 17th Century: purse 1634 16th: Drawstring Bag 17th Century: Beaded Casket 17th Century: Drawstring Bag, 1610-1650 17th Century: Fork, 1650-1800 17th Century: Purple velvet purse 16th Century: Ventian purse 17th Century: Game Bag 17th Century: Beadwoven Panel (1657)

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.

Read More

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