Tag Archives: seed beads

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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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: 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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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 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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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 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

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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

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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

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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: 1628 Beaded Bag 17th Century: Drawstring Bag, 1610-1650 17th Century: Beaded drawstring purse 17th Century: 1625-1650 Beaded bag 17th Century: purse 1634 17th Century: beadwork bag 1690 17th Century: beaded silk purse 16th Century: Beaded Bag 17th Ventury: basket 1660 17th Century: purple velvet pouch 17th Century: basket 1662 17th Century: beaded stumpwork panel 17th Century: Game Bag 17th Century: Purple velvet purse 17th Century : basket 1660

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

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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.

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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.

 

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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

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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: 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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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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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

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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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: 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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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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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: 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/O