Tag Archives: decorative

17th Century: wire beaded floral basket

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Read more about this piece on Lady’s Repository Museum blog entry

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17th Century: Rectangular Beadwork Mirror

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Photo copyright Bonhams.com

 

A late 17th century beadwork Mirror

The later rectangular bevelled plate within a wide border worked in brightly coloured fine beads with floral sprays and flower specimens including an iris and a tulip, and various insects, the sides depicting a pair of figures of a king and queen standing beneath draped tented canopies, the upper section with a castellated town, the lower section a fountain with grotesque sidepieces, the upper corners with exotic birds seated on fruiting branches, the lower corners with a leopard and a stag, within a moulded tortoiseshell banded frame, 73.5cm high x 62cm wide (28.5″ high x 24″ wide).

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17th Century: Beaded panel, 1671

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Photo copyright Bonhams.com

A Charles II beadwork sampler

“M. H 1671”
Worked in coloured glass beads with geometric floral pattern within a meander borders (wear), the silk backing cloth signed and dated, 21 x 26cm. Brickstitch.

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17th Century: Beaded basket, 1671

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Photo copyright Bonhams.com

 

A beadwork basket, English, mid 17th Century

Item page at Bonhams.com

Of tray form, with a shaped handle to each side, the curved sides with a lion, a stag, a lamb and a parrot, leaves, flowers and a peapod, with a vase and berries to each corner, the trellis designed basket base with the King and Queen, each having a glass head and hands, an attendant holding the Queen’s train, and a turreted castle, clouds and the sun,
56cm wide x 44.5cm deep x 12.5cm high (22in wide x 17.5in deep x 5in high).

For similar work see (i) Domestic Needlework by G. Saville Seligman and Talbot Hughes, plate 99, pub. 1926 (ii) English and other Needlework, Tapestries and Textiles in the Irwin Untermeyer Collection by Yvonne Hackenbrooch, plate 72, pub 1960

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17th Century: Beadwork basket, mid-century

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Photo copyright Bonhams.com

 

A mid 17th century beadwork basket

Of tray form, with a shaped handle to each side; the trellis base featuring an aristocratic couple, their hands and faces worked in silk tent stitch, below a turreted castle and the initials ‘EP’, ‘MP’ and ‘AP’; the canted sides featuring a lion, leopard, camel and stag, as well as flowering and fruiting plants, including acorns, blackberries and lemons,
37cm long, 46cm wide, 10.5cm high.

Provenance: Inherited by direct decent from the original owner, through the House of Neville/Nevill.

It is possible the basket depicts Henry Nevill, 9th Baron Bergavenny and his first wife Lady Mary Sackville and that the initials relate to their children Anne, Elizabeth and Mary. The House of Neville/Nevill has held titles including Earl of Warwick, Earl of Abergavenny and Earl of Westmorland, among others.

For a similar basket, but with the figures featuring glass heads and hands, see lot 3 of the Richmond Needlework Collection at Bonhams Bond Street, 2nd March 2011, which sold for £9000.

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17th: Century: Beadwork box

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Photo copyright Bonhams.com

 

A mid 17th century beadwork box

Item page at Bonhams.com

Of rectangular form, covered in applied flat and raised polychrome glass beadwork, including a central ring, lemons, a passionfruit and a bunch of grapes to the hinged lid, the side and front panels of the box featuring leopards, dogs, fruit and oak leaves; an engraved brass escutcheon to the centre front, the interior lined in later yellow silk satin, (a.f.), 13cm high, 25.5cm wide, 22cm deep.

Provenance: Reputedly purchased at Christies South Kensington in the early 1980s.

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17th Century: Beadwork picture, mid-17th

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Image copyright Bonhams.com

A mid 17th century beadwork picture

Item page at Bonhams.com

Depicting an aristocratic couple to the centre, two castles to the background and animals, birds and flowers to the foreground, including a lion, stag and robin, in beadwork, the later faces of embroidered satin, framed,
31 x 41cm (inc. frame 42 x 52cm).

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16th Century: Charles II beadwork basket, circa 1660

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Photo copyright Bonhams.com

 

Item page at bonhams.com

Charles II beadwork basket, circa 1660 and later

The centre designed with a panel of a women seated on a chair and playing a lute, a suitor standing before her, to each corner an exotic bird and in the lower corners a stag and leopard, motifs likely to be after patterns printed by Peter Stent [fl. c.1613-1665], the upright sides with palaces, figures, flowers and insects, all worked in coloured beads, the handles and shaped frame-styled stand worked in later beads and with later silk outer lining, 17cm wide x 35cm deep x 60cm high, (6 1/2in wide x 13 1/2in deep x 23 1/2in high)

A very similar beadwork basket, or Layette, in the Victoria and Albert Museum, London, [item no. T.69-1936], is set with the maker or recipients name – ‘sarah gvrnall avgust 24 anno 1659’. Another, also dated 1659, exhibited A Collection of Early Needleworks, Katherine Christophers, Painswick, Gloucestershire, August 1973, and illustrated in the accompanying catalogue, pl. 6.

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17th Century: Charles II beadwork box, circa 1660

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Photo copyright Bonhams.com

 

Charles II beadwork box, circa 1660

Item page at Bonhams.com

The hinged lid designed with a parrot resting in a tree, the four sides with a lion, a castle, a stag and flowers, the inner edge with silvered stencilling and removable panel to one side (at present fixed), with later green silk lining and outer metallic braiding, 16cm wide x 17cm deep x 16.5cm high, (6in wide x 6 1/2in deep x 6in high)

Provenance:
A hand-written label to the underside of the box reads:
‘B.I. 37 / Jewel casket of the 17th century / covered with Bead-work / a very scarce specimen from / the Collection of the ? / William Bird of Mordiford / near Hereford.

There is a 14th century French ivory diptych bearing a label relating it to William Bird of Mordiford, Herefordshire in the collections of the V & A (Museum No. 521-1893). William Bird (1733-1795) of Drybridge House, Hereford and Mordiford, was an attorney and Mayor of Hereford. Following the death of his grandson, Thomas Bird, in 1836, there were several sales dispersing his estate. It is possible that this casket left the Bird collection then.

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17th Century: Beadwork box, 1660

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Photo copyright Bonham’s.com

 

A rare Charles II beadwork box, circa 1660

Item page at Bonhams.com

Worked mainly in blue, green, brown and white beads, the lid designed with a young man before a young woman seated beneath a tree and playing a lute, a palace in the distance, the front panel with a lion and unicorn, the side panels with insects, birds, animals, trees and flowers, the whole bound in silver thread braid, the pink silk and paper lined interior with compartments for bottles [two present] and sliding divisions to reveal hidden drawers, having a central mirrored-glass lined tray, 33cm wide x 24cm deep x 18cm high, (12 1/2in wide x 9in deep x 7in high)

Provenance:
Purchased from Trevor Micklem Antiques Ltd., Tiverton, Devon, 22 June 1978, [£1,900]. Noted on the receipt as ‘extremely fine’ and ‘in exceptionally good condition’.

A comparable box, from the Irvin and Anita Schorsch Collection sold Sotheby’s, New York, 22-22 January 2016, Lot 606 [$15,000]; another dome-lidded example from the Simon Sainsbury Collection sold Christie’s, London, 18 June 2008, Lot 189, [£10,000].

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17th Century: Beadwork picture, 1660

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A Charles II beadwork picture, circa 1660

Designed with a central roundel of Abraham raising his sword, which is restrained by the Hand of God, as he prepares to sacrifice his son Isaac, the surround with floral sprays to each corner and trailing fruit, flowers and leaves, mounted on a board, framed and glazed, 26cm x 34.5cm
Provenance:
An exhibition label to the rear reads: ‘No. 2, Lent by Admiral Sir Robert & Lady Prendergast, Meads House, Meads, Eastbourne, Oct. 1925’.

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16th Century: Beadwork basket, 1664

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Photo from The-salesroom.com

A RARE BEADWORK BASKET, ENGLISH, 1664, LARGE SQUARE TRAY, WITH TREFOIL HANDLE

Item page at The-Salesroom.com

Beadwork basket. A rare beadwork basket, English, 1664, large square tray, with trefoil handle to each side, wrapped around with small coloured glass beads on wire (ribbon beneath sometime renewed, and beads washed and re-wired), embellished with later narrow blue ribbon bows, base lined with beaded panel depicting King Ahasuerus receiving Esther, the latter with attendant holding her train, Mordecai beside them, Haman hanging from a gibbet, the citadel of Shushan (Susa), and numerous other symbolic images of flora and fauna, with the initials ‘E.W.’ and the date 1664, beadwork sometime lifted from original backing and carefully relaid onto a new ground of linen-backed cream silk using adhesive and thread, generally a little dusty and some small losses, linen faces of the three main figures lacking their stitched features, size of panel 36.5 x 36cm (14.25 x 14ins), overall size 53 x 52cm (21 x 20.5ins) Provenance: Purchased over twenty years ago by the current owner from an auction of items which came from a major country house in the northwest of England, where it had almost certainly resided since its creation. Baskets such as these are very rare, there being only a relatively small number in existence. It is probable that the conservation work carried out on this piece was executed sometime in the first quarter of the 20th century. The purpose of such trays is not known; it has been suggested that they were made as layette baskets when preparing for the birth of a baby, or for placing gloves or rosemary in at a wedding. However, they may have been intended not as receptacles, but as simply commemorative pieces for a birth or betrothal, or just as decorative table centrepieces. As with silk embroidery, beadwork was a popular pastime for ladies in wealthy households in the seventeenth century, and young girls were instructed in the art of beadwork in the same way that they were taught other forms of embroidery. Similarities between the form of the basket frame in known examples suggest that they could be purchased ready-made for beadwork to be applied. The seventeenth century was a golden age in British embroidery, and large quantities of glass beads were imported from Venice and Amsterdam by English merchants between the 1630s and 1680s. All the examples of beadwork baskets which we have traced appear to date from the 1660s and 1670s. One of the most popular subjects for all types of embroidered objects was the Biblical story of Esther and King Ahasuerus, taken from the seventh chapter of Esther. The imagery of the tale, as well as that of the also oft-used story of King Solomon, served as a timely reminder, at the time of the Restoration of Charles II, of the sovereignty and greatness of the King, his graciousness in receiving supplicating subjects, and the dangerous consequences of not honouring the monarchy. It may be that the display of such a large piece of embroidery in a prominent place in a gentleman’s dwelling helped prove the household’s allegiance and devotion to the King. (1)

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17th Century/ English beaded wire basket with animals

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Photograph copyright © The Fitzwilliam Museum, Cambridge.

 

Textiles/Basket. Glass beads threaded on wire attached to a wire frame, circa 1680. English.

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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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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: 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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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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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: silk brakteats hanging

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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 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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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

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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

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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 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: “TH GUIFT OF A FRIEND 1623” sweetbag 17th Century: Beaded bellows 17th Century: “HERE IT IS HIT OR MISS 1628” sweetbag 17th Century: waistcoat

17th Century: waxblossed reliquary figures

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

Artist: Hans Krumper, 1570(?) – 1634

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

St. Tibertius

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

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

 

St. Valerianus

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

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

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17th Century: dressing mirror, 1670

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

Sold at auction by Sotheby’s

Description: beadwork, wood, faux tortoiseshell

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

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

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17th Century: mirror

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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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15th Century: Crib of the Infant Jesus

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Crib of the Infant Jesus

15th century, South Netherlandish

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

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

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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: 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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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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16th C Pearled Panels

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

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

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

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

 

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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 Book

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

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

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

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14th Century: Christ child cloak

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

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17th Century: Cockatrice Jewelry box

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

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

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

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

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

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

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

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