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

14th Century: border with brakteats

15th Century: altar border with seed beads and brakteats

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


17th Century: Omophorion of Patriarch Hadrian. 1691

Pearl embroidery. Omophorion of Patriarch Hadrian. 1691

Жемчуное шитье.Омофор патриарха Адриана.1691


14th Century?: border with bratkeats

Need to find info.

15th Century: mitre

14th Century: Borders with brakteats and plaques

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)

15th Century: mitre

17th Century: pastoral panel

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

17th Century: garden beadwork picture 1670

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).

17th Century: beaded stumpwork panel

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.

17th Century: beadwork picture

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.

17th Century: beadwork floral picture 1653

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.

17th Century: beadwork on silk picture

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.

17th Century: beadwork picture 1657

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.


17th Ventury: footed beaded box


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.


17th Century: beadwork box 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.

17th Century: beaded casket 1680

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.




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

So-called bag of King Stephen of Hungary

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

Item link page at Vienna Art History Museum

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

H. 15.5 cm, W. 13.5 cm

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

Currently issued:Imperial Treasury ViennaRoom II

IMAGE RIGHTS Vienna Art History Museum, Spiritual Treasury

INV. NO. Treasury, GS Chapter 186

14th Century: stole

The stole

2nd quarter of the 14th century, Italian

Item Link at Vienna Art History Museum

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

L. 599 – 602 cm, W. 21 – 23 cm

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

Currently issued: Imperial Treasury ViennaRoom 10

IMAGE RIGHTS Vienna Art History Museum, Secular Treasury

INV. NO.Treasury, WS XIII 8


11th Century: reliquary cross

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


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

17th Century: beaded prayer bookcover


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

714 in. (18.4 cm.) high; 10 in. (25.4 cm.) wide

17th Century : basket 1660

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.


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

17th Century: waxblossed reliquary figures

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
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
IMAGE RIGHTS Vienna Art History Museum, Spiritual Treasury

17th Century: dressing mirror, 1670

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.

17th Century: Gloves 1620s

Pair of gloves


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

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

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

17th Century: mirror

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.


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.

13th Century: possible stole end

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

13th Century: Stole

“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.


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


17th Century: waistcoat

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 4-2003Item 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.’

16th Century: Portrait of a lady, 1510


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

13th Century: Ciborium/Ziborium (Host Box)

Beaded container for the Holy Host

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

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

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

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

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

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

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

15th Century: The Linköping Mitre

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

More info:

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

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

RemarkGood, fragile

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

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

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

17th Century: Purple velvet purse

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

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

15th Century: Crib of the Infant Jesus

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

14th Century: Mitre of St. Isidoro

Mitre of Saint Isidoro

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

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

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

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

17th Century: Beaded bellows

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)

18th Cetury: Beaded panel

English, circa 1700. Framed: 39 x 45cm

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

13th Century: Halberstadt Antependium

 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

17th Century: Drawstring Bag, 1610-1650

Drawstring bag

English, 1610–50

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

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

17th Century: Hungarian wedding dress

Mid-17th Century
(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.)

17th Century: Beaded 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

16th C Pearled Panels

(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


16th Century: Bostocke Sampler



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

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

16th Century: Beaded Portrait

MEASUREMENTS: 6 3/4 by 6 1/2 in.; the panel 4 3/4 by 4 1/2 in.

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

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

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

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

16th: Drawstring Bag

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

Drawstring bag
late 16th–early 17th century

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

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

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

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

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


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

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

15th Century: Minden Mitre

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

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

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

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

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

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

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

15th Century: Kreuzlingen Mitre

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

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

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

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


16th Century: Russian Mitre

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

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

17th Century: Cockatrice Jewelry box

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.

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

14th Century: Altar Edging


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

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

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