The Collections - Object of the Month March 2002 - Japanware Cup by Williamson & Sons, Worcester. Embroidered Casket, 1650 - 1680 (Accession Number - 1972.54) The embroidered casket dates from between 1650 to 1680.
It display an immensely rich collection of colours, materials, stitches and imagery. Unfortunately we do not know the origins of this casket. The fact that it has survived is no doubt due to a high regard for the work of an ancestor. A perpetuall ephemeris, or, table shewing the day of the month for ever [graphic]. - Folger Digital Image Collection. A Charles II stumpwork tapestry panel. A needlework picture English, 17th Century. Picture Depicting the Five Senses. Picture. Unfinished Cabinet Panels. Wilkinson's Auctioneers. Iconologia ... - Cesare Ripa. Cesare Ripa's Iconologia. Word and Image In recent years, scholars in many disciplines have recognized that the literally thousands of engravings, wood blocks, and etchings in emblem books constitute an unparalleled source not only for the study of daily life of the sixteenth and seventeenth centuries but also for extraordinary insights into what the intellectuals of the times viewed as a necessary adjunct to heraldry, social life, politics, philosophy, and moral behavior.
The English emblem books scanned for this project are cultural artifacts frequently used in the analysis of reading practices, printing history, Elizabethan popular culture, the use of allegory, and the relationship of word to image. BPI1700: Database Browser. Search object image. Search object details. Registration numbers The most common type of Museum number begins with the year of acquisition.
The database standardises these numbers in the form, for example: 1887,0708.2427 (year: comma: block of four numbers - usually representing a month and day: full-stop and final number). The final number can be of any length and may be followed by another full-stop and a sub-number. In some cases the same number is shared by two or more objects across departments. In some of these cases a prefix has been added before a number (e.g. If the number you are entering has come from an old catalogue it could appear in the form 1887-7-8-2427. Search object details. Registration numbers The most common type of Museum number begins with the year of acquisition.
The database standardises these numbers in the form, for example: 1887,0708.2427 (year: comma: block of four numbers - usually representing a month and day: full-stop and final number). The final number can be of any length and may be followed by another full-stop and a sub-number. In some cases the same number is shared by two or more objects across departments. In some of these cases a prefix has been added before a number (e.g. Search object details. Registration numbers The most common type of Museum number begins with the year of acquisition.
The database standardises these numbers in the form, for example: 1887,0708.2427 (year: comma: block of four numbers - usually representing a month and day: full-stop and final number). The final number can be of any length and may be followed by another full-stop and a sub-number. In some cases the same number is shared by two or more objects across departments. Search object details. Registration numbers.
Search object image. Search object image. Search object image. Search object image. Search object details. Registration numbers The most common type of Museum number begins with the year of acquisition.
The database standardises these numbers in the form, for example: 1887,0708.2427 (year: comma: block of four numbers - usually representing a month and day: full-stop and final number). The final number can be of any length and may be followed by another full-stop and a sub-number. In some cases the same number is shared by two or more objects across departments. In some of these cases a prefix has been added before a number (e.g. If the number you are entering has come from an old catalogue it could appear in the form 1887-7-8-2427. Search object image. Search object details. Registration numbers The most common type of Museum number begins with the year of acquisition. The database standardises these numbers in the form, for example: 1887,0708.2427 (year: comma: block of four numbers - usually representing a month and day: full-stop and final number).
The final number can be of any length and may be followed by another full-stop and a sub-number. In some cases the same number is shared by two or more objects across departments. Search object details. Registration numbers The most common type of Museum number begins with the year of acquisition. The database standardises these numbers in the form, for example: 1887,0708.2427 (year: comma: block of four numbers - usually representing a month and day: full-stop and final number). Search object details. Registration numbers.
Search object details. Registration numbers The most common type of Museum number begins with the year of acquisition. The database standardises these numbers in the form, for example: 1887,0708.2427 (year: comma: block of four numbers - usually representing a month and day: full-stop and final number).
The final number can be of any length and may be followed by another full-stop and a sub-number. In some cases the same number is shared by two or more objects across departments. Search object image. Search object details. Object types print ( all objects ) Title (object) Printemps Title (series) The Four Seasons Materials paper ( all objects ) Techniques etching ( scope note | all objects ) Production person Print made by Stefano della Bella ( biographical details | all objects ) Published by Israël Henriet ( biographical details | all objects ) Date 1638-1643 Schools /Styles Italian ( all objects ) Description Spring; a young woman standing facing front crowned with a garland of flowers and holding a garland in each hand, within a cartouche ornamented with flowers. c.1641 Etching Inscriptions Inscription Content: Lettered within cartouche within image with title and "Israel excud.
" and below cartouche with "Avec privil. du Roy" Dimensions Height: 93 millimetres Width: 51 millimetres Curator's comments Series of four prints representing the seasons: see 1871,0513.642-644 for the rest of the series. Subject time/seasons ( scope note | all objects ) Acquisition date 1871 Noticed a mistake? Search object details. Registration numbers The most common type of Museum number begins with the year of acquisition. The database standardises these numbers in the form, for example: 1887,0708.2427 (year: comma: block of four numbers - usually representing a month and day: full-stop and final number).
The final number can be of any length and may be followed by another full-stop and a sub-number. In some cases the same number is shared by two or more objects across departments. In some of these cases a prefix has been added before a number (e.g. If the number you are entering has come from an old catalogue it could appear in the form 1887-7-8-2427. In the case of some two-dimensional works from Asia and the Middle East a full stop may need to be inserted into the final number. The second most common type of Museum number takes the form of one or two letters followed by two numbers. BM or 'Big' numbers. Search object details. Registration numbers.
Search object image. Search object image. Search object image. A 17th century needlework casket. A 17th century needlework casket. Wilkinson's Auctioneers. Casket panel. Casket top. Lining paper. Object Type A woodcut like this by an unnamed artist would have sold for much less than the etchings of The Five Senses by a famous printmaker such as Francis Cleyn (see, for example, E.713-1927). From the time they were first produced in Europe around 1400, woodcuts, even by famous artists, were cheaper than the best etchings and engravings. Subject Depicted The Five Senses are Sight (in the middle), Taste (top left corner), Smell (top right corner), Touch (bottom right corner) and Hearing (bottom left corner). 0561.jpg (JPEG Image, 400 × 345 pixels) A needlework picture English, 17th Century. An early Charles II stumpwork panel.
Cesare Ripa's Iconologia. A RAISEDWORK PICTURE DEPICTING THE VIRTUE 'TEMPERANCE' Picture Depicting Peace, Justice, and Plenty. A fine needlework picture, worked in coloured silks, metal thread, purl, dotted with sequins and with bead and mica details, with allegories of the Five Senses, with a large central raised work figure of Hearing playing a lute under a pagoda, Sight in one. A 17th Century silk embroidered panel from a casket, A Carolean stumpwork picture of Nell Gwynne,
Lady and Cavalier Surrounded by the Four Continents. A fine needlework picture English, 17th Century. A 17th or early 18th century stumpwork panel. A drawn picture English, mid-17th Century. A large 17th century stumpwork picture, depicting Faith, Hope and Charity. Essaies vpon the five senses, revived by a new supplement; with a pithy one upon detraction. ... - Folger Digital Image Collection. An adorned print: Print culture, female leisure and the dissemination of fashion in France and England, around 1660-1779.
Alice Dolan RCA/V&A MA in History of Design Abstract Marie-Thérèse Perdou de Subligny (1666-1735) was one of the first opera dancers, with a career that began in around 1688. Her presentation in an adorned engraved print (fig.1) provides an ideal platform for the discussion of cultural life between 1660 and 1779, bringing together diverse issues such as the production and consumption of French prints, opera, celebrity, the dissemination of fashion and female domestic craft. This paper sets the Subligny print in its cultural contexts, and rejects the notion that decorated engravings such as this one, disseminated contemporary fashions. An adorned print of Marie-Thérèse Perdou de Subligny (1666-1735) Figure 1 - Engraving, Mademoiselle Subligny dansant a l’Opera, Jean Mariette (publisher), about 1688-1709, hand coloured with applied silks and bobbin lace.
Figure 2 - Engraving, Mademoiselle Subligny Dansant a l’Opera, Jean Mariette (publisher), Paris, about 1688-1709. The Five Senses and the Four Elements. Cabinet with Personifications of the Five Senses. Raised work, or stumpwork as it is sometimes called, developed in England during the early seventeenth century, and was characterized by its high relief. The technique was used to create pictures and to decorate objects such as storage boxes for jewelry and writing supplies, baskets, and mirror frames. Старинная вышивка.
An antique STUMPWORK - NEEDLEWORK. AN UNFINISHED NEEDLEWORK MIRROR. A needlework mirror English, circa 1660. A needlework mirror with folding shutters English, circa 1660. A needlework mirror with folding shutters. A CHARLES II STUMPWORK AND TORTOISESHELL DRESSING-MIRROR. A needlework mirror English, circa 1660. A needlework mirror English, circa 1670. A needlework mirror English, circa 1670The bevelled plate set in an ivory satin surround embroidered in coloured silks with much raised work, purle work, and enhanced with seed pearls and paste, with King Charles II holding a sceptre and an orb and Queen Catharine of Braganza holding a sceptre, each beneath a canopy, the goddess of Victory bestowing a palm branch within a circular medallion to the top with needlelace surround and the personification of Earth in an oval medallion flanked by a lion and a leopard below, with insects and birds, and arrangements of iris, tulips, roses, pansies and other flowers to the four corners,70 x 56.5cm (28 x 22 1/2in), set within a modern burr walnut veneered frame and glazed.
Footnotes. A CHARLES II WALNUT AND NEEDLEWORK MIRROR.