An English appliqué and embroidered `spot motif' and cerise silk panel late 16th/early 17th century

the cerise silk panel comprised of four vertical panels (with horizontal join across the four panels), and two narrow side panels, vertically divided by five strips of gilt-thread braid, the whole scattered with embroidered floral motifs, including the rose, heartsease, tulip, violet and pansy, many with single flowers and stems, silver-thread and gilt threads, couched with polychrome threads and detailed with loops and knots in gilt-metal thread, interspersed with applied needlework small cross-motifs and a bound foliate device, which has metal highlights to the band, the narrow side strips have small motifs applied, such as a stylised dolphin/caterpillar, leaves and stems

This panel was discovered, as two carefully folded and separated panels, hidden in the upholstery of a pair of Charles II style barley twist stools, which were circa 1680/1700, when they were being restored in the 21st century. The panels were professionally re-assembled.

Thomasina Beck, Gardening with Silk and Gold, A History of Gardens in Embroidery, Published by David and Charles, 1997, Chp.1&2, Elizabethan and Stuart Gardens, for comprehensive discussion and illustration of the subject and techniques of embroidery and needlework used. In reference to `Robes of Imbroidered Work', and the covering of entire grounds with flowers, two different cushions (from the Victoria and Albert Museum, London) are illustrated, a red satin cushion embroidered with floral motifs within formal trailing metal-thread design (pg.31), and another cushion, of black velvet applied with needlework floral slips, together with insects (pp.36-37).

Santina Levy, An Elizabethan Inheritance, The Hardwick Hall Textiles, Chp.3, pp. Embroidery, Needlework and other techniques, pp.41-75, discusses the difference between embroidery and needlework techniques. Within the collection and representative of a wonderful mix of the techniques is a long strapwork cushion enclosing applied needlework floral motifs, on a red velvet ground (pg.61, fig. 55), the motifs are single stem flowers, like those on the present panel. Another cushion with repeat embroidered strawberry and scroll motifs in gilt-thread on red satin ground (pg.63, fig.59), is representative of scattered motifs across a panel, as is the Bed canopy and backcloth, later altered, applied with the larger floral stem motifs across the panel (pg.76.fig.75). A small Bess `ES' velvet and appliqué heraldic cushion shows the technique of applying the metal purl work onto the velvet, and creating loop details (pg.65.fig.64).

For further discussion of the techniques used for embroidery and for reference to seventeenth century applied floral slips, see Elizabeth Benn, Editor, Treasures from the Embroiderers' Guild Collection, David and Charles Publication, 1991, Lynn Szygenda, From Tudor Coifs to the Twentieth Century: British Embroideries, pp.10-61, Seventeenth-Century Costumes and Hangings, pp.12-23.

Lanto Synge, Art of Embroidery, History of Style and Technique, The Royal School of Needlework, The Collectors Club, London, 2001, Chp. 3, pp. 64-99, The Post-Mediaeval Period, and pp.71-74, for reference to `Flowers' and the particular significance of them in embroidery, with fig.64, showing for example a linen panel worked with a number of motifs with fruiting stems and animals, derived from woodcuts, and also with small animals and insects worked up the side.

 

This panel has been professionally conserved. The original lining remains, not visible as panel is backed overall now with a later protective lining. Measurements of panel: approx. width of each panel, from left to right: 5cm., 39.5cm., 41cm., 41.5cm., 37.5cm., and 5.5.cm. The attached gilt braid is period (approx. 1.5cm. wide). Old fold line across the top, as visible in the photograph (between 8cm - 10cm. down from top edge). There is a horizontal join across the four panels, approx. 40cm. down from the top edge, and approx. 56cm. up from the lower edge. The join is visible in the photograph. It does not extend into the side panels. It does not detract from the overall balanced appearance. There are small replaced sections to three of the corners, and the lower left corner has small area of loss, other small holes in silk surrounding later material patches in corners, as visible. Some holes to silk, top left corner above the top corner flower. Small areas of wear across the top edge and in small areas near the fold mark. The lighting for photography has caused the dark wrinkles due to shadows, which in reality are not pronounced. Couched coloured threads visible over metal threads. Some loss in sections of the thread work, and some uncurling and loose in other minor areas. Two tulip motifs are in distressed condition, see top right corner of far right panel, and the tulip left of second panel from left, where only an outline of petal remains. Metal purl work springs to the ground are lacking in areas, as visible from the photograph. The far right two panels have more of the purl work than the right hand panels. Charming individuality to the couched flower motifs. Some are very detailed with metal boucle work and knots. This is a very striking and highly decorative and unusual historic panel of a versatile size and charming composition.
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