A North European silk and metal-thread embroidered and applique textile panel, probably Flemish 17th century

the formally composed panel finely worked in polychrome silks, silver and gilt metal-thread, and applied with further metal-work embellished strapwork and cartouche motifs in relief, within a similarly worked four-sided border incorporating exuberant fruits and architectural elements, all against a cream coloured satin ground with a scattering of applied spangles, the finely embroidered motifs with the relief work motifs include Biblical figures and their attributes, St. John the Baptist, St. Michael and St. Paul within small cartouches in the centre of the panel, the four corner cartouches with flowers and small vignettes with representations of the Four Evangelists; within a later glazed carved giltwood frame; the reverse bearing a paper label inscribed in ink 'Needlework of the Queen of Bohemia, Elizabeth, dau.(ghter) of James I. Given to Clement Winstanley Esq by Lord Craven, Coombe Abbey', together with a typed reframing label, `Hans Gallery, 40 Duke Street, St James's, SW1, Personal Captain C Winstanley

Elizabeth Stuart (b. 19 August 1596, d.13 February 1662), the eldest daughter of James VI and I King of Scotland, England and Ireland, and Anne of Denmark, sister of Charles I, wife of Frederick V, Elector Palatine;
Gifted William Craven, 1^st Earl of Craven, 1^st Baron Craven (1608-1697), Coombe Abbey, (Warwickshire, house sold 1923);
Thence by descent;
Gifted Clement Winstanley (Leicestershire)

The colours in reality are a contrast of the gold work in relief, which is tonally a good colour match with the catalogue photograph, and the delicate polychrome colours of the silk and metal-thread embroidery. This textile panel is beautifully worked in a variety of stitches and techniques. The metal-thread is very finely embroidered in places and creates a shimmer when seen at a certain angle. The relief applique gold work is in good condition overall. The applied spangles to the ground are tarnished but largely still present. There is some discolouration to the ivory satin ground. Very minor losses. Protected within a glazed frame. On the reverse of the frame there is a typed reframing label, `Hans Gallery, 40 Duke Street, St James's, SW1, Personal Captain C Winstanley c/o Max Factor, Bournemouth, Hants'. Overall this textile panel is in exceptional condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Queen of Bohemia

The Queen of Bohemia mentioned on the label refers to Elizabeth Stuart (b. 19 August 1596, d.13 February 1662), the eldest daughter of James VI and I King of Scotland, England and Ireland, and Anne of Denmark, sister of Charles I. Elizabeth married Frederick V, Elector Palatine, was Electress Palatine and briefly Queen of Bohemia. Deposed from the Bohemian throne in 1619, Elizabeth and Frederick took up exile in The Hague, and on Frederick's death in 1632, Elizabeth became known as the "Winter Queen".  Her son, Charles I Louis, regained his father's electorship in 1648, and Elizabeth stayed in Holland, and then following the Restoration of the English and Scottish monarchies, she returned to London on the accession of her nephew Charles II, and died in London.
 
The association with Coombe Abbey, is that Elizabeth was educated there in the early 17th century, as ward of John Harington, 1st Baron Harington of Exton.  Coombe Abbey was founded as a 12^th century monastery and following the dissolution of the monasteries in the 16^th century it became Royal Property. Elizabeth's association with the Craven family was reinforced in 1632 when William Craven (1608-1697) went to the continent to fight for the dispossessed King of Bohemia, Frederick V. He remained on the continent until the restoration in 1660 and spent time in exile with Elizabeth.  In 1651 Lord Craven's estates were confiscated, sold, and some demolished. Coombe Abbey, escaped this fate as it had been settled on his heirs and remained in the family's possession until it was sold at public auction in 1923. It is believed that Ashdown House, built for Lord Craven was intended for Elizabeth, however she died before it was completed. (See Sotheby's, London, Ashdown House: The Winter Queen and The Earl of Craven, 27^th October 2010). As a staunch supporter of the Royalist cause, providing both Charles I and Charles II with financial aid, William Craven was created, 1^st Earl of Craven, 1^st Baron Craven 1664. When Elizabeth died in 1662 she left Lord Craven her collection of Stuart Family paintings which included pictures by Rubens, Van Dyck and Honthorst.  In a letter to Sir Edward Nicholas from Elizabeth of Bohemia 1655-1659, 16th May 1659 it is stated that 'I have today gaven my neeces the last of my flemysh treasures of embroideryd cloths of gold' (British Library No. MS2548), of which the present panel is an example of this type from her collection.

Winstanley Family

Winstanley family, Braunstone Park, Leicestershire, James Winstanley (Puritan and lawyer) purchased the estate in 1649, for the sum of £6,000. The Winstanley's played a vital role in determining the future economic and social history of their properties in and around Braunstone for over two hundred and seventy years. There were several sons named Clement. James Winstanley (d.1666) was a member of Grey's Inn and the Recorder of Leicester, a position he held until his failure to conform in 1662. While in office he Proclaimed Oliver Cromwell as Lord Protector. The estate then passed through the eldest sons, Clement (d.1672), who was also a member of Grays Inn, married to Catherine and buried in the family vault under the alter of the 12th century church of St. Peter's in Braunstone village. The Winstanley estate then passed by descent to the his son James, Clement (d.1808), Clement, J.P. (d.1855) unmarried so passed to his nephew James Beaumont (buried 1862, unmarried), then for the first time to a female member of the family, his married sister Anna Jane Pochin who in 1904 relinquished the estate in favour of her son Richard Norman Pochin, changing his name by deed poll to Winstanley). In 1925 the Winstanley land was largely sold for housing development. This item then passed by descent to Captain Richard Innes Winstanley (b.1911).

Textile Panel

Although we do not know exactly where it was worked, albeit having strong Flemish influences, it is highly likely to have been from a professional workshop in Northern Europe. Although it is not known exactly how this originally came into the possession of Elizabeth, Queen of Bohemia, it is certainly a prestigious and exotic piece, with an extraordinary provenance.

For comprehensive discussion of 17^th century embroidery with examples of the techniques present on the present panel, which are especially evocative of this period, see Synge, Lanto, Art of Embroidery, History of Style and Technique, The Royal School of Needlework, London, 2001, Chp.5. The Seventeenth century, pp.110-159. The precision and quality of embroidery and extent of the metal-thread decoration, such as that present on this offered panel, was often attributed to professional workshops which had existed in previous centuries in England and the Northern Europe. The richness of the embroideries continued to develop with the tradition of the use of pattern books established in the late sixteenth century, with sources such as Gerard de Jode's Thesaurus Sacrarum Historiarum Veteris Testamenti (Antwerp 1585). Engravings were borrowed from English, Dutch, and German sources. The architectural motifs and strapwork motifs in textiles and tapestries were inspired by Flemish designers, Frans Floris and Jan Vredeman de Vries. The formal professional workmanship in turn gave way to the more personal, fashionable, interpretations from the sources, which is evident for the rest of the seventeenth century.

For discussion of the proliferation of prints and effects on art and architecture, especially those from the Netherlands, and their influence in the seventeenth century, see Wells-Cole, Anthony, Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints, 1558-1625, Yale University Press, 1997, Part II, Chp.5, The Influence of Netherlandish Prints – Ornament Prints, and Chp. 14, Embroidery, pp.235-300.

There is an interesting Biblical picture panel, described as Flemish, 17^th century, with comparable techniques of application used, and similar design elements including isolated fruiting groups, small clasp strapwork motifs and exotic creatures, in the Metropolitan Museum of Art, New York, Provenance: Gift of Irwin Untermyer 1964 (Acc.No.64.101.1291).