Lot 416
  • 416

An English needlework Old Testament biblical narrative panel, from the ‘Story of David and Bathsheba’ circa 1660-1680

Estimate
4,000 - 6,000 GBP
bidding is closed

Description

  • silk, linen
  • Framed: 52cm. high, 65cm. wide; 1ft. 8in., 2ft. 1in., Textile visible: 35cm. high, 48cm. wide; 1ft. 1in., 1ft. 7in.
worked in polychrome silks on linen, depicting a popular moral tale through the scenes of Bathsheba bathing, David onlooking from his balcony, the maidservant bringing the letter to Bathsheba, the meeting of David and Uriah, the death of Uriah in battle, and the prophet Nathan admonishing David for his sins, in a landscape setting (II Samuel 11:2-27 & 2:1-15); mounted within later glazed frame

Condition

Not as strident in appearance as appears in the catalogue photograph. Balanced colours across panel, although faded colours to needlework generally. There are small areas lacking threads, possibly intentional and never worked, and revealing the canvas beneath. Some tinting to the sky. Small vertical split near the castle, top left corner. Framed with special glass which protects from the light however it does also prevent details from being clearly visible through it.
"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."

Catalogue Note

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.

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