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Sarah Mallory

Sarah Mallory is a research assistant working with Associate Curator Elizabeth Cleland in the Department of European Sculpture and Decorative Arts.

Now at the Met

How Curators and Conservators Look at a Tapestry

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts; Cristina Carr, Conservator, Department of Textile Conservation; and Elizabeth Cleland, Associate Curator, Department of European Sculpture and Decorative Arts

Posted: Tuesday, July 29, 2014

Understanding an art object requires close observation and an interdisciplinary course of investigation that integrates the work of curators and conservators, the arts and the sciences. This work, however, is often done behind a curtain (so to speak), and visitors rarely have the opportunity to gain insight into the process. On August 4, The Metropolitan Museum of Art will unveil the secret world of curators and conservators with its latest installation in Gallery 599, Examining Opulence: A Set of Renaissance Tapestry Cushions. This one-room exhibition will give visitors a behind-the-scenes glimpse of the fascinating and indispensable questions Museum curators and conservators pose as they investigate six luxurious, late Renaissance tapestry-woven cushion covers depicting scenes from the lives of biblical figureheads Abraham and Isaac.

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The Dyes Have It: Exploring Color and Tapestries

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts

Posted: Tuesday, June 24, 2014

Many #tapestrytuesday readers have asked why some tapestries in the Met's collection have such diverse color palettes. As it turns out, the question you should be asking isn't "Why?" but "Dye?" Understanding the preservation or degradation of a tapestry's color is a complex sort of query whose answer is largely influenced by the dyes used to color its threads. To help unravel the mystery of tapestry colors, I recently sat down for a fascinating lesson in dyeing with two of the Museum's tapestry experts: Cristina Carr, conservator in the Department of Textile Conservation; and Nobuko Shibayama, associate research scientist in the Department of Scientific Research.

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Now at the Met

Living on the Edge: Tapestry Borders

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts

Posted: Tuesday, May 27, 2014

In the world of tapestry, it's hip to be square—or rectangular, for that matter. Why, you ask? The answer is quite simple: borders.

You might have noticed that a decorative, tapestry-woven strip traces the edges of many tapestries, which is referred to as the border. While the border is very much a part of the physical tapestry itself, it often has a personality all its own. And, while some border designs were reused on multiple sets of unrelated tapestries, these ornamental edges can still be thought of as something like a thumbprint, a distinguishing characteristic that is apparent only upon close inspection.

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Tapestries Report All the News That's Fit to Weave

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts

Posted: Tuesday, March 25, 2014

Before the advent of Facebook and Twitter, Pinterest and Instagram, television, or the daily paper, looking at tapestries was one way to learn about the news of the day, observe fashionable trends in clothing and interior design, and perhaps even make a political statement. Since it is #tapestrytuesday, let's examine how the social medium that is a tapestry just might have been an early form of social media.

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Now at the Met

Making a Tapestry—How Did They Do That?

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts

Posted: Tuesday, February 18, 2014

You are walking through a museum, your mind lost in thought (your feet perhaps aching ever so slightly), when suddenly you look up and see a fascinating object. You immediately begin trying to identify the specimen set before you: it's a fabric . . . no, it's an embroidery . . . wait . . . it's . . . the wall label says it's a tapestry! A tapestry?

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Now at the Met

Introducing #tapestrytuesday

Sarah Mallory, Research Assistant, European Sculpture and Decorative Arts

Posted: Tuesday, January 7, 2014

A riddle, if you will: What type of artwork did Henry VIII love so much that he owned at least 2,500 examples, and Louis XIV and the Medici family value so immensely that they each established their own production workshops?

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Now at the Met offers in-depth articles and multimedia features about the Museum's current exhibitions, events, research, announcements, behind-the-scenes activities, and more.