Art/ Collection/ Collection/ Art Object

Plate with Wife Beating Husband

ca. 1480
Made in Dinant or Malines, Netherlands
Copper alloy, wrought
Overall: 3 7/8 x 20 1/4 in. (9.8 x 51.5 cm)
Metalwork-Copper alloy
Credit Line:
Gift of Irwin Untermyer, 1964
Accession Number:
On view at The Met Fifth Avenue in Gallery 307
A woman is shown astride her husband, about to beat him, as he holds a cross-reel, a tool used during the act of spinning wool by hand, i.e., to wind yarn off a spindle. The object at the left of this plate is a fixed distaff, a popular mechanism that gave the spinner the advantage of leaving both hands free, one to rotate the spindle, the other to draw out the fibers. Spinning, traditionally considered the work of women, is used here to weave an amusing domestic satire. To most fifteenth-century viewers, the image of a man in the act of hand winding would probably have been amusing in and of itself; that this man has been reduced to a most embarrassing position-possibly for not having performed his simple task correctly-suggests a darkly satirical portrait of married life.

Dinant, a French-speaking town in the Low Countries, was the center of a flourishing metalworking trade and became the principal center for the production of plates such as this one. The city's importance is reflected in the generic term dinanderie, which has come to be associated with metalwork of this sort. The design of this plate was executed through the traditional, painstaking method of brass beating. Certain motifs, like the wife beating her husband, became extremely popular, and were repeated almost without variation for more efficient production. Decorative plates were proudly displayed on sideboards, but an example of this size and depth probably served either as a charger on which large portions of food were brought to the table, or as a water basin.
Dr. Albert Figdor, Vienna (until d. 1927); [his posthumous sale, Paul Cassirerat Hotel Esplanade, Berlin (Sept. 29-30, 1930, vol. V, no. 496)]; Irwin Untermyer, New York (until 1964)
Falke, Otto von, and Max J. Friedländer, ed. Die Sammlung Dr. Albert Figdor, Wien. Part I, Vol. 5. Vienna: Paul Cassirer Verlag, 1930. no. 496, pl. CLXXX.

Gómez-Moreno, Carmen. Medieval Art from Private Collections: A Special Exhibition at The Cloisters, October 30, 1968 through January 5, 1969. New York: The Metropolitan Museum of Art, 1968. no. 122.

Husband, Timothy B., and Jane Hayward, ed. The Secular Spirit: Life and Art at the End of the Middle Ages. New York: Dutton Publishing, 1975. no. 73, p. 65.

Pushkin Museum and State Hermitage Museum. Dekorativno-prikladnoe iskusstvo ot pozdneĭ antichnosti do pozdneĭ gotiki: Iz sobraniĭ muze︠i︡a Metropoliten, Nʹ︠i︡u Ĭork i Khudozhestvennogo Instituta, Chikago. Moscow: Pushkin Museum, 1990. no. 76, p. 13.

State Hermitage Museum. Dekorativno-prikladnoe iskusstvo ot pozdneĭ antichnosti do pozdneĭ gotiki. St. Petersburg: State Hermitage Museum, 1990. no. 76, pp. 158-159.

Barnet, Peter, and Pete Dandridge, ed. Lions, Dragons, & Other Beasts: Aquamanilia of the Middle Ages, Vessels for Church and Table. New York: Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, 2006. no. 56, p. 190.

Lyon, Christopher. Couples in Art: Artworks from The Metropolitan Museum of Art selected by Colin Eisler in collaboration with Caroline Kelly. Munich, London, New York: Prestel, 2011. pp. 22–23.

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