Satin worked with silk and metal thread, purl, chenille, seed pearls, coral beads, and mica; tent, knots, rococo, satin, couching, and detached buttonhole stitches; woven metal thread trim; silk and paper lining; wood frame; turned wooden feet
H. 5 3/4 x L. 9 x W. 7 1/2 inches (14.6 x 22.9 x 19.1 cm)
Rogers Fund, by exchange, 1929
Not on view
Raised work, or stumpwork as it is sometimes called, developed in England during the early seventeenth century, and was characterized by its high relief. The technique was used to create pictures and to decorate objects such as storage boxes for jewelry and writing supplies, baskets, and mirror frames. This box is typical of raised-work pieces in that it employs a variety of stitches and includes the use of metal thread and other materials, in addition to colored silks. The faces of the five women representing the Senses are drawn in ink on satin, and the figure of Sight holds a mirror made of mica that reflects her face. Other unexpected materials were frequently used to highlight details: real hair for a figure's head, tiny seed pearls for a necklace, and glass beads for animal eyes.
Allegorical and biblical subjects, along with portraits of monarchs, were the most common themes for the decoration of a seventeenth-century box. Of the seven complete and partial boxes in the Museum's collection, the majority show biblical scenes, although these are sometimes combined with depictions of the Senses or the Seasons.
Raised work had a rather short period of popularity and was at its peak during the mid-seventeenth century. The creation of raised-work boxes, mirror frames, and pictures ceased to be a fashionable occupation by the turn of the eighteenth century, if not sooner.
Percival D. Griffiths ; [ Frank Partridge, Inc. , until 1929; sold to MMA ]
Artist: Printed by Robert Barker , London, 1607 Date: ca. 1607Medium: Satin worked with silk and metal thread, spangles; long-and-short, split, satin, couching, brick, and knot stitchesAccession: 64.101.1291On view in:Not on view
Artist: Georges Jacob (French, Cheny 1739–1814 Paris) Date: ca. 1785Medium: Carved and gilded walnut; 18th-century embroidered silk-satin (not original to the frame)Accession: 58.75.27On view in:Gallery 523
Artist: Date: 1600–1620 Accession Number: 64.101.1241 Date: 1600–1620Medium: Linen worked with silk and metal threads, spangles; chain, stem, darning, detached buttonhole, and plaited braid stitchesAccession: 64.101.1241On view in:Not on view
Artist: Possibly after a design by Charles Le Brun (French, Paris 1619–1690 Paris) Date: ca. 1683Medium: Canvas; silk, wool, and metal-thread embroidery in tent stitch (316 stitches per sq. inch, 49 per sq. cm.)Accession: 46.43.1On view in:Gallery 531
Artist: Possibly after a design by Charles Le Brun (French, Paris 1619–1690 Paris) Date: ca. 1683Medium: Canvas; silk, wool, and metal-thread embroidery in tent stitch (316 stitches per sq. inch, 49 per sq. cm.)Accession: 46.43.2On view in:Gallery 531