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| - Chair seat, embroidered in wools and a little silk mostly in tent stitch on canvas ground. The central scene is of Bacchus reclining in a chariot being drawn by two leopards. He is holding aloft his thyrsus (staff twined with vine leaves).One follower rides on the back of the leopards whipping them up with a thyrsus, another stands beside the chariot blowing a horn. The figures are depicted as genial rather than frenzied. While most of the embroidery is in tent stitch, the faces and hands of the figures are additionally embroidered over with a type of speckling stitch, which gives texture and allows for great subtlety in shading the flesh tones. There is a deep surround of intertwining flowers, mostly stylized large blooms, on a brown ground. These and the central scene are worked in a range of colours originally vibrant, whose brightness is retained on the reverse.
The embroidery has been pulled into a parallelogram shape by the embroidery stitches. It retains its bare canvas edges, which show no signs of the seat having been used. The canvas has selvedges at top and bottom, and is hemmed at each side. On the canvas edge to the right of the worked seat is a very small area of trial embroidery stitches carried out in blue and white wool. There are traces of pencil lines on the canvas indicating the shape of the seat to be worked. (en)
- Canvaswork chair seat, Bacchus in chariot with leopards, 1730-50, English (en)
- This embroidered panel comes from a set of more than 20 intended as covers for chairs and a settee. The scenes depicted on them vary between mythology and pastoral or seasonal pursuits, like skating, but are all characterised by beguiling figures in idealised landscapes, surrounded by abundant flowers. Here the central scene is of the god Bacchus reclining in a chariot being drawn by two leopards. He is holding aloft his thyrsus (staff twined with vine leaves). Bacchus and his followers are often depicted in art as representations of frenzy or debauchery, but here they are smiling and benign.
Covers made for chairs, settees and stools are among the richest sources of eighteenth century pictorial needlework. They were undertaken both by professional workshops, and by amateur needlewomen, particularly in the form of canvaswork. This was usually worked in the basic counted thread stitches of tent stitch and cross stitch, learnt by most girls as part of their needlework education. Skill at needlework was considered an accomplishment in women, who could demonstrate their expertise by embroidering decorative yet functional items such as chair seats. While most of the embroidery here is in tent stitch, the faces and hands of the figures are additionally embroidered over with a type of speckling stitch, which gives texture and allows for great subtlety in shading the flesh tones. This work is of very high quality, and indicates the embroidery was done in a professional workshop, rather than domestically, which was the story associated with them in the donor's family. (en)
- Covers made for chairs, settees and stools are among the richest sources of eighteenth century pictorial needlework. Sets were embroidered often with a mix of pastoral, biblical and classical scenes, enclosed in approximately matching floral wreathes to give unity to the set. They were undertaken both by professional workshops, and by amateur needlewomen, patrticularly in the form of canvaswork, which was usually worked in the basic counted thread stitches of tent stitch and cross stitch, learnt by most girls as part of their needlework education. Skill at needlework was considered an accomplishment in women, who could demonstrate their expertise by embroidering decorative yet functional items such as chair seats. Sometimes furniture was commissioned specifically to accommodate and display fine embroidery.
Engraved illustrations in public circulation might be copied directly or indirectly, to provide subject matter. (en)
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| P3 has note
| - Chair seat, embroidered in wools and a little silk mostly in tent stitch on canvas ground. The central scene is of Bacchus reclining in a chariot being drawn by two leopards. He is holding aloft his thyrsus (staff twined with vine leaves).One follower rides on the back of the leopards whipping them up with a thyrsus, another stands beside the chariot blowing a horn. The figures are depicted as genial rather than frenzied. While most of the embroidery is in tent stitch, the faces and hands of the figures are additionally embroidered over with a type of speckling stitch, which gives texture and allows for great subtlety in shading the flesh tones. There is a deep surround of intertwining flowers, mostly stylized large blooms, on a brown ground. These and the central scene are worked in a range of colours originally vibrant, whose brightness is retained on the reverse.
The embroidery has been pulled into a parallelogram shape by the embroidery stitches. It retains its bare canvas edges, which show no signs of the seat having been used. The canvas has selvedges at top and bottom, and is hemmed at each side. On the canvas edge to the right of the worked seat is a very small area of trial embroidery stitches carried out in blue and white wool. There are traces of pencil lines on the canvas indicating the shape of the seat to be worked. (en)
- Canvaswork chair seat, Bacchus in chariot with leopards, 1730-50, English (en)
- This embroidered panel comes from a set of more than 20 intended as covers for chairs and a settee. The scenes depicted on them vary between mythology and pastoral or seasonal pursuits, like skating, but are all characterised by beguiling figures in idealised landscapes, surrounded by abundant flowers. Here the central scene is of the god Bacchus reclining in a chariot being drawn by two leopards. He is holding aloft his thyrsus (staff twined with vine leaves). Bacchus and his followers are often depicted in art as representations of frenzy or debauchery, but here they are smiling and benign.
Covers made for chairs, settees and stools are among the richest sources of eighteenth century pictorial needlework. They were undertaken both by professional workshops, and by amateur needlewomen, particularly in the form of canvaswork. This was usually worked in the basic counted thread stitches of tent stitch and cross stitch, learnt by most girls as part of their needlework education. Skill at needlework was considered an accomplishment in women, who could demonstrate their expertise by embroidering decorative yet functional items such as chair seats. While most of the embroidery here is in tent stitch, the faces and hands of the figures are additionally embroidered over with a type of speckling stitch, which gives texture and allows for great subtlety in shading the flesh tones. This work is of very high quality, and indicates the embroidery was done in a professional workshop, rather than domestically, which was the story associated with them in the donor's family. (en)
- Covers made for chairs, settees and stools are among the richest sources of eighteenth century pictorial needlework. Sets were embroidered often with a mix of pastoral, biblical and classical scenes, enclosed in approximately matching floral wreathes to give unity to the set. They were undertaken both by professional workshops, and by amateur needlewomen, patrticularly in the form of canvaswork, which was usually worked in the basic counted thread stitches of tent stitch and cross stitch, learnt by most girls as part of their needlework education. Skill at needlework was considered an accomplishment in women, who could demonstrate their expertise by embroidering decorative yet functional items such as chair seats. Sometimes furniture was commissioned specifically to accommodate and display fine embroidery.
Engraved illustrations in public circulation might be copied directly or indirectly, to provide subject matter. (en)
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| P65 shows visual item
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| P138 has representation
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| is P108 has produced
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