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Namespace Prefixes

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Statements

Subject Item

n6:e46a30c8-c6d6-53d0-8bc6-fd5489e7b8f8

rdf:type

rdf:Statement

rdf:predicate

ecrm:P65_shows_visual_item

rdf:object

n13:745

rdf:subject

n2:d6cc7aad-6801-334c-a7fc-51f638d5b891

prov:wasGeneratedBy

n11:e46a30c8-c6d6-53d0-8bc6-fd5489e7b8f8

silk:L18

0.46740001440048217773

Subject Item

n2:d6cc7aad-6801-334c-a7fc-51f638d5b891

rdf:type

ecrm:E22_Man-Made_Object

rdfs:label

1570 / 1585, England

rdfs:comment

Cruciform textile panel of embroidered linen canvas with silk and silver-gilt threads. Vertically cut in half with a design in the front half of a four-footed animal with hairy or scaly skin. Embroidered in blue, green, yellow, pink and brown silks with a raised border of silver-gilt embroidery. Cruciform textile panel of embroidered linen canvas with silk and silver-gilt threads, possibly made by Mary Queen of Scots and Elizabeth Talbot, England, 1570-1585 This fragment of an embroidered panel shows part of an animal with scaly or hairy skin. It is part of a collection of needlework known as the Oxburgh hangings. They were made between 1570 and about 1585, the work of Mary Queen of Scots during her imprisonment in England and Elizabeth (Bess) Talbot, Countess of Shrewsbury. Bess’s husband George Talbot, Earl of Shrewsbury was responsible for Mary and she stayed at one or other of the Shrewsbury estates. Embroidery was a form of therapy and communication for Mary, as well as a conventional occupation for wealthy and elite women. Most of the motifs depicted were copied from the wood-cut illustrations of emblem books and natural histories by well-known authors such as Claud Paradin, Conrad Gessner, Pierre Belon. These often represented sentiments and morals from classical literature and contemporary folklore, and were chosen Mary to express her most private thoughts at a time when all her written correspondence was being monitored by her captors. This panel of canvas work (stitching over the threads of a coarsely woven linen) is embroidered in coloured silks, silver and silver-gilt thread. Those executed by Mary bear her monogram, the letters MA superimposed on the Greek letter phi and those by Bess, the initials ES. Not all the panels were embroidered by Mary and Bess, as household accounts show that both had professional embroiderers on staff. The existing ‘hangings’ consist of a of wall hanging, two bed curtains and valance, on permanent long-term loan at Oxburgh Hall in Norfolk. However these were probably not the original arrangement of the embroidery, but sewn together in the late 17th century. This group of 33 embroideries are the remains of another hanging, now unpicked.

owl:sameAs

n5:O138503

dc:identifier

T.33M-1955

ecrm:P3_has_note

Cruciform textile panel of embroidered linen canvas with silk and silver-gilt threads. Vertically cut in half with a design in the front half of a four-footed animal with hairy or scaly skin. Embroidered in blue, green, yellow, pink and brown silks with a raised border of silver-gilt embroidery. This fragment of an embroidered panel shows part of an animal with scaly or hairy skin. It is part of a collection of needlework known as the Oxburgh hangings. They were made between 1570 and about 1585, the work of Mary Queen of Scots during her imprisonment in England and Elizabeth (Bess) Talbot, Countess of Shrewsbury. Bess’s husband George Talbot, Earl of Shrewsbury was responsible for Mary and she stayed at one or other of the Shrewsbury estates. Embroidery was a form of therapy and communication for Mary, as well as a conventional occupation for wealthy and elite women. Most of the motifs depicted were copied from the wood-cut illustrations of emblem books and natural histories by well-known authors such as Claud Paradin, Conrad Gessner, Pierre Belon. These often represented sentiments and morals from classical literature and contemporary folklore, and were chosen Mary to express her most private thoughts at a time when all her written correspondence was being monitored by her captors. This panel of canvas work (stitching over the threads of a coarsely woven linen) is embroidered in coloured silks, silver and silver-gilt thread. Those executed by Mary bear her monogram, the letters MA superimposed on the Greek letter phi and those by Bess, the initials ES. Not all the panels were embroidered by Mary and Bess, as household accounts show that both had professional embroiderers on staff. The existing ‘hangings’ consist of a of wall hanging, two bed curtains and valance, on permanent long-term loan at Oxburgh Hall in Norfolk. However these were probably not the original arrangement of the embroidery, but sewn together in the late 17th century. This group of 33 embroideries are the remains of another hanging, now unpicked. Cruciform textile panel of embroidered linen canvas with silk and silver-gilt threads, possibly made by Mary Queen of Scots and Elizabeth Talbot, England, 1570-1585

ecrm:P43_has_dimension

n9:2 n9:1

ecrm:P65_shows_visual_item

n13:745

ecrm:P138i_has_representation

n12:2fccc773-f559-367c-b30e-5c8bcd1b3054

ecrm:P102_has_title

1570 / 1585, England