Sampler Mitte des 17th. Jahrhunderts Britisch der Leinwandboden dieses Punktsamplers ist eine überfüllte, asymmetrische Flut von ornamentalen Designs; dazu gehören Fauna, wie Vögel, Schnecken, ein Wildschwein, Und Schmetterlinge; eine Vielzahl von fantastischen Flora in Form von blühenden und fruchtenden Zweigen und stilisierten Blüten, die als Slips bekannt sind; Und geometrische Interlacing-Muster ähnlich denen neumodischer „Knoten“-Parterres, deren Entwürfe erstmals in England von Thomas Hyll in seiner Proffitable Art of Gardening (1568) veröffentlicht wurden. Der Sampler ist grob in zwei Teile unterteilt, wobei die natürliche Welt auf der t

• Bildanbieter: MET/BOT / Alamy Stock Foto
• Bild-ID: 2HHR704
• Dateigröße: 24,1 MB (2,9 MB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 2110 x 4000 px | 17,9 x 33,9 cm | 7 x 13,3 inches | 300dpi
• Aufnahmedatum: 19. Januar 2022

Weitere Informationen

Dieses Bild ist ein gemeinfreies Bild. Dies bedeutet, dass entweder das Urheberrecht dafür abgelaufen ist oder der Inhaber des Bildes auf sein Urheberrecht verzichtet hat. Alamy berechnet Ihnen eine Gebühr für den Zugriff auf die hochauflösende Kopie des Bildes.

Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel

Sampler mid-17th century British The canvas ground of this spot sampler is a crowded, asymmetrical flurry of ornamental designs; these include fauna, such as birds, snails, a boar, and butterflies; a variety of fantastic flora in the form of flowering and fruiting branches and stylized blossoms known as slips; and geometric interlacing patterns similar to those of newly fashionable "knot" parterres, designs for which were first published in England by Thomas Hyll in his Proffitable Art of Gardening (1568). The sampler is divided roughly into two parts, with the natural world presented at the top and geometric motifs below.Spot samplers may have come closest to fulfilling the etymological destiny of the sampler, or exemplar, as "an example to be imitated; a model, pattern; an archetype." They are composed of collections of patterns and stitches to which the maker might refer when she was in need of inspiration or guidance for a particular technique. They generally do not include a date or a name in the body of the work that would allow a connection to be made with an embroiderer at a certain point in her education.A. J. B. Wace cited the existence of samplers as early as the beginning of the sixteenth century, writing that one was purchased for Elizabeth of York, who died in 1503, and that Elizabeth, Countess of Oxford, who died in 1537, left her two sisters twelve samplers in her will, although it is not clear that these were the work of her own hand. The earliest extant English sampler is preserved in the Victoria and Albert Museum; it was inscribed and dated by Jane Bostock in 1598. A sampler with a very similar composition to the present example composed of tent-stitch slips and animals above a group of geometric designs worked in silk and metal threads, is also in the Victoria and Albert Museum (inv. no. T.234-1928). Spot samplers were originally dated to the late sixteenth or early seventeenth century, but more recently they have been reassigned to the mid-seve