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Portfolios%3D%222293%22%20and%20Disp_Obj_Type%3D%22Textiles%22
Textiles
At the Gates of Morning
Arthur B. Davies, 1862 - 1928
Davies, Arthur B.
United States
1862 - 1928
Male
69 x 38 1/4 in. (175.3 x 97.2 cm)
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.
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Wool
Wool
ca. 1925
1920
1930
1900-2000, nudes, tapestry, women
Textiles
Arthur B. Davies was the driving force behind the 1913 Armory Show which introduced Americans to radical European abstract art, but his own style remained representational throughout his career. This tapestry of the artist’s signature lyrical nudes dancing in the landscape was one of 36 tapestries he designed and had woven by the famous Gobelins factories in France. Only six were sold during his lifetime; the rest were later destroyed in a fire.
[Label text from It Came From the Vault exhibition, 2013]
1962.23
item
Memorial Art Gallery
9/8/1999
62.23TR1
transparency
4 x 5
00/00/00
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62.23SL1
slide
2 x 2
00/00/00
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negative
full
4 x 5
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62.23DI#1
digital image
00/00/00
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62.23DI#2
digital image
5/4/2018
http://127.0.0.1:5000/Media/images/62.23_A2.jpg
Textiles
Ceremonial Horse Cover
Embroidery Workshops of Bukhara
Embroidery Workshops of Bukhara
Uzbekistan
52 1/2 x 77 in. (133.4 x 195.6 cm)
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overall
narrowest point
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overall
overall
Embroidery
Embroidery
1860-1920
1860
1920
1800-1900, 19th century, embroidery
Textiles
When the Russian Imperial Army conquered the Emirate of Bukhara, one of three Uzbek dynasties, in 1868, only Bukhara retained a degree of independence as a Russian protectorate. Lavish ambassadorial gifts from the emirs to the tsars were obligatory, a diplomatic tradition that had developed over centuries. Examples included textiles, furniture, and weapons; among the most luxurious offerings were ceremonial horse covers and blankets embroidered in gold by the elite craftsmen of the Bukhara court.
This elaborate horse cover, which is lined with a traditional ikat-patterned fabric from Uzbekistan (see inset), was probably presented by the emir of Bukhara to the Russian imperial court during the late 1800s. The images of the sphinx and cannons embedded within the golden embroidery and floral patterns quite likely reference famous imperial landmarks in the Russian cities of Moscow and St. Petersburg.
[Label text from It Came From the Vault exhibition, 2013]
Bukhara is in present-day Uzbekistan.
back, Appears to be Russian language but not Cyrillic alphabet? See photo attached to Surrogates
1936.26
item
Memorial Art Gallery
7/20/2001
36.26SL1
slide
full
2 x 2
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glossy
8x10
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glossy
back
8x10
00/00/00
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36.26DI#2
digital image
Front
7/20/2012
http://127.0.0.1:5000/Media/images/36.26_A2.jpg
36.26DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/36.26_A1.jpg
36.26DI#3
digital image
Back
7/20/2012
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36.26DI#4
digital image
Detail
7/20/2012
http://127.0.0.1:5000/Media/images/36.26_A4.jpg
36.26DI#5
digital image
Detail
7/20/2012
http://127.0.0.1:5000/Media/images/36.26_A5.jpg
36.26DI#6
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/36.26_A6.jpg
36.26DI#7
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/36.26_A7.jpg
Textiles
Medallion Rug
American artist, (active )
American artist
United States
Primary
27 1/4 x 66 1/2 x 3/8 in. (69.2 x 168.9 x 1 cm)
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.
.
overall
overall
Wool
Wool
late 19th century
1867
1899
19th century, circle, color, rugs
Textiles
Hooked rugs are among the most enduring forms of American folk art. Although commercial pattterns became available in the late 1860s, earlier designs were the product of the maker’s own imagination and circumstances. The rugs were typically crafted by women, often using worn scraps of material and homemade dyes, who sometimes copied examples made by friends and neighbors. We can imagine that the person who designed this particular rug was a farmer’s wife, proud of her livestock and the variety of flowers she grew in her garden. The fact that some of the medallions have lost their edges suggest that it has been cut down from its original size due to wear.
[Label text from It Came From the Vault exhibition, 2013]
1952.5
item
Memorial Art Gallery
9/8/1999
52.5SL1
slide
full
2 x 2
00/00/00
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52.5SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
52.5DI#1
digital image
4/17/2008
http://127.0.0.1:5000/Media/images/52.5_A1.jpg
52.5DI#2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/52.5_A2.jpg
52.5DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/52.5_A3.jpg
Textiles
Roman Scene
American artist, (active )
American artist
United States
Primary
25 x 32 1/2 in. (63.5 x 82.6 cm)
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frame
Thread
Thread
0
0
Textiles
This detailed but unidentified scene incorporates distinctive characteristics from ancient Roman culture, including an army legionary standard topped with an eagle at top right, men dressed in bronze armor and helmets, and women in classical drapery.
[Label text from It Came From the Vault exhibition, 2013]
1975.137
item
Memorial Art Gallery
9/8/1999
75.137 SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
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glossy
8x10
00/00/00
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75.137DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/75.137_I1.jpg
75.137DI#2
digital image
2/22/2013
http://127.0.0.1:5000/Media/images/75.137_A1.jpg
Textiles
Stumpwork Panel with Figures and Animals
British artist
British artist
Great Britain
Primary
12 x 15 3/4 in. (30.5 x 40 cm)
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Embroidery
Embroidery
0
0
Textiles
1984.62
item
Memorial Art Gallery
5/12/2001
84.62SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.62SL2
slide
detail
2 x 2
00/00/00
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84.62SL3
slide
detail
2 x 2
00/00/00
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84.62SL4
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.62DI#1
digital image
4/22/2008
http://127.0.0.1:5000/Media/images/84.62_A1.jpg
Textiles
Lace Collar
Italian artist
Italian artist
Italy
Primary
4 1/8 x 84 in. (10.5 x 213.4 cm)
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.
overall
overall
Lace
Lace
1565-1635
1565
1635
lace
Textiles
1955.269
item
Memorial Art Gallery
2/9/2006
55.269DI1
digital image
partial
2/8/2006
http://127.0.0.1:5000/Media/images/55.269_A5.jpg
55.269_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.269_A1.jpg
55.269_A2.jpg
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/55.269_A2.jpg
55.269_A3.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/55.269_A3.jpg
55.269_A4.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/55.269_A4.jpg
Textiles
Chasuble
Spanish artist, (active )
Spanish artist
Spain
Primary
Gossaert, Jan
Flanders
ca. 1472 - 1532
Male
Designer
Attributed to
52 1/2 x 29 in. (133.4 x 73.7 cm)
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.
.
Embroidery
Embroidery
probably 1520s
1520
1520
1400-1600, embroidery, European art, Judeo-Christian, religious & ritual objects
Textiles
A chasuble is the outer garment worn by a priest or bishop when celebrating the Mass, the core sacred ritual of the Roman Catholic faith. The embroidered bands down the front and back, called orphreys, depict events from the life of the Virgin Mary.
Clues to the origin and date of the chasuble emerge from both the medium and the design of the orphreys. While the gold thread and velvet suggest a Spanish origin, the designs themselves have been attributed to the famous Flemish artist Jan Gossaert. The designs may have been commissioned by a Spanish patron. Such an alliance is well imaginable, as during the 1520s both Spain and the Netherlands were ruled by the Hapsburg family; trade, both artistic or mercantile, flourished between the two territories.
[Label text from It Came From the Vault exhibition, 2013]
1939.2
item
Memorial Art Gallery
7/20/2001
39.2aSL1
slide
full- front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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glossy
8x10
00/00/00
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neg
6x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
39.2bSL2
slide
full- back
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
Detail
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
Detail
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.2a-bDI#1
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/39.2_A1.jpg
39.2a-bDI#2
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/39.2_A2.jpg
39.2DI#3
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A3.jpg
39.2DI#4
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A4.jpg
39.2DI#5
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A5.jpg
39.2DI#6
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A6.jpg
39.2DI#7
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A7.jpg
39.2DI#8
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A8.jpg
39.2DI#9
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A9.jpg
39.2DI#10
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/39.2_A10.jpg
Textiles
Lace-Trimmed Handkerchief
Spanish artist, (active )
Spanish artist
Spain
Primary
10 x 10 1/4 in. (25.4 x 26 cm)
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.
.
Linen
Linen
1890-1920
1890
1920
Textiles
What are called “the needle arts,” in particular embroidery and lace-making, were the domain of women throughout centuries of European and American history. As early as the 1500s, a young girl was trained in these arts by nuns, tutors, and her female relatives; her prowess was often a measure of both her breeding and suitability for marriage.
The making of lace, which developed from the art of embroidery, was intimately tied to fashion and social status. The addition of lace to collars, handkerchiefs, and other costumes established the wearer as a person of wealth. The industrial revolution transformed the lace-making industry; although elaborate handmade lace was still a mark of status, mass production also made it available to those of lesser means.
[Label text from It Came From the Vault exhibition, 2013]
1991.103.4
item
Memorial Art Gallery
7/20/2001
91.103.4DI#1
digital image
5/8/2008
http://127.0.0.1:5000/Media/images/91.103.4_A1.jpg