Bag
1600-1629 (made)
| Artist/Maker | |
| Place of origin |
Object Type
In the 17th century decorative purses such as this one were rarely used to carry money, as their wealthy owners engaged in few commercial exchanges requiring cash. In addition to serving as 'sweet bags' or 'gift wrapping', purses sometimes functioned as sewing kits that held needles, thread and tiny scissors. The attachment of a pin cushion to this purse suggests that it might have been used as a sewing kit, or kept on the dressing table to hold pins for fastening clothing.
Materials & Making
This pin cushion is decorated in canvaswork. Worked in wool, it was a popular form of embroidery, particularly for furnishings such as wall hangings, cushion covers and table carpets. For smaller items such as this purse and pin cushion, silk and metal threads were often used on a ground of finely woven linen. This example uses tent and Gobelin stitches, two of a variety of stitches found in canvaswork.
Design & Designing
The pattern depicts a rose tree, a motif made popular by its association with the Tudors. This type of needlework allowed subtle gradations of colour, giving the image a very pictorial effect.
In the 17th century decorative purses such as this one were rarely used to carry money, as their wealthy owners engaged in few commercial exchanges requiring cash. In addition to serving as 'sweet bags' or 'gift wrapping', purses sometimes functioned as sewing kits that held needles, thread and tiny scissors. The attachment of a pin cushion to this purse suggests that it might have been used as a sewing kit, or kept on the dressing table to hold pins for fastening clothing.
Materials & Making
This pin cushion is decorated in canvaswork. Worked in wool, it was a popular form of embroidery, particularly for furnishings such as wall hangings, cushion covers and table carpets. For smaller items such as this purse and pin cushion, silk and metal threads were often used on a ground of finely woven linen. This example uses tent and Gobelin stitches, two of a variety of stitches found in canvaswork.
Design & Designing
The pattern depicts a rose tree, a motif made popular by its association with the Tudors. This type of needlework allowed subtle gradations of colour, giving the image a very pictorial effect.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 2 parts.
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| Materials and techniques | Linen, silk, silver; hand-woven, hand-embroidered |
| Brief description | Bag and pin cushion, 1600-1629, English; canvas embroidered with coloured silks and silver threads |
| Physical description | Bag and pin cushion of coarsely woven linen tent-stitched with silver filé, coloured silks in a pattern of roses and pansies. Both are decorated in the corners with silver purl loops and small silk tassels, and square braided strings of pink, green and white silk. The bag is lined with blue-green silk sarsenet and has 2 large shaped tassels covered with silver filé, pink and green silks. |
| Dimensions |
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| Gallery label |
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| Object history | Embroidered in England |
| Summary | Object Type In the 17th century decorative purses such as this one were rarely used to carry money, as their wealthy owners engaged in few commercial exchanges requiring cash. In addition to serving as 'sweet bags' or 'gift wrapping', purses sometimes functioned as sewing kits that held needles, thread and tiny scissors. The attachment of a pin cushion to this purse suggests that it might have been used as a sewing kit, or kept on the dressing table to hold pins for fastening clothing. Materials & Making This pin cushion is decorated in canvaswork. Worked in wool, it was a popular form of embroidery, particularly for furnishings such as wall hangings, cushion covers and table carpets. For smaller items such as this purse and pin cushion, silk and metal threads were often used on a ground of finely woven linen. This example uses tent and Gobelin stitches, two of a variety of stitches found in canvaswork. Design & Designing The pattern depicts a rose tree, a motif made popular by its association with the Tudors. This type of needlework allowed subtle gradations of colour, giving the image a very pictorial effect. |
| Bibliographic reference | John Lea Nevinson, Catalogue of English Domestic Embroidery of the Sixteenth & Seventeenth Centuries, Victoria and Albert Museum, Department of Textiles, London: HMSO, 1938, p.98, plate LXIX |
| Collection | |
| Accession number | 316&A-1898 |
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| Record created | March 27, 2003 |
| Record URL |
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