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Jérôme de la Gorce

(b Saint-Mihiel, Lorraine, bapt June 4, 1640; d Paris, Jan 24, 1711).

French designer, ornamentalist and engraver. The Berain family moved to Paris c. 1644. Berain’s father, also called Jean Berain, and his uncle Claude Berain were master gunsmiths. In 1659 Berain published a series of designs for the decoration of arms, Diverses pièces très utiles pour les arquebuzières, reissued in 1667. In 1662 he engraved for the guild of locksmiths a series of designs by Hugues Brisville (b 1633), Diverses inventions nouvelles pour des armoiries avec leurs ornements. It would seem that by this date Berain’s skill as an engraver was well known. Around 1667 he decorated and signed a hunting gun (Stockholm, Livrustkam.; see Arms and armour §II 2., (iii)) for Louis XIV, which probably served as his introduction to the court. Through the influence and support of Charles Le Brun, in 1670 Berain was employed by the crown as an engraver. In January 1671 he received 400 livres in payment for two engravings (Paris, Bib. N., Cab. Est.) recording the ceiling decoration by Le Brun of the Galerie d’Apollon in the Louvre, Paris, for which he also designed the painted stucco grotesques. In ...


(b ’s Hertogenbosch, bapt May 9, 1596; d Antwerp, Dec 31, 1675).

Flemish glass-painter, draughtsman, painter and tapestry designer. His reputation rests primarily on his drawings and oil sketches, of which several hundred survive, intended mainly as designs for stained-glass windows and prints. He was strongly influenced by the work of other important Flemish artists of the late 16th century and early 17th, notably Rubens, whose motifs and stylistic elements he frequently reworked in his own compositions.

He was the son of the glass painter Jan (Roelofsz.) van Diepenbeeck (d 1619) and first acquired the skills of his trade in his father’s workshop in ’s Hertogenbosch. In 1622–3 he became a master glass painter in the Guild of St Luke in Antwerp; it is possible that his move from ’s Hertogenbosch in 1621 was related to the war negotiations that were underway that year, which particularly threatened the northern border provinces of the southern Netherlands, where ’s Hertogenbosch was located....


Hans Vlieghe

(b Leiden, Sept 22, 1601; d Antwerp, Jan 8, 1674).

Flemish painter and tapestry designer. He was initially a pupil of Caspar van den Hoecke (d 1648). After a period in Italy, sometime after 1618, he joined the workshop of Peter Paul Rubens. He is one of the few artists whose collaboration with Rubens is documented. He is mentioned several times between 1625 and 1628, for example in 1625, when he was involved in the installation of some of the 44 decorative panels (‘the Medici Cycle’) commissioned from Rubens in 1622 by Marie de’ Medici for the Palais de Luxembourg in Paris. He may also have collaborated in painting some of the panels. In 1628 he became a Master in the Antwerp Guild of St Luke. Immediately afterwards he left for Paris, where he acquired a considerable reputation, not only as a painter but also as a print publisher. In 1648 he was one of the founders of the ...


R. A. D’Hulst

(bapt Antwerp, May 20, 1593; d Antwerp, Oct 18, 1678).

Flemish painter, tapestry designer and draughtsman. In the context of 17th-century Flemish art, he emerges as a somewhat complicated figure. His oeuvre, the fruit of a continual artistic development, is characterized by great stylistic versatility, to which the length of his career contributed. His religious, mythological and historical representations evolved from the rhetorical prolixity of the Baroque into a vernacular, sometimes almost caricatural, formal idiom. The lack of idealistic treatment in his work is undoubtedly the factor that most removed Jordaens’s art from that of his great Flemish contemporaries Rubens and van Dyck. Jordaens’s officially commissioned works included many paintings in which the sublimity of the subject-matter clashed with the vulgarity of some of his figures. Unlike Rubens and van Dyck, both of whom were knighted in the course of their careers, Jordaens was, in fact, completely ignored by the courts of Spain and Brussels, and he did not receive a single significant commission from Italy, France or England. Only once did Charles I of England grant him a commission, and then under less favourable circumstances (...


Gordon Campbell

The name of two types of bobbin lace said (with little evidence) to have originated in Milan. One type, dating from the mid-17th century, has Baroque floral scrolls with individual motifs either linked by brides or, in particularly dense designs, linked directly to each other. The other type, dating from the late 17th century and early 18th, had thin, scrolled designs on a regular ground-mesh which was often diamond-stamped....