Burgo de Osma Retable Sampler Created for the Textiles Department of the Art Institute of Chicago
SAMPLer created by Katherine Diuguid, based off of the burgo de osma retable at the art institute of chicago (Accession #1927.1779a-b)
This project was based on the Burgo de Osma Retable at the Art Institute of Chicago (Accession# 1927.1779a-b) and specially created for the Textiles Department at the Art Institute of Chicago. If you are in Chicago, I highly recommend going to see it. It will not disappoint!
I was asked by the Textiles Department at the Art Institute of Chicago to create a sampler that illustrated a selection of the main embroidery techniques used throughout the Retable and Altar Frontal as well as recreating the solider that sits at the feet of Jesus in the central panel of the Altar Frontal. This sampler has been used for various public engagement events to help explain the Retable’s embroidery techniques to the public allowing for much closer observation of the techniques and a deeper understanding of the different areas of the Retable.
A very special thank you to Melinda Watt, Kathleen Kiefer, Isaac Facio, and Sarah Molina at the Art Institute of Chicago that made this special project possible.
About the Burgo de Osma Retable:
Retable depicting the Madonna and Child, the Nativity, and the Adoration of the Magi; and Altar Frontal depicting the Resurrection of Christ and Six Apostles, c. 1468, Spain, El Burgo de Osma, Museum Accession Number: 1927.1779a-b, gift of Mrs. Chauncey McCormick and Mrs. Richard Ely Danielson, Art Institute of Chicago.
Link for more information and images on the AIC’s Collections Page: https://www.artic.edu/artworks/41449
On view in Gallery 237 at the Art Institute of Chicago.
Process of Creating the Retable Sampler for the AIC:
For even more process images and videos, please check out: #katdiuguidretablesamplerforaic on Instagram
Grid of Embroidery Techniques:
I have stitched 15 squares of different embroidery techniques used throughout the Retable and Altar Frontal in a gridded format. These are not the only techniques employed in the altarpiece, but were techniques that were used repeatedly throughout the piece. Colors used were the best approximation of what the colors would have been at the time the original piece was created. The materials used were silk embroidery floss, Soie Oval (this is a flat silk), and various gilt threads. Some of the gilt threads I used were threads that had been passed down to me and are slightly different than the ones currently on the market.
Embroidery techniques in the sampler squares include (from top left to bottom right):
Row 1 of squares: silk split stitch bands, shading in silk split stitch, shading in silk chain stitch, silk french knots, silk overtwist
Row 2 of squares: silk and metal burden stitch, gilt Rococo couched with silk, gilt passing couched with silk, Or Nué couching over gilt passing, silk split stitched shingles outlined with gilt twist with gild spangles
Row 3 of squares: diamond pattern couching over gilt passing, “hair” created with alternating rows of split stitch and couched passing, basketweave couched gilt passing, diamond patterned basketweave couched gilt passing, details of crown including: gilt passing satin stitch, silk satin stitch, gilt passing stem stitch, gilt passing heavy chain, silk split stitch and applied freshwater pearls
Sleeping Soldier:
I was asked to recreate the Sleeping Soldier that sits at the feet of Jesus in the central panel of the Altar Frontal. He is about 4.5”x 4.5” in size on the sampler. The techniques used include shaded silk split stitch, couched gilt and silver-plated passing, couched gilt Rococo, and silk overtwist. I stitched him on a silk base first and then appliquéd him onto the linen ground fabric with an outline of silk split stitch. This order of stitching was used to also illustrate the appliqué technique that is used on many of the various people depicted on the Retable and Altar Frontal.
Stones: needleweaving with silk floss over padding and silk overtwist
Column and Flourish:
I have purposely left parts unfinished to show the padding process. The padding on the main body of the column was covered in linen to mimic the technique employed on the altarpiece. This decision was based off pre-conservation images of areas of the columns where the padding was exposed. The columns are heavily padded with soft string and felt with gilt passing couched in basketweave patterns and satin stitch.
Links for more about the Burgo de Osma Retable Sampler created by Kat:
If you would like to see process images and videos, please check out my Instagram and the #katdiuguidretablesamplerforaic
