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The Lewkenor table carpet
now in Metropolitan Museum of Art New York, Standen, Edith A., European post-Medieval Tapestries and Related Hangings in the Metropolitan Museum of Art, NY 1985, 1, no 25, 180-184; and 'The Carpet of Arms', Bulletin of the Metropolitan Museum of Art, vol 20 1962, 221 - 231.

The Luttrell carpet
now in the Burrell Collection Glasgow (47.3), William Wells, Scottish Art Review, vol xi no. 3, 1968, 14-18.

The Dudley armorial tapestries
from Drayton House, Hilary L. Turner, 'Tapestries once at Chastleton House and their influence on the image of the tapestries called Sheldon: a re-assessment' Antiquaries Journal , vol 88 2008, pp. 313-343; now in the Victoria and Albert Museum, London, T.320-1977

Two others, heavily restored, belong to the Burrell Collection, Glasgow

The Herbert Arms
with grotesques and the Marquess of Northampton's piece, a figure of Envy and grotesques, were both excluded by G. Wingfield-Digby, The Victoria and Albert Museum, Catalogue of Tapestries Medieval and Renaissance, London 1981, nos.46, 47, pp.52-54

The Five Senses
now in a private collection, published by H. Goebel, Wandteppiche , III, ii, 132, plate 108 as Wismar work, also rejected by Wace, 'The Sheldon tapestry weavers and their work,' Archaeologia, 78, 1928, pp. 255-313; interpreted as Sheldon by Roy Strong, 600 Years of British Painting, Denver Museum, 1999, p.56.

One tapestry, with a mark of Francis Geubel, hung on the fringes of Sheldon attribution, A.F. Kendrick, 'A Tapestry at the Merchant Taylors' Hall', Burlington Magazine, vol. li, no 295, October 1927, pp. 156-162, illus. It was destroyed in 1940. Other examples were reviewed in Barnard and Wace, Archaeologia 78, 1928, pp. 303-308.

Huntsmen in a Landscape (formerly called the Crocker Tapestry )

Dominated by a moated lordly residence, taken from a printed source, set in parkland across which chases a hunt, points of comparison, coincidence or correspondence of thematic material are minimal. The tapestry carries no mark which might identify the weaver or his city, and no indication of the first owner. It has no sixteenth century, or indeed later, provenance. The only motifs in common with work called Sheldon, but not exclusively seen in such work, are the small lion heads enclosed by strapwork and the mounted horseman, features also found in tapestries from continental workshops. Colouring, size and design have little resemblance to the commonly found products classified as 'Sheldon'; scale and competence of execution are all superior. Although the dealers and discoverers, S.Franses of London, at first claimed the tapestry as Sheldon work, it has since been exhibited without this label, Tudor and Stuart Textiles 1485-1688 , Franses New York, 10 December 2008-20 February 2009. The tapestry is owned by the Metropolitan Museum, New York, published in Bulletin of the Metropolitan Museum of Art , Fall 2010, p. 26-27 . http://www.metmuseum.org/Collections/search-the-collections/120056897


Pictured in Barnard and Wace 'The Sheldon weavers and their work', Archaeologia 78, 1928, pl. xxxix, fig.1. Whereabouts unknown since its sale in 1920.

Valance with hunting scenes
The Burrell Collection, Glasgow, 47.43

A woven cuff .for glove http://collections.vam.ac.uk/item/O78748/pair-of-gloves/

A 'pincushion' - http://collections.vam.ac.uk/item/O78876/pin-cushion/

Wace contravened his own categorizations; the pattern is not of English origin but a later fashion.


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