Chinese collar with fleur de lis design, date unknown, embroidered with gold filigree thread on white silk, 18.25 x 18.50”.
The digitizing crew admired the elegance of this collar, but we would never trust ourselves to wear it. Imagine trying to eat soup with this thing on!
Chinese, Blue Phoenix with Gold Thread Embroidery, date unknown, embroidered fabric, 10 3/4 in. x 12 1/8 in.
While shooting these pieces, we find ourselves really interested in the way that the back of the embroidery looks. Sometimes we find it even more interesting than the front!
Top: Chinese, Mythological figure on lion embroidered in colors on raw silk, date unknown, embroidery on raw silk, 15 1/8 in. x 15 1/4 in.
Bottom: Chinese, Mythological figure on lion surrounded by bats, date unknown, embroidery on red silk, 9 7/8 in. x 9 1/2 in.
We aren’t sure exactly who these two pieces are meant to depict, but it looks like they may illustrate the same myth – if you look closely, both figures are holding the same items.
Sometimes lions with dragon-like appearances are referred to as ch’ao-ching in Chinese mythology.
Embroidered panels, Chinese, embroidered silk, 19th century.
These embroidered panels are a part of a large gift from the Metropolitan Museum of Art in New York in 1949.
Chinese Textile Fragment, 10 in. x 11 in.
No info in the books on this one, but the digitizing crew speculates that it might be a cat on water skis. (Don’t quote us on that in your Asian Art 101 term paper.)
Chinese, 18th Century robe, silk tapestry weave (k’o ssu), 55in. x 81in.
Includes dragons surrounded by Buddhist emblems, clouds, bats, birds and the character for marital happiness. At bottom, the sea depicts Mount Meru and floating symbols. Details painted, gilt buttons and no lining.
Helpful MCAM staff member Kate says, “Mount Meru represents the universe in Buddhism, which is a religion originating in and near the Himalayas.”
Made in China, peach blossom embroidery on blue silk, 13 5/8in. x 13 1/4in.
We loved the elaborate embroidery on this piece and how you can see the interconnecting threads on the back.
Eugene Berman, Nocturnal Cathedral, 1951, lithograph, 12-2/3x9-1/4 inches.
We really like the brick print here. It reminds us of Mills Hall, but in a horror-movie sort of way.
Inhwan Oh, Where Man Meets Man in San Francisco, 2002, cement and slow burning incense, comprised of 15 panels that create a 180in x180in square.
Mills digitizing crew can confirm that the panels still smell like incense. One of the better smelling pieces in the collection.
Sylvie Fleury, Formula One Dress, July 1999, 81/100, 57.5”x46”.
"Sylvie Fleury has taken the Hugo Boss sponsorship of the West McLaren Mercedes team as the subject of her Formula One Dress. With subtle female irony, she has reinterpreted the masculine McLaren racing overall to create a unique piece of art.
Hand-tailored dress with original Formula One fabric, original Formula One logos, two-way zipper and lining with flames.”
—text from the original box
Photo of artist in dress found at:
Black and gold evening gown, 1930s, net and gilt lace with silk lining, 59 in. x 53 in.
This dress was inside a box of costumes from Mills’ now-defunct theater department. Any guesses as to which play it could have been worn in? (We hope flappers were involved.)
The highlight of today’s digitizing: finding the crystal ball hidden deep within MCAM’s collection area.
Chinese Children Chasing Butterflies, Meiwa Era (late 18th century) Japanese Fukusa.
We’re not sure exactly what they’re chasing the butterflies with, but it looks like it might not be fun for the butterflies. The embroidery in this is incredibly detailed.
Japanese fukusa with horse race, 33.75 x 26 in.
Japanese Fukusa, Temmei Era 1781-1788, dyed and embroidered crepe.