a bon fine- not anne of cleves motto

I think in Anglo-centric writings and art history there has been a lot of context missing when interpreting the clothing depicted in the portraits of Anne of Cleves.

I have also been looking through modelbuchs at embroidery and found some patterns that seem to be used in art (if not in entirely there are deer/hart that look to be worked in a similar fashion.

I was not able to find any pattern for the scrolling embroidery/weave of the fabric of Anna’s haube which reads “abon fine.”

This phrase has been interpreted to be her personal motto. However this same pattern is found on the clothing of other women across the Germanic states.

https://www.hampel-auctions.com/a/Conrad-Faber-Faber-von-Creuznach.html?a=80&s=193&id=80756&acl=770796

Conrad Faber, “Faber von Creuznach”
PORTRAIT EINER JUNGEN FRAU
Tempera/ Öl auf Holz.
53,5 x 38,5 cm.

Conrad Faber was active in Frankfort, which is to the South and East of North Rhine.

 

The motto also appears on the brusttuch of Barbara Schellenberger in a portrait by Hans Burkmair.

https://commons.wikimedia.org/wiki/File:Hans_Burgkmair_d._%C5%BD._-_Barbara_and_Hans_Schellenberger_-_WGA03702.jpg

Barbara and Hans Schellenberger
Date Barbara: 1507, Hans: 1505
Current location
Wallraf-Richartz-Museum, room 11

Burkmair was active in Augsburg and this portrait is of an Augsburg citizen.

Here the phrase is “a bon fino” In all cases “a bon” is contracted to read as “ABON.”

And on one of my favourite gowns of one of my favourite women in fashion history:

http://www.hdbg.de/portraitgalerie/gemaelde-18-zoom.php

Bildnisdiptychon -Rechte Tafel: Bildnis der Maria Jacobaea von Baden, Herzogin von Bayern
Maler: Hans Wertinger
Datiert: 1526
Bild: Öl auf Holz, 69 x 45 – Inv.-Nr. 18

Of special interest is that his appears to be worked in pearls while the previous seem to be woven or embroidered in dark silk on gold, or may even be gold work.

Anne of Cleves has this motto in a similar pattern (capitalised on a geometric scroll effect outline, worked in alternating diagonal directions on a wide band.

Holbein’s portrait quite clearly show the design worked in red on gold. This may be woven as are most bands on hauben from this region. Most commonly they are purely geometric designs but of a similar scale.

Bruyn in particular captures the gold threads of woven patterns of women of Cologne.

St John’s copy of the Bruyn portrait (note the portrait I believe to be the original has a flat pearled baret masking the view of her haube. I believe the copies to not include the hat are copies as they do not perfectly represent the Stickelsche as it appears in work direct from Cologne. )

The design is worked upside down in comparison to all others (and this is repeated in other copies.) It is also worked in a pale colour, in the small digital copies it appears white or off white.

So this leads me to the most recently discovered potential portrait of Anna.

https://www.artuk.org/discover/artworks/anne-of-cleves-15151557-queen-consort-to-henry-viii-134673

 

This portrait certainly matches facial features quite closely, and the haube looks the same as those in other Bruyn copies.

However after a decade or more of looking at North Rhine paintings what sticks out to me is that this is absolutely not the clothing of Nobility of Cleves, Julich, and Berg. This is absolutely perfect for middle class clothing of Cologne. Very wealthy but very clearly of someone affected by sumputary laws.

Red velvet sleeves and busttuchs are found repeatedly in inventories/documents of burgersfrau of Cologne.

The pendant is absolutely of a common shape, the girdle of a common type, the single wide chain necklance. Even the black on black fabric of her goller (kleyr) and gown.

The partlet under her gown is likewise of a type that puts her firmly in the city of Cologne.

It is also quite late in style. I would put this at 1550s. But this stage the Stickelsche (Sticklenchen) starts to look like a wing nut with a flat top and not just width at the upper side but lower side and is quite flat in regards to depth.

Commemorative paintings are not unusual, what is unusual is to lower the apparent status of the subject. Gold brocade trim on the gown at the very least would mark the subject as of nobility.

The painting looks from the surface to be from Bruyn’s workshop. The curved top of the canvas, the shaded plain background, the flat table top in front of the subject. These are also seen in the other copies of the other Bruyn painting.

Without access to information about the painting itself this asks many more questions than it answers.

In all the copies the words are upside down and in pale paint on warm gold. Could this indicate they are painted by someone not familiar with the physical properties of these hauben? Could that indicate they are all copies from outside of her homeland?

If so how can the details of this portrait match so well to the garments of burgersfrau of Cologne?

If this is by Bruyn (possibly the younger) does this mean the princesses could have worn clothing not indicative of their wealth? Or is this a deliberate statement?

Or could it be simply a portrait of an unrelated woman from Cologne?

There is very little in the way of imagery of real people from Cleves, Julich, and Berg from this time to be found online or printed in books. I have been very lucky to have a copy of the inventory of Jocabe of Juelich-Kleve-Berg but it is very definitely from a time where the Spanish influence has nearly overwritten the local clothing style. I have also been lucky enough to find/be lead to collections of inventories of women of Cologne.

A future blog post will explore the artwork of the Duchy, specifically those of the Duchess Maria and her Daughters (Sibylla, Amalia, and Anna.)

more plates

Today I tackled the gored skirt plates and a pieced sleeve.

Yesterday I took in some clothes (cut, stretch stitch, and overlocked, all needed new bobbins/rethreading.)

I made a small mistake of going on twitter. I follow a lot of science communicators and today was a day of special comments they received.

I’ve also tried to check what I can do for my hands, and currently I have fingerless gloves. it makes it harder to type, I think it’s the pressure of the cuffs. So I’m trying to use my left hand for typing and right hand only for backspace etc.

I’ll give hands a good break before going back to do the last skirt plates. Basically adding trains and turnbacks. Sleeves are kind of fun. I really want to get those twisted Austrian/Anna von Kleve types 🙂

And I’ll definitely have to get the assembly plates sorted as well this week.

I’m also trying to remake my red velveteen Cologne gown 🙂 And really want to make the extreme wingnut shape headdress 🙂

Finally, I washed and tinted my hair again. Just need to tidy the hairline a bit.

cleves headgear

I still need to do some tidying, and I am definitely making a few more of these, so it’s not totally complete right now. I need to sit it slightly further forward too.

 

(Wearing my Kimmy Schmidt cardigan because it’s so much part of my new me- allowing myself to wear several colours at once.)

I added more pearls yesterday to the embroidery of the pink hat and sewed up the brim.

 

The seam allowance was caught through all layers with a pick stitch every 2″ which anchored the gathering running stitch into short curves that follow the edge. The prick stitches are nearly invisible on the other side.

The pearls were removed from the frame. I made two more circles of the same heavy duty fusible/shape-forming material to add extra support the pearl platter shape and basted a layer of shot silk to the inner most circle.

Then clipped the extra fabric to the same depth and gathered to create the turn under.This was easy as the support circles kept the shape perfectly.

I bound the edges and trapped the gathers in place. The silk is bias cut. I used to also believe this was fairly wasteful until I started to think like a workshop. Bias is not at all wasteful if you use a short length over several projects.

As an example. The skirt for the gown that this hat is made for used 3m of velveteen for the hem guarding. That is more than I used in the skirt. It is in part because I was cutting on the fly but I kept my seam allowance to a minimum.

But I used three strips of bias tape for the hem facing and about the same for the underskirt. And I have a lot of silk left over.

So, think about how many projects you can use your bias strips for and dedicate a length to that 🙂

 

The cap was pulled apart a few nights ago during a bit of insomnia and then I got to test a few lengths of brocade.

I decided on a denser piece of the same saree I used originally on this form. And I used the same silk as used in the bias tape to tidy the inside. I do not have any curved needles but I found a cheapie one that could be bent and oh they are perfect for this kind of seam.

 

The internal part of the headpiece can be of two shapes. This curved edge is seen in both linen and silk versions but I haven’t seen it with the flat cap as well. Only with a fairly pointed piece to put a jeweled strip over.

 

Sorry for the use of English terms. I don’t want to use terms that come from the area as I’m not convinced we have them correct. All the terms at this point are in a bit of fluidity. i think I’m getting closer and will do a proper run through very soon.

pearling

I had to tidy my current costume stash and workroom. My workroom luckily was just some sweeping, I thought I left it in a more turned over state. So hooray!

But I have had to sort my entire stash to be able to find things. But I do now have everything in order of Want To Do 🙂 So I’m also making sure I actually do stuff now 🙂

So Netflix and Craft today. More pearls on my little hat and also to make up little hat.

my pink cleves gown and some inspiration behind it

From Facebook: Emily Gibbs‎ to Canterbury Faire 201829 January at 19:58 · Kaikoura Suburban, New Zealand

I am so inordinately happy with this! It has everything I love about the Cranach Saxon style with the weirdness of everything in the Nordrein (North Rhine.)

But it is weird. I’ll break down all the weirdness as I go but of note is the tone on tone. I deviated a little from the original, or rather combined two (three) figures in one. So the pink ground of two and the crimson velvet borders of another.

But tone on tone is very definitely part of this region, especially in the red/pink tones. And especially as velvet on a flat fabric.


Bildnis einer Frau 
Zuordnung:kölnisch
Datierung:um 1555/1560Sachbegriff:Gemälde
Sammlung:Köln, Wallraf-Richartz-Museum, Sammlungskontext: Stiftung Dr. Hubert Dormagen / Kerp, Inventar-Nr. WRM 3300, Zugang: 1980.12.31, Dauer: ab 1980.12.31

Kostüme der Männer und Frauen in Augsburg und Nürnberg, Deutschland, Europa, Orient und Afrika – BSB Cod.icon. 341
Publishing place: Augsburg
Year published: 4. Viertel 16. Jh.
Pages: 384
BSB Call Nr.: Cod.icon. 341
Project ID: BSB-Hss Cod.icon. 341
URN: urn:nbn:de:bvb:12-bsb00011752-7

Thuringen, I am not sure, Cologne (see what I mean by variations of spelling!)

So this is just one manuscript, and the Cologne image might be shot gold and red, but it is from the period. this is a hand drawn costume book, so little concern about it being coloured in at a later date. This work is full of pink as a main fabric. Full. But I am specifically looking for the tone on tone elements.

The Triumph of Maximillian is another illustrated book full of pink. But here again I have limited to tone on tone in red/crimson.

 

Title Triunfo del Emperador Maximiliano I, Rey de Hungría, Dalmacia y Croacia, Archiduque de Austria :… de quien están descritas y colocadas en esta colección las acciones gloriosas de S.M. Imperial, durante su vida…
Date entre 1501 y 1700?

Edition S.XVI-XVII Type Manuscrito

Subject Maximiliano I, Emperador del Sacro Imperio Romano Germánico

Page 96 and 97 and 97 again.

(these are huge zoomable images)

 

 

 

(Royalty Guide and Wikicommons respectively)

Sophia von Mecklenberg, married the Duke of Brauchweig, part of estphalia and so also has the mix of influences.I did not know of this image until today, however I am familiar with the two pieces of stonework depicting her in a very similar dress- I had it set aside as research for the sleeves, this confirms that the sleeves are weird, hooray! She was buried in Cell an

But the colours are nearly identical to my frock 🙂 So that is exciting. I was working with a limited range of fabric.

I knwe of her through the following images from Bildindex (handy hint, grabmal is a great search term for looking for images

 

Grabplatte der Herzogin Sophia von Mecklenburg
nach 1541 Grabplatte, Grabskulptur,  Sandstein

Standort: Celle, Kirche, Evangelisch-lutherische Stadtkirche Sankt Marien, Chor

Gedächtnis: Sophia (Mecklenburg, Herzogin) Herzogin Sophia von Mecklenburg war die Gemahlin Ernst des Bekenners

Also a full 3d view

  

Epitaph des Herzogs Ernst des Bekenners und seiner Frau Sophia, Herzogin von Mecklenburg
Cornelis Floris (2) (Werkstatt) 1576 Epitaph, Grabskulptur Alabaster

Standort: Celle, Kirche, Evangelisch-lutherische Stadtkirche Sankt Marien, Chor (Nordwand)

Gedächtnis: Ernst (Braunschweig-Lüneburg, Herzog) Gedächtnis: Sophia (Mecklenburg, Herzogin)

So side track aside there are many more examples of red based tone on tone garments of the wider region.

 
Both by Noclas Neufchatel.

Brady hart Gallery and wikicommons and liveinternet respectively.

These are of course from Nuremberg and so are quite a distance, but we see the range of tones for tone on tone (also the red dyed braids!!!)

 

1516 Circle of Hans Holbein the Younger (1497-1543) Portrait of Dorothea Meyer, wife of Jakob Meyer zum Hasen (Basel)

From Barbara Wells Sarudy’s post about winter clothing

Kunstauktionshaus Schloss Ahlden GmbH 2017 

Christoph Amberger
(Um 1505 Nürnberg – 1561/62 Augsburg) attr.;
Portrait der Maria Hieronymus Sulzer

This is much more suble, and leaning towards the crimson on yellow seen at about the same rate.

 

cleves progress

I’m taking a short break now from hand sewing. I have cohesive bandage to lay down as I think I’ll need it.

Anyway. I forgot how annoying and fiddly it is to hand sew  a piled fabric to a fabric that is springy but without a pile. Thread just stretches and the turn under moves. Like moves moves. I am not sure I can adequately measure so I have to eye it.

I also think I’m doing it wrong. It’s absolutely right going by portraits but every single extant example has a narrow braid/twists of thread to hide what is likely a raw edge. Because yes, velbet has always been a PITA to work with. My best work involved making card templates and pressing and steaming my velveteen over it and still unpicking every single hem at least once.

I cut my guards to shape. 8cm wide from one selvage for the fronts and then I laid the fabric over my right sikirt front and pinned at regualr intervals 8cm for each guard. SO far so simple. But the velveteen has a nap. Which means turning and turning the remaining fabric to make sure the pile goes up- so the velveteen looks the most rich.

Then I lined up left over to the back centre which means piecing at the sides. This is based mainly on what Alcega has to say- actually all the Spanish tailors. All piecing is at the sides. Like everything. Or under arm, but basically sides are a mess, underarms next, CF and CB pretty much untouched. The Austrian tailors also show piecing in places we may not automatically think of.

I suspect it has everything to do with expectations. We expect no piecing- we limit most pattern pieces by the width of fabric. this is mostly okay when you can top and tail perfectly shaped pieces. But historically really special fabrics were narrow. So it was expected that they would not be wide enough so vertical seams at regualr intervals were expected. And ad they tend to be near the side seam it is a handy place to add any piecing as ther eis already an expectation of seams there.

So Centre Front and Centre back being, usually, cut with the selvages are expected to be continuous.

There are obviously exceptions. But this is the rule.

Anyway, so after matching fabric I was even able to follow the curve to cut my neckline guarding. And then was able to make strips for arm guarding.

I only hand sew while sitting cross legged. SO I do have to stop every so often to stretch. But knees make for a very handy “frame” to stitch. Also you can adjust tension by just moving, and also it only take a pin at each seam being worked on.

I’m not 100% convinced on the source being accurate. but I basically have two two portraits to go by otherwise, and they do confirm wide bands. And later examples show at least one wide band about the width of one of thee, and lots of religious paintings where it’s basically zero guarding. I think this is an acceptable variation in terms of colour, texture, and width of guarding. I like the tone on tone, the original is black on pink but it looks so Saxon. I love Saxon, and Cleves did have Saxon influence (Sybilla married the Duke and kept up correspondence with her brother so yes, very definitely an influence.)

So there is heaps to go and I have to pace myself or risk not being able to go to the event at all. I can work on hems while there as I have my linen kirtle and silk frock. So you know. I am set to just pack. But I want this dress and hat. And then I can upload my resources.

So i think I should do some stretches and call it an evening.

 

Also I have to get to the city some time soon. I know I have a reference for Jocabaa wearing frocks that outshone brides and also got numbers of how many cows brocade cost…

so pink and crimson works

Yesterday was a bad luck day. It started with a health wobble (very old one, and it was definitely a whole lot better than it used to be) Mr Carlo going missing, rain, pale mamma duck lost one more duckling, I couldn’t find the glass jars I know one of the cheapie stores in Westfield or outer shops has, then my rheumy appointment was cancelled as I was already out there and finally Spotlight did not have any black velveteen which is what I wanted my pink Cleves gown trimmed in.

But they had a very dark maroon-crimson which actually I really do dig as a tone on tone type of deal. The colour and texture is definitely found in inventories- mainly as sleeves- and also in some illustrations. So I really only am unsure if that specific combo is okay. But the Duchy of Kleves, Julich, und Berg was much brighter and more in the Saxon mold than Cologne which was a free city and thus did not have any aristocracy and so portraits tend to show much more sober colour schemes. But I have seen a sort of lilac, lots of warm and cool red, and even a yellow gown on figures representing real people. Religious figures then to have much more

It also ended in Mr Carlo rushed to the vets as he was dealing with septicemia. He is a tiny kitty, about half the weight of any other cat I have met. So he is more delicate than he thinks and injuries are a lot harder on him.

 

Today we were hit harder by the storm and pale mamma lost all her babies in the wind. But she has just brought them around again a few hours later. Mr Carlo is a lot happier, he is liking pats and even tummy scritches. So today is much better.

I even finally scanned my passport photos and finished my online application so that is great.

Also Mr Ginger Fluff is sheltering on my bed from the storm. He is finally starting to properly rest.

 

So I feel okay about sitting and sewing today.  It’s been a slow morning for the above reasons but it’s still productive.

more clevische kleidung

Today I got my lining put together and pinned into the pink Cleves skirt, reshaped my hulle and steamed it into a nice curve (yep, millinery, so much steam and pressing and more steam and the stink of ammonia, and lanolin, and and more steam.) I have set it aside so I can make another pressing shape as my wulsts are really squishy.

And I did manage to tidy some of my inventory files. It’s still heavy on accessories other than hats and garments other than gowns. Which are you know, the most important part.

But I may also have a lead on looking for secondary texts. Gewand is used a fair amount so I’ve been brute force searching.

Meanwhile I do need to actually put those files in their proper places and transcribe them.

 

Of course the very best files are photos of documents but they are not of a resolution that I can read them. Which is annoying.

 

But, that is a lot of ironing of line lining and wool hat so… i’ll get that put away and get the files in place.

a new hat

I am going full Cleves all the time 🙂 Ever since I read Anne of Cleves by Mary Saaler I have wanted to make all the outfits described as hers. I haven’t hit a jackpot in terms of a list of her wardrobe before she left for England but Hall cronicles her appearance enough. And I have gone and read a digitised reprint and it seems to ring true. But before all that I am trying to make a hat seen in my favourite protrait of her.

 

This was sold in London in 1930 and disappeared until The Rosenbach recently revealed that they had this portrait, https://rosenbach.org/blog/long-lost-triplets/ (Please note I have tried to adjust the perspective). This shows a gold coloured baret over a gold covered stickelsche with pearlwork (the colours can be identified in the Rosenback photos while the details can be seen in the copy from Saaler.

The St Johns University portrait. On the left from Saaler, on the right a photo directly of the portrait as per the Art Fund websitehttps://artuk.org/discover/artworks/anne-of-cleves-223303

 

The St John’s Portrait is the one that is was X-rayed and discovered that her nose was originally painted longer. Of course historians have take that to mean he nose was made smaller to flatter. I believe it to simply have been a mistake. The Rosenbach portrait is clearly the most sensitively and deftly painted of all these portraits.

 

There are a few files of the St John’s portrait that are of different contrast levels. However I do believe this to be a different copy. It is clearly different based on the fall of the shadows of the fruit and the gloves. The tacks around the edges of the painting are not in the same position as the St John’s painting either.

https://web.archive.org/web/20030315083403/http://www.asn-ibk.ac.at:80/bildung/faecher/geschichte/maike/bilderkatalog/tudors_stuarts/abb20p.htm

Most files are now over at: http://www.kleio.org/ except this portrait. So I do not know the provenance.

This is from a photograph at the Witt Library and is part of an article in Burlington Magazine, “A Portrait of Anne of Cleves” March 1992, issue 134 pages 172-175. This is the only copy that keeps the three rows of brocade of the skirt- the majority of skirts of this region overlap so the three rows make sense in this light.

And this is a copy at Hever Castle itself. https://www.hevercastle.co.uk/news/6th-january-1540-henry-viii-married-anne-cleves/

 

So that is five copies of this portrait from close to her time in England- though in absolutely classic dress from her home. The mix of Dutch and Saxon styles is particularly clear.

 

cleves redo

I am remaking my linen Cleves/Cologne dress into a simple kirtle. To do this I removed the half length sleeves and turned the seam allowance under. I over handed the red linen and canvas layers to the canvas layer, then turned the seam allowance of the black linen lining and overhanded the edge to the previously turned seam allowances.

I also unpicked my overhanded waist seam to move the overlapping skirt edges to line up with the fastening end of the bodice.

I will need to cut down the neckline as the high curve is after 1550, while a slightly dipped square neck is more appropriate pre-1550.

Otherwise it’s very much the same- perfectly round waist, skirt fullness directed to the back. Side seams that appear to be in line with the back of the arm, very stable neckline.

Later the bodice appear to lengthen a little but it’s actually more to do with a more vertical bodice line- once you pull the body in tighter the bust is raised and the neckline creeps up. Narrower shoulderline completes the apparent lengthening.

Ideally that is 🙂 In reality bodies resist most extreme changes so I ‘m going to remove the hooks and eyes and add lacing rings so I can leave the kirtle open a little in front to soften the torso shape.

The skirt front gets an additional pleat that points to the back to reflect some of the artwork in costume books of the time.