copies that may be useful

I spent a day yesterday gathering archival resources (I have multiple copies due to multiple scans and I really need to get them nice and tidied, it’s taking a while as you can imagine, but I found an entire class of sumptuary laws in plain sight so I’ll be transcribing that asap even though it’s literally for one city)

But I was thinking how helpful the straight transcriptions of written texts into printed have been, even if I can’t be 100% sure they are strictly accurate- see the gepend/stickelchen post.)

In this I have tried to share only paintings/illustrations from the 16thC. But that may be a bit shortsighted. I have only shared copies that look to be at least of the era. But there is at least one 19thC copy of the Bruyn portrait of Anna which happens to be by an artist who has produced paintings of people of the 16thC that we haven’t attributed as copies.

 Franz Wolfgang Rochrich- copy of Anne of Cleves.
https://commons.wikimedia.org/wiki/File:Franz_Wolfgang_Rohrich_-_Bildnis_einer_Dame,_einen_Vogel_haltend.jpg

This is clearly a copy of a copy- there is no flat cap, there are four guards on her skirt, the stickelsche is not smooth. Details for a future comparison. This is a fantastic obvious copy as we have so many original copies to compare it to.

However this is not the only member of the the House of Mark to be painted by him. There is a reasonably well known portrait apparently of Sibylla after her marriage and with her son.

Assumed to be Sibylla of Cleves Duchess of Saxony.
https://commons.wikimedia.org/wiki/File:Franz_Wolfgang_Rohrich_-_Bildnis_einer_Dame_mit_einem_ihrer_S%C3%B6hne.jpg

As a potential copy of a real painting this is very interesting and at the same time quite frustrating. Apparently there are 40 copies of this one painting by Rohrich but there is an original Cranach recently verified:

NEWLY ATTRIBUTED PORTRAIT BY CRANACH GOES ON DISPLAY
Release date: Wednesday, 15 November 2017

However it does bring us to another portrait by Rohrich attributed as Sibylla of Cleves, potentially before her marriage. And it’s very tempting to suppose it might be from a no longer existing portrait given the previous portrait is indeed a close copy. So very close. There is also another copy of the portrait suggesting it is of Sophia of Mecklenburg:

Johann Friedrich von Sachsen (“der Großmütige”) als Knabe und seine Mutter Sophie von Mecklenburg
Artist
Franz Wolfgang Rohrich (Cranach-Nachahmer)

This seems unlikely as Sophia appears to have died in childbirth or the same year as her son was born.  His father also married Margareta of Anhalt and she also died the year her only surviving son was born. Generally portraits of parent and child are of direct relationship. 

Looking closely at the Windsor Castle painting, the face is a little less pointed than would be expected as he painted her so many times.

Alternative title(s)
Electress and her son
Electress Sibilla of Saxony and her son

Either way this next sole portrait is quite clearly related to this copy or original portrait in at least two ways. The central pleats of the gowns and the wide collar of jewels.

https://commons.wikimedia.org/wiki/File:Franz_Wolfgang_Rohrich_-_Kurf%C3%BCrstin_Sibylle_von_Sachsen.jpg

The lower jeweled collar matches his own other portrait to a degree that cannot be escaped.

I have had a small copy of this as part of my old Frazzled Frau site and have not seriously considered it as part of this region before. The striped under sleeves just feel more southern, the dropped hairline and headdress. I still need to share a timeline but the stickelsche has roots in a henin style supported hat, not a haube so in fact started very high and slowly dropped to the sides over the 16thC.

Details that do make this tantilising are the half length sleeves (so very iconic of the Weiditz codex and the stained glass portrait of Maria) the decorated belt at the natural waist, even the very deep collar (not goller) can be found in late gothic art of the North Rhine. This would however date to the 1490s which is when Anna, Sibylla, and Amalia’s mother was born.  

It is also unclear if Rohrich recognised the portrait he copied or if he assumed who the sitters were.

And all this leads back to the interesting clothing connections between the North Rhine and Mecklenburg. For a second post. To follow immediately.

new cleves dress

There are times when you just cannot ignore an opportunity and one arose to get a length of the Sartor reproduction weave of the cloth of gold fabric of the Golden Gown of Margareta in Upsala.

Sartor’s reproduction has a 36cm repeat of the pattern

So, for years I have wanted to recreate Anne of Cleves wedding gown or her black and gold gown. But I just have not found a brocade (or brocotelle, or cloth of gold) that really would match what I have seen or read.

Sartor’s other fabrics are magical, absolutely magical. But this weave, though it is 15th Century is closer to the fabric seen in the guarding of gowns all over the Saxon and Westfalen regions.

The fabric is being woven right now. So it’s not available as pre-order any more. I have enough to make the same style of dress as I have recently made or the same style dress as one of her mother’s gowns.

So this means I also need to publish my information about those images or this is my third pretty dress with no information.

I think I have a way to get through it though. I have a few blog posts already added. I just need to get all the Cologne information out first.

This means all the Bruyn portraits first.

Then I can do the Trachtenbuch information. (I have gone through what I think is finally all the books including the italian. I don’t think I have found any more images.)

Then the inventory information.

Or should I just publish the Cleves stuff. It would be out of context though. right lets see what the gallery functions of my blog can do to make it easier.

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.)

looking into jewelry making

So I spent all of Saturday wiring small filigree pieces for my Amalia of Cleves ensemble. I was thinking of taking the velveteen off and putting brocade on, but then I may as well go whole hog and make the frock described by Hall for Anna. I have very big glass pearls to potentially work for the decoration. (I spend all day yesterday asleep because I totally forgot my body is in the chronic phase of my disease which means it’s a bit sneakier.)

I made the pieces match the rest of the pieces I had already made. I have run out of flowers but have a few different kinds.

And that is a smaller gold borstlap made more rigid I think it will be fine over my current front lacing leibchen/mieder/ and will work with a side lacing version too.

 

I’m finding more and more information to understand their clothing- most of which support of my theories- some were a bit out there but I seem to have been right :). In the mean time also better understanding about Cranach so that I can get that part of The Frazzled Frau back. (I have a cunning plan- it changes a little but I think I have it 🙂

Anyway. I am loving the pieces, and how I matched them, and stylistically they would pass with maybe a few “where did you get that from” if people got close. But ultimately I like them.

 

But I now have a really good feel for the scrolling shapes of the style, and have a few pieces that can mix and match. So I think it’s time to actually sculpt. And I may even be able to try something else that I think is very needed.

I think lost wax is the most appropriate method so that means making a silicone mold after sculpting so that I can reproduce them.

 

I want to do this part myself but will need help with the molding process as I do want these in metal so as to feel the same as the original- possibly be the same as many originals. If you ever go on ebay- take a look at the small metal findings of brass and bronze rings. There are so many they are actually affordable for collecting now.

I have my own small bronze seal that appears to have a squirrel on it.

 

Also I was going to do this in 3D. And I may still. I wasn’t sure how to do scrolling and petal shapes. Well okay actually I do know. I can do the basics in Sketch up and detail in  But I do know how to carve wax to those shapes.

 

And it’s very exciting. But it means getting all my research up as I go or no one will know why I’ve done something the way I did.

 

 

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.

 

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.