tidying

Oct. 6th, 2021 08:03 am
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Whoops. I have had to sort and categorise all my North Rhine research because I finally found a very small but very important stream of information in the form of both artwork and archives. One of the problems with both is being sure that what I’m seeing is indeed from the time.





One archive record I reread used a modern modern translation- both spelling and meaning- and I was about to put it in my stash of modernised records when I saw there was a scan, that while modernised it was not summarised so I was able to find the word in the scan. And yep. Modern translation and spelling but in a really easy to understand way so it means I now have a handful of matching modern records that I can use.





The second stream is potentially a record of four or five noble women that also confirm this. So another dissertation and journal on the way.





But all this tidying made it to my image files and I have now made 228 folders for individual paintings, and that doesn’t count the printed works and images of noble women. But it really has taken 15 years of repeated searches and not just in images and archives. I had to learn the dialect of the time to make sense. Interestingly one of the earliest articles I was sent (not OCR so I had to limit how much I hand typed from the 30 pages) confirms exactly what I have been reading.





But all of this needs to be presented as so many books are out of print, and I have had to back track a single repeated statement. I needed to do that as it’s become fact when it is really not at all.

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I decided to try and overdye my velveteen (to extend my skirt panels for my red gown) one more time to get it to move from warm to cool red. It has not entirely worked but I think, I think it’s shifted it just enough for me to use it. So I have ordered some more magenta and also fuchsia Procion and some more soda ash.





I can at least now cut the velveteen to shape, overlock the edges and actually start to get my beloved dress wearable again as it has not been worn since 2006.





Even if I have to tint the original velveteen to match, I do have a really gorgeous rich red still. So time to get my skirt panels out to work on them.

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It’s real. But it’s because the rest of the world has discovered all my usually quiet online spaces and filled them with far too much to catch up with. I’ve also not really finished any projects as they are all intensive and difficult and I do not have all the materials I need!





But the Cleves projects are currently my focus as I do not want to be without my Hat and red frock any longer. The Hat was made over twice, but the frock has been in pieces for years. I did though bond the new plush velvet guarding to a light cotton base and have enough to play with if I decide to change some things.





I did start making this over a while back which required cutting new sleeves from a strip of fabric from the back of the skirt as I never found that same red again. With a very recent portrait find I might not have needed to do that but well.. it’s been done.





I need more fabric to add extra width to the skirt back.





Today some red velveteen arrived and it is soooo close but is a shade too light. I’m hoping I can hint it deeper with some cerise red dye. I’m hoping some other velveteen I ordered is a closer match but if not I know I can use this if I can devote a day to working with dye, hot water, and a large container outdoors. It’s a full body experience I really need to prepare for. Fibro and RA are flaring a bit which means more rest and more therapy.









But it is such a relief! I made this not long before I was elevated as a Laurel and it was so different that I am really really really desperate to wear it again after about 14 years! With the return of my Teal frock I’m really feeling the need to get my older work up to date 🙂





One of the aspects I want to discuss is the fabric colour and fabric choices. Red is a very striking choice for a frock. It’s not common, at all, for the decade I made it to reflect.





Everything I’m doing is based on research i have shared sporadically over the years but is taking time to web because to me everything is important so I can’t just share one part.





Okay. I have numbness on the back of my hands so it’s time to rest!

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I have been trying to work out if Christoph Weiditz can be trusted for his figures of women from Juelich. These are a lot of figures with nearly the same dress and sleeve arrangement after all and this is not an arrangement we see in the Bruyn portraits of women of Cologne.





I decided to treat these images as if they are representative of what I haven’t seen before, after all the rest of the figures really do match very well to imagery we have of dress across Europe.



I have a wealth of portraits of wealthy citizens of Cologne and a few precious images of Anna and her family. And these fragments of information do support this position as there are marked differences in style while maintaining features iconic of the region. 



I am used to hanging sleeves of this region being made from the same fabric as the rest of the gown and lined in fur- and indeed even a very very fine fur that is often depicted as very delicate and very short and a very soft and thin skin. Sometimes these sleeves are pinned back and hide the outer.



1557 Portrait of a Woman of the Slosgin Family of Cologne, Metropolitan museum


However this is not what we see here. And Weiditz fortunately shows figures with sleeves of this arrangement in his own work to compare his own treatment of this kind of turn back.





In the Julich figures we can see vertical gathers on the white hanging sleeve where it meets the  fitted upper sleeve which does not indicate that the sleeves are pinned over.



I thought perhaps the way the book was created was from sketches Weiditz created during his travel and then he copied those into his book. His first book has been extensively studied but not this second so I am working with a lot of assumptions here!



However I may be right, as the last figure (pink with black guards) is missing colour on her shoulder to our left. And the figure in yellow has some darker paint on her shoulder to our right which may indicate some trouble.



However this kind of separate soft and hanging sleeve is seen all over artwork of saints and allegorical figures. And it does appear in different forms on portraits of women.




Freiburg, Münster, Stürzel Chapel, Stained Glass 1528 (Hans von Rapstein, Rappoltstein) after design by Hans Baldung Grien (copy, original in Augustinermuseum.)


These figures are not North Rhine but they are of the family of the founder of the Chapel. And the female figure in the middle of the right panel is wearing an example of the loose separate sleeve.



1500-1510 Bianca Maria Sforza (during her time at Tyrol.)


Porträtt av Margareta Vasa. Oljemålning. Nordiska museet inv.nr 77238.


Unknown Master, German (active 1540s in south Germany) Gemäldegalerie


This is not conclusive obviously, however these sleeves are seen from the south to the north of the Rhine and so might be a kind of shared fashion.



It is tempting to call these “stoichen” after a term used in Cologne inventories as this has been taken to mean a kind of pendant sleeve. I had originally thought perhaps they were matching sleeves as the de Bruyn costume book shows quitely clearly little fasteners (though they look like thumb tacks not pins.) I suspect this is still a term for the type of sleeve even if not a separate item.





But here we do see that a short half length sleeve not only was in fashion in the later half of the century but also it does make for a very versatile garment. Sumptuary laws clearly show that the accessories were a very strong indicator of rank and so were very important. By alternating accessories and wearing the skirt open or closed the one dress can be worn in many ways.



Short half sleeves can also be seen in paintings. The earliest I’ve found is on a child before 1550 and then on adults after this date.



Barthel Bruyn the Elder (1493–1555)  Katharina von Gail and daughters, Louvre.



 Sophia Von Wedigh in 1557.


PORTRAIT PORTRAIT OF A RICH CITIZEN WOMAN


Porträt eines Mädchens


But what of the paned sleeves? These are seen on both figures of Anna and Amela in the triptych of their family, while the rest of their court ladies have loose sleeves.



Anna, Maria and Amalia




This last portrait is frustratingly difficult to find the original. It was part of an auction on a site that no longer hosts the originals nor any information about the auction, and this is a zoomed view. But there is a very clear paned upper sleeve seen here. This is from a pair of portraits thought to be by the Bruyn workshop. They may have been restored or they may be copies as they do not have the same softness of features.



The half length paned sleeve is seen in allegorical and religious figures especially in sculpture.





Of special note is the figure on the far left as she has the same style of hat Anne wears in the triptych. A different kind of cap is also seen on a portrait of the Countess Emeza von Kappenberg as a sketch and detail of the Xantener altar. 





JOURNAL ARTICLE: BILDNISZEICHNUNGEN VON BARTHOLOMÄUS BRUYN D. Ä. HILDEGARD KRUMMACHER Wallraf-Richartz-Jahrbuch Vol. 26 (1964), pp. 59-72. Note the braid is part of the figure behind her, also dressed in contemporary dress and likely another contemporary person.



The figure to the right of the group of three even has sleeves quite similar to the portrait of Maria (the mother of Sibylla, Anna, and Amalia.)





On balance it does seem more likely that Weiditz had access to images or people that are no longer represented clearly in the art we can easily access now. However elements of the style can be found both within the North Rhine and outside. 

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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.)

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After years and years of searching I agree, yes, stickelchen does refer to headgear. It’s been harder to confirm than might be thought, however dictionaries of the region during the time frame that the term was used are rare. But one has been found. A copy and a transcription.



*faints*

“sticksel” seems to be the original term. But it still may refer to the band at the front, not the bulk of it. 

Why is is so difficult?


A “stuck” is a piece and “stick” can refer to a pointed stick, literally, or embroidery.


And “chen” is a diminuitive. Also “gin.”


So little embroidery just doesn’t seem correct for a rather large hat.


And at the time “perlen” was most frequently used to describe pearled pieces.


Many of the headpieces were pearled, or made from gold fabric, or covered in netted work. Rarely do they seem to be embroidered in a general sense.


The front piece more regularly is decorated in pearls or jewels.



Clothing is also tough. There are lots of garments, but very little in the way of definition. Rock might be a gown or it may be a skirt alone. And the lovely huge inventory I have is full of spanish styles!


I’ll just have to take time to read the full texts not just skim! 😉

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Today was spent diving into auction sites. So exciting and exhausting finding better quality images than before. It feels a lot like the work I do to rebuild my site- retreading old ground for not much reward.


But today also a book that has finally cemented how I want to approach my own book:


Le Manuel des Marchans moult utile a trestous. Ghent: Pierre Cesar pour Victor le Dayn, 1545.



It’s a merchants hand book. And it just says so much about what was important for a merchant at the time.


Firstly it’s very nice, but also sturdy.


There are tools!!!! In the front a sundial and compass!!!! This together with the lists of locations and dates of large faires really highlights that trade was full of travel! Ditto the pages of coins- for identifying/converting local currency.


And the back! Scales for money.


There are also pages for sketching! With silverpoint.


I mean it’s so wonderful, and absolutely comparable to a modern day netbook or ipad. Or what I used to have at Uni which was like a filofax. Or even a phone case with slots for money, cards, photos and possibly a mini ruler etc.


So I am considering creating a portable sewing/cutting/pattern collecting book. A premade base with elements for individualisation.


I already planned on my plates being able to be individually coloured, but now I can look at making some portable tools to go along with it! And extra pages to record dress and patterns of dress when travelling.


It’s literally the boost needed for the weekend after feeling a little overwhelmed and a bit defeated.


 


While auction hunting some of those better images have also made it easier to decide on what jewels to make for my Nordrhine gear 🙂 There are at least two variations on what looks like a wheeled mount with a jewel in the middle. And lots of examples of non mounted foliage.


I also made a full list of all the plates I need to do. At 19 so far. Got at least two more bodices to capture and two skirt plates (increasing/decreasing waists and trains) and still a lot of sleeves (so happy with the spiral paned sleeves though 🙂


But I am tired and my hands are starting to hurt.


I do also need to make diagrams and figure drawing to match each. Luckily we have the Lemberg finds and many illustrated examples of a fitted chemise that it will make it easier to do all of this. A shirt tends to hide a lot.


Oh! I also need to get a few shirts transferred to this new format.

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Not my own plates this time, though I did get my spiral sleeves sorted.


Collecting modelbooks and books of trades really helps with interpreting art. Today after tracking back an image in a document (reverse image search is getting very good!) and then finding the original I was able to find even more images of people in hand crafts.


The book today is often refered to a book on lacework, but it’s clear the patterns are quite far reaching.


Title : [Libro primo-Libro secondo] De rechami per elquale se impara in diuersi modi lordine e il modo de recamare, cosa no mai piu fatta ne strata mostrata, elquale modo se insegna al lettore voltando la carta. Opera nova. : [estampe, livre de modèles]


Publisher : [Alessandro Paganini] (Italie)


Publication date : 1532


Description : Référence bibliographique : Courboin, 1041-1042


Rights : public domain Identifier : ark:/12148/btv1b10537222v


Source : Bibliothèque nationale de France, département Estampes et photographie, RESERVE 4-LH-102


Relationship : http://catalogue.bnf.fr/ark:/12148/cb40354751t


Provenance : Bibliothèque nationale de France


Date of online availability : 09/05/2016


This is by Paganino Paganini and according to Wikipedia he pretty much lived and worked all his life in Italy (Brescia then Venice) along with his son.


The works suggest a great deal of contact with German engravers. These scenes of transfering a design to fabric are quite a neat mix of elements one would expect of a German and Italian engraver.


The low slung braids and shaped skirts of one and the evenly rounded linen headdress of the other.







However there is a plate that appears a few times that gets down right Cologne! It is entirely probable the plates were created separately to the text that fills the space.






The timing is perfect for a mixing of cultures, Venice attracted a lot of German printers, and Durer famously traveled and recorded dress of women from the region.


Exactly why there are women in extremely North Rhine clothing has not been able to be uncovered in an afternoon, however the sculptural strip of linen at the front of the headdresses are so very iconic. The key feature being the wings and square frame effect.



 


This figure even has the braids of an unmarried woman at the front her her headdress but there appears to be a tail to the back that does not appear in North Rhenish dress.


And there is a family connection:


PAGANINI, Paganino

di Angela Nuovo – Dizionario Biografico degli Italiani – Volume 80 (2014)


Sposò Cristina, figlia di Francesco Della Fontana (Franz Renner da Heilbronn), stampatore tedesco attivo a Venezia dal 1471 al 1486, una parentela insolita nel panorama della stampa veneziana, dove la tendenza era a legarsi e imparentarsi secondo la provenienza geografica.


 


He married Cristina, daughter of Francesco Della Fontana (Franz Renner from Heilbronn), German printer active in Venice from 1471 to 1486, an unusual kinship in the panorama of the Venetian press, where the tendency was to bind and relate according to geographical origin.


 

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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.

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I really should just publish what I have and build on it later. It’s hard though as I really want to do everything at once. But I don’t even have good photos of my early work! I’ve passed so much of it on but really have no decent photos of any of it. So I really feel like my own history is lacking, let alone how that feeds back to me from the public. But it does sort of mean I’d like to remake a few things in new fabric…


That said, just looking up frazzled frau on google brings my old tripod site up! I really need to see if I can open that up again 🙂 Oh man, looking at all the lovely comments about my old site really makes me want to get her all properly revved up again. If you like something tell the person 🙂


It’s tough because there has been a massive influx of images in the last few years. But I do have pin boards, and my tumblr is still there, but a bit forgotten, sorry!


https://www.pinterest.nz/michaeladebruce/


I have some in progress boards to come up, but it’s rare that any pin I add is uncredited. I try and find the most current location. Usually that means the best quality but not always. But it means people finding and bookmarking pins should be able to just click and go at their convenience.  Even so, some museums change their content enough that I will have to go back and check some. The Metropolitan Museum of Art has recently upgraded their databases to an amazing degree, but it means old links do not work and often there is not enough information to quickly find the item. But it’ll be worth it 🙂


I am more tired than ever, RA does not get kinder the longer you have it, it generally just becomes more chronic than traumatic. But the fatigue really is difficult to manage. So it means all research takes a massive toll even before I get them in some sort of order.


But I have enough new information that yes. It will be done this year. As are all my patterns. Yesterday I overlapped my own bodice pieces to see if I can create a modifiable pattern. Yes. And it does work literally for every single garment I have made if looked at from perspective of scale and engineering.


So that is extremely exciting! I knew that I used previous patterns for newer gear but I also found some experimenting that worked (shifting to side seams) and some that worked by virtue of a bit of luck with fabric choice and use of stay tape (pretty accurate for a lot of gear when viewed as narrow woven goods used to stabilise a neckline.)


I think this will work a lot better than the Victorian workshops due to the reduction of seam lines. Victorian bodices do rely on all the seams even if some are less customised than others. Simply cutting fabric into a curved seam changes the engineering properties to a degree that is very hard to understand. But it both stabilises and adds stretch. There is usually enough change in the properties to be able to fit to a back with very little change. It’s usually possible with the CB and side seams with a pattern block that already has som curve for the shoulder blades and lower back built in.


So having seams in places that are easy to self adjust or have someone else work on is great!


I will get some more watercolour board this week as I have now got enough of a pattern block for those pieces, and enough thumbnail sketches of where to measure that there is enough to commit to good quality paper 🙂

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Yesterday I got my skirt templates drawn on nice card stock. this makes it easier to hand, and I’m able to use a compass to do curves 🙂


Today I managed to scale up all my bodices currently made so I can see the over all picture of what I have done. I knew I basically built everything from the patterning developed for my kampfrau so it was interesting to see how true this was. Only my open front dresses seem to deviate from this.


I need to get a pattern from my new Cleves dresses too. So will try and do that today as well. It’s interesting construction wise in the absolute simplicity.

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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.


 


 

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It has been an amazing few hours! Since my last post I have had a windfall of luck in finding more keys to unlocking my Cleves project! A book arrived that includes information about Anna and Amalia and in there was a footnote about a triptych. The triptcyh I have been looking for without knowing what to look for. The triptychon der Rosenkranzbruderschaft, the 1528 one not the actually well published 17thc one! This triptyich has the ruling family in full. And attendants behind them. After years of finding paintings of citizens it has been very hard to find portraits of the nobility.


This is the only online image!


Anna is in the yellow gown, Amalia in the reddish pinkish gown. This picture alone confirms a few theories I have had as well as supports some documentation I have held onto and not shared because I had zero frame of reference!


But my book also includes a small list of items for the laundry, including a lot of garments for the head, but not only is the transcription good, there is a photo of the list from the document!!!


On the next page is what I think is her inscription in the song book (which I also have a full copy of so should be able to find it) and it confirms my suspicion about the use if ij and y in this location at this time. Which means even more ways to look for information but it also makes it hard as most transcriptions of documents are slightly modernised.


So then from this book I went looking at other books, and have the exhibition catalogue that includes a photo of the triptych and more. And I also found another copy of the inventory that got lost in the mail- I have no idea how the book worked its way out of the packaging but I got a little envelope with my invoice which was very battered.


And then I found a free catalogue from early 1900s with more lists of paintings I probably won’t find easily.


And.. oh yes. I will bring back The Frazzled Frau. Already started as a series of pinterest boards as it is honestly a very easy to maintain visual database of images. I do try to find the original in all my pins, but occasionally wind up linking to the nearest best option.


 


Anyway. With this new information I am indeed going to work on my accessories this weekend. This means I need to rest and repair my hands as well as get a little exercise to make up for the inactivity of trawling through archives for a good few days. Well months. Years in total but a walk can only do so much.


 


But now I can be really pretty darn sure that my investment in my projects is in the right direction!

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I took a day  this week to make sure all my projects are easily found and while initially it was overwhelming, I think I am not just at the inspired stage 🙂


I have a lot of current projects, but having them nicely divided into clear containers mean I can actually see them 🙂


I really want to finish my Cleves research this year. Or at least be at a point where I can say “yes, I can talk about this.” Because let me tell you, I have a heck of a lot of info for Cologne but there is very little for Cleves, Jullich and Berg. It’s a larger geographical spread and lots of archives are just gone. I have looked for donor portraits, any portraits and they are just.. not there.


Later yes.


Anyway. I now do have a pretty Cleves dress, a beautiful Cleaves dress, and a working kirtle type garment. I’m mainly working on accessories. But my red velvet gown is at the same stage my pink and black Cleves dresses were a few months ago so I can definitely work on the hand finishing of that this year.


So that least the later historic and modern media recreations.


I want Mina finally finished. That has been a struggle for fitting the bodice as my fabric has zero give. So the lining has to have zero give. I may have finally managed that but I need a bit of time to work on making it all tidy and transportable.


And I want my Elissa costume done. I should have left it alone but well… I wanted to wear it where accuracy is still prized so… but it’s okay. I think I’m just not wanting to face the rope skirt. It’s about 8m of velvet and while I have cut the pieces I have to pull and roll them and somehow make sure they don’t unroll. This is easier with velour but these are clearly velvet.


And Ahsoka. I am now happy with where Rebels has left her (in fact it’s exactly what I hoped and thought was the most logical outcome) so feel a lot happier in investing in the project again 🙂 It’s been intense and nothing is even close to finished due to just not having any luck with any material.


 


So that leaves Marie Antoinette as my other must finish project. It’s hard because I really do need a metal frame. Luckily the original is very short so it’s possible I can find support material for it. I am very disappointed with the plastic stuff now available. It’s not at all like the older stuff with an oval cross section. That had a fibrous property that made it really quite firm, and the oval cross section helped curves maintain shape. I get a greally nice kidney shape but that is not at all the shape of these things.


This may be a project for next year. I have all the fabrics, it’s a matter of boning for the stays and hoops. I think I have an idea for making the hoops solid and transportable though.

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So I had to back up my assertion that Willemyne is a name found pre-1600. And to that end I had to get a bit creative in finding very clear absolute examples.


So my lovely herald sent this piece of lovely info with my name submission:


https://www.openarch.nl/show.php?archive=elo&identifier=8d50fe87-13b7-76c7-11c6-70ed31b517ac



See that on the right? Yeah baby, a scanned register! The link to the source site is in that little square with the orange coloured logo. We’ll get back to that.


The Open Arch site sadly doesn’t let you search by first name. So I went through some of my other resources, found the full name and searched. Some came up with the same spelling, some came up with a different (I suspect due to different source material.) So I got a bit stuck. None came up with a scanned document.


Back to that little logo. Those Leiden archives are able to be searched by first name! So I managed to pick up four (four!!!!) instances of Willemyne in writing pre-1600. I’d love to be able to go through other archives as easily but most do not have this scanned function.




1) NH Ondertrouw D. maart 1597 – mei 1602., archiefnummer 1004, Nederlands Hervormd Ondertrouw (1575-1795), inventarisnummer 4, blad D – 010v


2) NH Ondertrouw B. april 1586 – november 1591., archiefnummer 1004, Nederlands Hervormd Ondertrouw (1575-1795), inventarisnummer 2, blad B – 040v



3) NH Ondertrouw B. april 1586 – november 1591., archiefnummer 1004, Nederlands Hervormd Ondertrouw (1575-1795), inventarisnummer 2, blad B – 157v


4) NH Ondertrouw A. 1575 – maart 1586., archiefnummer 1004, Nederlands Hervormd Ondertrouw (1575-1795), inventarisnummer1, blad A – 144v


I mean how cool is that?? The name only appears as witnesses in this region, so it may just be the records don’t go back far enough or the very older ones haven’t yet been scanned.


 



This I found in September and I cannot work out where. So this name is common enough to be able to find in hand written examples!


 


So then I sort of cheated and just searched for “willemyne” archief which usually brings up a source in an archive so I can then look further in that source.


 


So I got to www.gahetna.nl (which is a website of the National Archives of The Netherlands in cooperation with the Society for the National Archives and Spaarnestad Photo.) I can’t really justify paying for a scan of the pages this name appears in but as there are scans I trust the transcription.



Reg. no. 270


270 1541 juli 30.


Het Hof van Holland oorkondt, dat Daniel Suys met als gemachtigde zijn zwager mr. Lievin Anthonis Blocxz, voogd over zijn echtgenote Willemyne van Adrichem en over haar zuster Cornelia van Adrichem, als gedaagde veroordeeld is in weerwil van het recht van aesdom tot inventarisering en scheiding van de nagelaten goederen van zijn zuster Aechte Suys te Wyck up Zee ten behoeve van Adriane Hermansdochter, weduwe van Pieter van Adrichum, en hun dochter Claerken van Adrichum, met als voogd Willem van Dam, secretaris.


Oorspr. (Inv. no. 984) met het geschonden zegel in rode was van het Hof van Holland.


And then in Het Rijksarchief in België 


Raad van Brabant. Processen van de adel 1ste reeks.


DUT: Inventaris van het archief van de Raad van Brabant. Processen van de adel. 1511-1650








  • Processen van de Adel



    • III. Dossiers zonder merkbaar verband



      • 478Willemyne Colegheensen c. François van Zande (van de Zande). Nalatenschap van een leengoed. Proces voor het Leenhof van Bergen-op-Zoom. 1555.1 omslag








Aanvraaginstructie [ archiefdienst – inventaris – archiefbestanddeel ]:

Rijksarchief te Anderlecht / Archives de l’Etat à Anderlecht – I 62 – 478


Vorige (nr 62) | Volgende (nr 61)


andFamiliearchief. Algemeen


Inventaris van de verzameling Familiearchief / M. Nuyttens.








  • Inventaris van de verzameling Familiearchief



    • 4Akte verleden voor schepenen van het Brugse Vrije, waarbij Pieter Waghe en zijn vrouw Willemyne Bylkin, poorters van Brugge, aan Maria Hancheman, weduwe van Gheeraert Van Volden, poorteres van Brugge, de helft van een partij grond verkopen, gelegen in het ambacht en de parochie Oostkerke in de watering van Romboutswerve, 1586.1 katern






Archiefvormers



Aanvraaginstructie [ archiefdienst – inventaris – archiefbestanddeel ]:

Rijksarchief te Brugge – INV 50 – 4


Vorige (nr 3) | Volgende (nr 5)



And i found this a few months back and forgot how- but I think just brute searching “willemyne” archeif.


https://dspace.library.uu.nl/bitstream/1874/215503/1/THKB_1997-02_4.pdf


(willemyne 6)

https://www.archieven.nl/nl/zoeken?miadt=236&mizig=210&miview=inv2&milang=nl&micols=1&mires=0&micode=356&mizk_alle=willemyne

Datering:

1497 October 9

NB:

Bedoeld is vrouwe Willemyne, erfdochter van Naaldwijk, Capelle en Wateringen, gehuwd met Jan, burggraaf van Montfoort.

Organisatie: Noord-Hollands Archief




(This spelling is the same across several documents but the surname is not. Formalised spelling is not really in place at this point. I’ve found various spellings of clothing items in a document written in one go, so yes. It’s very interesting 🙂 )


But then it gets better!!! Willemyne is the first name of two women involved in printing in the same time and place!!!! OMG!!!!


1) Willemyne & Pieter van der Keere


http://archaeologiamediaevalis.be/drupal_e/sites/default/files/pdf/AM_35-2012.pdf


wordt met “smettelicke zieckte” waarschijnlijk de pest bedoeld. De tweede bron is een stadrekening uit 1584 waarin het volgende wordt vermeld: “Betaelt Pieter van den Keere ende Willemyne zyne huysvrouwe, ter causen zy den tyt van omtrent XXVIII maenden ende het, by laste van scepenen, metgaders Adriaan …


https://en.wikipedia.org/wiki/Pieter_van_den_Keere



Pieter van den Keere (Latin: Peter Kaerius 1571 – c. 1646) was a Dutch engraver, publisher and globe maker.


2) Willemyne and Hans Liefrinck


https://rkd.nl/nl/explore/artists/49950


Explore Hans Liefrinck (I) – Rkd


zoon van de houtsnijder en prentenuitgever Willem Liefrinck (1490?-1542), broer van de drukster en prentenkleurster Mynken (Willemyne) Liefrinck (?-1593) en vader van de houtsnijder en kunstverkoper Hans Liefrinck II; gehuwd met Catherina Cordier. Zie ook. in dit veld vindt u verwijzingen naar een groepsnaam of naar …


(translation)


son of the woodcarver and print publisher Willem Liefrinck (1490? -1542), brother of the printer and printmaker Mynken (Willemyne) Liefrinck (? -1593) and father of the woodcarver and art dealer Hans Liefrinck II; married to Catherina Cordier


And she’s mentioned a few times in this book:

https://archive.org/stream/BibliografiaZaragozanaDelSigloXV/Bibliografia_zaragozana_del_siglo_XV#page/n417/mode/2up/search/willemyne

(use of VV for W, but also by her nickname: Mynken:)

https://archive.org/stream/BibliografiaZaragozanaDelSigloXV/Bibliografia_zaragozana_del_siglo_XV#page/n417/mode/2up/search/mynken


 


There seems to be some query as to whether she coloured the prints or was involved in the printing process. It’s very cool because it’s evidence of a woman in the trade itself not as a seller or owner of a business after a partner has passed.


Anyway. This has been a really fun “detour” that came back to my main interest of putting together my own book of clothing patterns. I’m trying to decide between an Album Amicorum (hand drawn and a single copy) or a printed version.


There are pros and cons of each. I might try for a printed version as it could get me practicing multiple skills. I can sketch really well, and in style. It’s converting those soft lines into very hard lines like a print that I am not so great. This may require learning inkscape again.



 


Side note, I also found documents that were a stark reminder of what a turbulent time this was. And how brutal. Not in the region I actively research (probably down to what has made it to modern research) but in Flemish sources. I didn’t go fully into them but there are a number of Willemyne’s listed which makes it feel a little closer to home, even if technically this is where all my ancestors come from. Well the Netherlands and Germany before that. But my ancestors did not travel much even though some at least were involved in trade (though at least one very close ancestor owned a barge.)


I am talking about lists of witches and their punishment. As I said, very hard to read. Hard also as it obviously reminds me of who else went through equal kinds of punishment and who had very few rights in law.


 

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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

Feb. 9th, 2018 11:15 pm
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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.

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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.


 

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So it looks like I have been pretty bang on the money when hunting out documents. Today was spent scanning and transcribing the introduction to a book full of snippets from inventories and while I had hoped to find more, getting confirmation that a) I spotted a garment not discussed elsewhere (several pages in this source though) and that b) rock is a bleeding useless term in the 16thC. In the documents I’m looking through it’s really not obvious if it is a skirt or dress. And in context it’s still not terribly easy.


So the next step is to go into each garment category and pull out all the region specific terms. Guh. And to continue to brute force variations of spelling in search engines.

glittersweet: (Default)

I have managed to empty my suitcases, so they can now be removed from my room. Or. Or I could use the sparkle monster to store my Elsa properly with wig, cap, and foam head.


I think I can set aside make up just for her, even though I pretty much use the exact same stuff for myself. Not sure what the other suitcase can contain. But I have another green suitcase type bag which also needs to be useful or stored in a dry area.


 


But today is to tidy the trims and jewelry bits that got very mixed in with my small sewing items that I really do need to sort. Find what I can keep and what could be passed on.


 


There is very little out there in the way of suitable rings and brooches. It’s quite frustrating. I’m going to look through my Spanish portraits collection to see if there is much overlap for specific items to see if I can at least reuse different elements.

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