Jane Countess of Winchester by Gilbert Jackson, 1630
With the stays all done and dusted, it is time to plan ahead. A matching under-petticoat will be next. Since I am not very eager on making a farthingale of any kind, I have chosen to go with a 1630…
Addicted to Trim: 17th Century Ribbon Loops If you could describe the 17th century in one word, “swag” probably wouldn’t be the first to come to mind, but the term– which is…
1643 Peter Danckerts de Rij - Cecilia Renata of Austria, Queen of Poland and Grand Duchess of Lithuania (National Museum of Fine Arts, Stockholm)
In order to understand early modern undergarments, it’s also vital to understand the outergarments that were worn. In order to better educate myself I’ve recently been going through som…
After finishing three 18th century projects this year, I feel a bit tired of that century. I want to focus on my forties wardrobe and I want to finally get a 17th century outfit. Two, actually, J need one too. I have a dark purple taffeta that I plan to make into a bodice and skirt, based on the one at V&A I posted about here. I’m going to simplify it a bit and forego the slashing and pinked edges, making it look more like this one. Anne Sophia, née Herbert Countess of Carnarvon by Sir Anthony van Dyck, 1633-35 I like the plain collar and there is a pattern for a similar one in Janet Arnold’s Patterns of Fashion 4. The gown is terribly low-cut, though. Judging by the curve of her breast the nipples must be over the edge of the dress, though they are hidden by the linen band. For my 21st century sensibility that feels a bit risky, not to mention that my bosom needs a bit more support. So I will raise the neckline accordingly. Pearls stringed like this can be seen on several portraits, which are pretty but seems a bit fragile. Here you can see that the pearls are just decorative; there is a pink ribbon that does the real job of holding the bodice together. I think it is worn over a white stomacher, though I guess it could be just the chemise. A stomacher seems much more likely, if one look at the fashion for the time, though. In either case, I will make a stomacher, either white or in the same fabric as the gown. I’m keeping the bows, but haven’t decided on the colour yet, even if white is pretty. The cuffs are ruffled, but plain. One of the reason this painting appeals to me is just the absence of lace. Finding the right lace would add to the cost of the gown, but that’s not really the reason- I just like the plainer elegance of the collar and cuffs on this gown. The first step, though, is to create a pattern. I could enlarge the pattern in HH, but that would demand heave alterations. Instead I will use my 18th century stays patterns as a base and then re-draft it with the 17th century pattern as a guide. The first step in J’s costume is the skirt. In Patterns of Fashion 4 there is a pattern for a skirt worn by Admiral Claes Hansson Bielkenstierna when he was wounded in 1659. It appeals to me for several reasons. It’s Swedish and of the right time period, but it is also a plain and practical skirt, even if it was worn by a nobleman. The picture Livrustkammaren provide is very bad, as you can see, but if you check Arnold you can see that even if it is plain, it has a funny little spider web detail at the bottom of the front slit. Livrustkammaren 21454 (5793:1)
The first trailer, and first decent look, at Tulip Fever came out very recently (the movie has a July 15, 2016, US release date). This is a film adaptation of a fiction novel by Deborah Moggach and…
Anthony van Dyck Portrait drawing of Orazio Gentileschi ca. 1627 British Museum The Flemish painter Anthony van Dyck met (and drew) the Italian painter Orazio Gentileschi in London in the late 1620s. Both were there, far from home, to participate in the rich painting culture established under Charles I. Later in the century William Aglionby looked back to this era as a sort of lost golden age: "King Charles the First was not only the greatest Favourer, but the truest Knower of all those Arts; and by his Countenance, the whole court gave themselves up to those Refined Pleasures; there being hardly a Man of Great Quality, that had not a Collection, either of Pictures or Antiques: Artists flowed in upon us from all parts: And had not the Bloody-Principled Zealots, who are Enemies to all the Innocent Pleasures of Life, under the pretext of a Reformed Sanctity, destroyed both the Best of Kings, and the Noblest of Courts, we might to this day have seen these Arts flourish amongst us; and particularly, this of Painting, which was the Darling of that Vertuous Monarch." The lace ruffs and gold chains of the 1620s, the stiff brocades and stiff poses, enforced an elaborate artificiality, but the artifice never extended to faces. From behind the heaped-up conventions of fashion and privilege, idiosyncratic personalities with unidealized faces became objects of scrutiny. Paulus Moreelse Portrait of Johanna Martens 1625 Prado workshop of Jan van Ravesteyn Portrait of Johann Conrad von Salm ca. 1622-25 Rijksmuseum Michael Janz van Mierevelt Portrait of Dudley Carleton ca. 1620 National Portrait Gallery (U.K.) Spanish painter Portrait of Isabel de Borbón, Queen of Spain ca. 1620 Prado Unknown painter Portrait of James Hay, 1st Earl of Carlisle 1628 National Portrait Gallery (U.K.) Michael Janz van Mierevelt Portrait of an unknown woman ca. 1628 Wallace Collection, London Unknown painter Portrait of Sir Heneage Finch 1620s National Portrait Gallery (U.K.) Marcus Gheeraerts Portrait of Margaret Layton ca. 1620 Victoria & Albert Museum Thomas de Keyser Portrait of three children and a man 1622 Rijksmuseum studio of Michael Janz van Mierevelt Portrait of Anne, Lady Carleton ca. 1625 National Portrait Gallery (U.K.) Willem Cornelisz Duyster Portrait of a man 1627 oil on copper Rijksmusuem Ottavio Leoni A Cardinal's Procession, Rome 1621 Metropolitan Museum of Art Juan van der Hamen Offering to Flora ca. 1627 Prado
ab. 1630-1635 Unidentified Artist - Portrait of a Man (Harvard Art Museums)
Fashion during the 1600s was all about looking your best. Women were creative with what they wore, and fashion indicated social status. Corsets and linen underwear are still worn. Waistlines rose, but was eventually replaced by a long lean line with low waist. It was a changing era when it comes to fashion, but it
The former Prince of Wales has chosen his official name following the death of the Queen yesterday. Here FEMAIL reveals the fate of the first two King Charles...
St. Sebastians Martyr (detail), circa 1620-1630 Jacob Matham (1571 - 1631), was a Dutch engraver and pen-draughtsman, whose critical fortunes were mainly bound up with the name of Hendrick Goltzius,...
The British royal family's art collection is one of the largest in the world.
Detail of "Portrait of a Lady" by Dutch painter Nicolaes Eliasz Pickenoy, 1630 The detail that can be transferred to canvas by simple tools is simply incredible!
Frans Hals (c. 1583-1666), Portrait of an unknown Woman, 1630-33, oil on canvas, 75 x 58 cm. Bildnis einer Frau Portret van een vrouw Gemäldegalerie, Berlin
Charles' coronation took place on 23rd April 1661. He was buried in the Abbey on 14th February 1685 in a vault in Henry VII's chapel.
Matteo Loves, Portrait of Maria Caterina Farnese, 17th century
However, a crucial aspect of Rembrandt’s development was his intense study of people, objects, and their surroundings “from life.”
VINTAGE ART REPRODUCTION: Add style to any room's decor with this beautiful print, whether your interior design is modern or classic. MUSEUM QUALITY INKS AND PAPER: Printed on thick 192gsm heavyweight matte paper with archival giclee inks, this historic fine art will decorate your wall for years to come. ATTENTION TO DETAIL: We edit every artprint for image quality and true color reproduction, so it can look its best while retaining historical character. Makes a great gift! FRAME READY: Your unframed poster will arrive crease-free, rolled in a sturdy mailing tube. Many pictures fit easy-to-find standard size frames 16x20, 16x24, 18x24, 24x30, 24x36, saving on custom framing. Watermarks will not appear in the printed picture. Some blemishes, tears, or stamps may be removed from the final print.
Portrait of a Woman by Peter Paul Rubens, ca. 1625-30 (detail)
