Tag Archives: accessories

17th Century: Mid 1600’s Beaded bag

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© Ashmolean Museum, University of Oxford (image)

Beadwork bag with royal beasts and motto
English, mid-17th century (date of creation)

Dimensions: 16.5 x 23cm (height x width)

Inscription/mark: B M, Initials

Presented by Micheál and Elizabeth Feller, in honour of Professor Christopher Brown, CBE, 2014.

Accession no.: WA2014.71.29

Reference URL: https://collections.ashmolean.org/object/787469

Further reading

Brooks, Mary M., Feller, Elizabeth; Holdsworth, Jacqueline, Micheál & Elizabeth Feller The Needlework Collection: 1 (UK, Hascombe; Needleprint, 2011), page illustrated: 118

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17th Century: Beaded bag, 1631

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© Ashmolean Museum, University of Oxford (image)

 

Gift of a Friend sweetbag

English, 1631 (date of creation)

Material and technique: netted beadwork; glass beads, linen, leather, silk ribbon

Dimensions: 12.5 x 18cm (height x width)

Inscription/mark: THE GIFT OF A FRIEND 1631, on front and back in beadwork

Presented by Micheál and Elizabeth Feller, in honour of Professor Christopher Brown, CBE, 2014.

In the collection of the Asmolean Musuem, Oxford, UK

Accession no.: WA2014.71.33
https://collections.ashmolean.org/object/787473

Further reading:
Brooks, Mary M., Feller, Elizabeth; Holdsworth, Jacqueline, Micheál & Elizabeth Feller The Needlework Collection: 1 (UK, Hascombe; Needleprint, 2011), page illustrated: 114

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16th Century: portrait reproduction of Vlad Dracula

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Ambras Castle portrait of Vlad III (c. 1560), reputedly a copy of an original made during his lifetime.

I normally wouldn’t include a recreated portrait, but it was supposedly based off the original, which is now lost. But I looked at that hat and thought it was worth ab mention. I personally think those rows of  pearls are actually sequins with smaller or even seed-sized pearls. I mean, come on…  It’s painted exactly how pearl studded sequins look.

This would have glittered in candlelight like a medieval disco ball!

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17th Century: An Killam 1627 beaded purse

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Private collection of Jen Funk Segrest

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17th Century: Beaded drawstring purse

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View page at Leslie Antiques

An exceedingly rare beaded purse with multicolored glass beads on a leather base, and with beaded and wood toggle closures. This early purse might be unique because of its age and that the date is actually worked into the decoration as part of the phrase “Gift of a Friend 1632”. The interior of the purse is of a very soft, fine leather, probably deerskin or lambskin.

Especially considering its age the purse is in excellent and exceptional condition, with all the beadwork present. One of the pendent tassels at the bottom is missing, and there is some expected and minor wear to the material above the beadwork. All parts of the bag are structurally sound. The size is 5″ wide by 4 1/2″ tall, not including the tassels or drawstrings.

 

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17th Century: beadwork bag 1690

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ENGLISH WILLIAM AND MARY BEADWORK BAG, CIRCA 1690

Height without straps 4 in.

Fine polychrome beads threaded on net ground, four individual panels, each with white ground and floral spray alternating between rose and carnation, joined together with needle looping, lined in blue silk satin; now mounted on a wooden post and base with a Perspex case.
In reasonably good condition, with scattered losses and replacements to beadwork, and end of one gold thread gauze handle is detached, visible in catalogue photo. Later blue silk lining. Losses and flaking to black paint on modern base

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17th Century: bag 1623

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Beaded bag, 1623

Link to Sotheby’s listing

Signed TH GUIFT OF A FRIEND 1623

In good condition, with old restorations and later stitching along two vertical seams running from the bottom to the top border in between the I and E of ‘FRIEND’ and between ‘GIFT’ and ‘OF’. Wear and old restorations to the green ribbon border along the top

Height 4 in.

Provenance

Mayorcas Ltd, London, January 1976;, Vogel Collection no. 233

 

 

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17th Century: Gloves 1620s

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Pair of gloves

British,

The rich brown leather of these gloves is unusual; most surviving gloves from the seventeenth century are lighter in color. However, the motifs embroidered on the gauntlets—pea pods and blossoms—were quite common during the period. Pea pods were often associated with romantic love. They are found on both household furnishings and other accessories of dress, such as a woman’s jacket of about the same date in the Museum’s collection (23.170.1).

Medium: Leather, satin worked with silk and metal thread, spangles; long-and-short, satin, detached buttonhole, couching stitches; metal bobbin lace; silk and metal ribbon

Dimensions: L. 13 1/2 x W. 6 1/2 inches (34.3 x 16.5 cm)

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17th Century: purse 1634

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1634, English

V&A Accession number T.55-1927 | link to item at V&A

The most luxurious embroidered purses, made in leather, velvet and silk, were used by both men and women. Women’s purses were similar to those carried by men, but smaller, taking the form of tasselled bags that closed with tasselled drawstrings. These were often embroidered, while beadwork on leather was also popular. The decoration on this purse depicts a sprig of green and yellow acorns between a pair of birds with lozenges and flowers. It is inscribed ‘I PRAY GOD TO B(sic) MY GUIDE 1634’.

A number of early 17th-century beaded bags bear mottos or expressions relating to charity, friendship or luck. These two examples carry the messages, ‘I pray God to B my guide 1634’ [T.55-1927] and ‘Hit or miss there it is 1628’ [T.250-1960]. They would have been used to carry either sweet-smelling herbs or small gifts. V&A, Room 40, Bags: Inside Out. (12/2020)

Bibliography: John Lea Nevinson, Catalogue of English Domestic Embroidery of the Sixteenth & Seventeenth Centuries, Victoria and Albert Museum, Department of Textiles, London: HMSO, 1938, p.100, plate LXXII

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18th Century: Beaded bag

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1700-1750 (made), France

The finest beadwork in the 18th century was made in France, where accessories such as bags, pocket cases and shoe uppers were produced. Netting created a dense, beaded surface with very fine, multi-coloured beads. This bag depicts three female allegorical figures, including Justice, and the goddess, Athena.

Object details

Silk, glass; hand-woven, netted Silk (Textile), Beads, Silk Cord,
Length: 10cm (approx)
Width: 12.5cm (approx)
Bag of ivory silk thread netted with coloured glass beads, worked in 4 shield-shaped sections and lined with pink silk sarsenet. . Each section bears an allegorical female figure, including Justice, or goddess, Athena. The bag appears to have been cut down through the beading a new casing and drawstring added.
The finest beadwork in the 18th century was made in France, where accessories such as bags, pocket cases and shoe uppers were produced. Netting created a dense, beaded surface with very fine, multi-coloured beads. This bag depicts three female allegorical figures, including Justice, and the goddess, Athena.

 

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16th Century: Portrait of a lady, 1510

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015

Artist:  Conrad Faber
Dated: 1510
Dimensions: 34 cm x 44 cm
Inventory number: 560
Museum:Royal Museum of Fine Arts Antwerp

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17th Century: Purple velvet purse

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Purse of purple velvet, comprising four sides bearing alternately the crowned monogram ‘DG’ or ‘ML’ or two intertwined hands under a burning heart, embroidered with multicolored silk, gold thread, pearls, sequins and rubies, anonymous, c. 1600 – c. 1625
Rijksmuseum – more info

(Google translated) Purple velvet Pouch, consisting of four chips on which alternately the crowned monogram ‘DG’ or ‘ML’ or two entwined hands under a burning heart, embroidered with multicolored silk, gold thread, pearls, lovers and rubies. Model: Each patte ends in tip and has five holes through which a cord of braided silk – ending in spheres and acorns – is pulled through. Lined with red silk; now fades to pink. Decoration: in the middle of each fries a shield at the top ending in a tip and crowned with a floral ornament of (originally gilded?) Silver canetille, freshwater pearls and a ruby in the middle. At the bottom, the shield flares into a point and the same lines form two curls in which a violet is made up of (gilt?) Silver canetille, freshwater pearls and a ruby in the middle. A monogram of freshwater pearls and gold thread is embroidered under a three-point crown. The seams between the different pattes are covered with a trimming of braided gold wire. The purse ends at the bottom center in a stepped ornament of braided gold wire (probably around a wooden core) ending in four braids with a ball. The drawstring ends in acorns and balls of braided gold wire

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17th Century: Drawstring Bag, 1610-1650

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Drawstring bag

English, 1610–50

Item info from: https://collections.mfa.org/objects/119711

DESCRIPTION: Red silk satin embroidered with gold metallic threads, seed pearls, metal purl, spangles, and bits of colored glass. Baroque design. Embroidery stitches include laid and couching, beading, bullion knots, braid stitch. Green and metallic braided cords and strap at top; two wood-core drawstring pull tassels covered in seed pearls, with silk, metallic thread and spangles. Green silk lining.
PROVENANCE: Ex-Seligman Coll. (London); Elizabeth Day McCormick collection; Gift to the MFA, October 14, 1943
DIMENSIONS: Overall (without tassels and cord): 6 x 6 cm (2 3/8 x 2 3/8 in.)
CREDIT LINE: The Elizabeth Day McCormick Collection
ACCESSION NUMBER: 4:3.1080

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17th Century: Portrait of a young woman from a Gdańsk patrician family, around 1625-35

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Portrait of a young woman from a Gdańsk patrician family, around 1625-35.
Artist unknown.
From the collection of Museu Sa Bassa Blanc.

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17th Century: Spangled ruff in Portraits of Doña Ana de Velasco y Girón

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She must have loved this amazing ruff with dangling silver pointed spangles, this looks like the same one and same person over a few decades! Must have ben her signature item.

 

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17th Century: Portrait of Krystyna Lubomirska, after 1603

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(Polish) National Musuem in Warsaw

More:

 

 

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17th Century: Portrait of a lady with an elaborate jewelled headdress

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Spanish School, 17th Century
Portrait of a lady with an elaborate jewelled headdress
oil on canvas
28 x 22 in. (71.1 x 55.9 cm.)

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16th Century: Ventian purse

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Translation via Google Translate:

Purse

Venice, end of the 16th century.
13x8x6 cm.

Cut velvet dark green silk embroidered in silver-gilt and silver yarn and curly, pearls, the application technique, the technique of blue silk satin stitch, silver sequins. Suspension and borders in gilt silver cord twisted yarn. Pink taffeta lining. The bag, unusual shape, could fulfill most uses: purses, comosuggests chuisa front pocket with a cord, door dust orportaprofumi. Wisely suspended the waist of the dress, very much in vogue, the ‘bag-shaped lute “and very valuable both for the quality of the embroidery and the richness of the materials for setting stistica.The plant motifs that adorn every part of the accessory are made with grace and richness of details highlighted by the many pearls placed in various parts in order to highlight the preziosita. This refined accessory, which certainly emphasized the sumptuousness of a ceremonial dress, it was probably a gift love, how can suggest two hearts pierced by two arrows, according to a custom widespread in the Renaissance.

The original description, in Italian:

BORSA

Venezia, fine del XVI secolo.
Cm. 13x8x6

Velluto tagliato di seta verde scuro ricamato in argento dorato e argento filato e riccio, perle, nella tecnica di applicazione; seta azzurra nella tecnica del punto raso; pailettes d’argento. Sospensione e bordure in cordoncino intrecciato d’argento dorato filato. Fodera in taffetas rosa acceso. La borsa, forma insolita, poteva assolvere a piu usi: portamonete, como suggerisce la tasca anteriore chuisa da un cordoncino, porta polveri o portaprofumi. Sapientemente sospesa alla cintura dell’abito, come imponeva la moda, la “borsetta a forma di liuto” e alquanto preziosa sia per la qualita del ricamo e la richezza dei materiali che per l’impostazione stistica. I motivi fitomorfi che ornano ogni parte dell’accessorio sono stati realizzati con grazia e ricchezza di particolari evidenziati dalle numerose perle collocate in varie parti per sottolinearne la preziosita.Questo raffinatissimo accessorio, che certo ribadiva la sontuosita di un abito cerimoniale, probabilmente era un dono d’amore, come possono suggerire i due cuori trafitti da due frecce, secondo un’usanza molto diffusa nell’epoca rinascimentale.

© I Mestieri della moda a Venezia dal XIII al XVIII Secolo. Ala Napoleonica E Museo Correr, Venice. 1988.

 

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17th Century: purple velvet pouch

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Purse of purple velvet, consisting of four pattes on which alternately the crowned monogram ‘DG’ or ‘ML’ or two entwined hands under a burning heart, embroidered with multicolored silk, gold thread, pearls, spangles and rubies, anonymous, c. 1600 – c. 1625

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17th Century: 1628 Beaded Bag

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A number of beaded bags from the early 17th century survive. Their stylized floral patterns and less expensive materials imitate the elaborate embroidered versions carried by the aristocracy. Many bear mottos or expressions relating to charity, friendship or luck, which suggests that they may have been used for gifts of money.
Link to page @ V&A

Materials & Making
The development of the ‘drawn-glass’ technique about 1490 allowed the manufacture of large numbers of small, round, coloured beads with a central hole, of the type used in this purse. The glassworks on the island of Murano near Venice were the most famous during the Renaissance, but by the early 17th century the technology had spread to glass-making centres in Amsterdam and Bavaria. Beads were produced mainly for trade with North America and Africa, but they were also sold in Europe for use in embroidery.

Subjects Depicted
The expression ‘hit or miss’ is first recorded in the English language in William Shakespeare’s play Troilus and Cressida published in 1606, where it has the same meaning of random luck that it has today. The expression may have derived from a country dance also known as ‘hit and miss’, recorded as early as 1626.

Purse of brown glass beads on a ground of netted silk. With a diamond diaper pattern in blue and white beads with clusters of green and blue beads at the intersections. In each diamond a letter ‘S’ in dark blue beads is surrounded by white and yellow beads. Lined with leather and buff silk. Two tassels of buff silk ribbon at the bottom.

  • Height: 8.9cm
  • Width: 12.7cm
  • Depth: 1cm

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Outside link: Veil and Edge Beading

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I used to have a PDF for a class on some basic veil edging work and a little research. It was corrupted over the years and  recently was asked to try to find it and was unable to.

But I did find THIS. And it’s far superior to what I had, and why re-invent the wheel when I can spread the love. So it’s linked below!

Point any Questions about it to the author, Dona Yasmina who has contact info on the last page of the document.

Practically Period and Perfectly Practical Prettification: Basic Steps in Beaded Edging
by Dona Alessandra Bentivegna da Faenza, called Yasmina, Barony of Thescorre

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No related posts? Dang!

16th Century: Portrait of Hedwig Jagiello

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Hedwig Jagiello (1513-1573)

Hedwig Jagiello was born on March 15., 1513 in poznań and died on February 7., 1573 She was a polish princess from 1535 to 1535 until 1535

Hedwig was the daughter of the king of Poland. From Poland from his marriage to Barbara references, daughter of hungarian pala and magnet Stephan references.

She married on 1. September 1535 in krakow on 1. September 1535 in Krakow. Four children were born four children:

• Elisabeth (born). 1537; gesture. He married Duke Franz Otto, married to Duke Franz Otto of Brunswick-Lüneburg (Born 1595). 1530; gesture. 1559
• Sigismund (born). 1538; gesture. 1566), Prince of Brandenburg, Archbishop of magdeburg and bishop of Berlin
• Hedwig (born). 1540; gesture. 1602), princess of Brandenburg, married to Duke Julius of Brunswick-Wolfenbüttel
• Sophia (born). 1541; gesture. 1564), princess of Brandenburg, married to Wilhelm Von Rosenberg

The Strictly Catholic Princess held on her faith, even when her husband turned to Lutheran teaching and began the reformation in Brandenburg. Joachim had released his wife to accept the new marriage or to remain faithful to the old man.

She accompanied her husband in 1541 to regensburg in 1541 When Joachim accepted Luther’s teaching, she remained with her catholic faith in her Catholic Faith, which gave her the spouse after interventions from Krakow.

After the death of Joachim II. In 1571 she lived at the castle of ruppin castle in old ruppin. She died there at the age of 59 on February 7., 1573.

.
Source:
Www. Gene. Org
Www. Berlin-the capital. They
Www. DB-Thueringen. They
(Digital Library Thuringia)
Www Yes Wow! PL
(German Historical Institute Warsaw)
Www. Universes-Mercatores-of-Hansa-Theutonicorum. From
(Universitatis Jagellonica Cracoviensis acta scientiarum)

Literature:
– Johann Dorner: Duchess Hedwig and her court state: everyday life at the castle castle according to original sources of the 15. th century, volume 53 of Burgundy’s history leaves
– Juliane Jacobi: Pre-Modern Education: Self-and foreign descriptions in the early modern period (contributions to historical education research, volume 41), page 216, ISBN 10: 9783412204921 AND ISBN 13: 978-3412204921

Image: Hedwig Princess of brandenburg at 1535, portrayed by Hans Krell (1490-1565)

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16th Century: Beaded Bag

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Beaded leather bag, 1630s, British; inscribed ‘heare et is hit or miss’, acorn pattern

 

A number of beaded bags from the early 17th century survive. Their stylized floral patterns and less expensive materials imitate the elaborate embroidered versions carried by the aristocracy. Many bear mottos or expressions relating to charity, friendship or luck, which suggests that they may have been used for gifts of money. This example is inscribed ‘heare et is hit or miss’.

The development of the ‘drawn-glass’ technique about 1490 allowed the manufacture of large numbers of small, round, coloured beads with a central hole, of the type used in this purse. The glassworks on the island of Murano near Venice were the most famous during the Renaissance, but by the early 17th century the technology had spread to glass-making centres in Amsterdam and Bavaria. Beads were produced mainly for trade with North America and Africa, but they were also sold in Europe for use in embroidery.

The expression ‘hit or miss’ is first recorded in the English language in William Shakespeare’s play Troilus and Cressida published in 1606, where it has the same meaning of random luck that it has today. The expression may have derived from a country dance also known as ‘hit and miss’, recorded as early as 1626.

Text from: https://collections.vam.ac.uk/item/O74982/purse-unknown/http://collections.vam.ac.uk/item/O158778/bag-unknown/

Physical description: A flat, square leather bag, covered with red, white, green, yellow and blue glass beads in a repeating pattern of stylized acorns. It has silver thread loops, silk tassels and holes in the leather for a drawstring

Place of Origin: Great Britain (made)

Date: 1630-1639 (made)

Materials and Techniques: Kidskin, glass beads, linen thread, silk thread, silver thread; hand sewn, hand beaded

Dimensions: Length: 13.0 cm approx., bag only, Width: 14.6 cm approx., bag only

Beaded leather bag, 1630s, British; inscribed ‘heare et is hit or miss’, acorn pattern

Bibliographic References (Citation, Note/Abstract, NAL no): John Lea Nevinson, Catalogue of English Domestic Embroidery of the Sixteenth & Seventeenth Centuries, Victoria and Albert Museum, Department of Textiles, London: HMSO, 1938, p.100

Materials: Kidskin; Glass beads; Linen thread; Silk thread; Silver thread

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14th Century: Christ child cloak

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Clothing for a Child Christ Statue(?)
Second half of 14th Cen.
In German: Bildbekleidung aus der Marktkirche Hannover, Mitte bis 2. Halfte 14 Jh.

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17th Century: Flinderhaube

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This is from a SCA researcher, who did a rather spectacular bit of research into those amazing gold German cauls you see often. Sometimes they look like beads, but sometimes they don’t, and here is a bit of info on what they are!

I will just send you there since it’s not entirely beads, even though a decorative thing with a hole technically qualifies, but it is late to post period so – off you go!

Flinderhaube – project documentation

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17th Century: Reliquary Crown of St Walburga

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Ironing crown (belongs to the head reliquary of St. Walburga)

 

Location: Scheer, Catholic parish church of St. Nicholas & former collegiate church
Date:1601/1700

Item:Krone
Genus:Applied Arts

Material / Technique:enamel, pearl, gemstone

Link to this page:https://www.bildindex.de/document/obj20745011

Record of:Bildarchiv Foto Marburg

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