Stella's purse

As a birthday present I made a pursefor Stella matching her laurel cloak.

I had a "left over" beaded flower (one, I made myself - the ones on the laurel cloak were made by Elslin and Eleanore), so I decided to do a purse with a circle opening.

The star has the beaded flower in the center, with glass beads and golden sequins, and is embroidered with couched gold thread and applique (purple silk velvet).

Materials used for the purse:

Embroidery: Silk velvet, gold thread, gold sequins, silk thread

Wool fabric, silk fabric (lining)

Sources:

Roboam and his subjects in the Speculum historiale (BNF Fr. 50, fol. 88), 15th century

Torture of a profaner, Speculum historiale (BNF Fr. 51, fol. 440v), 15th century

Portrait of Guillaume Jouvenel des Ursins, ca. 1460-1465

Adoration of the Magi, 1475-1500

The Visitation by Master M S, 1506.

Mary embraces Elizabeth, c. 1510Elizabeth and Zachariah have pouches suspended from their belts.

The Holledoublet aka doublet from hell

Yes, this is an insane project - but it's finished.
The doublet has quilted sleeves, but they are in my husband's armour bag... (Pictures will follow).
First: My husband didn't asked me to do it - it was my own idea. But he loves it. And he likes the feeling. I cannot recommend to do it as a armouring project, because it took me 2 1/2 years to do it - and I would never recommend to do such stuff!!
Secound: It's called "doublet from hell" because it's one of these "projects from hell" - time intense, work intense, suffering (got a tennis elbow from doing the quilting!!)...

Holle doublet - full view

Holledoublet - details

Documentation

1. What is a “holledoublet”?

A “holledoublet” is a doublet “full of holes”, an “eyelet gambeson”. It is described in a mid-fifteenth English manuscript titled “how a man schall be armyd at his ese when he schal fighte on foote”:
“He schal have noo schirte up on him but a dowbelet of ffustean lyned with satene cutte full of hoolis.”[1]
Some of these fantastic gambesons have survived and can be seen in museums worldwide (Coburg, Bern, Würzburg, Brüssel and New York). The German names for this piece of armor is “Lentner”, and the fabric, which emerged from sewing the layers of linen together with eyelets, was called “Panzerstoff” (bullet proof fabric). This is the right description for this fabric, as ”the stitches touch and make a reenforcing web of threads, the eyelet holes let the air pass”.[2]
The existing pieces are hard to date, but “may have been quite common. […] Nothing can be judged about the popularity of an item by how many survive today. It is usually rarities that are treasured and preserved. Common everyday objects are usually used to death.”[3]

a.) Coburg: horseman - holledoublet, and it is preserved complete.
It is made only of linen 3 to 4 layers. The material for the holes is also linen.[4]

(sorry, no picture...)

b.)Bern: Four layers of linen with inserted rings.[5]

c.) Holledoublet for a dog/ Veste Coburg: Made from several layers of linen. This armor was used for the boar hunt – a very good example of the strength of the material! [6]

2. Materials

Comparing the Materials I used to the one in the Original pieces
Originals: White Linen fabric, white linen thread;

Some pieces without metall rings, but found in two pieces (Würzburg, Bern).
The piece in Würzburg has brass rings in it, but I couldn’t find out how they were manufactured. The could be made excactly like the rings for a chain mail (from a brass wire) or punched from a sheet of brass foil

My work: White Linen fabric; Linen thread – natural dyed with onion skin to make the eyelets visible (I wanted my hard work to show and liked the pattern of the little “stars”); Brass rings, modern manufactured. I decided to use modern ones, because of time (this project took me nearly two years to finish WITHOUT making the brass rings myself) and as there was no way to find out how the originals were made (museums don’t like it when you take apart your museum pieces. And there was no chance to see it through the glass or handle them)

The arms were not preserved. But if you compare them to other period gambesons “period choices of materials were usually two or more layers of linen stuffed with tow, rags or other material."[7]

Quilted arms: linen, woolen fabric, linen thread. See Maciejowski Bible for quilting pattern:[8]
As the fingings are not finished except the Coburg one, it is hard to guess which way of finish they used in period. Some of the Coburg seams are finished by folding the layers to the inside and sew the seam allowances together with a running stitch.
Linen ribbon for finishing neckline, armholes and seams
My aim was to stop any fraying from occurring. As decribed and pictured in the London finds I used a ribbon for facing.[9] I chose linen because of its strength.

3. Manufacturing process

pattern
I mesured my husband and made a pattern. I did a simple tunic shape, just slightly narrower at the hips and with shoulder seams for a better fit. I cut the parts in three layers of linen, a white one and a natural coloured one.
I sewed the shoulder seams with a running stitch and reinforced the seam by opening it and fixing it with hem-stitch.[10]

inserting rings (example)
Sewing the holes in the doublet was very time consuming. I found out that the best way to do it was inserting several rings at one time and fixing them with pins. This helped as the fabric didn’t stretched that much. I pushed the awl in the middle of the ring and then sewed around it in eight stitches.
See the example piece!!

finishing neckline and armholes with linen ribbon, side seams
I sewed the linen ribbon to the right side of the arm and neck lines, then turned it over and fixed it with hem stitches. I uses white linen thread for it.
I closed the side seams and covered the seam allowance with the linen ribbon.

quilted parts (arms and hips)
I decided on vertical quilting as I didn’t want to distract with complicated quilting designs from the eyelets. I used a linen thread that is a little darker then the one used for the eyelets.
The arms were contructed of five layers of linen and two layers of wool. First the pieces were quilted. Then the shoulder and hand seam were finished, inserting ten rings for eyelets at the shoulder to attach them to the doublet. The arm seam was closed and the seam allowances were hem-stitched to the sides of the seam.

closure
The remaining pieces have no closure. So I decided to insert rings in the attached band to strengthen it, as the main power will tear on the closure points. The closure piece was worked with linen thread (same colour as quilting) on a folded piece of linen. I inserted one length of the linen ribbon at the front seam to reinforce it.

4. Literature

http://www.companie-of-st-george.ch/ml-livhist/msg01019.html - Discussion on Mailinglist of “Company of St. George” about the holledoublet

Die Ritter. Katalog der Burgenländischen Landesausstellung 1990 auf der Burg Güssing vom 4. Mai bis 28. Oktober 1990. Harald Prickler. Eisenstadt 1990.

Alles Jagd. Eine Kulturgeschichte. Kärntner Landesausstellung im Schloß Ferlach vom 26. April bis 26. Oktober 1997. Günther Hödl und Hartwig Pucker. Klagenfurt 1997.

Gefährlich und schön. Eine Auswahl historischer Waffen aus den Beständen der Kunstsammlung der Veste Coburg. Alfred Giebig. Coburg 1996.
Arms and Armour of the Medieval Knight. An Illustrated History of Weaponry in the Middle Ages. David Edge and John Miles Paddock. Crescent Books 1995. http://www.medievaltymes.com/courtyard/maciejowski_images_4.htm - Maciejowski Bible, Leaf 4

Textiles and clothing. 1150 – 1450. Elisabeth Crowfoot, Frances Pritchard and Kay Staniland. London 2002.

Footnotes
[1] Arms and Armour p. 117
[2] G. Embleton, Company of St. George mailinglist
[3] G. Embleton, Company of St. George mailinglist
[4] Gefährlich und schön p. 256
[5] Die Ritter p. 267
[6] alles jagd...eine kulturgeschichte p 584.
[7] Arms and armour p. 57
[8] maciejowski_images_4.htm
[9] Textiles and Clothing p. 159
[10] For sewing see Textiles and Clothing pp. 156

Manchester City Galleries - Costume Collection

England 1640-60, 28 cm
Materials: leather, silk , lace, silver thread, horsehair
Kid gloves for men or possibly women, with slit cuff lined with fawn silk, linked with two bands of fawn ribbon (faded salmon pink), edged with silver gilt bobbin lace; cuff embroidered, on bright mauve-pink silk satin in a pattern of snails padded with horsehair and additional padded circular motifs in yellow and blue; surrounded with within border in padded work in silk, silver thread, coil, in satin, laid and knot stitches; edged spangles and silver bobbin lace , with spangles attached to points (left thumb missing); degraded silk embroidery shows padding underneath - very good source for process.


England, 1580 - 1620, 41cm
Buff leather gauntlet gloves. Cuffs (lined with brown and green shot silk) embroidered in formal floral design mainly in coiled metal thread over silk thread worked in satin stitch, open at outside to wrist with gold fringe round side and bottom edges, outside edges connected by three leather strips lined brown silk with looped edging of gold thread and embroidered in meandering design in laid metal thread and spangles, rest of glove, except side pieces of fingers, lined leather, side pieces of fingers shaped into point on back of hand, applied leather band with formal floral embroidery round base of thumb, rectangle beneath with similar embroidery joining band of gauntlet



England, 1640 - 1660, 12.75 inches
Material: kid leather
seamed at outer hand and round base of thumb, v-shaped sections between fingers with small gusset at base, extending half way up forearm to form gauntlet, open at seam, connected by three pieces of brown silk ribbon, gauntlet lined brown silk, forming binding at edge and showing through cut-out embroidered geometrical decoration worked in chain stitch, overcasting, buttonhole stitch and herringbone stitch, similar but without cutting out at base of fingers on back and round thumb, cut-out decoration at base of fingers on palm with needlework fillings and decoration in chain stitch and buttonhole stitch


England, 1580 - 1600, 41.5 cm
Materials: Kid leather
Fawn leather, embroidered with silk thread, metal lace and spangles. Lined with white kid. Gauntlets white satin embroidered over stiff foundation, lined with red silk, seamed at outer hand, sewn-in thumb, v-shaped sections between fingers, gauntlets, widening towards edge, trimmed at join with wrist with ruched red silk ribbon with gold lace trimming, gauntlet edge cut into long rounded tabs connected inside by red silk gussets, and edged gold lace with spangles, embroidered with shells, the pelican in her piety, and birds and flowers, with silk and metal thread worked mainly in satin stitch and laid work, the shells and the pelicans raised.


1640-1650, 11.5 inch
Materials: Leather, metal, silk, Kid
Gauntlet of beige silk, backed with white kid, and partly lined with lime-green silk twill. Embroidered in coloured silk threads, metal thread chain stitch, couched metal strip and metal sequins. Edged with looped silk and metal thread picot braid. Design consists of naturalistic birds and full blown flowers with smaller stylised fruit motifs.


Europe 1640-1660, 31.5 cm
Materials: Kid, leather, gilt, silk
White kid. Vent in outer edge of cuff. Cuffs worked with broad band of embroidery in gilt thread and silks, mostly blue, yellow and orangey-brown, showing birds and flowers. Bound and faced with orangey-brown plain weave silk and edged with a gilt fringe.
The embroidery of this glove was used as a pattern for Stella's gloves

WiP - Melissa's Elizabethan Gloves

I'm working on these gloves for quite a while now - Started them in Summer 2005, but I was never very content how the shape of the glove turned out. My goal was to make "real" Elizabethan gloves for ladies, with the very slim, longish, pointy fingers, like all pictures and artifacts show. More than to add just a wonderful embroidered cuff in Elizabethan style to a modern leather glove...
O.k., so the first version of the leather part sucked. Didn't looked like the thing I intended at all. After having a hard time with the embroidery (o.k., needle painting is not easy at all, but please try needle painting on silk velvet!!! It's NOT funny... And it looks like... not good at all), I just gave up and stopped the project.

And I didn't like the look of the wool thread on the silk velvet - while the velvet shimmers, the embroidery looks... matte.

So I got myself a really nice looking silk thread of unspun silk (au ver a soie, soie ovale - I bought it here: http://www.tentakulum.de/ , a fabulous thread store in Frankfurt/Main, they have an online shop) . After some try outs I decided on chain stitch, which is period and looks nice (and is easy and fast to do :-)

I already started the embroidery - at the top paatern in the picture if you stare really hard, you might see a hint of green :-)

The design for the embroidery is based on a Swiss tablecloth in Zurich (1612), that I've found in the book "Mit Nadel und Faden" (great overview of embroidery andtextile arts). The design on the tablecloth is the edge surronding a religious motive, I've added the leaves and roses at the bottom.

Back to the correct pattern of the glove:
After slipping on the left glove, already finished, but not good looking, I was feeling very brave and silly, I took a scissor and started cutting. Didn't cut my fingers, took the slit-up glove as a mock up, created a new pattern and FINALLY suceeded!!! It just looks like the Original Elizabethan glove that's on display in museums!!! Yeah!!!

To show the different form of the gloves I've put my14th century glove (my first glove!!) besides it and laid it on top. You can see the difference very easy, as the fingers on the Elizabethan glove are longer and more pointy. The gussets (inserts between the fingers) are extra long and pointy, too. I will try to take some pictures later (not so easy with the leather being dark blue...)

Gloves/Cuffs for Michael and Moira

Pictures from the Pennsic War 35 (2006) Opening Ceremony showing the gloves and cuffs I made for Michael and Moira

Based on these Originals

Gloves: 1220, Gloves of the Holy Roman Emperor. Kunsthistorische Museum, Vienna
Sicily, beginning of the 13th century Red silk, embroidered in gold; rubies, sapphires, pearls; enameled gold; L 15.5 cm and 17 cm respectively The gloves were presumably made for the Emperor Friedrich II in the royal workshop in Sicily before 1220, the year of his coronation.

Cuffs: 1130 or later Dalmatic sleeves, Kunsthistorische Museum, Vienna
Palermo, Royal workshop, between 1130 and 1154 Purple silk with trimmings in red silk, embroidered in gold, gold filigree, enamel, and pearls; H overall 141 cm

SCA Glove makers

http://ilaria.veltri.tripod.com/gloves.html - Elizabethan gloves, pictures
http://www.glove.org/ - The glove website by Franchesca Havas, book list
http://www.extremecostuming.com/gallery/accessories.html - Elizabethan gloves (test pair) / Attack Laurel
http://www.houseffg.org/belphoebe/Research/Gloves/index.htm - 16th cent. Sir Francis Drake gloves
http://katerina.purplefiles.net/garb/diaries/glove3.htm three fingered mittens byKaterina da Brescia
http://katerina.purplefiles.net/garb/diaries/glove%20Italian.htm 15th cent. Italian gloves by Katerina da Brescia
http://www.vertetsable.com/demos_gloves.htm - The Renaissance Tailor
http://www.personal.utulsa.edu/~marc-carlson/cloth/gloves/gloves.htm - Marc Carlson, three fingered mittens

V&A Museum, London

Pair of gloves
Date 1603-1625
Techniques: Leather and satin, embroidered with silk and metal thread, spangles and seed pearls
England
Dimensions: Height 9 cm (maximum, at lace cuffs), Width 26 cm (maximum), Length 41.5 cm (maximum)

V&A Museum, London
Pair of gloves
Date 1590-1610
Techniques: White leather, with gauntlet tapestry woven in silk and gold; 33 warp threads per in (13 per cm)
Artist/designer: Sheldon Tapestry Workshops (probably)
Warwickshire, England (probably)
Dimensions: Length 35 cmWidth 20 cm

Museum of Fine Arts, Boston

Pair of glovesEnglish, 1575–1625
EnglandLeft: 0.24 m; right: 0.23 mLeather; embroidered with silk and metallic threads; metallic bobbin lace; woven silk and metallic ribbon
Classification: Costumes
Object is currently not on view
Brown leather glove with cuffs of silk, embroidered with metallic yarns on silk
Museum of Fine Arts, Boston
Gift of Philip Lehman in memory of his wife Carrie L. Lehman, 1938Accession number: 38.1348a-b

Glovers/ Pictures/interest groups

http://moas.atlantia.sca.org/wsnlinks/index.php?action=displaycat&catid=309
Atlantian medieval A&S links page concerning gloves and mittens.

Gloves - Primary and Secondary sources (paintings)

Taken from the fabulous website by Karen Larsdatter:
http://www.larsdatter.com/gloves.htm:

MITTENS
A leather glove, 15th century, found in London; additional views 1, 2, 3, 4, 5, and 6; also here
Two leather mittens (both for the left hand) were found in a chest on the Mary Rose (1545); a line drawing of one of them can be found on page 14 of the 2005 Annual Report of the Mary Rose Museum
An infant's knit mitten, 16th century (also here)
Embroidered mittens, c. 1600; use V&A's Access to Images and search for Museum Number 1507&A-1882
Elizabethan gauntlet mittens, c. 1600
Portrait of Henry Cary, 1st Viscount Falkland by Marcus Gheeraerts the Younger, 1603 (also here); it's more like a mitten-backing for a pair of fancy gloves.
THREE-FINGERED GLOVES (aka SPLIT MITTENS)
A field worker, a harvester, men plowing a field, and a seed-sower in the The Luttrell Psalter, c. 1320-1340
Ploughing scene, the Macclesfield Psalter (Fitzwilliam 1-2005, fol. 77r), c. 1330
The Offering of the Heart, c. 1410
August in the Les Tres Riches Heures du Duc de Berry, 1412-1416
Shepherds in The Nativity by Robert Campin, 1425
St Cecilia and her Fiancé by Cornelis Engebrechtsz, 1518-1520
Portrait of Robert Cheseman by Hans Holbein the Younger, 1533
FIVE-FINGERED GLOVES: ECCLESIASTICAL/ROYAL CONTEXTS
Gloves said to be those of St. Hadelin, 11th-13th century
Gloves of Roger II, c. 1105
Effigy of Henry II, c. 1189
Gloves of Emperor Frederick II (also here, c. 1198
Effigy of Richard I, c. 1199
The Three Kings before Herod, The Murthly Hours (NLS 21000, fol. 12r), 1280s
Glove-plaques from the tomb of Jean de Chanlay, Bishop of Le Mans, 1291
Silk liturgical glove, first quarter of the 14th century
Bishop Wykeham's Glove, c. 1386
Romans and their pontiffs, Ab urbe condita (BNF Fr. 271, fol. 66v), end of the 14th century
Assassination of Onias III, Bible Historiale (BNF Fr. 3, fol. 251v), beginning of the 15th century
Thane rysez the riche kynge ... His gloues gayliche gilte and grauen by þe hemmys, With graynes of rubyes.
From Morte Arthure, c. 1440
Coronation of Leo VIII, De casibus (BNF Fr. 234, fol. 183), third quarter of the 15th century
Allegory: The cardinal virtues, The Book of the Treasure (BNF Fr. 191, fol. 119), second half of the 15th century
Speculum Historiale, 1463: Heretics and ecclesiastics (BNF Fr. 50, fol. 2), Miracle of Our Lady: the large abbess (BNF Fr. 50, fol. 246), the martyrdom of St. Savinian (BNF Fr. 50, fol. 324v), St. Taurin in front of the idol (BNF Fr. 50, fol. 364v), the martyrdom of St. Pothin (BNF Fr. 50, fol. 387), St. Firmin I preaches (BNF Fr. 51, fol. 69), St. Maximinus of Trier and St. Athanasius (BNF Fr. 51, fol. 132), the dream of St. Gregory of Nazianze (BNF Fr. 51, fol. 164), the miracle of St. Martin (BNF Fr. 51, fol. 297), and the translation of St. Martin (BNF Fr. 51, fol. 393v)
Presentation scene, The City of God (BNF Fr. 18, fol. A), c. 1469-1473
Roboam is dubbed by the emperor, The Knight Cifar (BNF Esp. 36, fol. 165v), fourth quarter of the 15th century
The coronation of St. Julian, The Golden Legend (BNF 244, fol. 66v), c. 1480-1490
Gloves from the tomb of Bishop Nicolaus Shiner, 1510
Pope Sixtus IV and St. Ambroise and St. Augustine in The Triptych of the Immaculate Conception by Jean Bellegambe, 1526
Knit silk gloves, possibly belonging to Archbishop William Warham
FIVE-FINGERED GLOVES: FALCONRY CONTEXTS
The Manesse Codex, 1300-1330: König Konrad der Junge, Herr Wernher von Teufen, Herr Ulrich von Gutenburg, Herr Leuthold von Seven, Herr Konrad von Altstetten, Kunz von Rosenheim
St. Martin is Knighted (see detail) by Simone Martini, 1312-1317
Solomon teaches, Bible Historiale (BNF Fr. 8, fol. 249v), c. 1320-1330
A falconer in the The Luttrell Psalter, c. 1320-1340
A lady luring a falcon, the Taymouth Hours (British Library, Yates Thompson 13, fol. 74), c. 1325-1335
Gauls and the Roman envoys, Ancient history until Caesar (BNF Fr. 251, fol. 247v), second quarter of the 14th century
Ptolemy with a falcon, Der Naturen Bloeme (KB KA 16, fol. 85v), c. 1350
The Marriage, 1350s
Ivory mirror-back: A falconry party, 1350-1375
From the works of Guillaume de Machaut (BNF Fr. 1584), c. 1372-1377: Machaut and his alerion, Dit de l'alérion (fol. 96v); Machaut and the lover's servant, Fontaine amoureuse (fol. 161v); The allegory of the harp, Dit de la harpe (fol. 175v)
This hand borwen ofte to trewaunde with these gentel folk. In here grete haukinge glooves thei kunne putte it and hide it.
From The Pilgrimage of the Life of Man, c. 1450
Hunting quail, Tacuinum Sanitatis (BNF Nouvelle acquisition latine 1673, fol. 72v), c. 1390-1400
The book of Modus and Ratio (BNF Fr. 1297, fols. 54, 56, 58, 60, and 71v), first quarter of the 15th century
Ptolemy with a falcon in Jacob van Maerlant's Der Naturen Bloeme (KB 76 E 4, fol. 47r), 1450-1500
Homage of Roboam to the emperor, The Knight Cifar (BNF Esp. 36, fol. 164v), fourth quarter of the 15th century
Hawking glove of Henry VIII
FIVE-FINGERED GLOVES: MISCELLANEOUS OTHER CONTEXTS
The Maciejowski Bible, c. 1250: The elders meet Samuel, Saul gives Michal to David, David is applauded in Judah, Abner leaves, promising to build support in Israel, Joab slays Abner, Boaz encounters Ruth, David and Bathsheba get married, Absalom leaves David to plot a conspiracy
Ahasuerus and his court, Bible Historiale (BNF Fr. 160, fol. 211), first quarter of the 14th century
Allegory of Carnality, The Romance of Fauvel (BNF Fr. 146, fol. 12), 1320
A seed-sower in the The Luttrell Psalter, c. 1320-1340
St. Leonard in front of Clovis I, The Lives of the Saints (BNF Fr. 185, fol. 126), second quarter of the 14th century
Bible Historiale (BNF Fr. 162), third quarter of the 14th century: Moses comes down from Sinai (fol. 65), Moses receives the Law (fol. 91v), Moses and the Hebrews (fol. 112v), Hosea writing (fol. 123v), and St. Paul preaches (fol. 225)
Guillaume de Digulleville and Idleness, The pilgrimage of human life (BNF Fr. 376, fol. 43), second quarter of the 15th century
Negotiations in front of Marchot, Tristan de Léonois (BNF Fr. 112(3), fol. 66), c. 1470
Gloves which belonged to Henry VI
Portrait of Galeazzo Maria Sforza, Duke of Milan by Piero del Pollaiuolo, 1471
Self-portrait at 26 by Albrecht Dürer, 1498
Gloves reputed to have belonged to Henry VIII
Gloves given by Henry VIII to Sir Anthony Denny
Portrait of a lady by Paolo Cavazzola, c. 1515
Portrait of Count Sciarra Martinengo Cesaresco by Moretto da Brescia, 1516-1518
Portrait of a man by Moretto da Brescia, c. 1520
Portrait of a young lady by Bartolomeo Veneto, 1520-1530
Balsam harvest, The Book of Simple Medicines (BNF Fr. 12322, fol. 187v), c. 1520-1530
Portrait of a man with gloves by Titian, 1523-1524 (also here)
Flight to Egypt in the Book of Hours of Françoise Brinnon (MMW 10 F 33, fol. 60r), 1524
Portrait of François I, King of France by Jean Clouet, 1525-1530
Portrait of Anton Fugger by Hans Maler
Portrait of a man by Moretto da Brescia, 1526
Portrait of a lady in a green dress by Bartolomeo Veneto, 1530
Portrait of Lucrezia Sommaria (see detail) by Ridolfo Ghirlandaio, 1530-1532 (also here)
Portrait of a Roman courtesan by Parmigianino, 1530-1535
Fol. 7v in the Hennessy Book of Hours, c. 1530-1540
Portrait of a member of the Wedigh family by Hans Holbein the Younger, 1532
Portrait of Charles V by Christoph Amberger, c. 1532
By the Lady Mary Gray, 2 peir of swete gloves, with fower dosen buttons of golde, in every one a sede perle.By the Lady Mary Sydney, one peir of perfumed gloves, with twenty-four small buttons of golde, in every of them a small diamond.By Lichefelde, two peir of gloves perfumed.
From the New Year's Gifts to Queen Elizabeth, 1577-8
By the Lady Waulsingham, 4 paire of gloves set with buttons of golde.By Mr. William Russell, a paire of gloves, garnished with gold and sede perle.
From the New Year's Gifts to Queen Elizabeth, 1578-9
By the Lady Walsingham ... a peire of perfumed gloves, the coaffe ymbrodered with seed pearle, and lyned with carnation velvett.By Mr. Doctor Lopus, a peire of perfumed gloves.
From the New Year's Gifts to Queen Elizabeth, 1588-9
By Mr. Josephe Lupo, one paire of pfumed gloves.By Mr. Thomas Lupo, Josephe his sonne, one paire of pfumed gloves.By Mr. William Warren, one paire of perfumed gloves.By Mr. Peeter Guye, one paire of pfumed gloves.By Mr. Jerolimo Bassano, one paire of perfumed gloves.By Mr. Anthune Bassano, one paire of pfumed gloves.By Mr. Edwarde Bassano, One paire of pfumed gloves.By Mr. Andrewe Bassano, one paire of pfumed gloves.By Mr. Cæsar Gallyardo, one paire of pfumed gloves.By Mr. Trochins, one paire of perfumed gloves.By Mr. Innocent Comye, one paire of perfumed gloves.By Mr. Richard Graves, one paire of perfumed gloves.By Mr. Walter Pearce, one pair of pfumed gloves.By Mr. Robert Hales, one paire of pfumed gloves.By Mr. Thomas Lupo, Peter Lupo his sonne, one paire of pfumed gloves.
From the New Year's Gifts to Queen Elizabeth, 1599-1600
Portrait of a member of the Wedigh family by Hans Holbein the Younger, 1533 (also here)
Portrait of a lady by Bernardo Licinio, 1533
Portrait of Jean de Dinteville and Georges de Selve (The Ambassadors) by Hans Holbein the Younger, 1533
Portrait of Charles de Solier, Lord of Morette by Hans Holbein the Younger, 1534-1535
Portrait of Christina of Denmark, Duchess of Milan (see detail by Hans Holbein the Younger, 1538
Portrait of a young woman and her little boy (see detail) by Agnolo Bronzino, 1540 (also here)
Portrait of a man holding gloves and a letter by Hans Holbein the Younger, c. 1540
Portrait of De Vos van Steenwijk by Hans Holbein the Younger, 1541
Portrait of an unknown young man at his desk by Hans Holbein the Younger, 1541
Portrait of John Chambers by Hans Holbein the Younger, 1543
Portrait of a gentleman with gloves by Lorenzo Lotto, c. 1543
Portrait of Barbara Kressin attributed to Lambert Sustris, 1544
Portrait of a Florentine noblewoman, 1540's
Portrait of a woman holding gloves, c. 1540-1560
White gloves attributed to the reign of Elizabeth I
Gloves presented to Elizabeth I
An Elizabethan glove
Portrait of Mary Tudor by Anthonis Mor van Dashorst, 1554
Lord Darnley's cuff, c. 1555
Portrait of Mary Nevill, Lady Dacre, and her son Gregory Fienes, 10th Baron Dacre by Hans Eworth, 1559
Glove of Mary Queen of Scots, 1560
Portrait of an unknown lady, c. 1560
Portrait of a gentleman, c. 1560
Portrait of Alexander Farnese, c. 1560
Portrait of Elizabeth I, c. 1560-1565
Portrait of Charles IX, King of France from the workshop of François Clouet, 1561
Portrait of Elizabeth Roydon, Lady Golding by Hans Eworth, 1563 (also here)
Portrait of Sir Thomas Howard, 4th Duke of Norfolk by Hans Eworth, 1563
Shakespeare's gloves
Portrait of Elizabeth Cornwallis, Lady Kytson by George Gower, 1573 (also here)
Woodcut of Queen Elizabeth and woodcut of a falconer from the Booke of Faulconcrie by G. Tuberville, 1575
Portrait of Antonius Anselmus, his wife and their children by Marten de Vos, 1577
Nobilis Neapolitana in Jost Amman's Trachtenbuch von Nurnberg, 1577
Portrait of a man by Adriaan Key, c. 1580
Portrait of Queen Elizabeth: The Welbeck or Wanstead Portrait by Marcus Gheeraerts the Elder, c. 1585
Portrait of Elizabeth I, c. 1585-1588
Ein Pfalzische Edelfrauw, Im Frauwenzimmer Wirt vermeldt von allerly schönen Kleidungen, 1586
Pair of gloves, 1590-1610; use V&A's Access to Images and search for Museum Number T.145&A-1931
Portrait of Sir Francis Drake by Marcus Gheeraerts the Younger, 1591
Portrait of George Clifford, Earl of Cumberland by Nicholas Hilliard, c. 1590; notice the Queen's glove in his hat
Gloves in the Album Amicorum of a German Soldier, 1595: Cortegiana Romana, Governator di Roma, Castelan di Roma, Another lady, Another lady, Vedoua Senese, Duchessa di Venetia, Another lady, and Another lady
Portrait of an unknown lady attributed to William Segar, c. 1595
Miniature portrait of Sir Henry Percy, 9th Earl of Northumberland by Nicholas Hilliard, c. 1595
A glove from Venice, c. 1600
Portrait of Henry Wriothesley, 3rd Earl of Southampton by John de Critz, 1603
Portrait of an unknown lady, c. 1603
A pair of lady's knit gloves, first half of the 17th century
Wedding gloves with symbols of love and marriage, c. 1622
Pair of man's gauntlets, England, c. 1625-1650

Elizabethan gloves - infos

http://www.employees.org/~cathy/gloves_body.html

informations on Elizabethan gloves

various royal gloves

Various gloves I've made for the Royals of our SCA Kingdom.

First row:

Margerite's elegant Unicorn gloves (14th century, inspiration from "Minnesang's Frühling" (shape of gloves), illumination (unicorns)

Maximilian's manly furry gloves (14th century) - finished Summer 2007

Second row:

Green glove after the famous Coronation glove for Emperor Friederich II for Queen Moira, red glove for King Michael (13th century)- finished Summer 2006

Next picture:

Gloves of the emperor Friederich II, Original in the Vienna Museum, primary source for the Royal gloves of Michael and Moira

Welcome to Medieval Gloves

This is going to be an online portfolio, a website adress collection, photo collection, project diary.... About Medieval gloves and other interesting Medival stuff (mainly textiles and clothing)