February 6, 2015
King Charles painted in a smaller version of the picture that would eventually become the famous portrait in his robes for the Order of the Garter. It’s earlier than our period, but worth looking at for the detailing of his clothes which I’m pretty sure are accurate given the way Mytens (or one of his followers) has also rendered the texture of the carpet and the sheen on the table covering.
His hat is generously plumed and his falling band (that is almost completely lace) lies over the red and white robes of the order. His shot silk doublet is high waisted and of the 1630s style with sharply angled tabs and ribbon points. You can see how stiff the tabs are by the fact that the right hand edge of his robes are held back behind the right front tab. The sleeves are slashed and gathered in a way that accentuate his slender arms but also shows the fine linen of his shirt beneath. His matching breeches are quite closely cut and the silk seems to have been slashed or pinked as an extra decoration. He’s also wearing a very fine pair of white shoes with jewelled rosette ties and some oddly mismatched blue hose on his lower legs. Yet again many thanks to Phillip mould and Co for permission to use this copywrite image from their website
February 6, 2015
By Sir Peter Lely, painted sometime in the 1640s. She’s wearing a black bodice or waistcoat (difficult to see any detail in the way Lely has depicted it) with her smock showing above the neckline and a plain linen kerchief pinned over the top. It’s a very sober portrait, but she has dressed her hair with a string of pearls and at least one drop earring. This picture came up for sale via Phillip Mould and Co who were also kind enough to grant permission for me to use this image.
February 3, 2015
Painted by a follower of Gilbert Jackson in 1634. This unnamed dapper gentleman of 30 is looking at us with a real ‘devil may care’ gaze, with his hand securely in the pocket of his breeches, an unusual stance in a painting from this date. He is wearing a neatly tailored grey doublet. If the painter’s depiction is accurate, this is a well made garment with sharp lines and very neat seams. The sleeve seams are open to display his shirt and ribbon points around his waist presumably hold his breeches up, though at this point, cord points were becoming decorative. The attachment to the breeches was more often than not achieved with metal hooks and eyes with the eyes being sewn to a girdle-stead fixed inside the doublet. He’s also wearing a plain-ish wide falling band with a narrow lace decoration (with matching cuffs) and pom pom decoration on his bandstrings. Nice row of closely spaced buttons down the front. The picture is in the Chequers Collection.