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à.ñ.ïóøêèí âèíòàæ. èñòîðèÿ âèíòàæíàÿ ìóæñêàÿ îäåæäà âèíòàæíàÿ îáóâü âèíòàæíîå íèæíåå áåëü¸ âèíòàæíûå àêñåññóàðû âèíòàæíûå áàëüíûå ïëàòüÿ âèíòàæíûå âå÷åðíèå íàðÿäû âèíòàæíûå âåùè âèíòàæíûå âåùè çíàìåíèòîñòåé âèíòàæíûå ãîëîâíûå óáîðû âèíòàæíûå äåòñêèå âåùè âèíòàæíûå äèçàéíåðñêèå êîëëåêöèè âèíòàæíûå îòêðûòêè âèíòàæíûå ïàëüòî âèíòàæíûå ïëàòüÿ äåâóøåê-flappers âèíòàæíûå ñâàäåáíûå íàðÿäû âèíòàæíûé íàöèîíàëüíûé êîñòþì ãðàâþðû æåíñêèå ñóäüáû æåíùèíû-ëåãåíäû æèâîïèñü çàáàâíîå èëëþñòðàöèè èñòîðè÷åñêèå çàðèñîâêè êèíî êèïëèíã êðàñàâèöû-ëåãåíäû íåìîãî êèíî êðàñîòêè êðóæåâî. òåêñòèëü. ëåîíàðäî äà âèí÷è ìóçûêà ìûñëè íàäî ïîìíèòü îäíà êàðòèíà ïåðñèäñêàÿ ìèíèàòþðà ïîëåçíîå ïîýçèÿ ïîýòû ïåðâîé âîëíû ýìèãðàöèè. çàáûòûå èìåíà. ïðåäàíèÿ è èçîáðàæåíèÿ ðåëèãèÿ ðåòðî ðåòðî-ôîòî ðîìàíîâû. ñåìüè â èñêóññòâå. ñìåøíî òàéíû íàòþðìîðòà ôèëåéíîå âÿçàíèå ôîòîãðàôèè þâåëèðíûå èçäåëèÿ

 -Ðóáðèêè

 -Ïîèñê ïî äíåâíèêó

Ïîèñê ñîîáùåíèé â Karol-Li

 -Ïîäïèñêà ïî e-mail

 

 -Ñòàòèñòèêà

Ñòàòèñòèêà LiveInternet.ru: ïîêàçàíî êîëè÷åñòâî õèòîâ è ïîñåòèòåëåé
Ñîçäàí: 18.01.2010
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Êðóæåâíîå âåëèêîëåïèå.

Ñóááîòà, 01 Ìàÿ 2010 ã. 15:57 + â öèòàòíèê
Öèòàòà ñîîáùåíèÿ Martina25 Àõ, êðóæåâà, êðóæåâà...





Êðóæåâî ðó÷íîé ðàáîòû âî âñå âðåìåíà ñòîèëî î÷åíü äîðîãî.
Íà êðóæåâàõ ðàçîðÿëèñü, èç-çà íèõ âëåçàëè â äîëãè, ñàäèëèñü â òþðüìó è êîí÷àëè æèçíü ñàìîóáèéñòâîì. Ïî îôèöèàëüíûì äîêóìåíòàì, àðèñòîêðàòèÿ è öåðêîâü òðàòèëè íà êðóæåâà êîëîññàëüíûå ñóììû.

Âîçíèêíîâåíèå êðóæåâà îòíîñèòñÿ ê î÷åíü äðåâíèì âðåìåíàì.  ëåãåíäàðíîé êíèãå «Èñõîä» óïîìèíàåòñÿ «çàâåñà èç ãîëóáîé, ïóðïóðîâîé è ÷åðâëåííîé øåðñòè è êðó÷åííîãî âèññîíà óçîð÷àòîé ðàáîòû» (ãë. XXVI—XXVII) è «îäåæäà Ààðîíà èç çîëîòîé, ãîëóáîé, ïóðïóðîâîé è ÷åðâëåííîé øåðñòè è êðó÷åííîãî âèññîíà». Êðóæåâî ñ íåçàïàìÿòíûõ âðåìåí ÿâëÿëîñü ëþáèìûì óêðàøåíèåì, íî åãî ðàñöâåò ñâÿçàí ñ êîñòþìîì XVI âåêà.
Íèòêè äëÿ êðóæåâ ìîãëè áûòü áóìàæíûìè, ëüíÿíûìè, øåðñòÿíûìè, øåëêîâûìè, ñåðåáðÿíûìè, çîëîòûìè. Â Èòàëèè èñïîëüçîâàëè äàæå íèòêè èç àëîý.


Êðóæåâî áûëî ïëåòåíîå èëè øèòîå. Ïëåòåíîå êðóæåâî äåëàëè íà êðóãëîé ïîäóøêå ïðè ïîìîùè êîêëþøåê. Óçîð, èëè ñêîëîê êëàëè íà ïîäóøêó, à ïëåòåÿ (êðóæåâíèöà), óêðåïèâ êîíöû íèòåé áóëàâêàìè, âòûêàëà áóëàâêè â áëèæàéøèå ëèíèè ïåðåñå÷åíèÿ óçîðà è ïåðåêèäûâàëà êîêëþøêè äðóã ÷åðåç äðóãà, äîñòèãàÿ ñêðåùèâàíèÿ íèòåé, îïëåòàþùèõ áóëàâêè, çàòåì âûíèìàëà ïðåæäå âîòêíóòûå è âòûêàëà èõ â íîâûå ìåñòà, ñëåäóÿ óçîðó.

Øèòîå êðóæåâî âûïîëíÿëè èãîëêîé ñ íèòêîé. Ðèñóíîê íàíîñèëè íà ïåðãàìåíò, êðóæåâíèöà íàìåòûâàëà ïî ëèíèÿì ðèñóíêà òîëñòóþ íèòêó, çàòåì øèëà îðíàìåíòû, çàïîëíÿëà ñåðåäèíû, âøèâàëà ñâÿçêè òþëÿ è íàøèâàëà ðåëüåôíûå êîíòóðû. Íîæíèöàìè ðàçðåçàëà íàìåòêó, ñîåäèíÿþùóþ êðóæåâî è ïåðãàìåíò, è ðàáîòà áûëà ãîòîâà.

Èòàëüÿíñêèìè õóäîæíèêàìè XVI âåêà áûëî ñîçäàíî îêîëî äâàäöàòè äâóõ êíèã ñ óçîðàìè äëÿ êðóæåâíûõ èçäåëèé. Èçâåñòíû èìåíà èõ àâòîðîâ: Niccolo Zoppino (1527), Bugato (1527), Paganino (1527), Tagliente (1534) è äðóãèå.  Èòàëèè ñëàâèëèñü ñâîèì ìàñòåðñòâîì êðóæåâíèöû Âåíåöèè, Ãåíóè, Àëüáèññîëà, Ìèëàíà. Ñ êîíöà XV âåêà ñòàëî èçâåñòíûì âåíåöèàíñêîå êðóæåâî «ñòåæîê â âîçäóõ», ïðåäñòàâëÿâøåå ñîáîé óçåíüêèé çóá÷àòûé áîðòèê ðåäêîãî ãåîìåòðè÷åñêîãî óçîðà. Ïîñòåïåííî ãåîìåòðè÷åñêèé óçîð óñëîæíÿëñÿ ôèãóðàìè ëþäåé è æèâîòíûõ. Èãëîé ñ ïîìîùüþ ëüíÿíûõ íèòåé ïëåëè ïûøíûå è ñëîæíûå øèòûå ãèïþðû, à íà êîêëþøêàõ ñîçäàâàëè ïåñòðûå, öâåòíûå, çîëîòûå è ñåðåáðÿíûå êðóæåâà.


Ôëàíäðèÿ áûëà íå ìåíåå çíàìåíèòà, ÷åì Èòàëèÿ, ñâîèìè êðóæåâàìè. Çäåñü èçãîòàâëèâàëè ïëåòåíûå ãèïþðû ñ îðíàìåíòàìè èç ðàñòèòåëüíûõ çàâèòêîâ, äëÿ èçãîòîâëåíèÿ êîòîðûõ â ñûðûõ ïîäâàëàõ, ÷òîáû êóäåëü ïîñòîÿííî áûë âëàæíûì, ìàñòåðèöû ïðÿëè óäèâèòåëüíî ìÿãêèå è òîíêèå íèòè èç ëüíà.

Íàçâàíèå çíàìåíèòîãî òîíêîãî ôëàìàíäñêîãî áðþññåëüñêîãî ãèïþðà «ãèïþð àíãëåòýð» îáúÿñíÿåòñÿ ïîëèòèêî-ýêîíîìè÷åñêèìè ïðè÷èíàìè.  Àíãëèè âïëîòü äî 1735 ãîäà ñîõðàíÿëèñü çàïðåò è îãðàíè÷åíèÿ íà íîøåíèå êðóæåâ èíîñòðàííîãî ïðîèçâîäñòâà.  1662 ãîäó àíãëèéñêèé ïàðëàìåíò çàïðåòèë ââîç ôëàìàíäñêîãî êðóæåâà è ïîîùðèë âûïóñê îòå÷åñòâåííîãî. Îäíàêî ñïðîñ áûë ñòîëü âåëèê, ÷òî ôëàìàíäñêîå êðóæåâî ïðèâîçèëîñü òàéíî è ïðîäàâàëîñü ïîä âèäîì àíãëèéñêîãî ñ íîâûì íàçâàíèåì.

 Øîòëàíäèè êðóæåâíîå ìàñòåðñòâî äîñòèãëî ðàñöâåòà âî âðåìÿ öàðñòâîâàíèÿ Ìàðèè Ñòþàðò, êîòîðàÿ è ñàìà áûëà çíàòíîé ìàñòåðèöåé, èñêóñíî ñî÷èíÿâøåé óçîðû èç öâåòîâ, çâåðåé è ïòèö.

 Èñïàíèè íà êðóæåâà òðàòèëîñü òàê ìíîãî äåíåã, ÷òî êîðîëü Ôèëèïï III èçäàë â 1623 ãîäó çàêîí, çàïðåùàþùèé íîñèòü êðóæåâà.

Äðóãèå åâðîïåéñêèå ñòðàíû òîæå ñòàðàëèñü íå îòñòàâàòü îò ìîäû.

Ëþäîâèê XIII â 1613 ãîäó èçäàë çàêîí, êîòîðûé äîëæåí áûë ïîëîæèòü êîíåö ðàçîðèòåëüíîé ñêëîííîñòè ôðàíöóçîâ, òðàòèâøèõ íà ïðèîáðåòåíèå êðóæåâ öåëûå ñîñòîÿíèÿ. Ôðàíöèÿ âñêîðå íàøëà âûõîä èç ñîçäàâøåãîñÿ ïîëîæåíèÿ, íî íå ñ ïîìîùüþ çàïðåòîâ, à áëàãîäàðÿ ðàçâèòèþ êðóæåâíîãî äåëà è êðóæåâíûõ öåíòðîâ âî Ôðàíöèè, äëÿ ÷åãî èç Âåíåöèè áûëè ñðî÷íî âûïèñàíû ìàñòåðà. Òàêèìè öåíòðàìè ñòàëè ãîðîäà Àðæàíòàí è Àëàíñîí. Ñëîæíûå äåêîðàòèâíûå êîìïîçèöèè, òûñÿ÷è èçîùðåííûõ äåòàëåé, íèòÿíûå ìîñòèêè, èëè ñâÿçêè, ïðåâðàòèâøèåñÿ â ôîí, ïðèäàþò íåïîâòîðèìóþ âîçäóøíóþ ìàññèâíîñòü ðàííèì ôðàíöóçñêèì ãèïþðàì. Âî Ôðàíöèè êðóæåâî áûëî ïîïóëÿðíûì âïëîòü äî Ôðàíöóçñêîé ðåâîëþöèè. Ïîñëå ðåâîëþöèè êðóæåâî ñòàëî ìîäíûì ïðè äâîðå Íàïîëåîíà, íî íåíàäîëãî.

 Ãåðìàíèè ïåðâàÿ êíèãà äëÿ êðóæåâíûõ ðàáîò Èîãàííà Øàðöåíñáåðãåðà ïîÿâèëàñü â 1534 ãîäó â Àóãñáóðãå.

Êðóæåâíûå ðàáîòû â Øâåöèè âî ìíîãîì ñâÿçàíû ñ èìåíåì ñâ. Áðèãèòû èç Âîäñòåíà, êîòîðàÿ îáó÷àëà ýòîìó ðåìåñëó ìîíàõèíü.

Ê XVII âåêó êðóæåâîì óêðàøàëè êîñòþìû ìàðøàëîâ è îôèöåðîâ, êàâàëåðîâ è ïðèäâîðíûõ äàì. Êðóæåâî øëî íà èçãîòîâëåíèå ãàëñòóêîâ, âîðîòíèêîâ, ìàíæåò, øàðôîâ, îòâîðîòîâ ñàïîã è ïåð÷àòîê, óêðàøåíèå êàðåò, êðîâàòåé, òðîíîâ, ìåáåëè, àëòàðåé.

 XVIII âåêå íàèáîëüøèì óñïåõîì ïîëüçîâàëîñü ÷ðåçâû÷àéíî òîíêîå êðóæåâî ñ öâåòî÷íûìè ãèðëÿíäàìè, áàíòàìè, ãîëóáÿìè. Áîëüøîå ðàñïðîñòðàíåíèå ïîëó÷èëè ðèñóíêè íà ðåëèãèîçíûå ñþæåòû, ÷àñòî èçîáðàæàëàñü Ìàäîííà ñ ìëàäåíöåì. Ñëîæíûé ðèñóíîê äëÿ òàêèõ êðóæåâ ñîçäàâàëñÿ ïðîôåññèîíàëüíûì õóäîæíèêàìè. Øåëêîâîå òîíêîå êðóæåâî «áëîíä» áûëî èçëþáëåííûì âî âðåìåíà àìïèðà, à êðóæåâà ñ öâåòàìè è ëèñòüÿìè ñ çîëîòîé è ñåðåáðÿíîé íèòÿìè øëè íà çíàìåíèòûå èñïàíñêèå ìàíòèëüè.


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 XVI âåêå îäíèì èç öåíòðîâ êðóæåâîïëåòåíèÿ ñ÷èòàëàñü Âåíåöèÿ.

Âåíåöèàíñêîå êðóæåâî äîðîãî öåíèëîñü âî âñåé Åâðîïå. Ýñêèçû äëÿ êðóæåâíûõ ðèñóíêîâ ñîçäàâàëè èçâåñòíåéøèå õóäîæíèêè è þâåëèðû (òàêèå êàê ×åçàðå Âå÷åëëèî è Áåíâåíóòî ×åëëèíè). Èìåííî èõ êèñòè ïðèíàäëåæàò íîâàòîðñêèå ðåøåíèÿ, áëàãîäàðÿ êîòîðûì áûëè ñîçäàíû ðàçëè÷íûå âèäû êðóæåâ, ïîïóëÿðíûõ è â íàøå âðåìÿ.  òå ãîäû áûëè èçîáðåòåíû ðàçëè÷íûå âèäû ñòåæêà: ñòåæîê óçëîì, êðóæåâî íà ñåòêå, èëè òþëü, ìóðàíñêèé ñòåæîê è èãîëüíûé ñòåæîê.
Áëàãîäàðÿ çíàìåíèòûì òàëàíòàì âåíåöèàíñêèõ òîðãîâöåâ îíî ðàñïðîñòðàíèëîñü ïî âñåé Åâðîïå è ñòàëî îäíîé èç ïðè÷èí áàñíîñëîâíûõ íàëîãîâ â òåõ ãîñóäàðñòâàõ, ãäå ìîíàðõè è çíàòü ëþáèëè êðàñèâî ïðèîäåòüñÿ – âåíåöèàíñêîå êðóæåâî áûëî î÷åíü äîðîãèì óäîâîëüñòâèåì. Èì îòäåëûâàëè è áåëüå, è âåðõíþþ îäåæäó, è îáóâü, ÷òî íåðåäêî âëåòàëî â êîïåå÷êó: íà îòäåëêó îäíîãî ëèøü âîðîòíèêà ôðèçà øëî îò 10 äî 15 ìåòðîâ êðóæåâà!

Íà îñòðîâàõ Áóðàíî,Ïåëëåñòðèíà, ×èîäæà è Ìóðàíî íàëàäèëîñü êðóæåâíîå ïðîèçâîäñòâî, ãäå ðóêàìè òðåõ òûñÿ÷ ðûáàöêèõ æåí è äî÷åðåé òâîðèëîñü óäèâèòåëüíîå êðóæåâî, äëÿ ñîçäàíèÿ êîòîðîãî èñïîëüçîâàëîñü 3-4 òûñÿ÷è íèòåé íà îäíî èçäåëèå. Çàêîíîìåðíî, ÷òî âñåãî ÷åðåç 10 ëåò ýòè ìàíóôàêòóðû ñòàëè îôèöèàëüíûìè ïîñòàâùèêàìè êðóæåâà äëÿ êîðîëåâñêîãî äâîðà. Ýòî òîí÷àéøåå ôèëèãðàííîå êðóæåâî äî ñèõ ïîð ñ÷èòàåòñÿ îáðàçöîâûì è íå ïîääàåòñÿ âåÿíèþ ìîäû.


--------------------------Áåëüãèéñêîå--------------------------------


Áåëüãèéñêèé ãîðîä Áðþããå óæå íåñêîëüêî âåêîâ ÿâëÿåòñÿ ñèíîíèìîì ìàñòåðñêîãî êðóæåâîïëåòåíèÿ. Êðóæåâî çäåñü ñòàëî åäâà ëè íå îñíîâíûì èñòî÷íèêîì äîõîäîâ äëÿ áåäíûõ ñëîåâ íàñåëåíèÿ. Ïðîèçâîäñòâî êðóæåâ íà÷àëî íàáèðàòü îáîðîòû â 1717 ãîäó, êîãäà åïèñêîï Áðþããå Van Susteran ïðåäëîæèë áåäíÿêàì ïîïðàâèòü ñâîå ôèíàíñîâîå ïîëîæåíèå ïîñðåäñòâîì ýòîãî ðåìåñëà. Íàçâàòü èäåþ áëåñòÿùåé áûëî òðóäíî: òðóäîåìêàÿ êðîïîòëèâàÿ ðàáîòà ïðèíîñèëà ñîâñåì íåáîëüøîé äîõîä, íî äðóãîãî âûõîäà ó ëþäåé íå áûëî. Îáó÷àòü íåèìóùèõ ýòîìó èñêóññòâó âçÿëèñü âîëîíòåðêè èç Ñîáðàíèÿ Àïîñòîëüñêèõ Ñåñòåð. Îíè òàê ðüÿíî ïðèíÿëèñü çà ðàáîòó, ÷òî âñêîðå ñìîãëè õîðîøî îòëàäèòü ïðîèçâîäñòâî è äàæå ïîëó÷èòü áîëüøåå ïîìåùåíèå. Ê 1860 ãîäó êîëè÷åñòâî ó÷åíèêîâ ïðåâûñèëî 400 ÷åëîâåê, êðóæåâîïëåòåíèå ðàñöâåëî ïûøíûì öâåòîì, à åãî èñòîðèÿ îáîãàòèëàñü ìíîæåñòâîì äîñåëå íåâèäàííûõ óçîðîâ.
Òîíêîå ëüíÿíîå êðóæåâî èçãîòàâëèâàëîñü ðóêàìè ìàëåíüêèõ äåâî÷åê, âåäü òîëüêî èõ ÷óòêèå ïàëü÷èêè ìîãëè óëîâèòü ìîìåíò, êîãäà íèòêà ñòàíîâèëàñü íóæíîé òîëùèíû.


A 'falling collar' from the Netherlands with Italian needle lace, Reticella or point coupe. It dates to the mid-seventeenth century. From the Rijksmuseum in Amsterdam.


Nicolaes Hasselaer, 17th century, wearing a needle lace collar. From the Rijksmuseum in Amsterdam.




Nicholas Hilliard, Portrait of a Young Man, Probably Robert Devereux (1566-1601), Second Earl of Essex, dated 1588. Metropolitan Museum of Art , NY


Nicholas Hilliard, Portrait of a Woman, 1597. Metropolitan Museum of Art


Painting by the Dutch portraitist Thomas de Keyser, 1596-1667


Irish crochet lace.


Mary Throckmorton, Lady Scudamore, 1632, wearing exotic needlelace. National Portrait Gallery, London


Queen Elizabeth I, Marcus Gheeraerts the Younger (c 1561-1635)


Dress, tape lace with needle-made fillings and machine made insertions and edgings, Belgium, 1900-1910. Source: 75x Lace, Patricia Wardle, Rijksmuseun, Amsterdam


Fuente: Tesoros del Rijksmuseum de Amsterdam, Emile Meijer, Aguilar, 1985


Alonso Sanchez Coello, Retrato de la Infanta Isabella Clara Eugenia con Magdalena Ruiz, sosteniendo un camafeo de Felipe II, 1580 (Foto a color de una de las obras citada en el libro Hispanic Lace and Lace Making)


Michiel Jansz Mierevelt, Retrato de dama. Hacia 1610-1620. Coleccion BBVA


Michiel Jansz. van Mierevelt (1567–1641)
Portrait of Philips Willem (1554-1618), prince of Orange.


Edward Cecil, Viscount Wimbledon, by Michiel Jansz. van Miereveldt (died 1641), given to the National Portrait Gallery, London


Workshop of Michiel Jansz. van Mierevelt
Portrait of Frederik Hendrik (1584-1647), prince of Orange.
Rijksmuseum Amsterdam


Michiel Jansz. van Mierevelt (1567–1641)
Jacob Cats (poet)
Portrait of Jacob Cats (1577-1660).
Jacob Cats, Grand Pensionary of Holland and West Friesland, and Poet.
Rijksmuseum Amsterdam


Michiel Jansz. van Mierevelt
Portrait of a woman
Oil on panel, 113.5 cm x 85 cm
Musee des Beaux-Arts, Lyon


Workshop of or after Michiel Jansz. van Mierevelt (1567, Delft – 1641, idem)
Portret van Prins Philips Willem, prins van Oranje Nassau (1554-1618)
Rijksmuseum Amsterdam


Wybrand de Geest (I) (1592, Leeuwarden – 1661/1665, idem), after Michiel Jansz. van Mierevelt
Portret van Sophia Hedwig von Braunschweig-Wolfensbuttel (1592-1642), echtgenote van Ernst Casimir (1573-1632), graaf van Nassau, stadhouder van Friesland, Groningen en Drenthe
Rijksmuseum Muiderslot


POURBUS, Frans the Younger. Archdukes Albert and Isabella


Detail from a painting of The Marquise d'Aigurandes by F. Drouais, 1759


Elizabeth, Queen of Bohemia, by Michiel Jansz. van Miereveldt (died 1641). See source website for additional information.
Date c. 1623


DYCK, Sir Anthony van
Portrait of a Noble Genoese Lady
1621-27
Oil on canvas, 239 x 170 cm
Musee du Louvre, Paris


GONZALEZ Y SERRANO, Bartolome
Portrait of Margarita Aldobrandini, Duchess of Parma
1610-23
Oil on canvas, 155 x 112 cm
The Hermitage, St. Petersburg


MIEREVELD, Michiel Jansz. van
Portrait of a Woman
1628
Oil on panel, 67 x 56 cm
Wallace Collection, London


POURBUS, Frans the Younger
Portrait of Margaret of Savoy, Duchess of Mantua
1608
Oil on canvas, 207 x 116 cm
The Hermitage, St. Petersburg


Portret Anna de Looper, Abraham Rombouts, 1627 Portret Anna de Looper, Abraham Rombouts, 1627


MIEREVELD, Michiel Jansz. van
Portrait of a Young Woman
1630
Oil on panel, 70 x 58 cm
Kunsthistorisches Museum, Vienna


AVED, Jacques-Andre-Joseph
Madame Crozat
17541
Oil on canvas
Musee Fabre, Montpellier


Anthony van Dyck (1599(1599)–1641(1641))
um 1630
Portrat der Marie-Louise de Tassis


Catherine Killigrew, Lady Jermyn, oil on panel
Date 1614(1614)
Source Scanned from Karen Hearn, ed. Dynasties: Painting in Tudor and Jacobean England 1530-1630.
Author Marcus Gheeaerts the Younger


POURBUS, Frans the Younger
Portrait of a Frenchman
1610-22
Oil on canvas, 61 x 53,3 cm
Art Gallery, New South Wales


A double portrait of Charles I and Henrietta Maria, with Henrietta Maria handing a laurel wreath to the king. 17th century. Coques, Gonzales


DYCK, Sir Anthony van
Portrait of the Princes Palatine Charles-Louis I and his Brother Robert
1637
Oil on canvas, 132 x 152 cm
Musee du Louvre, Paris


HALS, Frans
Portrait of a Woman Holding a Fan
c. 1640
Oil on canvas, 79,8 x 59 cm
National Gallery, London


Collar Áîáèííîå êðóæåâî
Place of origin:Honiton (probably, made)
Date:1630-1640 (made)
Lacemaking developed in England during the 16th century in response to the growth in personal wealth and to changes in fashionable dress. By 1600, bobbin lace was being made domestically throughout the country and professional centres had been established in London, the West Country and the Midlands. The lace for this collar was probably professionally made.


Lace ensemble
Place of origin:England (made)
Devon (probably, made)
Date:ca. 1635 (made)


Èãîëüíîå êðóæåâî


Âîðîòíèê
Place of origin: Vienna (made)
Date: Äàòà: 1879 (designed)


Âîðîòíèê
Place of origin: Belgium (made)
Date: Äàòà: 1630s (made)


Ôëàíäðèÿ ñåðåäèíà 17-ãî âåêà


Jean-Marc Nattier (1685(1685)–1766(1766))
Victoire Louise Marie Therese de France, dite Madame Victoire (1733-1799)
Year 1748(1748) Musee national du Chateau et des Trianons


Jean-Marc Nattier (1685(1685)–1766(1766))
Louise-Marie de France, dite Madame Louise (1737-1787)
Year 1748


DROUAIS, Francois-Hubert
Madame de Pompadour
1763-64
Oil on canvas, 217 x 157 cm
National Gallery, London


Alexander Roslin (1718(1718)–1793(1793))
John Jennings Esq., his Brother and Sister-in-Law
Year 1769


After David Paton
Date
1698 (c.)
Robert Earle of Roxburgh


Brussels bobbin lace cravat possibly made for Louis XIV


Cravat. Ãàëñòóê. Áðþññåëü 1720s


Âîðîòíèê, èãîëüíîå êðóæåâî, 1660-1680, Âåíåöèÿ, Èòàëèÿ


The Emperor Francis, the Empress Maria Theresa and their children in 1756 (detail)
Date 1756
Source The original is located at Musees Trianon
Author Martin Van Mytens


BELLE, Alexis-Simon
Portrait of Louis XV


Íàèáîëåå ïîïóëÿðíûìè òåìàìè äëÿ ðóêîäåëèÿ áûëè ñöåíû èç Âåòõîãî Çàâåòà è àíòè÷íîé ìèôîëîãèè.
England (made)
Date: 1640-1670 (made)


Èãîëüíîå êðóæåâî, 1620-1640, Èòàëèÿ


Èãîëüíîå êðóæåâî, 1620-1640, Èòàëèÿ


Ïëàòîê, èãîëüíîå êðóæåâî, ëåí, 1685-1700, Âåíåöèÿ, Èòàëèÿ


Èãîëüíîå êðóæåâî, 1690-1680-å ãîäû, Âåíåöèÿ


Èãîëüíîå êðóæåâî, 1690-1680-å ãîäû, Âåíåöèÿ


Èòàëèÿ early 17th century (made) íà÷àëî 17 âåêà (ñäåëàíî)
Cutwork and needle lace Cutwork è èãîëüíîå êðóæåâî


Èòàëèÿ early 17th century (made) íà÷àëî 17 âåêà (ñäåëàíî)
Cutwork and needle lace Cutwork è èãîëüíîå êðóæåâî


Èòàëèÿ
1620-1640 Èãîëüíîå êðóæåâî


Èðëàíäèÿ, 1886. Ìîíàñòûðü Poor Clares


Íåçàâåðøåííîå êðóæåâî- âèäíà áóìàãà ñ ðèñóíêîì


Biblia èãîëüíîå êðóæåâî


Biblia èãîëüíîå êðóæåâî, Êèïð, 1886


This is a piece of Irish needle lace. It has a distinctive flat style and an 18th-century pattern, although it actually dates from about 1886


Border
Unknown
ca. 1886


Set of flounces- Íàáîð âîëàíîâ
Place of origin:Bayeux (made)
Date:1867 (made)


Íîñîâîé ïëàòîê
England (made) Àíãëèÿ
second half 19th century (made) âòîðàÿ ïîëîâèíû 19 âåêà


England (made) Àíãëèÿ
Date: Äàòà: second half 19th century (made) âòîðàÿ ïîëîâèíû 19 âåêà


This set of bed hangings was made for the marriage in 1875 of Queen Natalie, the daughter of a Russian colonel, to Milan IV, King of Serbia


Íåçàâåðøåííîå
Burano Lace School Êðóæåâà Áóðàíî øêîëà
ca. 1880 C. 1880
Øêîëà áûëà ñîçäàíà áëàãîäàðÿ áëàãîòâîðèòåëüíûì ïðè÷èíàì è ñ êîðîëåâñêèì ïàòðîíàæåì ïîñëå ñóðîâîé çèìû 1872ãîäà. Âåíåöèàíñêàÿ ëàãóíà çàìåðçëà è îáùèíû, çàâèñÿùèå îò ðûáàëêè áûëè ñèëüíî çàòðîíóòû. Áûëà âîçðîæäåíà øêîëà ìàñòåðñòâà, êîòîðàÿ áûëà â Âåíåöèè êðóïíûì ïðîèçâîäèòåëåì èãîëüíîãî êðóæåâà â 16-ì è 17-ì âåêàõ.


Flounce
Place of origin:Burano (made)
Date:1880s (made)


Ýòà âóàëü èëè øàëü ñî÷åòàåò êðóæåâî ðó÷íîé èãëû è ìîòèâû áîáèííîãî êðóæåâà.
Ðûíîê äëÿ êðóæåâà âñåõ êà÷åñòâ âûðîñ â ñåðåäèíå 19 âåêà. Êðóæåâî ðó÷íîé ðàáîòû áûëî ñèìâîëîì ñòàòóñà, áîãàòñòâà è ïîëîæåíèÿ.  1850 è 1860 ëþäè ñòàëè òðàòèòü äåíüãè â áîëüøèõ êîëè÷åñòâàõ íà ðîñêîøíûå êðóæåâà, êàê ýòî áûëî â 18 âåêå. Øåëêîâûå è âûøèòûå íà ñåòêå êðóæåâà áûëè âåñüìà ìîäíûìè â ïåðâûå ãîäû 19-ãî âåêà. Ïðîèçâîäèòåëè ïðèëàãàþò áîëüøèå óñèëèÿ äëÿ ñîâåðøåíñòâîâàíèÿ è ðàñøèðåíèÿ ïðîìûøëåííîñòè äëÿ óäîâëåòâîðåíèÿ ñïðîñà. Ê ñåðåäèíå 1840-õ ãîäîâ Áðþññåëü âíîâü ñòàíîâèòñÿ âåäóùèì öåíòðîì ìîäû êðóæåâà.


Stole
Burano Lace School
ca. 1900


Stole
Burano Lace School
ca. 1900


Shawl Øàëü. Øàíòèëüè.
Place of origin:Chantilly (probably, made)
Date:1860-1870 (made)
Artist/Maker:Unknown
Materials and Techniques:Silk bobbin lace


Shawl Øàëü. Øàíòèëüè.
Place of origin:Chantilly (probably, made)
Date:1860-1870 (made)




Christening cap
Place of origin:Belgium (lace, made)
England (assembled)
Date:1650-1700 (made)


Flounce Bobbin lace worked in linen thread
Place of origin:Brussels (city) (made)
Date:ca. 1740 (made)


Flounce Bobbin lace worked in linen thread
Place of origin:Brussels (city) (made)
Date:ca. 1740 (made)


Áðþññåëü
1730-1750
Ìàòåðèàëû è ìåòîäû: Bobbin lace Êîêëþøêà êðóæåâî


Áðþññåëü
1730-1750
Ìàòåðèàëû è ìåòîäû: Bobbin lace Êîêëþøêà êðóæåâî


old picture , unknown people who made this piece for the Queen Maria Hendrikka of the belgians; Royal Collection ca. 1878


Apron
Place of origin:Brussels (city) (made)
Date:mid 18th century (made)


Èñòî÷íèê



Ðóáðèêè:  ÂÈÍÒÀÆ.

Ìàðèíà_Äàíåëÿí   îáðàòèòüñÿ ïî èìåíè Ñóááîòà, 01 Ìàÿ 2010 ã. 16:02 (ññûëêà)
ïðîñòî íåò ñëîâ, ÊÐÀÑÎÒÀ!!!!!!!
Ñïàñèáî!!!
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Òàòüÿíà975   îáðàòèòüñÿ ïî èìåíè Ñóááîòà, 01 Ìàÿ 2010 ã. 16:55 (ññûëêà)
ß â âîñòîðãå!
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