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Agnes Sorel: Mistress of Karel V and Grace of the Royal Court, 1847
About the Item
Title: "Agnes Sorel: Grace of the Royal Court"
Description: This print depicts Agnes Sorel, famously known as the chief mistress of King Charles VII of France and a noted beauty of her time. She is portrayed with an air of elegance and grace that befits her reputation as a figure of significant influence within the French royal court.
Agnes is attired in a luxurious blue gown that drapes gracefully to the floor, the fabric catching the light and emphasizing the richness of the material. The gown has a deep V-neckline, which is accentuated with a contrasting red inset, and the bodice is cinched at the waist, highlighting the fashion of the era. The long, flowing sleeves are indicative of the opulence associated with her position.
Over her gown, she wears a dark fur-trimmed cloak, which is lined with a patterned fabric, adding a layer of complexity and nobility to her attire. The cloak is fastened at the shoulders, leaving her hands free, and is trimmed with a golden border that complements the gown's color palette.
Her hair is styled in a manner typical of the high-status women of the time, with a headdress that includes a hennin—a tall, conical hat that was a hallmark of 15th-century fashion. The headdress is also trimmed with gold, coordinating with the rest of her outfit.
Agnes's expression is serene, with a slight smile, and her hands are clasped gently in front of her, a gesture that conveys both modesty and confidence. Her poise and demeanor, combined with her sumptuous dress, encapsulate the essence of the sophistication and cultural refinement that characterized the French court during the period.
The colors have a nice glow over them. Historically, egg whites, known as glair, and sometimes egg yolk were indeed used in illumination and painting, particularly in manuscripts, to give colors a brighter appearance and to add a sheen or gloss to the work. This technique was quite common during the Middle Ages and into the Renaissance.
Egg whites can be applied as a varnish over pigments to enhance their brightness and to protect the colors. This application could make the colors appear more vivid and also add a slight glossy sheen to the surface of the image.
Egg yolk, on the other hand, was commonly used as a binding agent in paint. It forms the basis of tempera paint, a medium that was widely used before the advent of oil painting. Egg yolk helps to create a durable and long-lasting color that adheres well to various surfaces.
In the context of the print from 1847, it's less likely that egg whites or yolks were used directly on the print, as by that time, commercial printing processes would have been more advanced and less reliant on such manual methods. However, if this print is a representation of an earlier style or is meant to mimic the appearance of hand-painted manuscripts, the original artists might have employed techniques or materials that gave a similar effect to those achieved with egg-based binders and varnishes.
- Dimensions:Height: 10.63 in (27 cm)Width: 7.09 in (18 cm)Depth: 0 in (0.02 mm)
- Materials and Techniques:
- Period:
- Date of Manufacture:1847
- Condition:Good. Overal very light toning and light soiling but the image itself clean and hand-colored almost 200 years ago and still in expliciet colors. Aged paper with typically warm, yellowish-brown hue, mostly around the edges. Study the image carefully.
- Seller Location:Langweer, NL
- Reference Number:Seller: BG-13635-471stDibs: LU3054337894062
About the Seller
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- ShippingRetrieving quote...Shipping from: Langweer, Netherlands
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In the context of the print from 1847, it's less likely that egg whites or yolks were used directly on the print, as by that time, commercial printing processes would have been more advanced and less reliant on such manual methods. However, if this print is a representation of an earlier style or is meant to mimic the appearance of hand-painted manuscripts...
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