John Sitsylt, the Heraldic Knight in an Original Hand-Colored Lithograph of 1847

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About the Item

Title: "John Sitsylt, the Heraldic Knight: An Illustrated Plate from 'Costume du Moyen Âge'" Description: This 19th-century lithograph, part of the "Costume du Moyen Âge" collection, displays John Sitsylt, a knight garbed in the elaborate heraldic tradition. His armor, a mix of mail and plate, is indicative of the era's military attire, designed for both protection and mobility. The surcoat worn over his armor features a blue and gold striped pattern, each stripe bearing a lock motif, possibly signifying his house or the lord he serves. The same pattern is echoed on the large shield he carries, a common practice to help identify knights on the battlefield. He stands holding a tall, checkered flag with the same heraldic locks, which may represent his role as a standard-bearer, a position of honor and significance in medieval warfare. The flag's design mirrors the pattern on his surcoat and shield, reinforcing the importance of heraldic symbols in establishing identity and allegiance. His helmet, a simple yet effective design, allows for visibility while protecting his head. The red and white flowing cape adds a touch of regality and distinction, highlighting his status. His posture, with one hand on the shield and the other gripping the flagpole, is a stance of readiness and pride. The attention to detail in the lithograph is meticulous, from the chainmail's texture to the fabric's folds, capturing the material's essence. It tells a story of medieval chivalry, the significance of heraldry, and the knight's esteemed position within the social and military hierarchy of the Middle Ages. It is a window into the past, portraying the knight not just as a warrior, but as a symbol of his time, adorned with the emblems of his heritage and duty. This is an illustration of a soldier from Venice, known as a "Soldat Vénitien." The image is likely from a historical or military costume book, detailing the dress and equipment of various figures throughout history. The soldier is depicted wearing a conical helmet with a protective nose guard, common in some European regions during the medieval period. His attire is elaborate, featuring a patterned tunic with what appears to be embroidered or woven designs, possibly representing his rank, unit, or city-state allegiance. The tunic is worn over a suit of armor, with visible chainmail at the joints for flexibility. In his left hand, he carries a tall pike or lance, a weapon that was particularly effective in formation against cavalry charges. The flag he holds in his right hand is a distinguishing feature, with its specific emblems and color likely signifying his affiliation. The fact that he carries a flag might suggest he holds a position of some significance, such as a standard-bearer, which was both an honor and a target for enemy forces. The soldier's stern facial expression, his posture, and the direction of his gaze all contribute to a sense of solemn duty and readiness. The illustration is highly detailed, capturing the textures of the fabrics and materials, which helps to provide insight into thetechniques and styles of the period. The use of vibrant colors in the flag and tunic contrasts with the more subdued tones of his armor, highlighting the importance of heraldry and visual identification on the battlefield. This kind of detailed illustration serves as a valuable resource for historians, reenactors, and enthusiasts interested in the military and cultural history of Venice and the broader context of European warfare. It's a snapshot of the past, bringing to life the appearance and equipment of a soldier who might have served in the Venetian military forces. 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:
Paper
Period:
1840-1849
Date of Manufacture:
1847
Condition:
Good. Overal 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 images carefully.
Seller Location:
Langweer, NL
Reference Number:
Seller: BG-13635-1341stDibs: LU3054337929252

$158 Sale Price

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