Rasa Nembah

For my upcoming project, my second 'Journey to Batik', I'm exploring how Batik inspires local artists on Java by asking them to make a local motif in their own style and technique. 

In some regions the traditional pattern is still very clearly found in the Batiks being made. Like the 'Megamendung' from Cirebon. When you spot these abstract clouds on a Batik you can surely say its made in Cirebon. But there are also, maybe most of patterns used today in Batik that changed in location, meaning or evolved into a new pattern. 

One popular motif that is well known outside of Indonesia is the 'Parang' motif. A 'Parang' is a type of knife and the motif is also known as the broken knife pattern. If people here (in the Netherlands) see a 'Parang' motif they will say "That is real Batik!". Even if it is clearly printed. 

The brown and white patterns that is repeated diagonal on the cloths is for most a pattern they would like to wear or at least own a cloth with it. But the thing is with the 'Parang' motif that it use to be exclusive for royalty. The royalty in Yogyakarta and Surakarta (Solo) had a motif that was only intended for them. In a still closed section of the Kraton (the Sultan Palace) in Yogyakarta you can see these Batiks for the royal family, but it is forbidden to take pictures. 

Later the 'Parang' motif was used by other families to show their wealth an high born status. Different families got there own 'Parang' motifs and today at weddings the families will still wear their owns motif. Everyone will wear the same pattern and its nice if you see pictures of the families standing next to the wedding couple forming almost one repeating pattern together. 

Batik fashion hero Iwan Tirta introduced 'Parang' in the nineties as high fashion. He made dresses and shirts with the motif enlarged on it or mixed between bright flower patterns. Beautiful pieces about which the marketing people writes today: "'Lereng' symbolizes fertility, the desire for prosperity, determination, to have courage to do what is important to both the nation and the people." 

Who doesn't want to get all that from a dress!

At the kraton in Yogyakarta

The motif this post is about is a well known pattern on all of Java. But what the origin of pattern is, is not so clear. 'Kawung' is a Batik motif made mostly in the colours brown, black and white. The patterns is a repetition of oval shaped circles. It is a simplistic pattern, nowadays made with cap, which makes it a very fast pattern as well. If you look closely you can read the pattern in two ways, one of four oval shaped forming a one whole or one circle with a diamond shape in its center. 

It is thought to be a royal motif too. At the kraton in Yogyakarta there is a picture of a woman wearing a sarong with 'Kawung'. The motif is also linked to the Sultanate of Mataram, it was the last major independent Javanese kingdom before the island was colonised by the Dutch. Yet 'Kawung' i found on temples from the 13th century on Java. So it much be older. 

When I travelled on Java in 2009 I would ask at ever Batik shop: What pattern is typical for here? And without doubt they would pull out the 'Kawung' pattern. I don't know if it is because they thought it is typical for their city or that it merely the most popular motif. But it surprised me and made me wonder about this pattern. 

'Kawung' was being made everywhere I went. I spotted it in Yogyakarta, Solo, Pekalongan and Semarang. It was used traditionally as one pattern covering the cloth or to fill up parts in the design. 

in Pekalongan

In Yogyakarta, Kawung made with cap

In Semarang

The 'Kawung' motif symbolizes four abilities one must possess to be a good person. They are represented both in the motif and in the use of colour. The colours stand for character traits, but also for the wind directions. Like a moral compass. The shape that is repeated is also like a compass, a wind rose even, and it would explain why I'm fond of this pattern. 

Putih, the colour black or blue is the North. It stands for tranquility, peace, firmness and also for being bold.

Hitam, the colour white is the East where the Sunsets. Its a new beginning and stands for purity and honesty.

Merah, the colour red or brown is the South. It stands for strength and also anger. 

Kuning, the colour yellow, is the West. The full circle is made, grace and knowledge are on your side.

This four points of the 'Kawung' pattern explain that you live your life meaningful and even tells you, you are the perfect man. Even a god. It is thought to be a pattern of the times that sultans were representatives of the gods and therefor were gods themselves. 

But it is not necessary a motif for demigods. It can just represent the way you have to live. Also the making of the motif could have been part of reaching for the devine. When this pattern was first being made on a cloth, it wasn't made with cap but with canting. If you have to repeat the same pattern over and over, you will go through the different stages as mentioned in the description of the colours. The four abilities or character traits. You will have to stay focussed, have to make it neatly. You have to be patient, but you will get overwhelmed, maybe even exhausted or angry. But as you get closer to reaching the end you will enjoy this victory, calm and with a little smile. And the final cloth will be proof you possess all four. 

In Pekalongan, Batik with 'Kawung' together with 'Parang'

Also in Yogyakarta

But how did they come up with the 'Kawung'? For this question are also many answers. First there is the name 'Kawung'. It could have been taken from 'Kwangwung'. A 'Kwangwung' is a Rhinoceros beetle. This kind has a black head with the typical rhino-horn on it and a nice shiny brown body that is oval shaped. They are very popular on many places in Asia and used for gambling fights. Since the male Rhinoceros beetles naturally have the tendency to fight each other for the attention of females, they are the ones used for battle. But is this angry, little, fighting beetle the base for the 'Kawung' motif?
Another one is that the ovals are abstract leaves of the Lotus or the scale of a fish, but in my opinion that is just to easy.
The one I really like is the fruit of the Sugar Palm, or Enau, or Arenga pinnata. If you split open the 'buah kolang-kaling' it will show the white sweet soft fruits, protected by a yellow skin and surrounded by a brown bark. How it is shaped is very close to the 'Kawung motif' and would give also a nice extra explanation of its meaning.
The sweet core is hidden by a thick, hard layer. Showing sweetness, friendliness comes after the tough, strict approach. Or you have to go through the bad before reaching the good. Also the whole Sugar Palm is useful and the fruits gives fortune. So not a bad fruit to put on your cloths.

Clockwise: Shibori workshop in Rotterdam (photo from Facebook), Sashiko on Google, Tiles at Mariaplaats in Utrecht (NL),  Stained-glass-window at Castle de Haar designed by Pierre Cuypers, African Kaftan at TropenMuseum in Amsterdam (NL), fruit of a Sugar Palm

But there is more to 'Kawung'.
This motif is not only a motif in Batik, but in many different art forms. It is not called 'Kawung', yet the pattern is the same. I started spotting 'Kawung' in African and Japanese cloths, in tiles and even in bricks walls. I realized that the motif is maybe not designed, but maybe just a logical result of technique. And properly not the canting technique of Batik. I realized this when I saw a picture of a Shibori workshop. The cloth was put folded and bound into an Indigo dye. When it was unfolded a perfect 'Kawung' pattern in Indigo was visible on the cloth.
There is a logic in the pattern that makes it easy to get invented. It happens by placing bricks or tiles in a certain way. It happens when a suface is divided in a certain way and it happens when a cloth is folded in a certain way. Patterns are based on natural phenomena and natural phenomena form the base of ever pattern. So another nice one for the Pattern vs. Technique debate and a quest for answers during my stay on Java. later this year.

If you have a nice theory to add about 'Kawung', please feel free to share it in a comment below this post!

Read more:

- 'Indonesian Batik Motif - Kawung Motif' on artscraftindonesia.com

- 'Batik Kawung' on batikdan.blogspot.nl (in Bahasa Indonesia)

- Previous blogpost 'Water lilies & table linen' on De reis naar Batik in which the lotus, or Water Lily is drawn as a 'Kawung'-like pattern

Notes:

* 'Lereng Parang Kupu Teksing' by Iwan Tirta on iwantirtabatik.com

** all photos of 'Batik Kawung' are made by my during my first 'Journey to Batik' in 2009

The journey to Batik - Introducing Krisna Murti

Video still 'Paradise Under Construction'. Video by Krisna Murti. Dance by Gita Kinathi

Photo of video installation 'Wayang Machine' by Krisna Murti  

For my upcoming project ''The journey to Batik' I'm very fortunate to collaborate with inspiring artists, who I met in 2009 during my first journey to Batik and who I haven't met in person yet, but who help me a great deal during my stay there. One of these artists is Krisna Murti.
I was in contact with him before I travelled to Java the first time and with his guidance and great help he made my journey a very great one. When I arrived in Yogyakarta I felt kind of lost. I knew what I wanted to do and see, real Batik Tulis, but how to do it was still a mystery. It was my first journey alone and I was under the impression that I maybe wasn't able to do this alone. I contacted Krisna about my troubles. He was at that time in the Netherlands preparing for the exhibition 'Beyond the Dutch' so he could visit me, but I introduced me to Denny Antyo, a student of his at the Art Academy and great guide for Yogyakarta. We kept in contact during my travels and later followed each others work on Facebook.
When I started to think about how I can make a follow up of my first journey to Batik, I realized that a really would love to collaborate with the artists I met. I wanted to combine to Art of Batik with the Modern Art being made on Java, which for me already are really connected.
One morning I woke up with these moving images in my head and I knew what I was going to do.
'The journey to Batik'-project is a live dance performance with a video-background and a video-work. Batik as a technique has been under pressure for a long time, but I noticed that in the Indonesian culture & art it is very alive. The philosophy of Batik as I call it, the language of the patterns, is used in many Art forms from painting to tattoo’s, in dance and fashion. The journey, the video, will show how the patterns of Batik are being used & created by different creatives on Java in different ways. The video will serve as background for the dancer.
When I got the idea, I first contacted Krisna Murti. His video-works are absolutely great and his experience is very welcome to realize my dream.





Dear Krisna Murti, who are you? And what do you make as an artist?

I am video artist. I use video as my media for my artistic expression.

If you think about Batik, what is the first thing you think about?

Batik is an art process: painting, dyeing and the symbolic meaning & purpose to wear and use Batik for various activities.

Paksi Naga Liman Batik Motif from Cirebon

Do you have a favorite Batik pattern or motif? 

Yes, my favorite pattern is from Cirebon. It is called "Paksi Naga Liman". In this Batik motif 'Paksi Naga Liman' a combination of animals is shown. A Paksi or Garuda  (eagle), an Dragon or Lion and a Liman (elephant). Paksi Naga Liman symbolizes Royal power and represents the air, Paksi, the sea, Naga and the land, Liman.

Photo of video installation 'Wayang Machine' by Krisna Murti  

Photo by Krisna Murti

Do you wear Batik? And if yes, when do you wear it?

Yes of course I wear Batik. I have a collection. I always wear a Batik shirt to important events like a wedding.

What is the most beautiful place on Java for you? And why?

I like Yogyakarta city. The city had a nice combining of modern and traditional culture. (Krisna teaches at the Institute of the Arts in Yogyakarta)

And last, do you maybe have a picture of you wearing Batik?

See photo above of Krisna Murti in a Javanese dance costume 'Pergiwati' on a cover

More about Krisna Murti:
- Article "Video (e)scape into a dream"
- His work is now on display during ART|JOG|9 from 27th May till 27 June 2016 in Yogyakarta and at the National Gallery in Jakarta

Turn Of A Century

One of my favorite pages of the book 'Batik, Traditional Textiles of Indonesia, from the Rudolf Smend & Donald Harper Collections'. What a Batik Statement! A Batiked Portrait! 

Signed 'Be Jan Khing Banjoemas 26 juni 1931'

Don't know what it is with the end of the 19th century and the beginning of the 20th century that makes it so captivating for me. Maybe it is many things, maybe too many things. Maybe it is the fast progress the world was in? Everything was in development, yet the world was still wild and unexplored somehow. Discoveries were made every day. It was the beginning of entrepreneurship as we admire today. Artists practiced many disciplines at once. Ranging from free art to applied art without using Design as terminology. 

Walking through Jan Toorop's overview at Gemeentemuseum Den Haag, I was in awe of the body of work, the quality of it and the different techniques he mastered. He was so talented and it's inspiring to see how he could use this talent in so many ways while keeping a true and clear person style. 

In another part of the museum were the always lovely 'Edith' by Schiele and the fierce 'Judith' by Klimt. Walking through an exhibition I was going to skip, my head filled with so many great pieces from the beginning of the 20th century, my eye fell on a dark painting of a wilted Sunflower. A work by Wojciech Weiss from 1905. 

This turn of the century was a time in which life began to move faster and marked the beginning of the times we live in now. The wheel kept turning and we spinnend out of controle. We now know the costs of this development. The western world on his high horse destructed as much as it created. I now wonder if we can stop the wheels from turning, I envy the artists that lived more then a century ago. The endless possibilities, the dreams of far away exotic lands and the developments of new technology. While Van Gogh was painting his Sunflowers in Arles, the Batik industry overseas flourished.

In Januari I visited Galerie Smend in Köln (Germany). I saw some pictures online, but that hadn't prepared me for seeing so many high quality Batiks from around 1900s. It was a selection of the Batiks featured in the new book 'Batik, Traditional Textiles of Indonesia from the Rudolf Smend & Donald Harper Collections'. I believe there were about 15 Batiks on display. How lucky these ladies must have been, rocking these sarongs while drinken tea in their backyards. And what a pity it is that today Batik Tulis isn't worn like that because it is considered such a luxurious good. It was a luxurious good then, so you can imagine how high that horse was.

The Batiks in the book are of a wide range of marker and customer. Chines, Arabic and Indo-European workshops are mentioned and the question rises; where there also many Indonesian workshop that altered their designs for a different market?

The Batiks in the book with no workshop specification are more traditional Javanese. So concluded could be that every workshop worked for their specific target group. However these target groups are of such a wide variety that it is sometimes hard to tell for who it was or by whom it was made. 

Details from Sarong, probably made in an Arabic workshop in Pekalongan, early 20th century

At Galerie Smend

There are two Batiks in the book that are "probably made in an Arabic workshop". The unsigned kains show a city view with mosques & cars and a rural view with bridges around a house. The colour use doesn't differ much from Batik Belanda style that was populair in Pekalongan. The big difference are the faces. All people and even some of the animals have abstract flower like faces. This is called 'Aniconism'. 'Aniconism' is the absence of material representations of the natural and supernatural world in various cultures, particularly in the monotheistic Abrahamic religions. It may extend from only God and deities to saint characters, all living beings, and everything that exists.

This is practiced in many different religions, but best known in Sunnism (Sunni Islam). And 90 procent of the Indonesian population practices that religion. 

In the text in the book is also mentioned that there were 130 batik workshops run by members of the Arab Peranakan in the late 1920s and that in Pekalongan many batik workshops were run by Indonesian Arabs. A little wikipedia to help us out: "Arab Indonesians are citizens of Indonesia of Arab, mainly Hadrami, descent as well as would include those of Arab descent from other Middle Eastern Arabic speaking nations. Restricted under Dutch East Indies' law until 1919, the community elites later gained economic power through real estate investment and trading. Currently found mainly in Java especially West Java, they are almost all Muslims.'"

Apparently this group consist of Indonesians with roots in the Middle Easts, roots in both China and the Middle East and new comers from the Middle East. This whole community was forbidden till 1919 to join certain schools, were restricted from traveling and had to settle in special Arab Kampoengs. 

I'm familiar with what I though were Batik for and by Arabic people with checkered motifs in blueish black filled with arabic inscriptions and symbol. But thats only one type of Batik profiled for a group that varies in descent just as much it varies with personal taste. The Batiks in the book are of such a different style that it makes you wonder if Peranakan Arab ordered a Batik in Pekalongan in which she wanted two worlds combined, but the makers had to be creative with the faces. Or was it a Indo-European who ordered a Batik in her taste at a Arab workshop and the markers had to make something they normally wouldn't make. Interesting stuff that can make you dream and wonder all afternoon long. 

Sarong, made in an Indo-European workshop, Pesisir area, 1870-1880 

The cloth is decorated with the tree of life, commonly found in chintz textiles from India's Coromandel coast and were populair with Indo-European women in the East Indies.

At Galerie Smend

Details of Ceremonial hanging made in a Chinese workshop, 19th-20th century. Look at those beautiful roosters!  This hanging was probably used to hang above the nuptial bed in a Peranakan home. The cloth indicates a wish for many sons.

At Galerie Smend

Detail of sarong, made in a Chinese workshop, Pesisir area, 19th-20th century.  On the Batik a so called zoo design, 'drintin'. Animals are placed among the floating seaweed pattern, 'ganggeng'. Of course I made a picture of the most unclear animal of the bunch...

At Galerie Smend

Details of Sarong Buketan, signed "M. Coenraad. Pajitan", Pacitan, 1890-1900. 

The Coenraad sister opened a batik workshop in Pacitan in southwestern East Java around 1880. They are known for their indigo blue with sogan brown floral motifs. The chrysanthemums (not in this photo) indicate it was for a Chinese customer. 

At Galerie Smend

Details of Sarong Buketan, signed "E. Coenraad. Pajitan", Pacitan, ca. 1900-1910. 

An unusual Batik for the Coenraad sisters, which I very much liked. The Art Nouveau style of the flowers, the bright red, the wonderful pattern on the background.  

This was part of one lucky girls trousseau!

At Galerie Smend

Detail of Sarong Buketan, signed "E v Zuylen", made in  Mrs Eliza van Zuylen's (1863-1947) workshop, Pekalongan, ca. 1920-1930

At Galerie Smend

The typical Van Zuylen bird. Detail of Kain Buketan, signed "E v Zuylen", made in Mrs Eliza van Zuylen's workshop, ca. 1930. My photo is somehow bright red, but in the book it is much darker. In the text is noted that the dark colours indicate that this cloth was suitable for an older woman.

At Galerie Smend

Details from sarong from Lasem or Semarang, second half 19th century. 

At Galerie Smend

Detail of sarong made in the Masina family workshop, Trusmi, near Cirebon, late 19th century. Wheras in Central Java a sarong is considered to be an everyday garment for commoners, in West Java it is also worn by the nobility. The motif on this sarong indicate that is was made for a member of the Kesepuhan or Kanoman Sultanates of Cirebon. Admire the background, it is flawless!

At Galerie Smend

Details of sarong dlorong buketan, signed "Nja Lie Boen in Koedoes", made by Njonja Lie Boen In, Kudus, 1920s. Lie Boen batik production was rather limited (which I can image drawing those fine lines in wax) and her clients were mainly members of her extended family.

At Galerie Smend

Sarong, made in an Indo-European workshop, Pesisir area, ca. 1860. 

Very clearly based on Indian chintz from the 17th and 18th century.

At Galerie Smend

The collection of Batik shown in the book 'Batik, Traditional Textiles of Indonesia from the Rudolf Smend & Donald Harper Collections' and of which I could observe a selection up close, shows that Batik at the turn of the 19th century, where made by and for a wide range of people who used this technique to express their wide range of interests, beliefs and roots.

And I hope that during my visit to Java later this year I can still find theses different styles and expressions in a cloth that was used by so many to set their mark, to express who they were and what they stand for. And just wanted to look beautiful while doing all that!

For more:

- Website of Galerie Smend www.smend.de

- You can order the book 'Batik, Traditional Textiles of Indonesia from the Rudolf Smend & Donald Harper  Collections'  on the website of Galerie Smend or at Tuttle Publishing

The journey to Batik

First let me start by wishing you a great Hari Kartini! May all your equal rights come true!
Seven years ago I started this blog, my journey to Batik. I was preparing a literal journey to visit different places on Java and to learn as much as possible about Batik. The journey didn't stop after my visit in October 2009. I continued on this blog sharing my new found knowledge and the great stuff I found about Batik. I gathered as much as I could here in the Netherlands and in the process learned a great deal about Dutch history and culture.
Every 7 years is a new cycle and I remember being really bumped out I had to celebrate the 5th and 6th anniversary of my blog without being able to return to Java. Because I don't believe in coincidence, but do believe in synchronicity, I think it is really special and it is the perfect moment to announce my second journey to Batik.
My first post on this blog was my announcement on 21 April 2009 of my upcoming journey to Java in October. I added a picture of my bird, a Ricebird or Java sparrow, who was my muze for almost 10 years. I called the little bird Batik because of his roots in Indonesia. At that time I wasn't busy with Batik yet and I still only made paintings on paper.
My feathery friend changed a lot. I got him months before my graduation and he somehow represented the start of my art career. I left my love or better said, I stayed where I was and I chose to stay with my bird and a standing lamp (Ask me if you meet me).
In the beginning of 2007 I made my first ricecarpet which I named 'Ricebird'. Experimenting with patterns in my temporary carpets, wallpaper installations and works on paper made me want to explore outside of the Western artworld. I started looking at Persian carpets, different folk arts, including Dutch ones and Batik. I was a free artist now and the set of rules given by the teachers of the Art Academy were no longer rules, but guidelines.
Batik (the Indonesian fabric) was already a part of my life for many years, maybe always. My grandparents made their first journey to Indonesia in the seventies and I grew up surrounded by Batik fabrics, Wayang dolls and wood carvings. It was much later that I learned that not every Dutch person was surrounded with Indonesian things. I always found it logical that we were, because of our shared history and heritage.
At the end of 2008, living with my two wonderful men, the bird & the man, I shared my thoughts and quest with Fonds BKVB (now Mondriaan Fonds); how to communicate with the patterns I make. I told them I wanted to visit Java and learn Batik. At that time I was still focussed on learning the technique. They thought it was a good idea and I got the grant. I started making my arrangements and in October 2009 I visited Java for one month. When I arrived, on the 6th of October, I was told: Why weren't you here on the 2nd if you are here for Batik? I wasn't there because of my birthday and the birthday the next day of my father. It turned out Batik was officially the UNESCO Heritage of Indonesia and they celebrated that on the 2nd of October. Since 2009 my birthday is also the Batik Day of Indonesia.
I learned during my one month visit that there was much difference between mastering the technique and the philosophy of Batik. The technique is passed on many generations from mother to daughter and I realized I would not be mastering this skill like girls that started at the age of 8 with their mother, Master of the Artform, as their teacher. I was welcome at many places to return and learn, but when I got back in the Netherlands a lot happend. And it was just not possible for me to go back.
Because I couldn't return, I started focussing on what I could learn here. It turned out I could learn a great deal. Especially about the philosophy of Batik, the language of the symbols and colours. This philosophy was what I was missing in my work and with Batik I learned to create symbols and patterns in my own technique.
After years with different projects around temporary carpets and installations, I decided to focus this year on Batik again. Also because by the end of this year I will be working as an artist for 10 years and my bird would have been in my life 10 years. The saddest thing happend and I'm still a recovering under cover over lover, recovering from a love I can't get over, as Erykah Badu would sing it. Our sweet friend, my muze, my inspiration passed away 1 February.
At first I thought, I can't dedicate this year to Batik now, but I realized that there is no better way to honor my little bird and his influence on my work.
This year is a new beginning in many ways. I live in a new city. I'm making a new website so you can see what I made these past 10 years and my blog will be still about Batik, always, but there will be more room for my work, about what inspired and influenced it.
In September I will be traveling to Java to make a project about the wonderful art of Batik. I'm going to collaborate with different artists I met there in 2009 and online. I still have to prepare a lot, but I will keep you posted through my blog and if you already want to know more, please send me an email sabine{at}sabinebolk.nl.

                                                                                                 **

* Batik Statement 'The rise of Batik' made in January in our new garden. I'm wearing layers of fabrics Batik and Batik-inspired. In my right hand my own Batik from Jeruk, in my left a Batik from Lasem 
** Me in front of my own Batik. Designed by me, made in Jeruk.

Firm Lady

Such wonderful news today, I have been captivated by it all day. It sounds like a treasure hunt, the researches themselves say its like finding something in a hidden room, but it is even better.
In August 2014 divers found textile near a known ship wreck in the Wadden Sea near Texel in The Netherlands. Among the textile finds are a near perfect silk dress, an embroidered etui and never worn stockings. The spectacular news of the find was kept secret till now, so researches had time to explore and make sure what the find was. It now turns out that the ship wreck is dated to be built around 1600. The ship is made of boxwood and by using the tree rings they are pretty sure about this dating. Among the finds is a Jacobs staff, a tool for navigation, with the date '1636' written on it. So these clothing found by the divers are from beginning of the 17th century. That means they were laying on the bottom of the sea for 400 years. One of the divers says in a clip online: "Normally you only read history and now we added something to it".

These two fragments of fabric were found, both embroidered and very well preserved, on the bottom of the sea. Stills from trailer of the exhibition 'Garde Robe'

I can't believe it. I think they took their sweet time coming out with the date because: What?!
I was at a lecture in the Rijksmuseum last year and a researcher specialist in Silk from China kinda frustrated explained that they didn't really know what the designs looked like, because weren't any left. So I wonder how she feels about this find. Maybe there is still hope in the sea near China...
The ship probably got covered very quickly by sand and therefor the cargo is still intact near the ship. This makes it an unique find, next to the well preserved textiles of course. They found crates with Mastic (a kind of resin), well smelling things from Turkey of Greece, pottery from Italy and a silver goblet. This collection of objets gives a very interesting insight in this part of history.

The Silk Damast woven dress from begin 17th century

The high light of the find is a Silk Damast woven dress. The pattern is still very visible from what I can tell on the photos. The dress was probably one colour and probably red. The linen inside of the dress had vanished like the pages of an also found bookcover. Only the leather outside of the book is preserved. It gave the researches a good clue to whom these luxury goods belonged. They think it is  from/for royalty of the House of Stuart. And they think it belong to one firm lady, based of the size of the clothing which has all the same size.

Embroidered etui from begin 17th century

Some of the finds are now on display till 16 May in Museum Kaap Skil on Vlieland.
After the exhibition the objects go to an archaeological center in Noord-Holland for further research. I will try to visit and share some more here.

Read and see more on:
- www.kaapskil.nl/garde-robe
-www.dutchnews.nl (in English)
- www.uva.nl
- Pdf publication "Onderwater­ archeologie op de Rede van Texel"

Here some things to put the finds above into historical context though other objects. And to show how well preserved the textiles are:

Painting 'Dutch ships at the Rede of Texel' by Ludolf Bakhuysen

From 1671

Collection Rijksmuseum

Engraving of 'Elegant Lady' by Adriaen Matham 

From 1619 - 1652

Collection Rijksmuseum

Part of jacket made in England

Linen embroidered with coloured silk, silver and silver-gilt thread

From 1620-1640 

Collection V&A

Band of lace made in England

Needle lace, worked in human hair, with thicker outlines possibly in horsehair

From ca. 1640 - ca. 1680 (made)

Collection V&A