Rarely do even identifiable silk embroiderers at the turn of the modern era present themselves with an extensive œuvre. The absence of signatures makes it difficult to clearly identify their works. This also applies to the court embroiderer of Cardinal Albrecht of Brandenburg, Hans Plock (ca. 1490-1570), whose life and works are nevertheless documented by autobiographical notes, invoices and the so-called Aschaffenburg Codex. However, due to a hidden signature and date, only the sculpturally worked figures on the wings of the pearl altar for the Hallesche Heiltum from 1522, now preserved in Nelahozeves (Czech Republic), can be securely credited to Hans Plock. In their technical construction and material illusionism, these embroideries stand out clearly from other groups of relief embroidery from the early 16th century. At the same time, the specific technical and artistic characteristics of the figures find models and apparently also imitators in sculptural textiles in other places, all of which are also connected to Plock’s life. Against this background, a corpus of works can be discerned that was created over several decades and probably until shortly before Plock’s death. Each have similar technical characteristics, whilst also reflecting contemporary fashions and celebrating the material illusionism that was evidently typical of this artist.
Dr. Evelin Wetter is curator at the Abegg-Stiftung in Riggisberg, Switzerland, and honorary professor at the Institute for Art History at Leipzig University. Her research focuses on pictorial and decorative arts in the Middle Ages and Early Modern period. Her books include Böhmische Bildstickerei um 1400. Die Stiftungen in Trient, Brandenburg und Danzig (2001); Objekt, Überlieferung und Narrativ. Spätmittelalterliche Goldschmiedekunst im historischen Königreich Ungarn (2011). She is co-author of Die Krone der Hildegard von Bingen (2019) and co-editor of The Ebroidered Altarpiece from El Burgo de Osma (2023). Her most recent exhibition ‘The deceived eye. Textile effects and their simulation’ (Abegg-Stiftung, April–November 2024) is accompanied by the collective volume Textilien im Textil. Abbild, Nachbildung, Trompe-l’œil (2024).
Organised by Dr Tom Nickson, The Courtauld, as part of the Medieval Work-in-Progress Series.
