|ANNE WANNER'S Textiles in History / book reviews|
|Book reviews -
|title: West European applied Arts in
the 16th - 18th century, from the Hermitage Collection
author: N. Biriukova (tapestry), T. Volchkova (fabrics), T. Kosourova (embroidery) and others
text in Russian and English
year: St. Petersburg 1996 pages: 142 illustrations: coloured plates in great number
|Vestment with satin-stitch , embroidery in gold and silk threads, France, late 17th c. Inv.Nr.T3815||
Embroidery on crimson velvet with silver threads and silk, in gold-green shades, Italy, late 16th c. Inv.Nr.T2628
|Title: Textile Kunst aus Tausend Jahren,
Meisterwerke im Schnuetgen-Museum, Koeln
author: Gudrun Sporbeck, Photographs by Thomas Zwillinger
year: 1996, text in German, pages: 79, illustrations: 35 most in colour, Koeln
from cross orphrey
|Title: Faszination in Seide, Gold
Benediktinerstift Admont, barocke Sakralstickereien im kunsthistorischen Museum
author: Dr Christl Eger
year: 1996, pages: 23, Illustrations: 15 black and white, 4 in colour, ISBN: no number
text in German
Vestments embroidered by
Benno Haan and exhibited at the Abbey of Admont:
In November 1996, there was a colloquium mainly on the conservation of liturgical textiles, at the Abbey of Admont. The papers and discussions will be published and can be ordered from: Benediktinerstift, Historische Sakraltextilien, A-8911 Admont 1
|Title of the exhibition: Samplers 29
April - 31 August 1997
Octagon, Fitzwilliam Museum, Trumpington Street, Cambridge
Opening times: Tuesday-Saturday 10.00-17.00, Sunday 14.15-17.00, Closed Mondays, admission free
Title of the book: Samplers
Further information from:
Samplers have been worked
wherever embroidery has enjoyed a sustained popularity as
a decorative art, however, it is only in the last 100
years or so that they have been seriously collected.
Almost a third of the Museums sampler collection
comes from the bequest of Dr J W L Glaisher FRS - better
known for his collecting of pottery and porcelain - and
another significant portion from the bequest of Mrs
The combination of these two bequests, plus the addition of a number of English and Continental samplers over the years has resulted in a range unusual in a single collection. The Museums collection therefore represents an important holding in the history of this particular art form.
|Title of exhibition: Joods van Stof.
Verhalend textiel uit eigen collectie
18 April - 19 October 1997
Jewish Historical Museum, Jonas Daniël Meijerplein 2-4, Amsterdam
of the catalogue: Orphan Objects. Facets of the Textiles
Adam and Eve
publication on this subject was brought out in 1996 by
the Nederlands Israëlitische Gemeente Leiden.
Title: Leidse Parochot: Voor de glorie van de synagoge
author: F. Hiegtlich, H. van het Hooft and L. Levie
It deals with a number of frontals belonging to Jewish communities that are no longer in existence. These have all been restored at the Stichting Werkplaats tot Herstel can Antiek Textiel at Haarlem. The book describes the restoration project and discusses the iconographical and technical aspects of the objects as well as their historical background. The frontals come from Heenvliet, Hoorn, Middelbarnis and Ommen, as well as Leiden itself.
reported by Pat Griffiths:
examples of embroideries used in the home for ceremonial
purposes were made either at home or in embroidery
workshops like that of the Van Oven Brothers in The
Hague, which was established in 1831, or smaller
professional workshops like that of Mozes Sealtiël of
the present century.
A unique and costly part of the collection comprises the Portuguese Jewish silk prayer shawls with embroidered squares in the corners bearing the family arms and monogram. These costly shawls, traditionally a present from the bride to the bridegroom, were used only on special occasions.
The exhibition also includes a video on the conservation of an 18th-century Portuguese Torah cover and these is a computer programme with detailed descriptions of the objects.
Corner of a prayer shawl , of the Mendes da Costa family
|Title of the exhibition: Distance lends
enchantment. Exotic textiles in the Netherlands
28 March - 14 September 1997
The exhibition is accompanied by a leaflet of the same title (obtainable in Dutch or English) with nine colour illustrations.
The subject is also covered in an
reported by Pat Griffiths:
Detail of a bed coverlet, embroidered in coloured silks, North-west-India, c. 1730-50
contain some superb textiles of various kinds. Another
example is a complete set of bed hangings and coverlet
embroidered in coloured silks on a yellow ground, which
are representative of the best kind of Chinese export
embroidery and remain in pristine condition, as they have
never been used.
Two of the most interesting items in the exhibition are an Indian chintz coverlet and a Chinese coverlet of satin embroidered with floss silk and gold thread, both of which have the same design, though the effect is naturally very different in each case. The design comprises large palmettes, lobed leaves and bamboo and in the four corners there are shields hanging from ribbons. These were meant for coats of arms, but have never been filled in in the Chinese coverlet, which has a blue and gold colour scheme quite different from the normal colours of Indian chintzes. Obviously the same design was sent out to both India and China by the Dutch East India Company or its officials.
Other examples of the chintz coverlets are known and many of them belonged to families who had connections with the Dutch East India Company, so the pieces could have been ordered by the Company itself or by officials acting on their own account. No study has yet been made of the Dutch East India Companys textile trade.The exhibition also includes a nice example of a gilet persan made of Persian nagsha embroidery, which was imported in the form of womens trousers, which were then unpicked and remade up in Europe.
|Title: Nur Jahans Embroidery
Trade and Flowers of the Taj Mahal,
in: Asian Art & Culture, Vol. 9, No 2, pp. 7-23
author: Ellison Banks Findly
by Pat Griffiths:
|Title: Stickerei, von der Vorzeit
bis zur Gegenwart
author: Ruth Groenwoldt
year: 1995, text in German, pages: 288, illustrations: 460 alltogether, 260 in colour,
Hirmer, Muenchen, 1993 ISBN 3-7774-5840-6
summary by A.W.:
collection of decorative Arts originated in 1848,
when a central office for trade and industry and was
founded. Out of its ample holdings developed the
"Landesgewerbe-museum", which had the promotion
of trade as its most important objective. In 1887 it was
renamed the "Koenigliches Landesgewerbemuseum"
and from that time onwards textiles were acquired from a
number of well-known antique dealers of the time such as
J. Spengel, J.v.Kaan-Albest, F. Joessel, Jakob Krauth,
In 1896 a new buildung was inaugurated on Kanzleistrasse and an internationally renowned museum of decorative arts developed. Since 1907 fabrics were bought from the firm of Backhausen & Sons of Vienna. Since 1950 a notable collection of contemporary decorative art has been formed, with industrial design added since 1962.After the union of the 2 institutions the textile collection was enlarged by further acquisitions, while its range and quality were further extended by Ruth Groenwoldt, chief curator of textiles and dress in Stuttgart from 1968 to 1987.
In an introductory chapter the development of embroidery is traced and the book can be read as a general account of the history of embroidery. It catalogues around 200 items of many periods and from many parts of the world, each meticulously described and analysed with good illustrations, mostly in colour. The embroideries are discussed in chronological and regional groups, each of which is prefaced by a discussion setting the pieces in their appropriate historical and stylistic context.
In addition to international embroideries of high quality, the Stuttgart collection includes pieces from Southern German, the north-east part of Switzerland and the west of Austria. These embroideries illustrate the development of embroidery techniques in the aera around Stuttgart and the book is also a very welcome addition to the history of textiles in those three regions. The most recent literature on the individual items is very conveniently cited in the margins of the book.
In the 16th century Ursulines, Benedictines, Cistercians and other religious orders were occupied with ecclesiastical embroidery in these catholic areas of Southern Germany and Switzerland. Also in the 16th c. other embroideries were made for private citizens, e.g. the linen embroideries from the area around Lake Constance. Ruth Groenwoldt believes that some 17th century embroideries with floss silk application were made in the Swiss Canton of Grisons. The same type is found in some Austrian and Czech collections (see Newsletter No 4).
of the 18th century, embroidered in heavy silk and
gold on clear, light silk gauze, are also known in the
Engadine, Canton of Grisons. They are believed to have
been worked in Italien convents.
There is also a survey of whitework, which reached a high degree of refinement in the 18th and 19th centuries. Saxon examples show the technique of drawn and pulled work on white cotton cambric (see Newsletter No 4). In the 1830s there was a production of delicate handkerchiefs in Northern France, but almost no research has been done on this. Ruth Groenwoldt does not discuss the French production. She presents some delicate pieces of the mid 19th century onwards, many of which were worked in eastern Switzerland and Vorarlberg in Austria.
The book also gives useful information on silk embroiderers. At least 13 of them were domiciled in Stuttgart in the 16th century. They were employed by the court and also worked for the highly popular festive occasions of the time. In the 18th century several gold embroiderers were working in the Castle of Ludwigsburg and there were also quite a large number of silk and gold embroiderers at the court of Wuerttemberg.
Among the samplers three from the end of 18th and beginning of the 19th century show the coat of arms of Wuerttemberg and were probably made in this region. From the end of 19th century there are some examples of working methods in needlework classes. One series was made in a Swiss school at Aarau. One sampler comes from art classes in Dresden in 1911. In Stuttgart the womens association of Swabia opened needlework classes in 1874. Queen Olga (1822-1892), who married married king Karl of Wuerttemberg in 1846, became the patroness of the association and the classes in 1883. In 1914, when 200 students were enrolled, the city of Stuttgart took over the classes.
models and pattern used in embroidery are also
treated in the very useful comments which were added to
the descriptions of the pieces in the catalogue. The
autor mentions the well-known pattern books of 1523
onwards, pattern books for church embroideries, single
engravings and also designs by J.B. Pillement, Daniel
Marot and others and the printed and coloured designs on
squared paper of the first part of the 19th century
(which have a special place in the main text as well) up
to the work of Therese de Dillemont.
Contemporary design also belongs in the collection of the Wuerttembergisches Landesmuseum. After World War Two there was a revival of embroidery with Lotte Hoffmann (1907-1981), who came to Stuttgart from north-west Germany. In her examples, as in more recent ones, figures no longer appear, but are replaced by abstract shapes.
In the last chapter Ruth Groenwoldt describes some works of folk art, such as caps from Oberschwaben, embroidery from Siebenbuergen, Greece and Turkey. There are also a few examples of embroidery from India, China and Japan.
|Title: Russian Embroidery.
The Museum of Folk Art, Moscow
year: 1990, text 30 pages in Russian (summary in English), 316 pages,
black and white photographs and many coloured pictures 130 pages,
catalogue no 1 - 279 in Russian and English with some black and white pictures
Moscow Sovetskaya Rossiya Publihers 1990, ISBN 5-268-00427-I
Detail of a
detail of a
|home||Last revised January 20, 2001||For further information contact Anne Wanner email@example.com|