|ANNE WANNER'S Textiles in History / book reviews|
|Book reviews -
Elizabethan Inheritance, The Hardwick Hall Textiles
by Santina M. Levey, London 1998, ISBN 0 7078 0249 0
112 pages, 100 pictures most of them in colour
|In this first lavishly
illustrated and authoritative introduction to the
collection, Santina Levey places the textiles in their
day-to-day context. Using account books and other
archival material, she describes the origins of the
different types of furnishing, whether bought ready-made
or put together and decorated by embroiderers.
Inventories, letters, and personal reminiscences are used
to chart the later history of the house and the
inevitable alterations that four hundred years of use
wrought on the original furnishings.
A second volume will be published later in the form of a catalogue of the embroideries with full technical descriptions and information about the sources of their designs and subject-matter. They will also be assessed in relation to other surviving pieces and to relevant descriptions in sixteenth century archival material.
Bess as Lady Cavendish, painted by a follower of Eworth, c. 1557. She wears a quantity of jewellery and her fine clothes include a linen smock worked with red
The New Hall at Hardwick, viewed from the west with the initials E S for Elizabeth Shrewsbury showing silk clearly against the sky
Koehler, Die Paramentenstiftungen der Kaiserin Maria
Theresia von Oesterreich,
Internationale Hochschulschriften, Bd. 261,
Waxmann Verlag 1998 (ISBN 3-89325-581-8), 259 pages, 58 black and white pictures,
Thesis of Dorit Koehler from Muenster,
of the thesis are the vestments donated by empress Maria
Theresia. An important one is the chasuable of 1773,
today in the Schnuetgen Museum, Koeln. In an introductory
part Dorit Koehler deals intensly with the vestments as a
whole, compared to textile art of 18th century in
Austria. On the basis of the Maria Theresia
vestment-exhibition in Vienna of 1904 Dorit Koehler
examins a great number of examples. In a catalogue she
groupes all the donations according to embroidery
techniques. She distinguishes: Metall embroidery,
applications with intertwined cord or applications form
shapes of flowers cut from silk ribbons.
Altogether 92 vestments are brought together and this gives a good idea of the dimension of the donations of the empress from 1740 to 1780.
chasuable 1773, Schnuetgenmuseum Cologne
Seta & Oro: la collezione tessile di Mariano Fortuny, Venice, 1997
text in Italian, illustrated in colour, ISBN 88-7743-187-3
|part of the collection made by the designer Mariano Fortuny and his parents is on display at the Biblioteca Nazionale Marciana and the headquarters of the Cassa di Risparmio di Venezia in Venice until 24 th February 1998. The collection, acquired by the Venice Savings Bank in 1965, mostly comprises woven silks, but there are also some embroidered church vestments, Chinese imperial robes and embroidered items from areas like Turkestan and Croatia. The catalogue covers all the items in the colletion.||
Mode en Belgique au XIX Siecle/Mode in Belgie in de 19de Eeuw, Musees Royaux dart et dHistoire, Brussels, 1996
text in French and Dutch, illustrated in colour and black and white, bibliography
|Various types of embroidery are illustrated in this account of 19th-century fashions in Belgium. They include embroidered slippers, braces, uniforms and patterns for these, an embroidered linen dress of c. 1825, bags, a satin apron of c. 1845, a finely embroidered ball gown of 1894 and a satin dress of 1907-1909 with machine embroidery.||
embroidered linen dress
detail of embroidery
The Fine Art of Textiles, The Collection of the Philadelphia Museum of Art,
Philadelphia Museum of Art, 1997
illustrated in colour and black and white, glossary, bibliography
Ecclesiastical embroideries (pp.49-55) include German, Italian and Flemish Medieval orphreys, a Spanish 17th-century chasuble, Tyrolean, German, Italian and French chasubles of the 18th century, including a German one dated 1755, and two Italian copes, one 17th, one 18th century.
|Also illustrated (pp.56-612) are an English Elizabethan embroidered coif and 17th-century crewelwork hanging, French and Italian valances, an English heralds tabard of the early 18th century, an American womans pocket and an 18th century stomacher and collar, possibly from Italy, a Swiss wall pocket, Spanish and Mexican work, a Berlin woolwork picture, an ecclesiastical embroidery attributed to Walter Crane, a curtain designed by Alexander Fisher and a handkerchief designed by Hector Guimard.||
|A further section covers
samplers and embroidered pictures (pp. 76-89), mainly
from the large Whitman Sampler Collection donated in
1969. The collection as a whole numbers nearly 700
samplers and embroidered pictures. Illustrated are a
Philadelphia school sampler of 1737, a varied selection
of British samplers, Spanish and German examples, a dutch
darning sampler and various American examples, including
a whitework one of 1771, plus embroidered pictures of
section on quilts and coverlets, pp. 89-101 comprises a
fine array of American work of various kinds.
revue du Louvre et des Musees de France:
Les tentures brodees de lArsenal, au Musee National de la Renaissance:
Nouvelles recherches iconographiques
sent by the author Daniele
this article the series of 4 embroidered tapestries is
compared with 3 similar and at the same time different
The tapestries show Apollo, Juno, Venus, Saturn and they were identified by M.J.P. Babelon in 1967 as belonging to Sully, the coat of arms are those of the family Bethune Sully. Venus of the tapestries could very well represent Gabrielle dEstrees maîtresse of Henry 4, and she could have ordered the series between 1594-1599. Nicolas Fleury, valet de chambre and embroiderer of Henry 4, possibly embroidered them.
Gabrielle died on the 10th of April 1599 at the birth of her 4th child. At that time her father Antoine dEstrees lived as grand maître dArtillerie in the Arsenal. When he learned about his daughters death he very quickly saved her precious belongings.
The king forced him to quit his position and his predecessor since November 13th 1599 was Sully. He also lived in the Arsenal and probably found the tapestries here. He might have had the idea to complete the series representing himself and his family. In his inventary of 1634 the embroiderer Boudin is named.
Diane, design of the collection de Gagnieres, Paris, Bibl. Nat.
Schole-House for the Needle
a reprint of Richard Shorleyker in 1632
with an historical background
|by Santina M. Levey
A reprint of a rare Lace and Embroidery Pattern book. Over 60 illustrations of lace and embroidery patterns from the sixteenth and early seventeenth centuries.
With an Introduction from The Lace Guild and a Foreword from The Embroiderers Guild.
Available only from: Elizabeth
Mason 44 Beaumaris Road Newport Shropshire TF10 7BN
Rebecca Scott, Witney Antiques
96-100 Corn Street, Witney, Oxon. OX8 7BU.
Tel: 01993 703902, Fax: 01993 779852
Oxford 1997, ISBN 09518186 51
48 pages, 47pictures in colour
reported by A.W.
During the early 19th c. the Sunday School movement was the only education available to the poor. It was started by Robert Raikes (1735-1811) around 1780. The growth of the movement was due to Sara Trimmer and Hannah More. Children could be admitted from the age of 5 years and they were taught reading by studying the bible. The girls were also taught sewing and knitting skills.
|home||Last revised January 20, 2001||For further information contact Anne Wanner firstname.lastname@example.org|