ANNE WANNER'S Textiles in History   /   CIETA Embroidery Newsletters


Newsletter - of the CIETA Embroidery Group
Bulletin d’Information de Groupe Broderie de CIETA

No 8
July 1998

Dear members, St Gallen, 14th July 1997
I am very sad to announce the death of Leonie von Wilckens around Christmas 1997.

Marta Newman-Laguardia of the Antonio Ratti Centre in New York sent information about this centre, Lone de Hemmer Egeberg informs about TENEN, the Danish Society of Textile History. Karen Finch would be glad to get more information about a sampler, Christina Hargreave from Sidney asks about Polish caps.
Pat Griffiths writes about 2 new publications, I am adding a note on Tina Levey’s new book and on Dorit Koehler’s thesis.
Thank you all very much for these contributions. With best wishes for a nice and beautiful summer I remain, yours


Anne Wanner-JeanRichard
Textilmuseum / Vadianstrasse 2
CH-9000 St Gallen / Switzerland


general information:
No 8 / July 1998/ 2

general information:

change of adress:
Gudrun Sporbeck M.A., Klingelpuetz 16, 50670 Koeln, Tel. 0221-133784

The Antonio Ratti Textile Center, Metropolitan Museum of Art, 1000 Fifth Avenue,
New York, NY 10028-0198 joins the CIETA embroidery group. The information in this letter was sent by Marta Newman-Laguardia, Asistant Manager (see page 7)

Bayerisches Nationalmuseum Munich:
special exhibition:
Rom und Byzanz. Schatzkammerstuecke aus bayerischen Sammlungen:
Oct 20 1998 to Febr. 14 1999

from september 1998: at Odenwald Museum, Kellereihof, Burg, D-64720 Michelstadt
whitework embroideries from Hessen and old white samplers

13th June - 1 August 1998, at Fischer- und Webermuseum,
D-31515 Steinhude, Neuer Winkel 8, Tel.(05033)5599 or (05033)2222

exhibition of the
needlework of Clementine von Muenchhausen (1849-1913). In 1880 Boerries von Muenchhausen bought a renaissance castle and he restaured every room in another stile. His wife Clementine made embroideries for every room in the matchin stile. She reconstructed 160 pieces after motives from 4th c. to art nouveau. This work was shown around 1900 in german towns like Luebeck, Berlin, Dresden.

New permanent exhibition in the Textilmuseum St.Gallen
press release:
St.Gallen/Appenzell Textile Region, a permanent facility
Swiss Embroidery-Broderie Suisses-St.Galler Stickerei

In the decades prior to the end of the First World War and the 1920s, St.Gallen embroidery was the most important area of Swiss exports. Alongside other European embroidery centres, St.Gallen remains one of the most important addresses in the embroidery trade.
The heyday of the St.Gallen linen industry from the 15th to the 17th centuries created the economic groundwork for the upswing of the embroidery industry from the 18th Various Eastern Swiss embroidery companies that are steeped in tradition still exclusively produce embroideries to this day. Other companies shifted their production from conventional cotton weaving and embroidery to printed fabrics, or made a name for themselves with innovative combinations of all sorts of materials and with good design.
The exhibition provides a sensuous experience of historical and present-day textile products: representative large-scale embroideries shown at the world exhibitions before 1900, and sumptuous garments. At the same time, interested visitors will gain an insight into and access to the complex interweaving of St.Gallen’s textile history. With its select views, objects, pictures, videos, titles and texts, this exhibition focusses on representative areas.


Life and work of Leonie von Wilckens (1921-1997)
researcher in the field of historic textiles
No 8 / July 1998/ 3

 

In memory of Dr. Leonie von Wilckens

Curriculum:
- Born June 3rd 1921 at Sypniewo in Western Prussia
- Studies: history of arts, classical archeology, history and german studies in Bonn, Berlin, Munich and Florence from 1938 to 1943
- the Graduation in Munich at Hans Jantzen with: "Studien zum Fruehwerk Mantegnas"
- 1944-48 worked at Bayerisches Nationalmuseum (at first as a volunteer, afterwards Assistant Librarian)
- 1949-51 collaborated with Ludwig Grote on: Twentieth Century Art, which was the first large exhibition to be held in Munich after the 2nd world war.
- 1952-86 worked in the Germanic National Museum of Nuremberg, as a government curator

After her retirement Leonie von Wilckens lived and worked in Munich and here she died Dec 25th 1997.

As a curator of the Germanic National Museum in Nuremberg, Leonie von Wilckens was in charge of the collections of furniture, textiles, toys and jewellery. Some early publications were dedicated to toys in particular the doll’s houses of Nuremberg. But already by the 1950s she was involved with textiles and this became the most important part of her research work. She published many papers in journals and contributed to encyclopaedias and other part works and, after her retirement, in a series of catalogues and research works.

Some of her most important papers are:
- Die textilen Schaetze der Lorenzkirche zu Nuernberg, 1977
- Die Teppiche der Sebalduskirche zu Nuernberg, 1979
- Seidengewebe im Zusammenhang mit der heiligen Elisabeth, 1981
- Zur kunstgeschichtlichen Einordnung der textilen Grabfunde aus der Sepultur des Bamberger Domkapitels, 1987
- Mittelalterliche Seidenstoffe des Kunstgewerbemuseums Berlin, 1992
- Die mittelalterlichen Textilien des Herzog Anton Ulrich-Museums Braunschweig, 1994
- Der Paramentenschatz der Landsberger Jesuitenkirche Heiligkreuz, 1994
- Die textilen Kuenste von der Spaetantike bis um 1500, 1991 (first volume)
- Geschichte der deutschen Textilkunst vom spaeten Mittelalter bis in die Gegenwart, 1997 (second volume)

Fuller obituaries have been written by Dr. Birgitt Borkopp from Bayerisches Nationalmuseum, Munich:
- the coming CIETA - Bulletin of 1998,
- Deutsche Zeitschrift fuer Kunstgeschichte,
- Zeitschrift fuer Waffen- und Kostuemkunde

Dr. Jutta Zander-Seidel is preparing a detailed list of publications for the journal of the Germanic National Museum in Nuremberg.


Question by Christina Hargreave, Australia
traditionally embroidered Polish caps
No 8 / July 1998/ 4

 

question by
Christina Hargreave
Decorative Arts and Design, Powerhouse Museum
PO Box K346
Haymarket NSW 1238 / Australia
fax: 61 292170335
Christina Hargreave, graduate of the University of New South Wales Australia is now compleating her honours year and is concerned with the research of some caps in the collection of the Powerhouse Museum in Sidney, Australia. She is grateful for all assistance and thanks for all replies.
The caps are traditionally embroidered and the questions are:
- what is the origin of the caps? Maybe polish ? And if so, which region of Poland ?
- which direction are they worn? Crochet edge at the back or at the front ?
- are there any unusual features in the design / production particularly with regard to the embroidery ?
- is it possible to make an estimation of the age from the design ?
- are these traditional caps still being made, and what are their uses ?

 

question by Karen Finch
embroidered panel, Worchestershire
No 8 / July 1998/ 5

question by Karen Finch
about an embroidered panel
from little Malvern Court, Worchestershire
Karen Finch researches on this sampler already a long time (see also Newsletter No 6).

It contains some 200 designs on a linen fabric known as buratto. It is 84cm long and 33 cms wide, with 11 pairs of warp threads and 11 wefts to square centimetre. The embroidery yarn is crimson silk. Karen Finch will be talking about the sampler again in Manchester 4-6 Sept. 1998 (meeting of the Early Textiles study group). Her talk will be about the patterns and that they are separated into ancient and modern - hence the reason for the sampler being worked from both ends.
Karen Finch wonders whether one of the embroidery group members might know about the animal patterns and why they were of such special interest, that they were kept together in a group. Any information about any of the designs - as well as the origin of the fabric will be welcome.


from the collection of Textilmuseum St Gallen
embroidered panels, Italian red embroidery
No 8 / July 1998/ 6

 

Examples in red embroidery
from the Textile Museum St.Gallen
by Anne Wanner
The Textilmuseum St.Gallen has a collection of italian red embroideries of the 17th/18th c. Among about 200 mostly small and fragmentary pieces , there are 4 examples on a buratto fabric.
The collection also has some samplers embroidered with red, black or white patterns. They are made by Helene Weidenmueller from Kassel (Germany) and she was teaching from 1883-1892 at the girls classes in the St.Gallen institution. The bigest of these samplers was sold in 1889 by Helene Weidenmueller to the museum for sFr. 125.-. It measures 50,5 cm x 63cm and there are 165 different patterns.

fragmentary embroidery on buratto grond, Italian 16th century, Inv.Nr. TM 23696

German or Swiss, 1880s,
Inv.Nr. TM 20200


The Antonio Ratti Textile Center
Metropolitain Museum of Art, New York
No 8 / July 1998/ 7

The Antonio Ratti Textile Center
Metropolitan Museum of Art, 1000 Fifth Avenue
New York, NY 10028-0198

sent by Marta Newman-Laguardia, Asistant Manager
The following information is taken from a Textile Center pamphlet and a press release.

The Antonio Ratti Textile Centre
opened on December 14th, 1995. It is situated on the Metropolitan Museum’s ground floor. The Center consits of two components: a custom-designed storage and study facility with a computerized information system and an adjacent textile conservatory laboratory.

The Ratti Center was created to house the Metropolitan’s textile collection, numbering more than 36’000 objects. It ranges from archeological fragments of 3000 BC to tapestries, velvets, carpets, fine embroideries and laces of all periods to textiles created by comtemporary designers and artists.
The holdings from the medieval textile collection range from the Carolingian period to the late Gothic, there are embroideries from Germany, Italy, and France as well as the finest collection of opus anglicanum outside of Europe.

The Department of European Sculpture and Decorative Arts holds a textile Collection of approximately 18’000 pieces from the Renaissance through the early 20th century. It encompasses woven, embroidered, painted and printed textiles; the largest collection of lace in the United States (some 5’000 items) and about 300 European tapestries. The holdings of European embroideries, many from the collection of Judge Untermyer, are also exceptionally rich, as are those of ecclesiastical vestments. The collection also includes sample books from the 18th to early 20th centuries and a small collection of tools, including lace-making pillows and patterns, bobbins, and woodblock for printing textiles.

The Storage and Study facility incorporates two study rooms for the examination of textiles. Members of the public wishing to see objects in the collection should call to discuss the procedures for viewing and to schedule an appointment in advance.
The reference library contains approximately 1’500 volumes devoted to the historical, technical and cultural study of textiles. An appointment is not required to use the library.
A computerized information system is being developed to provide catalogue data and images of the collection. Access to the terminals is by appointment.

The Center is made possible by a major grant from the Fondazione Antonio Ratti (Antonio Ratti Foundation) of Como, Italy. Additional support has been provided by the David H. Koch Charitable Foundation, Toyota Motor Corporation, and the National Endowment for the Humanities.


TENEN, The Danish Society of Textile History
Society for research of textiles
No 8 / July 1998/ 8

TENEN
The Danish Society of Textile History
information sent by
Lone de Hemmer Egeberg
Gaerdet 12
DK - 3460 Birkerod,
fax +45 45821557

The TENEN (the spindle) Society was founded on March 31st 1990. The objects are:
- to present and communicate the knowledge and interest of Danish textiles as a cultural heritage and handicraft
- to promote the research of textiles in the above mentioned areas
The Society shall maintain close ties between owners and users of interesting textiles in respect of cultural history and handicraft.
The foundation of the work is to call attention and record these privately owned textiles, thus enhancidng the owners’ appreciation and providing the public with special experience.

The TENEN Society addresses all intertested individuals, organisations and institutions, especially: Schools teaching handicrafts to youth and adults; Folk-dancers; Designers, producers and dealers in the textile trade, Museums, professionals and amateurs in charge of theatre costumes; Parish Councils in charge of preservation of often old and valuable altar textiles and vestments. All members shall be informed about the activities of the Society in writing, preferably through a newsletter.

Lone de Hemmer Egeberg is a ethnologist with women’s history as a special field, and she finds the Society and its projects of great interest for the history of female work and identity.

The Projects:
After the TENEN Society’s foundation the committee chose as the first cultural heritage project to register party purses. Then followed the registration of needlework boxes, tools and worktables.
The biggest project till now is a registration of Danish (women’s) aprons.
The TENEN Society announces well in advance in its own newsletter and in local newspapers where and when the registration of privately owned aprons will take place.
When members of TENEN make the registration the following steps are performed: each apron brougt by a member of the public is assigned a registration number. The information is recorded on a card. The most interesting aprons are kept to be photographed.
A book is planed to be published and maybe an exhibition will be arranged.


Book by Santina Levey
The Hardwick Hall Textiles
No 8 / July 1998/ 9

An 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

Contents:
Introduction, 1) before the building of the New Hall, 2) Hardwick New Hall and the 1601 inventory, 3) Embroidery, needlework and other techniques, 4) the seventeenth and eighteenth centuries, 5) the 6th Duke and beyond.
Notes, Bibliography, Appendix, Glossary, Index


Thesis by Dorit Koehler, 1998
Die Paramentenstiftungen der Kaiserin Maria Theresia von Oesterreich
No 8 / July 1998/ 10

Dorit 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, Germany:
art historian, and textile restorer


exhibition catalogue by D. Davanzo Poli
textile collection of Mariano Fortuny
No 8 / July 1998/ 11

sent by Pat Griffiths:
Doretta Davanzo Poli,
Seta & Oro: la collezione tessile di Mariano Fortuny, Venice, 1997
text in Italian, illustrated in colour, ISBN 88-7743-187-3

 


book by M. Coppens
Mode en Belgique au XIX siecle
No 8 / July 1998/ 12

sent by Pat Griffiths:
M. Coppens
Mode en Belgique au XIX Siecle/Mode in Belgie in de 19de Eeuw, Musees Royaux d’art et d’Histoire, Brussels, 1996
text in French and Dutch, illustrated in colour and black and white, bibliography

 


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