ANNE WANNER'S Textiles in History / CIETA Embroidery Newsletters
|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.
change of adress:
The Antonio Ratti Textile
Center, Metropolitan Museum of Art, 1000 Fifth Avenue,
september 1998: at Odenwald Museum, Kellereihof, Burg,
whitework embroideries from Hessen and old white samplers
June - 1 August 1998, at Fischer- und Webermuseum,
exhibition of the
permanent exhibition in the Textilmuseum St.Gallen
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.
Life and work of Leonie von Wilckens
|In memory of Dr. Leonie
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 dolls 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:
Fuller obituaries have
been written by Dr. Birgitt Borkopp from Bayerisches
Dr. Jutta Zander-Seidel is preparing a detailed list of publications for the journal of the Germanic National Museum in Nuremberg.
by Christina Hargreave, Australia
Decorative Arts and Design, Powerhouse Museum
PO Box K346
Haymarket NSW 1238 / Australia
fax: 61 292170335
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
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 ?
by Karen Finch
|question by Karen Finch
about an embroidered panel
from little Malvern Court, Worchestershire
researches on this sampler already a long time (see also
Newsletter No 6).
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.
the collection of Textilmuseum St Gallen
|Examples in red
from the Textile Museum St.Gallen
by Anne Wanner
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
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
The Antonio Ratti Textile
|The Antonio Ratti Textile
Metropolitan Museum of Art, 1000 Fifth Avenue
New York, NY 10028-0198
sent by Marta Newman-Laguardia, Asistant
Antonio Ratti Textile Centre
opened on December 14th, 1995. It is situated on the Metropolitan Museums 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.
Ratti Center was created to house the
Metropolitans textile collection, numbering
more than 36000 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
|The Department of
European Sculpture and Decorative Arts holds a textile
Collection of approximately 18000 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 5000 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 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
The Danish Society of Textile History
information sent by
Lone de Hemmer Egeberg
DK - 3460 Birkerod,
fax +45 45821557
TENEN (the spindle) Society was founded on March 31st
1990. The objects are:
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 womens 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 Hardwick Hall Textiles
by Santina M. Levey, London 1998, ISBN 0 7078 0249 0
112 pages, 100 pictures most of them in colour
|Dorit Koehler, Die
Paramentenstiftungen der Kaiserin Maria Theresia von
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,
|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
|sent by Pat Griffiths:
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
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