ANNE WANNER'S Textiles in History   /   CIETA Embroidery Newsletters

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

No 10
May 1999

Dear members, St Gallen, 20th May 1999
Thanks again very much for all your contributions.
In the present letter you will find 2 programs of Symposiums. There was a discussion about the dates of the study days in Tiblisi, Georgia. And they are set now one week before the CIETA-meeting. If you will be visiting one of the meetings or conferences, please send me a short impression of this event for the next newsletter.

I am grateful to Karen Stolleis and to Pat Griffiths who sent information about exhibits and articles in exhibition catalogues. Daniela Lunghi sent a report about a Sicilian gold embroidery. Ruth Bleckwenn has some questions on Dresden work.
An american visitor brought Kathy Epsteins catalogue about british embroidery to St.Gallen. I am very grateful for all these news.
Now I am hoping very much to see you in September in Berne. Best wishes yours

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

general information:
No 10 /May 1999/ 2

general information:

CIETA-Meeting September 19th to 22nd 1999, in Bern, Switzerland:
One of the excursions on Thursday 23rd of September will be to St.Gallen. Marianne Gaechter and I are going to prepare a joint meeting of the embroidery and lace groups. There will be a small exhibit on chalice veils and lace.
I asked a craftsman to demonstrate his technique of creating traditional caps with gold thread.
Maybe someone of you could bring photographs of restauration of gold embroidery or gold lace ?

Mrs Tatiana Kossoourova, from State Hermitage Museum, St. Petersburg, Russia
needs an article which is not in her museum:
I. BURNATOWA, "Plaszcz kawalera Orderu Sw Ducha ofiarowany krolowi Janowi III Sobieskiemu", Studia do Dziejow Waweln, L V (1991), p. 309-375
If anyone can help her please fax or phone: Tel. 007 812 110 90 22, Fax 007 812 312 19 94

The Textile Museum St.Gallen shows
from June 1999 until April 2000:

Bags and handkerchiefs:
The exhibition is mainly devoted to early Biedermeier times, with primarily those bags on display that had been fashionable since the 18th century: the pompadours, the reticules, tobacco pouches and purses. In the 19th century, the way in which some handkerchiefs and pouches were produces evidenced certain similarities:
In Eastern Switzerland, embroidery had been a cottage industry for women since the mid-18th century, but a further development of fine white-work embroidery could be observed early in the 19th century. The famine of those years is likely to have resulted in embroidery being seen as a new way of earning a living, and in new techniques being used. At any rate, it is said that in 1818, two Frenchwomen gave an embroidery course in Gais (Appenzell) for the first time.
In the same years, Germany also suffered a famine, and knitting with beads became a cottage industry in the area of "Schwaebisch Gmuend". This special knitting technique was organised along the lines of a system whereby an agent would first provide homeworkers with the necessary materials and then forward

Detail of kerchief, 2nd half 19th c.,
whitework embroidery, needlework,
Textile museum No TM 20324

the finished work to the company he served, which in turn would sell and export the products. Women from Eastern Switzerland worked in a similar way in their homes, but also outside their homeland, for instance in big European cities, where they found work in needle businesses, or in spas, where they would take orders form noble customers.

Symposium in Tbilisi, September 1999
The Transcaucasian Textile Route
No 10 / May 1999/ 3

The Transcaucasian Textile Route

2nd international Symposium in Tiblisi, Georgia from September 14th to 18th

International felt workshop from September 2nd to 12th

All the participants of the Symposium are invited to a trip from 18th to 23rd of September 1999 to Armenia and Aszerbaidschan. With a minimum of 20 participants the program will be held.

cost of the 4 symposium days: US $ 200
inclusive food and beverages during the symposium, trip to Muzcheta and drive to the airport
please book your participation by fax or e-mail until 31st of July 1999
all information and further details from
Mrs Nino Kipshidze, at Internet-Website >>

The Pogram of the 2nd International Symposium

First day: Tuesday, 14th of September
arrival, reception and inscription
11.00h opening of the conference
13.00 Lunch pause
16.00 meeting Transcaucasian Textile Route
18.00 opening of the exhibition: transcaucasian costume and textile in the State Museum

2nd day: Wednesday, 15th of September (parallel meetings)
workgroup: cultural heritance (location: the art museum)
10.00 round table: conservation and presentation of textile museum collections: research and conservation
13.00 Lunch pause
16.00 visiting the art museums storage rooms: embroidery collection and oriental section
workgroup: textile art (location: academy of arts)
10.00 slide show from artists of different countries
13.00 Lunch pause
16.00 visit of artists workshops
19.00 opening of the exhibition: 2nd international textile exhibition, silk route 1999

3rd day: Thursday, 16th of September (parallel meetings in the morning)
workgroup: education (academy of arts)
10.00 round table: tradition in education: new technologies, arts and industry
workgroup: textil and fashion design (location: silkmuseum)
10.00 round table: industry and fashion industry in the GUS states:
textile and fashion: development of silk and wollindustry in Georgia
13.00 Lunch pause
15.00 visit of factories with silk and woll fabrication in Tiblisi
and visit of workshops of fashion designers
19.00 opening of the exhibition at the academy of arts: international minitextile exhibition

4th day: Friday, 17th of September
10.00 presentation of the results of the working groups
13.00 Lunch pause
14.00 trip to Mzcheta, former capital of Georgia
21.00 final diner with program. Performances in the galeries "Orient" and "Shardin".

Colloque, CERISY 99
La Tapisserie de Bayeux: l'art de broder l'histoire
No 10 / May 1999/ 4

Colloque: La Tapisserie de Bayeux: l’art de broder l’histoire
du 6 octobre au 10 octobre 1999
Centre Culturel International de Cerisy la Salle

CCIC, 27 rue de Boulainvilliers
F-75016 Paris -France
Tel: 01 45 20 42 03 (le vendredi apres-midi)

Tel: 02 33 46 91 66
Fax: 02 33 46 11 39

Participation aux frais: s’adresser directement à Cerisy

Internet: Site de Cerisy:

Conferences (suivies de debats):
Direction: P.Bouet, F. Neveux (Ouen, Univ. de Caen), B. Levy (Univ. de Hull), S. Lemagnen (ville de Bayeux), H. Pelvillain (Service Regional de l'Inventaire)

· Histoire de la Broderie: S.A. Brown: Analyse critique des publications depuis dix ans, V. Flint: Sa reception par le public medieval. D. Hill: Ses representations au XIXe siecle, S. Lemagnen: Nouvel eclairage sur la mission menee en 1941 par le Pr. Jankuhn.

· La Broderie: une oeuvre textile: I. Bedat, M.-H. Didier, B. Girault, B. Oger, H. Pelvillain, N. de Reynies, G. Vial: Bilan des expertises effectuees lors du demontage de 1982-83

· La Broderie: un document d’histoire - La broderie et les sources medievales:

M. Chibnall: Orderic Vital, H. Legros: Les sources de langue française au XIIe siecle, E. Van Houts: L’echo de la conquête dans les sources latines, G. Labory: La conquête de l’Angleterre dans les Chroniques des XIIIe - XVe siecles - Le recit historique: F. Neveux: Une contribution à l’histoire de Guillaume le Conquerant, P. Bouet: Une oeuvre pro anglaise? O. Renaudeau: Le costume militaire, A.-M. Flambard-Hericher: L’archeologie, J. France: L’apport à l’histoire de la guerre.

· La Broderie: une oeuvre d’art - La comparaison avec les autres arts et les autres cultures: M. Bayle, W. Grape. - Le rythme narratif: B. Levy. - Le symbole et la stylisation: B. English, M Pastoureau.

Bien qu’elle ait ete souvent etudiee, cette Tapisserie conserve encore une grande part de mystere et suscite toujours de nombreuses interrogations.
La Tapisserie se presente d’abord comme une oeuvre textile. Elle a fait l’objet d’une expertise (endroit et envers), conduite lors de son demontage en 1982, dont les conclusions demeurent encore inedites. Ce sera l’occasion , lors du colloque, de preciser l’apport scientifique de ces recherches. Le renouvellement des etudes litteraires et notre meilleure connaissance des sources medievales en langue latine et en ancien français permettent aujourd’hui de mieux apprehendre le document d’histoire qu’est aussi la Tapisserie. De même, grâce aux nouvelles recherches dans le domaine iconographique, il est possible de mieux apprecier l’originalite de cette oeuvre d’art, la seule de ce genre à être parvenue presque intacte jusqu’à nous.
C’est donc un nouveau regard qui sera porte sur ce chef d’oeuvre.

Question about some "Dresden Work"
Museum of Applied Art, Dresden
No 10 / May 1999/ 5,6

Question about
Some "Dresden Work"
in the Kunstgewerbemuseum Dresden
(Museum of Applied Art, Dresden)

Dr. Ruth Bleckwenn, Muenster

The Kunstgewerbemuseum (Museum of Applied Art) Dresden preserves 125 pieces of Dresden Work (Point de Saxe). Seven of which were bought from Kanonikus Bock, Aachen in 1875. Concerning two of these there are parallels to other pieces, one in the Textilmuseum St.Gallen; another one is part of a kerchief, which had been divided and the other part is to be found in the Museum fuer Angewandte Kunst (Museum of Applied Art) in Vienna. One (only a small fragement) is Dresden Work too.
But four pieces are not like any other Dresden Work I have seen in the Kunstgewerbemuseum Dresden, in the Textilmuseum St.Gallen, in the Museum fuer Angewandte Kunst, Wien and in other museums. Here are the pictures and some information about the stitches:

Inv.Nr. 1206: satin stitch
Inv.Nr. 1207:
dense herringbone stitch from the left side
Inv.Nr. 1210: lines in running stitch with thick threads
Inv.Nr. 1211: dense embroidery in satin stitch,
lines in chain stitch.

Inv. Nr. 1211

Inv. Nr. 1206

Inv. Nr. 1207

Inv. Nr. 1210

The design and the technique considerably differ from the other pieces of Dresden Work in the 18th century.
I would be very grateful for any kind of advice concerning pieces looking like these. Especially valuable is information about the origin of these pieces.

Please write to: Dr. Ruth Bleckwenn, Muenzstr. 6, D - 48143 Muenster, Germany

article and restauration, Genova, Italy
gold embroidery, early 18th c., Sicily
No 10 / May 1999/ 7

Gold embroidery
of the early 18th c., and its restauration
in: Bollettino dei Musei Civici Genovesi (in italian language)
XVIII - N. 52-53-54, 1996

by M. Daniela Lunghi, Claudia Santamaria
reported by AW.

In 1987 the collections of textiles of Genova received a precious present of Mrs. Giuliana Parodi of Genova: 2 wall hangings of green silk, embroidered in gold and silk from the collection Florio from Palermo.
The fabrics have been produced in a manufactory of Sicily in the early 18th c. The pieces measure 186 by 153 cm. They are embroidered with different metal threads and small perles of corals.
The hangings were part of a marriage decoration of originally 6 pieces. The conservation was necessary and the restauration works started in 1996.

The article at first it deals with the pattern of the embroidery:
A hunting scene with stags, pursued by hunting dogs, hares, parrots, birds of paradise, but also butterflies, dragon-flies, snails is represented. Pairs of animals are shown in candelabrums of plants as it was liked in renaissance times. But it is not rigorous and it looks like an animated arabesque. One can find the influence of islamic culture which was very important in Sicily. Pattern for the embroidery can be found in patternbooks i.e. of Federico Vinciolo and as well on english embroideries between 16th and 17th c.

The article then deals with embroidery techniques and materials. Different types of metal threads are explained.
The question of the designer then arises. He is not known, but according to the size of the hanging it must have been worked in a manufactory. It is possible that it was done in a convent and therefore worked by women.

Finally there is the description of the restauration of the pieces, which was done with great care.

close-up of the fabric
after the restauration

close-up of the embroidered hanging
after the restauration

Textile Collection of Badisches Landesmuseum Karlsruhe
Curator of the collection: Mrs Dr Herrbach-Schmidt
No 10 / May 1999/ 8

The collection of the "Badisches Landesmuseum Karlsruhe"
from a contribution in "Textilkunst 2/1999, p. 24,25"

by Ruth Bleckwenn
reported by AW

The Badisches Landesmuseum shows in his permanent exhibition textiles from the turkish booty, carpets, costumes, hangings of tents, saddle-clothes and so on.
Less known is the rich textile collection in the storage. This collection has its origin in the late 19th century and served as usual at this time, as models for the students.
Today it comprises about 6000 pieces mostly silk fabrics, linen damascs and printed fabrics. There are also about 250 embroideries, 120 laces and 60 tapestries. All the more one can find about 500 costumes and a similar number of folk costumes.

This collection is not treated scientifically at all. There are new showrooms but unfortunately there is very little to be seen of the collection: some coptic textiles are exposed in the antique department. Some other pieces are shown in the "Museum am Markt" which is the art nouveau and design department of the Badisches Landesmuseum.

It is however possible to make arrangements with the curator of the collection

Mrs. Herrbach-Schmidt Tel 0721/926651
Badisches Landesmuseum Karlsruhe
D- 76131 Karlsruhe

Tablecloth, tapestry weave, wool, 1919-20, designed by E.L. Kirchner

Printed fabric with animals and figures, designed by J.B. Huet,
Oberkampf, Jouy, around 1798

Exhibition Catalogue: Cîteau 1098 - 1998
2 embroidered chasuables, Cologne
No 10 / May 1999/ 9

Karen Stolleis
wrote zwo contributions in the exhibition catalogue Cîteaux 1098 - 1998.
Rheinische Zisterzienser im Spiegel der Buchkunst
Landesmuseum Mainz, 22. Nov. 1998 - 12 Februar 1999

sent by Karen Stolleis
reported by AW

Nr. 36 Chasuable, cross probably Cologne around 1450, coat of arms 1695.
The cross on the backside and the embroidery on the front are probably the only pieces preserved from the Church textiles of the late medieval paraments of the cloister of Eberach. An idea gives the inventary made by Abbot Valentin Molitor in 1608.
On the cross there is a medallion with the embroidered coat of arms of the Abbot Alberich Kraus (1667-1702) from Eberach and the year 1695. This was probably the year when the medieval cross was transferred on a new baroque chasuable.
Represendet is the crucifixion of Christ. He is represented on a green wooden cross made from a branch. Below there are Mary and John with golden cloths.
This kind of cross can be found specially in the region of the middle Rhine. In the inventary of Eberach of 1608 it was already described as "old". At this time there must have been a special reminiscence maybe to its donator

Nr. 74 Altarfrontal, Rhineland (Cologne ?), 1615
in the centre of the Antependium there is the reproduction of St. Bernhards vision. The year is embroidered below the central scene.
The Altar frontal consists of several parts and the present form probably was given in the 19th c. Originally it was an applique work with embroidery, Saints and stilised plants are shown on a white linen ground.
A very similar altarfrontal formerly belonged to the Schnuetgen Collection Cologne. In the centre there were the Saints Dominicus and Theresia before Mary. Both embroideries were probably embroidered in the same workshop in the early 17th c, maybe in a women’s convent which was specialised in applique work.

article in: bulletin van het Rijksmuseum
The Martyrdom St Lucy
No 10 / May 1999/ 10

H.L.M. Defoer
The Martyrdom of St Lucy by the Master of the Figdor Deposition
in: Bulletin van het Rijksmuseum, 46, 1998, pp. 264-74

text in Dutch, English summery on pp. 348-9
illustrated in black and white

contributed by Pat Griffiths:

Exhibition and catalogue: Williamsburg 1998/99
British Embroidery
No 10 / May 1999/ 11


Kathleen Epstein
British Embroidery
Curious Works from the seventeenth century

Catalogue by The Colonial Williamsburg Foundation
Williamsburg, Virginia, 1998

reported by A.W.
The book was prepared in conjunction with the exhibit:
British Embroidery: Curious Works from the 17th c., December 5th 1998 to Sept. 6th 1999,
at the DeWitt Wallace Gallery, the Colonial Williamsburg Foundation, Williamsburg, Va.
110 pages, 107 pictures, many of them in colour.
ISBN 0-87935-186-1

exhibition catalogue: Musee Royaux d'Art et d'Histoire, Brussels, 1998
Albert and Isabella, 1598-1621
No 10 / May 1999/ 12

Albert et Isabella / Albrecht & Isabella, 1589-1621
Exhibition catalogue: ed. L. Duerloo & W. Thomas
Musee Royaux d’Art et d’Histoire, Brussels, 1998

in French or Dutch
illustrated in colour and black and white, bibliography

contributed by Pat Griffiths:
This splendid exhibition contained a very interesting cross-stitch embroidery of 1597 depicting "The Lament of the Low Countries" after a print of c. 1570 by Hendrik Collaert.

Biography: a needle woman of the late 19th c.
Therese de Dillemont (1846-1890)
No 10 / May 1999/ 13

The life of Therese de Dillmont
From an article in "Textilkunst 3 / 1979"

by Marianne Stradal
reported by A.W.

Therese de Dillmont was born on october 10th 1846. Her father, a major in the army, died in 1857 and at this time her mother moved with her children to Vienna. In 1864 she wrote to the emperor Franz Joseph, begging for help with the education of her youngest daughter. She then received 80 Gulden every year until 1868. Therese was educated as a governess and a teacher. It seems that she also visited the embroidery school in Vienna which was founded in 1874. During all her life she was a friend of Mrs Bach the director of the school.

In 1884 she became engaged at Mulhouse in the world wide known embroidery yarn fatory. In 1886 her encyclopedia of feminine handwork was published. This book has been translated into 17 languages and it was published over and over again up to the present day.
All other publication of the factory bear Th. de Dillmonts name and in many european Metropoles of the time shops were opened under her name: 1885 in Paris, 1886 in Berlin, 1887 in London, 1884 in Vienna.
Therese de Dillmont worked in her workshop at Dornach, whith is situated close to the cities of Mulhouse and Basle. Many women from the Elsass would be sitting here in their costume and they embroidered her mistresses designs.

In 1889 Therese de Dillmont married Josef Scheuermann. The needlework factory in Mulhouse did not like this at all. One year later, in 1890 Therese died. Her niece with the same name succeeded her. In her working contract it said that she was not supposed to get married. The reason was that the name de Dillmont could not possibly be changed by marriage because it was so closely related to the factory and to the books.

Book by: Beryl Dean and Pamela Pavitt
Rebecca Crompton and Elizabeth Grace Thomson
No 10 / May 1999/ 14

Rebecca Crompton and Elizabeth Grace Thomson.
Pioners of Stitchery in the 1930s, London 1996
by Beryl Dean and Pamela Pavitt

illustrated in black and white and colour

contributed by Pat Griffiths:


home   newsletters   Last revised August 12, 2000