ANNE WANNER'S Textiles in History   /   CIETA Embroidery Newsletters

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

No 13
July 2000

Dear members, Rheinfelden, July 11th, 2000
here you are receiving another Newsletter. This time I wrote 2 versions, a paper version which is sent to you as usual by mail and this Internet version. The paper version almost has no pictures. The reason is that I am now scanning the photographs and you will find them only in this Internet version.

I am very happy about the contributions of Christine Aribaud, Toulouse; Dela von Boeselager, Koeln; Clare Browne, London; Alex Claude, Zug (Switzerland); Pat Griffiths, Amsterdam; Tatiana Kossourova, St. Peterburg; Gudrun Spoerbeck, Koeln and Margaret Swain, Edinburg. Thank you all very much for your contributions.
Thank you Thessy Schoenholzer and Gaddi Peter for your help with the vocabulary.
Best wishes yours

Anne Wanner-JeanRichard

General information:
No 13/ July 2000 / 2

General information

The photographs of the chalice veils which were exhibited in St. Gallen last September can be found on this Internet page as well

Gudrun Sporbeck, Koeln, became director of the Institute for Historic Textiles in Koeln since the beginning of this year. She is still consultant of the Textile Collection of the Schnuetgen Museum and lecturer at the University of Koeln. Her e-mail address:

The Textilmuseum St.Gallen shows from 24th May 2000 until spring 2001
Art in warp and weft
Press release:
The exhibition shows two works created by an artist for the general public, and it displays textile fragments, anonymous works which no weaver would ever have imagined would be on show in a museum.
Alfred Sturzenegger's fabric:
The two wall-hangings are among the artist's last figurative works. In spite of their public character, they have never been exhibited before. They were created between 1987 and 1988.
One of the wall-hangings manifests the individual person, evincing the innermost core as the power centre of the personality. The other wall hanging contains a balanced loop, which dispassionately encompasses the universal. The even texture captivates onlookers and makes it easy for them to respond to the meditative character of the wall-hangings.

Textile fragments from 19th century collections:
The collections of textiles were primarily supposed to serve as an inspirational and educational aid for artists, designers and textile technicians. For this purpose the textiles were displayed in the show collections of the museums of industry, arts and crafts which were established in the second half of the 19th century. As a rule, a pattern repeat was sufficient for educational purposes. Large pieces of fabric were cut up and exchanged with several museums.
The fragments, collected by Friedrich Fischbach (1839-1908) deserve special mention. As the Director of the Drawing School for Industry and Crafts in St. Gallen from 1883 to 1888 he donated his collection to this institution.

In 1976 the Textil Museum acquired the Charlotte Bing Collection which had been collected in the 1870's by Franz Bock (1823-1899), the most important textile historian of his time. In 1993, the fabric collection of the Zurich Textile College was incorporated into that of the Textile Museum. The basic inventory of that collection consists of the textiles of the above-mentioned Franz Bock and of the textile expert Robert Forrer (1866-1947).

A brochure about the exhibition is available at the desk.

Ursula Karbacher, curator

number of chalice veils
answers to the first question (newsletter 11)
No 13 / July 2000 / 3

in order to complete the questionnaire
it is always possible to answer any questions

The first question (asked the first time in Newsletter No 11)
If you have chalice veils in your collection, please write to the Newsletter how many altogether
the techniques and the places of origin

Great Britain:
Clare Browne of V&A, London:

111 chalice veils of which 58 embroidered, 16 lace, 36 fabric, 1 painted
62 Italian, 22 English, 13 French, 6 Spain, 3 German, 1 Russian, 1 Armenian, 1 Flemish

Margaret Swain, vestments at Traquair
15 chalice veils, english, of which 6 embroidered, 9 fabric
one can be dated to 1688

Margaret Swain, Royal Museum of Scotland
1 chalice veil, scottish, embroidered, one of the few pre Reformation pieces to have survived.

Dela von Boeselager, Koeln:
2 chalice veils, cathedral of Koeln, now exposed in the Castle of Augustusburg, Bruehl, see Newsletter 13, page 11

Gudrun Sporbeck of Schnuetgen-Museum, Koeln:
44 chalice veils, embroidered, see contribution No 7
10 Italian, 8 French, 26 German

Rainer Y of Wuerttembergisches Landesmuseum, Stuttgart, Germany
17 chalice veils (one of them as a fragment)
2 Italian, 6 German, 1 German with date, 7 other

Christine Aribaud of Musee Paul Dupuy, Toulouse

31 chalice veils, 6 embroidered, 25 fabric
all french (Toulouse), see contribution No 8,9,10

Tatiana Kossourova of Eremitage, St.Peterburg

8 chalice veils, embroidered
3 German, 2 Spain, 2 Italy, 1 western Europe

Anne Wanner of Textilmuseum St.Gallen, Switzerland

79 chalice veils of which 43 embroidered, 5 lace, 31 fabric,
22 Italian, 16 French, 1 Spain, 12 Swiss, 1 German, 2 Austria, 1 Russian, 1 eastern Europe, 1 Flemish

Alex Claude of Historic Museum of Zug, Switzerland
20 chalice veils, of which 8 embroidered, 11 fabric, with date
all swiss, partly from church of St.Michael, Zug

chalice veils with data
answers to the second question (newsletter 12)
No 13 / July 2000 / 4

The second question (asked the first time in Newsletter No 12):
there seem to be very few pieces with a date embroidered.
Could you send some information, maybe photographs, of the chalice veils with dates ?

England: V&A, London:
No chalice veil with date

Scotland: vestments at Traquair
1 veil can be dated to 1688

Scotland: Royal Museum of Scotland
1 chalice veil, one of the few pre Reformation pieces to have survived.

Germany: Wuerttembergisches Landesmuseum, Stuttgart
1 german chalice veil with date

Germany: Schnuetgen Museum, Koeln
P 79 silk embroidery (53cm x 53cm) Germany 1686
P 491 silk embroidery (51cm x 51cm) Italy 1644

France: Musee Paul Dupuy, Toulouse
Manaud Troy for bishop Bruno de Ruade, (52cm x 60cm) Toulouse, 1635

Russia: Eremitage, St.Peterburg
No chalice veil with date

Switzerland: Historic Museum of Zug
Nr. 1495 Saint Oswald (58cm x 55cm) H.Casp.Vilig. Swiss, Zug 1658
Nr. 1496 Holy family (59cm x 54cm) C + F Swiss, Zug 1679
Nr. 1497 Saint Barbara (48cm x 57cm) C.F Swiss, Zug 1677
Nr. 1498 Arma Christi (54cm x 60cm) C.F. Swiss, Zug 1685

Switzerland: Textilmuseum St.Gallen,
No chalice veil with date

chalice veils
third question
No 13 / July 2000 / 4

The third question
It would be interesting to start a bibliography about special literature on chalice veils.
Please send to the Newsletter information about special literature.

Christine Aribaud, Soieries en Sacristie, Fastes liturgiques, 17e - 18e c., Paris 1998, ISBN 2-85056-337-4

Linus Birchler, Kunstdenkmaeler des Kantons Zug, vol. 2, Basel 1959, p. 107

Millard, OSB, Dom Bede, Ecclesiastical Textiles, in: catalogue of the Pugin exhibition, London 1994, p. 206

Margaret Swain, Scottish Embroidery, Batsford 1986

Margaret Swain, Vestments at Traquair, in: Bulletin du CIETA, No. 72, 1944, pp. 48-59

Anne Wanner, Zur Restaurierung von alten Stoffen, in: 100 Jahre Historisches Museum Zug, 1979, Hg. Zuger Kunstgesellschaft, S. 30-38

Fritz Witte, die liturgischen Gewaender und kirchlichen Stickereien des Schnuetgenmuseums in Koeln, Berlin 1926, Taf. 65, 66

chalice veils
No 13 / July 2000 / 5,6,7,8

Chalice veils in the collection of Victoria and Albert Museum, London

Chalice veils in the collection of the Schnuetgen-Museum, Koeln

Chalice veils shown in the exhibition at Musee Paul Dupuy, Toulouse

Chalice veils in the collection of Wuerttembergisches Landesmuseum, Stuttgart, Germany

Soieries en Sacristie
book by Christine Aribaud, 1998
No 13 / July 2000 / 9,10

Soieries en Sacristie
Fastes liturgiques, 17e – 18e c.
par Christine Aribaud, Paris 1998

199 pages on every page one or several colour photographs
ISBN 2-85056-337-4

"Der Riss im Himmel"
exhibition: Castle Augustusburg, Bruehl
chalice veils
No 13 / July 2000 / 11

Exhibition at Castle Augustusburg
Bruehl, Germany
"Der Riss im Himmel"

Forthcoming publication:
Dela von Boeselager,
Capella Clementina. Kurfuerst Clemens August und die Kroenung Kaiser Karls VII., Studien zum Koelner Dom Bd. 8, Koeln 2000.

Contribution by Dela von Boeselager
(see also the abstract in Newsletter No 11, 1999, page 12)

The exhibition "der Riss im Himmel" will last to October 1, 2000. It is open daily from 10 a.m. to 6 p.m. At the moment 18 pieces are exposed in the Castle Augustusburg in Bruehl, situated on the railway line between Cologne and Bonn.

The title and the concept of the exhibition are much disputed, except for the impressive procession installed in the main hall showing the archbishop Clemens August accompanied by diacons and mass servants clad in gold embroidered garments.

On february 12th, 1742 the emperor Karl VII was coronated in Francfort on the Main. For this occasion his brother Clemens August, prince elector and archbishop of Cologne, ordered church vestments in Paris, known as Capella Clementia today and kept in the Cathedral of Cologne.

Among the 44 pieces there are two chalice veils showing the lamb of God lying on the Apocalyptic book and the pelican feeding his young ones, motifs symbolizing Christ's sacrifice. The gold embroidery is done mainly in satin stitch, covering both the top and reverse sides of the silver fabric. Besides there are relief motifs, embroidered separately and attached to the fabric. All materials, the metal thread (or file), tinsel (clinquant), sequins (paillettes), coiled wire and coiled strips (canetilles) were made from Parisian Gold (or de Paris).

One of the chalice veils has preserved its border of gold lace. The embroidery done in Parisian workshops is of the highest quality.


Wool embroidery, 17th cent.
exhibition and catalogue, Switzerland 2000
No 13 / July 2000 / 12

book: Bilderwelt des Himmelbetts
gestickte Bettbordueren der Spaetrenaissance
by Vera Heuberger, Anne Wanner, Manuel Kehrli
Zuerich, 2000
64 pages, 54 colour photographs, written in german. SFr. 22.-.
It can be bought at: Bernisches Histor. Museum, Helvetiaplatz 5, CH-3000 Bern 6 , ISBN 3-921573-3-3,
and Chronos Verlag Zuerich, ISBN 3-905313-61-8.

The exhibition at the castle of Oberhofen at Thun (near Bern, Switzerland) shows 4 bed valances.
The castle is open: 14th of May - 15th of October 2000, Tuesday till Sunday 10 to 12 and 14 to 17, Monday 14 to 17

book by Clare Browne and Jennifer Wearden, 1999
No 13 / July 2000 / 13

Samplers from the Victoria and Albert Museum
By Clare Browne and Jennifer Wearden,
London 1999

ISBN 18 5177 309 6
112 coloured photographs

"Door mijn gdaan"
book by Eef de Jonge-Everaert
No 13 / July 2000 / 14

Eef de Jonge-Everaert
„Door mijn gedaan", de geschiedenis von de Zeeuwwe merk- en stoplap
(„Done by me", the history of the Zeeland sampler and darning sampler)

published by the Vereniging van Zeeuwse musea en Bureau provinciaal museumconsulent Zeeland,
Text in Dutch, illustrated in colour and black and white, bibliography
Postbus 378, 4330 AJ Mideelburg, 1999,

The Bureau Provinciaal Museumconsulent Zeeland has changed its setup and name since 2000.
It is can best be reached at Stichting Cultureel Erfgoed Zeeland, SCEZ, Postbus 49, 4330 AA Middelburg, email

An exhibition 'Door ons gedaan' , the longest sampler in the world, was shown in Japan in 2009.
A description of it can be found on the website: 
which can be translated into English (very badly!!!) on the Google browser.

Unfortunately, the book  "Door mijn gedaen, de geschiedenis van de Zeeuwse merk- en stoplap" by
Eef de Jonge-Everaert, published by VZM/BPMZ, isbn : 9789090129662, is not in stock at


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