ANNE WANNER'S Textiles in History / CIETA Embroidery Newsletters
- of the CIETA Embroidery Group
Bulletin dInformation de Groupe Broderie de CIETA
|Dear members,||Rheinfelden, November 12th, 2000|
|I am glad that you sent your
contributions once more, thank you very much: Christine
Aribaud, Karen Finch, Pat Griffiths, Regula Hahn (chalice
veils of Chur, Switzerland), Tatiana Kossourova, Clare
Rose (information of Liz Arthur), and I thank you for the
books that were sent to the Newsletter: Lost arts of
Europe and Dresden Lace.
In this letter you will find examples of chalice veils in two collections of Swiss historic museums.
Together with Dr. Irmgard Peter, also member of Cieta and former conservator of the Historic museum of Basle, Switzerland, I would like to work on a vocabulary of embroidery stitches. Dr. Peter is one of the authors of "Systematik der Stichformen" , Basel 1968. We could take her systematic as a basis. I am asking all members to help with the translation of the expressions. You will find a first example in the end of this letter. Please send your ideas to my adress.
This letter can be found in internet like all the other ones:
The following colloquium already took place, but as the program sounds interesting I give here some details. Maybe one of the members knows more about the event and would be so kind to send one or several summaries of the contributions:
d'Amérique et de France, Québec, 4 au 7 octobre
L'organisation de ce
colloque est une première au Québec car cette
thématique n'a jamais été traitée auparavant de
manière spécifique dans le cadre d'un colloque
- Nicole Pellegrin, CNRS Paris: Conférence inaugurale
- Michel Laurent, conservateur, résponsable de la collection textile
- Marie-Paule Robitaille, conservatrice responsible des collections amérindienne et inuite
- Joleen Gordon, Research Associate, Nove Scotia Provincial Museum, Halifax
- Elise Dubuc, anthropologue et muséologue, Montréal
De la manufacture à l'atelier
Collections textiles et
Table ronde. Discussion animée par Michel Lessard, ethno-historien, Université du Québec à Montréal
Visites aux collections textiles de plusieurs musées de Québec et de Montréal.
Thessy Schoenholzer Nichols, member of our group, will be teaching 16 lessons of embroidery stitches in march 2001, at Fondazione Arte Della Seta Lisio, via Benedetto Fortini 143, 50125 Firenze, Italy
Vadianstrasse 2, CH 9000 St. Gallen,
Vadianstrasse 2, CH 9000 St. Gallen
Questions about chalice veils:
- the first question
(asked the first time in Newsletter No 11)
- the 2nd question:
(asked the first time in Newsletter No 12)
- the 3rd question: (asked
the first time in Newsletter No 13)
|Special literature on chalice
Christine Aribaud, Soieries en Sacristie, Fastes
liturgiques, 17e 18e c., Paris 1998,
articles by Robert, Ludwig Suter on chalice veils:
- Scholastica An der
Allmend, eine Luzerner Paramentenstickerin der
Barockzeit, in: ZAK, Bd. 25, Heft 3, 1968
Connoisseur October 1962 (vol. CLI, no 608)p.
(Information by Liz Arthur, Costume & Textile consultant)
The chalice veil (Burrell 29/9) war purchased by Burrell in 1932 and may be from the Sotheby sale of 11 December 1931. It is of linen with silk and metal thread in satin stem stitches and couching, 43 x 45cm. The inscription reads "Elisabetha Dei Gratia Anglia Francie et Hibernie Regina Fidei Defensatrix Dieu et mon Droit." Between the lines are globes and ostrich feathers. In the centre are the Royal Arms with three leopards and three fleurs-de-lys. It seems very likely that this was used in a royal chapel.
Tresors du musee d'art religieux et mosan de Liège,
exposition au musee du petit palais de la ville de Paris,
du 16 octobre 1981 - 3 janvier 1982.
No 204, - voile de calice, 1640, 51 x 54 cm. Satin pourpre brodé d'or: fil lisse, cordonnet, cannetille et paillettes. Travail au couché, guipé et gaufré. Rehauts de perles. Autour d'un soleil rayonnant avec IHS entre la croix et un coeur percé de trois clous et la date 1640, décor stylisé et symétrique de motifs végétaux et d'oiseaux. Frise florale en bordure interrompue par des vases fleuris. Fine dentelle d'or sur le pourtour.
The Chalice veils in the collection of the Historic Museum of Zug, Switzerland (sent by A. Claude)
The Chalice veils in the collection of the Rätisches Museum, Chur, Switzerland (sent by R. Hahn)
Altarfrontal, Triptych, 16th
embroidery, Nr. T 2634, measures 90cm x 232cm, it came in
1923 from the Stieglitz Museum to the Eremitage.
It has been washed, restored. A new lining has been added. The linen ground is not visible and it is covered with an embroidery of mostly coloured wool yarns and little silk yarns, especially in the face of Christ and in some parts of the kings. For the metal parts of vestmens there has been used gold and silver yarns. The embroidery technique cannot be seen very clearly. It is probably stemstitch, maybe splitstich, but not overcaststitch.
The design is very professional and it was probably made by a painter of 16th c. Italy, maybe del Garbo, pupil of Botticelli. Three pictural scenes are framed by scrolls and flowers. The first scene shows the Annunciation, the second scene the Nativity and the third scene the Adoration of the Magi.
Museum of the History of Religion
of the History of Religion
descriptions of 2 folders by S.N. Pavlov
State Museum of the History of Religion houses one of the
world's richest collections of Russian Church Art. Its
sacral foundation is the doctrine and ritual practice of
Eastern Christianity - the Greek Orthodox Church, brought
to Russia from Byzantium in 988. The key figure is the
icon, and Adoration of the icon is the most significant
tenet of Greek Orthodox Church.
Russian embroidery in gold holds an important place in the artistic culture of Russia. It has a primary significance in costume decoration (both for the nobility and in folk costume), in ecclesiastical garments and ceremonial objects. Ornamentation of ceremonial robes traditionally used most expensive materials and most effective techniques.
Among the centres of precious embroidery has long been the town of Torzhok, where the rare art is still practised. The good hands of the town have long been decorating their dresses with glittering design, working in church decoration, ornamenting objects of secular and ecclesiastical culture. The embroiderers of Torzhok have often worked on Royal commission, as for example embroidering a festive dress for Catherine II, or the coronation purple with the coat of arms for Alexander II.
The Russia gold embroidery from Torzhok was a great success at exhibitions in Paris 1907, Turin 1911, New York 1938, Brussels 1958 etc. The finest gold embroideries of Torzhok today give evidence of traditions and the unique experience of the past, along with experiments in new materials and techniques, to reflect the thinking and imagery of the 20th century.
Dresdner Spitzen - Point de
Dresdner Spitzen - Point
247 pages, 82 bw
photographs, 9 colour photos, catalogue with 124 Nrs and
In dutch: Regenten gekleed
The exhibition, entitled: Regents in costume/Regenten in de kleren, is in the Costume and Textiles Gallery in the South Wing of the Rijksmuseum. It will be on view until 11 March 2001.
The Lost Arts of Europe
Exhibition and catalogue:
The Lost Arts of Europe
A collection of Essasys
Exhibition in: Haslemere Educational Museum April - September
fabric, extracts from books and inventories
Embroideries worked on
buratto fabric: 16 cent. - 17 cent.
Compiled by Karen Finch, London
- Caption: Etched
pattern, Sibmacher, Newes Modelbuch in Kupffer Gemacht,
Nuremberg 1604. (Lot 38c).
- Three Hundred Years
of Embroidery: 1600 - 1900. Treasures from the
Collection of the Embroiderer's Guild of Great Britain.
Pauline Johnstone. The Embroiderers' Guild 1987.
- Caption: Embroidered in
red silk on the counted threads of a buratto woven
ground. The pattern is entirely in backstitch. The top
edging consists of small groups of oriental stitch; the
lower edge of groups of button-holing with an added
plaited red and white cord.
- Caption: Embroidered in coloured silks on a ground
of buratto woven linen. The outline of the pattern, which
is of the Renaissance wave type, is worked in double
running stitch in red silk. Coloured filling patterns
(blue, green, yellow, cream, white and pink) are in cross
and satin stitches.
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