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Voorbeelden van twijnbinden.Voorbeelden van twijnbinden.Plantenvezels zijn de oudste textiele materialen van de mensheid. Zij waren al millennia in gebruik voordat het eerste wollige schaap ten tonele verscheen. Uit de steentijd zijn fijne vlechtwerkjes, touwen, matten en zelfs hoofddeksels en schoenen bekend, gemaakt van lindebast, brandnetel, wilgenbast, grassen en biezen.

Tijdens de workshop maken we kennis met deze prehistorische vlechtmaterialen en -technieken. De deelnemers hoeven niets mee te brengen behalve een flinke dosis geduld.

Deze woensdagochtend workshop wordt gegeven door Dorothee Olthof, een deskundige op het terrein van archeologisch textiel en in de reconstructie van middeleeuwse en latere kleding.

By the end of the 1930’s, kits of various kinds became a feature of American quilt life. These included patterns for quilt blocks and all the cloth that was required, sometimes pre-cut into the desired shapes. The kits also sometimes included embroidery charts, or patterns that were printed directly on cloth using a system of X’s for the embroiderer to work in cross stitch.

A 1950's embroidered quilt made from a kit, USA (TRC 2019.2926).A 1950's embroidered quilt made from a kit, USA (TRC 2019.2926).

The example of an embroidery chart for a quilt corner derives from an embroidered quilt in the TRC collection (TRC 2019.2926), from the USA in the 1950's. It was worked in a thick turquoise cotton yarn on a white ground, in cross stitch.

Cross stitch chart for the corner of an embroidered quilt (USA, 1950’s; TRC 2019.2926). For a detailed pdf file, please click on the image.Cross stitch chart for the corner of an embroidered quilt (USA, 1950’s; TRC 2019.2926). For a detailed pdf file, please click on the image.

 

 

Tekening van de Peking knoopTekening van de Peking knoopDeze woensdagochtend-workshop zal zich concentreren op verschillende soorten borduurknopen, waaronder de Franse knoop, de bullion knot en de Peking-knoop. De workshop wordt gegeven door Joke van Soest, free-lance borduurleraar.

De Franse knoop is een decoratieve steek die wordt gebruikt om een ​​of meer kleine knopen of stippen op een grondmateriaal te maken.

De bullion stitch (lussenstokje) is een decoratieve techniek die wordt gemaakt door een draad meerdere keren rond een naainaald te draaien voordat de naald in de stof wordt gestoken. Korte bullion-steken worden soms bullion knots genoemd.

De Peking-knoop is kenmerkend voor veel traditioneel Chinees borduurwerk in zijde, waarbij rijen van deze fijne steken worden gebruikt om de motieven in te vullen.

Datum: woensdag 26 februari 2020. Tijd: 10.00 - 13.00 uur. Locatie: TRC Leiden, Hogewoerd 164, 2351 HW Leiden, Nederland. Docent: Joke van Soest. Taal: Nederlands. Kosten: 30 euro, inclusief materialen/koffie/thee. Max. aantal deelnemers: 12. Meldt u zich ruim van tevoren aan: Dit e-mailadres wordt beveiligd tegen spambots. JavaScript dient ingeschakeld te zijn om het te bekijken. 

 

Exhibition starts with the quilt block ' Dutchman's breeches', to the left. The quilt to the right is called 'Birds in the Air'.Exhibition starts with the quilt block ' Dutchman's breeches', to the left. The quilt to the right is called 'Birds in the Air'.

Quilts from the first half of the 20th century.Quilts from the first half of the 20th century.

Hanging down the wall, a Star Burst quilt from the 1860's. Hanging down the wall, a Star Burst quilt from the 1860's.

Detail of an appliqué and embroidered quilt, 1840's.Detail of an appliqué and embroidered quilt, 1840's. 

A selection of quilts and quilttops from the 1880's and 1890's.A selection of quilts and quilttops from the 1880's and 1890's.

Three quilts from the early 20th century.Three quilts from the early 20th century.

Three historic quilts from 1916 (left), late 19th century (centre), and 1840's (right). The appliqué coat was made in early 21st century by Henny Vogelsang from Schagen, The Netherlands.Three historic quilts from 1916 (left), late 19th century (centre), and 1840's (right). The appliqué coat was made in early 21st century by Henny Vogelsang from Schagen, The Netherlands.

Two modern quilts by Lies van de Wege, The Netherlands.Two modern quilts by Lies van de Wege, The Netherlands.

'Chinese Coin' quilt, c. 1900.'Chinese Coin' quilt, c. 1900.

Amish quilt, late 19th century.Amish quilt, late 19th century.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Voorbeelden van bandwevenVoorbeelden van bandwevenBandweven is een techniek om stevige, smalle, kleurrijke banden te weven die kunnen dienen als riem, draagband of een stevig begin voor een groot weefsel. Vondsten uit de brons- en ijzertijd laten zien dat de techniek een lange geschiedenis kent. De etnografie leert dat de techniek bovendien wereldwijd voorkomt.

Tijdens de workshop kijken we naar voorbeelden uit diverse tijden en van verschillende plaatsen. Vervolgens leren de deelnemers een eenvoudig bandweefsel op te zetten, inrijgpatronen te maken, indien gewenst eenvoudige pick-up patronen te weven en mogelijke afwerkingen van bandjes te maken.

Bovendien krijgen zij tips voor het zo netjes en gelijkmatig mogelijk weven. Als deelnemers zelf een bandweefraampje hebben, is het handig als ze dat meenemen (graag aangeven bij aanmelden, zodat ik weet hoeveel ik er mee moet nemen).

Deze woensdagochtend workshop wordt gegeven door Dorothee Olthof, een deskundige op het terrein van archeologisch textiel en in de reconstructie van middeleeuwse en latere kleding.

Datum: woensdag 25 november 2020. Tijd: 10.00 - 13.00 uur. Locatie: TRC Leiden, Hogewoerd 164, 2351 HW Leiden, Nederland. Docente: Dorothee Olthof. Taal: Nederlands. Kosten: 30 euro. Materialen/koffie/thee worden verstrekt. Max. aantal deelnemers: 12. Meldt u alstublieft ruim van tevoren aan: Dit e-mailadres wordt beveiligd tegen spambots. JavaScript dient ingeschakeld te zijn om het te bekijken.

For more information, click on the illustration.For more information, click on the illustration.ASKARI, Nasreen and Hasan Askari (2019). The Flowering Desert: Textiles from Sindh. London: Paul Holberton Publishing, Mohatta Palace Museum, Karachi. ISBN 978-1-911300-71-7, hardback, pp. 168, fully illustrated in colour and b/w, bibliography, glossary. Price: GB ₤30.

A beautifully illustrated and presented book about woven, dyed and hand embroidered textiles and garments from the Sindh Province of Pakistan. Most of the items date from the 20th century and are items worn by girls and women, with some pieces for men. In addition, there are accessories and household items, such as game boards and covers for objects.

The subject matters are divided into five essays, a chapter about the collection, as well as a glossary and extensive bibliography. The essays include numerous details concerning different peoples and tribes, materials, techniques (especially embroidered and dyed forms), patterns, and the general diversity of the textiles produced and used in this vast region.

There are numerous high quality object and detail colour photographs that make following the complexity of the different groups and their textiles a pleasure.

Recommendation: This book should be in the library of anyone interested in embroidery, let alone South Asian textiles and accessories. It will also be worth while having just for the sheer enjoyment of looking at these diverse, colourful and decorative textiles (especially the embroideries). The textiles are indeed flowers in the desert.

Gillian Vogelsang-Eastwood, March 2020

Alabama beauty, Ashland rose, Brunswick star are not the names of flowers or birds, instead they are just a few of the thousands of different types of blocks used for making American quilts. For a long period of modern American history, quilts were one of the main means of women’s personal and artistic expression. They became a unifying force, an interest shared, while quilt gatherings provided a support service and mutual encouragement.

But what exactly is a quilt?

Basically a quilt is a bedcover or bedspread. These were initially made from two layers of cloth. At some point it was discovered that by adding a filling between the two layers it was possible to significantly increase the amount of warmth created. It was also quickly learnt that it was necessary to secure these layers together in some manner and that a series of small running stitches was the solution. This became one of the most popular techniques of quilting.

Quilting dates back for at least three thousand years. Ancient examples have been found at archaeological excavations in various Central Asian countries. Quilting was used for a range of objects, including floor coverings, wall hangings, as well as boots.

Bedspreads decorated with quilting were made in Scandinavia and Europe long before they were being made in America, with some of the most elaborate extant examples dating from the 14th century and originating from Sicily (the famous Tristan Quilt, made with trapunto or padded quilting), while later ones come from Britain, France, Germany, Sweden and The Netherlands. These quilts were made in a variety of techniques, including what is now called English paper piecing (using a card template) and ‘wholecloth’ quilting (quilts made from one piece of cloth).

Introduction of quilts into the US

When the Mayflower and the Pilgrims arrived in America in 1620 there were no bed quilts on board, but the settlers would have had the basic skills and knowledge of quilt making. The earliest surviving American quilts are made using the so-called wholecloth technique, but in later years quilts were being made that consisted of three layers. In the early 19th century the top layer often consisted of patchwork, made out of blocks. By the 1850’s, a typical American quilt was thus defined as being a covering for a bed that was made from three layers of cloth, with a patchwork top layer. The use of blocks seems to have been developed for convenience, as it was easier to draft a small design in a square rather than on a full quilt.

Amish and Mennonite quilts

Two related religious groups have had a particular influence on American quilts. These are the Amish and the Mennonites. The Amish are a traditional, Christian group who are known for their simple way of life, plain dress and dislike of modern technology. They originated in the late 17th and early 18th centuries among the Swiss German Anabaptists and a man called Jakob Amman, hence the name of Amish. In the early 18th century, many of the Anabaptists and followers of Amman emigrated to Pennsylvania, US, and to Canada. The patchwork top layers of the Amish quilts are characterised by graphic, often symmetrical designs made with solid-coloured fabrics that are often made from the same material that is used for Amish clothing. Although these quilts have simple designs, the quilting itself can be very complex. A popular quilting pattern among the Amish is the feather motif.

In the late 19th century the Amish split up into the Old Order Amish and the Amish Mennonites. The Mennonites are named after Menno Simons (1496-1561), from Friesland (now a province of The Netherlands). They are a mixed Anabaptist group who believe in a different version of the mission and ministry of Jesus than the official Roman Catholic and later Protestant doctrines. Over the years Mennonites have migrated to many parts of the world, including America, and they were joined by some of the Amish, who subsequently became known as the Amish Mennonites, or simply dropped the name of Amish. Mennonite quilts tend to be much lighter and brighter than Amish quilts, especially as they use figured fabrics.

Social functions (quilting bees)

A quilting bee is basically a social gathering based around the activity of quilting. This may be a regular meeting on a weekly or monthly basis, or a special occasion such as quilting a finished top by a group of people for a bride-to-be. In the latter case, there would probably be other activities and food would be brought to share, there may even be music. One of the most important features is the opportunity to talk and chatter with other women, which was said to sound like ‘bees in a hive’, hence the term quilting bee.

One of the most famous groups is the Gee’s Bend quilters’ quilting bees This is a group of African American women who live in the isolated hamlet of Gee’s Bend in Alabama. The quilts made in Gee’s Bend are regarded as being simply made and with a distinctive free form, using whatever materials are available to them.

Over the last two hundred years, many bees have come together to create group quilts, which were produced to support charities, events and movements, such as the Red Cross, the American Civil Rights movement and the AIDS epidemic support groups, to name just a few.

Competitions

Quilt competitions have been held since the early 19th century at State and County Fairs, even at rodeos. Mostly, people were competing for ribbons and the kudos of winning, but some competitions did occasionally feature cash prizes. In the 1970’s and 1980’s, the National Quilt shows started to offer cash prizes that were sponsored by quilt related companies. The prizes gradually became larger and larger. The American Quilt Society (AQS) show in Paducah, for example, came up with the idea of a ‘purchase prize’, where the ‘Best of Show’ quilt earned a cash prize, and the quilt would go to the AQS museum. By the early 21st century there are quilt shows all over the US, from local guilds putting on their own show, to ones held by state-wide organisations.

Een laat-19de eeuwse quilt uit Amerika. TRC Collectie (TRC 2019.2042).Een laat-19de eeuwse quilt uit Amerika. TRC Collectie (TRC 2019.2042).In deze workshop neemt Beverley Bennett, een van de organisatoren van de tentoonstelling American Quilts, de deelnemers mee voor een gedetailleerde studie van een bepaalde antieke quilt uit de TRC-collectie.

Zij bespreekt met u de volledige context van de quilt, de maker(s), de regio en het tijdstip van productie, en de technieken en methoden die zijn gebruikt. Samen kijkt u naar de verschillende aanwijzingen die de wereld achter de quilt onthullen. Ten slotte zullen we bespreken hoe we een patroon van een antieke quilt kunnen tekenen en gebruiken als inspiratie voor een origineel werk.

Datum: woensdag 27 mei 2020. Tijd: 10.00 - 13.00 uur. Locatie: TRC Leiden, Hogewoerd 164, 2351 HW Leiden, Nederland. Docent: Beverley Bennett. Taal: Engels. Kosten: 30 euro, inclusief materialen/koffie/thee. Max. aantal deelnemers: 5. Meldt u zich alstublieft ruim van tevoren aan: Dit e-mailadres wordt beveiligd tegen spambots. JavaScript dient ingeschakeld te zijn om het te bekijken.

 

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Abonneer u op de TRC Nieuwsbrief


Abonneer u op de TRC Nieuwsbrief


TRC in een notendop

Hogewoerd 164
2311 HW Leiden
Tel. +31 (0)71 5134144 /
+31 (0)6 28830428  
info@trc-leiden.nl

Het TRC is vanaf dinsdag 2 juni weer geopend, maar voorlopig alleen volgens afspraak.

Bankrekening:
NL39 INGB 0002 9823 59
t.a.v. Stichting Textile Research Centre.

TRC Gallery tentoonstelling, 6 febr.. t/m 27 augustus 2020: Amerikaanse Quilts

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Financiële giften

The TRC is afhankelijk van project-financiering en privé-donaties. Al ons werk wordt verricht door vrijwilligers. Ter ondersteuning van de vele activiteiten van het TRC vragen wij U daarom om financiële steun:

Giften kunt U overmaken op bankrekeningnummer NL39 INGB 000 298 2359, t.n.v. Stichting Textile Research Centre.

Omdat het TRC officieel is erkend als een Algemeen Nut Beogende Instelling (ANBI), en daarbij ook nog als een Culturele Instelling, zijn particuliere giften voor 125% aftrekbaar van de belasting, en voor bedrijven zelfs voor 150%. Voor meer informatie, klik hier

Voor het overmaken van giften, kunt U ook gebruik maken van Paypal: