Blog

The TRC in Leiden has a small collection of tapestry woven textiles, among which some early examples from Coptic Egypt. Tapestry weaving has a long and fascinating history, and we are pleased to publish a blog about contemporary tapestry weaving, written by Charles Knobler from Los Angeles. He writes:

"The Lady and the Unicorn: Desire." Tapestry in the Cluny Museum, Paris.

To most people the term “tapestry” likely brings to mind the monumental medieval and renaissance woven wall hangings, such as “The Lady and the Unicorn”, which fills a room in the Cluny Museum in Paris. Such tapestries were designed by an artist and woven by teams of artisans.

Due to the covid crisis, in April 2020 (it seems a very long time ago…..), I was working from home on a mini-project called ‘What is Gingham’, as part of our building up a reference collection of various types of cloth. It was published in a TRC Blog called ‘Gingham thoughts’ that appeared on the 10th April 2020.

Jane Hardy’s sampler made at the Burton Leonard School, North Yorkshire (1872; TRC 2020.1606).

In the same month we also added a sampler (TRC 2020.1606) to the TRC Collection that was made by Jane Hardy of Burton Leonard, North Yorkshire (England). The sampler was dated to 1872 when Jane was ten years old. We contacted the Burton Leonard Church of England school where she had made the sampler to see if they had any further details about her. This led to emails between the school and a local historian called Vivienne Rivis, who was very excited about the sampler, as it is one of the few items made by pupils that have survived from this period.

Poster announcing the new TRC exhibition about the Second World War. The poster photograph in the centre, showing garments from the exhibition, was taken by Joost Kolkman.During the last five days the TRC in Leiden has been very busy with (finally) taking down the American Quilt exhibition, which we put up in February, took down in March, put back up again in June up and now it is finally down.

Together with Lies, Sophie and Augusta, three of our dedicated volunteers, we cleaned the TRC Gallery and slowly started adding items for the new exhibition, including numerous panels, over twenty mannequins dressed in the relevant clothing from the 1930’s and 1940’s, photographs and many small items, ranging from lapel badges to heavy leather boots with massive wooden soles.

Embroidered sampler dated 1756, The Netherlands (TRC 2020.3683).At the end of August 2020 the TRC was given some early samplers following the sad death of Mw. Trees Verberne-Van Hamersveld, The Hague. She wanted to leave the samplers to the ‘Leiden Textile Museum’ (the TRC Leiden is often called this). We would like to thank Mrs Verberne-Van Hamersveld and her family.

There are a total of six samplers that date from between the mid-eighteenth century and 1803. They all have linen grounds and are worked in polychrome silk yarns, most of which have now faded. In addition, some of the black yarns have bled leaving heavy stains.

Three of the samplers are conventional forms with many motifs embroidered in cross stitch, although one of them also in includes letters and a date in eyelet stitch. The other three samplers are darning samplers.

Women's jacket with printed Paisley motifs; The Netherlands, late 20th century (TRC 2016.1949).We are currently putting up the next TRC exhibition that is about textiles and clothing during WW2. It opens on the 16th September. But at the same time we are already working on the Paisley (buteh) exhibition, which was planned for the autumn of 2020, but because of the corona crisis was postponed to early 2021.

Part of the reason for actively working on Paisley/buteh motifs is that in October 2020 there will be a four-day online conference about the trade and movement of textiles in various parts of the world. It is being organised by the International Institute for Asian Studies in Leiden, in cooperation with the TRC and the Tracing Patterns Foundation in Berkeley, California.

One of the earliest surviving examples of a north European cross stitch sampler dates to the first half of the 16th century and is believed to come from Germany. It is now housed in in the Victoria & Albert Museum, London (T.114-1956). The sampler is made from an even weave linen ground and is embroidered in both cross stitch and long-armed cross stitch using silk yarns in various colours. Details about the sampler will be included in the forthcoming Encyclopedia of Embroidery, Vol. 3, which is being produced at the TRC in Leiden and will be published by Bloomsbury, London.

Late 19th century sampler worked by Johanna Alewijnse, from Zeeland in The Netherlands (TRC 2018.2380).It is neither a great piece of art nor particular special. It is a sampler that was probably worked in the late nineteenth century by Johanna Alewijnse from Zeeland, The Netherlands (TRC 2018.2380). It's just school work, but with a surprise to those who turn it around.

The cloth measures 37 x 37 cm. It is made of a linen canvas, which was woven especially for teaching purposes, and it is embroidered with aniline dyed wool. The woollen embroidery thread is too thick for the (10-thread) mesh. The cross stitches form a thick mass, and the large squares are cushion-like and deform the fabric.

The layout is not very traditional. The sampler contains an alphabet and the beginning of a second, but there is no row of numbers. The letters are worked in the middle, rather than starting from the left. Above the alphabets is a row of squares with simple surface filling patterns, accompanied with other motifs, including baskets with flowers, animals, birds, and a star. Underneath the alphabets is a line of stylised flowers, a tree with paired birds, a male figure, and what appears to be a tea pot. All of this is framed by a simple border, which includes small geometric patterns in a seventeenth century style.

Women working a quilt under the 1930s WPA Sewing Room Project (Lee LC USF34 010885 D 768x573).Last week the TRC took down its exhibition on American quilts. What became clear when organising and displaying the exhibition, is the importance that quilts have played in American history. A remarkable story is recounted by textile historian, Kyra Hicks, who tells about an Afro-American woman called Estella Weaver Nukes. She made a postage stamp quilt and presented it to President Roosevelt. TRC volunteer, Shelley Anderson, retells this fascinating story.

Before the US entered World War II, the country was struggling with massive unemployment and poverty. In an effort to provide jobs for millions of destitute Americans, President Franklin Delano Roosevelt (1882-1945) established the Works Projects Administration (WPA). The WPA hired jobless men to build roads, dams, schools and libraries.