The last few years we have put together an Advent calendar during december. Out plan is to do the same this year. But since the new plague hit our world we have not been traveling at all. And we might lack a bunch of “new” historical textiles to show you. We are doing the best we can to show you hidden gems in our photo collections. It’s possible that we bring up new angles of a piece that we have shown you before. Hope you can find joy in a recycled textile too.
Our first post is an embroidery: The peacock on the Masku coverlet, Finland. Intarsia technique. Wool fabric in green ( now with a blue tint since the yellow dyestuff have faded), dark blue, white and red. Also thin cotton or linen fabrics as decoration on the top of the antennas. The silvred/gilded leather have fallen off in the majority of places. The stitching shows where they were placed.
The coverlet is in the collections of the National Museum of Finland. Dated to 15th century. / Amica and Maria If sharing photos: please cred us.
A few weeks ago, “Historical Costume – inside and out: The women’s clothing in Northern Europe 1360-1415” was released , Maria Neijman is one of the two authors and as you may know, she is also 50% of Historical Textiles.
What is the book about? As the title indicates, it is a book that overall shows how women in the Northern parts of Europe between the period 1360-1415 could dress. The book contains principle sketches of patterns, stitch descriptions and much, much more.
In early 2021, the book will be published translated into English. For those of you who are interested in buying the book, can already now pre-order your copy.
The book cost 175SEK. Shipping to Europe for a book costs 130 SEK. Australia and the USA cost 104SEK. Of course traceable! Payment either via Paypal or bank transfer.
Book your book by emailing Maria at neijman(a)icloud.com Do not forget to write your full address. For those of you who want to buy the book in Swedish, you can email already now!
Together with a group of dedicated people we have recreated five large embroideries. Four of the embroideries are large coverlets, and two are large cushions. All originals, except Östra Stenby, are to be found at the museum. Since they are too fragile to be exhibited in a too well-lit room, they are not on display right now.
Two of the coverlets, Skepptuna and Dalhem 1, have been exhibited before at the museum, but three new pieces are on view for the first time. We proudly present reconstructions of Skokloster 2, Dalhem 2 and Östra Stenby. All fabrics are off course plant dyed, sewn by hand and decorated with gilt leather strips and some with white wool fabric. The new interpretations of how to use the old technique to create new art in our modern times, have been made by the group Skapande broderi Stockholm.
Here are some pictures from the opening. Thank you Göran Wingstrand for the photos. The exhibition will be on show until 14th of February 2021.
We would like to thank everyone that have been sewing and helping out with the project to make this happen. Without you this wouldn’t have been possible. <3
Agnes Bohman Boyle Aina Hagman Anders Klintholm Lilliehöök Anna Malmborg Anna Odlinge Anna Sönsteby Lilliehöök Barbro Bornsäter Catharina Drakmården Catrin Karlsson Elina Sojonen Elin Andersson Elin Jantze Emil Lagerquist Emma Fryksmark Ester Spetz Eva Eriksson Fia Makalös Lindblom Hannah Ström Ida Berg Ingela Wahlberg Justine Arnot Kerstin Petersson Khelan Butén Lena Dahrén Lia de Thornegge Linnea Vennström Magdalena Fick Malin Ekberg Maria Franzon Mervi Pasanen Sofia Berg Thérèse Pettersson Rasmus Rasmusen René Guthof Tove Kluge Ulla-Mari Uusitalo Ulrika Mårtensson Vea Collins Ylva Nellmar
Thank you all!
Project leaders: Amica Sundström and Maria Neijman
Today, 24th of December, we celebrate Christmas ( Jul) in Sweden. That means this is the last calendar post. We hope that you have enjoyed this years calendar and that you have seen things that you haven’t seen before.
Todays post is a Swedish embroidery. Wool on linen. Dated mid 15th century.
We have analysed the embroidery and a full report will come soon.
Merry Christmas and a Happy new year! / Amica and Maria
Photo: Historical Textiles- please cred if sharing.
Today we travel to the north of Sweden. All the way up to Resele church in Ångermanland. The medieval church was demolished 1841 when the new church was built. Today’s textile is an antependium from the old church.
It’s a wool weave and it has got one warp system and two weft systems. The birds are a common motif during the later part of the Middle ages and the antependium is dated 1350-1500, it is dated by style.
The textile is part of the collection at Historiska Museet in Sweden. / Amica and Maria
Photos: Historical Textiles- pease cred us if sharing
Spindle whorls are often found in archeological excavations. The once found in medieval contexts are often made of bone, stone, metal or ceramic. In most of the cases the spindel stick is gone. Why? One thought is that a broken stick have a secondary value as fire wood. And that it’s difficult to mend a stick. And quite easy to make a new one.
What about spindel whorls made of wood? It’s a lot easier to cut a disc from a piece of wood then to make one in all materials mentioned above. Stone takes time to work with, and demands tools that can take some beating. Metal whorls was most likely made by craftsmen in a guild. Bone needs a saw, a tool that not all persons had. Ceramic needs a kiln.
We find few or no whorls made in wood. And when a wooden disc is found- can we be sure that it is a whorl without the spindle stick?
Anyhow- in the Gothem church on Gotland, Sweden, some items was found under the 13th century floorboards. A broken disc and something that really look like a distaff. Is the disc a whorl? We don’t know. What do you say?
The 14th century is the buttoned century. Buttons are around even before. For one example the Vikings also had buttons in some clothes. But it was during the 14th century that suddenly “everyone” was wearing rows and rows of buttons.
In art buttons are almost always depicted in white, yellow or the same colour as the garment. White and yellow are interpreted as “silver/ pewter” and “gold/ brass”. The same colour are probably made of fabric.
When using reconstructed buttons in re-enactment garments, it’s always difficult to find small and light weight buttons. If you put many buttons in a row it tends to get very heavy.
Original buttons are very often hollow. Like the once on the picture. They are made in silver and can be found in the collections of the National museum in Copenhagen, Denmark. Dated 14th century
/ Amica and Maria
Please cred us if sharing pictures
Sewing thread. All reenactors ask themselves how thick should it be? And how should it look?
All sewing threads for hand sewing, that we have seen on items from migration period up til 20th century have one thing in common. It’s 2-plied. Silks not included, it’s impossible to count.
Thickness? Some say that a sewing thread should be as thin as the threads in the fabric. That is not a rule that is usable on the older historical material. They used a lot thicker thread then both warp and weft combined sometimes.
Here we can see a bottom hem on an alba from Forsby church, Sweden. It is dated 1100-1350. Now in the collections of Historiska museet, Sweden.
So- don’t be afraid to use a thicker thread
/ Amica and Maria
Photos: Historical Textiles- pease cred us if sharing
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