TRC Blog: Textile Moments

More about American quilts and the TRC

Er zijn geen vertalingen beschikbaar.

Sherry Cook and Adrian Pratt, with Gillian Vogelsang, at the TRC, 12th October 2018

Sherry Cook and Adrian Pratt, with Gillian Vogelsang, at the TRC, 12th October 2018

On Saturday, 13th October 2018, Gillian Vogelsang writes:

Since August 2018 we have had an exhibition called ‘Sherry’s American Quilts’ on display at the TRC. It includes over twenty quilts  and quilt tops donated by Sherry Cook. It is a gentle exhibition with some lovely items dating from the 1830’s onwards.

A few days ago we had the great pleasure of actually showing Sherry and her husband Darwin around the exhibition. They have come all the way from their home near Portland, Oregon (USA), to hand deliver another group of quilts, which they have donated to the TRC. These ‘new’ quilts date from the 1840’s to the present day (compare TRC 2018.3121TRC 2018.3127; TRC 2018.3118) and represent many aspects of American history and cultural heritage, as well as changing artistic tastes and textile technology.

Lees meer: More about American quilts and the TRC

   

Hanging by a sleeve

Er zijn geen vertalingen beschikbaar.

Beverley Bennett sewing on sleeves for the quilts (TRC October 2018).

Beverley Bennett sewing on sleeves for the quilts (TRC October 2018).

Beverley Bennett, a TRC volunteer, reports on her work with the American quilts recently donated to the TRC (Monday, 8th October 2018):

Sherry’s American Quilts is the current exhibition at the TRC and I have taken on the task of making ‘hanging sleeves’ for some of the quilts. Why is this necessary? Well, quilts were made for beds – mostly for the warmth that the three layers (top, bottom and some form of ‘padding’) provided. However, they soon became decorative objects in their own right.

Striving to be the best at making quilts led to competitions at County and State Fairs, where quilters would show their work and compete for first place and a blue ribbon – later there were larger quilt contests where cash prizes could be won. Today there are huge Quilt Shows with prizes for every category that you can think of.

Lees meer: Hanging by a sleeve

   

An intriguing Kashmir shawl with an Afghan connection

Er zijn geen vertalingen beschikbaar.

Kashmir shawl, attributed to Mohammed Azim Khan, the Pashtun governor of Kashmir between c. 1813 and 1819 (courtesy Metropolitan Museum of Art, New York, MMA x.103.4).

Kashmir shawl, attributed to Mohammed Azim Khan, the Pashtun governor of Kashmir between c. 1813 and 1819 (courtesy Metropolitan Museum of Art, New York, MMA x.103.4).

Sunday, 16th September: Not many people may know this, but for many years Kashmir in the northwest of the Indian subcontinent was ruled by a series of Pashtun governors sent to the mountains of Kashmir from the Afghan/Pashtun capital in Kandahar or Kabul.

Pashtun rule started in the mid-eighteenth century and came to an end around 1820 when the province was captured by the Sikhs, who were rapidly expanding their realm from their capital in Lahore, now in northern Pakistan.

Not much is known about the period of Pashtun domination in Kashmir. But while preparing the Encyclopedia of Embroidery from Central Asia, the Iranian Plateau and the Indian Subcontinent (London: Bloomsbury 2019), we came across a Kashmir shawl now in the Metropolitan Museum of Art (MMA x.103.4). It measures 183 x 131 cm and was woven out of goat’s hair (pashmina). The Museum has dated this example to c. 1825. What is so exciting is a Persian text stitched onto the shawl, which reads (in English): ‘O Hoseyn; ordered by the most noble governor [nawab], Mohammed Azim Khan’.

The title of nawab was commonly used in the Indo-Iranian lands for ‘governor’. So who was ‘the governor’ Mohammed Azim Khan, who ordered this shawl? And yes, Mohammed Azim Khan Barakzai was indeed one of the last Pashtun governors of Kashmir, between c. 1813 and 1819. He was a younger brother of Fath Ali Khan Barakzai, the king’s vizier, who had obviously appointed his younger brother to the governorship in Kashmir. However, Fath Ali Khan was tortured to death (blinded, flayed and dismembered) in 1818 on the orders of the king, Shah Mahmud Sadozai. Upon hearing the news of his elder brother’s death, Mohammed Azim Khan left his position in Kashmir and managed, together with his many other Barakzai brothers, to oust Shah Mahmud and his Sadozai clan and take charge of the Afghan capital, Kabul.

A few years later, in 1823, Azim Khan was defeated by the Sikhs at Nowshera east of Peshawar, and soon afterwards he died of dysentery in the Lataband Pass, just east of Kabul. His son, Habibullah Khan, succeeded him in Kabul, but he was soon pushed aside by his uncles. One of these, Dost Mohammed Khan, would by c. 1825 take charge in Kabul and gradually extend his control, until, by his death in 1863, he would rule almost all of what today we recognize as the republic of Afghanistan.

The Barakzai family would dominate Afghan politics until the communist coup of 1978.

Gillian and Willem Vogelsang, 16th September 2018

   

New acquisitions for the TRC collection

Er zijn geen vertalingen beschikbaar.

Hand embroidered bride's dress from 19th century China, decorated with wisteria flowers woven in a delicate tapestry weave (TRC 2018.2840).

Hand embroidered bride's dress from 19th century China, decorated with wisteria flowers woven in a delicate tapestry weave (TRC 2018.2840).

Saturday 8th September. Gillian Vogelsang, director TRC, writes:

The last two weeks has seen a very diverse group of textiles and garments being donated to the TRC Leiden. These include nineteenth century Chinese garments, some of them for court officials, another for a bride, and also a number of Zoroastrian textiles and garments from Yazd in Iran and dating to the early 20th century (see below). The Zoroastrian garments are part of a donation by the Katayoun Keyani and Mehraban Bondarian family in America.

There is also a group of Peruvian hand knitted caps form the 1970’s (compare TRC 2018.2913). Some of these will appear in the TRC’s exhibition about hand knitting, planned for the autumn of 2019. And from the Indian subcontinent we received a donation of ralli quilts from Pakistan/western India, and these date from the 1960’s and 70’s (compare TRC 2018.2896, TRC 2018.2897, TRC 2018.2898 and TRC 2018.2899).

Lees meer: New acquisitions for the TRC collection

   

New quilt exhibition is up !

Er zijn geen vertalingen beschikbaar.

Setting up the quilt exhibition

Setting up the quilt exhibition

The last few weeks have been dedicated to getting the TRC’s latest exhibition ready. It is called Sherry’s American Quilts and is a ‘thank you’ to Sherry Cook for donating over 25 American quilts, tops and related items. It runs from 20th August until the 18th October 2018. On Thursday afternoon we started to take down the feedsack exhibition, which was a sad moment as we all loved this colourful and intriguing exhibition. Then we started to put up the new display with initially 25 items, but it was increased to over thirty objects as we changed position, proposed order, colours, etc.

Work continued on Friday morning and then, all of a sudden, it was there! The right objects in the right place. Highlights? Well, there is a late nineteenth century velvet crazy quilt that is made of silk velvet in jewel colours. There is also a quilt with appliqué airplanes, a design that celebrates Charles Lindbergh’s flight across the Atlantic in 1927 (click here). But perhaps the quilt that is causing the most comment is a blue/white pieced quilt with a Feathered Star design. It is believed that this quilt dates to the mid-nineteenth century, or possibly earlier. It is beautifully quilted and by itself worth coming to Leiden for. But there are other quilts to see, dating from the late nineteenth century to the 1950’s, as well as items that were worked and finished by Sherry and her Amish friends.

Gillian Vogelsang, Sunday 19th August 2018

 

   

Charles Lindbergh

Er zijn geen vertalingen beschikbaar.

Detail of a quilt with airplanes, in commemoration of Charles Lindbergh's first solo-flight across the Atlantic, in May 1927, USA, late 1920s (TRC 2018.2627).

Detail of a quilt with airplanes, in commemoration of Charles Lindbergh's first solo-flight across the Atlantic, in May 1927, USA, late 1920s (TRC 2018.2627).

The TRC recently received another box with quilts from Sherry Cook in America, in preparation of the upcoming TRC exhibition 'Sherry's American quilts', which will open at 20th August and be on display until 2nd September.

One of the quilts (TRC 2018.2627), some two by two metres, has a patchwork top made out of blocks that are decorated with an appliqué design of an airplane. The quilt probably dates to the late 1920s. The design became popular after the historic and first solo and non-stop flight by Charles Lindbergh across the Atlantic. The epic flight took place on 20-21 May 1927.

   

Marken garments in the TRC collection: Ways to wear, and how to name them

Er zijn geen vertalingen beschikbaar.

Mengying Zhang, familiarly known as Eden, is a TRC volunteer and student at Leiden University. She has been helping with cataloguing the TRC Collection and getting to know and understand about the running of a small collection, the setting up of exhibitions, and how to come to grips with some of the many stories behind the objects. This is the second in a series of blogs she is writing about her work and the TRC collection.

She writes: I would like to bring your attention to a particular variant of Dutch regional dress, namely women's upper body garments from Marken, until recently an island in the province of Noord-Holland, in what is now called the IJsselmeer, and what used to be called the Zuiderzee.

The local dress of this village is one of the most famous regional dress forms in the Netherlands, because it has been kept and worn for centuries. My personal interest in these garments is the unique ways in which the garments are worn and their interesting structures. There are three types of upper body garment, namely the mouwen, het buisje and the borsik.

Mid-20th century mouwen from Marken (TRC 2014.0681).

Mid-20th century mouwen from Marken (TRC 2014.0681).

Mouwen

The mouwen are worn in the summer time, while the buisje and borsik are winter wear and are worn over the mouwen. The buisje and borsik are not worn at the same time! Twentieth century mouwen are normally made of white cotton flannel with characteristic, red striped sleeves. Mouwen generally have a high neckline. They are fastened down the front with small hooks and eyes.

Buisje made of wool and silk, from Marken, mid-20th century (TRC 2012.0285).

Buisje made of wool and silk, from Marken, mid-20th century (TRC 2012.0285).

 

 

 

 

 

Buisje

A buisje is a black or dark blue garment decorated with woven bands that can vary in forms of decoration. There are seven buisjes in the TRC collection and they are all made of felted wool. Three of them have vertical, thin, white smouwen tripes woven throughout the garment. The neck opening of a buisje is normally trapezoidal, with bands sewn around it.

Borsik in red woollen flannel, Marken, mid-20th century (TRC 2016.0715).

Borsik in red woollen flannel, Marken, mid-20th century (TRC 2016.0715).

 

 

 

Borsiks

Borsiks are made of a similar dark material as the buisjes, but some are made of red cotton flannel. The main differences between a buisje and a borsik lie in the shape of the neckline and the use of decorative bands sewn not only onto the neckline (as in the buisje), but also along the sleeve vents and the front opening. Many borsiks are also decorated with embroidered lines on their shoulders and front sleeve seams.

 

 

Terminology

These three types of garments are often called either a jacket or a bodice, which are terms derived from the West European urban dress system. However, these terms are not always suitable. First of all, I would not consider any of them as a bodice, because a bodice is properly speaking the upper part of a dress, while all three types of Marken garments are independent garments that only cover the upper body.

When considering the term ‘jacket’, only a buisje and a borsik are appropriate terms, because a jacket is worn as the outermost layer. However, the way the mouwen are worn is much too dynamic to match a term from of the West-European urban dress system, since mouwen can be worn as inner wear, as well as an outer.

We may ask ourselves why we feel the need to define garments from other dress systems on the basis of terms designed for and originating from the West European urban dress system? Mentioning a familiar term that shares similarity with the unknown element could improve the understanding of the unknown, but replacing or translating one term with another can cause misunderstandings or make certain meanings disappear.

Mengying Zhang, Saturday 4th August 2018

   

Horse riding and a Chinese silk skirt from Indonesia

Er zijn geen vertalingen beschikbaar.

Chinese-Indonesian skirt, pre-1930s (TRC 2012.0077).

Chinese-Indonesian skirt, pre-1930s (TRC 2012.0077).

TRC volunteer Mengying Zhang writes:

I was looking for traditional Chinese garments at the TRC Leiden and found a skirt that combines elegance and horse riding. How intriguing! It is the 馬(ma)面(myan)裙(tsyun), or mamianqun, when spelled out in the Latin alphabet.

Long wrapping skirts have been worn by Chinese men and women under a long tunic for more than 600 years, up to the mid-20th century. The occasions on which  they were worn and their gender code have changed through time, and their form has slowly evolved. The skirt in the TRC Collection (TRC 2012.0077) is typical of a mamianqun and is made up of a series of overlapping panels with symmetrical pleats. At the centre front, a split is created by two identical panels that are attached to the skirt’s waistband. These two panels are separate from each other, but come together when the waistband is fastened. A second split is formed by wrapping and fastening the skirt around the wearer’s waist, leaving an overlapping area at the centre back. Meanwhile, the pleats lay symmetrically to the sides of the wearer.

Imagine how the pleats would swing with every movement of the wearer and bring into mind the general position of traditional Chinese women, we suggest that these skirts have an elegant aura!

However, there is much more to these skirts. A number of contemporary Chinese and non-Chinese researchers believe – based on excavations – that the symmetrical pleats and overlapping splits have very practical functions. Both elements were originally meant to make it easier to ride a horse. It is easier to bend the knees, and the splits allow the two side panels to hang along the horse’s back instead of piling up on it. We could therefore suggest that the horse riding elements of the mamianqun reflect the presence and influence of the horse riding societies along the northern borders of China, clearly attested in Chinese and Mongolian sources.

The skirt from Indonesia in the TRC collection was worn by a woman of Chinese origin. She may never have seen a horse, let alone have ridden one, but her dress reflects the age-long interchange between the Chinese and the northern nomads from Mongolia and beyond.

There are actually three of these skirts in the TRC collection, all of which feature not only traces of intercultural exchange, but also elaborate decoration and structure. Should you come to the Netherlands, do not hesitate to take a look at these amazing skirts in our collection and allow yourselves to be inspired!

Mengying Zhang, 30th July 2018

   

TRC volunteer completes MA course at Courtauld's.

Er zijn geen vertalingen beschikbaar.

Multitasking: Reading a book on fashion designer Elsa Schiaparelli while knitting a jumper from a 1940s pattern. Photograph: Nelleke Honcoop.

Multitasking: Reading a book on fashion designer Elsa Schiaparelli while knitting a jumper from a 1940s pattern. Photograph: Nelleke Honcoop.

Nelleke Honcoop, a former TRC volunteer, writes about her MA studies in London:

In January 2016 I became a volunteer at the Textile Research Centre. Although my undergraduate course was in Religious Studies, I have long been fascinated by dress and textiles from the early twentieth century. As a young teenager, I enjoyed spending time at my grandmother’s attic rummaging through the late 1960s, early 1970s clothing worn by my mother and aunts when they were my age. I started to collect and wear clothing from these decades, and subsequently developed this love for dress from bygone times via the 1950s, 1940s, and 1930s, back to the 1920s...

Working as a volunteer at the TRC, I started to realise it is my vocation to continue in the field of dress and textile history. Therefore, I applied to a postgraduate History of Art course at the Courtauld Institute of Art in London. The special option I enrolled into is called ‘Documenting Fashion: Modernity, Film and Image in Europe and America, 1920-1960’. Obviously, the focus and timeframe could not be more perfect to me!

During nine busy months in London, I followed theoretical and thematic classes in dress history and fashion studies, visited the dress collections and archives of, among others, the Museum of London and the Victoria and Albert Museum, and spent hours at the British Library leafing through Vogue and other (fashion) magazines. My first assessed essay focused on home dressmaking and the advertisement of ‘Simplicity’ sewing patterns in Harper’s Bazaar, while my second essay addressed the promotion of rayon as a modern fabric in the interwar period.

Finally, I wrote my dissertation on the London-based, female-run textile printing workshop called ‘Footprints’ and its retail outlets in London’s fashionable West End during the 1920s and 1930s (You can read more about my dissertation on Documenting Fashion’s dress history blog (download here). After a formative, inspiring academic year in London, I graduated with distinction. However, I am not quite done with studying and working with dress and textile objects and hope to continue developing my knowledge and skills in the future.

Nelleke Honcoop, 25th July 2018

 

   

A chart of an embroidery from Mandvi, Kutch, India

Er zijn geen vertalingen beschikbaar.

The TRC has just acquired a piece of embroidery (TRC 2018.2582) that is attributed to a Jain community from Mandvi, in Kutch, in the modern state of Gujarat, western India. It is a small band, perhaps for a sari or from a sleeve. It depicts paired parrots flanking a tree, and stylised flowers. It is a counted thread embroidery worked in cross stitch using multi-coloured floss silk thread. The motifs are basically Hindu, but they have a European feel to them, which is not surprising considering the influence of cross stich counted thread embroidery propagated by Christian missionary schools from the nineteenth century. Please click here to see a PdF version of the chart

Chart of an embroidery from Mandvi, Gujarat, India.

Chart of an embroidery from Mandvi, Gujarat, India.

 

   

An intriguing quilted shirt for a Pashai man from Afghanistan

Er zijn geen vertalingen beschikbaar.

A quilted shirt for a Pashai man, Afghanistan (TRC 2018.2581).

A quilted shirt for a Pashai man, Afghanistan (TRC 2018.2581).

Gillian Vogelsang writes about a recent trip to Cambridge:

Willem and I have just had a textile weekend in Cambridge, England. It was meant to be a mixture of holiday and work, but embroidery dominated the time. We were there to talk with Caroline Stone and John Gillow about the Encyclopedia of Embroidery series (Bloomsbury), Afghanistan and the Indian subcontinent embroidery in particular. It was intensive and hundreds of photographs were made, notes taken, embroideries examined and ‘new’ stitches identified. Not so surprising, perhaps, a number of textiles were acquired so that further technical analysis could took place at the TRC in Leiden.

Lees meer: An intriguing quilted shirt for a Pashai man from Afghanistan

   

Black as jet

Er zijn geen vertalingen beschikbaar.

Jet working atelier, Whitby, UK (photograph Shelley Anderson).

Jet working atelier, Whitby, UK (photograph Shelley Anderson).

TRC volunteer Shelley Anderson writes about her recent visit to Whitby, England:

Whitby is a small fishing village on England’s northeastern coast. It’s famous for its ruined abbey and for the fact that it is mentioned in Bram Stoker’s classic novel Dracula. I was there for neither ruins nor vampires. Whitby is also famous for its jet, a black gem stone that has been used for jewellery since the Bronze Age.

Jet is a fossilized wood, made from the Araucaria tree (a relative of today’s monkey puzzle tree) during the Jurassic period. Jet is found in several places around the world, including northern Spain and southwestern Turkey (in fact, the Romans called the gem stone gagates, from the Gages river in Turkey). Jet from Whitby is considered among the highest quality anywhere. It is also increasingly scarce. The jet mines have been closed and it’s illegal to hack at any seams found in the beach cliffs. Jet workers now comb the beach along a particular seven and a half mile stretch of the North Yorkshire coastline to look for the gem stone.

I was in Whitby looking for jet jewelry for my own small collection, and for some Victorian jet buttons for the TRC’s button reference collection. There are dozens of shops selling jet jewelry, especially on the narrow Church Street. If you are interested in the history of jet, it’s better to go to a shop where jet is still being made into jewelry, rather than a shop that simply sells jet jewelry. I had some very good conversations in several of the former, including the jet shops One O Five and the Black Market.

Lees meer: Black as jet

   

A second box with American quilts has arrived at the TRC

Er zijn geen vertalingen beschikbaar.

Quilt with 'cheater'  design, USA, 1960s (TRC 2018.2407).

Quilt with 'cheater' design, USA, 1960s (TRC 2018.2407).

The second box of US quilts, tops and related items, including some nineteenth century ‘spare’ blocks, has just arrived at the TRC. These are part of a donation of quilts by Sherry Cook, who has very kindly agreed to give some of her collection to the TRC (see previous blog about the first box, and Sherry’s blog about why she is making this donation).

The first box arrived a few weeks ago and already all the items have been put online at TRC Collection Online, nos. TRC 2018.2404 – TRC 2018.2432a. The items from the second box will come online by the beginning of August 2018.

The donation by Sherry Cook provides a fascinating look at American quilts from the late nineteenth century to about the 1980’s and includes examples made in silk, velvet, cotton, as well as synthetic materials. The designs range from Bow Tie, via Morning Glory, Pansy, Roman Square to Star Dahlia. A third box is due in a few weeks’ time! 

Gillian Vogelsang-Eastwood, Thursday 19th July 2018

   

Encyclopedia of Embroidery Series update

Er zijn geen vertalingen beschikbaar.

Preparations for Vol. 8 of the Encyclopedia of Embroidery series, covering the Antarctic, are already well advanced. Martin Hense, the draughtsman for the full series, just completed the first illustration.

Preparations for Vol. 8 of the Encyclopedia of Embroidery series, covering the Antarctic, are already well advanced. Martin Hense, the draughtsman for the full series, just completed the first illustration.

During the last few months the Encyclopedia of World Embroidery series (Bloomsbury Publishing, London), has been gaining momentum. The first volume on embroidery from the Arab World came out in 2016 (see here) and to everyone’s pleasure won the prestigious international award, the Dartmouth Medal.

Since then we have been working hard on volume 2, which is about embroidery from Central Asia, the Iranian Plateau and the Indian subcontinent (see here). The manuscript for this volume has gone to Bloomsbury and the book should appear by the end of 2019. Once again many people have been helping with advice, suggestions and with providing actual examples of embroidery.

For the next few years, we are planning the following volumes: 3 – Scandinavia and Western Europe; 4 – East and Southeast Asia; 5 – Eastern Europe and Russia; 6- Sub-Saharan Africa; 7- The Americas. 

 

Lees meer: Encyclopedia of Embroidery Series update

   

TRC receives grant to update its website and improve the online catalogue

Er zijn geen vertalingen beschikbaar.

Thanks to the generosity of the Prins Bernhard Cultuurfonds and the Themafonds Digitalizering Erfgoedcollecties Zuid-Holland, the TRC Leiden has received a substantial grant to update the online catalogue of the TRC collection, improve and extend the digital database and to revamp the internet presence of the TRC in general. The work will start very shortly in re-styling the database, updating programmes, and getting even more photographs and information online!

Lees meer: TRC receives grant to update its website and improve the online catalogue

   

Opening a box full of American quilts

Er zijn geen vertalingen beschikbaar.

I have had several emails from TRC Followers about the box from America, which I wrote about last week. Did we open it ? Can people see what is inside? What type of quilts are they?

Lees meer: Opening a box full of American quilts

   

Kisses and kangas

Er zijn geen vertalingen beschikbaar.

Kangas at the exhibition “Our Kisses are Petals’, at Newcastle’s BALTIC Centre for Contemporary Art. Photograph: Shelley Anderson.

Kangas at the exhibition “Our Kisses are Petals’, at Newcastle’s BALTIC Centre for Contemporary Art. Photograph: Shelley Anderson.

Shelley Anderson, volunteer at the TRC, writes about a recent visit to England:

The words ‘textile’ and ‘art’ caught my eye, of course, on a recent visit to the city of Newcastle in northern England. The exhibition “Our Kisses are Petals’ was on at Newcastle’s BALTIC Centre for Contemporary Art.

The artist was Lubaina Himid (born 1954, in Zanzibar), who won last year’s prestigious Turner Prize for modern art. The exhibition consisted of over a dozen large, banner-like canvases, attached to a system of pulleys. Each canvas depicted a part of the body, for example, the eyes, tongue, or heart, and a line of poetry by a black British or American poet.

Himid herself is the first black woman to win the Turner Prize. She is also the oldest, at 63, winner in history. Visitors were encouraged to rearrange the order of the quotes on the canvases by pulling on the pulleys. The paintings were based on the East African textile known as kanga. Also worn in Oman, the kanga is a versatile garment used by women as a dress, a head wrap, and sometimes a baby carrier.

Lees meer: Kisses and kangas

   

Sherry Cook, quilts, and the TRC Leiden

Er zijn geen vertalingen beschikbaar.

Late 19th century American 'crazy quilt', 159 x 135 cm, donated by Sherry Cook (TRC 2018.2407).

Late 19th century American 'crazy quilt', 159 x 135 cm, donated by Sherry Cook (TRC 2018.2407).

Sherry Cook writes from America: My husband, Darwin, and I downsized from a large home in the fall of 2014 and have had a lot of boxes in storage since that time. We are now building a barn that will have small living quarters and storage space so I can get myself and the boxes organized. We also have our 60th wedding anniversary in September, so the decision has been made to downsize even more, to get everything organized, and at a faster pace.

We have been donating textiles to the Center for American History (CAH) in Austin, Texas since 2008. You can google the “CAH” or “Sherry A Cook, Quilter” to see some of the items we have donated. But we have now decided to support and encourage the TRC Leiden. We are very impressed with TRC’s leadership team, volunteers and all their efforts to work with world textiles.

Lees meer: Sherry Cook, quilts, and the TRC Leiden

   

Box full of quilts

Er zijn geen vertalingen beschikbaar.

It is not often that I am hesitant to open a box of textiles, but this one has got me thinking very hard and long! By opening it we commit ourselves to increasing the USA textile and dress collection (a good thing) and to setting up the TRC Quilting Centre (also a good thing, but with lots of implications!).

The parcel comes from Sherry Cook in the USA and has eight quilts and quilt tops, plus feedsacks and other items. This is the first of several parcels, with the idea of Sherry donating many of her American quilts to the TRC in order to make a European based quilting centre that will look at quilting through the centuries from Roman times onwards, and throughout the world.

I have been discussing this idea with various colleagues, friends and quilters, and everyone things it’s the right thing to do, but it does have implications with respect to space, storage, exhibitions, workshops, etc. Within the last few days we have already been offered another collection of quilts from various countries, including Switzerland and New Zealand.

So I am taking a deep breath, drinking a cup of tea (I am British after all…..), and thinking about where further financial and logistical help can come from! But I know the TRC, we will do it and the TRC Quilting Centre will be a major addition to the study of textiles in the Netherlands (and elsewhere!). But it is going to be a very large pot of tea!

Gillian Vogelsang-Eastwood, 28th June 2018

 

   

Karen Finch (1921-2018)

Er zijn geen vertalingen beschikbaar.

Karen Finch (1921-2018) at the Textile Conservation Centre, Hampton Court (copyright The Guardian)

Karen Finch (1921-2018) at the Textile Conservation Centre, Hampton Court (copyright The Guardian)

We have just heard the sad news that Karen Finch has died. A Grande Dame in the best sense of these words. She was responsible for creating the Hampton Court Textile Conservation Centre and for bringing textile conservation into the professional world in Britain. She hammered home the message that textiles have a story to tell and should be treated with respect (and not simply as an ‘old rag’). A message that the TRC will continue to push, shout and battle for!

Karen also had an influence on me as a young student, she was always willing to answer questions, make suggestions and tell stories. When I first started as a textile archaeologist in the early 1980’s she gave me a one week ‘conservation’ course at Hampton Court – basically first-aid for textiles – free of charge and with the willing help of all her staff. A week that gave me confidence and helped me to the present day. We have kept in contact, as have many of her former students, even if it was only a Christmas card, or a quick chat at this meeting or that conference. I am proud to say I am one of her ‘girls’. Thank you Karen.

Gillian Vogelsang-Eastwood, Director, TRC Leiden.

For a full obituary of Karen Finch, click here.

   

Pagina 2 van 12

Donations

 
Financial donations to the TRC can be made via Paypal; Donaties aan de TRC kunnen worden overgemaakt via Paypal:
 
 

TRC in een notendop

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

Openingstijden: Maandag tot/met donderdag, van 10.00 tot 16.00 uur. Andere dagen alleen volgens afspraak.

Bankrekening: NL39 INGB 0002 9823 59

Toegang gratis, maar een vrijwillige bijdrage is zeer welkom.

TRC Gallery tentoonstelling, 22 jan. - 27 juni 2019: Fijn fluweel!

facebook 2015 logo detail

 

 

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