Scandinavian Textile Collector with Question about New Acquisition

[Chuck Wagner]

Wendel, wa Filiberto,

Here are a few examples of what I had in mind when making the Uzbek comparison.

The first two are recent, from Nurata I believe, and the third what is described as an 18th century Shakhrysabz piece - the image borrowed from Ivan Sonderholm's Jozan website.

Because several of the motifs on the Uzbek pieces themselves have strong similarities to select Shah Abbas palmettes seen on Persian pile rigs, I have to wonder if the motifs first wandered the Silk Road and then spread elsewhere as other branching trade routes were established, and also, which was the chicken and which the egg....

The reds are oversaturated on the first example (tip-of-the-hat to Nikon for that one...). Note in particular the treatment of corner motifs on the Scandinavian piece and then look at the lower right corner of the Shakhrisabz piece.

Regards
Chuck


http://www.turkotek.com/show_and_tell/nuratasuz4.jpg


http://www.turkotek.com/show_and_tell/suz2.jpg


http://www.turkotek.com/show_and_tell/Shakhrisyabz_18thCen t_JozanNet.jpg

[Egbert Vennema]

Hi to all,

Browsing throug some text and e-mails from a collegue, found a painting from the Norwegian painter Nikolai Astrup ( 30-08- 1880 21-01- 1928 )
https://arthur.io/art/nikolai-astrup/interior-still-life-living-room-at-sandalstrand
Think it s title is called. "parlor at Sandalstrand ". Depicting a fine textile on the table.

Best,

Egbert.

[Joel Greifinger]

Hi Egbert,

Thanks for posting the painting (even with that creepy little guy peering into the pitcher :eek:). The diamond field repeat on the textile on the table was one of the most popular on Norwegian rutevev (square-weave) weavings. There were a variety of border designs at the top and bottom, sometimes the same at both ends, sometimes not:

https://i.postimg.cc/x8nhpTvL/Rutevev.png

It looks like the model for the one in the painting would have been very attractive.

Joel

[Egbert Vennema]

Hi, Joel, and all.

Thanks for the real picture, looks great.

Did some quick research about the painter and the painting, coudn t find anything extra about it s origin or when it was made, sorry.
Think the " doll " on the table is just a requisite for the painter.

Best, Egbert.

[Joel Greifinger]

Hi folks,

Just wanted to share images of this charming embroidered initialed Swedish agedyna dated October 14 1826 that just sold at auction in Lund.

https://i.postimg.cc/KjzgnVxV/Embroidery1.jpg

https://i.postimg.cc/qMN3q9m6/Embroidery2.jpg

https://i.postimg.cc/qBbKkkGd/Embroidery3.jpg

Joel

[Joel Greifinger]

This one was embroidered a year earlier:

https://i.postimg.cc/fbWJgdzW/Embroidery-1825.png

As with other 18th-19th century folk textiles produce by the Swedish peasantry, like rolakan (double-interlocked tapestry) and flamsk (Flemish or dove-tailed tapestry), free embroidered motifs and patterns were taught, emulated and, in the case of embroidery, sometimes followed from pattern books.

Here is Anna-Maja Nylen on the immediate influences:
"The transition from silk to wool in peasant embroidery was facilitated by the fact that it had already taken place in bourgeois milieu. Lavish shading work in colored wool, with baroque and rococo floral motifs and lingering elements of Renaissance composition, was done in varying frequency throughout the country. Above all, chair cushions of wool featured this type of embroidery. As the chair was a relatively late addition in the peasant milieu, the existence of chair cushions and of shaded crewel work in peasant homes is generally attributed to a direct influence from bourgeois milieu in the form of purchases, gifts, inheritances, or orders from professional workshops. In the provinces along the Norwegian border, these cushions show a clear rococo influence - typical of Norwegian peasant milieu but not generally found in Sweden.
"In other provinces, especially Smaland and Halland, certain Renaissance features have lived on in overall composition: a proportioned design with well-developed corner motifs, sometimes also a central motif, combined with floral patterns of baroque or rococo type. In Scania, free embroidery in colored wool yarn on wool was remarkably well developed in chair and carriage cushions, pillows, coverlets, and carpets. Side by side, one would use more formal compositions with corner ornaments, central wreath, crown, and initials, as well as echos of the same motifs in freer floral compositions, distributed evenly over the surface. Embroideries of figural compositions, Adam and Eve and the Serpent in Paradise, horsemen, men and women, deer, parrots, birds, lions, and various other actual or mythical beasts are strikingly reminiscent of some Flemish [i.e. flamsk - JG] weaving designs, and have probably been created in the same way - i.e., certain motifs have been taken out of their context and combined with others. New combinations of traditional elements have been made by every succeeding generation. The free-form embroideries of this type in the Nordiska Museet date from 1750 to 1850."

Joel