Scandinavian Textile Collector with Question about New Acquisition

Joel Greifinger · November 29th, 2021, 03:44 PM

This one was embroidered a year earlier:

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

November 29th, 2021, 03:44 PM	#1
Joel Greifinger Administrator Join Date: May 2008 Location: Massachusetts Posts: 159	This one was embroidered a year earlier: 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