Remembering the war through linen

With Anzac Day (25 April) fast approaching, there will be many stories about New Zealand’s military past coming to light in the media.

Here are some examples of linen produced during World War II.  These have been found at various second-hand shops.  I would love to add more items to the collection but with the huge interest in our military past, I’m finding  it not so easy to source items in charity shops.

The first piece featuring embroidery on black velvet is not in the best condition.  It used to be displayed on a table but unfortunately quickly faded. Have now learnt to take far better care of historic items.  Features a message ‘with love from Arthur’ -  I wonder and hope that Arthur survived the war!

The second example also features scenes of the Middle East with its exotic pyramids and camels on display.

Here’s another souvenir of Egypt dated 1941 – makes you wonder how these items were treated on their return. Were these souvenirs proudly displayed or instead carefully placed into cupboards for safekeeping?

The following is a green silk handkerchief which featues the Second New Zealand Expeditionary Force logo.

The final item is a tablecloth picked up at a fair a few years.  I’m intrigued by the dates showing ‘victory and 1944′.  The Second War World officially ended in 1945 but perhaps the soldier’s campaign had ended earlier in 1944. 

Features the initials of J.S.W. in between peace and victory.

History from a material perspective

Last week, Massey University’s MATTER research cluster and Museum of New Zealand Te Papa Tongarewa held the ’ Material Histories’ symposium that brought together historians, curators and a few keen amateur collectors.  Participants were treated to a range of interesting speakers such as Beverly Lemire, University of Alberta and Founding Director of the Material Culture Institute who highlighted the histories of tobacco products and washing over the last few centuries.  Indeed if anyone is looking for a project, Beverly suggested that there is an international history of laundry begging to be published.

Local speakers Kate Hunter, Victoria University and Kirstie Ross, Te Papa outlined their current research into New Zealand’s World War I effort through examples of material culture. Objects such as soldier dolls and fragments of military uniforms serve as reminders of lost lives. In addition, a number of soldiers recovering from their injuries took up creative activities from basket making to embroidery.  An example by soldier Fred Hansen can be viewed on Te Papa’s website at http://collections.tepapa.govt.nz/objectdetails.aspx?oid=864100.  Indeed this apron caught the eye of Queen Mary who was keen to acquire it but according to family history, it had been promised to Fred’s mother and was not given to the Royal Family.

Unfortunately I don’t have any examples of World War I objects but the following two pieces are examples of World War II pieces made by soldiers who were injuried in the conflict.  The earrings were purchased by my grandmother shortly after World War II and the decorated wooden object was a recent find.

Freelance historian Bronwyn Dalley examined the popularity of historic material objects.  From retro to cooking shows, granny-hunting to granny-chic, New Zealanders are keenly acquiring items from the past.  During the course of her talk, Bronwyn introduced family pieces from linen table cloths to wooden cake stands that has been passed down the generations. Representing different eras, the family connection unifies them and shows how we engage with the personal and material past in both the real and digital worlds.  The following tea towels were purchased at a vintage fair the very next day confirming that the acquisition of historic material objects is a regular activity for many including myself.

Another enjoyable session saw a panel of post-graduate students providing a brief overview of their research.  Debbie Noon completed a MA thesis in the rise and rise of op shops. Debbie spoke of the many reasons for the increasing popularity of op shops – the chance to purchase unique items at affordable prices definitely resonated with me.  Megan Watson’s MA thesis examined afternoon tea practices in the Manawatu region during the 1930s and 1950s.  We learnt that there is difference between afternoon tea and Afternoon Tea (and it’s not just capitals).

Dinah Vincent is embarking upon a PhD on  the meanings of girls’ sewing in the 1950s and 1960s and provided a fascinating introduction to the school curriculum which promoted the role of girls as future wives and home makers.  It will be interesting to see what information Dinah uncovers over the course of her research.  Certainly my family benefitted from my mother’s sewing skills which saw an array of dolls clothes made for us as well as christening gowns.

 

 

 

 

 

 

 

You can also read more about this conference on a Te Ara blog at http://blog.teara.govt.nz/2012/11/21/sad-stories-and-slightly-creepy-dolls/ and thanks to the organisers for a lively and affordable symposium.  As I run around the op shops tomorrow, I now feel that I’m participating in the world of history as well as feeding my less noble consumerism habits.

Gardening with Dolly

A comment in an earlier blog about demure crinoline-and-bonnet women has inspired this blog. Rummaging through the collection, produced numerous examples of linen featuring women’s faces completely covered by bonnets.

Example of a Dolly Varden on a linen piece

In her book Thrift to Fantasy, Rosemary McLeod devotes a chapter to Dolly Varden and refers to other names such as Sunbonnet Sue or the Crinoline Lady.  The ‘Dolly Varden’ name originates from the Charles Dicken’s novel, Barnaby Rudge.  The common image of Dolly Varden features her in profile wearing a large bonnet tied with a ribbon.  Rosemary suggests that apart from stylist reasons, it is much easier to embrodier an image of a bonnet rather than dealing with tricky facial features.

Detail taken from a tablecloth

Detail from a table-cloth which features the same design in each of the corners. Here Dolly is seen tending to a tree.

Dolly Varden in front of her house

A tea cosy cover features Dolly in her garden with a house in the background.  There is also a hint of hair poking though her bonnet.  The of dream of home ownership extended towards gardens and we see idealized images of perfectly maintained gardens. Dolly is externally youthful and in these pieces, women’s lives as seen as playful rather than grimly real.

Detail of Dolly watering her garden

In this design Dolly is actually seen watering her gardening, looking after the ever-popular gladiolli blooms.

Part of an unfinished apron design

Part of an unfinished apron showing Dolly again in action with a watering can.

Examples from a set of Dolly Varden pieces

Set of Dolly Varden pieces including tray cloths, an egg cup holder and two mystery pieces.  All pieces are beautifully done with tattering around the borders but I have no idea the purpose of the two smaller items. Any clues are welcomed!

A faceless Dolly Varden

And finally, one of my favourites items where traces of blonde hair are spotted but the bonnet dominates the head, almost looking like a headless character in a horror film.