My latest TradeMe find came in the post a couple of days ago, and it’s a goodie – a linen tablecloth with a deep crocheted edging. In each corner, each embroidered in a different colour scheme using blocks of satin stitch, is a Dutch couple, complete with clogs, bonnet, tulips and a windmill in the distance. The woman’s eyes are modestly downcast; the pairs of figures might even be dancing.
I particularly like embroidery that features people (and animals, but I’ll come to that another time). I love the carefree expression on the face of this lass (somehow the right word!) on a swing.
Like many embroidered women, she holds flowers – but unlike many others, she has a relatively contemporary look about her, with shortish hair and what appears to be a ’50s dress.
Many embroidered women sport crinolines and bonnets. Below, one woman gives flowers to another (a prelude to a 19th-century lesbian romance, I expect).
This wildly glamorous woman with her haughty expression and red nails is on an apron, probably from the 1930s – it’s somehow ironic that the apron hasn’t been cared for, and is spattered with paint.
Is this unfinished (but beautifully embroidered) apron, below, meant to be Marie Antoinette? I love it that the embroiderer has given her a beauty spot while leaving other parts uncompleted. These highly decorated aprons were typically intended for special occasions, not for everyday use.
While I appreciate elegant work (most of it from kits), I’ve also got a particular fondness for more homely, awkward pieces, which may have been designed by the maker. This girl (again on an apron) seems to be gazing just off-screen with an expression of horror as she clutches her bouquet. The tight rows of chain stitch used for her skin and dress also make her look slightly… well… diseased. This apron has no neck strap, and would have been worn pinned to the wearer’s dress or blouse.
And I love this perky madam – a woman who knows her own mind, I reckon. Look at those eyes. Her flowers are particularly colourful.
But one of my favourite pieces is this unassuming little dressing-table mat featuring two Māori wāhine. No flowers here, but flax bushes or bulrushes/raupō. Both women are barefoot, wearing cloaks, and with feathers in their hair.
This woman, below, carries her baby in the traditional style, on her back, tucked under her cloak – the only embroidered depiction of motherhood that I’ve come across anywhere. It’s interesting that representations of parenting or heterosexuality (of men, in fact!) are almost entirely absent from these embroideries, most of which depict a rather dreamlike, female-only world of elegant dresses, flowers and hair done in ringlets (!) – a fantasy of escape from daily drudgery? Men and babies appear only on the Dutch-themed tablecloth and Māori-themed mat. Perhaps the ‘exotic’ nature of other ethnicities (I’m assuming a Pākehā embroiderer, which may or may not be right) added a little glamour, or at least distance, to what would otherwise have seemed mundane or everyday.