More beautiful needlework from the Museum of Applied Arts, Budapest. Embroidered kerchiefs this time instead of lace.

Kerchief (detail). 19th c.
Kerchief (detail). Accession #10609. 19th c. Canvas and cotton thread. Made in Dalmácia. Image © Iparművészeti Múzeum, Budapest. Fair use license. via http://collections.imm.hu/gyujtemeny/kerchief/38333?i=39
Kerchief (detail).  19th c.
Kerchief (detail). Accession #10610. 19th c. Cotton fabric with silk yarn. Made in Dalmácia. Image © Iparművészeti Múzeum, Budapest. Fair use license. via http://collections.imm.hu/gyujtemeny/kerchief/38332?i=40
Advertisements

Embroidery that goes back and forth through time from the collections of the Los Angeles County Museum of Art. All in the public domain. Two of western origin, the others from Asia.

Ecclesiastical embroidery. Late 17th c.
Ecclesiastical embroidery on velvet. Late 17th c. French. Maker not known. via https://collections.lacma.org/node/246569
Pocketbook. 18th c.
Pocketbook. 18th c. French or Swiss. Silk satin with straw embroidery. via https://collections.lacma.org/node/243942
Table frontal. early 19th c.
Table frontal. early 19th c. Late Qing dynasty, Chinese. Silk and metallic thread embroidery on silk satin. via https://collections.lacma.org/node/209113
Kimono fragment with scattered triangles. Edo period, Japan (1615-1868).
Kimono fragment with scattered triangles. Edo period, Japan (1615-1868). Silk satin with wrapped silk embroidery. via https://collections.lacma.org/node/224943
Pidan hol (hanging or cover). 19th c.
Pidan hol (hanging or cover). 19th c. Cambodian. Silk. Khmer people, Kampot province, makers. via https://collections.lacma.org/node/179104

An envisioning . . . mid afternoon in 1809 in a villa somewhere in Switzerland.

Oh to be here

Mid afternoon in 1809 in a villa somewhere in the more unfashionable outskirts of Zurich.

The trunks brought down and a granddaughter with the key. Grandmama’s it must be. Has the scent of faded rose and chrysanthemum from her favorite perfume.

Frock after frock and some old baby clothes. An envelope at the very bottom with Grandpapa’s name.

What looks like a blotted kiss. A true memory, it must have been. Grandmama able to get out when the Terror started but Grandpapa already in prison and trapped. Guillotined but who knows when. So traumatic that no one could ever recall.

Years that are in snippets like ribbons that float through the air from one of the peasants’ maypoles that soar and sink. Versailles, Trianon and a cousin that was a special friend of the queen.

Picnics by fountains and plays to be in. Gambling that went way into the night. Being a domino at the masquerade ball at the Paris Opera.

Wedding dress by Mlle. Bertin but that cannot be. Dressmaker to Marie Antoinette. A frock from them and no one would have been able to afford to eat for life.

But maybe. Only two rings and the design left. For Grandpapa’s last ball, the note says in letters so tiny and cramped up that they take younger eyes to read.

Everything else gone for a bribe at the border. Safe but not rich anymore except for memories . . . .all one has . . .. even the ones that were Grandmama’s . . . .. they will live forever until the king comes again and everyone can go home.

Embroidery design for a gentleman's waistcoat pocket. ca. 1785. French.
Embroidery design for a gentleman’s waistcoat pocket. ca. 1785. French. Fabrique de Saint Ruf, designer. Cooper Hewitt Museum. http://cprhw.tt/o/2BkT6/. via http://thepetmuseum.blogspot.com.