Embroideries by Rosemarie Landsiedel-Eicken (4)

Embroideries by Rosemarie Landsiedel-Eicken (4)

After Peahole and needle-weaving hems, the goal of the fourth project was to learn needlelace edgings. While many embroiderers only work needlelace scallops as their first needlelace edging project, Rosemarie Landsiedel-Eicken included three levels of difficulty in her edge: pyramids inside scallops with picots.

In comparison to tea cloth 1 and tea cloth 2, the motifs of this doily are more elaborate and bold.

Embroideries by Rosemarie Landsiedel-Eicken (3)

Embroideries by Rosemarie Landsiedel-Eicken (3)

While part 1 and part 2 of the embroidery by Rosemarie Landsiedel-Eicken followed the teaching programs of the time, part 3 is only partially based on their continuation: on a small square cloth, the embroidery of a needle-weaving hem with spider corners was learned.

Rosemarie Landsiedel-Eicken worked four different needle-weaving band patterns on her project.

Freely designed and very differently worked out butterfly motifs – arranged in a circular formation – adorn the inner surface of the doily.

Embroideries by Rosemarie Landsiedel-Eicken (2)

Embroideries by Rosemarie Landsiedel-Eicken (2)

In Part 1 of Rosemarie Landsiedel-Eicken’s embroidery I presented her first work. Here is one of her other works. This, too, is still closely based on the course program of the time.

A tea cloth with an elaborate wreath motif was created. In addition to hearts and various tulips and other flowers; bird motifs can also be seen.

A combination of Peahole hems and Four-Sided stitches was used on the edge. Such combinations were common and popular as further teaching content in courses. Because of the fabric threads remaining in the corner due to the rows of Four-Sided stitches, the corner was easier to work out than, for example, with a needle-weaving hem, where all the corner threads are withdrawn and have to be replaced by embroidery threads.

In addition to the basic stitches, other patterns and new pattern combinations were used: Feather stitches decorate some bird motifs, openwork needle-weaving patterns, Satin stitch fillings, heart-shaped leaves, 2 short-2 long stitches, and Blanket stitch eyelets.

Take a look for yourself!

Embroideries by Rosemarie Landsiedel-Eicken (1)

In one of my previous posts, I presented an elaborately crafted and uniquely designed wall hanging by Rosemarie Landsiedel-Eicken, which met with great interest from my blog readers. Now I have been given pictures of her other embroidered works, which I will show gradually.

In order to learn Schwalm whitework in courses taught in the 1970s, it was common to first embroider a tea cloth with a corner design. Such a pattern always contained hearts and tulips, often “suns,” sometimes other floral motifs, sometimes birds, but always small leaves and a few tendrils. A Peahole hem was worked on the edge.

On the one hand, corner motif designs were easier to iron on than larger designs, and on the other hand, they offered the possibility of finishing the work after completing only one corner.
Rosemarie Landsiedel-Eicken chose a particularly expansive corner motif. As a beginner, she did not necessarily pay attention to the grain of the fabric when positioning the motifs, but she did pay attention to the balance of the design.

It started with the corner heart. This was given a border of Blanket stitch half-eyelet scallops and an openwork filling pattern. In the Cable stitch grid a needle-weaving pattern was embroidered; “Four windows” or, as can be seen here, “nine windows” were popular. Simple withdrawn thread patterns such as Wave, Honeycomb Darning, and Satin stitch bars followed. With the Limet patterns, one began with Satin stitches as well as the easy and quick to work Diagonal cross filling stitches. Rose stitches in the openwork Cable stitch grid followed.

Opposite corners were often embroidered with the same filling patterns. Embroiderers, who were particularly eager to learn, tried to use as many different patterns as possible in their work. This was true with Rosemarie Landsiedel-Eicken, too.
The Satin stitch “one-pattern,” a combination of Square eyelets and Rose stitches, and a combination of Satin stitches in a stair step manner and rows of Rose stitches were added.

The third corner contains more openwork Rose stitch patterns, the Satin stitch “two-pattern,” and a combination of Rose and Satin stitches.

The fourth corner also contains other pattern combinations, such as Satin with Wave stitches.

On such a project, in addition to a few combinations, all the basic stitches could be learned:
• simple withdrawn thread patterns: Satin, Wave, and Honeycomb Darning stitches,
• openwork pattern: Cable stitch grid and single Faggot stitch grid, Cable stitch grids filled with needle-weaving patterns and with Rose stitch patterns
• Limet patterns: Diagonal Cross filling, Satin, Square eyelets, Rose stitches. In this example, the only basic stitch that is missing is the Four-Sided stitch as a filling pattern, but this appears in the Peahole hem.
With knowledge of all these basic stitches, the world of the embroiderer is now open to the most beautiful pattern combinations.

A Fabulously Grand Sampler

The painter Rosemarie Landsiedel-Eicken from Korbach put brushes, paint, and canvas aside for several years to create works of art with needle, thread, and fabric.

In fact, her fabulously grand sampler was the inspiration behind the Global Schwalm Sampler. When putting forth my proposal I could only show a superficial picture of her project.

Now I have been kindly provided with detailed images with the permission to show them on my blog.

In her wall hanging, Rosemarie Landsiedel-Eicken has recorded a huge selection of pattern options that Schwalm whitework offers.

In the upper part, there are fourteen squares (seven per row) containing circular motifs. The squares are divided vertically by a hem with wrapped bundles and horizontally by a zigzag hem. The circular motifs are alternately filled with Limet and openwork patterns – repeating patterns can be seen next to figural motifs.

A “bean-hole” hem separates the upper area from the following border. Here a wide strip was worked with an openwork Cable stitch grid, into which houses, stars, and angels were woven.

A border with seven semi-oval arches comes next The areas are outlined with Blanket stitch half-eyelet scallops and alternately filled with an array of Limet and openwork repeating patterns. Two leaves emanating from a Blanket stitch eyelet – arranged in a wing shape and worked with different stitches – fill the spaces in between.

With its open structure, an A-pattern needle-weaving hem, bounded at the lower edge by a row of Blanket stitch half-eyelets, forms a contrast to the border above and, with its simple structure, a clear contrast to the area below.

This area is densely embroidered with animal figures reminiscent of mythical creatures.

Thin Coral Knot stitch lines mark the areas of the individual animals. Every now and then rows of Four-Sided stitches, Blanket stitch half-eyelet scallops, Satin stitch and Blanket stitch knife points, 2 short-2 long stitches as well as knife point stars complete the border embroidery of this section.

Rooster, peacock, duck, owl and other birds, bats, elephants, giraffes, rabbits, penguins, lions, monkeys, rhinoceros, dromedaries, ibexes, pigs, and donkeys as well as fish can be found in very different designs.

A needle-weaving hem with spiders separates this area from another band with an openwork Cable stitch grid. Figures were embroidered into this band with Rose stitches. Birds, chair, dog, cow, star, and others can be seen.

This is followed by a wide border, which, with its motifs and their arrangement, is reminiscent of traditional Schwalm border patterns. Many different tulips, flowers, and fruits that grow out of vessels, different depictions of birds were worked out with various filling patterns.

Many tendrils, small leaves, and flowers were arranged between the densely packed motifs. Different needle-weaving hem sections complete the picture. Needlelace fillings in the “suns” enrich the pattern selection with another element.

In contrast to this lively arrangement is the severity of the following border: Nine semi-oval shapes of almost the same size form this pattern strip, which looks like a row of arched windows. Again, more Limet filling patterns were embroidered into the areas.

“Dancing” butterflies can be seen in the next section – large and small, with wings spread wide or shown from the side, expand the range of motifs.

Finishing the butterfly border, there is a needle-weaving hem with a one-piece block pattern, bounded at the bottom by Blanket stitch half-eyelet scallops. And a needlelace edge completes the sampler at the lower edge.

The years 1990 and 1991 are noted. In a relatively short period of time, a mammoth task was completed by a single embroiderer!