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 Simple withdrawn thread patterns such as Wave, Honeycomb Darning, and Satin stitch bars followed.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• simple withdrawn thread patterns: Satin, Wave, and Honeycomb Darning stitches,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!

Documentation: Global Schwalm Sampler

When the Global Schwalm Sampler goes on tour – the first agreements are already in progress – the viewer should be given the opportunity to obtain background information. Therefore, I have created a detailed bilingual English-German report that is laminated and bound to accompany the cloth.

An overall picture with background lighting gives an initial view of the impressive project, and a numbered graph allows the viewer to more easily find the individual embroideries.

A short history of the Global Schwalm Sampler follows

as well as a list of the number of embroiderers and the submitted contributions of the respective nations.

After this brief introduction, there are 142 pages where one can see and read details of the individual contributions.

All the detailed images have been professionally edited. And the text, the same as the text originally posted on my website, has been enriched by many more detailed images of the finished sampler.

On the last two pages there is a short explanation of how the individual embroideries were combined to create a large sampler.

The detailed images of the embroidery are excellent after being professionally processed. You can clearly see every stitch.

I have therefore decided to make this publication accessible to all interested embroiderers! This book opens up a treasure trove of ideas that have been put into practice and embroideries that have come to fruition. The effect of individual filling patterns in different motifs can be compared wonderfully.

A quality book consisting of a total of 146 pages with 485 images must have a price. The printed version costs €39 (including 7% sales tax, so it is €36.45 outside the EU). But there is also a downloadable version that consists of, due to the file size, a total of 7 PDF documents. It can be purchased for €20 (including 7% sales tax, so it is €18.69 outside the EU).

The weight is more than 500 g, so the shipping costs are also higher – within the EU they are €7.49 without a tracking number and €10 with a tracking number. Outside the EU the shipping is €9 without a tracking number and €11.35 with a tracking number.

All those involved in the Global Schwalm Sampler receive a special discount of 20% on the purchase price as an extra “thank you”.

Global Schwalm Sampler
documentation of a worldwide unique project
146 pages
485 images
text: English and German
plastic comb binding
item price: €39 (including 7% sales tax), €36.45 for customers outside the EU

Global Schwalm Sampler
documentation of a worldwide unique project
146 pages
485 images
text: English and German
7 PDF documents with 80053 KB file size in all
item price: €20 (including 7% sales tax), €18.69 for customers outside the EU

Global Schwalm Sampler – Update (40)

Global Schwalm Sampler – Update (40)

Now the sampler is ready. Its final a size is 3.40 m X 2.22 m!

A superlative cloth was created not only because of these dimensions but also because 74 embroiderers from 14 nations with great creativity and a lot of work contributed a total of 92 very individual pieces.

Beginners were just as enthusiastic as seasoned embroiderers. Occasional embroiderers had good reason to pick up the needle again. Teachers participated in the project together with their students. Complete embroidery circles actively committed themselves.

In this way, such an outstanding work was able to develop from a spontaneous idea that was initially poorly thought out. This worldwide effort was also made possible by translating the idea into many different languages. Thanks to everyone involved for their invaluable help and selfless commitment.

Unfortunately, all of its impressive beauty only unfolds in detailed photos or with backlighting. Only when viewing the entire ensemble in real life can the human eye perceives the imposing sublimity of the fine embroidery.

To everyone who contributed, I thank you from the bottom of my heart

  • for accepting the food for thought
  • for developing your own ideas
  • for implementation in attractive designs
  • for the generous provision of the required materials
  • for many hours of fine embroidery
  • for washing and ironing
  • for safe packaging
  • for the attached personal statements
  • for the loving words / comments
  • for delivery to the post office
  • for the generous acceptance of part of the significant shipping costs, and not least
  • for your commitment to show the world the beauty and the exceedingly interesting, varied, and specific techniques of Schwalm whitework.

If one recalls my definition of Schwalm whitework “Large areas of stylized motifs are surrounded with Coral Knot and Chain stitches, in the early form of Schwalm whitework also with Stem stitches. The inner surfaces are embroidered in different ways with simple, Limet and openwork patterns, in circular motifs also with needle lace and in the early form of Schwalm whitework with surface patterns. Decorative stitches complete the designs. The spaces between the motifs or around the motifs are filled with tendrils, small leaves and flowers.” Critics could point out that not all embroideries are based on the Schwalm technique. However, most of the participants followed this definition as can be seen in the following statistics. Approximately 11,129 cm Coral Knot stitches and approx. 7,734 cm Chain stitches were embroidered. (I laid a thread along the respective stitches and measured the length of the thread at the end, so the distances – including those of spirals for example – were relatively easy to calculate.) Nineteen embroiderers also chose stem stitches for working stems.

A total of 577 areas were filled with patterns from all five categories, with the Limet filling patterns being the most popular. I counted 96 different patterns – there are some that were unknown to me until then. The embroiderers were not only very creative in terms of design, but also in the execution of the embroidery.
280 Blanket stitched eyelets and 1058 Blanket stitch half-eyelet scallops were made.
683 small leaves, 123 satin stitch points and 420 tendrils adorn the embroidery.
Herringbone stitches, Lazy Daisy stitches, Eyelash stitches, Bouillon knots, and Bouillon stitches were often used. Many other decorative stitches completed the range.

Fabrics totaling nearly 69,950 cm² were sent to me, and, in order to be able to put everything together properly, these were cut back to a final size of 58,520 cm².

It would also be interesting to know how much thread has been used. Of course, the thread consumption depends on many factors and cannot be precisely calculated. But since I know that many of my blog readers would love to get an idea of it, I made a very rough calculation based on mean values. Years ago, when I was only doing embroidery for my own enjoyment, I kept detailed records of, among other things, thread consumption. So I can now draw on a wealth of experience.

With one meter of thread (divided into two halves) I can embroider an average of 19 cm Coral knot stitches. That would be a thread consumption of approx. 586 m or approx. 20 skeins (11129 cm: 19 cm = 585.74 cm; 586 m: 30 m = 19.53 skeins of 30 m).

With one meter of thread I can embroider an average of 20 cm Chain stitches. That would be a thread consumption of approx. 387 m or approx. 13 skeins (7734 cm: 20 cm = 386.70 cm; 387 m: 30 m = 12.9 skeins of 30 m).

With one meter of thread I can embroider about 5 Blanket stitch eyelets. That would be a thread consumption of approx. 2 skeins (280: 5 = 56 m; 56 m: 30 m = 1.87 skeins).

With one meter of thread I can embroider around 8 Blanket stitch half-eyelet scallops. That would be a yarn consumption of 132 m or 4 skeins (1058: 8 = 132.25 m; 132: 30 m = 4.40 skeins).

With one meter of thread I can embroider about 10 small leaves. That would be a thread consumption of 30 m or one skein (300: 10 = 30 m; 30 m: 30 m = 1 skein).

With one meter of thread I can embroider about 5 slightly larger leaves. That would be a thread consumption of 77 m or 3 skeins (383: 5 = 76.6 m; 77 m: 30 m = 2.57 skeins).

Of the 58,520 cm² of linen on the sampler, roughly 5,033 cm² (that’s a little more than 70 cm x 70 cm) are embroidered with filling patterns. For a filling pattern with little thread consumption (Rose stitch, etc.) one needs about 30 cm thread / cm², but for a dense Satin stitch pattern one can easily calculate about three times and for a densely embroidered Limet pattern easily six times as much. After looking through all the patterns used from this point of view, I decided to assume an average thread consumption of 60 cm thread / cm². With 5,033 cm² of embroidered area that would be 301,980 cm of thread, i.e. around 3,020 m and thus approx. 100 skeins of embroidery thread just for the filling patterns, including the Satin stitch fillings.

In all that would be:

  • 20 skeins for the Coral knot stitches
  • 13 skeins for the Chain stitches
  • 2 skeins for the Blanket stitch eyelets
  • 4 skeins for the Blanket stitch half-eyelet scallops
  • 4 skeins for the leaves
  • 100 skeins for area fill patterns and in addition
  • 2 skeins for all remaining stitches

So the consumption adds up to approx. 145 skeins of 30 m of embroidery threads.

Before the Global Schwalm Sampler can be viewed in reality, the pandemic barriers must be removed. Until then we must be content with the pictures shown here. If you want to enjoy all the beautiful embroideries again in detail, it is best to start here (up from Update 25. The concentrated load of interesting details is impressive.

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A documentation about the Gloabl Schwalm Sampler is found here.

Global Schwalm Sampler – Update (39)

Global Schwalm Sampler – Update (39)

The hanging bar for the sampler was promptly delivered. Because of the plans to ship the sampler to other countries, I chose a stable telescopic bar, which consists of several parts.

This is inserted into the upper tunnel and pressed to the top edge. Stable nylon threads are pulled through all layers of the fabric just below the bar and knotted into loops. Then the first test suspension takes place – the loops are attached to hooks on the ceiling. Because I could only secure two loops while standing on the high ladder, three times the entire heavy piece fell down while trying to hang it. After securing the two loops, I had to go down and move the ladder to secure the others. In the end, the weight was just too much for two hanging points, an issue that was made worse by not having the right hooks and not having access to specialist shops due to the pandemic lock down.
After a few changes in the hanging technique came finally the big moment:

Although still completely wrinkled by the many crashes and not yet finally ironed, the sampler presented itself to my satisfaction. Of course, it should not stay in my private rooms, but move to my exhibition rooms – but that will take time. Because of the pandemic my studio has been closed for so long and will probably stay that way for some time. At home I have the opportunity to look at the work done in peace and enjoy the sight of the many collected embroideries.

The only free wall in my home was, in the end, too narrow for the pattern cloth. There was nothing left but to place it in the room at the transition between the ceiling and the sloping wall. This addition brought two advantages: first, there are spotlights on the ceiling, which put the embroidery in the right light,

and second, the cloth can be illuminated from behind in this way.

Due to the changed suspension and the now necessary overhang on both sides of the sampler, the bar was too short for a really safe hold. A new, longer bar was ordered.

The table was prepared for ironing. A layer of insulating material with aluminum foil over a length of more than 2.20 m,

a thick layer of terry fabric and a further layer of smooth cotton fabric should suffice.

The sampler was taken down.

The floor covered with a cloth to keep the unironed part of the sampler clean and stocked up with enough spray starch, the ironing work began.

Ironed piece by piece and pulled over the tables in stages, the cloth finally lay nicely smooth in front of me.

The bar was pushed through and attached to the ceiling. Despite the greatest care, a few wrinkles have again appeared in the fabric. Also, the sampler cloth hangs slightly wavy in some places – I will probably have to correct the tension between the holding bar and the ceiling in some places. Without the support of additional nylon loops, the stable but very long bar sags a little, which can be seen here already in the first minutes of hanging, and it will intensify over time.

Maybe I’m just too persnickety about the light waves – after all, it’s textile fabric, not rigid material. I was also able to observe that with increasing humidity, some linen fabrics trend to wear somewhat out.

However, for the moment I am satisfied with the result – the remaining fine adjustments are made when the sampler has taken its regular place in my exhibition rooms.

More than anything, I am happy with the great result and enjoy the sight of the beautiful embroideries every day.

One final time I will report on the sampler cloth , then – after almost a year – the project Global Schwalm Sampler will give way to other subjects.

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