Crewel Embroidered Bedspread c. 1941

Editor: This is a crewel embroidered bedspread from around 1941, created by Suzanne Roy. It’s beautiful, and has this handcrafted, folksy feel, and all these lovely botanical and floral designs scattered across the surface. What stands out to you about it? Curator: Well, immediately I see the incredible amount of labor embedded in this textile. Consider the sourcing of the materials – the wool for the crewel, the linen or cotton for the ground cloth, even the dyes used to create the colours. Each component speaks to a specific economy and set of processes. Editor: I hadn’t thought about it that way! Curator: And think about the maker, Suzanne Roy. What was her social position? Was this piece a product of necessity, a decorative flourish, or perhaps both? The repetitive act of embroidery can also be interpreted as a form of labor, especially if viewed from a feminist perspective. Editor: It makes me wonder how much time she spent creating it, and what her everyday life was like. Curator: Precisely. And the use of "crewel," a specific type of wool yarn, is also important. Why that material? What were its properties, availability, and cost in relation to other fibers at the time? How does this material choice influence the overall aesthetic and durability of the bedspread? Editor: That’s fascinating. I initially just saw pretty flowers, but you've shown me how the materials themselves tell a story about labor, resources, and even social context. Curator: Exactly. By focusing on the materials and processes, we can move beyond a simple aesthetic appreciation and understand the artwork as a product of specific material and social conditions.