We were in England early this summer for a week on a canal boat. I didn't manage to hit a stitching store, but we had a lot of fun. We visited Worcester cathedral. I enjoyed examining the frontal that was on the altar there. From a distance you see abstract clocks of colour. Come closer and you see that the whole thing is three dimensional, with each block of colour set at a different ditance from the base, and done in different types of stiching, from the very easy to fairly complicated. The explanation said that the 'hanging' had been stitched by 'local artists'. It is supposed to represent the cathedral reflected in the waves of the Severn River. To be honest, I didn't see it,(even after reading that), but I quite admire the designer. It is lovely from a distance, and close up. It uses the various skills of the stitchers available (I assume that each was given the material, shape, and an idea of what the end product was supposed to look like, and let loose to work it her own way. The variety of stitches and interpretion add a richness to the final piece that is hard for a single designer to manage. But the whole thing works together.
In the morning I went for Morning Prayer and Communion in the crypt. I have to confess that I missed a lot of Morning Prayer: I was studying the altar. It was a nearly cubical block, with a swirling textured pattern. From my seat, I couldn't figure out whether I was looking at a block of wonderful stone with the colours and swirls carefully intensified by the skill of a stone mason, or whether the altar was covered by a quilted parament that covered at least three sides. I finally decided on cloth, and later examination proved me right. A wonderful subtlety that delighted me.
As a counterpoint to the modern pieces I enjoyed in Worcester, was the lovely exhibit at the Eastern end of Chester Cathedral. In two chapels presently unused for liturgical purposes were several pieces from the Cathedrals collection - late 19th and early 20th century vestments and paraments chosen to illustrate the influence of William Morris. Pure joy to look at! I own a small hanging of the Good Shepherd, and was intrigued to see that one of the pieces there had the top end of 'my' shepherd on it. (BTW My piece is not just away in a closet, as it was used as part
of the altar decoration for the Methodist church here at Easter.)
Showing posts with label historical needlework. Show all posts
Showing posts with label historical needlework. Show all posts
Tuesday, 18 August 2009
Wednesday, 17 June 2009
Dressing up over a century ago
For general specifics of the new exhibit 'Grosser Auftritt' at the Wien Museum, see my Vienna blog. For the stitcher, there is lots to oooh and aaah over. How much of those bands on the underwear are hand stitched, and how much already machine work? How long did it take to iron some of the underwear? There is a ball gown with straw embroidery. I had seen this sort of work before, but it still boggles the mind that you would do such a thing. On the other hand it covers better than thread. Other gowns had sequin embroidery, and it occured to me that it also is faster than working in metallic threads. (That wouldn't have anything to do with replacing hearts with lots of quarter stitches with beads and buttons on a sampler I'm working on, now would it?)
My favourite dress is a mother of the bride dress in black with a wide ivory lace collar. Parts of the collar are needlelace. Severe squares with fancy fillings. But around it is other lace that is rounded and less open. A very different feel. The catalog speaks of 'breitem Ätzspitzenbesatz'. Apparently another word for that is Guipure. As always, that gown only has a small picture in the catalog.
If you are going to be in Vienna, and have even a small interest in the textiles of the late 19th and early 20th centuries, this is a must.
My favourite dress is a mother of the bride dress in black with a wide ivory lace collar. Parts of the collar are needlelace. Severe squares with fancy fillings. But around it is other lace that is rounded and less open. A very different feel. The catalog speaks of 'breitem Ätzspitzenbesatz'. Apparently another word for that is Guipure. As always, that gown only has a small picture in the catalog.
If you are going to be in Vienna, and have even a small interest in the textiles of the late 19th and early 20th centuries, this is a must.
Monday, 5 January 2009
Paraments on View at St. Stephan's
Until the end of the month there is a small exhibit at Stefansdom of paraments from 5 centuries. Actually, most of those on display are 18th century, but I'm never against seeing baroque goldwork. There is one that dates probably to the 15th century, and the most recent is still unfinished. My favorite was one from 1900. Goldwork again, but this time typical Jugendstil scrolls instead of the heavy overall work from the earlier examples.
It's a narrow winding staircase up (two way traffic!) but well worth it even just for the view of the church from the higher vantage point, and when you have this rich treasure of needlework to see as well it would be a shame to miss it.
It's a narrow winding staircase up (two way traffic!) but well worth it even just for the view of the church from the higher vantage point, and when you have this rich treasure of needlework to see as well it would be a shame to miss it.
Wednesday, 10 December 2008
Embroidered banners
I had to drop in today at the building of the Wiener Wirtschaftskammer - the Vienna Chamber of Commerce. To my great delight, the building has several cases holding embroidered banners. I would guess that the ones I saw were 19th century. They were done in silk shading and goldwork, in a style that I associate with church embroidery. (These, of course, are secular pieces.) Jerry was in a semi-legal parking space waiting for me, and only one of the three I looked at was well lit, so I can't say much more about them, except that I shall have to make an opportunity to go back with more time, and perhaps a light. Then I will go through the building and check out each floor. (I saw two on the 4th floor, so I hope there are more on the floors in between.
Saturday, 2 August 2008
Venice
We spent a week in Venice recently. Mom was able to join us and we had a really great time. I've started putting a few pictures up at http://public.marthajeanne.fastmail.fm/pictures/ if you want to see what we were up to.
One thing you won't find there is pictures of the Museum for the History of textiles and fashion in Palazzo Mocenigo. I found it fascinating. There weren't a lot of displays, but the ones there were very interesting, and having them in situ in the Piano nobile of a Venetian Palazzo was wonderful. At the end there was a display of lace. Not only were there several examples of old Venetian lace, but also partially done pieces, and a Doge's hat made in 1999. After seeing a dummy dressed as a man of fashion, I was dying to peek under his jacket and see how far the fancy embroidery of his vest went. A few rooms further (the Bedroom, I believe) a few vests were laid out, and my question was nicely answered. The really fancy stuff was right where it would be visible under the jacket, but it tapered off in such a way as to make the garment attractive even without the coat.
I bought the catalogue, but it is only available in Italian, which makes it somewhat less useful. For those who do textile research, I should add that the Palazzo also houses a study centre, and without actually penetrating into the library proper, I did get a look at some of the shelves. The books I saw were mostly fairly old- Not old, old, but certainly several decades old, and were in a wild mixture of languages. Italian, of course, but also French, English, German, Russian... and besides books of local interest, also were on topics ranging from Mexican Indian clothing, to textiles from India.
Another museum with interesting textiles was the Hebrew museum in the Ghetto. There were several items of interest, and apparently there will be more to see there next year. The top of my list will probably stay the 18th century lace circumcision outfit.
One thing you won't find there is pictures of the Museum for the History of textiles and fashion in Palazzo Mocenigo. I found it fascinating. There weren't a lot of displays, but the ones there were very interesting, and having them in situ in the Piano nobile of a Venetian Palazzo was wonderful. At the end there was a display of lace. Not only were there several examples of old Venetian lace, but also partially done pieces, and a Doge's hat made in 1999. After seeing a dummy dressed as a man of fashion, I was dying to peek under his jacket and see how far the fancy embroidery of his vest went. A few rooms further (the Bedroom, I believe) a few vests were laid out, and my question was nicely answered. The really fancy stuff was right where it would be visible under the jacket, but it tapered off in such a way as to make the garment attractive even without the coat.
I bought the catalogue, but it is only available in Italian, which makes it somewhat less useful. For those who do textile research, I should add that the Palazzo also houses a study centre, and without actually penetrating into the library proper, I did get a look at some of the shelves. The books I saw were mostly fairly old- Not old, old, but certainly several decades old, and were in a wild mixture of languages. Italian, of course, but also French, English, German, Russian... and besides books of local interest, also were on topics ranging from Mexican Indian clothing, to textiles from India.
Another museum with interesting textiles was the Hebrew museum in the Ghetto. There were several items of interest, and apparently there will be more to see there next year. The top of my list will probably stay the 18th century lace circumcision outfit.
Monday, 16 April 2007
Crusader Exhibit in Schallaburg
I'm almost feeling human again, so Jerry, Steven and I decided to make use of the lovely summer weather we are having to go visit the new Crusader exhibit about an hour's drive from Vienna.
In terms of textiles, the quantity was minimal. However, the quality was great, so we won't complain too much.
First was a chausuble from the 12th century (German). Long arm cross stitch in silk on linen. Lovely work, and in places the fabric was quite close to the side of the showcase. In style it reminded me of the set that is at the MAK, but much more consistency within the piece. The whole cloth was divided up into rectangles (perhaps 20 - 25 cm) each of which held one or more figures. There were fairly narrow borders separating the rectangles. The linen was only visible where the stitching had worn away. The rows of cross stitch were only a few mm wide, all very even, giving a striped or braided effect.
Second was a hood or bonnet from the late 12th or early 13th century. Sicilian work. It is now taken apart and shown flat. Unfortunatly, it was at the bottom of a tall glass showcase, so there was no way to really see the stitching. The cloth had been stitched in an all over pattern of whirls, couched gold thread on red silk.
Third was early 12th century Egyptian. This was a small bit of plain fabric with a woven in border.
There were also a fair number of chain mail outfits, but I don't count those as textiles. Oh, yes, one later tapistry depicting scenes from the crusades. Not in the things from then, but with the items showing how the crussades have been depicted in later eras.
Anyone interested in medieval ceramics from the Near East would love the exhibit. There were lovely tiles and containers. My favorite had been first glazed in a soft turquoise. That had been covered in black, and the design scratched out.
There were several models of crusader castles and cities of the time that were nicely done. Steven loved those, and either commented on how dificult aech castle would have been to attack, or wished that he had the original to climb around in.
Many of the larger items on display were casts or modern representations of the originals. In some cases this was fine, but the two graves of arab leaders of the time were more theatrical props than anything else. I would have wanted good detail pictures of some of the decorations on the originals, I assume these were inlaid stone? and not paint on fiber board.
As ever, the items I really liked were not available as postcards. The catalog (German) looked interesting, but at Euro 29, more than I felt like paying.
Schallaburg is a lovely castle, well worth visiting for it's own sake. I didn't think the exhibit was very exciting, but neither was it so big as to get boring. If visiting with German-speaking children, get the children's guidebook before going in, and try to answer the puzzles as you go through. There are two side trips off the main route. Follow them when you see the signs. You'll come right back to the main exhibit. There are a few special events planned during the summer if you are into tournaments and such. Basic information on the crusades was given in both English and German. There is also a spectacular dragon playground. All in all a good family outing. Combine it with a drive through the Wachau.
In terms of textiles, the quantity was minimal. However, the quality was great, so we won't complain too much.
First was a chausuble from the 12th century (German). Long arm cross stitch in silk on linen. Lovely work, and in places the fabric was quite close to the side of the showcase. In style it reminded me of the set that is at the MAK, but much more consistency within the piece. The whole cloth was divided up into rectangles (perhaps 20 - 25 cm) each of which held one or more figures. There were fairly narrow borders separating the rectangles. The linen was only visible where the stitching had worn away. The rows of cross stitch were only a few mm wide, all very even, giving a striped or braided effect.
Second was a hood or bonnet from the late 12th or early 13th century. Sicilian work. It is now taken apart and shown flat. Unfortunatly, it was at the bottom of a tall glass showcase, so there was no way to really see the stitching. The cloth had been stitched in an all over pattern of whirls, couched gold thread on red silk.
Third was early 12th century Egyptian. This was a small bit of plain fabric with a woven in border.
There were also a fair number of chain mail outfits, but I don't count those as textiles. Oh, yes, one later tapistry depicting scenes from the crusades. Not in the things from then, but with the items showing how the crussades have been depicted in later eras.
Anyone interested in medieval ceramics from the Near East would love the exhibit. There were lovely tiles and containers. My favorite had been first glazed in a soft turquoise. That had been covered in black, and the design scratched out.
There were several models of crusader castles and cities of the time that were nicely done. Steven loved those, and either commented on how dificult aech castle would have been to attack, or wished that he had the original to climb around in.
Many of the larger items on display were casts or modern representations of the originals. In some cases this was fine, but the two graves of arab leaders of the time were more theatrical props than anything else. I would have wanted good detail pictures of some of the decorations on the originals, I assume these were inlaid stone? and not paint on fiber board.
As ever, the items I really liked were not available as postcards. The catalog (German) looked interesting, but at Euro 29, more than I felt like paying.
Schallaburg is a lovely castle, well worth visiting for it's own sake. I didn't think the exhibit was very exciting, but neither was it so big as to get boring. If visiting with German-speaking children, get the children's guidebook before going in, and try to answer the puzzles as you go through. There are two side trips off the main route. Follow them when you see the signs. You'll come right back to the main exhibit. There are a few special events planned during the summer if you are into tournaments and such. Basic information on the crusades was given in both English and German. There is also a spectacular dragon playground. All in all a good family outing. Combine it with a drive through the Wachau.
Thursday, 8 March 2007
Hidden stitchery
One of the fun things for me is discovering needlework treasures where you don't expect them. Here in Vienna, if you go to the Schatzkammer, you know you'll get to see your fill of the Golden Fleece vestments. If you go to the KHM you can admire the way major painters interpreted the needlework that their sitters where wearing. The MAK has wonderful textiles on display. ... Yes, but when you go into the coal mine under the Technical Museum, you don't expect to have the long stretch of dark and claustrophobia rewarded by seeing a lovely sampler dedicated to St. Barbara. (Yes, It's lovely. No, I don't intend to ever visit it again.)
One of the other things I do is theology. Last night I attended a lecture at the Theological Courses of the Archdiocese of Vienna. (This is a wonderful organization that exists to train lay people. I learn Hebrew there, and enjoy the lecture series when my health allows.) The first question when arriving at the Kurhaus next to St. Steven's is where they have put the lecture. If lots of people are expected they use the big room right at the entrance. If fewer people are there, usually we are upstairs. This year the lift is being replaced, so that means climbing three flights of stairs, and like most old buildings in Vienna, the rooms all have high ceilings. It's a long climb. Last night we were in a smaller room, but on the ground floor. Missing the climb was enough reason to be pleased. But I'd been in that room before, and had nearly forgotten that an old antependium is hung in the corridor that leads to the room. Aaah!
Unfortunately there is no label, and I have not been able to find a date on the stitching. I would guess that it is about 100 years old. I would very much like to know more about it. I would also love a chance to get at it with needle and silk for long enough to stabilize some of the couching that is falling off. The rest of it is in very good condition. Also it is wonderful to be able to get really close without glass between me and the stitching.
The stitching is spectacular. The background is cream-coloured linen (? or cotton, but ecclesiastical things tend to use linen.) Some of the appliques are probably silk. The threads may be partly silk, but many are probably cotton. The parts I could study closely (the bottom fourth) used some goldwork techniques, but I don't remember seeing metallic threads.) Although the drawing is good, and the way the draperies are indicated is amazing, I am not impressed by the design of the whole. However, these things can look very different from a distance, and an antependium (altar frontal) can't be judged as close up as you are in a hallway.
The major figures are appliqued (after being embroidered?) There are also thickly stitched medallions that I would also assume were applied after stitching. Other stitching is done directly onto the background.
Most of the stitching is chain stitch, which changes to split stitch where a thinner line is needed. There is also a lot of couching, especially around the edges of appliques. Some areas have laid fillings. I think it must have been framed up before stitching and never removed from the frame. That's a favorite way of working these things, and I wouldn't dare move something with such long unsecured laid stitches off frame.
There are two towers stitched straight onto the background in very fine grey lines - they look like pencil drawings. They are too high for me to really examine the stitches, but they are tiny - under 2mm - and exquisitly accurate. If this is double running it is a lot neater than I can do it. (Never mind the stitch size which also boggles my mind.) However, backstitch would make the 'holes' more visible. And not split stitch either. I would like to get in there with a camera and take a picture just of one of the towers and try to copy it. But I'm not going to let my stitching be compared to whoever did this! I would use whipped backstitch with one strand to try and get the feel of pencil drawing.
Questions I would like to be able to answer:
One of the other things I do is theology. Last night I attended a lecture at the Theological Courses of the Archdiocese of Vienna. (This is a wonderful organization that exists to train lay people. I learn Hebrew there, and enjoy the lecture series when my health allows.) The first question when arriving at the Kurhaus next to St. Steven's is where they have put the lecture. If lots of people are expected they use the big room right at the entrance. If fewer people are there, usually we are upstairs. This year the lift is being replaced, so that means climbing three flights of stairs, and like most old buildings in Vienna, the rooms all have high ceilings. It's a long climb. Last night we were in a smaller room, but on the ground floor. Missing the climb was enough reason to be pleased. But I'd been in that room before, and had nearly forgotten that an old antependium is hung in the corridor that leads to the room. Aaah!
Unfortunately there is no label, and I have not been able to find a date on the stitching. I would guess that it is about 100 years old. I would very much like to know more about it. I would also love a chance to get at it with needle and silk for long enough to stabilize some of the couching that is falling off. The rest of it is in very good condition. Also it is wonderful to be able to get really close without glass between me and the stitching.
The stitching is spectacular. The background is cream-coloured linen (? or cotton, but ecclesiastical things tend to use linen.) Some of the appliques are probably silk. The threads may be partly silk, but many are probably cotton. The parts I could study closely (the bottom fourth) used some goldwork techniques, but I don't remember seeing metallic threads.) Although the drawing is good, and the way the draperies are indicated is amazing, I am not impressed by the design of the whole. However, these things can look very different from a distance, and an antependium (altar frontal) can't be judged as close up as you are in a hallway.
The major figures are appliqued (after being embroidered?) There are also thickly stitched medallions that I would also assume were applied after stitching. Other stitching is done directly onto the background.
Most of the stitching is chain stitch, which changes to split stitch where a thinner line is needed. There is also a lot of couching, especially around the edges of appliques. Some areas have laid fillings. I think it must have been framed up before stitching and never removed from the frame. That's a favorite way of working these things, and I wouldn't dare move something with such long unsecured laid stitches off frame.
There are two towers stitched straight onto the background in very fine grey lines - they look like pencil drawings. They are too high for me to really examine the stitches, but they are tiny - under 2mm - and exquisitly accurate. If this is double running it is a lot neater than I can do it. (Never mind the stitch size which also boggles my mind.) However, backstitch would make the 'holes' more visible. And not split stitch either. I would like to get in there with a camera and take a picture just of one of the towers and try to copy it. But I'm not going to let my stitching be compared to whoever did this! I would use whipped backstitch with one strand to try and get the feel of pencil drawing.
Questions I would like to be able to answer:
- Was all the stitching done for this frontal, or where pieces taken off of previous pieces?
- Were the towers done by a different stitcher from the rest of the work? How many stitchers in all?
- Were the individual drawings done by different artist(s) than the total design?
Tuesday, 6 March 2007
Week 10 Project 7 Bookmark 2
My black and red sampler has taken on a life of its own, and I had nearly forgotten that the whole point was supposed to be to have a place to try out the original colour schemes of historical patterns that I was modernizing.
I had to buy more of the red thread I am using, and saw narrow linen band in the shop, so I stopped work on the sampler long enough to make a bookmark from one of the patterns I am planning on using there soon. Even on the sampler I am planning to switch the colours - I am trying to keep to twice as much black as red. Since I am doing the alphabets in red, the other bands need to be mostly black. For the bookmark I have not only chosen very different colours, but also changed the way they are distributed.
This pattern is taken from 'Stickmusterschatz' by Irmgard Gierls (Part 2, p. 69). She says that it is taken from clothing on a painting by one of the old German Masters. The first thread is an overdyed floss by Needle Necessities (196). I had some problem deciding which thread to use for the contrast. I settled on Anchor 897. I'm quite happy with the result. I'll try to remember to show you the 'same' band from the sampler once I have stitched it. Originally the large diamonds, their decorations and the baselines near them are red. The centres there, the small diamonds and the swirls off them are black.
I have now designed my own Greek alphabet for the sampler. I found a nice Russian one online, and have given up on the idea of Hindi - There are just way too many letters. Anyway, It's coming along quite nicely. Actually it's getting a bit too big for my scanner already. Below the narrow band that you can barely see part of I have also started the next alphabet: that is a wide band in Assisi work with nice borders either side of the alphabet in negative.
I had to buy more of the red thread I am using, and saw narrow linen band in the shop, so I stopped work on the sampler long enough to make a bookmark from one of the patterns I am planning on using there soon. Even on the sampler I am planning to switch the colours - I am trying to keep to twice as much black as red. Since I am doing the alphabets in red, the other bands need to be mostly black. For the bookmark I have not only chosen very different colours, but also changed the way they are distributed.
This pattern is taken from 'Stickmusterschatz' by Irmgard Gierls (Part 2, p. 69). She says that it is taken from clothing on a painting by one of the old German Masters. The first thread is an overdyed floss by Needle Necessities (196). I had some problem deciding which thread to use for the contrast. I settled on Anchor 897. I'm quite happy with the result. I'll try to remember to show you the 'same' band from the sampler once I have stitched it. Originally the large diamonds, their decorations and the baselines near them are red. The centres there, the small diamonds and the swirls off them are black.
I have now designed my own Greek alphabet for the sampler. I found a nice Russian one online, and have given up on the idea of Hindi - There are just way too many letters. Anyway, It's coming along quite nicely. Actually it's getting a bit too big for my scanner already. Below the narrow band that you can barely see part of I have also started the next alphabet: that is a wide band in Assisi work with nice borders either side of the alphabet in negative.
Thursday, 22 February 2007
WIPs
The two quilts are the biggest open projects . Steven's quilt is fun: Each block is different, and each block we have designed together so that the quilt will reflect his taste (over a period of time), as well as mine. The quilt will be 6 x 4 30 cm. blocks, except that the central 4 blocks are one big chess board. (In flannel so the flannel pieces will stay put.) The left hand column will spell STEVEN. The other blocks are a big medley of things. There is a Harry Potter block quilted in 'glow in the dark' thread that makes the moon really shine. An appliqued tiger with machine-embroidered jungle around it. A fish tank where the biggest fish has eaten a cat. A Paper-pieced puffin. A crazy square that uses all sorts of bits that Steven liked but somehow didn't inspire full blocks... The S is a lovely snake. We started with a copyart picture, Jerry changed the image to come closer to a real S shape, then I appliqued and embroidered it. One of the Es is a Pakman out of a bubble material that Steven liked. It's really high time I finished the quilt. Luckily I'm quilting each block as I go along, and also sewing some of the blocks together. When the final block is made I'll be able to bind it and be done.
The 3D quilt is mostly to have a quilt, and for the fun of sewing with others once a month. I do like the pattern, though, and have made one big change to the quilt as planned for the class - It has sashing that matches the block background. Except mine won't. Karen and I found a marvelous match in Essex Junction that will enhance the quilt, and my blocks will 'pop' visually as they wouldn't otherwise.
Then there are several samplers going. Right now I'm actively working on a sampler of 30 cm wide linen band trying out some of the bands in Linn's reprint books. These will be alternated with various alphabets. The first one is Latin alphabet in back stitch. I intend alternating the latin alphabet with others that are meaningful to me. That means Hebrew and Greek, of course. Also Russian. I ought to also try to do the Hindi alphabet I (supposedly) learned as a child. After that I could use a cursive Hebrew alphabet and braille, if I am still working on the sampler. The piece of band is 1 meter long, so the final length is more up to how long I feel like working on it. I'm sticking to red and black on this one.
IThe Hebrew sampler is near the top of the heap.
I am also working on a kit of the rose window of the National Cathedral in Washington DC. Dad gave it to me for my birthday, and it is proving to be quite a challenge. First I tried replacing the 16 count Aida with 32 count linen. Forget it. I can't see that well, and there is just too much thread counting becuase the bits of colour are so scattered. I think what I'm using now is 25 count. Much better. I bought new black for the background rather than risk running out and having the new not match, but decided to use the coloured threads. A risk, I know, but it's going to be fine. This kit had plenty of thread in it, even for a significantly larger embroidery. I do wish, however, that the pattern had overlap between the pages. I finally had to glue the sheets together, and the size is very difficult to deal with.
There is also most of a crocheted sweater lying around for me to work on. One of these ribbony yarns.
I'm also supposed to be working on Christmas stockings for Melissa and Cailan.
Is that ALL my WIPs? No, but it's the ones that I think have a chance of being worked on in the next few months. I'll try to report in once a month.
The 3D quilt is mostly to have a quilt, and for the fun of sewing with others once a month. I do like the pattern, though, and have made one big change to the quilt as planned for the class - It has sashing that matches the block background. Except mine won't. Karen and I found a marvelous match in Essex Junction that will enhance the quilt, and my blocks will 'pop' visually as they wouldn't otherwise.
Then there are several samplers going. Right now I'm actively working on a sampler of 30 cm wide linen band trying out some of the bands in Linn's reprint books. These will be alternated with various alphabets. The first one is Latin alphabet in back stitch. I intend alternating the latin alphabet with others that are meaningful to me. That means Hebrew and Greek, of course. Also Russian. I ought to also try to do the Hindi alphabet I (supposedly) learned as a child. After that I could use a cursive Hebrew alphabet and braille, if I am still working on the sampler. The piece of band is 1 meter long, so the final length is more up to how long I feel like working on it. I'm sticking to red and black on this one.
IThe Hebrew sampler is near the top of the heap.
I am also working on a kit of the rose window of the National Cathedral in Washington DC. Dad gave it to me for my birthday, and it is proving to be quite a challenge. First I tried replacing the 16 count Aida with 32 count linen. Forget it. I can't see that well, and there is just too much thread counting becuase the bits of colour are so scattered. I think what I'm using now is 25 count. Much better. I bought new black for the background rather than risk running out and having the new not match, but decided to use the coloured threads. A risk, I know, but it's going to be fine. This kit had plenty of thread in it, even for a significantly larger embroidery. I do wish, however, that the pattern had overlap between the pages. I finally had to glue the sheets together, and the size is very difficult to deal with.
There is also most of a crocheted sweater lying around for me to work on. One of these ribbony yarns.
I'm also supposed to be working on Christmas stockings for Melissa and Cailan.
Is that ALL my WIPs? No, but it's the ones that I think have a chance of being worked on in the next few months. I'll try to report in once a month.
Saturday, 17 February 2007
Thoughts on Quentel and Art Nouveau
I gave myself a treat last night, and looked through another of the books I got from Linn Skinner: This time her reprint of Hiersemann's reprint (1882) of Quentel (1527 - 1529).
Of course I am already working on another bookmark. (I'd better find a source of band I like here fast! I only picked up 4 of these when I was in the US. Mostly because the store I found them at had a lousy selection.)
The pattern I picked out was only one of several that I would not have hesitated at dating to the late 19th century. Very 'Art nouveau.' Of course I was aware that that period was also full of reworkings of historical patterns. How could I not be, living here in Vienna and seeing the Ringstrasse buildings so constantly. And I knew that William Morris had referred back to old traditions in his writings. But it did stop me in my tracks when in the middle of so many traditional blackwork patterns beloved of the sampler crowd there were designs that shouted Art nouveau at me. Even a border of facing birds that is very reminiscent of Morris's 'Strawberry thief'. I had never seen before how the old designs had been brought out and refurbished. Just a reminder that for all the refurbishing we do, good design is good design is good design; What is new is not in the basics, but how we interpret them for our own time and needs.
Speaking of Art nouveau: If you are ever in Bern (Switzerland), try to get a look at the ceiling of the Old Catholic cathedral there. The panels are painted with lovely Art nouveau floral designs. I had to laugh, though. After admiring a group of lilies, I moved on to the next panel. It took me ages to figure out what flower was being depicted: Edelweiss. But instead of being the little retiring squat plants they have to be to survive the Alpine heights, they were as tall and as full of the same foliage as the neighbouring lilies. Very fun!
Of course I am already working on another bookmark. (I'd better find a source of band I like here fast! I only picked up 4 of these when I was in the US. Mostly because the store I found them at had a lousy selection.)
The pattern I picked out was only one of several that I would not have hesitated at dating to the late 19th century. Very 'Art nouveau.' Of course I was aware that that period was also full of reworkings of historical patterns. How could I not be, living here in Vienna and seeing the Ringstrasse buildings so constantly. And I knew that William Morris had referred back to old traditions in his writings. But it did stop me in my tracks when in the middle of so many traditional blackwork patterns beloved of the sampler crowd there were designs that shouted Art nouveau at me. Even a border of facing birds that is very reminiscent of Morris's 'Strawberry thief'. I had never seen before how the old designs had been brought out and refurbished. Just a reminder that for all the refurbishing we do, good design is good design is good design; What is new is not in the basics, but how we interpret them for our own time and needs.
Speaking of Art nouveau: If you are ever in Bern (Switzerland), try to get a look at the ceiling of the Old Catholic cathedral there. The panels are painted with lovely Art nouveau floral designs. I had to laugh, though. After admiring a group of lilies, I moved on to the next panel. It took me ages to figure out what flower was being depicted: Edelweiss. But instead of being the little retiring squat plants they have to be to survive the Alpine heights, they were as tall and as full of the same foliage as the neighbouring lilies. Very fun!
Wednesday, 14 February 2007
Week 7 Project 5 Bookmark
This week I've been playing with a pattern out of one of Linn Skinner's reprints. This is taken from 'Pattern Leaves from Lessing & Lipperheide' p. 20. First a look at how the original would have been worked in two colours, and then the way I have worked it. I redistributed the colours and used four:
I started with DMC 4050. Then two colours chosen to match: 3849 and 301
2. The fourth colour is one strand each of 4050 and 3849. This close-up shows that better. I'm also really pleased to have started filling up my little box of gifts again. it had gotten very empty, but soon I hope to have a few choices available the next time I want to take a little something along to a friend.
I started with DMC 4050. Then two colours chosen to match: 3849 and 301
2. The fourth colour is one strand each of 4050 and 3849. This close-up shows that better. I'm also really pleased to have started filling up my little box of gifts again. it had gotten very empty, but soon I hope to have a few choices available the next time I want to take a little something along to a friend.