GORGEOUS NOTHINGS: The Grave is the Ultimate Seal

I was recently invited to participate in a rather unique exhibit: The Gorgeous Nothings, based on the envelope poems of Emily Dickinson and held at Three Pines Studio in Cross Village, MI.

What's an "envelope poem"?

In the mid-1990s, while examining Dickinson material in the Amherst College Library, the literary historian Marta L. Werner came across a small, irregularly-shaped collage cut from recycled 19th-century envelopes and covered with writing in Dickinson’s unmistakably hieroglyphic script.

Enchanted, Ms. Werner started a search for similar items in other collections and found dozens, long familiar to Dickinson experts but never examined as a group. Most were less elaborate than the collage. Some consisted of semi-intact envelopes that had been gently pried apart at the seams and flattened out. Others were fragments: torn-off corners of envelopes, detached flaps.

Whatever their configurations, the pocket-size papers shared one feature: sentences, stanzas and entire roughed-out poems pencil-written by Dickinson herself.

Now all the known “envelope poems” — 52 — have been gathered into a book called “Emily Dickinson: The Gorgeous Nothings,” published by New Directions and the art dealer Christine Burgin. 

My chosen envelope poem was A842:

As there        are

Apartments        in our

own     Minds        that-

we      never      enter

without          Apology-

we    should       respect

the     seals    of    

others  -        

When I read the poems of Emily Dickinson, it's always through a 19th century filter - I've been involved in mid-19th century living history too long for it to be any other way.

My first inclination was to go in the direction of phrenology, especially the idea of apartments or compartments in the mind.

But I was really intrigued by the idea of envelopes and seals.

Clothing, of course, envelopes the body and I was relatively certain that no one else would use a period correct fan-front dress as the base of their work. Thus, "Emily dressed"!

        

There is symbolism in every aspect of this piece, some relating to the poem and some relating to Emily and her body of work.

I chose a fan-front dress, as that is the style Emily wears in the only authenticated image of her as an adult, albeit in an earlier style of fan-front. And it had to be in white, of course - it helped that I had a bolt of white lawn in my stash.

Adorning the front of the bodice is a winged death-head, an image from a very old Massachusetts grave stone, reference to death that so often is the focus of Emily's poetry.

Crossed bones, from the same stone, embellish the sleeve jockeys. You can also see the very fat piping I used, black wool yarn in the center. While I love the look it achieved, it was rather hard to force myself to use it - certainly not period correct!

Each flounce is centered with a large, ornate keyhole, a reference to seals. In addition, each flounce was hemmed using a feather stitch, an allusion to "Hope is a thing with feathers".

The top flounce also depicts a mid-19th century image of an apartment building, with people going about their daily routine.

The bottom flounce features a very appropriate quote, from Lydia Child's The Frugal Housewife, a book that Emily's mother was known to have owned:

“The true economy of housekeeping is simply the art of gathering up all the fragments, so that nothing be lost. I mean fragments of time as well as materials.”

The piece includes two final embellishments, a pair of chatelaines:

The first is a group of envelopes, translucent, allowing the contents to be glimpsed - an barium page, a bit of lace, some buttons, a tiny silhouette and ripped up printed pages. The envelopes are not addressed - who are the intended recipients?

The second is a trio of large over sized keys, keys allowing the opening of seals.

The other participating artists created equally thought provoking pieces, all on display until June 16th. Will you be in Northern Michigan? If so, do try to work in a visit to Three Pines Studio!

2014 Conference Fabric - The Gentlemen's Fabric

One of the annual highlights of the Ladies & Gentlemen of the 1860's conference is the Saturday morning reveal of the "conference fabric" - each faculty member receives a piece, a dress length for the ladies and a different fabric for the men, typically enough to make a vest. It's always amazing to see how different the same fabric can look made up, depending on the choice of trims, placement, etc.

This year, the men received the above fabric - I don't remember the exact textile makeup, wool and silk? Wool and linen? 

Regardless, it had a lovely hand and was enjoyable to work with. But the big question was how to use it? Robin has several vests now, in a variety of fabrics and a vest just doesn't have as many options as does a dress.

This pattern has been floating around in my brain for several years now:

It's from Peterson's, circa 1857. No instructions are given, just the diagram. Looking at the design, it seemed to be intended for braidwork - the pattern is continuous for the most part, with few stops or starts. But I have not yet encountered an original trimmed in such a manner - so time to do some research!

First I reviewed all my photos of originals: embroidery but no braidwork. Then I started on the reference books and in Nineteenth-Century Costume Treasures published by Shippensburg University, I found my first clue - the same pattern as above, with the note that it had been previously published in the Ladies' Cabinet of Fashion (an English publication) in 1852.  

A bit of online searching, and success!

This time instructions were included:

GENTLEMAN'S WAISTCOAT, IN APPLICATION.

Materials :—Black Cloth sufficient for a Waistcoat; black Velvet, Albert Braid, and Gold Thread.

The design given is equally adapted for braiding and application. The latter term is applied (as most ladies are aware) to any sort of work in which the pattern is formed in one fabric, and laid on another, which is the ground. The edges are finished in various ways. When muslin and net are used, the edges are sewed or button-holed over; for velvet, cloth, and satin a braid of some sort is usually laid over the edge, and sewed over. The Albert braid, recently made in this country, is especially adapted for such a purpose; it looks much richer than the flat silk braidings; and when edged on each side with gold thread, it has a very rich effect.

To prepare the work, draw the pattern the full size, on bank-post paper, and mark all the outlines by pricking them, at equal distances, with a coarse needle. Place the pattern over the velvet, keeping it in its place by means of weights, and apply fine pounce all over the surface with a large flat stump. When the paper is removed, the design will be seen clearly marked on the velvet. By laying the paper on the other side, the other half of the waistcoat can be marked. As these outlines are, however, easily effaced, it will be necessary to mark them over again with a solution of flake-white and gum-water, applied with a fine sable brush.

As in all else, there is a great improvement in the mode of marking patterns of late years. These prepared patterns, with a powder which u very adhesive, and a large stump, made for the purpose, can be readily obtained. The composition of the powder is a secret; but where 'he work is to be either cut out (as in applique) or braided immediately afterwards, this powder is sufficiently adhesive to enable the worker to dispense with the second marking.

The velvet should be cut out very accurately, and with sharp fine scissors. Then fine size, made of the best glue, being slightly applied to the hack, the velvet is laid on the cloth, in its proper place. When dry, the edges are to be finished first with Albert braid, then with a gold thread laid on at each side of it.

The scrolls are worked with the braid and thread only, and the veining of the leaves are done in the same way. The ends are to be drawn through the cloth, and fastened in the back.

If the waistcoat is to be braided only, without the application, a colour different from that of the material itself may be chosen for the braid. Narrow flat silk braid, commonly known as Russian or French braid, may also be substituted for the Albert; and the gold thread may be dispensed with. The design I have given is the newest style; and the shape of the enlarges pattern very good.

As I happened to have a large spool of pale blue soutache or "Russian" braid, my decision for this particular vest was made!

I typically use the Martha McCain Simplicity vest pattern - it fits Robin well and is accurate. But a couple problems quickly became obvious - the braiding pattern did not leave space for the pockets and did not fit on the lapels.

So back to the photos of originals, and as I suspected, original embellished vests always left room for the pocket welts. So I chose to split and separate the motifs. I considered designing some type of "bridge" embroidery to connect them again, but after completing the two separate motifs, I decided it would be too busy.

As for the lapels, turning the motif upside down fixed that problem. Changing fashion, over the decade between 1852 and the mid-1860's  probably accounts for the change in lapel shape.

I put in the darts and the pockets (I loath doing welt pockets!) before starting the embroidery and stitched through the paper pattern, pulling it away later. I found a beading needle worked very well, as it's important to stay in the center ditch of the soutache braid.

I had a set of buttons in my stash that I had intended to use, but didn't like them once the embroidery was finished. So I made a set of perfectly matched to the fabric grindle buttons, tutorial available here.

And here's the final result:

The above two photos were taken during the "grand reveal". Unfortunately, we failed to take any "posed" shots - must remember to do so this summer.

I'm quite pleased with the results, although I so see all the flaws, and Robin has been sternly cautioned to avoid any spillage - those results would not be pleasant!

By the Yard Extra

This was a very interesting show: 10 different artists with 10 varying visions of surface designed textiles.

The techniques were wide ranging - weaving, dyeing, machine and hand embroidery, image transfer, even stamping with the end of a branch!



I was really pleased with my final piece and loved how it looked on display.

I felt the need to create a little something "extra" - an "art to wear" vest made from the applique scraps!

I used an 1860's paletot pattern as my base, then block printed and embroidered and added a wild fringy collar.



The show ends tomorrow, but the vest lives on!

By the Yard

I was invited to participate in a show called "By the Yard" and it has a really unique concept: Artists can create textile yardage and that yardage can than be used to create other works.

We were asked to create a minimum of five yards of a surface designed textile - all other parameters were up to the artist.

My concept was inspired by my daily walk to work each day through a cedar forest; I’m calling it “Essence of Cedar”. I've attempt to capture the effect of light being filtered by the dense tree boughs, the texture of the bark and the lichens growing on the trees and the minimal color palette – greens, orange, browns and grays.

The base is taupe striped gauze; that has been  block printed with a stylized cedar bough pattern in both green and orange to represent both living and dropped boughs.

My print block was pretty low tech - craft foam cut to shape and glued to a worn Plexiglas quilt ruler. The clear ruler proved to be a great idea, as I could see where I was placing each print and it helped keep me semi level. I wasn't terribly concerned with very precise placement, as the result was intended to be organic.

I then appliqued the stylized cedar trunks by placing the printed gauze over my tree pattern and overlaying a second piece of gauze that had been sponge printed, then I hand stitched the pattern and cut away the excess.

The tree trucks were than embroidered with merino wool for added texture.

And embroidered lichen was added.

Done!

As usual, I started with a plan that had to be altered a bit, but I'm pleased with the final result - I've even created something with the scraps, to be revealed soon!

If you're in the area, stop by the show and enjoy all the other work in the gallery too.

Sunshine on the North Shore

Summer's nearly over, we're quickly moving toward fall. But the colors of summer linger here and there, especially within this clump of  black eyed susans growing along the north shore, like a bit of sunshine caught on earth.

I really enjoy creating these mixed media pieces; the challenge of finding just the right thread, stitch or bead to enhance the image is endlessly satisfying!

Available for purchase here.

"Maple Sugar" - A Mixed Media Necklace

I've been revisiting a technique I've used in the past - mixed media pendents.

This photograph is my starting point:

It's Sugar Loaf, one of the many geological curiosities here on Mackinac Island. It stands 75' tall and in the fall is surrounded by a patchwork of bright maples and the greens of pine and cedar. The best view is from Point Lookout, which gives a panorama of the woods with the lake in the background.

I transferred the photo onto silk and then embellished the details with embroidery in silk and cotton and, of coarse, beads!

 A simple Italian mesh chain is the perfect answer to making this piece functional.

Available for purchase here.

The Foundation or In the Beginning

This is the piece I've spent the past six months working on - and I finished just in time to submit it to the jury for a very special exhibit.

I'm thrilled to announce that it was accepted (1 of 15 pieces) and will be on display at the Richard and Jane Manoogian Mackinac Art Museum, beginning May 11, 2012.

This year's theme is "Mackinac's Grand Hotel" in honor of Grand's 125th anniversary. My piece is a life size, three dimensional Michigan white pine stump, formed entirely of seed beads. You may be wondering how this piece fits the theme - but it's actually a perfect fit, when you know the early history of the hotel.

 Grand Hotel is one of few remaining "classic" resorts built of wood and the wood used was Michigan white pine, known as the "Eternal Wood". 

Grand Hotel was built in 1887 by Charles W. Caskey, who also built many of the large "cottages" on Mackinac . A work crew of three-hundred men built the one-thousand guest hotel in less than four months. Building materials were hauled across the ice during the winter from St. Ignace where Caskey had his own lumberyard. The original foundation was the pine stumps cut to clear the building site and they purportedly remain beneath the building to this day.

 

I spent many hours studying actual stumps and living trees, so as to properly capture the color, form and texture. 

The cut portion of the stump was done in bead embroidery in size 15/0 and 11/0 seed beads on a heavy wool felt base. This was attached to a wire armature also covered in wool felt. I created dozens of bark plates in freeform peyote stitch using size 8/0 beads, which were individually attached to the form - the joke was I'd be "barking mad" before I finished!

I'm so looking forward to the show opening and can't wait to see the other pieces on display - do come visit if you'll be in northern Michigan this summer!

Schoolgirl Art - Needlework at the Westtown School

Westtown Friends Boarding School was founded in 1799 by the Philadelphia Yearly Meeting of the Religious Society of Friends for the purpose of providing a “guarded education” for its children.



The curriculum for Westtown students during the early years included reading, penmanship, grammar and mathematics. Geography and science (including astronomy) were taught, the latter often during evening lectures. Surveying and bookkeeping, useful in future vocations, were offered. Formal religious instruction in the principles and testimonies of Friends was introduced in 1833.

The education offered boys and girls at Westtown was much the same even in the very early years of the school (reflecting the Quakers' belief in the equality of all people.) One difference, however, was sewing class for girls. Plain sewing, samplers, pin cushions and other handiwork were done by girls until sewing class was eliminated from the curriculum in 1843.

"Girls are also to bring with them a pair of Scissors, Thread-case, Thimble, Work-bag, and some plain sewing or knitting to begin with." Information for Parents, Westtown School, 1799

Much of Westtown’s well-known needlework collection will be part of an exhibit at Chester County Historical Society in West Chester, on view from December 2, 2011 through September 7, 2012. IN STITCHES: Unraveling Their Stories will provide a rare opportunity to see large portions of both Westtown and CCHS’s needlework collections. The exhibit will feature many samplers and embroidered globes made by girls at Westtown School, along with a variety of other samplers and needlework items made by girls from Chester County and the surrounding area 200 years ago. Stitched under the direction of a sewing teacher or female family member, these commonplace pieces have become heirloom treasures that provide an opportunity to tell each maker’s story, as well as document the patterns and practices of needlework in particular locations.

I had the opportunity to view this exhibit earlier this month and I have to say if you have any interest whatsoever in historic needlework, you MUST find a way to see this exhibit!

Allow yourself plenty of time, not only is this particular exhibit fabulous, but so is the entire Chester County Historical Society museum. Even better, they do allow photography for personal use. I would like to offer the museum my sincere thanks for giving me permission to share these photos with you.

The work shown is simply incredible in it's execution and charming in it's design - I love this fanciful map:

And these pinballs are both beautiful and useful:

Embroidered globes, both terrestrial and celestial were used to teach geography, real globes were expensive; thus, a stitched globe was an economical way for a young girl not only to learn her lessons but to practice her needlework.

Piecework Magazine ran an article on these globes, instructions and patterns are available here.

These pieces offer so much inspiration and for me, it was a joy to see all the botanical influences.

I'm sure many of my fellow Civil War enthusiasts are saying, "but this is too early, what does it have to do with our era?". I agree, it does pre-date "our" era, but so do we, unless we were born in 1861. I'm of an age that I might have attended such a school and if so, I'm sure I would still have this type of needlework in my possession - I might even still display it in my parlor. 

The needlework being produced in the 1860's owes its origins to the girls who learned their stitches in earlier decades and taught their daughters and granddaughters. While we dread the all-to-common period instructions "any lady can create this item based on our illustration", the ladies of the time really could!