North of 45 Opening - 2015

We were able to attend the opening of this years North of 45 and  I loved the placement of "Our History: On the Table - right near the front, sure to be seen!

I spent quite a bit of time talking to attendees, and was pleasantly surprised at the reception the piece received - it's certainly not a mainstream example of art, but people really seemed to enjoy seeing history shared in an alternative manner.

I had encouraged fellow Mackinac Island artist Jamie Andress to enter - he did and had TWO pieces accepted!

And he sold one - congratulations Jamie!

North of 45 - 2015

The North of the 45th is an annual juried exhibition of artists living in the geographical area north of the 45th parallel in Michigan, Wisconsin and Minnesota. This line is known as the halfway point between the equator and the north pole, and crossing this line from the south is often associated with being "up north." This exhibition showcases the breadth and depth of artists living in this upper Midwest region from both rural and urban areas. Each year a different juror is asked to select pieces for the exhibition from an open call for entries.


Currently Curator of Exhibitions at the Racine Art Museum, where she oversees the production and implementation of 10-15 exhibitions per year, juror Lena Vigna has a particular interest in the contemporary fields of adornment, sculpture, fiber, and installation. Lena has curated numerous solo and group exhibitions and written several essays that explore issues relevant to contemporary art and society.


A Juror's Choice award will be selected by the juror, with a prize of $500. An Audience Choice award in the amount of $250 will be given at the close of the exhibition, based onvotes by visitors to the exhibition.


Featuring work by: Will Agar, Kjellgren Alkire, Jamie Andress, Ezra Asohan, Brendan Baylor, Julie Benda, Kimberly Benson, Gregg Bruff, Tomas Co, Eileen Cohen, Samantha Corbett, Debbie Covart, Melissa Davidson, Dominic M. Davis, Andy Delany and Lauren Flynn, Gretchen Dorian, Kelly Dorman, Pete Driessen, Michael Eble, Jonathon Engelien, Kiera Faber, Nina Fiorucci, Jessie Fleury, Cynthia Foley, Michael Friend, Stacy Giroux, Greg Green, Mike Hainstock, Lindsy Halleckson, Lindsey Heiden, Matt Hirvonen, John Hubbard, Steven Hughes, Carol Irving, Dustin Johnson, Brian Kakas, Keith Kaziak, Reneé Kirchenwitz, Jim Krausman, Barret Lee, Scott Leipski, Christine Lenzen, Michael Letts, Alex Maier, John McCoy, John McKaig, Renee Michaud, Susan Mikutowski, Jessica Mongeon, Eric Mueller, Craig Neeson, Paul Nelson, Tilton + Oeler, Russell Prather, Kyle Rambatt, Amy Rice, Eileen Rieman-Schaut, Paul Rose, Patrick St. Germain, Alanna Stapleton, Holly Streekstra, M. Parker Stuart, Tracy Wascom, Lyz Wendland.

My piece is "Our History: On the Table; it's a history of the people of Mackinac Island, from the distant past to the present.

For a full explanation of the piece and many more photos, click HERE.

We'll be at the opening tomorrow evening and can't wait to see the entire show!

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!

Whatsit Followup

Here's the "whatsit" that has generated so much conversation here, on the Civil War Needleworkers forum and on the Antique Pattern Library regarding what this object actually is.

My first thought, echoed by others,  was some type of lampshade cover, but the gas and kerosene lamps of the era required a central vent which this object does not accommodate.

Another suggestion was a skullcap:

Um, probably not!

A cover for a domed glass paperweight, again, probably not:

One plausible theory was a cover for wire food safe. I don't have an antique wire food safe, but I do have a rattan version:

My problem with this theory is the handle - like the lampshade cover there is no accommodation for the handle.

Other suggestions include workbasket cover, pillowcover, footstool cover and finally a piano stool cover:

And I do believe we have a winner!!!

Despite having a piano stool, it had not occurred to me to try it on there - but when I did, it was a perfect fit!

It's my opinion, based on materials, construction techniques, color and style, that this cover dates to the late 1870's - 1880's and reflects the Victorian craze for all things "Oriental".

I feel it was constructed, at home,  by a middle class lady, to ornament her parlor - which was probably not as ornate as the parlor seen above. She most likely used a published pattern for the crochet and then added the purchased chenille fringe.

A note on the fringe: It was suggested on one of the forums that the chenille "tails" had been knotted in place, not woven as I suggested. However, a closeup photo of one of the tassels clearly shows that it was woven in when the trim was constructed:

Wouldn't it be a wonder to have such trims available for purchase now!

Once I found the proper term - music stool, not piano stool - I found a number of patterns in the period magazines, using a variety of techniques:

This one in crochet even has a central diamond pattern similar to my example!

Thank you so much to everyone who offered suggestions - it's been so much fun exploring the possibilities

Whatsit???

I recently acquired this "whatsit" and it definitely has me a bit puzzled. 

The materials and techniques place it firmly in the Victorian  or perhaps Edwardian era. It is crocheted of red wool with a woven trim tacked about 1 1/2" from the edge. This trim includes a chenille fringe or tails that have been woven into the fringe.

None of this would be too terribly puzzling, except it is obviously not intended to lay flat:

But instead is designed to go over something domed - here it is on an upsidedown stainless bowl, approximately 16" across and and 5" deep:

My first thought was a cover for a glass lampshade of some kind, but it just doesn't seem likely, as there is no central hole to allow venting of the heat/fumes, as is typical for lighting of the era.

So any ideas???

A Weighty Matter

Lead sinkers seem like an unusual sewing item, especially for a bathing suit - I know the guy at the sportings goods store thought so!

NOTE TO SELF: Sometimes it's better not to explain why you need particular items.

But last year, we discovered why it was suggested in period descriptions of 1860's bathing costumes - without them, your skirt resembles a jellyfish, floating on the water.

Lead was suggested, I'm sure because it does not rust. These days, lead is not as readily available as in the period. However, lead split shot sinkers are still used for fishing and can be purchased in small quantities.

The split made it very easy to attach to heavy wool cord...

Just a quick squeeze to keep them in place, an inch apart.



I opened a bit of the hem and carefully fed the cord in, securing each end.

But was it enough weight?

I'll let you know soon!

Fancywork Headdress

I've spent a fair bit of time studying mid-19th century beadwork and I was thrilled to recently acquire this very interesting example.

Fashion trends come and go and this headdress is  great example of the transition occurring during the 1860's - from beads being used primarily in "crafts" and jewelry to beads being increasingly used directly on garments.

The headdress is crocheted of red wool, with distinctly different looks to the front and back. The front is loopy, resembling shag carpeting with the addition of large white satin glass cylinder beads. The beads would have been strung on the wool prior to beginning the crochet work.

The back is far smoother, to rest against the hair. There is a decorative bow at the back and ribbon ties.

I'm always trying to find surviving artifacts that can be definitively matched to published patterns from the period - if you've encountered period instructions or images of a similar headdress, please share!!!

2013 Needlework Competition - Braidwork

A highlight of the Ladies & Gentlemen of the 1860's conference is the needlework competition.
This year's competition was for the best reproduction of an article of clothing or an object embellished with braidwork.

 Entries had to be a style commonly found and used between 1855 and 1865 and had to be made using
period construction techniques. A variety of materials and methods could be used to embellish entries,
including manufactured braid, hand-made braid, or embroidery stitches that resemble braid.

 Participants were divided into two categories - Those who have won in a previous competition, judged or popular ballot, competed in the Masters Class. Those who had never won in a previous competition, competed in the Needleworkers Class. Two prizes were awarded in each class: one for the best reproduction as judged by the speakers and one for the entry selected by popular ballot of the conference participants.

Here's this year's Needlework Class submissions - as there were only two, both were winners:

This teal silk necktie was the popular vote winner. It has gold braidwork and handknit silk lace and was accompanied by very good documentation.

The Judged winner is this grey wool Spanish jacket, with a scrolling couched design.

The speakers at the conference are the judges - I was one of the judges this year. We assign a value of 1-5 for each of the following criteria:

• Overall Appearance. Is the entry typical of an item used during the period? Does it have the correct
style and shape?
 • Fabrics and Materials. Are the fabrics, materials and findings used consistent with those used for similar
items during the period? Are they made from appropriate fibers? Do they have the correct weave, color,
pattern, weight and hand?
• Trimmings and Embellishments. Are the trimmings and embellishments used consistent with those used
on similar items during the period? Are they made from appropriate fibers? Do they have the correct
weave, color, pattern, weight and/or hand?
• Construction. Are period construction techniques used? Are they the appropriate techniques for this
item?
• Workmanship/quality of detail. Is the workmanship typical of that found on original garments? Are fine
details and finishing incorporated into the construction?
• Documentation. What references were used in the creation of this item? Where did you get the idea?
Any unusual features should be especially documented.

We could also assign "Judge's Points" for outstanding effort in any of the categories.

There were several entries in the Master's Class:

A crimson wool flannel "Lancer's Jacket", with black braid and velvet buttons.

A heavily embellished vest, created as part of a fancy dress costume for a Pasha.

A "watering place" ensemble.

The Popular Vote winner was a net, silk and velvet mantle.

And the Judged winner was this brown wool paletot, based on an original. I was especially impressed by the use of crushed cuttlefish bone as the pattern transfer methodology and assigned extra "judge's" points for the documentation.

The needlework competition is a great way to stretch your skills and knowledge base; I spent a year researching cork soles as a result of the slipper competition and managed to find a source of material from a company that has been in production since 1852.

Next year's theme is a doll, with one outfit - you might want to start working right now!

Yes, They Did!

Every so often, a debate arises in mid-19th century living history circles - did anyone really create the projects depicted in the lady's magazines of the period?

Just like now, certain magazines were specifically marketed towards women and just like today, they have articles on fashion, cooking, child care, home decoration and craft projects. Two of the more popular were Godey's Lady's Book and Peterson's Magazine; they were targeted for the growing middle class and are a great research resource.

But did anyone actually create the projects?

YES, they did!

I've thus far been able to find four original items that I can directly link to specific published projects and recently was able to purchase one - a beaded pincushion. 

It's from the March 1865 issue of Godey's, with the following directions:

To be worked with clear glass beads, on canvas sufficiently coarse for one bead to cover a stitch. The  ground can be filled with Solerino, blue, or scarlet wool, worked in cross-stitch. The patterns are reduced about one half. The fringe should be formed on the cushions with the clear white beads. Forty beads should be strung and looped up three stitches from where it commences, and each loop should be caught into the one next to it. This forms a very graceful and rich fringe. These same patterns will answer for netted tidies, the figures to be darned in.

The maker of this cushion followed most of the directions: clear glass beads, scarlet wool ground and beaded fringe, but she did not cross stitch the ground - she used the basic continental stitch. The cushion is approximately 7 inches square. It has a red velvet back and is stiffly stuffed, perhaps with bran. There is damage to the wool ground and the fringe and it appears there may have been some type of trim applied in a square around the central design which is now missing.  

I probably would not have recognized the design except that I had previously used it myself, as decoration on a needle book. The design was beaded onto silk taffeta, which was used to cover two bell shaped pasteboard pieces. The pieces were connected on the sides and wool flannel pages can be exposed by pulling the emery strawberry "clapper" and retracted by pulling the velvet loop at the top.

I have another project to share, but need to wait until summer when I'll have the proper equine model...