Friday, May 24, 2013

Wish You Were Here - Embroidered Vintage Postcards


Wish You Were Here

When I travel I usually collect postcards, some of which I actually send to the folks back home, but more often I tend to save these souvenirs.  The photographs and/or artwork are amazing, never is there one of long airport lines or torrential rains or blizzards.  All are happy reminders.



In the last part of the 19thC postcards were standard forms of communication, not necessarily from vacation venues.  The cards were inexpensive (no envelopes and the postage was less than was required for a letter).  Often they were sent as greetings for holidays or just to say “I’m thinking about you”.  These cards are a great source of Victorian art and can be found at nearly every flea market or antique shop.  I especially like the ones that have actually been sent, with postmarks and addresses and short messages.  They let me wonder about the people (both the senders and the receivers) and what they were doing on that Easter morning or what relation they had to each other or whether they had as great a vacation as they indicated.






There is a group of vintage postal cards that are textile related.  These are embroidered cards that were popular in the first decades of the 20thC .  One type of card featured a scene or greeting embroidered on a lightweight voile fabric.  The embroidery was then affixed to the postcard cardboard, usually including a thin paper frame to protect the stitchery.  These cards usually commemorated a holiday such as Christmas or a birthday or anniversary and were kept as touching momentoes.

Another type of embroidered work was professionally stitched directly on the card, usually as an accent, over the artwork.  These were especially popular with servicemen stationed overseas.  Later, due to demand for these souvenirs, many countries created cards as part of a series, demonstrating native crafts, costumes and scenery. What a great bookmark or small bit of art for your already overcrowded desk.








               




    A series of embroidered cards from Portugal showing regional dress and landmarks from various Portuguese districts



















View of the back of the stitched card.



















Parer back of the card would have been affixed over the stitching



Hopefully there will still be a demand for these contemporary, inexpensive arty cards despite email and tweets.

Thursday, May 16, 2013

Bedtime Story Textiles: Little Red Riding Hood


Little Red Riding Hood

“Hey, there, Lil’ Red Riding Hood
You sure are looking good
You’re everything a big, bad wolf could want”

Sam the Sham and the Pharaohs, 1966




  
The story we know as Little Red Riding Hood is a very old one. The first printed version in the 1600’s is credited to a French author, Charles Perroult. The early versions ended badly as both Red and her grandmother were eaten by the wolf.
 More familiar is the Grimm Brothers version in the mid 1800’s with both Grandma and Red escaping the wolf with the help from a hunter who had luckily wandered by.

Many have offered various metaphors as to the meaning of the story.  Let’s just leave it at “talking to a stranger while walking through the woods to Grandma’s isn’t too bright.”





Textiles designed for children became very popular in the 20thC, especially in the 1950’s.  Motifs with cowboys and Indians, space ships and cars were to be found on fabrics, which were made into pajamas, costumes and interior décor textiles for children’s rooms. For young children there were familiar nursery rhyme and story book characters.  Embroidery patterns were designed for quilts and baby blankets.


embroidered quilt block

A search through your favorite antique shop or thrift store just might reveal a real treasure to add to any child’s bedroom.

Child's dresser scarf
fabric - c.1953 by Geo. Shamyer & Co.

Friday, May 10, 2013

May baskets and Flowers - Crochet novelties


 May Baskets and Flowers - Crochet Novelties



The history of giving May Baskets goes back times of celebrating the coming of spring.  Baskets were hand made paper cones filled with small flowers such as lily-of-the-valley or violets and given to adults and children, neighbors and loved ones.  Today I share with you some crochet baskets perfect for May Day giving.


During the mid-20thC crochet-work took a turn from the practical to the imaginative.  Homemakers delighted in inviting guests for luncheons and evening card games.  As there were few home décor stores and outlets available from which to purchase accessories that declared good taste, women turned to their needle - crafts to create novelty items, that today, we look at with a smile.  Frilly aprons were a must, as were potholders, tea and egg cozies, glass jackets, animals and flowers, baskets and bowls.  These all were displayed upon the dozens of doilies and mats that already adorned every tabletop and coffee table.  Today you can find, at a very reasonable price, many of these novelties.  Most were crochet, using the latest in yarns in pastels and variegated, rainbow hues, metallic threads and even rattan.  Something for every taste!  Frequently, the finished crochet work was stiffened, using a starch solution, so that the basket or bowl was somewhat functional








Small crochet baskets filled with small paper flowers







A bouquet of crochet carnations 

Friday, May 3, 2013

All That Glitters




All That Glitters

Remember that game ”Twenty Questions” that always began with the question animal, vegetable or mineral?  We sometimes forget that textile fibers are not only of animal or vegetable origin, but may be in the mineral category.  The use of metals in fabric can be traced far into history.  Metallic threads indicated wealth and status and required expert craftsmen to embellish clothing for royalty and religious clergy.




The use of metal as fiber elements was accomplished in two ways.  Incredibly thin sheets of gold, silver and copper were wrapped around cores of linen, silk or cotton threads.  If the metallic thread was too brittle to be used for embroider they were couched on the surface of the textile.  Sometimes the couching threads were visible and added to the overall glittery effect, which is referred to as “or nue”.  Very fine metallic thread was often used in Chinese and Ottoman embroideries.  With the spread of the Ottoman Empire, the use of metals was introduced into Europe and could be found in medieval textiles, some of which could weigh in excess of 40 pounds. Called “drap d’or”, golden fabrics flourished until the late 1700’s.

Oriental pillow cover with gold thread embroidery

Victorian table cover with metallic embroidery






These metal weavings were created by Evan Riter.
Riter received a Masters of  Fine Ats in fiber, textile, and weaving arts from Cranbrook Academy of Art in Bloomfield Hills, MI.

The second method of creating metallic fabrics from true metals is weaving strips of thin metal (with a wire warp) or using metal wire with fiber such as linen.  Because the wire warp is particularly strong a variety of materials such as plastic, paper in addition to the wire weft can be used.  Through electrolysis, many colors can be produced. Titanium, for example, can be made into blue, brown, pink and green hues.  One advantage of using metal elements is that the resultant fabrics can be manipulated and shaped after weaving.




Arline Fisch
Collar, machine knit copper wire
wuth silver accents



Arline Fisch is a Professor Emerita of Art  
at San Diego State University and was
named a "Living Treasure of  California"
in the field of American Crafts





Many of the textiles produce for the tourist market  
have elaborate metallic embellishments.

























Victorian mat with metal thread embroidered trim




Modern mats with machine made metallic trim



















Friday, April 26, 2013

Bed Ticking


Bed Ticking

Have you noticed lately there are lots of ads for mattresses?  Some have foam tops with “memory”.  Some have your personal number.  The sizes range from baby cot mattresses to the huge California King size.  I would have thought Texas should have claimed that honor.  The history of bedding is an interesting look at the evolution of modern home furnishings.  One of the enduring textiles associated with bedding is ticking, the familiar blue and white stripped covering for pillows and feather bed ticks, therefore the name.

Originally made from linen, and then cotton, ticking was woven in a herringbone pattern that kept the feathers in place, but often several of the common weave would be used.


vintage ticking fabrics

The featherbed, really an elongated pillow, filled with feathers or down and covered with ticking could be found until the beginning of the 20th C, despite the introduction of cotton-filled mattresses.  Of course, we have returned now to what is considered luxury bedding with down and feather comforters and duvets.   

While the usual pattern was blue and white stripped, there are many examples of this fabric in browns and even Jacquard weaves.


Today ticking is made as furnishing fabric in many colorways and frequently used by decorators for its crisp appearance.


top fabric, contemporary furnishing fabric labelled
"A Waverly Bonded Fabric ", "Ticking Stripe"

Lower fabric, table runner labelled
"100% cotton Handloom- made in India.  Imported by Primitive Artisanins"



Friday, April 19, 2013

The Rug from Hell


The Rug from Hell

Two weeks ago I wrote about maintaining your vintage textile collection; here is Part 2 – Restoration.

I am often asked about restoring a textile.  Can it be done?  My reply is always 3 words: Sometimes and It Depends.  There are fabulous, trained professional restorers that produce amazing results with a few remaining fibers.  These highly educated people are employed by well-funded museums and collections.  “It Depends” refers what is to be restored and the amount of $$$ you have to spend.  Some simple repairs can be done yourself if you are handy with a needle and thread, if you are familiar with weaving techniques, you have a supply of repair materials or you are fortunate to have a friend with the above.  Remember a poor restoration is way, way worse than leaving the textile in its present condition.




Now I will tell you a story about a hooked rug restoration. The Rug from Hell
One day a client came by with a request for a restoration of a hooked rug that was a “family heirloom," “very, very old” and “ much beloved."  I had come “highly recommended”.  Now this usually means that several people had been approached before  and who wouldn’t touch that rug with a ten- foot pole.  I told her I would first do an evaluation that included photos of the rug, an inspection of the damage, an evaluation of the rugs fibers and a listing of the materials I would need to procure for the job. For this flat fee I would give her the photos and reports and a ROUGH approximation of the cost based on my hourly fee.  “OK”, She said. “Here’s a check” and before I could reply she was off to her car to retrieve this wondrous article.  

I barely had time to cover my worktable with a clean cloth when she plopped  a black garbage bag on it, which she opened to reveal a mass of dirty tangled fibers of unknown origin.  Aghast, I pulled on some gloves. No way was I touching this, especially since I swear I could see something moving within it.  With a bit of gentle tugging, I could somewhat straighten the thing while client said softly “Oh, it seems to have a small hole”.“I can’t possibly restore this”, I replied .Merlin the Magician could not have restored it.
“But you have my check for the evaluation. Could you just do that for me, please?”  What could I say? She was right about that.  I would measure and photograph it, write a very discouraging report and send her on the way to some other poor sucker.

Before I did anything, I wrapped it in the table cover and stashed it in a freezer in my garage that I used only for textiles.   I had to kill whatever insect larvae had set up their home in the rug.  Days later, I reluctantly retrieved it and took it outside for a good shake, figuring any fibers I dislodged I would put into a plastic baggie to be returned with the report.  Unfortunately, what was left of the rug was pretty firmly attached so I felt I could safely attempt to remove what appeared to be a vast amount of dirt.  She hadn’t said so but perhaps her family lived in the La Brea Tar Pits.

On inspection, the hooking technique used was indescribable.  Clearly, the rug was made by a group of 4 year olds at a summer craft camp.  Scattered over the surface were clumps of fiber resembling some sort of grape-like texture, which turned out to be made of polyester. So much for the rug being “very, very old."

I was sure, I was positive that my evaluation would have the client running for the hills.  Not so.
“It looks better already," the client said. Are you kidding me? She said,  “Here’s a check for the first part of your work”. And out she went.  I was so astonished I couldn’t move fast enough to stop her and so with the check in my pocket I resigned myself to my fate.
Days past. Weeks past.  I could hardly bring myself to continue working on what I now called “The Rug from Hell”.  I swear it had a life of its own.  For every row of hooking I replaced, like Penelope’s weaving, a row  unraveled overnight.

Finally, I had to quit, not that I was ahead, but this project could take a major portion of my remaining life.  Dreading the reaction I would get, not to mention the remainder of my bill was due, I unwrapped the finished rug.  “Oh”, she gasped and I swear she started to tear up.  I felt awful and started to figure how much of my fee I had to return to her.  She reached into her purse (for a gun with my luck) and withdrew an old photo of a den or 1950’s rec room (I could tell by all of the wood paneling on the walls and ceiling and the patriotic patterned fabric on the overstuffed furniture).  In front of the faux stone fireplace was a rug.  I took out my magnifying glass and OMG there it was, THE RUG. The reconstruction was not exact by any means, but it was darned close.  She thanked me profusely and added a generous bonus to my invoice.

Now for the moral of the story.  Value and worth are not synonymous.  The resale value of this rug was in  minus digits.  But to her, and presumably the family, its worth was immeasurable. I had learned my lesson.  I would never, ever again put myself through another restoration like this one. 






Friday, April 12, 2013

Rainwear History


Rainwear History

“Bus stop, wet day, she’s there, I say
Please share my umbrella
Bus stop, bus goes, she stays, love grows
Under my umbrella”
The Hollies
Songwriters: Gouldman and Graham

Last April I wrote about the history of raincoats, and so, today I share the history of their partner, the umbrella.  The word “umbrella” comes from the Italian word  “ombrello” from the Latin “umbra” meaning shade.  As early as 2,000 B.C.E. the father of the modern umbrella, the parasol, was carried to protect from the heat and sun in the North of Africa, Mid and Far East.  As a protection from rain it wasn’t until the end of the 17thC that people carried umbrellas, although they weren’t made of waterproof fabric until the beginning of the 18th C.  The first folding model was designed by a Frenchman, Jean Marius.  In the 1800’s the fabric covering was of leather or oiled canvas and the ribs that served as the support structure were made of whalebone.  When steel replaced the whalebone and nylon coated with acrylic and scotch guard replaced the canvas the accessories became lighter and much more practical.





Today there are many versions of this protection from the elements: Large, stripped golf umbrellas, Gentleman’s umbrellas with a curved handles, which, when furled act as walking sticks, Hugh patio and beach umbrellas still guard against the sun.  Then there are the extra small, traveling versions that fit into a tote or briefcase.  I must admit that I own several umbrellas, but I never seem to have one when needed.


19th C parasol cover
The next innovation for this product should be prevention from turning inside out with a gust of wind, bending the frame and ribs.   It then becomes too mangled to even dispose of and a new umbrella must be purchased.