GALLERY OF APPRECIATION
I adore it when I see projects folk have worked up from my designs. I’ve shown off a smattering of them here on String under the tag “Gallery” on the categories list, but I have fallen behind of late. I will try to be more timely posting these fabulous finishes (and works in progress), as tribute and thanks to the creative people who have returned joy to me.
Right now I have several such submissions lurking in my email inbox. Apologies if you have sent photos to me that haven’t appeared yet. It’s a big inbox, and I am combing back, looking for the flags. Names and photos appear here with the permission of those who sent them. I also have some requests out to folk who have sent me photos, but from whom I do not yet have express consent to post. And if you’d like your work to appear here in a subsequent gallery post, please drop me a line. My Gmail address is kbsalazar (in the usual email format).
So in no particular order other than my stumbling around in the dark, I present the first of what I hope will be a renewed series of proud pieces.
The Second Carolingian Modelbook
Sent in by Alex Logsdon, a genuine original composition featuring many motifs from T2CM, selected, snipped, and arranged in true “bungee jump stitcher” mode – picked on the fly and fitted to the space available. There haven’t been many finished objects from my latest book, and this one made my heart sing.
The New Carolingian Modelbook
Elaine Cochrane is working on a big purple band sampler, and has included in it some strips from TNCM. Elaine is also choosing designs on the fly in bungee-jump mode. I love seeing her piece evolve with the addition of each new bit.
Ensamplario Atlantio, Volumes I and II
It’s hard for me to separate out the fills in the two volumes in the EnsAtl series. With only a few exceptions, even I can’t remember which ones are in which book. V Louise Behrman is working on a couple of projects using the patterned fills from the books. One is a lovely bit of inhabited blackwork – panels for a casket (a small fabric covered keepsake/display box), the other is destined to be made up into an adorable needle book (a small fabric folder to keep needles safe, dry, and at hand). Both images below are (c) V Louise Behrman, 2022, and appear here with permission.
Epic Fandom Stitchalong – Adaptations
Long time friend and occasional SCA mentor Robert Himmelsbach was a stealth beta tester for some of the bands appearing as part of Epic Fandom. He used the dinosaur strips to make collar and cuff ornamentation for an otherwise historically accurate Renaissance era shirt, proudly proclaiming his ancient lineage and participation in that group’s pre-history (provided you look closely enough at his outfit). He is intending the pirate strip for a second shirt.
Links and/or info about the books mentioned are at the “My Books” tab above. The Stitchalong also has its own tab, above.
ANOTHER WEEK. ANOTHER MOTIF
Moving on from the dolphins, we leap to the next motif. I wanted something both darker and less dense than the massive meshy panel, and hit on this column/flower meander. It’s another one from my ever-forthcoming The Second Carolingian Modelbook (T2CM – it includes both linear patterns and block unit designs).
The columns design appears on Plate 70 of my book, but it’s source is a 16th century Italian openwork piece in the Metropolitan Museum of Art, Accession 20.186.27
The museum description is rather cryptic. It says “Bobbin lace, buratto, punto a rammendo.” To me it looks like buratto – darning on a woven gauzy ground, and not bobbin lace or a withdrawn thread technique (punto a rammendo). Buratto and lacis are very close, with lacis being worked over a hand-knotted net mesh, and buratto being worked on a purpose-woven gauzy linen fabric. It’s structure is not unlike Penelope canvas, but made from much finer threads with much wider gaps between them. It’s effect is entirely that of an open mesh – no where near as dense as the Penelope. Admittedly this piece might be lacis. I am not seeing knots at the junctures of the meshes, but sharper photos might reveal their presence.
While my treatment of it in plain old cross stitch isn’t necessarily something that can be defended as a common historical usage, the use of these designs for both openwork (lacis or buratto, or even withdrawn thread designs) and surface embroidery on the count is well documented. Since I am not doing a historical piece I chose POCS because it on this ground with only one strand of silk, presented an airy and lighter contrast to the mesh technique, and the long-armed cross stitch and Montenegrin stitch that I’ve used in elsewhere on this piece.
Oh. And the source for the dolphins? Plate 29 of T2CM. But it is my rendition of an illustration in Lady Marian Alford’s Needlework as Art (Plate 42), originally published in 1886. There it is cited as 16th century Italian. I tracked it down. That piece from Lady Alford’s collection and shown in her book is now in custody of Belton House, Lincolnshire UK, and registered with that country’s National Trust (#426944). I know of no no on-line photos of it. If you do, please share the citation in the comments.
As mentioned before, the original shown that I drew up for T2CM features the dolphins and connectors (but not the rondels) and the background of the original is voided – filled in, but with a grid of tiny one-unit squares.
When will T2CM be out? I know it’s been a very long wait, for which I apologize. However I do know that if all goes well, my schedule will emerge from some significant time constraints in late spring, and I will be able to devote myself to publication. I am loathe to promise after so long, but 2021 has every indication of being The Year.
String-Or-Nothing 