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Fascinating Crochet Hooks

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I know that for most people, the words "fascinating" and "crochet hooks" don't naturally go together, but bear with me. Early crochet hook designs are very varied - the handle gives a lot of potential for decoration, and there are some ingenious methods of combining two (or more) hooks with only one handle, and ways to protect the ends of very fine hooks.  I am not a crocheter, except very occasionally, and I'm especially not a crocheter with the size of hook that you can barely see, used with thread no thicker than sewing thread. But even so, I do find many of the crochet hooks in the Knitting & Crochet Guild collection fascinating.

And last week, at our usual Thursday morning knitting session, a friend brought several things to give to the collection, including these 15 crochet hooks.  In case you think they look interesting too, I've written about some of them below.





Many of these hooks are late 19th or early 20th century - I've been looking at Nancy Nehring's website here, which gives a lot of information on the history of crochet hooks.

First is a 19th century hook (rather rusty, as early steel hooks are liable to be).  It has a patent number (4439) on the sheath.  I can't trace the patent, though Nancy Nehring dates it to 1888.  I imagine that the patent was for the idea of including a tubular sheath (top) that can fit over the hook to protect it, when it is not being used, and otherwise can fit over the other end to form a handle.



Another early hook also has a tubular sheath - brass in this case.  There are two hooks of different sizes, and the sheath can fit over either to form a handle.  Nehring attributes this hook to Z. Shrimpton and Co. (here).




In the next one, the hook is attached to a flower-shaped slider so that it can be retracted into the handle.  (But there is nothing to hold the slider in place, when the hook is in use, so this may not have been a very successful design in practice.)




The next, with a handle made from a loop of wire, is another hook by Z Shrimpton & Co.  It has two hooks of different sizes, that can pivot in the middle.  The brass slider can be moved (to the left, in the photo) to hold the hook that's not being used within the handle.



And here are two later hooks - the design was patented in 1911.  They look identical, but one is called the "Evelyne" and the other the "Eclipse".  They are like a flattened version of the first hook I described - there is a sheath that either fits over the hook (top), or can form a handle (bottom).  By this time, the idea of having a flattened grip had been introduced, and very quickly seems to have become almost universal for metal crochet hooks.


There are three hooks in the donation that aren't steel.   Two are bone, and the same design. One of them is marked 'Bates' - an American company that still makes crochet hooks.  I think the different coloured ends are to show at a glance the size of the hook (at least once you know that dark blue means size 1 and light blue means size 5).


And finally, I think that the hook below might be ivory.  It is a very uniform colour, whereas bone tends to develop brown marks with age, and it feels much smoother and denser than the bone hooks.



Altogether, it's a diverse and fascinating collection, just by itself.  Thanks very much, Debbie.

A 1946 Jumper

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A recent donation of assorted publications to the Knitting & Crochet Guild collection included several patterns from old magazines, including one from a magazine I had never heard of: Weekly Welcome and Woman's Way.  


1940s vintage knitting pattern; clothes rationing
Weekly Welcome and Woman's Way, March 30th 1946.  

It was an issue from 1946 - number 2493, so it was a long-lived publication already.   Fortunately, the British Library knows all about it.  It was first published in 1896, as Weekly Welcome, so 1946 was its 50th anniversary.  It had a brief change of title to Woman's Welcome, in 1939, then changed to Weekly Welcome and Woman's Way and stuck with that until 1955, when it reverted to Weekly Welcome.  It was incorporated into My Weekly (which is still current) in 1960.

With the rather tatty cover is the pattern for the cover jumper - a slip-stitch design in three colours: light coral, dark coral and brown.  I think the cover photo has been re-coloured from a black-and -white photo, because the background colour is a definite red rather than 'light coral'.  I guess that the red was chosen because there was already red in the masthead and other cover text.  Never mind - it's a pretty jumper, and here's the pattern in full:


The yarn specified is 3-ply super fingering - only 4 oz. (about 100 gm.) of the main colour.  Clothes rationing was still in force in 1946, even though the war was over, so women couldn't afford to use much wool in knitting a jumper.  But even though it sounds like a very fine yarn, it's knitted on size 11 (3mm.) needles for the rib, and size 8 (4mm.) for the rest.  Perhaps a modern 4-ply (fingering weight)  yarn would work - you would have to knit a swatch and match the stated tension.  You would also have to adjust the sizing, probably: it's written for only one size (34 in. bust) and is very short, although that is easy to change.

So if you'd like to knit a 1940s (but not quite war-time) jumper, or like the look of the slip-stitch pattern, you could try it.

Pattern leaflet designs

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It's been four weeks since my last post - in the meantime we have been on holiday on Greece, for two weeks,and it always takes me at least a week to catch up with life when I get back.  We had a wonderful time, with Naturally Greece, visiting two of the islands, Ikaria and Samos, and then after the official end of the holiday we had a few days in Athens.  Maybe I'll post some photos later. Maybe not.

Now I'm back to work on the Knitting & Crochet Guild collection.   Yesterday we were sorting a box of Patons & Baldwins patterns, and found this pattern for gloves and mittens - there were several copies of it.  It was published around 1950, I think.

Paton's leaflet 652

It looks at first glance as though the people in the photo are looking at an important document - perhaps architects on a site visit, looking at the plans for a building.  Or maybe engineers looking at the blueprints for a new jet aircraft.  Definitely something significant.

But when we looked more closely, the drawings on the paper are nothing like that.


Here's one that I have made clearer - it's a cartoon of a small girl who has tied up her father (?) and laid him across the model railway so that she can run over him with the train.  And the gloves in the pattern are children's, so it looks as though they are considering whether or not this is a feasible plan.

Whoever designed the covers of Patons pattern leaflets at that time evidently thought that straightforward illustrations of gloves would be too boring.  The next two leaflets were also glove patterns.  Leaflet 653 has a surreal illustration of four gloved women's hands bursting though a page of The Times.

Paton's leaflet 653

And leaflet 654 shows (the hands of) three men poring over a street map. One of the men has the inevitable pipe.  The image looks slightly sinister somehow, as though they are planning a bank robbery.

Paton's leaflet 654

Patterns for other types of clothing usually have more straightforward leaflet illustrations, though not always.  Leaflet 694 shows the model buried up to her waist, like a scene from a Samuel Beckett play.

Paton's leaflet 694

The glove patterns must have sold well - copies turn up over and over, and leaflet 652 was reprinted at least once, with the same cover illustration.  But I think I have only seen one copy of leaflet 694, in the Patons archive, though the jumpers are perfectly nice (in a 1950s way), it's a useful pattern with several options, and the bright colours are attractive.  Perhaps the idea of being buried up to the waist spoilt its appeal.

More Tools and Gadgets

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A few weeks ago, a long-standing member of the Knitting & Crochet Guild sent a small group of tools and gadgets as a donation for the Guild collection.


There are only seven items in the donation, but five of them I had never seen before.

The "Carnell" needle for blanket making (at the top of the photo above) is a hook for Tunisian crochet, which can be extended, up to about twice its original length, by attaching one or both of the extra lengths of metal tube.  We have  a Carnell needle in the collection already, but this one has a rolled up set of patterns in the box, and the box is in better condition too.

Robin Silk Winder

The Robin Silk Winder is, I guess, made of some sort of pre-WW2 plastic, and would have been used for artificial silk knitting yarn - like the Felix the cat winder I showed here.  And we have a child's dress in art. silk and angora, knitted to a Robin pattern, so it's nice to imagine the silk winder being used to make the dress. 


Viyella needle gauge and row counter 

The Viyella knitting needle gauge and row counter is a small barrel-shaped object (surprisingly heavy) with the gauge holes in the ends.  We have one in the collection already, but it's useful to have an extra one that we can take to trunk shows, and let people handle it and work the counter.

ORCO Handee Gauge

ORCO Handee Gauge - U.S. Pat, 3,068,580

The ORCO Handee gauge is a patented American gadget with a sliding pointer for (I suppose) more accurate measurement - according to the patent, dated 1962, it's designed for both sewing and knitting. (Not sure yet how it ended up in this country.)

The "Little Dorrit" Triple Knitting Counter

The "Little Dorrit" Triple Knitting Counter is not one we have in the collection already, although we have other similar row counters made of card.  (I don't know why it's called the "Little Dorrit" - was she a knitter?  I could find out by reading the book, but I shan't.)  This kind of row counter seems very flimsy to me, but in fact, the pointers still work perfectly well on this one, even though it seems to have been well used.

The Wimberdar 'Positive Row Counter'

The Wimberdar 'Positive Row Counter' is a much more substantial gadget. I think it's called a positive counter because you can only change the count if you're positive that you want to do it - unlike a lot of counters where there is a wheel to turn or a pointer to move, and it could easily be done when you weren't intending to.  The Wimberdar counter has two discs with the numbers on inside the case - one counts single rows and has the numbers 0 to 9; the other counts 10s of rows and is numbered 1 to 14 (plus a blank, showing in the photo).  You change the count by inserting the end of a (fairly fine) knitting needle into the hole at the left of the window at the top, and move it to the right of the window.  When the units disc has got to 9, the hole at the left of the window is lower down, and coincides with a hole in the 10s disc, so that you move both discs at the same time.   (Hope that's clear.)  It's very clever.  There's a leather case to go with it, too.  I kind of feel that I want one, but in fact, I know that I wouldn't use it - I'd rather count rows by making pencil marks on a piece of scrap card than use a row counter.  Though if I had a really nice one like this....

'Dont Lose Your Wool' yarn holder
Finally, and my favourite, is a yarn holder in a leather case. There is a bangle to go round your wrist, made of some sort of plastic, and hanging off it, are two wooden balls that go into the middle of your ball of wool.  Thus:


The piece of wire is a bit springy, so you can compress the two balls together, to push them into the  ball of wool, and then the wire springs apart to hold the wool firmly.

I have never seen another yarn holder of a similar design, and there's nothing on the holder or case that gives any clue to who made it - the only writing is 'Dont lose your wool' on the case. A really clever design, even though they don't appear to know about apostrophes.

A very nice little group - we are very grateful for the donation.   The yarn holder will be part of a trunk show for the Lincoln branch of the Guild on Saturday.

Anna's Adventure

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I found this nice rhyme, illustrated with cartoons, on the back of one of Patons & Baldwins monthly update lists.  It warns knitters of several mistakes to avoid in washing wool (using boiling water, using too strong a soap solution, not rinsing it properly, and then putting it through the wringer). 



Here's the text:
ANNA'S ADVENTURE
Three weaknesses of Anna Rees
Were knitting, sleep, and toasted cheese;
Quite harmless, singly, you will find,
But catastrophic when combined.
Let me relate the striking manner
In which this fact was proved by Anna.
This girl, who should have known much better,
Worked, once, till midnight on a sweater
Then, such was her pernicious habit,
Promptly devoured a large Welsh Rabbit,
Exclaimed, "My word! How late it's got!"
Undressed, and sought her little cot. 
The words, "The prisoner in the dock"
Aroused her with a nasty shock,
And, first of many such surprises,
She found herself in the Assizes,
Which were, though this sounds rather steep,
Completely organised by Sheep.
Trying to look her modest best,
Though quite inadequately dressed,
Like Botticelli's Aphrodite
(Except that Anna wore a nightie),
She turned to her escort—a Ram—
And said, "Please tell me where I am."
He answered roughly, "Stow yer jaw,
This 'ere's a Court of Knitting Law,
And you are charged, me pretty stranger,
With Washing to the Public Danger.
The sheepish Justice of the Fleece
Cried, "Let this idle chatter cease!
Please call Detective Sergeant Jupp."
Whereat a melancholy tup
Rose and intoned, "Me Lud, I caught 'er
Washing hand-knits in boiling water;
After this criminal ablution
In saturated soap solution,
Before I'd time to raise a finger,
She passed them through a wooden wringer,
With just a bare pretence at rinsing.
I think you'll find the facts convincing,
She'll have her work cut out in quashing
This gruesome case of Wanton Washing.
In expiation of her sins
She should be bound to knitting pins
And steeped in yellow soap—for ever."
Anna exclaimed, "Me Lud, I never . . ."
With such a penetrating scream
It roused her from the painful dream.
But all the same it made her think,
For now her woollies never shrink. 
The monthly updates were sent to yarn shops, I believe, to notify them of the latest P&B pattern leaflets.   We don't have many of them in the Knitting & Crochet Guild collection - most yarn shop owners would not keep them for very long, I guess, and so they have probably only survived by chance.  They are not dated, but I think that this one was issued in November 1946. 

I don't know what yarn shop owners were supposed to do with the rhyme - I think that P&B also used it in magazine ads aimed directly at knitters, so I suspect that it was just a filler for the back page of the leaflet.  It's very entertaining, though I don't know how necessary it was - I would have thought that knitters would have known not to treat woollen garments so harshly.  But maybe one or two would not - and better to be told this way than to find out by ruining something that had taken hours of work. 

At the Convention

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Last weekend, I was at the Knitting & Crochet Guild's annual convention, this year at the University of Warwick.

2018 is the Guild's 40th anniversary, so of course we had a birthday cake.


Because of the anniversary it was a very special convention. Sasha Kagan, who is one of the Guild's patrons, gave the keynote speech.  Another speaker was Pauline Turner, a founder member of the Guild, a pioneer of crochet, and the 2018 inductee into the Crochet Guild of America Hall of Fame.

We had half-day workshops on Saturday and Sunday, led by Guild members.  Another of our patrons, Debbie Abrahams, taught a workshop on finishing techniques.  I didn't manage to get to that - there were a lot of enticing workshops on offer.  On Saturday, I did a workshop on making a tiny version of Elizabeth Zimmerman's baby surprise jacket, either crocheted or knitted.  The idea was that after trying it out on a small scale, we would be able to make a bigger one, maybe with some variations. Here are the ones we made in the workshop - mine is the one at the bottom.



The workshop I went to on Sunday was on Estonian colour work knitting, taught by Rachel Lemon. Here is the sample I knitted (finished off on the train home, so if I got anything wrong at that point, it's because Rachel wasn't on hand to consult).


It was fascinating - very unlike other stranded knitting I have tried, because it has a lot of texture from using purl stitches.  The bands of stranded knitting are separated by braids, too (narrow raised bands of knitting) - I was particularly intrigued by the vikkel braid, which is the band of navy and white arrowheads pointing to the right, towards the bottom.  Difficult to grasp at first, but OK with some help.  Impossible to imagine how anyone could invent it.

My  workshop knitting was sort of intended to be one of a pair of cuffs or wristlets, but it's not good enough for that - it's just a practice piece. (Also, it's very difficult to get my hand through, which is rather a disadvantage for a cuff.)  I do intend to explore Estonian knitting further though. 

Kaffe Fassett is also a patron of the Guild, and although he wasn't available, he did send a lovely stole knitted in Kid Silk Haze, to be raffled.  And on Friday, before the start of the convention proper, Brandon Mably taught a one day workshop on using colour.  I attended it and it was amazing - I've never been very adventurous about putting colours together, and the workshop led me to look at combining colours in a different way.  Brandon showed me that startling colour mixes can sometimes work very well, and may not appear at all startling from a short distance.  And sticking to 'tasteful' and safe colour combinations risks looking just dull.

Here's the swatch I knitted in the workshop:


The first poppy, at the bottom, seems a mix of soft yellows and greens, but in fact one of the yellows, picked by Brandon from my neighbour's collection of wools, is a really bright lime yellow. In the mix with the other colours, though, it perks them up without being overwhelming.  Further up, there's a bright blue among the dark shades that has a similar effect.

Here are the swatches that the workshop participants knitted during the day, still on the needles at the end of the workshop. (Mine is the one at the top left.) It was wonderful to see the beautiful results that everyone produced.


This is an approach to using colours that I really want to explore more - it feels so exciting. Unfortunately, as a side-effect, it did also make me feel like buying lots of different colours of wool, immediately.  So I'm not quite sure yet how to proceed.  Because I don't need more wool.

Knitted Lace at Parcevall Hall

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My friends Ann Kingstone and her sister Marie ran a Yorkshire Knitting Tour last week (finishing today). It was based at Parcevall Hall in upper Wharfedale - a 17th century manor house, extended in the 1920s, when a terraced garden was made.  

Parcevall Hall

On Friday, I went there with a suitcase of 19th century knitted lace from the Knitting & Crochet Guild collection, to show to the knitters as an introduction to two days of lace knitting workshops that Ann was going to teach.

A couple of the things I took to show the knitters have already appeared on this blog, like a pin-cushion cover in print o' the wave stitch (or leaf and trellis, as Victorian knitters would have called it).   Here's a small selection of the other things I had in the case.

I showed another knitted lace pin-cushion cover, this one with its pad inside.  It's suffered some damage from the pins and has been mended, possibly in Victorian times.


Two Victorian knitted samplers had been specially requested, and caused a lot of interest. As did Captain Tweedie's splendid nightcap.

Knitted Victorian lace


Many of the Victorian pieces in the collection are mats, covers or doileys of various kinds, including this very finely knitted mat.


The basic design, with a sort of four-petalled flower in the centre, is very common, but there are many variations.  It is often used for bedspreads, made up of lots of squares knitted in thick cotton - it isn't usual to see it knitted in very fine cotton.

I had time for a walk around part of the garden, which is open to the public.  And it rained!  (Rain doesn't normally merit an exclamation mark in a British summer, but this year, it hasn't rained for weeks.)  The hillside across the valley was covered in cloud - though the fields were yellow-brown when they should have been green, because it has been so dry.


The garden is a series of terraces stepping down the slope, with wide views across the valley.  But looking along a terrace gives a much more enclosed feeling.


At the back, part of the building was built directly on top of a huge lump of exposed bedrock - which then had a rock garden planted in it.


An interesting house, and a beautiful garden - and evidently an ideal place for a week's knitting holiday. The knitters were very enthusiastic, and keen to examine the things I had brought.  It's great to be able to show pieces from the collection to an appreciative audience, and I really enjoyed joining the knitting tour for half a day.  Ann and Marie are planning to run it again next year, so hopefully I will be back.

In the Loop

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I got back on Saturday from the In the Loop at 10 conference at Winchester School of Art, home of the Knitting Reference Library.   "At 10", because the first In the Loop conference was held in 2008 (also in Winchester).

The 10th anniversary cake
The conference was on Thursday and Friday, and I gave a talk on the Knitting & Crochet Guild collection on Thursday morning.  Unfortunately, most of the conference (except for the keynote talks) was in two parallel sessions.  At the same time as my talk, there was a talk on the Knitting Reference Library from Catherine Polley, the School of Art Librarian.  So a lot of people missed my talk, and I (and a lot of other people) missed Catherine's.  But the talks were recorded, we were told, and so hopefully we will be able to catch up with the talks we missed later.  (If that doesn't happen, I may post some of the content of my talk here.)

Because of the parallel sessions, I missed a lot of talks that I would have liked to hear.  (Alex Franklin's talk, for one, on 'Unravelling Miss Marple', i.e. Miss Marple's knitting as a reflection of her problem-solving and detective abilities.)  So I hope that the recordings will allow me to catch up later.  For now, here are a very few selected highlights. 

Linda Newington, who has now retired to Shetland from the School of Art library, gave a keynote talk on the some of her favourite things from the Knitting Reference Library, and the history of the In the Loop conferences. 

The second keynote talk was from Ingun Grimstad Klepp - an entertaining talk on the history of knitting in Norway and her work on promoting the use of Norwegian wool, and the role of wool in sustainability.  The history part of the talk was fascinating, with lots of images of Norwegians wearing their traditional knitted jacket (kofte) - keeping them, and wearing them, for years. She showed a familiar image - the Marius sweater, designed in 1953 and still very popular.


She also talked about sustainability and the importance of taking lifetime use into account when considering the impact of garments made from different fibres - a recent paper of hers on this work is 'Does use matter?'  Ingun is also leading the KRUS project to promote Norwegian wool.  A lot of wool is produced in Norway, from a lot of different sheep breeds, but there is also a lot of imported wool. (She pointed out that if yarn has to advertise itself with a Norwegian flag, it's probably not Norwegian wool.)

The third keynote talk was from Jessica Hemmings, who presented the work of artists who are using knitting to make challenge conventional ideas.  But also, she made some uncomfortable points about unconsciously adopting conventional ideas ourselves - she referred here to the talk by Lorna Hamilton-Brown, challenging the idea that "Black People Don't Knit".   And she pointed out the temptation for academic researchers to claim too much for knitting and other crafts - because if you make smaller, but more realistic, claims, that won't impress the academic world. 

Below are mentions of a few of the other talks I heard, in random order.

Danielle Sprecher, curator of the University of Westminster Menswear Archive, presented some of the knitwear that has been collected.  Some designers have donated pieces from their own archive, such as Peter Jensen and his brontosaurus sweater, but Danielle said that a lot has been bought on eBay.

Freddie Robins talked about "Someone Else's Dream", a recent exhibition. She collected picture sweaters with designs of landscapes (on eBay), and Swiss darned onto them, to create a much more disturbing image.  One landscape featuring an isolated tree has the body of a man hanging from a branch.  Another sweater was knitted from a Woman's Weekly leaflet, before Freddie subverted it.

Image from http://www.freddierobins.com/
Here is the front of the very charming Woman's Weekly sweater:

From a free leaflet with Woman's Weekly magazine, 10th March 1984.
Freddie also mentioned an earlier exhibition, Knitted Homes of Crime. She made knitted versions of the homes of female killers or the houses where they committed their crimes.  They are creepily like the knitted 'country cottage' tea cosies.

Image from Knitted Homes of Crime

Wendywear 500 leaflet

Clare Sams talked about her career as a textile artist, beginning with knitted panels based on scenes and events in Hackney.  I had seen one of her pieces before, at the Harrogate Knitting & Stitching Show in 2014 - a pigeon with a crisp packet.  She said that the pigeon is part of a much larger installation based on a pond near her home which looks idyllic and picturesque, but on close inspection also has litter, supermarket trolleys, rats,....


Clare Sams' feral pigeon with crisp packet   

She described a recent piece she has done with her husband based on the enormous fatberg that was found in a London sewer - the piece was exhibited in Great Yarmouth at the end of last year, and reported in the local paper here.  A 9m. long tunnel represented the sewer, and strips of fabric the fatberg - no smell though. 

I caught just the tail-end of Adrienne Sloane's talk on knitting and craftivism.  When I got there, she was talking about her piece The Unravelling, a knitted American flag that she is gradually unravelling.  Here's a YouTube video of Adrienne doing some of the unravelling (with a lot of background noise, unfortunately).

There were several talks on knitting history.  Jane Malcolm Davies who talked about the Knitting in Early Modern Europe https://kemeresearch.com/ research project which has built up an online collection of what Jane called 'cowpat caps' (because that's what they look like if they come from an archaeological site, i.e. have been buried for several hundred years). Similar caps feature in portraits of men like Erasmus and Luther - they were 'the headgear of choice for big brains', as Jane put it.   Creating the database has shown the need for an agreed terminology to describe knitted fabric - and sometimes the fabric is just a fragment rather than a complete garment, so there may be little clue about how it was made.  Terms such as purl, stitch, row or round describe the process of knitting, not the resulting fabric, so the project is instead using terms like loop, wale, course, ...

Sandy Black gave a talk on British designer knitters of the 1970s and 80s - from personal experience, as she was one of them.  I was a fan of Patricia Roberts' designs at the time, and was aware of a few other designers, too, and I remember that knitting seemed much more exciting then than previously. Sandy's insider knowledge gave a broader view, from someone who was making a living by designing and so knew the publishers, the spinners, fellow designers, ... 

Frances Casey is researching knitting for the troops in the First World War, and disputes the view that the knitted comforts sent to troops at the Front were badly knitted and that too many were sent. She pointed out that this view is almost entirely based on Punch cartoons from the first few months of the war, and that by the end of 1915 the supply of knitted comforts was being organised to help to fill a huge demand. 

Susan Strawn talked about 'Finding Virginia Woods Bellamy' - a woman who invented a modular knitting system and wrote a book about it, which is now almost unobtainable.  (Though many of her designs are listed in Ravelry.)  Susan has a copy of the book and has knitted many of the designs. They are very light, stretchy and resilient, and she produced about a dozen of them, one by one, from a tiny bag - like Mary Poppins' portmanteau. 

It was a very full programme - there were a lot more talks that I could mention, and more that I hope to catch up on when the recordings become available.  I fitted in a visit to Winchester Cathedral, too, and paid my respects to Jane Austen, who is buried there,. And on the way home on Saturday, I spent a few hours in the British Library - but that's another story. 

Jane Austen's memorial stone in Winchester Cathedral


Yorkshire Sculpture Park

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It was my birthday earlier this month, and we went to the Yorkshire Sculpture Park - one of my favourite places.  It was a hot, sunny day - as most days have been this summer.  (Though today it's raining - the first serious rain we have had in weeks.)

One of the current exhibitions (until April next year) is of work by Guiseppe Penone.  There are bronze trees around the park, some in the open, some in the wood, surrounded by other trees.

Giuseppe Penone - "Tree struck by lightning" 
Albero folgorato is a bronze cast of a tree trunk, split in two by a bolt of lightning.  The split in the tree is covered in gold leaf - a beautiful sight in the sun.


Idee di petra - olmo is in next to the path through the woods,  around the upper lake at the Sculpture Park. It is a bronze tree, with a water-worn boulder caught in its branches, positioned between two of the natural trees of the wood.




The bright sunshine showed off the sculptures in the open areas of the park very well .  Here's Nigel Hall's huge Crossing (Horizontal), one of the long-term exhibits.



Even without the sculptures, the park would be a good place to be.  In a clearing in the woods, the teasels were coming into flower. 



They flower very oddly, starting usually with a band of florets round the middle of the head.  Insects love them, evidently.

The upper lake
Landscape with sculpture

We ended our visit with James Turrell's Skyspace - a peaceful place to sit and watch the sky for a while.




A Knitter's Journey

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In the current issue of The Knitter (number 127),  Emma Vining writes about an ebook produced for the Knitting & Crochet Guild's 40th anniversary this year.  The six designs in A Knitter's Journey are inspired by the enormously long sampler in the Guild's collection, knitted by Gladys Jeskins - the sampler is made up of around 900 stitch patterns, and is about 50m. long.

For the book, Emma, Tricia Basham and Juliet Bernard have designed accessories (scarves, hats, mitts,...) based on stitch patterns in the sampler.  Emma describes in her Knitter article how she developed her designs, a scarf and a shawl,  from  one of the sampler stitch patterns. 

The project to make use of the sampler has been in progress for a while - in 2016, volunteer Guild members re-knitted some of the stitch patterns as separate squares. Here's one of the two that I contributed.  (I wrote a post about knitting the squares here.)



 The squares were on display at the Guild convention at the beginning of July - it was fascinating to see them all together and not just my two.  The sample knits for A Knitter's Journey were also on display - knitted in ruby-red yarn, as appropriate for the 40th anniversary.

And the sampler itself was also on show.  It's now kept on a garden hose reel, so that it's relatively easy to unwind and rewind. At one of the sessions, when we were all (about 80 of us) sitting in rows, the sampler was unwound and the end was passed from person to person until everyone had a stretch of the sampler in front of them.  Even then, some of the sampler was still on the reel.

Emma Vining unrolling the sampler
It was extraordinary to see so many different stitch patterns going past (and I was sitting towards the back, so I only saw about 200 of them).  Most of them are quite complex - Gladys didn't bother with straightforward stitch patterns like moss stitch or rib, because she seems to have been exploring stitch patterns that she didn't already know. It made me realise again the infinite possibilities of knitting. 

Gladys Jeskins' sampler being passed to Guild members
I saw so many interesting stitch patterns, but one in particular caught my eye, because I don't recall seeing anything like it.   I remembered its number (there are now numbered swing tags attached to the sampler every 5 stitch patterns), and asked for the instructions later.   I have knitted a swatch, first following the instructions exactly, and then modifying it.  Here's the result after the changes. 


I think it will make a very nice scarf - my sister has already placed an order.  There are so many possibilities to be explored in the sampler - I'm sure Gladys Jeskins would have been delighted to see it being used as a source of inspiration.  And for Guild members, the ebook of A Knitter's Journey is available free from the members' area of the KCG website.


Metal Boxes

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At the Knitting & Crochet Guild convention a month ago, one of the members donated a little holder for a ball of crochet cotton to the Guild collection.

The Crochet Cotton Casket

To give it its proper name, it's a Crochet Cotton Casket - a metal box, beautifully decorated, which separates into two halves in the middle, and has a hole in the top for the cotton thread to emerge from.


It says on the top that it's patented (though I can't find a patent) and registered - that is, the design was registered, and in fact it has two registration numbers on the top, 189723 and 190426, which are both 1892 registrations.  (Though our box could have been made later than that.)  The box itself is a very functional design that could easily be used now - the size and shape of balls of crochet cotton seem not to have changed much for well over a hundred years.

There is also a manufacturer's name on the box - Jahncke.  Information from the National Archives website is that the company made tin boxes at Canonbury Works, Dorset Street, Islington (London).  It was founded in 1873 by Ernest Jahncke.

I remembered when I saw the name that there is another metal container made by Jahncke in the collection - a knitting pin case, the Mitrailleuse.  It's a cylindrical tube, ornately decorated in blue and gold.

The Mitrailleuse Knitting Pin Case

The other side of the case shows the Royal arms, and says "By Royal Letters Patent" (not sure what that means); Jahncke, London; and "Containing four sets of four pins of each size Nos. 14 to 17".  (Size 14 is 2mm., size 17 is 1.4mm., approximately.)

The cross-section of the tube is divided into 5 sectors. One is blocked off at the end, the others are open.  The cap on the end of the tube has a piece cut out of it, the same size as the sectors of the cross-section.  As you turn the end, the opening either coincides with the blocked off sector, and the case is SHUT.....





... or it coincides with one of the open sectors, allowing the needles in that sector to come out.




Our case only has needles in the size 15 compartment, in fact - but they are a set of four, and so possibly the original needles. 

It's a very clever design - an ideal way to store several sets of needles and keep each size separate.

And why 'Mitrailleuse'?  A mitrailleuse was a type of early machine gun with several barrels, that could fire the barrels simultaneously or in rapid succession (says Wikipedia).  I  suppose the separate compartments in the needle case reminded someone (with a vivid imagination) of the barrels of a mitrailleuse.  And perhaps tipping the needles out of a compartment of the case seemed a bit like bullets being fired out of it?  A very vivid imagination. 

Who was Marion Grey?

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I've found this pair of knitting needles - not in the Knitting & Crochet Guild collection, though that's where they are going.  They were in one of my own needle boxes, but I can't remember when I acquired them, or where from - I certainly didn't buy them new.



I must have had them before I got interested in knitting needle makes, and started looking closely at needles for anything that's written on them, because I had never noticed before what's written on these:

MARION GREY, COLINDALE, NO. 7


This is not a needle brand listed in Susan Webster's catalogue, as far as I can see, which is quite exciting.  I suppose it's possible that Marion Grey was a knitter who had a set of needles with her name on (just as you can get personalised pencils and other things with your name on) - but as someone who loses knitting needles far too often, I think that I'd want to put contact information on mine.  'Marion Grey, Colindale' wouldn't be sufficient to find her easily.  Another possibility, which I think is more likely, is that Marion Grey had a yarn shop in Colindale (an area of north London) and had needles made to publicise the shop.  Or, just conceivably, maybe she had a knitting needle factory?

If anyone knows anything about Marion Grey of Colindale, please do let me know. 

James Norbury in Woman's Own

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A couple of weeks ago, I went to a book fair with John.  On one of the stalls, there was a pile of Woman and Woman's Own magazines from the 1950s, in good condition, not expensive.  I bought several of them - selecting ones with interesting knitting, of course.

Two of the Woman's Own magazines, from 1955, advertised knitting patterns by James Norbury on the front cover.  James Norbury was then the chief designer for Patons, but the main draw for Woman's Own readers, I'm sure, was that he had a TV series on knitting.

In one of the magazines I bought, from January 1955, there is a double-page spread with the heading "Famous T.V. knitting expert James Norbury joins Woman's Own" - evidently intended to be the first of a series of features.

Woman's Own, January 6 1955.
The two patterns in this issue are billed as "To wear at the weekend".   Both are (of course) knitted in Patons wools - the man's is in 4-ply (sport weight?), and the woman's in 2-ply (super-fine?).  The black and white photo of the man's dolman-sleeved pullover doesn't really show it adequately - it is knitted in black and grey, mainly, but uses oddments of four other colours - suggested are green, scarlet, white and royal.  The colours are used in the band from cuff to cuff; the fancy pattern at the lower edge of the band is in green on black, and then there are stripes of red and white, with three rows of stranded knitting in white and blue sandwiched between the bands of stripes.  I'm having trouble visualising that - it sounds much too busy to me. 



And then there's the woman's jumper - just right "for the girl with the 'what shall I wear when  my guests come tonight' problem", it claims.  (Though frankly, if that's your problem, it's a bit late to start knitting a jumper in 2-ply.)

In its favour, it has two wide bands of my favourite print o' the wave/leaf and trellis pattern back and front.  Apart from that I think there's far too much going on - there's a different stitch pattern up the centre, and the frills round the sleeves and neckline are too fussy.   And her waist is ridiculously tiny!  Though actually I think it's partly that her skirt has stiff petticoats underneath to puff it out.


You can see from the photo that there's a lot of shaping above the welt.  There's also shaping in the rib, to accommodate the width of the skirt - the rib is first knitted on size 11 (3mm.) needles and then on size 13s (2.25mm.)

I think the whole jumper is awful - and such a waste of effort to knit something so complicated in such fine yarn.  But I'm quite prepared to believe that some people will like it.

Woman's Own, October 20 1955.
Another of the magazines from the book fair was a Woman's Own from later in 1955, with three more James Norbury patterns.  Designs for women, all using lacy stitch patterns.

The first is a dress, which takes 24 oz. of 3-ply wool (somewhere between fine and super-fine?) and a huge amount of time, I'm sure.  The description says "An insertion of lace stitch between bands of knit 1, purl 3 rib (the knit stitch is worked through back of loop) forms the skirt of the dress.  It is shaped at the waist and has a panel of lace stitch on the bodice."  It looks quite pretty, though it would be hugely impractical for anything more energetic than watering house-plants, which is what the model appears to be doing.


Then there's a lacy cardigan, also in 3-ply, which I think is very attractive.  The magazine says "this charming cardigan is right for any informal occasion".  (But obviously not so informal that you'd leave off your pearl necklace.)  I like the combination of a fancy rib gradually evolving into a lacy pattern on the fronts and back.



Finally, there's a relatively thick knit, in 4-ply, for "autumn's chilly days".   It's described as a tunic-jacket.  The panels on the front, with a pattern of trailing leaves, are knitted on the bias; that's what the introduction says, though I must confess I can't figure out from the (very complicated) instructions how that's done.   An interesting idea, though.   



James Norbury wasn't short of inventive ideas (even if he sometimes went over the top in putting too many of them into the same garment).  And I assume he had people to knit for him, so he didn't have any problem with designing a dress with a full skirt in a complicated pattern in 3-ply wool. 

Apart from the knitting patterns, there's a lot in the magazines that is absolutely fascinating - it was such a different world.  I was struck particularly by the distressing number of corset ads - you don't get a tiny waist like the model in the first magazine just by will-power and breathing in.    



The descriptions make them sound like a feat of engineering, which I suppose they were, in a way. A typical description is the Kayser Bondor "new all nylon net girdle with wonderful boneless control in criss-cross reinforcements".  That was made in sizes 24-30 in. waist (61-76cm.), so they weren't aimed at the overweight.  The emphasis is on control rather than comfort - though I imagine that the introduction of nylon and better elastication did make them more comfortable than earlier corsets.  Still gruesome though.


Perfectly Plain Socks

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Last month,  I knitted myself a pair of socks, though I have only just today sewn in the ends.  It hasn't  been sock-wearing weather, but I got around to finishing them today so that I could take a photo.

They are perfectly plain stocking stitch.  I wanted to knit again the spiral toe and German short-row heel from the On the Other Foot pattern.  The spiral toe suits the shape of my foot (though I find the cast-on very tricky - I think  I should try the one I used for knitting pence jugs, except that I can't remember what it was called. I'll fill it in here when it's come back to me.)  And the heel is well-fitting and easy to do and altogether satisfying.  But I also needed some straightforward knitting, suitable for doing while listening to talks, not the cable and lace pattern of my original On the Other Foot socks.

Putting the toe and heel into a plain sock was just what I needed: I knitted the first sock at the Guild convention at the beginning of July, and the second sock at the In the Loop conference later in the month.  The yarn is Opal sock wool, in the colourway Geburtstagstorte (though it doesn't remind me of a birthday cake in any way).  I got both socks out of one ball, with quite a bit left over.  I didn't do anything to make sure that the paler stripes are in the same place on both socks - that just happened.  I'm really pleased that it did - I was prepared for mismatched socks, but wouldn't have been happy about it. 

They aren't very exciting, and I don't think that putting them on will fill my heart with joy.  But they fit well and will be warm and comfortable, so that's OK. 

Remembering a Knitting Friend

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A week ago, I went to the memorial service for Cath Harris, a friend whom I knew from the knitting & crochet groups we went to.  Knitting, crochet, embroidery, and other textile crafts were an important part of her life - as you can see from the knitted shawl she is wearing in her photo.


But as well as that, she was a very active member of the Labour Party, and was elected to Kirklees Council.  An appreciation of her work as a councillor appeared in the local paper here.  She had a special interest on the council in children and young people and became deputy leader, until she had to resign due to ill health.  Until she retired, she was a teacher, specialising in children with special needs, and after she retired she continued to be active in schools as a school governor and with her great friend Pauline was a volunteer teaching children to knit.  Barry Sheerman, the local M.P., spoke at the service, describing how she had made him welcome when he first arrived in Huddersfield as a Parliamentary candidate, knowing no-one in the town, and many people at the service described her as a kind and lovely person.     

Her family had put together a display of her craft work for the service.  She was probably more enthusiastic about crochet than knitting, and amongst the crochet, I recognised two designs by Jane Crowfoot, one looking a splendid against a flower arrangement. 
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Jane Crowfoot's 'Mystical Lanterns' shawl
Jane Crowfoot's Lily Pond blanket

But she was a keen knitter too.  Amongst other things, a Kaffe Fassett coat was on show.        

Kaffe Fassett's Carpet Pattern coat
The other knitting on display (including a lacy shawl that I didn't get a good photo of) reminded me of the weekend we had in Blackpool in 2016 at the Westcliffe Hotel.  Cath was one of seven of us, trying different lace techniques and being well looked after by Paula Chew - we had a lot of fun together.

In the last few years, she adored making things for her granddaughter Alicia, and I remember her bringing along the latest Alicia outfit in progress to our knitting groups.  I love the 'Rainy Day' crochet cardigan (a design by Catherine Waterfield) and the raccoon sweater.



And she was an accomplished embroiderer, though I hadn't seen any of that aspect of her craft work before.



Cath was a devoted listener to Radio 4, and much of the music at the service was based on that - the theme music from Desert Island Discs, The Archers, and the Shipping Forecast.  (To be honest, I would not recognise 'Sailing by' as the theme music for the shipping forecast, and although the Archers' theme music is a jolly tune and instantly recognisable, in our house it's signal to turn off the radio - takes all sorts.)   Also played during the service was "The Shipping Forecast" by Les Barker, a parody of a genuine shipping forecast, read by Brian Perkins (a genuine Radio 4 newsreader).


The service was a lovely way to remember Cath, who gave a lot to the world and should have had longer to carry on giving.  We miss her.

Many of these photos were very kindly given by Cath's daughter, Laura.

Strengthening Tonic

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The first weekend of Heritage Open Days has just ended, and it's a great opportunity to see places that are not normally open.  Yesterday we went to see the church at Ripponden, not far from here in Calderdale.  It's mainly 19th century, but has a medieval window, surviving from an earlier church on the site, that was restored by the York Glaziers Trust in the 1970s.

St Bartholomew's Church, Ripponden
Next to the church is a packhorse bridge leading into the centre of the village. The other side looks very rural, with the River Ryburn running alongside the churchyard, in a wooded valley.  It wasn't a good day to appreciate the surroundings though - grey and rainy, and not very warm.

Some interesting documents had been put on display for the occasion - registers, minute books, programmes for the unveiling of the First World War memorial, and so on.  One  of them was a booklet of recipes contributed by women of the parish in 1933 to raise funds.  They mostly seemed to be cake and biscuit recipes, but I was intrigued by one for 'Strengthening Tonic'.

STRENGTHENING TONIC.
5 lemons, 5 eggs. Put the eggs whole into the lemon juice for 5 days.
Then beat them up with ½ lb. brown sugar, 1 gill rum, 1 gill of cream (or new milk), and strain.
One wineglass to be taken between meals. 
A gill is a quarter of a pint, or 5 fluid ounces (in the U.K. - British pints are larger than American pints).  That's about 140 ml.  I'm not sure of the point of steeping the eggs in the lemon juice for 5 days.  Would that help to preserve them?    It sounds a bit like the Dutch advocaat (my Grandma's favourite tipple at Christmas) but that doesn't include lemon, and I think advocaat has more alcohol. It sounds as though it should taste good - I like the idea of drinking something delicious because it's good for you.  If anyone feels inclined to try it, I'd love to know how it turns out.

We were also in Ripponden a week ago, when we walked from Ripponden up the Ryburn valley, round the Ryburn reservoir and back again.  It was a warm and sunny day then, and we enjoyed our walk.  It also happened to coincide with the Sowerby Bridge Rushbearing Festival, when a tall cart laden with rushes (originally to strew on the floor of the church) is pulled around the area by a team of men, with a young woman seated on the top of the cart.  Over the course of the weekend, the cart visits several churches and (very important) several pubs, and ending up on Sunday afternoon at the church in Ripponden. The rushcart arrived at Ripponden not long after we got back from our walk, so we had a good view of the final stretch when the men run with the cart down the slope from the main road and through a 90 degree turn into the area in front of the church.  (If that sounds alarming, it looked it.)

At the point where they need to turn towards the church, the man at the front puts his right arm out to signal that this is where they should turn left.  (That sounds wrong, but I suppose he is indicating that each pole (with a pair of men) behind him should turn at that angle at that point. Maybe.) 



Here's the first pair of men just starting the turn.



And here's the rushcart as it goes down the slope towards the church, with  the young woman perched on top of the rushes.



A lot of people had turned up to watch, there were various stalls outside the church, and a fair amount of beer being drunk.  There were Morris men and mummers accompanying the cart, and a good time was had by all.  (Though we didn't stay for the Morris dancing and mummers, but left for the pub up the road.)

The Guild collection at In the Loop

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I'm told that work is still in progress on the recordings of the talks at the In the Loop conference in July, so in the meantime, I will write a post based on my talk.

It was a short talk (20 minutes) on a huge collection, so I could only give an outline of what there is. Brief summary: knitted and crocheted items, tools and gadgets, yarn samples and shade cards, publications of all kinds (books, magazines, pattern leaflets and booklets).  Lots of everything.  At the conference, after outlining what's in the collection I talked about how we choose what to present in a trunk show - a suitcase full of selected highlights.  We have been doing trunk shows for a few years as a way of making the collection accessible to groups around the country - the first one was at Sheffield in 2014.  (I wrote about it here.)

When we choose a piece for a trunk show, we have to be able to say something interesting about it.  Ideally, we would like to be able to tell its story: who made it, when, what pattern did they use, who was it made for, and so on.  We no longer accept new donations of knitted or crocheted items unless they come with a story like this, but many of the items already in the collection have no story of that kind.

Sometimes, lack of a story doesn't matter - some of the pieces in the collection are such fine examples of craft that they speak for themselves.

Leaf-and-trellis pincushion cover 
Here is a Victorian pincushion cover that I have shown before on this blog, because it's an example of my favourite leaf and trellis pattern (aka print o' the wave) - I showed it here. Like many of the older items in the collection, it was bought at an antique textiles fair, and had no provenance.  We have no idea who made it and no way of finding out.  But it's a beautiful piece of work.  We don't know when it was made, but I'm sure it's Victorian.   It's possible that it was made to a specific pattern for a pincushion, in which case we might find the pattern one day, but the knitter might equally well have put together the leaf and trellis stitch pattern, and a pattern for a knitted edging (of which there were lots).   Either way, it's a very fine piece of work.

A theme of my talk was that we can sometimes identify the pattern that was used to make a piece, and that this can either provide a 'story' for it, or add to the story that we already have.  And the fact that the collection has so many publications alongside all the knitted and crocheted items helps us match pieces with patterns.

Occasionally, finding the pattern that was used to make an item casts some doubt on its story.  A piece that has often featured in a trunk show is a tea-cloth with a filet crochet edging, which has 'Welcome Home' worked into each side.

'Welcome Home' filet crochet tea-cloth edging

As the collection got more organised, it eventually turned out that there are three 'Welcome Home' tea-cloths, one of them with a detailed story.  It had been donated, along with a note of its history, by the daughter of the woman who made it.  The maker, Ethel Booth, was born in 1897, learnt to crochet at the age of 12, and made the tea-cloth for her father who was in the Army during the Boer War, "little knowing there would be the Great War".  That implied that the tea-cloth was made before the First World War (i.e. the Great War), but when I first saw it, before knowing this story, I was sure that it was a First World War design.  And in fact the story doesn't really hang together - the Boer War, or South African War, ended in 1902, before Ethel learnt to crochet.  And the First World War origin was confirmed when we found the pattern for the edging, in a magazine published in 1915.

Fancy Needlework Illustrated no. 33, March 1915.

 The design is called 'L'Entente', and was presumably intended to celebrate the alliance between Britain and France, shown by the British and French flags in the corners.  (Though I must say that filet crochet in white cotton is really not ideal for representing red, white and blue flags.)  The design was evidently a popular one, and I'm sure that the appeal was nothing to do with the alliance, but rather the 'Welcome Home' message.  Someone at home could make it in the hope that their father, brother, sweetheart,.... would come home from the war.

After we had identified the pattern for the 'Welcome Home' tea-cloth, we assumed that Ethel Booth's father had still been in the Army during the First World War, and she made it for him then.  But I've recently managed to trace Ethel Booth's family in census records and so on, and in fact her father had died by 1911.  So the story that she made it for her father is wrong, and I think that probably she made it for her future husband - they married in 1919.

All this happened before Ethel's daughter was born, and family stories often get slightly garbled in transmission, but she knew the final part of the story at first-hand, and I'm sure it's true: the last time the cloth was used was for Ethel's 90th birthday. 



Another item I talked about at In The Loop came with no story at all - it was bought from a charity shop.



It is a remarkably short crocheted dress.  When I first saw it, I mentally labelled it as a beach dress, on the grounds that a beach would be the only possible place to wear it.  But then we found the pattern:

Patons leaflet 6249

And it is not a beach dress at all.  The leaflets describes it thus: "Swingy little discotheque dress which longs to go dancing.  Prettily crocheted in a trendy yarn, with a short flirty skirt and a mini top."  (Did you know that 'disco' was originally short for 'discotheque'?  It's true.)

Because it’s a Patons pattern, and we have the Patons pattern leaflet archive in the collection, we have the master copy of this leaflet, that gives the original date of publication: October 1969.  The one I have shown is a later reissue from the early 1970s.



I'm not sure what you were supposed to wear underneath the dress.  The pattern calls for a pair of 'bra cups' to sew into the dress as a final stage in making up.  (Our dress doesn't have them.)  So you wouldn't need a separate bra.  But as the skirt is see-through (as well as very short) you would need underwear of some kind.  In fact, our dress is even shorter than the one shown in the leaflet - it has 5 fewer pattern repeats in the skirt.  Hopefully, the person who wore it was much shorter than the model.  Or else extremely daring.

Finding the published pattern to match our dress allows us to say a lot more about it than we could just from looking at it - we now have a story to go with it.  I finished my 'In the Loop' talk by showing a piece from the collection that is still in need of a story.



Like the pink disco dress, it was bought for the collection in a charity shop.  It is beautifully made in fine cotton.  But we don't know any more about it - it's difficult even to estimate when it was made.  If pushed, I would guess 1930s, but it seems too long for that date, or for the 1940s or 1950s.  And the work seems too fine for the 1960s or later.  It was very probably made to a published pattern and if so, we can hope to find the pattern one day - and then we will be able to give it an approximate date, and maybe say what it was intended for (a tennis shirt, I would guess).  So if you see a pattern for a shirt like this, please let us know - we would love to be able to include it in a trunk show and tell a story about it.

I'll say more about the Guild collection in future posts. 

The Bijou Knitting Register

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Yesterday we had the September meeting of the local Knitting & Crochet Guild branch, and I gave a talk on 'Ingenious Inventions' - innovations in knitting and crochet that were patented.  I took items from the Guild collection to illustrate the talk, mostly tools and gadgets - knitting needles (including my favourite Double Century brand), crochet hooks, stitch holders, and row counters.  But also a carton for a ball of knitting yarn, and even a couple of knitting patterns. 

While looking for items to include in the talk,  I found a few things in the collection that I hadn't seen before, including this row counter:


I didn't include it in the talk because it is very small  (less than 3.5cm. long) and is badly worn - the original pink paint has worn away to the bare metal in places. 

The photo below shows what the back looks like.  It's designed to fit on a knitting needle:  the needle goes through the holes at either end and then under the two curled strips of metal, which hold it tightly in place.  (I think - I haven't tried it, in case it's not very robust.)



The design of this counter was patented - it isn't marked with the patent number, but I recognised it from the drawing in a patent I had already seen. (That's pretty nerdy, I have to admit.)  Patent 533615 was granted in 1941, to Reginald Langbart and Isabel Kreizer, both with addresses in north London.  They had previously been granted two other patents for row counters.  Patent 520604 had only been granted the previous year, and the patent application for the new device says that it was intended as a simplification and improvement of that (though it looks completely different).


I imagine that if the inventors felt that the previous device needed improvement, it was never manufactured, but the counter in patent 533615 clearly was.  1941 was probably not a good time to start making an inessential metal gadget, so perhaps they were first produced after the war.  There is no maker's name marked, though it is stamped with 'MADE IN GREAT BRITAIN' and '"BIJOU" KNITTING REGISTER'.

Reginald Langbart and Isabel Kreizer had previously been granted another patent for a row counter, in 1935, which ultimately proved much more successful than the "Bijou" Knitting Register.   The original patent was granted in 1935: here's the drawing from the application.


We have several examples of these cylindrical row counters in the Guild collection, including the three here:



Reginald Langbart (without Isabel Kreizer) patented an improved version in 1958,  and further improvements were made, up to at least 1984.  A variant has an embedded tape measure, and the later versions have polygonal ends so that they don't roll.  And you can still buy row counters that are recognisably descended from the original 1935 device.  Counters of this type were made for a long time under the name Ro-tally - here's an ad from 1950.



Given that the 1935 patent and its later developments were so successful, it seems odd that Langbart and Kreizer went on to invent the "Bijou" counter.  But perhaps manufacturers did not adopt the Ro-tally type at first.  It may be that it only became successful after the war, when new plastics became available - while the "Bijou" Knitting Register seems to have gone out of use very quickly, leaving few survivors.

Chambers' Bell Gauge

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A friend has been collecting knitting needle gauges recently.  She found that she had two examples of Chambers' Bell Gauge, so has generously given one to the Knitting & Crochet Guild collection.  Here it is:


The gauge has the Royal arms, "G. CHAMBERS & CO", "BELL GAUGE" and "PATENTED 17 SEPR 1847".  Sheila Williams, in her book The History of Knitting Pin Gauges, illustrates this gauge and a version that gives the address of George Chambers' business:  Priory Needle Mills, Studley, Warwickshire.

George Chambers was the first to make needle gauges in a bell shape, which became almost the standard for needle gauges for a very long time.  We have around twenty, of different makes, in the Guild collection, including these:


The bright green Emu gauge in the centre is from the late 1940s, so that bell gauges were produced for 100 years, following the 1847 patent.

The main difference between the Chambers gauge and later bell gauges is that it measured much finer needles - the smallest size is a 28.  On the old British scale, the larger the number, the finer the needle.  I can't find a needle size conversion chart that goes below a 14 (2 mm.), but the needle sizes were the same as the old British Standard Wire Gauge, and conversion tables for wire give size 28 as 0.3759mm.   (At the opposite end of the scale, the largest size on the Chambers gauge is size 1, roughly equivalent to 7.5mm, so quite chunky.)

I cannot imagine knitting with anything finer than 1mm. - less than 0.5mm. seems impossible.  What thread could you knit with such a fine needle?  We do have very fine crochet hooks in the Guild collection, where the hook part at the end is barely visible, but I don't know whether the Chambers' Bell Gauge could have been used to measure crochet hooks.  (The sizing of crochet hooks in the 19th century is in any case very mysterious, as far as I'm concerned.)

Sheila Williams says in her book that George Chambers died in 1865 - his company was in financial difficulties before that, and seems to have disappeared shortly after his death.  Well before the end of the 19th century, other companies were making bell-shaped needle gauges. One that became very common was Walker's Bell Gauge, with sizes from 1 to 24 (0.56mm.) - there are still many surviving, and knitting patterns around the end of the 19th century often specified this gauge to measure needle size.   

But evidently for some people, Chambers' Bell Gauge remained the standard long after George Chambers' death.  'Muriel', who wrote a column called 'Feminine Fancies, Foibles and Fashions' in the Sheffield Weekly Telegraph in the 1890s and 1900s, sometimes gave a short knitting or crochet pattern and specified that the size of knitting needles or crochet hooks should be measured using Chambers' gauge.  Here is one of her offerings, from December 1895, appropriate for the approaching cold weather:

COMFORTS FOR YOUNG AND OLD ALIKE. 
A most useful gift at this time of year is a pair of night socks, and the directions that follow are so simple that any child, boy or girl, can carry them out, and produce a most acceptable offering to those they love, for without distinction of age, or sex, night socks add much to the comfort of all who suffer from cold feet. Tiny children's comfort can be provided by diminishing the number of the stitches. The size quoted is a medium size, and the colours named can be substituted by any others that may be preferred. Take steel pins No. 13, Chambers' bell gauge. Two needles only required. 1 oz. red, single Berlin wool, and 2 oz. black ditto, or any good contrasting colours. Cast on 72 stitches; knit 2 plain and 2 purl alternately for about two inches, then commence with red wool, and knit about an inch and three-quarters; then go on with the black wool for three inches. After that knit with red for another inch and three-quarters; then use black wool, knit two inches. Cast off, fold the knitting together, and join the ends.  Run a narrow piece of elastic inside, about an inch from the top of the sock: finally ornament with a bow of ribbon. When the foot is put in it the sock shapes itself.  Among the sick and aged poor gifts of these inexpensive sleeping socks would find ready and grateful acceptance. 
[Muriel evidently didn't have a great repertoire of knitting patterns, for she repeated this one exactly in 1902, and again in 1912, when she called them American overshoes - "a great comfort to travellers by road or rail, and they serve as sleeping socks also."  At the end of the pattern, she says " When finished, this sock looks exactly like a small bag, and as unlike a foot covering as possible, but on inserting that member the bag resolves itself as if by magic into a handsome and shapable shoe; it will keep the feet warm in bed and on the carpet, and drawn over the shoes in car or tram will be found most comfortable.  I have made many pairs of shoes in different colours for friends and for bazaars, where they sell very well.  The shoes contract or expand according to the size of the feet they cover."  She's not convincing me, I'm afraid.]

 

A Scarf in Springtime

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Earlier this year, the Knitting & Crochet Guild collection was given several balls of a vintage yarn. They were donated by a Guild member who volunteers in a charity shop.  She bought the yarn when it was brought into the shop, because she thought it looked very old, and had never heard of the make - 'Wakefield Greenwood'.   But when she asked on the Guild Facebook group for information about the company, she was pointed to posts on this blog - I have been gathering information about Wakefield Greenwood for several years, because it was a local company.  She offered the yarn to the Guild collection, and we were delighted to accept it.


The brand name is 'Springtime' - a wool yarn that was made in several thicknesses.  This is 'laceply & tinsel' - very fine, as the name suggests, and composed of 75% botany (i.e. merino) and 25% tinsel.  I don't know what the tinsel is - some sort of metallic thread.

Wakefield Greenwood (aka W. G. Spinners) introduced their wool and tinsel yarn in 1953.  The Yorkshire Evening Post featured it in their report on the British Industries Fair in that year:
Wakefield, Greenwood and Company, Huddersfield, this year features wool with a sparkle.  Each strand is spun with tinsel thread, giving a "brilliant" effect to garments. Though this new product was introduced only eight weeks ago, substantial orders have already been received from European countries, South Africa, and Australia.  In the shops it will retail at about 3d. an ounce more than normal wool. 
We have about 200 Wakefield Greenwood pattern leaflets in the collection, and I looked for any that used this yarn.  Here's one that looks like the same black and gold colourway as our yarn.  It's in stocking stitch, and the pattern specifies a tension of 36 stitches and 52 rows to 4 in. (10 cm.) with size 12 (2.75mm.) needles.  I have knitted a stocking stitch swatch on size 12s and it makes a very nice fabric, with a lot of drape.

W. G. Leaflet 1021
Here's another evening blouse pattern, for the same yarn.  The lace pattern looks very complicated and the result looks almost not knitted.  Maybe I should try it.... 

W. G. Leaflet 1145

These two patterns are from later in the 1950s, but I did find a pattern for Springtime laceply that was advertised in 1953, when the tinsel yarn was introduced. 

W.G. Leaflet 152

According to the leaflet, you could make a short scarf, about 32 in. (81 cm.) long, with only one ½ oz. ball of Springtime laceply (i.e. without tinsel).  I decided to try it, to demonstrate what the yarn was like when knitted up.  I couldn't make a scarf of a sensible length from one ball, as it turned out, partly because the tinsel reduces the length in a ball, and also because I'm not very good at blocking.  So I used two balls - it's still quite a short scarf.  It's knitted on size 6 (4mm.) needles.  I found it absolutely impossible at first, because the only size 6 needles I could find were metal and very smooth -  their weight kept pulling them out of the stitches.  But then I found some bamboo needles of the right size and got on much better.  I put in lifelines, too, but didn't actually need them when I got the needles right.  



You can see that I haven't managed to stretch the lace pattern as much as in the pattern illustration.  In my defence, I think that the tinsel might possibly make it more resistant to blocking, maybe? 



I think it's much easier to relate to a vintage yarn if you can see something knitted in it that is also of the right era.  And now we have an example of something knitted in our 195os yarn to a 1950s pattern.  The scarf and some of the remaining balls of Springtime laceply and tinsel have already been in a trunk show of collection highlights last weekend, and will be included in future trunk shows too.  


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