I do research on and recreate garments and objects from the past. My sources range from original items to photographs in books, periodicals, art works, literary references and period patterns. My research also involves the history of knitting needles and related implements.
The portrait in the corner is by Elisabeth Louise Vigée Le Brun (1755-1842) of Elisabeth Alexeyevna (?), location and ownership unknown.
The reproduction18th century man's pocketbook is finished. It has mistakes in the stitching and I am not happy with the initials and their box but overall, I love it! I greatly enjoy doing this type of work and just have to be more careful in the future or catch my mistakes sooner than six rows afterwards or summat like that!
The pocketbook measures 7 ½” across and 7" long, opened flat. The interior is lined with cardboard and handwoven green silk. The tapes are woven wool and all of the sewing was done by hand with linen thread. The pocketbook, itself, was stitched on 30 count linen with naturally dyed wools from Textile Reproductions. The linen and the wools are from a kit purchased about twenty or more years ago but I did not exactly follow the colour chart in the kit.
My thanks to my father for holding open the pocketbook, and please excuse the Christmas tablecloth in the background which has finally been put away for the year!
Mrs. Eunecia Street Stebbins (1759-1817), 1805-1806 Reuben Mouthrop (1763-1814), American Oil on canvas under glass 30" x 24" Owner: Howard S. Ranson, Connecticut (according to the Art Inventories Catalog Smithsonian American Art Musuem Smithsonian Institution Research Information System)
I love portraits of the American colonial era and I particularly like this painting. I have a large photograph of it from a catalogue from Christie's (1998) which shows the beautiful green fabric of the gown, the black lace shawl, the fabulous cap and, of course, the stocking on the four exquisite thin needles. The sitter, as in many paintings that are called primitive or folk art has a misproportioned body in that the arms, in this case, are too large and low for the body, and are far forward in the image. The hands are very big and the skin is a dusky pinkish-white with grey shadows all over. The face, though, is kindly and sweet, with more expression than is usually found in this genre. Mrs. Stebbins looks out directly at us, a hint of a slightly lop-sided smile about to break out, and no suggestion of annoyance in being disturbed at her knitting. On the contrary, she looks pleased to see us unlike other painted knitters who have graced this blog.
The knitting is of great interest and right there in the foreground, nice and clear. Four medium-length thin needles with a stocking begun in a very fine yarn - wool, silk, linen? There are no slubs in this yarn but, since it is in a painting, this means nothing. One can, however, almost count the stitches, 48 and about 10 more or so on the nearest needle, and 28 and a few more on the back needle. There are some, though not too many, on the needle closest to the body and none, as far as I can see, on the remaining needle, as if Mrs. Stebbins was just about to start working with that empty needle. Even though this is a painting, and so the accuracy cannot be trusted, the stitch count is not far off from a stocking I am currently knitting from The Knitting Teacher's Assistant, dated 1817, which is held to be the earliest collection of printed *patterns* currently available, at least in English. Mrs. Stebbins is knitting with very thin needles and fine yarn whereas the pattern suggests "coarse worsted and large needles" so I am using 3.25mm/3US needles and Harrisville Designs 2 ply Shetland wool in Marigold. I adore the texture and colour of this wool so I am whipping up these stockings fairly quickly and will discuss them in another post very soon.