I Say, Have You Done Something Jolly With Your Yarn?

Having a frustrating time of it, kids.

I have been knitting and writing and drawing myself into a froth, but most of it is for clients–which means no show and tell until the clients do the showing, at which point I can do the telling.

I can show you yarn, though. I've started a Tumblr feed called Yarn Shaming. I love yarn, you love yarn, but yarn does not always love us back, does it? The feed is a place where the occasionally ugly truth can be aired.

Speaking of ugly truths, I reached a point in my workroom where the options were either to clean the place out or to brick up the doorway and pretend it was never there. City real estate prices being what they are, I settled upon the former.

After two months of digging, tossing, and organizing I can see the top of the desk and the bottom of the Orphaned Yarns bin. I also slotted upwards of 100 million loose knitting patterns into binders.

For somebody who uses patterns as little as I do, I've acquired more than my fair share of them–mostly old, and mostly (thanks to a very, very generous reader in England) British.

The English Bequest (which how I like to think of it, even though the donor is only sweet and not deceased) now has its own set of binders.

If you've been reading this blog for any length of time, you know I'm a museum-quality Anglomaniac and even the scent of these leaflets–a bewitching combination of damp, printer's ink, and coal smoke–was enough to make my heart beat out the bass line of "Jerusalem."

They're all mid-1960s or earlier (I don't collect anything newer than that).

Some of them I love for their very mid-century English take on boudoir allure, like this glamourpuss in handknit lingerie made from Lavenda, a fine wool produced by Lister & Co. of Bradford.



Lister's promise at the time was "Distinctive and Charming Results." If you ask me, they nailed it.

On the masculine side, you have rugged numbers like this:



Butchy McPipesmoker's cardigan was made from Femina Botany by Bairns-Wear Yarns of Nottingham. The company placed a marvelously reassuring message on the back of the pattern:



There's something about the blue ink and the upright typeface that says, "We're sure to beat Hitler, madam, so certainly we can help you to figure out your sleeve cap."

But my favorite pattern covers are those that display quintessentially English people doing terribly, terribly English things, like sitting on the hearthrug toasting crumpets in the fireplace.



Patons and Baldwins, Ltd. produced my favorite works in this genre. I am unable to so much as glance at them without beginning to spin elaborate Blightycentric fantasies.

These small leaflets ought properly to be viewed while Vera Lynn sings "There'll Always Be an England," so chuck this on the Victrola before you scroll down.

Mrs. Armstrong and her daughter, Judy, put together a jigsaw puzzle because this is not America, Judy darling, and we won't be able to afford a television until the mid-sixties. Judy will be arrested for setting fire to a crocheted effigy of Margaret Thatcher during a Poll Tax riot in 1990.




After an exhausting day at St. Winifred's Comprehensive School in Thwack, Enid Ormerod and brother Christopher Robin play at skittles on the green. (See "no television," above.)




Meanwhile, at No. 16 Canterbury Close, Surbiton, young Susan White-Hamilton and her Aunt Gwladys catch a glimpse of their neighbor, Colonel Anstruther, through that gap in the hedge. The Colonel's rather eccentric routine of morning exercises–a practice he acquired while stationed in Cyprus–are a subject of much neighborhood interest.


 

Lifelong friends Gertrude Antrobus and Edith Moffatt, of Windy Cottage, Muckleford, Hants., rejoice at the successful performance of their champion Setter bitch, Vita's Furry Delight, at the county dog show.


 

Modern technology unites, rather than divides, the generations.  Jane Pilkington of Royal Tunbridge Wells uses her portable wireless to revel in the song stylings of Mr Jagger and his Rolling Stones; while mother Constance listens in to "Mrs Dale's Diary" and learns that Mrs Dale has been worried about Jim lately.



 

And down at the Fox and Grapes, Alf and Reg exchange the latest village news along with subtle, but meaningful, brushes of arm and thigh.



Oh, Britannia. You rule.

Gobsmacked in Cambridge

A final note from the England trip, an addendum of sorts to the notebooks (one, two, three).

We spent most of the day doing what visitors do in Cambridge. College, college, college, Trinity Street (I bought a beautiful English-made bow tie at Arthur Shepherd), college, college, church, church, church, lunch.

It was mid-afternoon, the clock was ticking, and I had not yet set foot in a bookshop.

Working on a hunch that an ancient center of learning might yet have one or two of these to root around in, I asked Liz.

"Yes," said Liz. "I will point you at two. Tom and I can go have a drink at the pub while you browse."

(Liz has done this before.)

After some negotiation it was agreed that I should have one hour, thirty seven minutes before presenting myself at the pub.

"Now," Liz said. "Over there is the larger shop. Over here is the smaller shop, but they specialize in antique children's books."

I'll repeat that.

"They specialize," said Liz, "in antique children's books."

I think Tom said something after that, but I was already at one hour, thirty six minutes and ten seconds and didn't have time to fool about. I can talk to Tom any time.

The children's bookshop was the size of four phone booths. For those of you too young to remember phone booths, it was the size of those four retro novelty photo booths at Jerusha and Skylar's wedding in Williamsburg, the one your whole dodge ball team went to.

I walked in, and the first thing that hit me in the face was a shelf crammed with titles I have read about but never seen in person. This place is the physical embodiment of my lifelong wish list. Within seconds, I was confronted by four linear feet of what I gauged to be turn-of-the-century Caldecott.

"May I help you find anything?" said the nice lady at the desk.

"Gasp," I gasped.

"Well, do please let me know," she said.

I stared dumbly at the row of Caldecott for a moment. I tried to reach for a book and realized my fingers had gone numb.

Then, much as those who have survived environmental catastrophes say that an inborn, automatic survival instinct pulled them through, I heard a voice that was not quite my own say,

"Listen. I'm from America and only have a few minutes. I see you have piles of Caldecott. I'm also interested in Ernest Shepard, Arthur Rackham, Dulac, and Walter Crane. Oh, and I wonder what you might have in the way of needlework titles–especially knitting."

She sprang into action.

"Needlework. Hmm. Now, that's a tough one." But she had that look in her eye, the one book people get when presented with a novel challenge.

"I know," I said. "There really isn't much."

"Well, have a look at these." They were crochet books from the 1950s, aimed at the plucky post-war girl of twelve to fourteen.

"Sweet," I said. "But I don't really crochet."

"Hmm. Well, I'm afraid aside from those all we have at present would be some Girl's Own annuals with needlework patterns..."

"I like the sound of that."

"...and then there's that."

Up on a top shelf, cover facing  out, leaning casually against a row of who cares what, was this.



It's Jane Gaugain's The Lady's Assistant for Executing Useful and Fancy Designs in Knitting, Netting, and Crochet Work.

Jane Gaugain, in case she's not a household name for you (yet), is the woman you might call the mother of fiber arts publishing. She ran a haberdashery business in Edinburgh with her husband, she wanted to sell wool yarns from Germany, and she realized that you sell more yarns with pattern support. So she began to circulate patterns by request and subscription. (There is a wonderful article about her in this issue of Twist Collective.)

Then, in 1840, Mrs Gaugain produced her first book. This book.

This book, which is the beginning of everything that brought you all those knitting and crochet titles on your shelf. Elizabeth Zimmermann, Mary Thomas, Barbara Walker, Alice Starmore, Interweave, Soho, STC–it all starts here.

Now, please keep in mind that I went to England owning exactly one (1) knitting book that pre-dates 1880. And it's terrible. I mean, absolutely terrible. Fun as a relic, interesting to look at, useless to work from.

So for me, standing face-to-face with the first widely acclaimed, best-selling collection of knitting patterns was a little overwhelming.

But not so overwhelming that I didn't check the price. I was afraid to look.

It was really good. More than I'd normally drop on a single book–but really good. There aren't piles of knitting titles from this era lying around. Think about it. What do you usually do with outmoded books of knitting patterns? You throw them away, that's what you do. Or you donate them, or trade them, so that others may throw them away. And so it has always been.

It means that when you do find Mrs Gaugain for sale, she's pricey. But this shop was not a specialist in this topic, and though they did note "scarce" on the front flyleaf they didn't price it to keep it lying around in space that could be better occupied by, say, a nice first of Wind in the Willows.

So I bought it, with a beating heart and just one sad glance at the big, blue, oblong, I'd-never-even-heard-of-it album of Caldecott illustrations that's still sitting there, probably, and she said they would ship it to me if you haven't yet bought my Christmas present.

When I left the shop, I checked the time. I had been inside for exactly ten minutes.

While strictly speaking I had another hour and twenty-seven minutes allotted to book shopping, I found myself unable to go on. After you find the book at the top of your Life List just sitting there, what's the point of trying to beat that in a second venue?

I didn't know what to do, honestly. I felt like a dog that had spent his life chasing cars, and then caught one.

I stumbled toward the pub, clutching Mrs Gaugain to my palpitating chest.

Liz and Tom weren't there, of course. They weren't expecting me for more than an hour. In fact they were probably expecting me to forget them entirely, then scream NO NO LEAVE ME HERE IN PEACE as they attempted forcibly to extract me from the stacks.

(Liz and Tom have done this before.)

I turned around and ran smack into them on the street. They were startled.

"What happened? Did you find something?" said Tom.

"Mmrrbrblp," I said.

It was all I could do to get the book out of my bag and show it to them. They, being kind people, did not even make fun of me (much) when I started to cry.

The copy's in beautiful shape. Sound and complete, right down to the hand-colored plates demonstrating netting.



Note the errant smudge of red left by the colorist, who was probably a tubercular orphan, aged four, or similar. Poor kid.

This is not, I hasten to add, a first edition. It's a third edition (1842) as shown by Mrs Gaugain's preface.



She notes:

The Work has again undergone a thorough revision by me, and from the Receipts all having been worked by many of the subscribers–the best means of ascertaining its correctness–several little inaccuracies in the former Edition have been detected and corrected.

Inaccuracies corrected? Does this mean–can it be?–that am I holding the corrected version of the Pineapple Bag?! Did she fix the decreases at the bottom?!!



No.

English Notebook: Three

Last Bits and Bobs

True to my promise, these photographs from the England trip have no relationship to one another except that what I saw, I liked. And what I liked, I tried to photograph.

This was especially challenging in a setting like King's College Chapel in Cambridge, where the lighting was extremely subdued. It was tough to get a decent shot of anything without recourse to a tripod, so the haul was very small. I suppose I could have tried lying flat on my back in the aisle, as one misguided tourist did; but as he was politely but firmly escorted to the door I'm glad I didn't.

I'm more for details than sweeping views in a space like that. Sure, the vaults and the stained glass are spectacular. They've also been photographed thousands of times. I spent a lot of time admiring them, but the camera turned on for smaller things.





The book above was on a chorister's desk. I had to shoot it "blind" by craning my short, peasanty arm over the top of the desk, therefore the odd angle and framing. The note at the bottom of the cover says NOT TO BE TAKEN AWAY. I've been listening to the annual "Festival of Lessons and Carols" live broadcast from the chapel for years, so it was more than a little thrilling to stand where the music is made.

Even walking past London's Greatest Hits (like the statue of Eros at the center of Piccadilly Circus) I tend to be more attracted to obscurities. These are carved into the entrance of a theater spitting distance from the Piccadilly tube station, half-hidden by posters.



One of the things I notice, in looking them over, is how much of what I love in the London cityscape boils down to color and pattern.



Near Portobello Road. (Click it.)



Somewhere in Kensington. (Click it.)

No visit to London is complete without my friend Jane, who is (surprise) a knitter. Jane arranged for us to have dinner at Brown's Hotel. (I had grouse, of which there is no picture. It was delicious.)

Jane introduced us to her splendid fellow, Nick, who is not only charming but the perfect size to model the Fair Isle sweater Jane had just finished. She took endless pains selecting the colors, none of which shows properly in the photograph because the aggressively trendy hotel bar we were in was lit primarily (and dimly, of course) with purple lights. (Because nothing flatters the human complexion like purple light.)

Still, here is Nick and the sweater.



The sweater isn't even for him. He just agreed to model it. Jane knit it for somebody else. Is that a cooperative boyfriend, or what?

That's not even the most of it. The rank and file of knitters have to carry our work in bags. Not so Jane. Not since she met Nick, who's in a band, and who gave her a yarn road case. A yarn road case. So she can tour.



Love you, Jane. You'll want to hang on to Nick with both hands, dear. And he to you.

There will be one more England entry. About...shopping.

English Notebook: Two

I spent one entire day in England at Loop.



Loop is a yarn shop–the English often say "wool shop"–in a London neighborhood called Islington, on a sort of street called "Camden Passage."

When they call it a passage they aren't trying to be cute. Look.



It's exactly that–a narrow passage between old, low buildings. Most of Loop's neighbors sell antiques, and on certain days of the week the streets around fill up with more antiques dealers.

This is the Loop classroom. It holds eight, including the teacher. If you're going to teach at Loop it helps to be small and/or short.



Loop's owner, Susan, has a gift–there is no other word for it–for arranging her stock in beautiful and unexpected ways. You don't just see the pretty things, you feel inspired to take them home and play with them. Before classes began, I had the place to myself and spent the time drinking it in.











I was so enchanted I wanted a picture of me in the shop, as a souvenir.



The students were lovely. We gathered around the table and had tea and little pecan tarts, and played with at lace and old patterns. The day flew.

To top it all off, I had the pleasure of the company of Jean, whose work and words I've admired almost since the day I began writing this blog. She knits everything, but it's her lace that first grabbed my attention, and I doubt I could have finished my first major piece of lace without her. She alerted me to Sharon Miller's Heirloom Knitting, and to Bridget Rorem's lace alphabet.

Jean came all the way from Scotland to meet me at Loop. I was almost too shy to ask if she'd have a picture with me after class. (My first impulse, on seeing her coming down the stairs, was to run over and hug her in shameless American fashion.) But I spoke up, and she obliged.



If you're one of Jean's fans, I can now tell you with certainty that she every bit as witty, sharp and fun as you'd think from reading her blog. I have a good mind to find a way to get up to Scotland and stalk her in her natural habitat. Fair warning, Jean. (And thank you.)

If you find yourself in London, you probably ought to go to Loop.  Really, you ought.

By the Way: 2012 Holiday Ornament

The annual Panopticon Holiday Ornament is ready to go. This year, the theme is yarn...and puppies.



Just realized I spelled "blogspot" wrong in the watermarks. Aw, screw it.