Monday, October 11, 2010

Romeyne Robert and Umbrian Embroidery - Part Three

If you are just joining us now, we started looking at Umbrian Embroidery here and continued here.

As previously stated the Marquess Romeyne Robert and Carolina Amari based the technique of Umbrian Embroidery on some antique Arab embroideries in the personal collection of the Countess Edith Bronson Rucellai of Florence.

I have been exploring my little book from the Associazione Culturale Femminile P.ES.CO. mentioned previously.

Correction: I did not interpret this stitch correctly! Please click here for the correct way to execute this lovely stitch!

One stitch I particularly like is the Punto Ricciolino [a literal translation would be: Little Curl Stitch]. I hope I am interpreting it correctly here:


This is a particularly attractive stitch for curved lines, giving a raised effect that I really like!


I'm doing a little sampler and will go over the other stitches in a future post.

Romeyne Robert and Umbrian Embroidery - Part One

Romeyne Robert and Umbrian Embroidery - Part Two

Romeyne Robert and Umbrian Embroidery - Part Four

Saturday, October 9, 2010

New Needlework Website - FiliForme

Some exciting news today about a new needlework website based in Italy. After much preparation and lots of patience while technical glitches were worked out, comes the labour of love of three Italian women: Filiforme. [in Italian: fili = threads and forme = shapes.]

I have taken some screen shots of the homepage to point out some things to you. The first thing that I noticed upon arrival at this website was how modern and "young person-savvy" it was. Almost too much for me! At the top are links to various social networks - some I know of through my daughter like Stumble Upon, Twitter and Facebook and others I had never heard of like Technorati, Delicious and Digg. This makes Filiforme something totally new - needlework aimed at young people. An exciting concept for those of us who have been wracking our brains trying to figure out how to interest this elusive age group in the art of needlework.

For now the Filiforme website is only in Italian, but with the aid of Google translate you should be able to navigate around fairly well - I tried it and some of the translations made me laugh out loud but I was able to find everything.

The first section announces upcoming classes and exhibitions with some in-depth information and a couple of photos of examples just below.


Then two embroidery (ricamo in Italian) projects: placemats and linen guest towels. Right away we get the "Italian" approach to needlework, I'm pretty sure that most people in North America don't have linen guest towels though they are still widely used in Italy. Clicking on either project takes you to a page with a list of materials and the basic instructions for completing the project. From here there are links to other pages with clear stitch diagrams and for downloading the patterns. (on the stitch diagram pages there are more links for social networks like Reddit and MySpace!)

Below the embroidery projects, the same format then for three crochet (uncinetto in Italian) projects: a scarf, a purse and a flower brooch. Here there are also links for downloading the clearest diagrams.


After that a recommendation for a delicious book on unusual macramé and how to purchase it.

Then a sewing (cucito in Italian) embroidery project for a silk bag. This is by Patrizia Recchia of Mano di donne - make time to check out her funky website with a decidedly "young" flavour.

More crochet flowers with a different application finish up the homepage at this time.


If you explore the pull-down menus at the top of the homepage you will discover under the tab: "Fili insegna" the page "Punti di Ricamo" which has 10 diagrams and instructions for embroidery stitches and if you click on the "Older" button, you find five more!

The tab: "Fili informa" has listings for more courses, exhibits and other news (look for Paola Cellini's prize-winning entry at the Valtopina show stitched on doubled organza!) as well as more book recommendations.

The tab: "Progetti" takes you to a listing of the needlework projects found on the Filiforme website (moving forward, I expect there will only be the latest projects on the homepage and you'll have to come here to explore past projects).

At the bottom of the homepage are two small links "chi siamo" and "contatti". "Chi siamo" means "who we are" and "contatti" is the contact page. You may be surprised to find that there are only three Italian women behind all this work. The only one I know of personally is Stefania Bressan who was my first contact in the world of Italian needlework nearly a decade ago. A needlework teacher in northern Italy, Stefania is also the author of a book on Schwalm Embroidery and collaborated on the recent release of the Drawn-Thread book I told you about here.

As I understand it, Laura is the photographer and her photography is exquisite and attractive lending a professional look to both the website and the projects.

I don't know anything about Francesca - I hope that biographies will eventually appear on the Filiforme website as I'm always fascinated in the people behind the work.

One important thing to mention: the women are looking for feedback and input, so send them your comments, suggestions, news and events.

I don't know how often this website will be updated but I signed up for the newsletter and I'll keep you posted!

Wednesday, October 6, 2010

Bronzino Paintings and Needlework Details

Go to Florence.

Go before January 23rd, 2011.

Make. it. happen.

At the Palazzo Strozzi right now is an historic event: Bronzino - Pittore e Poetica alla Corte dei Medici. [Bronzino - Artist and Poet at the Court of the Medici]. This is a monumental show. The first ever collection of Agnolo di Cosimo or Bronzino's paintings (with other works by Pontormo, Cellini, Tribolo, Baccio Bandinelli, Pierino da Vinci and Alessandro Allori). These painters were fantastic not only for their talents as painters but also for their attention to embroidery and lace details. Anyone interested in period costumes will be delighted as well.

On the Palazzo Strozzi's website, for those of us who will not be able to get to the show, are a few paintings with the availability to zoom in for close up views - closer than you might be able to see even at the show. Click on each section to see a few paintings from each grouping.


There are painting at this exhibit on loan from the Uffizi (the part now closed for restorations) and museums in Budapest, New York and Paris.

Go here for a short video (in English) as well as a review of the exhibit.

And then here for a video in Italian, worth watching even for those who don't understand as there are lots of views of paintings!

There are also tapestries designed by Bronzino, Pontormo and Salviati.

Don't think you can't go because you've got the kids! The Artist's Handbag offers fun activities for families packaged in this cool leather handbag:


Go to the publications page of the Palazzo Strozzi's website and download the Passport to Bronzino to read all about everything available (in Italian and English).

If you're going... can you take me with you?!

Monday, October 4, 2010

Sansepolcro Lace Biennial - Follow up

Just to follow up on my post about this year's Sansepolcro Lace Biennial - please visit Mena's blog: Tombolo e altro for some photos and a run-down of her experiences, there is also a second post with more photos and *gasp!* a MAN doing bobbin lace! The blog is in Italian, so you might need to run it through Google Translate.

There are some photos of the exhibition and a few of the lace masters. Click on the photos for close-ups, don't miss the banner with the Renaissance lady - she has applied lace and leather on her gown! There is a bit more here (in Italian) about the event and the winners.

Canadian lacemaker Lenka Suchanek also took a prize, you can see her piece here.

If anyone knows where there are more photos of this event will you post below?

Saturday, October 2, 2010

Romeyne Robert and Umbrian Embroidery - Part Two

Let's continue on with our investigation of Umbrian Embroidery. If you're just joining us, please start with Part One.

The embroidery school/workshop founded and run by Romeyne Robert, Marquess Ranieri di Sorbello with the able management and outstanding input of Carolina Amari enjoyed ever-increasing success from 1904 until about 1933 or 1934 when both the school/workshop and the Arti Decorative Italiane shop in Perugia closed. It seems a number of factors were involved in the closures, most likely being the economic difficulties of the times and the advancing age of the two ladies.

After the closures, the Marquess Romeyne exhibited a collection of the very best pieces from the school/workshop in the Palazzo Sorbello and went on to collect antique pieces of embroidery and textiles.

Some students continued to make Umbrian Embroidery and later to teach it to others. In the late 1990s a renewed interest in this needlework brought about a revival which still continues today. There are now a few embroidery schools in Italy who teach Umbrian Embroidery.

While at the Italia Invita Forum of Lace and Embroidery in Parma in 2009, I picked up a little book from the Associazione Culturale Femminile P.ES.CO. [Women's Cultural Association P.ES.CO]:


A small format book of about 50 pages, it has technical instructions of most of the stitches which define the technique of Umbrian Embroidery including how to do some of the tassels. The text is in Italian but there are lots of clear diagrams. I've had a bit of success trying it out, though, like any other embroidery technique, you must practice in order to perfect stitch tension. Some of my attempts are quite sad so I would really like to take a course in this needlework - I am especially attracted to it's tone-on-tone texture.

At the EGA Seminar in San Francisco, the Italian ladies brought some pieces of Umbrian Embroidery from the P.ES.CO. Association with them. The pieces were spectacular!



The P.ES.CO. Association's goal is the "defense, conservation and dissemination of the artistic, artisan and cultural traditions of the area". They also promote the local art of Crochet Lace which we will talk about in another post. This is a group of astonishingly talented women. They keep a permanent exhibit at the Palazzo del Rondò in Tuoro sul Trasimeno in the province of Perugia if you happen to be passing by.

The book is available directly from their website if you are in Europe, otherwise to pay with PayPal, check out Tombolo Disegni (click on Libri/Books, then Libri/Ricamo, then Ricamo Italiani - send an email request to order).

Next time we'll have a look at some characteristic stitches of Umbrian Embroidery.

Romeyne Robert and Umbrian Embroidery - Part One

Romeyne Robert and Umbrian Embroidery - Part Three

Thursday, September 30, 2010

Rolled Hem

The Rolled Hem is called Orlo a Prillo, Prillino or Birello and probably other names in Italian in the different regions of Italy.

It has been a difficult one for me to do. While at the EGA Seminar a few weeks ago, I sat with Signora Derna and watched her execute a Rolled Hem on the Assisi Embroideries that she was making. Fascinated, I watched her again and again. She made it look so effortless... so easy.

I didn't make any notes and couldn't take any photos - she was so fast! I still don't know if I'm doing it like she did. I checked through my books and found at least three different methods for executing the Rolled Hem.

Fundamentally they all begin the same way. With spit. Yes, I said spit. I have had more than one maestra tell me this. If you lick your floss when you thread your needle, you won't be too grossed out, if not, well... you need to get over it. Spit washes out. Water dampening your fingers works eventually, but not nearly as well, and you almost always get your fingers too wet. What helped me get it was using a high count fabric first until I got the hang of it, and then trying a more openweave fabric.

Yesterday a reader asked me to explain how to do the Rolled Hem so I'm going to attempt it here for her and any others who may be interested, please remember that this is only one of many ways to do it.

I'm demonstrating on 38ct Sotema ivory-coloured linen 20L, which is my favourite linen right now. It's a beautiful weight of fabric and very compactly woven.

First, I withdrew one fabric ground thread about 10 ground threads in from the edge of my fabric (make sure your cut is straight!). Then I skipped four ground threads and withdrew another one. This is the setup for doing the Four-Sided Stitch which is usually found in combination with a Rolled Hem on Assisi work. If I had more time, I would do the Four-Sided Stitch first to group my threads into squares over four ground threads.

Working on the back side of the work, I licked the tip of my index finger and thumb on my left hand and taking the edge of the fabric between the two, squeezed and rolled the hem up a little. You don't have to do too much, like only a couple of inches along the edge at a time. My first roll was a little fat, so I just re-rolled it squeezing a little tighter with my fingers and the roll tightened up. This is such beautiful fabric, the edge didn't even start to fray:


Don't start at the very bottom, but a little above and just keep rolling and squeezing until you get some control. The motion of it reminds me of the way an old boyfriend used to roll his cigarettes.

Using a sharp needle (I think the one I'm using is a no. 7, but it can be smaller - it probably should be at least a no. 8 or 9 but it's what I have handy right now) and some n. 50 crochet cotton thread because it was handy, (you can use floss or Pearl cotton n.12 or finer crochet cotton or even sewing thread) I let a couple of inches of the tail of my thread lay in the part that would be rolled up and came out with my needle about two ground threads into my roll. Working from bottom to top in direction, I entered with the needle into the withdrawn thread channel four ground threads up from where I exited in the roll and skipping four ground threads I exited with the needle like so:


My original exit position in the roll should be about level with my exit position in the withdrawn channel. Then going up to where I entered the withdrawn channel, I enter with my needle into the roll, keeping the same distance as before (about two ground threads), the needle goes between the roll and the fabric, that is, you never come out on the front side when entering into the roll.

Okay, I swear that I only came out at a distance of two ground threads into the roll but while trying to position the camera my roll came slightly undone - it's hard to do this and take close-up photos with only two hands! Everything is stitched with the fabric over your index finger.


I'm working directionally along the edge from bottom to top but I thought Signora Derna worked top to bottom and came out already into her roll... that is, without taking a separate step like I'm doing here, but I just don't seem to be able to figure that out right now.

Remember: when going into the roll, you never pierce your ground fabric so that the stitch will be visible from the front. Here is what a little bit of Rolled Hem looks like from the front:


This is how it looks on the back. Click on the photos for a closer look:


And here we have a bit of Four-Sided Stitch beside the Rolled Hem:


Sorry my photos aren't better, my photographer is not home this afternoon and I probably should have used coloured thread! See? I'm learning too!

Does this help at all?

Tuesday, September 28, 2010

Scapolari - Devotional Scapulars

Devotional Scapulars or Sacramentals are small pouches of cloth attached to a band and worn by around the neck as a symbol of a religious pledge, promise or sign of devotion - largely used by the Catholic faith. These "scapolari" as they are called in Italian can also be worn specially during religious functions like processions or special Masses. Silver reliquaries containing the relics of saints or items from a beloved can be placed inside the pouches.

A very kind gentleman from the MI 1906 Ning group (for those interested in the 1906 World's Fair in Milan) wrote to tell me that in reorganizing his collections he came across some scapulars that he knew I would be interested in.

These scapulars are from 19th century southern Italy and no two are the same. As I understand it, each scapular was hand-embroidered by the person who wore it and it was decorated according to each wearer's own imagination and creativity and according to the purpose which they desired to represent.

This one is stitched in traditional embroidery stitches with coloured threads (silk?) and a border of gold or silver (now tarnished) Bright Check Purl:


This interesting scapular is stitched using beads, lace (bobbin?) and metal thread, possibly gold Pearl Purl? The object in the center of the lower part is surrounded by gold filigree:


The front of this one is stitched using traditional embroidery stitches and coloured, possibly silk threads:


...and here is the back, the cross is outlined in what looks like gold Bright Check Purl:


The front of this one is stitched using traditional embroidery stitches with metal threads and Spangles:


...and here is the back:


And this one has lots of Spangles and nice metal thread work which includes some laid gold Smooth Passing threads:


The embroidery on all these scapulars is exquisitely done and in great shape.

A heartfelt thank you to Ampelio for sharing his photos with us!