The Anarcho Geek Info Center

Baskets are made from a variety of materials; Native Americans made baskets with resources that were the most plentiful in their specific environment. For instance, some Native Americans made their baskets with swamp asha kind of wood that was abundant in the New England region. Other Indians would follow the same practice, but with different wood. In the Southwest, sumac and yucca leaves were used for baskets; while in the northwest, roots from spruce trees and cedar bark was used.

But that’s just basket weaving in America; the practice itself goes back much further. In fact, according to some historians, some of the earliest archaeological finds of basket weaving was in ancient Egypt some 12,000 years ago. Other baskets were found in the middle-eastern section of the world, estimated to be over 7,000 years old. But because many baskets were made of perishable material, like leaves and roots, in particular, it can’t be known for certain when basket weaving originated.

There are several types of basketry, and according to some of the more learned historians of basket weaving, the type depended on what material the basket was made of. Coiled basketry, for instance, were baskets made with grasses. Twining basketry were baskets made with tree bark. And wicker basketryperhaps the most common ingredient in today’s basketswere made with oak or ash.

But basket weaving isn’t exactly a paint-by-numbers kind of art. It takes patience and practice to form the kind of baskets that will not only impress you but impress those who you give or sell them to. There is nothing quite like a homemade product, especially a basket, something that every person needs at one time or another for collecting eggs, gathering flowers, carrying food to the park or beach or for using as decoration for the kitchen table.

No matter how you make a basket, whether it’s a bushel basket, a casserole basket or a picnic basket, basket weaving is an art form and, in some small way, enables basket weavers to get in touch with the history of our civilization.

FROM NATURAL FLAWS TO PICTURES
Everyone will I am sure appreciate well hollowed stone antique Chinese snuff bottles, once handled, as the lovely shapes and purity of the stones used just cannot fail to impress. One would imagine that the approach would have been to avoid any inclusions or flaws, and to form the bottle from only the best parts of the stone. This often was the case. But what I find even more fascinating, is the amazing way they deliberately and brilliantly, took advantage of natural flaws and inclusions often found present in these stones.

Most quartz and jade stones have an outer layer of a different colour, particularly the pebbles from the riverbeds. They also have faults and flaws plus other coloured material, often deep in the stone. Sometimes these can be very thin skin-like inclusions, whilst in others large chunks are found.

When one considers that no one knows just what is inside any of these rocks until, as the cuts are made and the secrets of the stone are revealed, they discover how pure, or otherwise, the stone really is. It is with the stones that have inclusions or flaws that ‘Picture Agate’ snuff bottles are made. The best of these incredible bottles, once completed, manage to make the inclusion, that forms the image, look as if it has appeared in just the right place as if to order!

There are different types of work within this group of snuff bottles and the first ones are what we call ‘Cameo’ carvings. These take advantage of any outer skin or blob type of inclusion (of a different colour); they can be quite thick and are carved in relief. Another type is called ‘Shadow Agates’ and these take advantage of markings in the stone where, with the help of only a little carving, an image is created. Lastly, the most fascinating ones are called ‘Silhouette Agates’ but in this group no apparent carving is required. The image is achieved mainly by the angle and choice of shape, as well as the size and position of the bottle to be formed out of the rock so that the inclusion becomes an image. These bottles have to be seen to be believed.

What is really mind blowing to me is the fact that there are even some of these bottles with pictures on both sides!

Sadly, few of them were signed. We only know that there was a certain school of carvers known as the ‘Suzhou School’. Their works are easily recognised by the style and quality of the carving, plus the fact that they make use of every mark in the stone to form the picture. They are amazing bottles when good, but there are many later works that tend to look too stiff and the carving lacks the more fluid artistic touch of the master carvers. Unfortunately, hardly any of these bottles are really well hollowed.

OUR FIRST SNUFF BOTTLE
So to describe my first purchase, this was a ‘Shadow Agate picture bottle’ involving a little carving, and very well hollowed. It is a most appropriate subject and colour for a snuff bottle because the russet inclusions have been used to show ‘Putai Ho-Shang’. He is always depicted as a very corpulent man with a bare chest and abdomen and he is the patron saint of tobacconists. In this bottle he appears surprised by a bat whilst sitting below some tobacco leaves. The bat to the Chinese is a good luck symbol. You can see how easily he appears, nicely placed within the bottle yet only his head and a suggestion of his hand have been carved. (See the photograph by using the link at the bottom of this article).

We now own a number of ‘Picture Agates’ and to illustrate the different types described, the photograph of the Duck with Lingzhi fungus in its beak is a good ‘Silhouette’ example. Incidentally, the fungus is a symbol for wishing long life. This bottle is very unusual as there is a recess carved originally to create the image that serves as a built in dish. (See the photograph by using the link at the bottom of this article).

Lastly, a superb bottle of fishes with pictures on both sides: the pair of fishes on one side are ‘Cameo’ carved and to the Chinese represent fidelity and happy conjugal rights in marriage. On the other side a fish and aquatic plants make use of every mark in the stone, all this on a well shaped bottle that is very well hollowed. All these bottles illustrated were made between 1750 and 1860. (See the photograph by using the link at the top of this article).

ASSESSMENT
To effectively judge hard stone snuff bottles, the first consideration should be concerned with the overall artistic impression. You need to be satisfied that the work looks well composed and well positioned and that the images formed are flowing rather than stiff and awkward. The next stage is to have a closer look at the technical skills. When I look at a cameo type of carving I study the shape and finish of the background, close to the edge of the carving. On poorer bottles this can be indented, uneven and not so well polished as the rest. Really fine examples look as if the raised cameo part has somehow been glued onto a beautifully formed bottle. Engraved work at its best is very precise and provides the detail. When closely looking (under magnification) at a poor bottle these engraved parts can look very crude.

The author has been a very keen Asian antique collector for many years helping to create ‘The Cohen collection’.

To view the photographs that relate to this article please use the following link: -
http://www.jncohen.net/antiques/articles.htm

For more information about Chinese snuff bottles please use the following link: -
http://www.jncohen.net/Chinese_Snuff_bottles/index.htm

Copyright 2006 Melissa Galt

The terms Arts and Crafts and Mission Style are often used synonymously today. They refer to a style of home design and furnishings emphasizing natural materials, especially wood, and showcasing a pronounced geometry in the design. Their tremendous revival in popularity stems largely from their association with hand-crafted elements (though many knock-offs are manufactured by machine), a rarity in this technologically advanced age. The pieces offer an heirloom quality and a patina that deepens with age. Arts and Crafts furnishings and interiors are also typically very durable and classic with a timeless appeal. They suit today’s desire to simplify and get back to basics. Arts and Crafts interiors are an ideal marriage of function and aesthetic; spaces are designed to work for those living there. To create your own Arts and Crafts interior, there are several elements to consider, both in materials and design.

The materials of an Arts and Crafts interior, while not limited to nature, emphasize wood, stone, glass (made from sand), ceramic tiles (made from minerals/earth), and textiles (using wool, cotton, or linen fibers, and, of course, leather). Much of the visual pattern comes from the grain of the wood selected. Traditionally oak was used, but currently natural cherry is frequently enjoyed. The oak tends to have a golden brown gleam, while the cherry is redder. Both darken naturally with age, which is to be expected.

Flooring, all architectural trim/molding, doors, stair rails and stiles, and exposed structural supports are all typically wood, oak being most prevalent. Waxed or oil finishes prevail. Joints are pegged, or hand-crafted metal hardware is used. Door knobs, cabinet pulls and the like are again hand-crafted wrought iron or bronze in black, umber, or verdigris. Many are square or rectangular shaped and are hand hammered. For a lighter look, some homeowners today are opting for a soft brushed pewter or nickel finish instead. Once you have the guidelines, you can bend them to suit. If an alternative to a wood floor is desired, tile or slate would be appropriate substitutes. The tile should be large and laid in a linear pattern, not on the diagonal.

To balance and complement the visual depth of the wood, walls are often treated with a textured paint or plastered. (The old bungalows have original plaster.) A good bet is the river rock finish that Ralph Lauren paint provides. Paint schemes bear an influence from nature with goldenrod yellows, burnt sienna browns, cimmaron and Indian reds, sage and moss greens, and a neutral palette of earthy tans, toasts, and beiges. The overall feeling has a harmony, continuity, with all elements working together, none upstaging the other. It is about creating an organic home, one that works within its environment and makes the most of its surroundings both outside and inside.

Fireplaces have wood or stone mantels, with stone, ceramic or occasionally brick surrounds. The wood is again oak with a golden stain, usually waxed or rubbed, not polyurethaned. Satin or matte finishes rule. Stone is field stone– stacked dry or with mortar, it presents a terrific textural visual. River rock may be used instead and the round smooth stones provide a counterpoint to the rectilinear geometry otherwise present. Ceramic tiles will typically have a motif from nature, perhaps a leaf or acorn, or be an iridescent finish. Today glass tiles are also used to great advantage. Brick, when employed, is smooth faced and laid in clean horizontal bands. Again, one of the clear features of an Arts and Crafts interior is the linear quality. The feeling that the house is part of a bigger view, part of the horizon, is all an effort to be from and of the earth.

Historically, many of the Arts and Crafts and Mission homes sported art glass windows, or at least many panes. This enabled windows to be left uncovered and still appear decorative. Today, art glass windows can be cost prohibitive except in select areas, so if treatment is desired for either privacy, light, or heat control, simpler is better. This translates to either plain Roman shades, silhouettes, wood blinds, or panels on either tabs or rings on a decorative rod (wood or wrought iron) with finials. If tiebacks are desired consider sisal tassels, simple and bold, or a band of the same fabric as the drapery. No trim or other decorative element is required. Fabric patterns may herald nature, such as a leaf print, or be based in geometry. There is a wide range on the market today including historical prints by William Morris and designs by Frank Lloyd Wright. The same may also be found in wall covering, though use it sparingly as it is often busy and distracting. Arts and Crafts and Mission Style today both represent a desire for a wholesome, hearty lifestyle, a return to yesterday’s values.

Furnishings in the Arts and Crafts home are again wood, occasionally with a wrought iron or ceramic tile accent. Glass is rarely used. Tables, being functional as well as good looking, often have at least a drawer and a shelf for storage. Shapes are squares, rectangles and octagons. Today more rounds are available. Again, the geometry created by edges is most apparent. Sofas and chairs are often wood backed with exposed wood arms and cushions that can be readily cleaned or changed out depending on the season. Flexibility and adaptability are prime features. Mission style goes a step further and often offers sofas or chairs with a deep wood shelf surrounding them acting as the arm and a table (Frank Lloyd Wright design), which gives the illusion of a built-in piece. Leather is frequently used or fabrics in natural fibers such as cotton, linen, or wool. Rich colors and geometric or patterns drawn from nature abound. The most significant interest comes from the combination of elements, again, no one piece dominating. Busy patterns are used sparingly, increasing longevity and flexibility of the furnishings. Resources for furnishings include Stickley, American Impressions by Ethan Allen, and Cotswald Furnishings, a superior resource for hand-crafted furnishings and more in Atlanta.

Lighting in an Arts and Crafts or Mission home is critical, especially with all the dark woods and depth of color schemes popular. While ceiling lights, including recessed, can give a good general light, it is far more effective and pleasing to adopt a wealth of luminaries. Torchieres (floor lamps that give uplight, and are best placed in corners) can provide valuable general lighting, while table lamps and floor lamps provide invitation and welcome. Accent lighting can be done with mantel lamps, sconces, and dresser lamps. The two most common types of lamps are the mica and metal designs (the body of the lamp being hammered bronze or copper, the shade a sheet of mica) and the art glass lamps with wood or art glass bases and shades of glass in geometric patterns and a squared coolie shape. Other lighting options include a wealth of reproduction lighting through several lighting sources such as Arroyo Craftsmen and Yamagiwa. (They are available through designers and have an outstanding line of Frank Lloyd Wright designs.)

Accents, accessories, and artwork should be kept to a minimum to allow for a fuller appreciation of the architecture of the home and materials of nature showcased. This is a good chance to provide balance to the predominance of wood with elements in glass, ceramics, and metal. Both bowls and vessels are readily available in all materials mentioned here. Iridescent ware in both ceramics and glass provides an airy complement to the weight and depth of the wood.

Melissa Galt is a Lifestyle Designer and Speaker based in Atlanta, GA. She hosts a series of blogs on design tips and trends and produces a monthly ezine dedicated to helping subscribers design their signature life. For the latest teleclasses, seminars, and ebooks on designing your life check out www.melissagalt.com .

People have been known to use screwdrivers to pry open paint tins and wrenches as hammers, but the poor rotary cutter has endured the worst type of tool abuse. At first glance, it may look like a pizza cutter but the only oil that should ever touch the blade is a dab of machine oil. It is therefore wise to keep it well hidden.

The Rotary Cutter is the best invention ever for cutting all those pieces for patchwork. Along with a ruler and mat, rotary cutting offers the quilter the ability to cut a large number of fabric pieces quickly and accurately. Rotary cutters are extremely sharp and caution should be used when rotary cutting. Always close the blade or make sure that the blade guard is engaged, when you put down the cutter. You should also only use the rotary cutter with a specially designed rotary cutter mat. Using any other surface, can damage the blade, the surface, and can even cause the cutter to slip while cutting.

Besides hiding it from any non-quilting pizza makers, with a bit of care you can ensure the rotary cutting blade will have a long life. Be careful that when you are cutting you don’t touch the side of the ruler with your cutter or run over pins. Either of these actions will create a dead spot in the blade. It is important to change the blade in the rotary cutter as soon as it becomes dull.

For easy cutting, keep the rotary cutter clean. Lint and fluff can build up under the blade preventing it from rotating smoothly. Every six hours of use, remove the blade and clean out all the lint that has accumulated. Then oil the rotary cutting blade by putting a dab of machine oil on a rag and wiping it over your blade. Reassemble the cutter and presto - it will cut like a dream.

Rotary cutters come in many sizes. The medium sized rotary cutter is the most used, as it is great for single or multiple layer. The jumbo rotary cutter is ideal for cutting through multiple layers. The mini cutter is superb for cutting around curves and trimming square triangles back to size.

Pauline Rogers has travelled throughout Australia and New Zealand for over 20 years, teaching the art of patchwork and quilting. She operates an award winning shop, Country Fabrics and Quilters, in Toowoomba, Queensland as well as a successful mail order and online service. She founded Quiltfest, an annual quilting event and Margie’s Quilts of Hope, a quilting challenge which raises funds for breast cancer research. Visit her website at http://www.cfaq.com.au.

If you are debating whether wooden flooring is right for your home it’s important that you are familiar with the main wooden flooring terms. There are huge array of online flooring retailers, and its important to understand there are several different factors which all influence how the flooring appears, and makes each wooden floor look unique. There is a very slim chance that the wooden floor you saw in the showroom or on the internet will look the same as the final product in your home.

Part of the appeal of hardwood floors is that they are not uniform. One factor which effects the appearance of the wood is how near the wood is to the bark of the tree, this is named sapwood. The closer to the outside of the tree, the lighter the colour the wood will appear. The grain of the wood is another major factor, this can vary is direction and also varies in appearance depending on the colour of the wood fibers. The growth rings of the tree are also an important factor which effect the appearance of the wood. Tightly packed layers of wood are likely to result in a darker colour, these are formed when only a marginal layer of wood is added per year during a growing season. Other factors which can have an effect on the wood are mineral Streaks. These occur when trace elements are in the water, resulting in grey and olive markings. Knots are also a big factor in the appearance of your flooring, and are produced where branches of a tree have been encased, as the tree has grown. Often lower grade flooring will have more knots in it than higher grade.

The great thing about wooden flooring is its durability, and also the ease with which damage can be repaired. But as a natural product, as opposed to synthetic, it is also prone to expand and contract during changes in the weather or season. This needs to be taken into account when your floor is fitted.

BeCheeky.com launched in 2005 it was started by two partners. They saw a gap in the underwear market and launched the site with the scheme that it would be directed purposely at helping out males buy lingerie for their partners. Clientele feel content purchasing from BeCheeky because they give such wonderful individual attention & because of this it provides the clientele the sense that they are shopping with an exclusive boutique as well as with a brilliant personal shopper there to help with your every step. Find affordable, gorgeous and stylish sexy knickers from designers such as Simone Perele, State of Undress, Kalita, Sielei, Mimi Holliday and Sista Shei.

The website was such a gigantic success with ladies lingerie that the team launched men?s underwear to the site as well. The BeCheekys website is famous for its collection of terrific lingerie sets, bras, knickers, boyshorts, corsets, basques, bikinis and swimsuits. What makes them very special is that there is a little something for all tastes. Each item that is payed for is without any acceptation dispatched in a striking satin bag filled with bits of confetti for that additional unique touch. BeCheeky are also popular for their own marvellous particularly bargains which frequently happen on a day to day basis.

The BeCheeky website itself is always remarkably straightforward to navigate through with clear to follow commands to make your choice & payment transaction as straightforward & as smooth as possible. Once you yourself have chosen your item it is time to make a decision what mailing you yourself would like. There are a couple of types of preferences to choose from, despite this, all mailing methods are congratulated for their own hasty send off the website sends out deliveries to the United Kingdom Europe & the rest of the world. The staff offer three sorts of mailing dispatching, standard which will be posted to you within 3 days days, next working day & then worldwide which routinely takes between two to three days from order date. There is always a small charge for deliveries ?2.30 for standard and ?5.95 for next working day delivery.

The Settlers of Catan has been the flagship for German Style Designer Games for many reasons, some of the main ones being its elegant simplicity and its depth of strategy. Your choice of strategies will influence your initial setup and overall game play. The separation of strategies that are outlined in this series is a bit artificial, but it is useful to understand the concepts behind them. In practice, players will use a combination of these strategies during gameplay. This article, the fourth in this series, will discuss the Monopoly and Cartel Strategies.

The Monopoly and Cartel Strategies are strategies to gain either exclusive control (monopoly) or shared control (cartel) of a particular resource, usually ore or brick as they have the fewest number of hexes in the basic game (three, versus four of all the others).

First, the Monopoly variant, to gain more or less exclusive control. It is usually attempted by trying to control all of the good hexes (usually just one) of a resource by yourself. It seldom works. The major problem with this strategy is that the robber almost always sits on the monopolized hex. As you are the only person on that particular hex, the robber will stay there until YOU get it off (or a seven is rolled), unlike shared hexes. Also unlike shared hexes, every player EXCEPT YOU considers that hex to be fair robber placement territory, especially since they want a chance to grab that monopolized resource from your hand.

A potentially better way to try the monopoly strategy is to let other players surround the best hex of that resource, and to go for the two less marginal ones (in the case of ore and brick). Then try to place the robber on the good hex throughout the game. This has the advantage of being able to place your initial settlements away from the rest of the crowd. You will need a lot of knights, to get the robber off of you, and onto the best hex. This would be good combined with the Card Builder strategy (to get the knights), especially if you are trying to monopolize ore or wheat.

If someone in your group has the nerve to try a monopoly, it will become apparent very soon, probably in the initial setup. You can use this to your advantage by remembering that ports have just become more valuable real estate, and by using the monopoly player as a lightning rod for other players aggression instead of you (and drawing people’s attention off of your own designs.)

The Cartel variant. Basically, this is a strategy to share control of a particular resource in order to reduce the problem of the robber in a monopoly, but to make sure that you are the dominant player in that cartel. In this variant it is only necessary to control most of the resource. For example, if you control two out of the three settlement locations on a good hex of a rare resource. The other player will work just as hard to keep the robber away, but will only collect half as much. This is most common on a good ore hex. Another way this can be done is by having majority access to several hexes for a commodity for which you have a port. The other players can’t keep the robber on all of them, and will probably just keep it on your prime hex. Sheep and wheat are most typical of this kind of cartel, because they are not the commodities that people usually target during initial placement. Note that this is very similar to the Common Resource Strategy.

Similar to the Monopoly variant, you will need a lot of knights to keep the robber away, and preferably on your opponents most productive hexes, or on a resource your opponent has a port for (so they can’t trade easily for your resource). In this way, if you find yourself in total control you can make really good trades. Depending on your group, you can make 3:1 trades if people are desperate, and even turn these down if you are ahead, and force them to make 4:1 bank trades.

For more information about the game, please visit the author’s Settlers of Catan fansite. This series is based upon the Settlers of Catan Strategy and Tactics Guide, which is located at http://settlersofcatan.blogspot.com

Dan Kozarchuk is a self admitted board game junkie who has an obsession with designer board games, particularly the Settlers of Catan.

Quilting fabrics date back thousands of years and examples can be found in Japan, China, Korea, India, England, Scotland, Ireland, Scandinavia and Europe. The oldest example of quilting fabric is thought to have been found near the border between Mongolia and Siberia in a Scythian chieftain’s tomb and is thought to be as old a AD200. Many of the intricate spirals and cross-hatching techniques are still used by quilters today when practicing the art of wholecloth quilting.

Another ancient form of quilting was shoes being made from quilted fabrics. Usually the shoes were made from quilted felt and patched with leather to give them added strength.

Quilted garments are one of the oldest forms of clothing and in ancient times were used as a form of armour. This gave an elevated level of protection against arrows and spears. When gunpowder and gun power was introduced, this level of protection was no longer afforded and quilted garments in military battles gave way to more advanced types of battle clothing.

It is said that the art of quilting fabric originated in the East and Japan has a long history of quilting. In the earliest times quilts in Japan were articles of bedding. In fact the word quilt is derived from the Latin” culcita” meaning a mattress or pillow.
One of the earliest quilts from Japan is the futon being a thick mattress, generously padded with cotton wadding. The Japanese originally slept on the futon on the floor and depending on the season would have a lighter or heavier quilt on top.

Japanese Buddist monks were expected to renounce all materialism and adopt the “Kesa”, a patched robe made from recycled fabrics.

In England, several hundred years ago, quilting was a thriving cottage industry and generally produced warm and comfortable bedding for protection from the cold and miserable winters. Nowadays people are still quilting and derive a lot of pleasure from producing quilts which are more of an artwork or tell a story.

Many have forgotten that patchwork and quilting are two different and distinct crafts and only over the last hundred or so years have merged together. Originally patchwork fabrics were not quilted and when quilters worked they worked on wholecloth projects.

Professional quilters in England applied their skills to many different articles of clothing as diverse as petticoats, baby’s bonnets and coats.

The making of quilts can be produced in many different styles, some examples being Mosaic Patchwork, Crazy Patchwork, Country Style Quilts, Wholecloth Quilts, Stripy Quilts and also more contemporary quilts.

By Sigrid Gangsoy

Quilting Fabrics

Copywrite 2006 All Rights Reserved Worldwide

Sigrid has been involved with the craft of quilting for as long as she can remember. Having a Norwegian background it was a forgone conclusion that you would learn one or several crafts. Sigrid also has an extensive background in design and sees this as encompassing all areas of the arts and crafts

In this article we’re going to cover one of the rarest collectible dolls in history, the classic Mike Hazard Double Agent.

During the 1960s, cloak and dagger and spy stuff was all the wave with shows like Mission Impossible, The Man From Uncle, I Spy and of course movies like James Bond. Well, the toy companies took care of their end as well.

One of the most popular dolls of that era was Mike Hazard, Double Agent which was manufactured by Louis Mark Company in 1967. The doll was 12 inches in height and was solid as a rock. The body was made of very hard plastic. If you were to hit somebody over the head with this doll you would probably give them a concussion. This was the most solidly put together doll in the history of toy manufacturing next to professional ventriloquist dummies. The body color was a strange dark blue.

There were actually five different series of Mike Hazard dolls made in 1967. The only real differences were not so much in the dolls themselves but in the boxes. There was the original box, the sunburst box, the international box and then a couple of variations of the three of them.

The lure of the doll was not so much in the look of it but what you could do with it. As accessories went, Mike Hazard was loaded with them. His nickname was “master of disguise” and he was that. Included with the figure were a number of great disguises that you could mix and match in many different ways.

To start with, he came with a great blond wig. His natural hair color was dark brown. The wig didn’t quite cover his hair completely so you could see some of the brown sticking out but it was still pretty cool.

Then there was the beard, mustache and glasses. This was actually one piece as the three were all attached. It was difficult using the beard and glasses with the wig because the glasses didn’t fit very well over the face because of the thickness of the wig and if you tried to use them together it actually looked pretty stupid.

Then there was an actual new face that you could place over the original face. It only covered the front so that you could use the wig with it. Also, if you wanted, you could put the beard and glasses on over the new face. It just did fit.

Mike Hazard also came with a few cool hats. They wouldn’t fit very well over the wig but if you used them on the original head they fit just perfectly. The hats were a beret and a Clark Kent style hat.

Hazard also came with a really nice trench coat that was made out of material, the only thing in the set that was. Everything else was made out of plastic.

As for weapons, he had weapons galore from pistols to machine guns to a futuristic gun. He also had a contraption that looked like a weapon but was actually a listening device.

Needless to say, this was one cool figure. But it didn’t last long and today is considered a very rare collectors item. Mint in a sealed box will bring you about $1500. Not bad for a $5 toy.

——————————————————-
Michael Russell
Your Independent guide to Collectible Dolls
——————————————————-

In the cooler climates homes used to be bitingly cold and often damp, especially when constructed of stone. Fireplaces and hefty iron stoves warmed toes in wet socks, provided heat for cooking and for many was the only opportunity to get the laundry dry during winter. Many confined days and evenings were spent knitting up supplies of all manner of items, some quite wacky, to keep our various body parts from freezing to the bone.

Apart from the obvious thick socks, there were family needs to be considered; often the elderly and invalid were cared for at home. Women and children knitted bandages and medical garments. Among the woollies required you would find bed socks, heel-less bed socks, slippers, long-armed gloves, caps, tubular sleeves, knee-caps, wrist warmers for arthritis, scarves, bed-jackets, wraps and miser’s gloves (fingerless or short-fingered for counting money, writing and knitting).

One intriguing item is the body warmer, worn of course over the abdomen if one suffered severely from the weather. It no doubt was used for the bed-bound and aged, and proved a soothing layer of wool for those with icy marrow. You might make this up for amusements sake and then find it toasting your tummy under your nightgown next winter. An old folk cure for revitalizing thin winter blood recommended placing ice over the body warmer, then covering with thick blankets. One would thus expect to be thrilled by a flush of fire whooshing through the blood vessels.

MATERIALS

50g balls 4ply wool in cream (heavier weight baby wool)

3.25mm/US 3/UK 10 circular needles (80cm length)

3.00mm/US C/2-D/3/UK 11 circular needles (80cm length)

PATTERN

Knit gauge samples in pattern stitches to determine number of stitches per 2.5cm/inch. Decide on your preferred cast on method; you may want to try one of the soft tubular edges with matching cast off. Using 3.00mm needles, cast on number of stitches according to measurement of tummy. Join into circle and slip over a round place marker to indicate start of each round. Begin plain 1 x 1 ribbing:

Row 1: *k1, p1* repeat around, working in the round. Rib for 12-15cm/5″ to 6″.

Change to 3.25mm needles continuing in stocking stitch for length required (20-26cm/8″ to 10″), then repeat the rib as for beginning. Weave ends. If preferred, use 8ply wool and suitable needles, adjusting number of cast on stitches. Other snug ribbing stitches may be switched for plain 1 x 1 rib. Here are some examples arranged for circular knitting allowing a seamless, smooth undergarment.

Hunter’s Rib (in the round):

Round 1: *P4, (K1 through back of loop, p1) 3 times, k1 tbl*.

Wide Rib (in the round):
Row 1: *p1, k4*.
Row 2: Knit.

Slip Stocking Stitch Eyelet (in the round):

Rounds 1 and 2: *Slip 2 purlwise with yarn at back, k2*.
Rounds 3 and 4: Knit.
Cord or ribbon can be threaded through the formed eyelets.

Esmerelda Jones… The Knitting Wench
Writer Of Desires
Writer Of Old Curiosities
Full graphics version here

Victoriana, Victorian Swoon, Gods & Goddesses: The Wisdom And Pleasures of Ancient Greece, Classic Romance, Poems For The Passionate, Whimsical Tales, Bushrangers & Australian Pioneer, Ghosts I Have Known, Gypsy Knitting. Ratings and comments delightfully accepted.