Wallets

A note from Ann - A few of my wallets were stitched without a pattern, that I adapted from photos and information.  I use them for my personal use only and don't sell, profit or share any of my drawings.  I just want to be sure all understand that some are my interpretation and reproduction of originals I have seen photos of, and I do them just for the joy of stitching them.

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#1  ​This is my adaptation of a 1730-1780 Winterthur Pocketbook​ bequest of Henry Francis duPont.  I used the pictures/information they show online in their Collections section and transferred it to 28 ct linen.  I hand stitched the entire wallet with tent stitch using Textile Reproductions vegetable dyed wool thread, vegetable dyed linen lining and tape binding.

Tent stitch is a small diagonal stitch that crosses over the intersection of one horizontal (weft) and one vertical (warp) thread of linen or canvas forming a slanted stitch at a 45 degree angle.  This is a look at examples of the tent stitch  ...
https://en.wikipedia.org/wiki/Tent_stitch

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#2  This is an unfinished Bargello/flamestitch fragment that I adapted using my stash for completion so the colors aren't too exact.  Wool threads, mostly Paternayan, on 28 ct linen, with a leftover piece of vegetable dyed linen for the lining and a reproduction clasp for closure was used.  A picture of the original piece (Unfinished fragment) is shown below.

 

 

Bargello is a form of needlework utilizing vertical (straight up and down) stitches that move in a series of "steps" up, across and down the fabric to create a repetitive geometric design.  My favorite choice is 4 threads (steps) up and 2 thread (steps) down, repeated (Flamestitch).   If an alteration is made in the stitch length, step length, or number of stitches taken, the design will be altered, creating patterns such as peaks valleys, curves, diamonds, flames, bars, stripes, or latticework.  Tapestry needles are used for Bargello embroidery due to their blunt end and large eye.  The size of the needle will depend on the choice of fabric and thread used.  For cotton or silk threads a #22 or #24 will work if using 2 to 5 strands;, however, a #20-#22 would be better for wool thread since the larger eye will allow the wool to pass through easily.  For Bargello reference, visit Nuts About Needlepoint, Janet Perry.  http://nuts-about-needlepoint.com/

 

 

 

 

 

 

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#3  This design, 1810-1820 Florentine Wallet is a reproduction of a pocketbook in the Old Salem Collection of  Old Salem Museums & Gardens.  It is by Cissy Bailey Smith, Gentle Pursuit Designs and is available at  

https://www.gentlepursuitdesigns.com/store

 

 

I completed this Flamestitch wallet on 32 count linen using Needlepoint silk, silk lining, and pewter clasp  and made a small change to the front closure. 

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One more post with more wallets next.

 

 

 

Wallet basics 101

I asked Ann to give us a little insight into the construction of her wallets.

Three layers (stitched piece, stiffening, and lining) appear to have twill tape folded over the edges and hand stitched.  Not all wallets have a divider, some are just one pocket.  Folding the bottom up and closing the sides to form the pocket, folding the top down and attaching a clasp or tie, seems like it is doable.  Sure it is.  Ann not only is an expert at this finishing, she uses appropriate material to create a period reproduction correct in every way.  I may try a very small pocket constructed more like I would for a lined needleroll, certainly nothing close to this caliber.  Sort of a cross between a primitive short needleroll and a wallet.  A needlet.  I'll put that on my list.  Wherever the hell it is.

 

From Ann ...

All of my wallets are hand stitched, both the actual design and the finishing.  Although I have used canvas and soft congress cloth a few times, I prefer Wichelt linen because it is a stiffer linen and, for me, easier to use.  The count I use (28 to 40 count) depends on the design and the size I would like to see in the finished piece.  My wallets are predominantly either Bargello, Queen, or tent stitches.

For my first attempt to stitch a wallet, I purchased a kit so I would receive the pattern and also the instructions/supplies for finishing the wallet.  Be sure that finishing instructions are included in the kit.

For finishing my reproduction wallets, my choices for supplies are the following:

Textile Reproductions, Kathleen B. Smith of Massachusetts
https://www.textilereproductions.com/collections
- Vegetable dyed wool lining
- Vegetable dyed 5/8" wide wool twill tape
Etsy - https://www.etsy.com/shop/TextileReproductions?ref=l2-shopheader-name

Buckram is an open-weave cotton or linen fabric with a resin/starch finish used for interlinings in garments and for stiffening in millinery.  Although available in many weights, for historic wallets, the light or medium weight seems to work best.  It is sometimes available at Hobby Lobby or JoAnn fabrics but in limited weights.  I order mine online at Online Fabric Store.
https://www.onlinefabricstore.net/hsearchresult.aspx/?keyword=buckram%20fabric


Silver or pewter clasps - I use cloak clasps
Patterns of Time
https://www.etsy.com/shop/patternsoftime?ref=l2-shopheader-name&sectionid=13332325&section_id=13332325
Twin Roses Designs
http://twinrosesdesigns.com/Cloak-Clasps-for-Sale.html

To see prior posts of Ann's finished wallets, visit these posts - WELL worth another look!

https://samplers-and-santas.blogspot.com/2014/01/anns-wallets.html

https://samplers-and-santas.blogspot.com/2015/06/anns-finished-wallets.html

John Storrs' wallet 1754

Two posts of Ann's latest wallets, next.

 

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Ann's needlerolls part 2

Needlework Tool Case - a Mary Long design written exclusively for the Correspondence School of The Embroiderers' Guild of America.

This project required using materials and stitches that were very much outside my comfort zone, however, it was such fun and a joy to complete.

I used 18 count mono canvas, overdyed ribbon, DMC and metallic and pearl cotton threads.

Prickly Pine Stitching Etui, the Essamplaire here.

 This design/kit is worked in Irish/Florentine stitch in a pattern known as Prickly Pine.  The etui is based on 18th century American pocket books which were worked in a wool yarn; however, this one is silk thread for stitching on 35 count linen and silk fabric for the lining. 

The inside has pockets for stitching tools, and a stitched needle book with wool felt pages.  A stitched scissor sheath is included, a thread winder, and a 4"ruler made by their woodworker. 

The top straight edge is personalized in cross stitch with my name and date.


















My "Practice Stitch" needlebook.  In 2012 our EGA Dayton Chapter did a program that included introducing a variety of stitches

 Each month at the meeting, different stitches were introduced and we could practice these stitches prior to incorporating into our needlework piece.  I decided that since I was going to be spending so much time "practicing" new stitches, I wanted a record and a permanent reminder. 

Since I LOVE wallets, I chose a blue ticking and included a line of each stitch and to the right I jotted down the name of the stitch on the ticking as I completed the line.  Prior to finishing the inside with partitions for my needlework tools, I cut off the list of stitches and keep it inside the needlebook for future reference of each stitch name.

**************  Next - wallets  ***************

Progression

I started stitching samplers decades ago, mostly kits containing 25 count linen.  As time moved on and a shop sprouted locally, 28 became my favorite.  Moving forward, 30.   Availability of linen colors prompted attempts at 32.  How could I ever go higher?  Viewing Glenna's and Margaret's blogs featuring work done on higher counts just amazed me.  But one day, wanting the finish to be smaller, I tried 35 with one thread.  The difference?  Stronger magnifiers. Stitching on the higher count is no different than the lower when you have the correct magnification to see the weave well enough.  Those glasses were never used before but now, I use them for all counts, my latest favorite being 35.  My monster floor base Dazor mag lamp is only used for deep splinters.  Or a tick in my neck.

 

 So now, we're at 40.  The years of avoidance and apprehension are over.  I have arrived. Kris's gift was so tiny and sweet I just had to stitch it myself, on 40, my second 40 counter. (Chums is sitting on Mary Spinney.)  Except for a few designs that I could not resist, I really feel the stitch is over.  Just when 40 becomes a reality.  I don't mind the smalls but I have enough finishes for display and many are even put away.  I so wanted to have big girls Mary Spence, Mary Elliot, and Sarah Harvey and one day I may. 

 

Yep, I am thinking about closing shop for a while.  Work on some sewing projects, box tops, items for selling?  I don't know.  The number of readers has fallen according to Blogger stats, maybe it's time.  We'll see.  It seems the menocurse is once again creating a what-the-hell-do-I-want mental state.  Mark is encouraging me to continue stitching but I think there is an ulterior motive.  He sees me intently looking around the rooms and that instills fear in most men.  Fear that ideas, changes, disruptions may be coming before the last group is even finished.   Little does he know that the look is because I am ...
a) searching for misplaced items
 b) looking for a reminder of what I was just doing
 c) trying to remember the day of the week
 d) figuring how many Dove are allowed in my carb count
 e) wondering what I came into the room for
 f) is that a mosquito?
g) wondering if there is a spider in those cobwebs.

 

A few more needlerolls from Ann Sunday morning.

Have a great weekend.

 

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Ann's needlerolls part 1

Ode to Mary Needleroll, Dames of the Needle, Finger Work here

A tribute to Mary Queen of Scots' life with symbols on the needleroll that play out Mary's short and catastrophic life.  I used 32 count Vintage Tundra by Lakeside Linen, DMC floss, and Elizabethan green ribbon by Gloriana for the faux ruching around the finished piece.

 

Sewing Roll, the Essamplaire  here.

Based on an antique sewing roll, the kit is complete.  It contains two small wooden spools and a thimble.  The thread for the spools comes out of two small holes and the thimble rests inside a large hole. 

It also has two needle leaves made from wool flannel  The entire roll is lined with silk and ties shut with an antique ribbon. 

Worked entirely in flame stitch on 35 count linen using silk floss, some satin stitches and buttonhole stitches to reinforce the holes.

 

My adapted sewing roll

 

I took the Essamplaire flamestitch design and using DMC floss and dyed linen and wool, stitched a small little roll, just for fun.  I love anything Bargello!

 

My vintage fabric needleroll.
I used some vintage scraps of fabric to hand stitch a needleroll.  Very simple and somewhat crude, a "just because" project - simply a fun stitch.

***********  Next, part 2 *************

 

 

Polly with a twist

A quick post between Ann's to show Polly finished.
Lori Rippey's Polly Cole on 32 count.

I love this gal, even though she is twisted.  But Vonna named herself Twisted and she's a fine lady so we're good.  The dryer, the iron, the steaming, the stretching, the blocking, the wetting, the shaking, had me twisted into a knot.  She's not bad now, hasn't been interfaced or lined yet, and I am afraid to do either.  I have never faced this problem to this extent before, and the linen did come out of the dryer fairly even.  But as soon as I started turning the edges back, I could see that it wasn't only the measurement that was a problem.  The weave doesn't appear to be running true or square.

The only noticeable change I made in thread color was the large house because in the printed photo, it looked to be a light blue/gray and I liked it. So I subbed DMC 317 for 3781 (in the house), and 3032 for 3782 in the body. 

I would like to put all the long fringed pieces together eventually, but have taken most of them down for now.  I'm hoping the twist may work itself out if I leave her hanging for a while.  But that's about as likely as me having a good hair day. The boning is sewn into the top hem as the others.

I never mixed the framed pieces with the fringed before, and I don't think it looks bad.  So Polly may be hanging with a formal friend for a while.  Wherever she goes, I'm grateful that this chart was offered before my slump's final bell.  I really do not want to stitch.  But I can't stop playing with the linen.  Does that even make sense?  What good are the splendid colors if they aren't used?

 

 

Thanks for visiting.

 

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