Is There Such a Thing as Blanket Heaven?

Is there such a thing as being in blanket heaven?!  Yes, there is, because I was there! On a recent visit to Taos, I took in Millicent Rogers Museum.  I can't count the number of times we have been in Taos for wool market and never stepped foot in that museum.  There are so many fine galleries and museums in Taos and why I've skipped this one, I'll never know.   But, I'm so glad that I visited this time.   What a collection of handwoven blankets!! And photographs were allowed without flash, of course--that way, I can savour the techniques of these fine examples of Saltillo and Rio Grande cultures.  Chimayo Weavers  carry on this tradition.


This is ikat dyed from late 19th century.  Little is known of the weaver, just that the link is Saltillo in nature.

The close-up of the points--is this weft or warp ikat?

Weft ikat==1800-1860; handspun cotton for warp, handspun brown, white, indigo for weft.

Close-up of workmanship

I especially took this photo to see how a patch was applied to cover up a hole.

This blanket is Rio Grande design based on Mexican Saltillo--featuring complex all over design with central concentric serrate diamond, serrate zig zag columns and a side border.  This form continued into the late 19th century.  Two widths seamed together, handspun wool, natural; undyed light and dark as well as indio and cochineal dyed wool for weft.

Just can't believe the sharpness of the points!

From 1800 to 1860 indigo dyed yarn in combination with natural colored brown and white yarn formed the palette for the majority of Hispanic woven textiles.  The zig zag design reflects the influence of Mexican Saltillo style weaving on Rio Grande weavers of the time.  Two widths were seamed together.

Nice hatching and combining of colors

This is pre-1860 Saltillo zig zag serape from Rio Grande Hispanic.  The Tlaxcalan Indians of Saltillo, Mexico are credited with originating the Saltaillo serape serrated diamond pattern.  Nineteenth century New Mexican weavings had fewer but larger design patterns and less intricaate background than the Saltillos from Northern Mexico.  Horsemen used the serape because it was water tight and could eaisily be rolled up and carried behind the saddle when not in use.  Like the Spanish cape, the serape was an accessory that represented status.

Just nice sharp points!

Before we go onto the next collection, let's talk a little about chief's blankets, which is a misnomer.  These blankets (chief's) were not used exclusively by tribal leaders, but were worn and traded extensively throughout the West.  When referring to the Navajo Chief's blankets and "phases", it is reference to the evolution of the elements in the design of these blankets. 
First Phase:  developed in 1800, but tradition had been established around 1650.  These blankets were made to be worn and had stripes that were woven with natural brown, white wools with indigo.  The end of this phase was mostly used by Navajo, with a huge time of cultural change with Kit Carson's removal of their tribe in 1863 and their relocation to Fort Sumer, NM, where they were held captive until 1868.  This led to their exposure to new materials and the Spanish American/Mexican patterns, which influenced their designs

This is classified as 'first phase Ute style' Navajo Chief's blanket from 1860.  Until 1820's, Navajo weavers made simple striped blankets, similar to Pueblo and Hispanic weavers.  Then Navajo weavers began making this type of blanket with the design of the simplest form.  This style consisted of stripes of indigo blue and natural brown and white.  These blankets, prized by the Ute Tribes are mostly valued by blanket collectors today, mainly due to their rarity.  Less than 50 of these 1st Phase blankets made until 1965 have survived.

This is a banded blanket, dated 1870-1890, Woven double width with natural handspun white and brown yarns.  Handspun indigo and handspun aniline red.

Moki striped blanket, 1880-1890, is a basic stripe pattern in natural brown or top dyed black and indigo broken by bands of white or red.  This pattern wasd brought to the Southwest by the Spaniards and was used by Hispanic Pueblo and Navajo weavers.  White Hispanic and Navajo weavers ventured far from the basic stripe.  Pueblo weavers continued to weave it throughout the 19th century, using it as a background for more innovative geometric and serrate designs.  So common was this design to the Hopi that the term MOKI, a name used by the Navajo for the Hopi, was applied to all blankets of this style despite the common to all three cultures.

The small stripe added interest with the diverse twist.

Another banded style blanket, Rio Grande Hispanic; warp is commercial spun cotton, weft is handspun natural, indigo and aniline dyed wool.  Towards the end of 19th century the trend in Hispanic weaving turned toward the use of bright aniline dyes and commercially spun warp and weft yarns.  This blanket spans two weaving 'generations' because of the presence of the banded saltillo design and the handspun indigo dyed weft, both of which predominated earlier in the century.  The aniline dyed red and the commercially spun cotton warp were relatively new to New Mexico in 1880 and indicates what was to come in Rio Grande weaving through the turn of the century.

Second Phase:  the stripes thinned out and triangluar forms were introduced.  In addition new red dyes were incorporated and were strategically placed to accent significant points of the body.  These forms began to imply the motifs that were to be installed in the third phase.

This is classified as 'second phase' Chief's blanket (Navajo) 1870-1875.  Modified second-phase chief's blanket woven with handspun and raveled flannel yarns.  The presence of the raveled flannel and 4 ply Germantown yarns suggest the above dates.  This blanket was displayed in Millicent Rogers' Taos bedroom.

Third Phase:  Stripes only functioned as a background and now diamonds and crosses appeared in the fore front.  With the arrival of the railroad came the introduction of Germantown yarns and access to aniline dyes and with these materials came the "eye-dazzler" style

'Third Phase' transition Chief's blanket (Navajo), 1890-1895.  This blanket represents a late Third Phase Transition Chief's blanket--the diamond motif has been replaced by crosses and the proportion of the large central motif surrounded by smaller motifs has changed.  The commercially spun wool and aniline dyed cotton yarns used in this blanket indicate the evolving relationship between Navajo and Euro-American trading partners and design collaboration in the late 1800's.  This blanket also signals the beginning of the kaleidoscope "eye dazzler' period, and a transition from blankets woven primarily for Navajo use to textiles woven by Euro-American traders and tourists.

Diamond Network blanket (Navajo) 1880-1885; wapr:  handspun natural wool with weft being handspun natural, indigo, indigo-green & aniline dyed red.  As less time was used in preparation of handspinning yarn, more time was used on design.

Fourth Phase Chief's blanket--woven entirely with handspun yarns in natural colors on churro wool.  Now, you can see how progress involved in design and color placement

This is more!  Can you believe?!  Stay tuned to another blog within the next few days with photos of more of these stunning blankets.

And How Do You Spin?

Love Fibers??!! You bet!! Just the touch and feel of any type of fiber (well, it should be nice to feel fiber). There is a handshake in weavers' language--it's the touch of fiber! That language also crosses into quilting, spinning, dyeing or any fiber related craft.

There hasn't been much spinning this summer, but now that fall is here--it's time to get back to the spinning wheel and enjoy the touch of fiber.  This is llama/silk blend.........

I just love the touch and feel of this fiber, I had to post a photo twice--two times the pleasure!  Just a nice fiber to spin!

It is hard to see here, but this fiber has a touch of silver amongst it's merino wool--blended just perfect for our spin-in 25th anniversary party in January!  Our theme is 'circles' and this will make a wonderful cowl to wear on those cold days.

This wensleydale fiber roving is all so pleasing to the eye, but the touch is not the softest.

Spinning was a pleasure though--outer wear definitely.  Okay, back to the spinning and thinking about what to make from these lovely fibers.......................

Let There Be Color!!

Let there be COLOR!  It's that time of year when reds, yellows, oranges, greens burst forth in nature!  It's the time we enjoy--the fresh clear cool fall air bringing the change in everything around us.  To some this is their best time of the year--so, let there be COLOR!

Museum Exhibits

When we have a chance to view interesting exhibits, we take it. This summer we visited two unique displays of historic significance. One was in downtown Denver, around the Pavilions, off 16th Street mall. Da Vinci Machine Exhibit will continue through December, 2012.

Included in the exhibit were drawings that Da Vinci did in the 1500's--and along with these drawings are models from the drawings.

This is a model of his tank formation--there are over 60 models on site to view up close, some you can actually work and touch.

Leonardo da Vinci has become the definition of a Renaissance Man —
 an artist, architect, designer, engineer, philosopher, and
scientist. He learned to use art, anatomy, botany, geology,
mathematics, and physics to improve on what was known in his day
and to develop new ideas.

Here is the model from the above drawing that would allow men to scale walls.

Before our modern ways to measure wind speed this is an instrument that would show men during 1500's the velocity of wind.

The notion of perpetual motion was hotly discussed in Da Vinci's time and with this model he showed there was proof.  Da Vinci's mind must have been running at full force all the time--thinking of all these things that could be--guess what?  They are to be in our present day--a brilliant man for sure, ahead of his time.

Also shown were some of the paintings that he did--this one of mother and child--just lovely to behold.

And then we come to the flying machines--while the men walk around the display and marvel at the invention, I'm walking around thinking "how did that fabric get spun and woven?  What type of loom did they use? and was the fabric linen or wool?  Spun on drop spindles by artistic women?" 

And yes, it took yards and yards of spun thread to complete this sailing fabric--but, of course, these were all on paper and not completed during those days.  Oh, well--there were the thoughts rambling through my brain.

Another historic event that took place in early days was the settlement of Pompeii and the destruction of this location of 20,000 people in 79 A.D.  This exhibit at Denver Museum of Nature and Science will continue through January, 2013.  We took the opportunity to check out this Italian sponsored display recently.  We walked through "A Day in Pompeii".  What is so fascinating about this exhibit is the amount of items that have been rescued from that disastrous volcano eruption.

We marveled at the mosaics!  And I'm thinking 'this would make a great quilt design' as I'm studying the intricate small pieces of marble that are laid in this pattern.

These marble pieces were about 1/4" or less in size--just unbelieveable!  This type of design would have been laid in the floor of the atrium as a welcoming to guests.

This mosaic was found in the burying ground--I'm thinking of the artists (workers or slaves) who designed this masterpiece and laid it all out.

Could we even imagine the time and effort it took to make it?

And how about this design?  It is reconstruction of design that would have been on pieces of furniture--maybe a couch or bed frame.  Nice border for a quilt?

Then we come to the jewelry--awesome gold necklace!

Taking a closer look--could this have been knitted? or just braided?  Or I'm thinking viking knitting.

And the frescos!!  just too unique for words! and to think these went through a massive ton of ash and fire.

Some frescos were found more complete than others.  Of course, there were no fibers or fabric found, but there was a brief touch on how they did their laundry--using urine for bleaching agent.  But, once again--I'm thinking "how did they spin the thread and weave the fabric?"  Remember they wore togas, which included nine (9) yards of fabric, linen for the women and wool for the men.  That's something to really blow your mind!!