Heritage throw by Plesner Patterns

Christine Becker, owner of Woven Inspiration, an interior design studio, has carved a niche in the preservation of historic properties, particularly gilded mansions, through specialized upholstery and fabric work. Her journey into design began in Verona, Italy, and Greenwich Village, N.Y., where she developed an early appreciation for architecture and hands-on craftsmanship, heavily influenced by her grandmother and mother who sewed and upholstered. She later formalized her skills through trade courses and opened her first shop, Upholstery Plus Fabrics, in Houston in 1988. Becker's passion for gilded mansions led her to relocate to Galveston, Texas, an area rich with such historical structures. Her studio, Woven Inspiration, specializes in intricate projects that demand historical accuracy and meticulous craftsmanship. A notable example is the 2018 renovation of the 1892 Bishop’s Palace in Galveston, a National Historic Landmark. This project involved reupholstering the walls and furniture in the music and gold rooms. For the music room, Becker and her team sourced 50 yards of silk damask from France, matching a very specific silver shade. The gold room required 68 yards of gold Scalamandré silk from Italy, featuring a Newport leaf pattern carefully matched to the existing stained glass windows. These material selections involved extensive research, consultation with the Galveston Historical Foundation, and a year-long process of sampling and matching with mills across Europe to ensure historical authenticity and a 'wow' effect for visitors. The installation phase of such projects highlights the demanding nature of the work. Becker's team employs industrial sewing machines to join fabric patterns, applies custom liners for moisture protection, and uses specialized adhesives and cording to secure the silk. The process for the gold room alone took six days with five people, demonstrating the intensity of the manual labor and precision required. Becker emphasizes the rarity of such 'serious craftsmanship' today, noting the need for pattern matching without computer assistance and an extremely keen eye for detail. Despite considering herself semi-retired, Becker's commitment to preservation keeps her engaged in significant projects. Her work at the Bishop’s Palace led to further collaborations with the Galveston Historical Foundation, including the reupholstery of the captain’s quarters in the 1877 tall ship ELISSA and the installation of a striped Scalamandré silk wall in the W. H. Stark House, a Victorian home in Orange, Texas. Beyond historical landmarks, Woven Inspiration also restores individual clients' antiques and heirlooms and undertakes contemporary coastal condo designs, reflecting the diverse nature of her business. Becker is acutely aware of the dwindling number of skilled craftspeople in the sewing industry. She maintains a high standard for her team, requiring a minimum of 15 years of experience and specialized skills like tufting. Many of her employees boast 30 to 40 years of experience. To address the decline, she actively works with local schools to introduce younger generations to upholstery and the broader textile arts, hoping to preserve these dying crafts. Her business also integrates repurposed materials, such as wood from a salvage yard, to create unique furniture pieces that resonate with the art of preservation. Becker views her work as a 'heartfelt business,' focusing on helping clients make informed design choices that align with their families' needs and the character of their homes. #HistoricalPreservation #InteriorDesign #Upholstery #TextileCraftsmanship #GildedAgeMansions #FabricSourcing #RestorationProjects #SkillPreservation

This article, titled "Quilt school," written by Sarah Falco, delves into the historical technique of Broderie Perse, a centuries-old quilting method. The piece aims to educate readers on the origins and practical applications of this intricate craft. Broderie Perse, which translates from French as "Persian embroidery," involves cutting out motifs from one fabric and appliquéing them onto another background fabric. This technique often creates a three-dimensional effect, making the appliquéd designs appear to stand out from the surface of the quilt. Historically, it emerged as a way to utilize expensive or rare chintz fabrics from India and Persia, allowing quilters to showcase their beautiful patterns without using large quantities of the costly material. Instead of covering an entire quilt with a single expensive fabric, smaller, intricate designs were carefully cut and strategically placed. The article discusses the historical context of Broderie Perse, highlighting its popularity in the 17th and 18th centuries when trade routes brought exotic textiles to Europe. These fabrics, often featuring vibrant floral or scenic patterns, were highly prized, and Broderie Perse provided an economical yet visually striking method to incorporate them into quilts, clothing, and other household textiles. The technique was particularly favored in England and America during colonial times, where it became a symbol of status and artistic skill. Key aspects of the Broderie Perse technique are explored, including the selection of suitable fabrics and motifs. Quilters typically look for fabrics with distinct, easily cuttable designs that can be isolated and rearranged to form a new composition. The process involves carefully cutting around these motifs, sometimes leaving a small seam allowance, and then meticulously hand-stitching or machine-appliquéing them onto a base fabric. The article would likely detail different stitching methods used for appliqué, such as whipstitch, buttonhole stitch, or invisible appliqué, each offering a distinct finish. Furthermore, the article addresses the design principles behind creating an effective Broderie Perse quilt. This includes considerations for layout, color theory, and how to create a balanced and visually appealing composition using disparate elements. The placement of motifs is crucial to convey movement, depth, and a cohesive narrative across the quilt surface. Often, quilters would combine various cut-out elements with traditional piecing or embroidery to enhance the overall design complexity. The durability and preservation of Broderie Perse quilts are also touched upon, given their historical significance. Many antique examples of this technique survive today, demonstrating the longevity of carefully crafted textile art. The article may offer advice on how modern quilters can adapt traditional methods for contemporary projects, perhaps suggesting new materials or tools while still honoring the historical integrity of Broderie Perse. In summary, the article provides a comprehensive overview of Broderie Perse, from its historical origins and cultural significance to its practical application in quilting. It aims to inspire readers to explore this rich textile art form, offering insights into the techniques and creative considerations involved in bringing these historical patterns to life in contemporary quilting projects. #Quilting #BroderiePerse #TextileArt #CraftHistory #FabricAppliqué #QuiltDesign #HandStitching #HistoricalTextiles

Pargeting, an ornamental plasterwork technique, holds a significant place in the architectural history of East Anglia, adorning both the exteriors and sometimes the interiors of buildings. This craft, a less detailed version of fine stucco work, is primarily concentrated in East Anglia due to historical circumstances. The region's scarcity of suitable building stone led to the rendering of many timber-framed structures, providing an ideal surface for pargeting. The practice did not experience a revival but rather a continuous survival. During the Jacobean period, East Anglia's wealth from the wool trade fostered a proliferation of elaborately pargeted buildings. When the style fell out of fashion, the region's subsequent economic decline meant these structures were not replaced, thus preserving the tradition. Anna Kettle, a Norfolk-raised, Suffolk-based artisan, is among the few individuals actively perpetuating this craft. Her journey into pargeting was inspired by a Jacobean ceiling, prompting her to pursue a City and Guilds plaster course and subsequent work in plaster conservation. To further hone her skills in ornamental plasterwork, she secured a Queen Elizabeth Trust scholarship to study freehand modeling in Venice. Kettle's unique expertise lies in her dual capability as both a pargeter and a conservator, with approximately half of her commissions involving the restoration of historical plasterwork, such as a challenging ceiling repair in an Ipswich merchant's house that required steel support. Her new projects predominantly involve rural buildings, often aiming to replicate the distinctive East Anglian vernacular style. Notably, she also undertook a commission for a ceiling at Birkhall, The Prince of Wales's residence in Scotland. Kettle specializes in figurative scenes, often incorporating local historical references, and frequently draws inspiration from church designs. The grapevine motif is a recurring request, which she endeavors to vary creatively. She expresses a desire to explore more modern designs within her work. Kettle characterizes pargeting as the artistic facet of plastering, traditionally performed by plasterers with an innate artistic inclination. There are two primary grades of pargeting. The more common and less intricate method involves creating a 'scratch pattern' by 'combing' wet plaster panels. This technique generates a textured surface that interacts with sunlight, enhancing the building's character. The more demanding process, which Kettle predominantly practices, involves freehand modeling directly onto the surface, typically in low relief. She exclusively uses lime-putty mortar, purchased pre-mixed, and reinforces it with white goat hair to achieve tensile strength. Cement is deemed unsuitable due to its higher shear and inability to be molded into the desired curvilinear forms, though it can be utilized for scratch patterns. Kettle's process begins with transferring a scale drawing of the design onto the wall, followed by 'keying up' the surface with a drill. She then meticulously models and builds up the mortar using a spatula and her fingers, working in sections and refining the details as she progresses, as the material cannot be reworked once it starts to set. The finished pargeting requires approximately three weeks to properly set, depending on weather conditions, before modern masonry paints can be applied. However, the traditional and recommended approach is limewashing, which can be done sooner. Kettle sometimes applies the limewash herself, emphasizing the importance of balancing the number of coats to avoid obscuring the intricate details of the plasterwork. For those interested in preserving pargeting, expert advice includes using line drawings for designs, regular limewashing for maintenance, and ensuring proper guttering to prevent water damage to laths and subsequent deterioration of the pargeting. #Pargeting #EastAnglianArchitecture #OrnamentalPlasterwork #TraditionalCrafts #AnnaKettle #BuildingConservation #LimePuttyMortar #ArchitecturalHeritage #HomeDecoration

The home decor landscape is undergoing a significant shift, moving away from minimalistic and Mid-Century modern aesthetics towards more elaborate and ornate designs. This transformation is particularly evident in fabric choices, where intricate and decorative patterns are gaining prominence across various home textiles, including rugs, curtains, throw pillows, and bedding. Among these emerging trends, vintage-like heritage fabrics are positioning themselves as a leading style for the fall and winter seasons. Heritage fabric trends draw inspiration from traditional textile designs throughout history, evoking a sense of nostalgia for simpler times and traditional craftsmanship. This style embraces patterns and textiles that possess a timeless quality, encompassing a diverse collection of designs and eras. These include classic motifs such as florals, damasks, chinoiserie, paisley, brocade, and jacquard. Even simpler patterns like retro stripes are considered part of this broader heritage fabric trend. For inspiration, designers suggest looking at heritage prints from renowned brands like Liberty of London, or for an Americana aesthetic, Pendleton and Ralph Lauren. The 19th-century Arts and Crafts Movement, with its nature-inspired prints by figures like William Morris, also offers rich palettes and patterns for this trend. To integrate this emerging trend into a living space, focusing on accents first is recommended. Items like curtains with floral or toile patterns can introduce a vintage charm without a significant investment. For a more classic look, tartan and plaid throw blankets, rugs, and pillows are excellent choices. A more subtle approach involves the fabric-covered picture frame trend, which utilizes small pieces of cotton heritage-printed material to refresh old frames and add texture, print, and color to gallery walls. For this, intricate micro prints are ideal due to the smaller surface area. For those who appreciate the idea of prints but find elaborate florals overwhelming, classic stripes and plaids offer a heritage feel without dominating a space. These patterns are particularly suitable for larger, long-term purchases such as sofas or accent chairs. Gingham is another classic heritage print that provides a timeless feel for furniture pieces. To fully embrace the style, anchoring a room with an eye-catching patterned rug or wallpaper, such as Persian rugs or chinoiserie wallpapers, can boldly introduce the heritage fabric trend into a home. Wallpaper can be applied to an entire room, accent walls, or even as a backdrop in built-in shelving units. Regardless of the scale of incorporation, blending heritage fabrics with contrasting accents and modern elements is crucial to prevent the look from appearing outdated. This involves mixing heritage statement pieces with clean-lined furniture or contemporary artwork. The strategy is to select one or two prominent heritage fabric items and balance them with more modern fabrics and shapes. This curated approach elevates the look and allows for the incorporation of other contemporary home decor trends, such as chocolate brown hues and silver accents, creating a sophisticated and current aesthetic for the season. #HeritagePrints #HomeDecorTrends #FabricPatterns #VintageAesthetic #InteriorDesign #TextileTrends #AccentDecor #ModernHome

The article highlights how interior designer Penny Morrison transformed a dilapidated 18th-century country house in Wales into a vibrant and comfortable home. The house, built in 1790, is located near the English border and is characterized by its bucolic surroundings, including rolling lawns, a stream, a walled garden, and a forest. The Morrisons, Penny and her art dealer husband Guy, discovered the property 26 years prior during a weekend visit. Despite its unlivable condition, plagued by dry rot and requiring extensive renovations such as a new roof, windows, plumbing, and wiring, they were captivated by the house's historic charm and spectacular views. Morrison's design philosophy prioritizes comfort, evident in her desire for a home where one can relax. She emphasizes that a house's design influences how its inhabitants feel. Her South African upbringing, which fostered a love for open spaces and an indoor-outdoor lifestyle, influenced her vision for the Welsh home. She envisioned a dwelling where ground-floor rooms opened onto the garden, allowing for an entirely open feel in the summer, reminiscent of a Scottish lodge. Morrison’s journey into interior design was unconventional, lacking formal training. She began by working in property development and then decorating show apartments as a sideline. Her reputation as a decorator grew organically after she meticulously renovated her own home, leading others to seek her expertise. During the renovation of their Welsh home, the Morrisons maintained the essential structure of the house, aside from converting several bedrooms into new bathrooms and raising the central staircase ceiling by five feet. They admired the generously proportioned rooms and the expansive views. Morrison is a proponent of using large furniture pieces and grouping collections to amplify space and maintain visual focus without clutter. Her home showcases this approach, with a diverse array of artifacts and her husband’s art collection, many items sourced from country-house sales. As an avid collector of china, she gradually adorned the rooms and hallways with an eclectic mix. The central staircase walls are notably decorated with stuffed animals in glass boxes, and deer heads and antlers, some from hunts on their estate. The designer developed her own fabric and wallpaper line, which she incorporated into the home by reupholstering soft furnishings like armchairs, sofas, and large ottomans. The library is particularly illustrative of her textile passion, featuring contrasting patterns and vivid hues from her fabric and home accessories line, Irving and Morrison, co-founded with Carolina Irving two years prior. These fabrics, sourced from various international locations such as India, Morocco, and Turkey, are juxtaposed with equestrian paintings, leather-bound books, and a portrait of their son, Ted. Morrison avoids a "matchy look," advocating for a blend of items from different periods to create a lived-in, personalized aesthetic. Outdoor spaces also received significant attention. The Morrisons cultivated box balls and sculptural hedges to define the garden's form and redesigned the walled garden to create an outdoor living area for summer. They enjoy dining outside whenever possible, embracing the late-summer evenings. The transformation of the property reflects Morrison's distinctive style, characterized by offbeat colors, fanciful patterns, and a commitment to comfort and individuality in design. #InteriorDesign #HomeRenovation #WelshCountryHouse #PennyMorrison #TextileDesign #EclecticDecor #HistoricProperty #IndoorOutdoorLiving #FabricPatterns

Antique and vintage shops in Lancaster County experience fluctuating demands for various items, reflecting diverse customer tastes and interests. Despite the challenge of pinpointing consistently popular items, several shop owners have identified specific categories that frequently attract buyers. Tommy Niner, owner of The Vintage Kitchen & Antiques in Adamstown, notes a significant demand for swung vases. These tall, colorful, and irregularly shaped glass pieces are prominently displayed in his shop, appealing to a wide demographic. Younger buyers often purchase vases priced between $50 and $100, while older collectors opt for more expensive pieces, sometimes costing up to $1,000. Niner attributes much of this popularity to social media platforms like YouTube, Instagram, and Facebook, where influencers showcase these vases, often demonstrating how to create rainbow effects with them. This social media influence has become a substantial driving force in the antique market, even prompting customers to travel considerable distances to acquire these items in person, as Niner's shop does not offer shipping. Jesse Speicher, owner of Space in Lancaster, reports that midcentury furniture, particularly bedroom sets and dining tables, is consistently in high demand. These items sell quickly, indicating a strong preference among his clientele for this specific design era. At Strasburg Antique Market, Karen McClure observes that seasonal items are very popular. During certain times of the year, products like hand-blown eggs and Ukrainian pysanky Easter eggs become highly sought after by shoppers. Bootleg Antiques in Columbia, managed by Connie Anderson, sees frequent requests for uranium glass and railroad items. Uranium glass, which contains uranium oxide and glows neon green under a blacklight, has recently surged in popularity, partly due to features in publications like Country Living magazine. Anderson also highlights the strong following for railroad artifacts, such as full-scale commercial bells and lights, which are increasingly finding their way into homes, possibly driven by nostalgia. Jodi Pabon of The Scarlett Willow in Lancaster finds that specific clothing items, especially top hats, are often requested. Despite their iconic vintage appeal, top hats are rare due to limited original production and poor survival rates over time, making them difficult to acquire in good condition. Jill Marhevka, owner of Vintage & Co. in Lancaster, indicates that buffets and mirrors are popular. Buffets are often repurposed by buyers as media consoles for televisions or used in dining rooms. Mirrors, particularly vintage gold ones, are frequently sought for bathroom makeovers, with some customers requesting them to be painted white for a more contemporary look. Penny Knight of Brickerville Antiques Barn in Lititz reports a consistent demand for pantry boxes from the 1800s. These bent wood containers, originally used for dry goods, are preferred by collectors when they retain their original paint, though some are repainted. Ron Madar at Rivertowne Antique Center in Columbia notes interest in advertising items and signage, a trend also observed in shows like “American Pickers.” The center offers a wide range of items, from inexpensive pieces to high-value collectibles like a $15,000 chest from Soap Hollow, a historical community known for its distinctive furniture craftsmanship. These unique Pennsylvania furniture pieces are highly prized by collectors. Esther Glick of Antique Village of Strasburg highlights Fenton glass as a consistently requested item. Fenton glassware, produced until 2011, is part of a broader resurgence in glass and pottery. While prices for pottery like Weller and Roseville McCoy have not returned to their peak levels from 25 years ago, they are steadily increasing, and the renewed interest in glass is a notable trend. Finally, Linda DiBartolo, co-owner of Tannery Antiques in New Holland, identifies die-cast tractors and postcards as popular items, alongside their specialty of taxidermy. The rising interest in postcards is attributed to people collecting images of places they wish to visit, reflecting a shift in travel habits. These diverse interests underscore the dynamic nature of the antique market in Lancaster County, driven by both nostalgia and contemporary trends influenced by social media and changing consumer preferences. #AntiqueCollecting #VintageDecor #HomeGarden #LancasterCounty #InteriorDesignTrends #SocialMediaInfluence #MidcenturyFurniture #UraniumGlass #RailroadArtifacts #FentonGlass

Philip Simmons, born on Daniel's Island, South Carolina, on June 9, 1912, became a distinguished ornamental ironworker and a 1982 NEA National Heritage Fellow. His journey into metalworking began at the age of 13 when he apprenticed under Peter Simmons in Charleston. Peter, born a slave in 1855, had inherited the trade from his father, Guy Simmons. Philip was drawn to the craft by the visual and auditory elements of the blacksmith's shop, specifically the sparks, fire, and the ringing of the hammer, which fueled his passion for the work. By 1930, Philip transitioned into a full-fledged blacksmith. An illness experienced by Peter left Philip responsible for the shop. During this period, he undertook a significant project, repairing three large metal tubs for the Johnson Coal Company. This marked a substantial increase in his earnings, elevating his weekly income from $4.00 to $17.50, which was considered a significant sum at the time. In the late 1930s, Simmons began to shift his focus towards decorative wrought ironwork, although he continued to identify as a 'general blacksmith.' This meant he was proficient in various metalworking disciplines, including angle smithing, farriery, wheelwrighting, toolmaking, and ornamental ironwork. He asserted that the fundamental principles of shaping metal, whether for a leaf or a horseshoe, were similar, underscoring his versatility. Simmons's inaugural decorative piece in Charleston, located at 9 Stolls Alley, is a prime example of the city's traditional ornamental wrought iron style. This piece features an overthrow adorned with spear points and incorporates S and C scrolls, which are prominent motifs in Charleston's ironwork tradition. Since the 1940s, Simmons received numerous commissions for decorative ironwork, encompassing gates, fences, handrails, window grills, and balconies. His work characteristically blended historical aesthetic elements with practical functional requirements. He emphasized the importance of maintaining consistency with existing architectural styles to ensure the coherence and aesthetic integrity of his additions. In some of his projects, Simmons incorporated sculptural motifs. Notable examples include his 'snake gate,' designed to evoke lifelike qualities through the inclusion of eyes, and the 'star and fish gate,' created in 1976 for the Smithsonian Institution. The latter was crafted from multiple curved iron pieces to convey the illusion of movement, as if swimming. These bespoke gates were client-requested, necessitating Simmons to employ his imaginative skills to realize their vision. In 1991, his admirers established the Philip Simmons Foundation, a non-profit organization dedicated to developing and maintaining a garden that commemorates his work on the grounds of his church, St. John's Reformed Episcopal Church, in downtown Charleston. His works are also part of the collections of prestigious institutions such as the National Museum of American History, Smithsonian Institution; the International Museum of Folk Art, Santa Fe; the Richland County Public Library, Columbia, South Carolina; and the Atlanta History Center, Atlanta, Georgia, showcasing his significant contribution to American folk art and craftsmanship. #PhilipSimmons #OrnamentalIronwork #Blacksmith #Charleston #NationalHeritageFellow #FolkArt #Metalworking #HistoricalCraft #SculpturalMotifs

Jeff Poree, a fifth-generation plasterer and owner of Jeff Poree Plastering, exemplifies dedication to his craft despite the physical demands of his work at 69 years old. He expresses no intention of retiring, with his company currently managing ten projects. Poree's extensive experience and the legacy of his family's craft are rooted deeply in New Orleans, where his company is renowned for its expertise in ornamental exterior and interior plaster, artistic molds, and specialized finishes, including Venetian and exotic techniques. The New Orleans Master Crafts Guild, through its founding director Jonn Ethan Hankins, recognizes the Poree family's exceptional skills. Jeff Poree Plastering operates a substantial 15,000-square-foot casting shop, employing 32 individuals. This team includes apprentices who learn foundational plastering skills like creating smooth walls, as well as gifted artisans specializing in intricate decorative elements such as ceiling roses, lions, and gargoyles. The company also maintains a full-time art department capable of restoring damaged pieces using fragments, photographs, or drawings, aiming to return historic works to their original state. Christopher Caravella Jones, a long-time employee, highlights the honor of restoring historical works. Architect Robert Cangelosi, Jr., president of Koch and Wilson, has frequently collaborated with Poree's company on numerous projects, including significant historical sites like the Napoleon House and various private residences in the Garden District and French Quarter. Cangelosi commends Poree's company for its experience and expertise in complex historic plastering and stucco restoration, emphasizing its role in preserving New Orleans' heritage for future generations. This underscores the critical role Poree and his team play in maintaining the architectural integrity of the region. Poree is also committed to preserving the craft of plastering by educating the next generation. For the seventh consecutive year, he is scheduled to present at The New Orleans Jazz & Heritage Louisiana Folklife Village. Furthermore, he actively trains apprentice plasterers, with the apprenticeship program spanning three years. Poree is nearing completion of his sixth apprenticeship class. Hankins notes that Poree, who trained under previous generations of master plasterers, is now considered the leading authority in the field and bears the responsibility of passing on these centuries-old, specialized skills to ensure the trade's continuation. Poree, described as humble and soft-spoken, expresses gratitude for having worked with older craftsmen and for the opportunity to share his knowledge with aspiring plasterers. #PlasterMaster #HistoricPreservation #NewOrleans #Craftsmanship #Apprenticeship #ArchitecturalRestoration #JeffPoreePlastering #OrnamentalPlaster #HeritageCrafts