Hermann Obrist “Grober Blutentraum” wall hanging, 1895. This Jugendstil designer studied natural sciences at the University of Heidelberg, then trained in ceramics and sculpture. He later established an embroidery workshop in France with Berthe Rouchet. His writhing and undulating forms (“whiplash curves”) were not only abstractions from his studies in cell structure, root formation and plant morphology, but also were “visions” reflecting his inner turmoil.
Vilmos Zsolnay & Lajos Makk, lustre stoneware vase for Zsolnay Pottery. Hungarian Arts and Crafts, 1900.
Walter Crane “Orange Tree” textile for Jeffrey & Co., 1902. British Arts and Crafts.
Josef Maria Olbrich, poster for ‘Ein Dokument Deutscher Kunst” exhibition at the Darmstadt artists’ colony, 1901. Informed by the Vereinigte Werkstatte fun Kunst im Handwerk (1897) and inspired the formation of the Wiener Workstatte (1903).
Japanese Sakabukuro Cotton cloth bag used as a sake kasu filter. A tannic dye made of green persimmons is used to strengthen and disinfect the bag in addition to color. Dating from the early to mid 20th century, these bags were patched and mended to prolong their use.
Ray Eames “Cross Patch” textile for Schiffer Prints, 1945. United States.
Sven Markelius “Pythagoras” textile for Nordiska, 1952. Stockholm.
My Amish “Ocean Waves” Quilt.
Alaska State Fair, August 2010.
Star and heart threadwork on black.
Quilter unknown.
Alaska State Fair, August 2010.
Triple Irish Chain Quilt, artist unknown.
