Why was I on such a mohair kick about a year ago? I bought way too much of it, and still have a lot lying around. Yes, I like its ethereal qualities, its warmth without weight. But it is a bitch to knit, horrible to frog, and after all is said and done, it's slightly scratchy.
The good news, however, is that I'm teaching myself to knit Portuguese style, which is less stressful to my ravaged right hand than the standard American way I've used all my knitting life. Until now.
A while ago I promised to direct you to wonderful free patterns, and then I promptly forgot to do so. Well, check out King Babar!
His pattern is free on Ravelry, one of many gems in the treasury of Rabbit Hole Knits. He and other wonderful animalia are the brainchildren of Sarah Elizabeth Kellner, a creator of toys and whimseys. I love her work. You will recall her Henry's Rabbit design, which I realized in yarn and transported, in early February, to his new home in LA. He was intended to companion my granddaughter Adeline, but Max, her brother, co-opted him. I promised Max I'd make him any animal he desired, whereupon an order was placed for an elephant. Babar will accompany me to LA in July, and presumably then Max will return Rabbit to his sister. (Note to self: do not hold breath.)
I try to knit toys in acrylic yarns. Loyal readers probably know by now how intensely I dislike acrylics, but I also see their utility in the construction of toys and children's garments. Unfortunately acrylic can't really be blocked, and so Babar's regal cloak has a curling hem and his crown is in a permanent state of collapse. I may attempt shoring up the crown with pipe cleaners. If anyone has further suggestions, please feel free to advise me. If you decide to knit your own Babar, you may want to use superwash wool worsted, or something that will drape without curling.
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Bumbling around Hartford, Connecticut last week, I discovered two paintings of knitterly interest in the Wadsworth Atheneum, by artists you've never heard of. The Knotted Skein (1870), by Seymour Joseph Guy (American, 1824-1910), depicts a young woman and her boy helper struggling with, yes, a knotted skein. Perhaps this is a metaphor, or perhaps it's an omen of an unhappy relationship (hinted at by the Brahmsian figure lurking behind the young lady?). Or perhaps it's simply a depiction of a knitter dealing with a familiar problem?
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| The Knotted Skein by Seymour Joseph Guy (1870) |
More cheerful is The Italian Straw Hat (1952), by Peter Blume (American, 1906-1992), a depiction of the artist's studio/bedroom, according to the museum label. Either he was a knitter or had a knitting visitor. And he was mysteriously fixated on the Italian straw hat.
Given the artist's attention to detail, one feels that this painting might just as well have been titled The Blue Chest of Drawers, or even more aptly, The Knitting Basket. But as the poet said, "a rose by any other name...." Altogether I find this a delightful, fiber-filled painting (note the rug, the drapes, the hat, in addition to the basket of yarn), and I enjoy all the non-fibery details too, rendered with such precision.
