Teddy Bears
Something you might not realise is the history of the teddy bear dates back hundreds of years, and is extremely interesting.
By Rebecca Ware
The history of the teddy bear is also riddled with debate over who made the first toy of its type, Germany or America. Richard Steiff is the German who is believed to have drawn a bear prototype in 1902 after seeing a troupe of performing animals that was touring with an America circus. He saw an opportunity to make this bear into a toy which stood upright and was jointed similar to dolls around at the time. Of course there were other bear toys available, but they all took the form of a real bear whereas Richard’s version was the ‘first’ to be made with the bear not on all fours.
The word ‘first’ is debateable however as the Americans believe that the teddy bear was inspired by a story involving President Theodore Roosevelt, who was affectionately know as ‘Teddy’. Whilst on a hunting trip, he was finding it hard to get a bear to shoot, so his team found a bear cub, strapped it to a tree and told him to aim at it. He refused and the story soon got back to New York where cartoonist Clifford Berryman drew the scene for the Washington Post. This picture inspired Morris and Rose Michtom to make a bear in his honour and called it ‘Teddy’s Bear’. It became a great hit with kids, and was then mass marketed.
By 1906 the teddy was massive all around the world with every child, and even some high society ladies carrying them around. President Roosevelt used the toy as a part of his re-election campaign and the famous ‘Teddy Bears’ Picnic’ song was written at this time. As the years went on and these kinds of bears became more and more popular, American manufacturers produced a variety of different types, in colour, shape and size. They had to keep up with the products coming from Germany who were their biggest competitor at the time. During this period, America made some extremely interesting novelty bears such as the 1907
Laughing Roosevelt Bear by the Columbia Teddy Bear Company, which opens its mouth to show large teeth like the Presidents own. There was also the 1917 white and blue Patriotic Bear with light-bulb eyes. The bears from this time, made in both Germany and America are very sought-after today, with collectors aiming to own as many as possible.
World War I saw the popularity and manufacturing of the teddy bear soar, with most people preferring the high-quality hand-finished pieces. The Great War led to the Teddy Bear grow outside of Germany, which included companies like Chad Valley and Chiltern from England, Pintel and Fadap in France and even Joy Toys here in Australia. Over time, the bears changed – glass eyes replaced buttons and a softer alternative to wood was found for the stuffing. The teddy has become such a part of many people’s lives and I guarantee you would be hard pressed to find someone who can’t remember at least one of their much treasured bears!
Kitchen Couture
Originally worn to protect outer garments and prevent general wear and tear, aprons are now rather chic and a must-have fashion accessory!
By Jamie-Lee Hogan
The apron may once have been a symbol of labour in the home and the perfect housewife, but that certainly isn’t the case today. They can be worn by women, children, and even men of all ages and, whether it’s around the home, in the garden or while cooking on the barbeque, aprons are both practical and stylish.
The history of the apron goes back a long, long way – some even say to Adam and Eve – and fast forwarding to the 1960s, it’s interesting to note they almost became a fashion accessory. Although their popularity began to wane as feminism took off, they were still used commonly in the household, and today the thought of one still stirs images of the suburban housewife or the lady from the corner store.
Of course, they’re still worn for their practicality by chefs, waiters and even those in the fields of medicine and science, but there’s a large selection of novelty aprons and colourful ones for children to wear while painting or experimenting in the kitchen with mum; as well as many pretty patterns featuring fine embroidery that can even be seen as fashionable. Available in a wonderful range of sizes, shapes and designs, they’re appearing everywhere from museums to high-fashion catalogues. It’s hard to imagine these hip-hugging, colourful garments were ever associated with domestic drudgery!
It’s important to note the changing role of women in the home – and society in general – over the past few decades, has been evident in the evolution of the apron. Who would have thought a protective, even tattered apron, worn by housewives peeling potatoes would evolve over the years into an accessory adored by fashion-conscious young women?
Old traditions, reformed - the classic milk jug cover
Like Queen Victoria, society has warmed to garden tea parties, but flies looming over milk jugs keep us from enjoying the simplicity of it. Fortunately, the solution can be found in the milk jug covers – they’re both practical and stylish.
By Belinda Crestani
Years before the fridge was invented, scraps of cotton and lace were combined with a few crochet stitches and turned into doilies and covers as a means of preserving food like meat, milk and jam. Large and colourful beads, glass, plastic, or pretty shells were attached to the edges to ensure they were weighed down, acting as a protective seal.
From a domestic point of view, food could only be stored temporarily in the house temporarily because of the Australian heat. So the simple yet practical milk jug cover proved a cost-effective and easy way to keep produce cool.
Although it’s now seen more as decorative piece adding elegance and character to a table setting – its purpose is the same. Instead, it is the appeal of the classic milk jug cover that has in fact changed over time. Society has since been modernising the old-fashioned trend, reforming the tradition to make it new again.
Australians love embellishing jug covers to complement the other decorations on the table, but also to make as gifts. From shells to beads and buttons, the sky’s the limit when it comes to styling them. Whether you choose to thread beads on at the start, crochet them firmly in place or stitch them on when it’s finished, the effect is essentially the same.
In the past, the most common techniques for creating them consisted of filet crochet and machine-made lace to stop insects and dust getting into food. During the 1930s in Melbourne, fly plagues often happened – some even wore veils to protect them from this common pest.
With the invention of plastic containers, cling wrap and meat safes, these unassuming food covers are no longer needed to conserve the flavours and maturity of produce. However, they are still popular – and useful – on picnics or when serving food outside.
Although meat safes are not as common today, they are hot property with antique collectors. They were typically built of wood – which served as a protective barrier for the contents – and lined with a metal mesh screen.
Since the introduction of the fridge, milk jug covers have become virtually obsolete – however, due to the appeal of old-fashioned household objects, we still collect them. Their value comes from the time and effort hardworking women devoted to making these simple home comforts, and the classic milk jug cover is an old-fashioned custom that is being revived with modern techniques.
They are reminiscent of colonial days, when they were created out of linen scraps to keep the flies away and edged with crochet, then trimmed with beads to hold them in place over jugs and basins.
Tips: Milk jug covers don’t have to cost a fortune – making your own is a way to save money – and fun too. Look around your home and sort through cupboards to find embellishments to given them character. If all else fails, op-shops offer inexpensive materials to make them with. Personalise them by putting messages on them in stitchery and embroidery. And, if you’re giving them as gifts, add the person’s name or write something inspiring – they’ll be sure to love it! If you’re thinking up ways to make them that little bit more special – create a stitchery in the centre of them, to get a wonderful effect!
VINTAGE PAPER & WRAPPING
By Belinda Crestani
As Christmas approaches – the spirit of giving is in full flight. Once the hard part is over and a present has been carefully selected, the next challenge is to find the right wrapping paper to complement your gift. Tracking down beautiful patterns and colours isn’t always easy, but with the help of Country Threads, you’ll be able to produce beautifully homemade wrapping paper that you can be proud of!
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The tradition of wrapping and ‘hiding’ gifts first came about when paper was invented in China in AD 105. The papermaking process was considered sacred and the punishment for sharing that secret was very harsh, ultimately leading to one’s death. During the Victorian period, using wrapping paper was considered a privilege. The upper classes were the only ones able to afford the elaborately printed paper that was featured with ribbons and laces. In 1912 in the United States, the Hall Brothers Company (now known as Hallmark) invented the greeting card and in the 1920s diversified to include decorative gift wrap – a trend that was picked up quickly, making it more readily available to the general public. Fascinatingly, wallpaper was once used as giftwrap, however, its stint in this role was only brief as it cracked easily!
You can use recycled newspapers, buttons, beads, scraps that you’ve collected over the years like leftover pieces of cotton and fabrics, coloured paper and envelopes, and any other materials that you feel inspired to use to create your own wrapping. Gone are the days when there was only a ‘standard’ style of Christmas paper. In time for the yule festivities, Country Threads is encouraging you to put away traditional types and start making your own handmade wrapping paper – involve the kiddies too! It will be a lot more fun than shopping for the present – we assure you.
Wrapping gifts is an art in itself – you should take your time and choose colours and patterns that will complement the present. Embellish the paper with bows, ribbons, lace, beads and anything else you have. Here at Country Threads, we believe presentation matters and that the wrapping is important, as it’s the first thing people see when you hand them their gift.
What you will need:
- A sponge
- Flyscreen mesh
- Old picture frame at least A4 size
- Rectangular plastic tub
- Blender or food processor
- White felt or light/colourfast flannel fabric
- Thumbtacks
- Tear up the material and/or paper into tiny pieces. Half-fill the blender with warm water and add a handful of the pieces then run it for 30 seconds – starting off slow and then increasing, processing the material continuously until it is pulped. There should be no individual flakes or fibres remaining. Put it in a bowl and continue blending the rest in small loads as specified.
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Next, stretch the flyscreen mesh across the front of the frame, fold it over and fix it to the back with thumbtacks, making it as tight as possible.
- Half-fill the plastic tub with water. Add three full blender-loads of pulp and stir it. During this time, you can add food colouring to represent the festive season or use strings of torn-up tinsel or glitter to give the wrapping paper a Christmas feel. Stir it well so that all the ingredients are distributed evenly.
- Slide the frame into the water under the pulp then raise it to the surface grabbing plenty as it comes up. Jiggle the frame to get an even coating of the mix on top.
- Lift the frame up above the water and wait until the liquid drains off. If the paper appears too thin, add more pulp to the water, mix it and begin the process again.
- When the frame has stopped dripping, lay it on a flat surface and put felt or flannel on top, applying gentle, even pressure to squeeze the water out. Remove more water by pushing the sponge down on the fabric and wringing it out.
- Lift the fabric gently off the frame and the paper sheet should come with it – if not, you may have pulled it off too quickly or you may need to squeeze more water out of it.
- Put the paper fabric side down on a plastic sheet, stacking subsequent sheets on top of it the same way as you go. When that is done, lay a dry piece of felt on top of the stack and press down on it to get rid of more water.
- Separate the sheets and lay them out to dry. When they are dry, peel off the fabric and you’ve got your own beautiful paper at the ready!
FOR THE LOVE OF ANNIE
Who would ever think that a small doll - dusty, faceless and in need of some tender loving care - would continue to delight the world more than a century after her discovery in an attic? Meet Raggedy Ann, the charming rag doll who has been loved by generations of children and collectors.
By Linda Douglas
THE CREATOR
John Barton Gruelle was born in Arcola, Illinois, in 1880, and moved to Indiana with his father, Richard Gruelle - a landscape and portrait artist - and his mother, Alice Benton Gruelle, a writer. Johnny began cartooning for the Indianapolis Star in 1903 and throughout his lifetime, wrote for three daily newspapers.
As an adult, Johnny brought home a bedraggled doll that he’d found in his parent’s attic. It inspired him to create exciting tales for his only child, Marcella, bringing the doll to life with simple but charming adventures like those he was writing for his other newspaper characters. In 1914, Johnny patented the rag doll design and his family set about making enough rag dolls so as to secure a logo for the Raggedy Ann label.
This was a time of social change in America, with long-established family values being challenged. One reaction to this was the development of a sense of nostalgia, recalling the olden days of handmade items and homemade delights. The rag dolls Johnny had in mind fitted well into this aesthetic ideal and in a loft in Norwalk, Connecticut, his family began making dolls for sale. However, without a company backing him, the dolls were not initially commercially successful.
Johnny then began telling stories based around the doll which graduated to poems and eventually prose pieces that Gruelle submitted to a publisher. The ever-growing popularity of fairytales in the nostalgic atmosphere of those years paved the way for the whimsical stories of Raggedy Ann.
By late 1918, he had completed his book on Raggedy Ann and it was finally accepted and printed by P.F. Volland. & Company - a company which both published books and made toys. The combination of doll and book was a success and over three million copies were sold. This was the first great step in the Raggedy journey that we are still enjoying in the 21st century!
Raggedy Ann went solo until 1920 when Johnny thought that boys might also benefit from having a doll. He had realised the potential of the doll’s marketing powers by then and by 1920, ‘Andy’ had his own set of stories published.
The pair are considered very American in their ‘red, white and blue’, although it is worth noting that Johnny’s original raggedy had orange, not red, hair. It was the Knickerbocker Toy manufacturer, taking over the rights to the production of the doll in the 1960’s, that gave Annie the red hair that is continued today.
During the Depression, Gruelle suffered financially when the ownership of his trademark was contested over infringement rights to the logo. In 1938 Molly Goldman made dolls without license, which led to a legal battle which was eventually resolved in favour of Johnny. However, the fight affected John’s health and he died of a heart attack in that year.
Licensed and unlicensed companies have continued to make dolls in the Raggedy style and for collectors, variations in design are the way in which the individual dolls can be dated. Unusual features like blue trousers, black feet, striped legs, simple facial features provide the biggest thrill. ‘Vintage’ dolls that may fetch as much as $6000!
The Internet is a great way to communicate with fellow Raggedy enthusiasts around the globe, and it’s possible to type ‘Raggedy’ or ‘Raggedies’ into a search engine and be faced with over 20,000 hits - it’s better than being a child in a candy store! Sites like eBay and Raggedy Collectors are fantastic resources for fans of Raggedy Ann and Andy.
Gruelle’s affinity with children, his love of the old-fashioned way and his business acumen combined to make the tradition of Raggedy Ann endure for a century and beyond, proving what a visionary piece of merchandise and symbol of homespun goodness the Raggedy has become!
WHAT’S IN A NAME?
The name, Raggedy Ann, is said to have come from two poems that a family friend, poet James Whitcomb Riley, had written and said were his favourites - ‘The Raggedy Man’ and ‘Little Orphant Annie’. Whether out of dedication to their friendship, or through friendly discussion, Johnny chose the name for Raggedy Ann from his friend’s poems.
THE RAGGEDY MUSEUM
In 1999, Joni Gruelle Wannamaker ( granddaughter of Johnny) and her husband, Tom, founded a museum in Johnny’s hometown. By 2001, 50 000 visitors had made the pilgrimage. A festival day has been introduced, held each year on the weekend before Memorial Day, to celebrate the life of Johnny, as much as to celebrate the beloved Ann and Andy.
INTERNET SITES:
http://www.members.aol.com/ragruwell/kyhome.html
http://www.raggedyann.cc/johnny_gruelle.htm
http://www.comicsresearch.org/Entries/hall-jg.html
Log Cabin Block
Hearth and Home
There are few pleasures in life to rival curling up in front of an open fire, or snuggling under a cosy quilt when it's chilly. So, what better way is there to combine both these joys than with a Log Cabin quilt - which conjures up images of isolated huts and roaring hearths on the frontier? When and where did this patchwork block come from?
Text by Bethany Newsome-Hall
The log cabin design is thought to date from the mid-1800s, and although there are versions of it worldwide, it is believed it originated in America. The design is assembled as a log cabin would be, with a central red block to symbolise the chimney and fire as the heart of the home. Then the sides of the blocks extending out from this resemble the construction of the cabin itself. The centre of the block can be any colour, but is also often yellow representing the light in the window to welcome family home and friends to the house. It can also be black to signify the embers of a fire. Modern quilts, however, are often made in colours to suit current trends and decor rather than with these emblems in mind. Nevertheless, it remains one of the most popular quilt designs today for its relatively simple but highly effective design.
There are many variations of the Log Cabin block, and it is really only when you look at them assembled to make the quilt as a whole that you can actually appreciate the patterns in it and the movement of colour. Some variations include Barn Raising, Pineapple Square and Courthouse Steps. Originally, these were a favourite with quilters because they required many small strips of fabric, and scraps of clothing and other materials could be used. Traditionally, the blocks were made on a fabric foundation for ease and stability. These quilts were also often tied rather than quilted because of the thickness of the foundation fabric.
The Log Cabin quilt really came into its own in the latter half of the 19th century as the move westward in America gathered momentum after the Civil War. But there are also examples of much earlier designs found across the other side of the globe that are similar. Examples of a 'log cabin' design have been discovered in England and Scotland dating back to the 1700s. Perhaps the most fascinating find was from tombs in Egypt in which mummified small animals were unearthed wrapped in strips of cloth in a log cabin pattern. Some of these are now in the British Museum, although apparently there were so many of them that many were shipped back to England for use as fertiliser! Perhaps they so impressed the women there that they incorporated the design in their patchwork.
Quilt historians have also suggested that the patterns originate from traditional land cultivation practices in the Middle Ages in Britain and other parts of Europe. Fields tilled by farmers to grow crops were often laid out in strips across the land - resembling the narrow slats on a Log Cabin block. The design was also known traditionally in the British Isles as Canadian Logwork and, indeed, many examples can be found in Canada. Whether they were found in Canada, America or Britain, however, the look of the quilts is very similar and they use scraps of similar types of fabrics.
Still in the British Isles, inhabitants of the Isle of Man - or Manx - for instance, are thought to call their version of the block 'The Roof Pattern', which is pieced with folded strips and sewn onto a fabric foundation by hand. As well as designs made with scraps, red and white Log Cabin quilts set in a traditional zigzag format are commonly found here, and some are said to date back earlier than 1850. The Isle of Man is fairly isolated and rural, with no easy access to modern tools and equipment. Thus, lacking scissors and rulers in the past, Manx quilters tore fabric into strips and used the length of their fingers and thumbs, and the size of a hand-span as measurements for the parts of the block.
Still popular today for its visual appeal rather than its economic use of fabric, the Log Cabin block is a versatile choice for many quilters.
The Rich Heritage of Baltimore Album Quilts
Baltimore Album quilts are renowned throughout the world for their intricate detail and stunning visual effects. Antique Baltimores are keenly sought after and fetch very high prices at auctions and private sales. We take a look at the history of this quilt style and the women who made them.
Text by Clare Johnson
From an early age, often as young as three or four years old, girls of the 19th century were taught the intricacies of using a needle and thread. It was imperative that a girl was an accomplished stitcher by the time she was married as she would be responsible for sewing all the family's clothes, as well as bedding and soft furnishings, and - of course - quilts.
By the time a girl was 12, it was not unusual for her to have completed as many as four or five quilts. By her early teens it was expected she would embark on a 'special' quilt which would showcase her sewing talents. These quilts were usually highly decorative appliquŽ quilts and for many they were Baltimore quilts. These showcase quilts were rarely displayed but were put on a bed for special guests. They were a measure of social standing, both for the owner and for the guest lucky enough to have one pulled out of the cupboard for them.
Baltimore Album quilts were created in Baltimore, Maryland, between 1845 and 1855 and were executed in stunningly detailed appliquŽ. These quilts were based on block designs, appliquŽd with many tiny pieces of fabrics to form flowers, leaves, fruit, cornucopia, elaborately woven baskets and other symbols of goodwill, joy and fertility. Sometimes boats or local emblems and figures of Baltimore political and social significance were also included. There is no clear indication who began the style. Some might cite Mary Evans Ford, Achsah Goodwin Wilkins, and other members of the local Methodist church of the time as the originators but others disagree.
What is apparent from the quilts is the social and historical context under which they were constructed. The motifs on antique Baltimore quilts refer to social, religious or political structures in Baltimore at the time such as the masonic organisation or the Methodist church, as well as many others. It is also possible that Baltimore's large German population influenced the designs as many have suggested that German folk art might have provided inspiration for the motifs used in these quilts.
In the 1840s, Baltimore was the third largest city in the United States with a thriving import and export trade which included textiles. Thus, the availability of an assortment of fabric combined with the time and money of a group of high-ranking society women which allowed them the freedom to create these beautiful works of art was what brought them into being.
The Baltimore style was also popular in Pennsylvania, Connecticut, Virginia and other eastern seaboard states. The style fad did not survive after the Civil War but as the families from the east coast began to migrate west, the Baltimore style spread. Even now, many of the original Baltimore quilts found in the west were actually made in the east and traveled west with their owners. During the 1800s when families moved great distances, decisions had to be made as to which possessions were the most important as luggage space was limited. However, the family's showcase quilt was never left behind.
Many original Baltimore quilts have survived due to their precious care and handling and are highly prized possessions. Indeed, they are so valuable that many are now housed in national galleries around the world. In 1987, Sotheby's auction house sold an antique Baltimore quilt for $175,000. It was resold several years later for well over $200,000.
The Baltimore style saw a resurgence in popularity in the 1970s following the American quilt revival and they are still a favourite among more adventurous quiltmakers. The origin of many appliquŽ patterns used today can be traced to the Baltimore trend.
Baltimore Album Quilts remain one of the best historical items through which to study women in society during the 1800s. It is an invaluable tool providing information as to living conditions, and economic and social standing, as well as other aspects of the society of the time.
Yuletide traditions
Do you every wonder where all those Christmas traditions come from that we celebrate each year? Just how did the plum pudding or the candy cane come about? Threads did a little digging and found out a few interesting titbits …
- The candy cane has long been a symbol of Christmas – it was created by an American lolly maker who used the white to represent the virgin birth. The 'J' is for Jesus and the red stripe is symbolic of the blood shed by Jesus on the cross
- The carol-singing is synonymous with the festive season and was introduced in churches by Francis of Assisi
- One of the most popular symbols of Christmas – Santa dressed in a furry red and white outfit – was actually created early in the 19th century by the Coca-Cola Company. Various depictions of the merry fellow had existed before this time, including a green-clad Santa in Britain, but the Coca-Cola image is the one that took off – and has endured.
- Plum pudding is perhaps one of the more cryptic additions to the festive table, considering that originally, it wasn’t a pudding and didn't contain plums! Traditionally, the family made it together, each person stirring the bowl and making a wish. Then a ring, coin, button and thimble were added to the mix. The ring stood for marriage, the coin for wealth, and the button and thimble for a bachelor and spinster respectively – this was a form of fortune-telling for the year. Whichever trinket ended up in your piece of pud told you what fate had in store for you in the next 12 months!
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Wonderfully winsome words
Include these sayings on your stitcheries, gifts and cards, or just absorb their yuletide message.
- "I like to take my Christmas a little at a time, all through the year." – David Grayson.
- "Blessed is the season which engages the whole world in a conspiracy of love." – Hamilton Wright Mabie.
- "I like the days when feathers are snowing and all the eaves have petticoats showing, and the air is cold, and the wires are humming, but you feel all warm with Christmas coming." – Aileen Fisher.
- "Let there be peace on earth and let it begin with me. Let there be peace on earth the peace that was meant to be." – Sy Miller and Jill Jackson
- "’Tis a time for celebration in the company of others and a time for making magic now and then. ’Tis a playful time, a fun-filled time, a time of warmth and wonder – ’tis the season to be jolly once again!" – Jan Miller Girando
- "There's a magic in the season, in the kindness we do, whether joys are shared with many or among a special few." – Jan Miller Girando
- "Here we are as in olden days, happy golden days of yore. Faithful friends who are dear to us gather near us once more."
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