FinderMaker Trading Post

A warm welcome to you, friend! Please, tie your horse up right out front... there's plenty of good water in the trough there. Its nice and cool inside, so stay awhile and have a look at some finely crafted dry goods I'm quite sure you can't live without. Never mind these old mesquite floor boards... they squeek like a kangaroo rat hurling insults at a rattlesnake, but nobody's fallen through yet! Here are a few items I'm particularly fond of...

1) Travels in the Interiors of North America 1832-1834 Familiarize yourself with the appearance and customs of the folks who occupied this territory long before you or I rolled into town! $44.39

In 1832, looking to gather images and information about Native Americans and their customs, Maximillian Prince of Wied travelled with Swiss painter Karl Bodmer across North America; Wied's travel experiences were published in 1840, his text printed in two volumes, and 81 of Bodmers illustrations were published as a portfolio. Reprinted from a splendid hand - coloured copy of the publication still owned by the Wied family, 'Travels in the Interior of North America' is the first book to reproduce a complete original colour version. Focussing on many details in each plate, in depth text serves as a key to the customs, clothes and tools of the Native Americans.

2) Derringer in a Book. In these parts, a lone stagecoach traveling though some lonely canyon often presents an irresistible temptation to armed bandits; don't be caught off-guard! Tuck this treacherous tome into your gladstone before you set out and be prepared for the devils! $159.99

In the mid-1800's the Derringer was the gun of choice for anyone wanting an easily concealed, yet deadly firearm for personal protection. Our version, from renowned gun maker Davide Pedersoli, is a fully functional and faithful reproduction of a classic Belgian percussion pistol with removable .44-caliber, rifled barrel and folding trigger. Concealed in its own padded book, aptly titled 'Law for Self Defense,' this gun could have easily belonged to any scholarly 19th century person looking for peace-of-mind while at home or travelling.

3) Pendleton Woolen Mills San Miguel Blanket Sure, it's powerful hot under the noonday sun, but the mercury does dip considerably in the twilight hours; cozy up the cabin with this classic Southwest-style Pendleton blanket! Made in the USA. $198.00-$318.00

A pattern inspired by mid- to late-19th century Native American weaving traditions and the influence of Spanish missionaries in the Southwest. The design's roots are in the traditional banded Chief Stripe pattern which evolved into a "nine-element" layout. The reversible jacquard has two dramatically different looks.

4) Glass Crow beads in aqua. Just because they're the only thing in this Trading Post I can afford to own doesn't make them any less pretty! Made in India, with subtle variations in color and shape that make these beads look like they've been around a good long while... string 'em up and wear as a necklace, or work them into your craft projects; you'll be glad you did! $3.96 per 100.

5) Dark red traditional 4 button Navajo-style moccasins. Slip into a pair of these sturdy leather mocs, and you'll be kitted out in true Pueblo fashion! You'll traverse many a high mesa before those thick leather soles show any signs of wear at all! Hand-made in the USA. $170.66

The stock is always changing here at the Trading Post; if you don't like what you see this time around, well I reckon we'll have something new for you next time you're in town! Thank You kindly for stopping by, and don't forget to help yourself to a few pieces of penny candy on your way out!

Ceremonial Bachelorette Party Headdress!!!

While I wasn't permitted to attend this talented friend's festive bachelorette party (girls only!), I jumped at the chance to craft the crown that would be placed on her head during her "abduction" and subsequent rituals and ceremonies performed throughout the evening to honor the bride-to-be!

I tend to be bad about documenting projects from start to finish; many of the details of making things seem so mundane to me that I can't bring myself to stop what I'm doing to photograph them, and before I know it I have a completed craft project and no photos of the creative process (which is pretty much what happened with this one)! I realize this is a problem, and I'm really going to work on this in the future!

For this project I decided pretty quickly that the crown was really going to be more of a headdress, and from there, I began to visualize the various elements that make up a headdress and how I could personalize those elements for the bride-to-be. In keeping with the original request for a crown, I started by cutting a foundation strap of silver leather to resemble a crown that terminated on either end in long, thin strips that would be used to tie the headdress on:



Once I had that foundation figured out, I decided on a dark turquoise leather strip (aqua/turquoise was a dominant color in the wedding) that would serve as the backdrop for a strip of beadwork I was envisioning that would feature the bride and groom's initials. I cut the scalloped upper edge of the strip (with some difficulty) using pinking shears. Although I've been doing quite a bit of lazy stitch beadwork lately, the turquoise leather wasn't well suited for that technique (the surface of the leather is very dense, not "pillowy" and easily pierced like the deerskin I had been beading directly onto previously), so I set up my little bead loom, and proceeded to bead a decorative strip (while listening to the entire new Joanna Newsom album for free on NPR!). This is the pattern I came up with beforehand that I worked from while I was beading:



Once finished, I tied off the ends of the beadwork strip, and whipstitched through the outermost warp thread on the top and bottom edge of the bead strip and into the turquoise leather. Now that the beadwork was attached to the turquoise strip, I wanted to attach that to the silver crown foundation; this I accomplished by punching pairs of evenly spaced holes through both layers of leather with an awl, then poking strips of imitation sinew up through through the holes from the back of the headdress. Each strip of sinew passes through both layers of leather and a vintage mirrored turquoise glass bead on the front of the headdress, then back down through the second hole where it is secured by a knot in back, so while the row of 15 glass beads across the lower edge of the headdress appears decorative (it is pretty!) it is also structural, serving to hold everything together! I wanted to resort to using glue as little as possible; on this particular project, I felt like the process of stitching different materials together was representative of the union of my two friends, so I stitched alot, and wished for their happiness with each stitch!



I had a grand time plundering my craft bins for materials to use on this project! On either side of the beadwork strip hang two tin-cone and horsehair (a reference to Horsefingers, the bride-to-be's brilliant short film trilogy) drops that pass through a decorative abalone disk... again, these items are all affixed with the imitation sinew... no glue (yet!). The turquoise bells were then stitched on.



Now it was time to affix the feathers, and that is where the glue came into play. First I glued the little arrangement of colored feathers onto the inner surface of the silver leather crown with flexible craft glue and let that dry. Then I glued the long strip of white feathers (they are sold on a ribbon strip by the yard at M&J Trimming in Manhattan) onto the interior surface of the silver leather crown and let that dry. Finally, I glued a strip of wide cotton twill tape over the entire interior portion of the headdress to cover up any knots or feather bits that might poke out and feel uncomfortable against the head.



This was a really fun and meaningful project for me that culminated in the attendance of a super-duper fun and meaningful wedding! Thank You, Congratulations, and Best Wishes to you Both, Kirsten and Bill!!!

And Thank You for joining me, Kind Reader!!! I hope you will join me again soon-ish for the fun and scary next installment in my "The Natural History Museum Inspired This!" series!

Following are a few images of headdresses in the collection of The National Museum of the American Indian that served as inspiration:

Shaman Cap Makeover... Update!

Hello, Hello! Please pardon me and accept my apologies while I take a brief respite from the popular "The Natural History Museum Inspired This!" series and publish this post that will, in all likelihood, appeal to exactly 0% of my readers!

You might recall one of my less interesting earlier posts entitled "Shaman Cap Makeover" in which I deconstructed a somewhat sketchy artifact I had assembled many years ago in the hopes of bringing it up to my current, more stringent, craft standards. I committed to applying quite alot of "lazy stitch" style beadwork to the shaman cap, and ultimately had a devil of a time deciding on a bead pattern for the front stripe. I actually applied and removed 3 different designs (making each subsequent strip wider by a few beads so as to cover the punctures from the previous round) before I settled on something I could live with. I finally came up with a simple, 13 bead wide strip of white and blue (2 shades) arranged in a "chevron" pattern. I'm pretty happy with this one; it's nice and simple, though the use of a darker and lighter shade of blue kept it from looking too plain.





There is still more work to be done on this project, but I was excited to share the new beadwork... Thank You, kind readers for indulging me!

Below are some images of similar headwear from the Native American collection at Harvard's Peabody Museum of Archaeology and Ethnology. While I was researching this sort of cap, I found that the diagonal-stripe beadwork was quite common, which is why I decided to do the same pattern in black and white beads to cover the seams where the buckskin segments are sewn together.









Thankyou Thankyou Thankyou for joining me!

Medicine Bag Makeover

The ceaseless drizzle and pall of grey clouds that has descended upon New England and refuses to lift has taken its toll on my spirits of late, kind reader. Though I have been mostly house bound, and thus surrounded by craft materials and dozens of worthy projects, somehow all of these things fail to inspire, mired as we have been in all of this damp gloom. What to do, then? Well, I have been enjoying perusing the online collections of the National Museum of the American Indian and Harvard's Peabody Museum of Anthropology, and was inspired to dust off my beading supplies and small sack of loose dentalium shells and engage in a bit of Native American style craft work.

Following is an image of a small buckskin medicine bag that has been in my possession for some twenty years and has acquired quite an aged patina.



Many years ago I adorned it with a cowrie shell, and a strip of beadwork that I had done on a loom and (gasp!) glued onto the front of the bag. It didn't take long for the beadwork to fall off, leaving ugly patches of glue behind. This morning I decided it was high time to try out a beading technique I hadn't tried before: the so-called "lazy stitch", so as to cover the scars left over from the earlier adornment, and add a touch authentic Native American flair. The lazy stitch is a classic method for applying beads to leather; beads are stitched right onto the surface in tidy rows that may comprise a simple decorative strip or encompass a decorative expanse of beadwork on a vest, saddle bag, pair of leggings or the like. In learning the stitch, which is not difficult but does require some patience and an adherence to time tested techniques, I referred to Steve Nimerfro's guide entitled "Sioux Style Lazy Stitch Beadwork" published online by craft retailer Matoska Trading Company. I started by drawing a grid to represent the bead strip and then decided on a pattern, filling in the squares on the grid according to the bead colors I had chosen to use. Then I just translated the pattern I made up on the grid into actual beads, row by row, and stitched them on according to the instructions! I like the way it turned out-- not too bad for my first try!



I have a few more items I am eager to do lazy stitch on, most notably a buckskin shaman's cap I made about fifteen years ago that will benefit from strips of beadwork to cover the seams where the leather is sewn together. I will definitely post photos when I begin that project! I have a few other medicine bags that could use a little sprucing up... perhaps I should start a new FinderMaker segment called "Pimp My Medicine Bag" and invite readers to send in before and after photos of their medicine bag creations and alterations!

My second project, completed just last night, was inspired by this old necklace in the Peabody Museum's collection made by a member of the Karuk tribe in California:



Dentalium shells come from a type of Mollusk, and were used as an early form of currency by many Native American tribes. They were commonly strung on natural fiber thread and traded by the strand for goods or services. Strands were also bundled together and worn both as decoration and an outward symbol of wealth. I had a bag of small dentalium shells I had ordered online without any particular project in mind, and was delighted to finally be inspired to put them to use!



The shells are naturally hollow, but the pointed end is quite narrow, and needs to be nipped off so that a waxed thread may be passed through; they also tended to have bits of gravel lodged within, so it was necessary to run each one through with a stiff wire to clear the gravel before stringing. I was able to get seven strands from my one ounce bag ($3.50) which I then attached to a seven inch strip of rolled buckskin that would rest against the back of the neck (as the little pointy shells would be fairly uncomfortable against bare skin). This is how it turned out:





I really am quite thankful to all of the fellow FinderMakers who follow my blog. Knowing that there are folks out there who share my interest in finding and making things encourages me to stay active. Thanks so much for joining me here... I have so many projects to work on, and I look forward to sharing them with all of you!!!

At Long Last!!!

A New Post!!! Warmest Salutations, Gentle Reader! Jack Frost has certainly had his way with our windowpanes, but our nest inside has remained mercifully cozy; a welcome respite from the cold, harsh winterworld outside. I fear I must have greatly disappointed my most faithful readers, of whom there are but a precious handful, I know, by failing to keep you apprised of my various creative pursuits. I am sorry to have been neglectful, but can assert in my defense that I have been keeping awfully busy, even if it has been at the expense of regular FinderMaker updates. Ah but now, where to begin? First, I must reveal that I have been been fully entrenched in an exhibit installation project at the venerable Brown University for the past 3 weeks straight (no, not my artwork, but someday...) and so have been very much thusly occupied to the exclusion of nearly all else. Second, the projects I have been working on at home have not seemed suitably aligned with the original FinderMaker concept of "finding things and making them into other, better things" so I have been struggling with the problem of staying true to that original concept (and posting only infrequently) or loosening things up a bit and posting more frequently on whatever I might happen to be working on. I haven't really decided yet, but I shall now place before you several weeks worth of sundries and curios-in-the-making if only to purge my own mind for the time being...



So, it is friday, and I am quite satisfied to have reached my personal goal of having produced five sellable wax anatomical hearts before the week was up. I originally made a few of these several years ago, as an adjunct to my obsessive interest in the wax anatomical collections of the Museo La Specola (see some Flickr images here). Recently, whilst unpacking one of a great number of crates containing pieces from my collection of antique medical implements, I had happened upon my old heart mold, and determined that I should set up a little temporary ceroplasty studio once again. This isnt a particularly stylish photo, but here are the basics of the operation as they are currently laid out:



The process of creating a wax anatomical model is delicate and arduous, and though I was certain I'd be capable of picking up the tools and creating another masterpiece immediately, in fact I created many "duds" before regaining my confidence and competence in the process. Layer upon thin, translucent layer of lighty pigmented melted wax (several types) are brushed into the mold to create the appearance of muscle, fat, and veinous tissue. Tiny, wax-dipped threads are also embedded within the layers to mimic the appearance of capillaries. The five keepers that I produced and photographed are not quite completed yet, they still require a bit of detailing and cleaning up, followed by several layers of shellac, which will deepen the colors and add a rich, flesh-like glisten to the surface. Eventually they will be mounted on plaques and put up for sale in the gift shop of my online hospital museum! Now that I have the knack of it, I hope to produce 2 a day until I am quite unable to tolerate the process any longer!

Next, I've also done a bit of scrimshaw, and hope to do very much more very soon. The following became a bookmark for my dad:



My lack of drawing skill has hampered my progress in the scrimshaw department, i'm afraid. I suppose I draw passably, but I practice so rarely that I generally feel a tad intimidated sitting before an old piece of ivory contemplating the mess I am likely to make of any scene I'd hope to permanently scribe thereon. The little harpoon turned out well enough, though, and I think I may try a few more rather soon-ish.

The few of you who know me well may know that I am quite nuts for Native American artifacts, and very much enjoy engaging in my own Native American crafts projects from time to time. The following is an authentic Cheyenne-Arapaho ceremonial Peyote fan purchased in Clinton, OK during our cross country relocation from Los Angeles to Providence:





Some 10 or so years ago I applied peyote stitch beadwork around the stem of a peace pipe I had made a few years earlier:



After procuring the peyote fan, I determined that my collection would be sorely lacking if I did not add an example of the requisite peyote gourd rattle. Alas, although the fan was purchased from among some dusty relics at a roadside curio shop for a very reasonable sum, I was unsuccessful in locating a similarly low priced gourd rattle that was as well crafted as the fan, so I turned to an online Native American crafts supply retailer and purchased a kit which supplies the necessary components for the production of ones very own gourd rattle. Mind you, this kit is basically supplies only... some skill is required to drill, carve, whittle, glue, stitch, etc. your way to a completed artifact, but I think it is well worth the price, and I have ended up with quite a nice rattle. I have yet to add the colored feather fluff to the top bit and then stitch the white buckskin over that, but once I have, It will be ready for the addition of beadwork (beads aren't included). I have assembled a nice collection of #12 czech seed beads, and am nearly ready to jump into this new peyote stitch beadwork project!



And then there is this:



An unbuilt 1960's model of the whaler Charles W. Morgan which is just begging to be built and incorporated into a diorama... I'll keep you updated!

And finally:



A top secret and proprietary project involving some of the hundreds of old national geographic magazines that were very generously passed along to me from the excellent Haffenreffer Museum of Anthropology
which had been in operation for many many years in lovely Bristol, RI but is currently closed and undergoing the overwhelming process of cataloging and packing its collections for a move to Providence sometime in the (probably rather distant) future.

If I didn't have so many projects to occupy me, I would surely be going quite crazy with anticipation, for I have finally gotten around to tackling the rather complex process of ordering a pair of custom made, period (circa 1860) boots from Missouri Boot and Shoe



The arrival of these beauties will herald the completion of a fine period outfit which, when donned, will immerse me ever more completely in a time which now exists only in books and fading photographs...

Thanks ever so much for stopping by... I'll try not to let so much time pass until the next posting!