I was lucky enough to attend the ‘All Should Eat’ gig at the Crescent in York last month. Four excellent bands raising money for SASH. Check out my review.
https://wp.me/pqlQV-7uE
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Live Review: A Sumptuous Repast of Alternative Talent at the All Should Eat Charity Gig
The steady procession of regulars at the Crescent are outnumbered tonight. Outnumbered by a university crowd which handily fill the legendary venue, one of York’s last. I’d wager more than half of this lot are in local bands themselves, me included, here as friends and zealous supporters of the local scene.
Continue reading Live Review: A Sumptuous Repast of Alternative Talent at the All Should…
Live Review: A Sumptuous Repast of Alternative Talent at the All Should Eat Charity Gig
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5. Sash, 1830, Artist Once Known
The fifth piece we will look at is this sash from 1830, made by an artist once known. This particular sash is housed at The Met. Sashes were a common clothing item, often worn tied around the waist and with woven ties resting at the knees. Sashes acted like belts and often held up pants. Sashes were finger woven and worn by women and men alike, but were almost always weaved by women (The Metropolitan Museum of Art, 2019). Men could also wear them around their chest to carry heavy loads, or wrap smaller ones around their heads in a similar style to turbans (The Metropolitan Museum of Art, 2019). With their intricate designs made of different dyed threads, they are both decorative and functional.
This sash is made of wool yarn. The wool is dyed red, gold and white and woven together into chevron motifs running parallel all the way along the scarf body. Both ends of this sash are tasselled, and adorned with small, rounded glass beads. The use of glass beads is evidence of contact and trade with European settlers; these goods would have been imported to North America from Europe (Canadian Museum of History, n.d.).
Wendat sashes are made by finger weaving, an ancient, passed-down practice from before the loom was created (Ligon, 2024). There are hundreds of diverse finger weaving patterns and stitches out there, but this sash uses the chevron pattern (The Metropolitan Museum of Art, 2019). This creates the arrow-like triangular pattern that goes down the sash. Finger weaving cannot create loops or stitches nearly as tight as what is possible on a loom, so pieces like sashes can sag or seem loose. This looseness creates loops and holes in the fabric that are used to attach items (The Metropolitan Museum of Art, 2019). Finger weaving is a time-consuming process. Like with ceramics, a sash is representative of social status (Ligon, 2024). Wendat who wear them had the time and resources to dedicate to these projects. When men wore them, they were a public symbol of the love and care of the maker, whether it be their wife or mother (The Metropolitan Museum of Art, 2019).
For an introductory overview of the Wendat people and purpose of this project, you can check out my first post. To see my sources, you can click here.
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Portrait of King Anton of Saxony
- Artist: Carl Christian Vogel von Vogelstein (German, 1788–1868)
- Date: 1827
- Medium: Oil on canvas
- Collection: Dresden State Art Collections, Dresden, Germany
Anthony, King of Saxony
Anthony of Saxony (German: Anton; 27 December 1755 – 6 June 1836) was a King of Saxony from the House of Wettin. He became known as Anton der Gütige (“Anthony the Kind”).
He was the fifth but third surviving son of Frederick Christian, Elector of Saxony and his wife Duchess Maria Antonia of Bavaria.
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There are some people that have seen the 1828-2028 Ceremonial Sash but many have not. Today I will show it and explain the storied colours.
The Colour Symbols for the 2028 Ceremonial Sash.
Grey/Blue, within the Sash represents the beautiful blue waters of Georgian Bay and the winter transformation of the dangerous grey waters during November/December of 1828 during the migration of the Drummond Islanders
White on the outside edge of the sash represents the November winter paddlers that travelled through the heavy white caps on our waters, and landed on the snow covered shores of Georgian Bay.
Red is for the Métis blood that was spilled during the 1812 to 1814 war. It also represents the ones that were lost on the watery journey as they travelled to their new home of Penetanguishene. Finally, the blood that was lost in all wars that preserved the Métis way of life.
Yellow represents the prospect of great health, worthy growing finances and the riches of our community.
Green is for the fertility of our lands and our people to raise good families and communities.
The sash is displayed on Patti Belanger’s painting, as well as the white caps, snow draped trees and rocks.
Comparison of the 2028 Sash & Assomption Sash
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Frederick V, 1596-1632, Elector Palatine, King of Bohemia
- Artist: English School
- Date: ca. 1624
- Medium: Oil on panel
- Collection: National Maritime Museum, Greenwich, London
Description
A half-length portrait to right in armour and wearing a ruff and the sash and pendant of the Garter which is shown on the wrong shoulder. Frederick became elector in 1610 and married James I of England’s daughter Elizabeth in 1613. In 1619 he was chosen king of Bohemia, but was driven out by imperial troops a week after his coronation. His most famous son was Prince Rupert the cavalier soldier and seaman. One of his daughters married the Elector of Hanover, their son eventually became George I of England. The portrait was painted in about 1624, and there is a later false inscription ‘Earl Lindsey’.
