Slaithwaite

I have mentioned that the Knitting & Crochet Guild collection has moved to a new home - we have now been based in Slaithwaite for two months.   You might like to see some photos of the village.

First, a photo of Britannia Mill, where the collection is now housed.

Like many other buildings in Slaithwaite, it is built from the local sandstone, and (as the name suggests) it was originally an industrial workplace.

Slaithwaite is in the Colne Valley, about 5 miles from Huddersfield.  The River Colne runs from Marsden, at the head of the valley, and on to Huddersfield and eventually joins the River Calder.  At Slaithwaite, it is not a very big river, only a few yards wide.

But in the distant past, it made a steep valley, and in the Industrial Revolution provided enough water power for mills to be established along the river.  There are several huge mill buildings remaining, like the one in the centre of the photo above.  Some have been converted to other uses, some are awaiting renovation, and a few are still used as mills.  The most notable example in Slaithwaite, for knitters, is Spa Mills,  the home of Stylecraft yarns and of Yarn Stories. Spa Mills, built in 1907,  is the huge building in the centre of the photo below.  (Notice the fine array of sheds in the foreground.)  The centre of Slaithwaite, including Britannia Mill, is off to the left of the photo, which also shows houses high up on the side of the valley opposite.  Historically, in this area, mills occupied the land in the valley bottoms, and the mill workers lived on the valley sides, which are often very steep.

A few yards away from the River Colne in the centre of Slaithwaite is the Huddersfield Narrow Canal -  you can see how narrow it is in places from the photo below.

The canal runs from Huddersfield, up the Colne Valley to Marsden, where it goes under the summit of the Pennines by way of Standedge Tunnel, more than 3 miles (nearly 5 km.) long.  The canal continues to Ashton-under-Lyne where it links with the rest of the canal network.

The canal was built to transport goods, of course, and several of the Slaithwaite mills were built next to it, but its use for commercial traffic declined until it closed in 1944.  It was re-opened in 2001, and now it only sees leisure traffic.

Here's another view the canal, showing one of the canal locks, and Spa Mills in the background.

The re-opening of the canal has made a huge difference to Slaithwaite, I think.  There are many independent shops and cafes in the centre, a favourite being the Handmade Bakery and Cafe - it's alongside the canal and sells delicious bread, baked on site.

It's an exciting place to work.  I'm still exploring it - this week I found Spa Park, across the canal and river from Spa Mills.  Slaithwaite did at one time have a mineral spring whose water was claimed to be good for you (presumably the spring still exists somewhere, in fact) and a spa based on the spring.  The River Colne runs alongside Spa Park, looking very rural, although it is so close to the village centre.  According to an information board in the park, kingfishers can be seen on the river near there.  I hope that's true - I have never seen a kingfisher, so it would be thrilling to catch even a glimpse of one. I'll report back if I do.

PS I forgot to mention that Slaithwaite has a train station.  The Colne Valley has been on several important cross-Pennine routes at various times, including the canal and the A62 Manchester-Leeds road (though that is now superseded by the M62). And the Manchester-Leeds railway line runs through Huddersfield, up the valley to Slaithwaite and Marsden.  There are trains from Slaithwaite to Manchester and Leeds, and from there connections to the rest of the rail network.  For most people, the collection is now more accessible than it was at our old site.   

 The railway line runs high above the centre of the village on a viaduct, visible in the first photo of Spa Mills.   Here's a photo of a train on the line, well above the Colne Valley Leisure Centre below. 

Mary Quant knitting patterns

The lack of posts recently is due to The Move - the Knitting & Crochet Guild collection's move to new premises in Slaithwaite.  It happened the week before last, and all went well, though there is still a lot of sorting out to do - lots of boxes stacked on the floor, waiting to be put on shelves.  I'll say more about our new location another time. 

Meanwhile, over on Instagram, I have been working through my #50yearsofPatonspatterns series of posts, starting in 1979 and working backwards.  We are nearly through the 1960s, and I picked two Mary Quant patterns to represent 1965 and 1966.  In both years, she designed a collection of knitting and crochet patterns in Courtelle yarns, for several of the spinning companies, including Patons.  There were nine Patons patterns in all, six in 1965 and three in 1966.  I'll show them all here.

First the 1965 leaflets. The yarn for all six is Patons Flair, a wool-Courtelle blend, which was DK weight, to judge by the tension.

Patons 9526, below,  is a skinny-rib sleeveless polo-neck sweater - perhaps not as distinctive now as it was in 1965. 

Patons 9526

Patons leaflet 9527 is a ribbed sweater, with crocheted collar and cuff, and matching knee-socks, also with a crochet trim for the turnover.

Patons 9527

Next is a ribbed cardigan, with a small collar, knitted in reverse stocking stitch, folded in half and stitched down.  You were clearly not intended to wear it as an extra layer, so it's more a button-up sweater than a cardigan. 

Patons 9528

Patons 9529 is a dress, with ribbed bodice, little stand-up collar, and knitted belt.  More knee-socks, this time in a wide rib to match the dress bodice. 

Patons 9529

Then another dress, mostly ribbed, with cable panels in the skirt, a big roll collar, also ribbed, and a knitted tie belt.  There is a matching cabled hat, with pompom, and a pair of matching mitts. I like the dress, though I generally feel that knitted dresses won't keep their shape. 

Patons 9530

And finally, an ensemble of jumper and skirt, with a bonnet and stockings.  The body of the jumper is ribbed.  The skirt looks as though it is in the same rib, knitted sideways, but in fact it's knitted top down. The sleeves, stockings and bonnet are all crocheted.

Patons 9531

It's notable that wide ribbing is a feature of all these 1965 designs, so the jumpers and dresses fit closely. 

It's easy to distinguish the 1966 leaflets from the 1965 designs, across all the spinners that had these Mary Quant designs in Courtelle.  The leaflets in the 1966 collection all have the Mary Quant daisy as part of the background, and the models have the Vidal Sassoon geometric hairstyle that she had adopted herself and made famous.  The 1966 Patons designs are all in a pure Courtelle yarn, also a DK weight by the tension.

The first of the 1966 Patons designs is leaflet 9700 - a cardigan and stockings outfit. They are both worked in rib. The front of the cardigan has a smocked yoke, worked afterwards by using a contrast thread to bind adjacent ribs together.  (The instructions for the smocking are a bit skimpy, I have to say.)  There are also bands of smocking in the stockings, just below the knee - which looks a bit strange.

Patons 9700

Patons 9701 is a short-sleeved jumper and skirt outfit.  The jumper has narrow stripes of a contrast colour across the yoke, back and front, and there is a crochet trim in both colours around the neck and bottom of the sleeves.  The belt is also knitted, in the contrast colour.  Of all these Mary Quant designs for Patons, this one is my favourite.

Patons 9701

And the final pattern in this collection is Patons 9702, a ribbed jumper and matching stockings.  The contrast band on the sleeves is worked by using two balls of the main colour and one of the contrast, and then using just the contrast colour to knit a saddle shoulder.  Finally, the polo collar is added after the jumper is sewn up.  The stockings are also in two colours, as you can see from the illustration, which gives an odd knee-sock effect.  (And the model is wearing white sling-back shoes too, not to mention the shorts over stockings - altogether a bizarre outfit.)

Patons 9702

The dresses and skirts in these leaflets are shown finishing above the knee, but they aren't as extremely short as they became later - just as well, because in 1966 women were still wearing stockings rather than tights.  So Mary Quant designed knitted and crocheted stockings, not principally to avoid all the extra work in making tights, but because women didn't wear tights at that time - though that changed only a year or two later.

A Mary Quant exhibition is opening at the V&A  next month, which I hope to get to.  And there is an exhibition at the Fashion & Textile Museum on "Swinging London: A Lifestyle Revolution", until June, which features the work of Mary Quant and Terence Conran.  It seems that there is a resurgence of interest in the 1960s, and Mary Quant in particular - so I'll offer this post as a knitting and crochet contribution to that.   

Steve's Jumper

The Knitting & Crochet Guild collection is moving to new premises very soon, which is exciting but involves a lot of work.  We have been busy tidying up - all sorts of things that were put to one side to deal with on another day.  On Friday, I brought home a box of 'miscellaneous publications' to sort out.  When I first started working on the collection, there were many, many boxes of very miscellaneous publications, but we have gradually worked through almost all of them - this is the last one, I think.  (I hope so.)  I have riffled through this box at various times and taken out all the things that can be easily placed elsewhere - magazines, spinners' pattern leaflets, booklets, and so on.  And the contents of other boxes have been amalgamated with this one. What was left in the box finally was a very random lot of stuff - mostly things that don't belong in the collection (sewing and embroidery leaflets, etc.) or out-and-out rubbish (creased and crumpled plastic pockets, booklets with no covers and pages missing).  But it was worth going through carefully, because there were some things worth keeping.  And one thing that I have been looking out for, but didn't ever expect to find.

About three years ago, my friend Stephanie (known as Steve) came to Lee Mills, where the Guild collection is stored at present, and showed us a jumper that her mother knitted for her when she was a teenager in the 1950s.   She demonstrated that it still fitted her, though I'm sure she hadn't worn it for many years.  She later gave it to the collection, and it has featured in several trunk shows that I have done since then.

Steve in her jumper, as a teenager

It is knitted in emerald green, with bands of stranded colourwork in cream and tan - very 1950s colours. It's a complicated knit, and very well made.

Steve thought that the pattern had been published in Radio Times, in the late 1950s.  I looked through the Radio Times archive in Manchester Central Library, but I couldn't find it (though I did meet several characters from 1950s BBC television like David Nixon the magician and Lenny the Lion).  Memory being fallible, I decided that Steve was wrong and that it was published somewhere else.  But I hadn't seen it in a pattern leaflet, and if it was in another magazine, there were so many possibilities that it would need a lot of luck to find it.

And then I found it in the miscellaneous box that I brought home on Friday.  It was indeed published in Radio Times, in a supplement to the November 21st 1958 issue.  (Perhaps the supplement had not been archived, and that was why I didn't find it in Manchester.) 

It's especially interesting to see the pattern, because Steve's mother changed the construction.  According to the pattern, it should be knitted in one piece, starting at the bottom of the front.  You cast on stitches for the sleeves either side, so that the stranded colour band is knitted in one piece from cuff to cuff. Then you make an opening for the neck, and carry on, knitting the second stranded colour band from cuff to cuff, cast off the sleeve stitches, and then knit the back.  You pick up stitches around the bottom of the sleeves and the neck opening for the ribbed cuffs and neckband, and finally sew the side and sleeve seams.

Steve's mother apparently didn't like the fact that at the side seams, you would have to join two stranded colour bands going in opposite directions, i.e. the one on the front knitted upwards and the one on the back knitted downwards.  She probably thought that the difference in direction would show - I think she was probably right.  She wasn't worried about the bands on the sleeves, because they don't meet at a seam - in fact you wouldn't usually see them next to each other.  So instead of knitting the body and sleeves entirely in one piece, she stopped after the sleeves were finished, and put that piece aside, leaving the stitches for the back on a spare needle or a length of wool.  Then she cast on again for the back; she knitted the welt and then the stranded colour band working upwards, and then the rest of the back up to the armholes. Then she grafted the two pieces together, which I think is extraordinary.  We had spotted that the two stranded knitting bands on the back of the jumper were knitted in opposite directions, and so we had found the graft, though it's very neatly done.  I don't think I have ever seen such a long graft in such a visible place, and I was surprised that a 1950s knitting pattern should be so ambitious.  But now I know - it wasn't.  The graft was Steve's mother's idea.

So having the pattern as well as the jumper tells us that Steve's mother was an expert knitter and a perfectionist - she saw something that she didn't like in a pattern that she wanted to make, and she fixed it. 

This was the last thing she knitted for Steve - she died in 1959, only about six months after the pattern was published.  I'm sure that Steve kept the jumper for that reason.  Steve herself  is very sadly no  longer with us - she died in 2017, not very long after giving her jumper to the Guild.  She would have been very pleased that the pattern for her jumper has been found.  (I think she would also have been a bit cross with me for doubting her memory that it was in Radio Times - sorry, Steve,) 

Detail of Steve's jumper, showing stranded colour work and basket stitch 

PS I have only just noticed, after writing the above, that the colour work bands in Steve's jumper are not exactly the same as in the pattern - the flowers are spaced further apart, because the intervening abstract design is doubled up.  I can guess how it happened - the chart shows a flower pattern with the abstract design either side, to show how it would look overall.  But you were only supposed to repeat the flower design and the following abstract design, not the whole chart.  Equally acceptable either way, I think.

A New Match

It's very exciting (as I think I've said before) when we identify the pattern that was used to make an item in the Knitting & Crochet Guild collection.  I talked in a recent post about how important it is to have a story to tell about an item of knitting or crochet - the pattern it was made from (if there was one) is a crucial piece of its story.

The 1950s jumper below is one of many items in the collection that were the work of one woman, Jane Denny.  She was a prolific knitter - she commuted to work in London by train, and knitted on the journey.  She eventually gave the Guild more than 50 garments.  The earliest is a pixie hood that she probably wore to go to school in the 1940s, but there are also several little jumpers that she knitted in the 1950s, and later garments too.

We have three feather-and-fan jumpers knitted by Jane Denny in the collection - it was evidently a stitch pattern that she liked very much.  As you can see, it has a buttoned opening at the back of the neck (one of the buttons is missing), which was common in 1950s jumpers. This one is distinctive in having a square neck and dolman sleeves, and those features match it to a Marriner's pattern.

Marriner 266

I like the square neck opening - a neat way of avoiding having to incorporate a curved line of decreases into feather-and-fan.  There is of course a seam along the shoulders, running into the sleeves, and an underarm seam.  It's awkward to seam the wavy edges of feather-and-fan neatly, but I think that the seams would look better when worn (as in the illustration on the pattern leaflet) than when laid out flat.

Marriner patterns at that time included a sketch of the garment as well as a photo, to give you an image to aspire to.  Wearing gloves, earrings and flowers on your shoulder is easily achievable, if a bit impractical for everyday wear, the hourglass figure not really. 

The obvious difference from the Marriner pattern is that Jane Denny's jumper is striped, in two shades of pink and a blue-purple.

Most knitters, I'm told, like to match the illustration on the pattern leaflet as closely as possible, and choose the same colour.  (I've done that myself.)  It's a very useful habit, as far as the collection is concerned -  it helps in matching a finished garment to its pattern. For instance, the pink crocheted disco dress (see here) was easy to recognise because the pattern leaflet also shows the dress in pink.   But Jane Denny not only chose a different colour, but also knitted her jumper in stripes.

One of the earliest cases where I matched a garment in the collection to its pattern was also a Jane Denny jumper, knitted to a Jaeger pattern.  I wrote about it here.

Jaeger 3398

It was knitted to a Jaeger pattern, and again it was designed to be knitted in one colour.  But Jane Denny knitted it in broad bands of four different colours, combining together beautifully. We already knew quite a lot about her, and we know from the quality of the garments she gave to the collection that she was a skilful knitter.  We can now see, comparing these two jumpers with their patterns,  that she also had a very good eye for putting colours together, and didn't just follow the intention of the pattern designer.

In the Loop

I got back on Saturday from the In the Loop at 10 conference at Winchester School of Art, home of the Knitting Reference Library.   "At 10", because the first In the Loop conference was held in 2008 (also in Winchester).

The 10th anniversary cake

The conference was on Thursday and Friday, and I gave a talk on the Knitting & Crochet Guild collection on Thursday morning.  Unfortunately, most of the conference (except for the keynote talks) was in two parallel sessions.  At the same time as my talk, there was a talk on the Knitting Reference Library from Catherine Polley, the School of Art Librarian.  So a lot of people missed my talk, and I (and a lot of other people) missed Catherine's.  But the talks were recorded, we were told, and so hopefully we will be able to catch up with the talks we missed later.  (If that doesn't happen, I may post some of the content of my talk here.)

Because of the parallel sessions, I missed a lot of talks that I would have liked to hear.  (Alex Franklin's talk, for one, on 'Unravelling Miss Marple', i.e. Miss Marple's knitting as a reflection of her problem-solving and detective abilities.)  So I hope that the recordings will allow me to catch up later.  For now, here are a very few selected highlights. 

Linda Newington, who has now retired to Shetland from the School of Art library, gave a keynote talk on the some of her favourite things from the Knitting Reference Library, and the history of the In the Loop conferences. 

The second keynote talk was from Ingun Grimstad Klepp - an entertaining talk on the history of knitting in Norway and her work on promoting the use of Norwegian wool, and the role of wool in sustainability.  The history part of the talk was fascinating, with lots of images of Norwegians wearing their traditional knitted jacket (kofte) - keeping them, and wearing them, for years. She showed a familiar image - the Marius sweater, designed in 1953 and still very popular.

She also talked about sustainability and the importance of taking lifetime use into account when considering the impact of garments made from different fibres - a recent paper of hers on this work is 'Does use matter?'  Ingun is also leading the KRUS project to promote Norwegian wool.  A lot of wool is produced in Norway, from a lot of different sheep breeds, but there is also a lot of imported wool. (She pointed out that if yarn has to advertise itself with a Norwegian flag, it's probably not Norwegian wool.)

The third keynote talk was from Jessica Hemmings, who presented the work of artists who are using knitting to make challenge conventional ideas.  But also, she made some uncomfortable points about unconsciously adopting conventional ideas ourselves - she referred here to the talk by Lorna Hamilton-Brown, challenging the idea that "Black People Don't Knit".   And she pointed out the temptation for academic researchers to claim too much for knitting and other crafts - because if you make smaller, but more realistic, claims, that won't impress the academic world. 

Below are mentions of a few of the other talks I heard, in random order.

Danielle Sprecher, curator of the University of Westminster Menswear Archive, presented some of the knitwear that has been collected.  Some designers have donated pieces from their own archive, such as Peter Jensen and his brontosaurus sweater, but Danielle said that a lot has been bought on eBay.

Freddie Robins talked about "Someone Else's Dream", a recent exhibition. She collected picture sweaters with designs of landscapes (on eBay), and Swiss darned onto them, to create a much more disturbing image.  One landscape featuring an isolated tree has the body of a man hanging from a branch.  Another sweater was knitted from a Woman's Weekly leaflet, before Freddie subverted it.

Image from http://www.freddierobins.com/

Here is the front of the very charming Woman's Weekly sweater:

From a free leaflet with Woman's Weekly magazine, 10th March 1984.

Freddie also mentioned an earlier exhibition, Knitted Homes of Crime. She made knitted versions of the homes of female killers or the houses where they committed their crimes.  They are creepily like the knitted 'country cottage' tea cosies.

Image from Knitted Homes of Crime

Wendywear 500 leaflet

Clare Sams talked about her career as a textile artist, beginning with knitted panels based on scenes and events in Hackney.  I had seen one of her pieces before, at the Harrogate Knitting & Stitching Show in 2014 - a pigeon with a crisp packet.  She said that the pigeon is part of a much larger installation based on a pond near her home which looks idyllic and picturesque, but on close inspection also has litter, supermarket trolleys, rats,....

Clare Sams' feral pigeon with crisp packet   

She described a recent piece she has done with her husband based on the enormous fatberg that was found in a London sewer - the piece was exhibited in Great Yarmouth at the end of last year, and reported in the local paper here.  A 9m. long tunnel represented the sewer, and strips of fabric the fatberg - no smell though. 

I caught just the tail-end of Adrienne Sloane's talk on knitting and craftivism.  When I got there, she was talking about her piece The Unravelling, a knitted American flag that she is gradually unravelling.  Here's a YouTube video of Adrienne doing some of the unravelling (with a lot of background noise, unfortunately).

There were several talks on knitting history.  Jane Malcolm Davies who talked about the Knitting in Early Modern Europe https://kemeresearch.com/ research project which has built up an online collection of what Jane called 'cowpat caps' (because that's what they look like if they come from an archaeological site, i.e. have been buried for several hundred years). Similar caps feature in portraits of men like Erasmus and Luther - they were 'the headgear of choice for big brains', as Jane put it.   Creating the database has shown the need for an agreed terminology to describe knitted fabric - and sometimes the fabric is just a fragment rather than a complete garment, so there may be little clue about how it was made.  Terms such as purl, stitch, row or round describe the process of knitting, not the resulting fabric, so the project is instead using terms like loop, wale, course, ...

Sandy Black gave a talk on British designer knitters of the 1970s and 80s - from personal experience, as she was one of them.  I was a fan of Patricia Roberts' designs at the time, and was aware of a few other designers, too, and I remember that knitting seemed much more exciting then than previously. Sandy's insider knowledge gave a broader view, from someone who was making a living by designing and so knew the publishers, the spinners, fellow designers, ... 

Frances Casey is researching knitting for the troops in the First World War, and disputes the view that the knitted comforts sent to troops at the Front were badly knitted and that too many were sent. She pointed out that this view is almost entirely based on Punch cartoons from the first few months of the war, and that by the end of 1915 the supply of knitted comforts was being organised to help to fill a huge demand. 

Susan Strawn talked about 'Finding Virginia Woods Bellamy' - a woman who invented a modular knitting system and wrote a book about it, which is now almost unobtainable.  (Though many of her designs are listed in Ravelry.)  Susan has a copy of the book and has knitted many of the designs. They are very light, stretchy and resilient, and she produced about a dozen of them, one by one, from a tiny bag - like Mary Poppins' portmanteau. 

It was a very full programme - there were a lot more talks that I could mention, and more that I hope to catch up on when the recordings become available.  I fitted in a visit to Winchester Cathedral, too, and paid my respects to Jane Austen, who is buried there,. And on the way home on Saturday, I spent a few hours in the British Library - but that's another story. 

Jane Austen's memorial stone in Winchester Cathedral

Knitted Lace at Parcevall Hall

My friends Ann Kingstone and her sister Marie ran a Yorkshire Knitting Tour last week (finishing today). It was based at Parcevall Hall in upper Wharfedale - a 17th century manor house, extended in the 1920s, when a terraced garden was made.  

Parcevall Hall

On Friday, I went there with a suitcase of 19th century knitted lace from the Knitting & Crochet Guild collection, to show to the knitters as an introduction to two days of lace knitting workshops that Ann was going to teach.

A couple of the things I took to show the knitters have already appeared on this blog, like a pin-cushion cover in print o' the wave stitch (or leaf and trellis, as Victorian knitters would have called it).   Here's a small selection of the other things I had in the case.

I showed another knitted lace pin-cushion cover, this one with its pad inside.  It's suffered some damage from the pins and has been mended, possibly in Victorian times.

Two Victorian knitted samplers had been specially requested, and caused a lot of interest. As did Captain Tweedie's splendid nightcap.

Many of the Victorian pieces in the collection are mats, covers or doileys of various kinds, including this very finely knitted mat.

The basic design, with a sort of four-petalled flower in the centre, is very common, but there are many variations.  It is often used for bedspreads, made up of lots of squares knitted in thick cotton - it isn't usual to see it knitted in very fine cotton.

I had time for a walk around part of the garden, which is open to the public.  And it rained!  (Rain doesn't normally merit an exclamation mark in a British summer, but this year, it hasn't rained for weeks.)  The hillside across the valley was covered in cloud - though the fields were yellow-brown when they should have been green, because it has been so dry.

The garden is a series of terraces stepping down the slope, with wide views across the valley.  But looking along a terrace gives a much more enclosed feeling.

At the back, part of the building was built directly on top of a huge lump of exposed bedrock - which then had a rock garden planted in it.

An interesting house, and a beautiful garden - and evidently an ideal place for a week's knitting holiday. The knitters were very enthusiastic, and keen to examine the things I had brought.  It's great to be able to show pieces from the collection to an appreciative audience, and I really enjoyed joining the knitting tour for half a day.  Ann and Marie are planning to run it again next year, so hopefully I will be back.

More Tools and Gadgets

A few weeks ago, a long-standing member of the Knitting & Crochet Guild sent a small group of tools and gadgets as a donation for the Guild collection.

There are only seven items in the donation, but five of them I had never seen before.

The "Carnell" needle for blanket making (at the top of the photo above) is a hook for Tunisian crochet, which can be extended, up to about twice its original length, by attaching one or both of the extra lengths of metal tube.  We have  a Carnell needle in the collection already, but this one has a rolled up set of patterns in the box, and the box is in better condition too.

Robin Silk Winder

The Robin Silk Winder is, I guess, made of some sort of pre-WW2 plastic, and would have been used for artificial silk knitting yarn - like the Felix the cat winder I showed here.  And we have a child's dress in art. silk and angora, knitted to a Robin pattern, so it's nice to imagine the silk winder being used to make the dress. 

Viyella needle gauge and row counter 

The Viyella knitting needle gauge and row counter is a small barrel-shaped object (surprisingly heavy) with the gauge holes in the ends.  We have one in the collection already, but it's useful to have an extra one that we can take to trunk shows, and let people handle it and work the counter.

ORCO Handee Gauge

ORCO Handee Gauge - U.S. Pat, 3,068,580

The ORCO Handee gauge is a patented American gadget with a sliding pointer for (I suppose) more accurate measurement - according to the patent, dated 1962, it's designed for both sewing and knitting. (Not sure yet how it ended up in this country.)

The "Little Dorrit" Triple Knitting Counter

The "Little Dorrit" Triple Knitting Counter is not one we have in the collection already, although we have other similar row counters made of card.  (I don't know why it's called the "Little Dorrit" - was she a knitter?  I could find out by reading the book, but I shan't.)  This kind of row counter seems very flimsy to me, but in fact, the pointers still work perfectly well on this one, even though it seems to have been well used.

The Wimberdar 'Positive Row Counter'

The Wimberdar 'Positive Row Counter' is a much more substantial gadget. I think it's called a positive counter because you can only change the count if you're positive that you want to do it - unlike a lot of counters where there is a wheel to turn or a pointer to move, and it could easily be done when you weren't intending to.  The Wimberdar counter has two discs with the numbers on inside the case - one counts single rows and has the numbers 0 to 9; the other counts 10s of rows and is numbered 1 to 14 (plus a blank, showing in the photo).  You change the count by inserting the end of a (fairly fine) knitting needle into the hole at the left of the window at the top, and move it to the right of the window.  When the units disc has got to 9, the hole at the left of the window is lower down, and coincides with a hole in the 10s disc, so that you move both discs at the same time.   (Hope that's clear.)  It's very clever.  There's a leather case to go with it, too.  I kind of feel that I want one, but in fact, I know that I wouldn't use it - I'd rather count rows by making pencil marks on a piece of scrap card than use a row counter.  Though if I had a really nice one like this....

'Dont Lose Your Wool' yarn holder

Finally, and my favourite, is a yarn holder in a leather case. There is a bangle to go round your wrist, made of some sort of plastic, and hanging off it, are two wooden balls that go into the middle of your ball of wool.  Thus:

The piece of wire is a bit springy, so you can compress the two balls together, to push them into the  ball of wool, and then the wire springs apart to hold the wool firmly.

I have never seen another yarn holder of a similar design, and there's nothing on the holder or case that gives any clue to who made it - the only writing is 'Dont lose your wool' on the case. A really clever design, even though they don't appear to know about apostrophes.

A very nice little group - we are very grateful for the donation.   The yarn holder will be part of a trunk show for the Lincoln branch of the Guild on Saturday.