Author: Anne Marie Decker

Nalbinding Researcher

NOW: Cap with Puppies 1964.52.1

The collection of Peruvian nalbinding is full of beautiful figural work. This week’s Nalbound Object of the Week is one of my favorites: a small cap with a dog nursing her puppies.1

A small dark brown cap/fascinator with a light brown edge and a striped mother dog nursing her three striped puppies.
Photo: The Textile Museum – Public Domain

Object: Peruvian cap with puppies

Description: The cap is a slightly ovaloid shape just under 6 inches in diameter (5.5 x 5.75 inches) and 1.5 inches high (3.81 H x 14.60 W x 13.97 D cm).2 On top of the cap is a striped “dog” nursing three striped “puppies” worked in 3 dimensional figural nalbinding.

We know of several other caps from Peru in this time frame with figural work on them. One in purple and white stripes with a chicken head. Another in red and yellows with two birds on top.

Dated to: 1000-15003

Find location: Peru, probably coastal4

Material: camelid5 (meaning unspecified fiber off the alpaca or llama or other variety of camelid animals6)

Stitch(es) used: S-crossed Simple Looping, B1 U, (museum record says Cross-knit Looping,7 but image shows a surface texture of Simple Looping or possibly Pierced Looping)

Inventory number: Accession Number: 1964.52.1

Current location: The Textile Museum

Link to museum catalog or other data: https://collections-gwu.zetcom.net/en/collection/item/165/

Some sources in which more information can be found:

Rogers, George (Author). “Calendar” in The Textile Museum Bulletin, The Textile Museum Bulletin, Washington, D.C., 1990, vol. Spring, p. 8.

The Textile Museum. An Introduction to Textile Terms, Washington DC: The Textile Museum, 1997.

Please note that sharing to other venues will likely be intermittent. If you wish to receive these each week, please remember to follow the blog.
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  1. Looping in An Introduction to Textile Terms, Washington DC: The Textile Museum, 1997. ↩︎
  2. Dimensions: https://collections-gwu.zetcom.net/en/collection/item/165/ ↩︎
  3. Date: https://collections-gwu.zetcom.net/en/collection/item/165/ ↩︎
  4. Geography: https://collections-gwu.zetcom.net/en/collection/item/165/ ↩︎
  5. Materials: https://collections-gwu.zetcom.net/en/collection/item/165/ ↩︎
  6. An interesting article regarding the difficulties in identifying between the 4 types of camelids in South America in the archeological record can be found in Paloma Diaz-Maroto, Alba Rey-Iglesia, Isabel Cartajena, Lautaro Núñez, Michael V Westbury, Valeria Varas, Mauricio Moraga, Paula F Campos, Pablo OrozcoterWengel, Juan Carlos Marin, Anders J Hansen (2021) Ancient DNA reveals the lost domestication history of South American camelids in Northern Chile and across the Andes eLife 10:e63390 at https://doi.org/10.7554/eLife.63390/ ↩︎
  7. Structure: https://collections-gwu.zetcom.net/en/collection/item/165/, but the diagram in An Introduction to Textile Terms, Washington DC: The Textile Museum, 1997 for Looping, which is illustrated with this cap, shows alternating rows of S- and Z-crossed Simple Looping, not Cross-knit Looping. ↩︎

NOW: Ancient Puebloan Sock P89.231, 13th cent

Our next Nalbound Object of the Week is one of the Ancient Puebloan socks from what is now known as the Southwestern United States. There is not a lot of detail available about this sock. What differentiates it from the other socks found in Ancient Pueblo contexts is the very interesting detail of its material.

Ancient Puebloan Sock as on display in July of 2019 at the Bata Shoe Museum.
Photo: Anne Marie Decker 7 July 2019

Object: Ancient Puebloan Sock

Description: A dark brown above ankle sock with a light brown tie at the ankle laced between the stitches. According to the Bata Shoe Museum, it may have been worn alone or with sandals.1 However, unlike several in the Arizona State museum, this one is entirely Simple Looping and is not worked off a braided or woven sole.

Dated to: c. 1200 CE, 13th century CE2

Find location: Southwestern United States3

Material: Human Hair4

Stitch(es) used: Z-crossed Simple Looping, F1 O (Stitch determination by Anne Marie Decker)

Inventory number: P89.231

Current location: Bata Shoe Museum, Toronto, Canada

Link to museum catalog or other data: Scroll through the online exhibition about socks to find the Ancient Puebloan sock: https://batashoemuseum.ca/socks/ (Click the next link 11 times)

Some sources in which more information can be found:

Arizona State University has a nice article on related Ancestral Pueblo Shoe–Socks, including some really lovely photos of some in their collection.

Please note that sharing to other venues will likely be intermittent. If you wish to receive these each week, please remember to follow the blog.
Patrons on Patreon receive early access previews, occasional extra details, and priority requests.

  1. The exhibition label in 2019 and https://batashoemuseum.ca/socks/ ↩︎
  2. The exhibition label in 2019 and https://batashoemuseum.ca/socks/ ↩︎
  3. The exhibition label in 2019 and https://batashoemuseum.ca/socks/ ↩︎
  4. The exhibition label in 2019 and https://batashoemuseum.ca/socks/ ↩︎

NOW: Kinzembe, Nkutu, or Zamba kya mfumu – Kongalese Prestige Cape 1962.1.14

This week’s Nalbound Object of the Week comes from Central Africa. There are quite a few of these beautifully fine Prestige Capes from the former Kingdom of Kongo now in museums around the world. I was honored to be able to examine this particular one closely. Until you are in the presence of one, it is hard to comprehend just how delicate and fine this complex compound nalbinding is; and then you add in the openwork patterning. Definitely breathtaking.

Photo Credit: Textile Museum Acquisition – Public Domain

Object: Kinzembe,1 Nkutu,2 or Zamba kya mfumu3 – Kongalese Prestige Cape

Description: A stunningly fine raffia cape worked in a trebly intralaced compound nalbinding stitch with an openwork zigzag pattern. The neck opening has a layer of Simple Looping around the edge. The outer edges have raffia fringe knotted onto them. The front and back rows have strings knotted on every few stitches from which the handle-like tassels are suspended. This cape has one both front and back. Some also have them off the sides.

There is an illustration of an etching, based on a photograph, that was made ca. 1880 of a Chief in Full Dress Attire wearing a nkutu on page 73 of Kongo: Power and Majesty.

Dated to: 19th century CE4

Find location: Democratic Republic of Congo, what was southern Zaire.5

Material: raffia6

Stitch(es) used: B1 UU/OO/UU/OOU as determined by Anne Marie Decker during her examination of the object on 14 June 2023. The row heights are very fine for this compound of a nalbinding stitch; around 5/8ths of an inch. There is a single row of Z-crossed Simple Looping, F1 O, around the neck opening.

The Textile Museum specifies that the structure is “looping,” but not the specific stitch used.7 This type of cape has also been misidentified as sprang8 in other examples, but they are not.

So far, the only other place where we see other stitches in the same trebly intralaced family of stitches is in the Omani stitch sock as described by Peter Collingwood (the only example of that particular stitch out of Oman that has been found so far).

Inventory number: Accession Number: 1962.1.14

Current location: The Textile Museum

Link to museum catalog or other data: https://collections-gwu.zetcom.net/en/collection/item/11243/

Some sources in which more information can be found:

LaGamma, Alisa, ed. Kongo: Power and Majesty. New York: The Metropolitan Museum of Art, 2016. ISBN 978-1-58839-575-7

Photographs:

Photos of this and several other examples of Kinzembe, Nkutu, or Zamba kya mfumu can be seen at Some of the fashion accessories used in the Kongo Kingdom – Raffia textiles

Please note that sharing to other venues will likely be intermittent. If you wish to receive these each week, please remember to follow the blog.
Patrons on Patreon receive early access previews, occasional extra details, and priority requests.

  1. https://collections-gwu.zetcom.net/en/collection/item/11243/ ↩︎
  2. The Brooklyn Museum uses the term nkutu for the Prestige Cape in their collection: https://www.brooklynmuseum.org/opencollection/objects/13009 as does the British Museum with the one in their collection: https://www.britishmuseum.org/collection/object/E_Af1853-0713-1 ↩︎
  3. https://collections-gwu.zetcom.net/en/collection/item/11243/ ↩︎
  4. https://collections-gwu.zetcom.net/en/collection/item/11243/ ↩︎
  5. https://collections-gwu.zetcom.net/en/collection/item/11243/ ↩︎
  6. https://collections-gwu.zetcom.net/en/collection/item/11243/. This is not the only type of fiber in which we find this type of cape worked. ↩︎
  7. https://collections-gwu.zetcom.net/en/collection/item/11243/ ↩︎
  8. For example, the British Museum’s Af1853,0713.1 lists its technique as sprang: https://www.britishmuseum.org/collection/object/E_Af1853-0713-1, but also provides clear and close photographs that show it is worked in exactly the same interlinking nalbinding stitch as this one in The Textile Museum. ↩︎

NOW: Uppsala Sock UM11107

The Uppsala sock now joins our Nalbound Object of the Week collection. I had the pleasure seeing this sock on display during my first trip out to view extant objects back in June of 1999.

Photo: Upplandsmuseet Attribution-NonCommercial-NoDerivs (CC BY-NC-ND) Attribution-NonCommercial-NoDerivs (CC BY-NC-ND)

Object name: Uppsala Sock

Description: A light brown sock with a spiral heel (10 rows), slit at the ankle (7 rows), and a darker brown embellishment along the cuff/slit. The toe of the sock has 17 rows.1 The heel is worked in a beautiful perfect spiral; a photo of which is included in Anne Marie Frazén’s article “En medeltida socka i nålning” linked below (as well as other photos taken during conservation). The sock is 21 cm long with a 5 cm ankle shaft.2

Dated to: Found in late medieval layers3

Find location: Excavated in December of 1961 in plot 8 of the excavations of Duvan quarter in Uppsala, Sweden, amongst a large quantity of leather shoe remains.4

Material: now light brown S-spun Wool. The ankle decoration is a now dark brown S-twisted, fairly thick, wool yarn.5

Stitch(es) used: Mammen, UOO/UUOO [F2] (Frazén’s article shows a diagram of the stitch (upside down), but does not specify the connection used. However, she does say it is the same stitch found in the Mammen pennants and in the Egyptian sock described by Schinnerer in Antike Handarbeiten.)6

Inventory number: Uplandsmuseets inventarienummer UM11107

Current location: Upplandsmuseet (not on display)

Link to museum catalog or other data: https://digitaltmuseum.se/011023866712/socka

Some sources in which more information can be found:

Frazén, Anne Marie. “En medeltida socka i nålning” in Uppland: årsbok. Upplands fornminnesforening, 1963. Pgs. 38-47.

Kania, Katrin. Kleidung im Mittelalter: Materialien, Konstruktion, Nähtechnik : Ein Handbuch. Köln: Böhlau Verlag, 2010. ISBN: 978-3-412-20482-2.

Rothquist, Linnéa, Anita Andersson, Håkan Liby och Olle Norling. “SÖMA, NÅLA, BINDA nålbundet från Uppland”. 2003.

Additional Photographs:

Anna-Märta Berg shows the Uppsala sock in the exhibition at the Upplandsmuseet in 1964.
Photo: Upplandsmuseet Attribution-NonCommercial-NoDerivs (CC BY-NC-ND) Attribution-NonCommercial-NoDerivs (CC BY-NC-ND)

Please note that sharing to other venues will likely be intermittent. If you wish to receive these each week, please remember to follow the blog.

  1. Frazén, Pg. 39. ↩︎
  2. Frazén, Pg. 39. ↩︎
  3. Frazén, Pg. 41. ↩︎
  4. Frazén, Pgs. 38 & 41. ↩︎
  5. Frazén, Pgs. 38-39. ↩︎
  6. Franzén, Pgs. 40 & 44. However, Katrin Kania lists UOO/UUOO F1, which would be Korgen, in the entry in her book Kleidung im Mittelalter: Materialien, Konstruktion, Nähtechnik : Ein Handbuch. Köln: Böhlau Verlag, 2010. ISBN: 978-3-412-20482-2 on page 398 when citing from Anne Marie Franzén’s article. ↩︎

NOW: Coppergate/York/Jorvik Sock – Small Find 13517 (Patreon sponsored)

With my sincerest thanks to my Patrons, this week’s Nalbound Object of the Week is the Coppergate Sock. On display at the Jorvik Viking Centre, this sock goes by many names; all related to its find location. Coppergate Sock, York Sock, or Jorvik Sock, but they are all the same artifact.

Photo: York Archaeology CC BY-NC 4.0
Photo: York Archaeology CC BY-NC 4.0

Object: Coppergate Sock, also known as the York Sock or the Jorvik Sock

Description: A fine wool sock that ends just below the ankle. The last row at the ankle is worked in a dyed yarn, unlike the rest of the sock, which either was meant to act as a decorative edge or could indicate a longer stocking leg in red is missing.1 However, we don’t have evidence of nalbound stockings going much past the ankle until a few centuries after this sock and even then they are not common in finds. Additionally, we do have evidence of Egyptian socks that have a single row of color at the ankle. Much of the heel is missing as well as holes near the toes and a damaged slit along the vamp. All pieces were connected, none loose. The pieces were drawn together during conservation in order to better show the original shape.2 There is evidence of patching having been sewn on the sock based on the outline of wool stitching. After conservation, the sock is 10 1/4 in. (260mm) long toe to heel (pre-conservation c. 9 1/2 in. / 0.23m). Circumference at ankle 12 7/8 in. (325mm) and at broadest part of foot 10 5/8 in. (270mm).3 Before conservation measurements are in Jean M. Glover’s, Senior Textile Conservation Officer at the North West Museum and Art Gallery Service, conservation report “Sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. The Archaeology of York, The Small Finds 17/5. Published for the York Archaeological Trust by the Council for British Archaeology. 1989. Pg. 430-431. ISBN 0 906780 79 9.

Dated to: Period 4B is dated to 930-975 CE,3 10th century4

Find location: The sock was found in the backyard of one of the wattle buildings of Period 4B5 in the excavations of 16-22 Coppergate, York, England, UK. It was found in context with several other Scandinavian style textiles which may imply that they were imported on a Scandinavian visitor/invader or that they could be simplified copies made by the local Anglians.6

Current location: On display at the Jorvik Viking Centre

Material: Stable isotope analysis of the Coppergate sock indicates that the wool came from somewhere in the Ireland-to-south Scandinavia band. It is consistent with an origin of the British Isles, but Ireland and Denmark also give similar results.8  It is a smooth and even S2Z plied wool.9 (Two S spun singles plied together with a Z twist.) The missing patch (possibly flax or other vegetable fiber that has since decayed away) was sew on with Z2S plied wool10 1.5 mm in diameter.11 Based on the pictures, this repair yarn appears thicker in diameter than the yarn used for the nalbound fabric.

Color: Dark brown (potentially related to the many years of being buried).14 The last row of the sock at the ankle is worked in a smooth dark yarn that was dyed with madder. Test results were negative for dyes on the rest of the sock.15

The original diagram of the stitch used in the Coppergate sock. There is an issue with this diagram in that the needle shows the correct connection to the previous rows of F2, but the rest of the diagram shows an F3 connection. Image was originally published in the 1980’s and has been used repeatedly in multiple publications since.

Stitch(es) used: Based on analysis of the upper edge of the sock: York, UU/OOO F2.10 The foot portion could not be analyzed due to “heavy wear and felting on the inside.”11 Further analysis is obscured by the conservation tulle covering the sock.

Construction details: Examination of the pre-conservation drawings and the photographs available of the sock show a clear round start to the toe with quite a few stitches in it. According to Penelope Walton’s analysis, there is a single loop of yarn at the toe around which a circular row of loops is worked.12 The F2 connection combined with York stitch UU/OOO means that each subsequent row overlaps the previous row by half. Penelope Walton reported a gauge of approximately 36 rounds per 100mm.13 That’s about 36.6 rows per 4 inches or just barely over 9 rows to the inch.

Also shown are three areas of shorter row wedges in the heel. The first 7 rows deep coming off the mid-foot. The second, 3 or 4 rows are still remaining. The ankle has apparently 4 rows going around the entire ankle, cut only by the slit on the vamp. In the back of the heel are quite a few rows going parallel to the rows around the ankle. There was difficulty in this area for the conservators as they tried to draw the damaged areas together, because the rows were not as obvious in their orientation in this region.18 This is where the confusion regarding type of heel comes in, because if those were a third wedge in the style of the Egyptian or Swiss socks/stockings (which tended to have two at most), then one would expect longer rows followed by shorter rows with the ankle rows covering the ends. It is possible that the third wedge is worked in reverse, short to longer rows, to cup the back of the heel and give a more upright angle to the ankle opening (wedge heels tending towards a 45 degree rather than 90 degree angle between foot and leg). Figure 142a on page 344 of Textiles, Cordage and Raw Fibre from 16-22 Coppergate shows a drawing of how Penelope Walton thought the heel might have been reconstructed. It is important to note that she suggests the construction may be closer to the double wedges of one of the slightly later Swiss socks from Délémont/Delsberg than the spiral construction of the Uppsala heel or the rectangular heel flap and cup combination of the earlier Roman Egyptian socks. She does not appear to have known of the compound nalbound socks out of Egypt (only the cross-knit looping variety) that almost all have wedge heels, a few with two wedges, (the only exception being one that has a heel flap and cup style like the Cross-knit Looping style socks).

Inventory number: Small Find 13517. Catalogue Number 1309.

Link to museum catalog or other data: https://www.collections.yorkarchaeologicaltrust.co.uk/s/collections/item/124898#lg=1&slide=0

Some sources in which more information can be found:

Glover, Jean M., Senior Textile Conservation Officer at the North West Museum and Art Gallery Service, Blackburn. “Sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. The Archaeology of York, The Small Finds 17/5. Published for the York Archaeological Trust by the Council for British Archaeology. 1989. Pg. 430-431. ISBN 0 906780 79 9.

von Holstein, Isabella Christina Charlottie. “A light stable isotope (C, N, H, O) approach to identifying movement of medieval textiles in North West Europe.” PhD Thesis, University of York, 2012. Pgs. 268–70.

von Holstein, Isabella C. C. & Walton Rogers, Penelope & Craig, Oliver & Penkman, Kirsty & Newton, Jason & Collins, Matthew. Provenancing Archaeological Wool Textiles from Medieval Northern Europe by Light Stable Isotope Analysis (δ13C, δ15N, δ2H). PLOS ONE: 2016 11. 10.1371/journal.pone.0162330.

Walton, Penelope. ‘Needlework from Jorvik’ Embroidery 36/4 (Winter 1985), pp 130-131.

Walton, Penelope. “Production at Coppergate, York: Anglo-Saxon or Viking?” in Textiles in Northern Archaeology, Textile Symposium in York, North European Symposium for Archaeological Textiles Monograph 3, NESAT III, ed. by Penelope Walton and John Peter Wild. London: Archetype Publications, 1990. ISBN 1-873132-05-0.

Walton, Penelope. Textiles, Cordage and Raw fibre from 16-22 Coppergate. The Archaeology of York, The Small Finds 17/5. Published for the York Archaeological Trust by the Council for British Archaeology. 1989. Pgs. 341-345. ISBN 0 906780 79 9.

Walton Rogers, Penelope. “Chapter 5. Textile networks in Viking-Age towns of Britain and Ireland” in Crafts and Social Networks in Viking Towns ed. by STEVEN P. ASHBY and SØREN M. SINDBÆK. Oxbow Books, 2019. Paperback Edition: ISBN 978-1-78925-160-9. Digital Edition: ISBN 978-1-78925-161-6 (ePub) https://www.academia.edu/99573338/Chapter_5_Textile_networks_in_Viking_Age_towns_of_Britain_and_Ireland

Walton Rogers, Penelope. Textile Production at 16-22 Coppergate. The Archaeology of York, The Small Finds 17/11 ed. by P.V. Addymann. Published for the York Archaeological Trust by the Council for British Archaeology. 1997. ISBN 1 872414 76 1.

Photographs:

Regia Anglorum was the first place to publish anything online regarding nalbinding that I can remember and they included Penelope Walton’s diagram and drawing of the Coppergate sock: https://regia.org/research/life/naalbind.htm

Astrid Bryde shared photos of the Coppergate sock from her visit to the Jorvik Viking Centre in 2018. The photo taken of the back of the heel is particularly interesting as it shows angled rows as if from a wedge style heel.

The article “York’s Viking Sock Becomes Part of ‘A History of the North in 100 Objects’” by the Jorvik Viking Center published August 6, 2018 has a close enough view you can see the conservation tulle.
Read more at https://www.jorvikvikingcentre.co.uk/press/yorks-viking-sock-becomes-part-history-north-100-objects/#6aq4FWa8UDvMoPYH.99

The Coppergate sock made BBC’s A History of the World: http://www.bbc.co.uk/ahistoryoftheworld/objects/fvO4ZPlnTKyGE0dWyuOdBQ

The Coopergate sock is included as one of the artifacts in the Jorvik Artefact Gallery. Scroll to right several times to see a nice photo that you can click on to enlarge. https://www.jorvikvikingcentre.co.uk/about/jorvik-artefact-gallery/

On May 7, 2019, Hacking Civilization published the following embedded YouTube video showing the Coppergate sock as it is currently displayed.

I recently ran across this video published by The JORVIK Group on Jun 6, 2016 also showing the Coppergate/York sock.

And more recently they’ve also posted:

This Facebook group, Nålbinding, is a closed group. If you join it and search for the Coppergate sock, you will find several interesting posts by a variety of people of photos taken of the sock on display.

Hilde Thunem’s article, Viking Clothing: hose and socks, includes several additional photos of the Coppergate sock on display. It also puts the sock in perspective noting that while there are multiple finds of socks/hose from the period and region, only the one is nalbound. Most are of cut and sewn woven cloth.

Acknowledgements: This extended Nalbound Object of the Week is brought to you by the generosity of my Patrons on Patreon. Your continued support helps to fund more detailed research and articles as well as longer blog posts.

Please note that sharing to other venues will likely be intermittent. If you wish to receive these each week, please remember to follow the blog.
Patrons on Patreon receive early access previews, occasional extra details, and priority requests.

  1. Walton, Penelope. “The sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 343. ↩︎
  2. Glover, Jean M. “Sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 431. ↩︎
  3. Glover, Jean M. “Sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 430. ↩︎
  4. Walton, Penelope. Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 418. ↩︎
  5. Walton, Penelope. “The sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 341. ↩︎
  6. Walton, Penelope. “The sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 341. ↩︎
  7. Walton, Penelope. Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 418. ↩︎
  8. von Holstein, Isabella Christina Charlottie. “A light stable isotope (C, N, H, O) approach to identifying movement of medieval textiles in North West Europe.” PhD Thesis, University of York, 2012. Pgs. 268–70. Also cited by Walton Rogers, Penelope. “Chapter 5. Textile networks in Viking-Age towns of Britain and Ireland” in Crafts and Social Networks in Viking Towns. Pg. 105. and von Holstein, Isabella C. C. & Walton Rogers, Penelope & Craig, Oliver & Penkman, Kirsty & Newton, Jason & Collins, Matthew. Provenancing Archaeological Wool Textiles from Medieval Northern Europe by Light Stable Isotope Analysis (δ13C, δ15N, δ2H). PLOS ONE: 2016 11. 10.1371/journal.pone.0162330. Pg. 20. ↩︎
  9. Walton, Penelope. “The sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 342. and Glover, Jean M. “Sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 430. ↩︎
  10. Walton, Penelope. “The sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 341. ↩︎
  11. Walton, Penelope. “Catalogue” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 435. ↩︎
  12. Glover, Jean M. “Sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 430. ↩︎
  13. Walton, Penelope. “The sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 342. and Glover, Jean M. “Sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 430. ↩︎
  14. Walton, Penelope. “The sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 342. Diagram on page 343. ↩︎
  15. Walton, Penelope. “The sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 342. and Glover, Jean M. “Sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 430. ↩︎
  16. Walton, Penelope. “The sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 342. ↩︎
  17. Walton, Penelope. “The sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 342. ↩︎
  18. Glover, Jean M. “Sock in nålebinding, 1309” in Textiles, Cordage and Raw fibre from 16-22 Coppergate. Pg. 431. ↩︎

NOW: Tarim Beret

Anne Marie Decker with the Tarim beret as it was taken out of the display case for her to examine in order to determine the stitch used. 21 June 2000.

The Tarim Beret is a beautifully fine example of what kinds of designs are possible using even the simplest variants of nalbinding. This hat was on display in 2000.

Object: Tarim Beret

Description: A finely nalbound brown wool beret stretched over a felt roll. The stitch patterning leaves a visual impression of four striped quarters, but it is worked in the round.

Dated to: ca. 1000 BC (wood of the tomb calibrated C14 results date to 2960 ±115 years Before Present* (published 1999))

Find location: Zaghunluq Cemetery, Chärchän/Qiemo County, Tarim Basin (central southern edge thereof), Xinjiang, China

Material: Wool

Stitch(es) used: Space patterned Z-crossed Simple Looping, F1 O (as determined by Anne Marie Decker 2000)

Current location: 新疆维吾尔自治区博物馆 Xinjiang Uyghur Autonomous Region Museum, 581 Xibei Rd, Saybag District, Ürümqi, Xinjiang, China, 830000

Sources in which more information can be found: https://nalbound.com/2019/06/03/urumchi-and-the-tarim-hats/

*王炳华 = Wang, Binghua. 新疆古尸 : 古代新疆居民及其文化 = Xinjiang gu shi: gu dai Xinjiang ju min ji qi wen hua = The ancient corpses of Xinjiang : the peoples of ancient Xinjiang and their cvlture [i.e. culture]. Wulumuqi-shi: Xinjiang ren min chu ban she, 2001. ISBN 7-228-05161-0

NOW: Vasa mitten 21116

This week’s Nalbound Object of the Week is the Vasa Mitten on display in the Vasa Museum in Stockholm, Sweden. The wool mitten was found in a barrel with a pair of leather outer mittens in the remains of the ship Vasa which sank in 1628 CE.1 It is not the only mitten found on shipwrecks around this timeframe, nor is it the only nalbinding that was found on the Vasa. Simply the nalbound item on display; the rest are kept in the museum inventory.2

Anne Marie Decker as she finds the Vasa mitten and its outer casing on display in the Vasa Museum.

Object: Vasa Mitten

Description: A left mitten liner made of grey wool; loosely spun.3 The thumb is no longer attached to the mitten though it is placed in position for display. The fabric shows heavy fulling, although it is unknown if that was original or simply developed from wear and/or find circumstances.

Dated to: 10 August 1628 CE4 (no more recent than)

Find location: Vasa shipwreck, starboard side of the lower battery deck between beams 2 and 3 about 5.3 to 6.77 meters from the bow,5 Stockholm archipelago, Sweden

Material: single ply S-spun wool6

Stitch(es) used: Pending results of examination.
Stitch count 40 stitches/10 cm and 12 rounds/10 cm.7

Inventory number: 21116

Current location: The Vasa Museum https://www.vasamuseet.se/en

Link to museum catalog or other data: https://digitaltmuseum.se/011024785035/vante

Only one of several beautiful and detailed photographs available on the digitaltmuseum.se link. Scroll past the photos of the leather mittens to find them.
Photo: Vasa Museum CC BY 4.0

The 1983 edition of Berit Westman’s Nålbindning: 12 varianter contained the first image of the Vasa mitten that I had seen. It was lovely to see it in person again in May of 2023; when I also got the chance to examine the other nalbinding found on the ship.

Some sources in which more information can be found:

Looström, Anne and Birgitta Stapf. “Tre Tusen Textilfragment : Från Wasan Söndagen Den 10 Augusti 1628.” Dissertation. 1983. [Note: I have not read this yet. It was recommended.]

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  1. Other Information: https://digitaltmuseum.se/011024785035/vante ↩︎
  2. See Identifier 09184 https://digitaltmuseum.se/021026380762/pung and 27908IX https://digitaltmuseum.se/021026380969/textil ↩︎
  3. About: https://digitaltmuseum.se/011024785035/vante ↩︎
  4. Rising, Catrin ed. The Story of Vasa. The Swedish National Maritime Museums. Pg. 5. ISBN 978-91-984713-3-5. ↩︎
  5. Find Place: https://digitaltmuseum.se/011024785035/vante ↩︎
  6. Techniques: https://digitaltmuseum.se/011024785035/vante ↩︎
  7. Techniques: https://digitaltmuseum.se/011024785035/vante ↩︎

Nalbound Object of the Week (NOW) – Introduction

As I attempt to get back into writing after some significant health issues, I would like to introduce a new series of posts on the Nalbound Object of the Week.

I’ve found that there are lots of questions about what kinds of nalbound artifacts do we find in any location or time. What kinds of stitches, if known, etc. And while I am, slowly, working on a comprehensive catalog incorporating all published data as well as details from my own examinations, that will take significant amounts of time to enter just the information I have already collected. Thus, the NOW project; to energize my writing process, to get basic details out and available, and to draw attention to nalbinding from around the world.

Not all information will be available for every object, but I’d like to include:

Object name:

Description:

Dated to:

Find location (Continent, current country, original culture):

Material:

Stitch(es) used:

Inventory number:

Current location:

Link to museum catalog or other data:

Sources in which more information can be found:

Photographs (if permissions allow):

So how can you help? I plan to begin with artifacts that are currently on display, so that you can visit them if you wish (thank you Jennifer Blaikie for the suggestion). After that, I could use suggestions as to what most interests you. Do you have a particular area of timeframe that interests you? Are you looking for more examples of socks or hats or…? Is there a particular stitch or colorwork pattern you are intrigued by? My Patrons on Patreon will get first option as they are actively supporting my research, but all suggestions are welcome and will be accommodated as best I can.

Kuwaiti nalbound camel muzzles

Four years ago, I first wrote about the nalbound camel muzzles of the Arabian peninsula. Today, just one day shy, I am bouncing with excitement as I hold two examples in my own hands.

Anne Marie Decker holding two Kuwaiti nalbound camel muzzles. (Camels not included.) One is deep blue and deep rose in color. The other is tangerine orange and deep pink.

I have had tendrils out various locations across the Arabian peninsula trying to get one to examine for years, but they had all come back empty. Apparently, camel accoutrement sellers are not on the normal tourist tracks; or even that of city office workers. And yet, the quest has proved amusing enough that people are willing to keep an eye out and now one of those tendrils has returned successful.

Both muzzles have an F2 UOO/UUOO structure corresponding to the nalbinding stitch variant commonly called Mammen. This matches the predominant stitch I could see in those photos that were close enough to see evaluate as reported in More Camel Muzzles.

Thank you to everyone who has listened to me babble on with excitement about this particular continuing tradition of nalbinding; especially to those that have been willing to join the quest. I look forward to being able to examine them closely.

Appropriation protections

November is Native American Heritage Month here in the U.S. As we celebrate and explore nalbinding as it is found around the world and in many cultures, it does behoove us to remember to have a care that our appreciation does not tip over into appropriation. Many of the cultures that produce nalbinding suffer from the effects of colonialism. Many of the stitches are universally used around the world, but some of the motifs, colorwork, object shaping, and descriptive words have sacred meanings.

Some places have put formal protections in place. For example:

The US Department of Interior’s Indian Arts & Crafts Board provides clarification regarding the Indian Arts and Crafts Act of 1990 (P.L. 101-644) which prohibits misrepresentation by falsely suggesting an item advertised for sale is Indian produced, an Indian product, or the product of a particular Indian or Indian tribe or Indian arts and crafts organization in the marketing of Indian art and craft products within the United States. The penalties for even a first violation are rather steep. https://www.doi.gov/iacb/act

The Association of American Indian Affairs non-profit organization produced a flyer regarding the Indian Arts and Crafts Act that can be seen at: https://m.facebook.com/story.php?story_fbid=pfbid02ekRx564whprCtNLdhwEpFX7TafrKNQZbEtRgjx96k4yLMztT9bP2LxHPQGvnKv36l&id=100064589357930&mibextid=Nif5oz

They also provide links to a few of the many federal, state, and Tribal laws applying to culturally sensitive items: https://www.indian-affairs.org/repatriationlaws.html#NMAI

On the other side of the world, the Noken of Western Papua, Indonesia have been inscribed in 2012 (7.COM) on UNESCO’s List of Intangible Cultural Heritage in Need of Urgent Safeguarding. https://ich.unesco.org/en/USL/noken-multifunctional-knotted-or-woven-bag-handcraft-of-the-people-of-papua-00619

https://web.archive.org/web/20230203170557/https://www.goodmorningpapua.com/differences-in-the-fate-between-noken-papua-and-bilum-from-papua-new-guinea/

The National Cultural Commission and Investment Promotion Authority of Papua New Guinea issued a joint press release entitled “Caution on the Misuse of Papua New Guinea Traditional Motifs and/or Designs from Traditional Bilum on Textile and Material Fabric.” https://www.facebook.com/107862945033802/photos/a.116069377546492/181536697666426/?type=3 “Furthermore, it must be made known to the public that “bilum-weaving” is a reserved activity under the Reserved Activities List. This means that only Papua New Guineans can weave bilums and sell bilums in the country. Local communities into bilum weaving should begin to take ownership of the bilum weaving knowledge and skills within thier own communities and begin to document their traditional design.”

In general, the formal protections relate to the sale of cultural heritage items. Nonetheless it behoves us as we learn more of how nalbinding is used around the world, the cominalites of stitches and uses, to understand its importance to many cultures, so that we may better appreciate it without appropriating items of cultural and sacred significance.