From the time I attended Mrs. Brazer's first class, I have had a great respect for her pattern collection. Not alone was I awed by the lovely things that were drawn forth from these portfolios, but also by the stupendous amount of work involved in the execution of each design. Since I have had the privilege of checking and cataloguing these patterns, this respect has grown to know no bounds. Here are some of the things I will say to you, that I dearly wish I could say to Mrs. Brazer.
I know a new and profound appreciation for the many hours of labour put into the recording of each piece. Many of us have gotten our patterns the easy way - by copying hers. Those of us who have recorded designs from original articles, know that this takes two and three times as long and is much more difficult. Her patterns were almost all done this way.
I was fascinated by the development of her work, through the years. The first recordings, many of which were done over and over, showed an experimental touch. Later came that deft sure stroke we all have admired so much. From the first, it was evident that she strove for perfection in each line, never stooping to leave a sloppy one. This perfection is what she later attained. Each stroke, each line, each pattern is a joy to behold.
At this point, it is still impossible to tell how many actual patterns she has collected, through the course of the years. There are well over a thousand. This does not take into account the many fragments of patterns she carefully recorded in case thy might some day fit into some whole picture.
I am told that there are those enthusiasts who would rather cut stencils than eat. I have never been as thoroughly bitten by the stencil - cutting bug. Perhaps this is the reason that I was completely carried away by the quantity of stencils Mrs. Brazer had cut, in all the years of her activity in this field. The number is amazing and nothing can describe the precision with which they were cut. A thick package of tiny silhouettes completely took my breath away. There were butterflies, so delicate and airy, flowers, so fine and lacy, miniature scrolls, baskets of fruit, the littlest birds, all cut with that same expert precision.
As I sit there, working, I feel her love for each pattern. I know her consternation, when even one small part was missing, for it meant that there was a link, missing from a chain that had taken many years to forge. Every pattern had been completely recorded, no section was too unimportant, no unit too crude. Such was the enthusiasm, with which she carried on her research. I came to realize how much pleasure can be added to the mere collection of patterns, by a thorough examination into the history of each piece. There is always so much more to learn.
It is my sincere wish that it will become possible, in the near future, for all earnest students of this craft, to have the same opportunity to view and study Esther Brazer's complete patterns for it would be a shining star of inspiration to us all.
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