ornamental chickens

Rating is available when the video has been rented.

With the breed that carries his name, John Sebright intentionally set out to create a very small bantam chicken with laced plumage similar to the laced variety of Polish chickens.[3] Although the exact makeup of the breed is uncertain, he is thought to have crossed British, Hamburgh, Nankin and Polish birds with a base of Rosecombs before achieving a laced chicken that would breed true.[8][9] After the breed’s establishment circa 1810, Sebright founded The Sebright Bantam Club, which was the very first individual breed association for chickens.[9] The breed has appeared in the American Poultry Association’s Standard of Perfection since the first edition in 1874.
Wife to a patient husband, mother to 2 great kids, 2 hunting cats, about 23 gold fish, 4 4-H sex-links, 2 Salmon Favorelles, 1 Mottled Houdan, 1 silkie, 1 Bantum Cochin Frizzle, 2 Sumatras, 2 Dorkings, and 3 Llamas.
My Ornamental Layer Assortment is doing fine! This is my 5th order from Murray McMurray and each order has been perfect! The chicks are lively and so much fun, my wife and I argue about how long I can keep them in the house.
We ordered our chicks for the first possible delivery date of the year (after Apr 15th) and they all arrived healthy, alive and beautiful! We’re really happy about the assortment and they have all been healthy and vigorous.
I have been dealing iwth your company for over 25 years, and this years order of the Ornamental Layer Collection is as others one of the best.
(Our choice) If you are short of space, or don’t like to hear roosters crowing but still want the most unusual of the world’s exotic poultry breeds, try our ORNAMENTAL LAYER COLLECTION.The supply of these is limited so please order them as early as possible.
We purchased this Ornamental Layer Collection almost 4 years ago – and have received many compliments from our friends about the beautiful variety of our birds!! Very happy!! Will purchase this same collection again in the future.
The Black Cochin is a single comb, feather legged variety that originated in China.
The Buff Cochin is a single comb, feather legged variety that originated in China.
The Blue Cochin is a single comb, feather legged variety that originated in China.
The Black Langshan is a single comb, feather legged variety that originated in China.
The Barred Cochin is a single comb, feather legged variety that originated in China.
The Blue Andalusian is single comb, clean legged variety that originated in Spain.
The Golden Campine is a single comb, clean legged variety that originated in Belgium.
The Egyptian Fayoumi is a single comb, clean legged variety that originated in Egypt.
The Buff Laced Polish is a v-shaped comb, clean legged variety that originated in Holland.
The Black Sumatra is pea comb, clean legged variety that originated in Sumatra.
The Blue Sumatra is pea comb, clean legged variety that originated in Sumatra.
The Black Breasted Red Cubalaya is a pea comb, clean legged variety that originated in Cuba.
The Crevecoeur is a v-shaped comb, clean legged variety that originated in France.
The Buttercup is a clean legged, cup shaped comb variety which is thought to have originated in Italy.
Add to cart to see quantity discounts at 25, 50 and 100 chicks.
3:38 Sneezy the 9 year old Silver Sebright showing how to deal with stress and shock in organic poultry.
Advertise on Laughing Squid — Ad campaigns start out at $40/month for 20K impressions (More info).
Advertise on Laughing Squid — Ad campaigns start out at $40/month for 20K impressions (more info).
Laughing Squid features a daily dose of unique art, culture and technology from around the world.
We’ve been advised by our Vets and DEFRA that too many incoming visits risks bringing disease to our girls, so please don’t turn up without arranging things with us first; our primary concern is the welfare of our birds.
We transport your poultry to you by a specialist DEFRA registered courier to ensure the bird’s welfare and make the journey as stress-free as possible for the birds.
Based in the lush green fields of Somerset, Orchard Poultry offers a range of poultry for laying, exhibition, ornamental and table purposes.
We breed and sell ornamental and rare breed poultry, waterfowl & Guinea fowl and hatching eggs.
Ayam Seramas (also called the Malaysian Serama is a bantam breed of chicken originating in Malaysia within the last 50 years.) are a type of ornamental chicken, "They are not bred for consumption, but purely for ornamental reasons" as Ernest says it.
Through his journey, Ernest was introduced to fifty-two-year-old Tuan Hassan or 'Pukku' to his family and friends, a a well-known Ayam Serama champion breeder, who shared his philosophies with him.
We were so intrigued with this story, and while we were not able to physically shoot the scenes in Malaysia, we managed to collect raw documented footage which was shot by Ernest and his crew during their travels, and put together this story.
Since the sport of cockfighting has been outlawed in the developed world, most breeds first developed for this purpose, called game fowl, are now seen principally in the show ring rather than the cock pit.
Many breeds have always been kept for ornamental purposes, and others have been shifted from their original use to become first and foremost exhibition fowl, even if they may retain some inherent utility.
Since the 19th century, poultry fancy, the breeding and competitive exhibition of poultry as a hobby, has grown to be a huge influence on chicken breeds.
The generalist breeds used in barnyards the world over are adaptable utility birds good at producing both meat and eggs.
Any breed may technically be used for general agricultural purposes, and all breeds are shown to some degree.
Some breeds are preferred for meat alone, though the commercial broiler market is currently monopolized by the Cornish-Rock (a hybrid of the Cornish and Plymouth Rock).
Keep in mind though, that ornamental birds produce few eggs and most are inefficient meat producers, so it really is all about their looks.
If you are interested in keeping birds to exhibit at shows or simply to add a little flare to your backyard, you probably want an ornamental breed.
But, the following table highlights what to expect from the various ornamental chicken breeds.
An exhibition of beautiful ornamental chickens and a ceremony to mark the 3rd anniversary of , a forum on Vietnam’s tiny tre chicken, have been held in Long Xuyen City in the Mekong Delta province of An Giang.
Gatrevn is the first forum in Vietnam to focus on ornamental chickens and promote for Tan Chau chickens in An Giang, a precious species of chicken in Vietnam that needs protection.
Dalton Park Hatchery understands that many people want a beautiful pet as well as a practical Chicken.  We have discovered a way to accommodate our customers and started an "Ornamental Layer" Breeding Program.  As of mid-late 2011 we will be able to offer you your very own Ornamental Laying pullets, hens, trios and pairs.  You will not be disappointed by this initiative.
They have been designed to provide nutritious  grains and other natural ingredients in an attractive and palatable form that poultry prefer, Layers feed is formulated  to contain a minimum of 1% linoleic acid that is essential to ensure large egg size.
In addition to the laying breeds, Dalton Park are able to offer several other pure bred chickens, some rare such as the Silver Sussex and White Plymouth Rock and some very popular breeds such as the Light Sussex and Australorps.
 Of course, Dalton Park still offers it’s customers the ever popular Isa Brown for those who are not as concerned about owning the beauty of an ornamental layer but simply want the production of eggs.  We try to accommodate the needs of our customers.
“The problem with owning bantam chickens is that you keep wanting more of these fascinating small birds; but we are careful to collecting only the number we can care for,” says Mrs Macharia adding that it was during random sampling of bird types that she landed on the bantam chicken.
The wooden cages covered with wire-mesh on the sides and iron sheet roofings hold the most sought-after and expensive birds on the globe, including the bantams— a highly priced special breed of chicken.
After struggling with pliers and chicken wire for an evening, I came up with a sort of “pattern” that makes each ornament somewhat consistent to the next, which is helpful if you want to give a fellow chicken keeper a set of ornaments as a .
I’ve never really thought about chicken wire in any sense other than utilitarian purposes until the other day when I was shopping at a Christmas store and saw a collection of adorable potpourri ornaments.
After the many coops we’ve built over the years, we’ve collected quite the smodge podge of small amounts that really won’t build anything substantial, but I can’t bring myself to throw it away because…well it’s chicken wire…and it’s useful for so many things! Like fixing a hole in a fence, tightening up a chick brooder, or even making suet cages.
(You might have to select some larger pieces that won’t fall through the holes) and carefully bend the top wires over in that same daisy pattern securing the potpourri inside the wire cage.
They were reminiscent of an antique bird cages with black metal wire bent in beautiful scrolls and a tiny hinge to allow one to swap out a different scent of potpourri.
There’s an amazing difference in quality between a chicken raised on grass, bugs and freedom; and a chicken raised in one square foot of space in a huge poultry barn filled with thousands of other chickens.
I’m going to assume that anyone willing to spend a few hundred or even a thousand dollars on a chicken coop kit built to resemble a storybook playhouse isn’t really worried about the economy of the poultry flock.
One day I was going about my chores and noticed an odd shadow on the ground just beside the chicken yard, shifting and fluttering slightly, and looked up just in time to see that hawk gliding slowly in for the kill.
The crested breeds have a very friendly temperament and lack the aggressive qualities of the larger farm birds, possibly because the larger farm birds regularly kick them around the chicken run if they threaten to move up the pecking order.
Suitable nestboxes should be provided for the duck species kept – some nest in a hole or pipe, some want a box on the water or up a tree, some are ground nesting, either building a nest or taking advantage of a car tyre with straw in the centre, so choice should be provided and the open ends of pipes should be covered with conifer branches to make them dark and more attractive to the female duck.
At the next breeding season, a sitting duck can be contained within a ring of very small mesh wire netting when she is due to hatch so the downies can be caught up, or the eggs taken for artificial incubation and the youngsters hand reared.
It is permissable to pick a duck up with fingers around the base of both spread wings in one hand, middle finger pointing down the duck’s back, for a very short transfer distance – useful in small, wriggling wildfowl whose legs are vulnerable to damage.
The Sebright is one of the oldest recorded British true bantam, created in the 19th century through a selective breeding program designed to produce an ornamental breed.
The author (who some may remember from the photo article on chickens in Life magazine in the early 1980s)consulted with chicken experts & exhibitors around the world to produce this feast for the eye – a wonderful collection of the bizarre & the beautiful – most people will be astonished at the variety of colors, shapes, & sizes available in the world of the pure-bred exhibition chicken.
It is a book of beautiful photographs that grew out of an assignment the author undertook for "LIFE Magazine." There is also some explanatory text on a small but striking selection of the more than five hundred poultry breeds that have been recorded by poultry photographers such as Josef Wolters and Rudiger Wandelt.
(%) Year householder moved into unit – Moved in 1999 to March 2000 (%) Year householder moved into unit – Moved in 1995 to 1998 (%) Year householder moved into unit – Moved in 1990 to 1994 (%) Year householder moved into unit – Moved in 1980 to 1989 (%) Year householder moved into unit – Moved in 1970 to 1979 (%) Year householder moved into unit – Moved in 1969 or earlier (%) Means of transportation to work – Drove car alone (%) Means of transportation to work – Carpooled (%) Means of transportation to work – Public transportation (%) Means of transportation to work – Bus or trolley bus (%) Means of transportation to work – Streetcar or trolley car (%) Means of transportation to work – Subway or elevated (%) Means of transportation to work – Railroad (%) Means of transportation to work – Ferryboat (%) Means of transportation to work – Taxicab (%) Means of transportation to work – Motorcycle (%) Means of transportation to work – Bicycle (%) Means of transportation to work – Walked (%) Means of transportation to work – Other means (%) Working at home (%) Industry diversity Common Industries – Agriculture, forestry, fishing and hunting, and mining (%) Common Industries – Agriculture, forestry, fishing and hunting (%) Common Industries – Mining, quarrying, and oil and gas extraction (%) Common Industries – Construction (%) Common Industries – Manufacturing (%) Common Industries – Wholesale trade (%) Common Industries – Retail trade (%) Common Industries – Transportation and warehousing, and utilities (%) Common Industries – Transportation and warehousing (%) Common Industries – Utilities (%) Common Industries – Information (%) Common Industries – Finance and insurance, and and rental and leasing (%) Common Industries – Finance and insurance (%) Common Industries – and rental and leasing (%) Common Industries – Professional, scientific, and management, and administrative and waste management services (%) Common Industries – Professional, scientific, and technical services (%) Common Industries – Management of companies and enterprises (%) Common Industries – Administrative and support and waste management services (%) Common Industries – Educational services, and health care and social assistance (%) Common Industries – Educational services (%) Common Industries – Health care and social assistance (%) Common Industries – Arts, entertainment, and recreation, and accommodation and food services (%) Common Industries – Arts, entertainment, and recreation (%) Common Industries – Accommodation and food services (%) Common Industries – Other services, except public administration (%) Common Industries – Public administration (%) Occupation diversity Common Occupations – Management, professional, and related occupations (%) Common Occupations – Management, business, and financial occupations (%) Common Occupations – Management occupations (%) Common Occupations – Business and financial operations occupations (%) Common Occupations – Professional and related occupations (%) Common Occupations – Computer and mathematical occupations (%) Common Occupations – Architecture and engineering occupations (%) Common Occupations – Life, physical, and social science occupations (%) Common Occupations – Community and social services occupations (%) Common Occupations – Legal occupations (%) Common Occupations – Education, training, and library occupations (%) Common Occupations – Arts, design, entertainment, sports, and media occupations (%) Common Occupations – Healthcare practitioner and technical occupations (%) Common Occupations – Health diagnosing and treating practitioners and other technical occupations (%) Common Occupations – Health technologists and technicians (%) Common Occupations – Service occupations (%) Common Occupations – Healthcare support occupations (%) Common Occupations – Protective service occupations (%) Common Occupations – Fire fighting and prevention, and other protective service workers(%) Common Occupations – enforcement workers including supervisors (%) Common Occupations – Food preparation and serving related occupations (%) Common Occupations – Building and grounds cleaning and maintenance occupations (%) Common Occupations – Personal care and service occupations (%) Common Occupations – Sales and office occupations (%) Common Occupations – Sales and related occupations (%) Common Occupations – Office and administrative support occupations (%) Common Occupations – Farming, fishing, and forestry occupations (%) Common Occupations – Construction, extraction, maintenance, and repair occupations (%) Common Occupations – Construction and extraction occupations (%) Common Occupations – Installation, maintenance, and repair occupations (%) Common Occupations – Production, transportation, and material moving occupations (%) Common Occupations – Production occupations (%) Common Occupations – Transportation and material moving occupations (%) Common Occupations – Supervisors, transportation and material moving workers(%) Common Occupations – Motor vehicle operators (%) Common Occupations – Material moving workers (%) People in Group quarters – Institutionalized population (%) People in Group quarters – Correctional institutions (%) People in Group quarters – Federal prisons and detention centers (%) People in Group quarters – Halfway houses (%) People in Group quarters – Local jails and other confinement facilities (including police lockups) (%) People in Group quarters – Military disciplinary barracks (%) People in Group quarters – State prisons (%) People in Group quarters – Other types of correctional institutions (%) People in Group quarters – Nursing homes (%) People in Group quarters – Hospitals/wards, hospices, and schools for the handicapped (%) People in Group quarters – Hospitals/wards and hospices for chronically ill (%) People in Group quarters – Hospices or homes for chronically ill (%) People in Group quarters – Military hospitals or wards for chronically ill (%) People in Group quarters – Other hospitals or wards for chronically ill (%) People in Group quarters – Hospitals or wards for drug/alcohol abuse (%) People in Group quarters – Mental (Psychiatric) hospitals or wards (%) People in Group quarters – Schools, hospitals, or wards for the mentally retarded (%) People in Group quarters – Schools, hospitals, or wards for the physically handicapped (%) People in Group quarters – Institutions for the deaf (%) People in Group quarters – Institutions for the blind (%) People in Group quarters – Orthopedic wards and institutions for the physically handicapped (%) People in Group quarters – Wards in general hospitals for patients who have no usual home elsewhere (%) People in Group quarters – Wards in military hospitals for patients who have no usual home elsewhere (%) People in Group quarters – Juvenile institutions (%) People in Group quarters – Long-term care (%) People in Group quarters – Homes for abused, dependent, and neglected children (%) People in Group quarters – Residential treatment centers for emotionally disturbed children (%) People in Group quarters – Training schools for juvenile delinquents (%) People in Group quarters – Short-term care, detention or diagnostic centers for delinquent children (%) People in Group quarters – Type of juvenile institution unknown (%) People in Group quarters – Noninstitutionalized population (%) People in Group quarters – College dormitories (includes college quarters off campus) (%) People in Group quarters – Military quarters (%) People in Group quarters – On base (%) People in Group quarters – Barracks, unaccompanied personnel housing (UPH), (Enlisted/Officer) (%) People in Group quarters – Transient quarters for temporary residents (%) People in Group quarters – Military ships (%) People in Group quarters – Group homes (%) People in Group quarters – Homes or halfway houses for drug/alcohol abuse (%) People in Group quarters – Homes for the mentally ill (%) People in Group quarters – Homes for the mentally retarded (%) People in Group quarters – Homes for the physically handicapped (%) People in Group quarters – Other group homes (%) People in Group quarters – Religious group quarters (%) People in Group quarters – Dormitories (%) People in Group quarters – Agriculture workers’ dormitories on farms (%) People in Group quarters – Job Corps and vocational training facilities (%) People in Group quarters – Other workers’ dormitories (%) People in Group quarters – Crews of maritime vessels (%) People in Group quarters – Other nonhousehold living situations (%) People in Group quarters – Other noninstitutional group quarters (%) Density of houses Urban houses (%) Rural houses (%) Residents speaking English at home (%) Residents speaking English at home – Born in the United States (%) Residents speaking English at home – Native, born elsewhere (%) Residents speaking English at home – Foreign born (%) Residents speaking Spanish at home (%) Residents speaking Spanish at home – Born in the United States (%) Residents speaking Spanish at home – Native, born elsewhere (%) Residents speaking Spanish at home – Foreign born (%) Residents speaking other language at home (%) Residents speaking other language at home – Born in the United States (%) Residents speaking other language at home – Native, born elsewhere (%) Residents speaking other language at home – Foreign born (%) Class of Workers – Employee of private company (%) Class of Workers – Self-employed in own incorporated business (%) Class of Workers – Private not-for-profit wage and salary workers (%) Class of Workers – Local government workers (%) Class of Workers – State government workers (%) Class of Workers – Federal government workers (%) Class of Workers – Self-employed workers in own not incorporated business and Unpaid family workers (%) House heating fuel used in houses and condos – Utility gas (%) House heating fuel used in houses and condos – Bottled, tank, or LP gas (%) House heating fuel used in houses and condos – Electricity (%) House heating fuel used in houses and condos – Fuel oil, kerosene, etc.
We are now offering the standard size version in six colors: black crested white marble, white crested black, blue, golden laced, silver laced, buff laced.
Hotels and fellow farmers are after these kind of birds more than the usual layers and broilers that have heavily flooded the market all over the country.
Some other poultry include Israeli Local Breed of chicken (see the picture below) imported into the country as eggs and hutched or as live birds.
Thus the Chinese give red seals, or chicken blood stone, to bless people for events such as marriages, birthdays, promotions, and success.
Thus the Chinese give red seals, or chicken blood stone, to bless people for events such as marriages, birthdays, promotions, and success.
There are reported to be Chicken-Blood Stone simulants on the market, so care needs to be taken when identifying any specimen.
Chicken-Blood stone is a fine-grained mixture of clay and quartz, with varying amounts of red cinnabar.

  for years now, i've had students, blog readers, customers and friends asking when i would be teaching a workshop on the east coast.  i always seemed to be flying out west for the large art retreats, and even now i'm headed out to southern california (next week) to teach – excitement! – at the french general.  the workshops listed there quickly sold out, and a new one opened for those who had requested to be placed on a waiting list (there is still a few spots available for the new one, friday october 18 – go to french general for info and to register).  i've grown weary of the larger retreats; living out in the middle of nowhere for the past 8.5 years has left me a little shy of big groups of people and even more shy of large city hustle and bustle.  what to do?  i've moved into the log cabin my parents built 18 years ago, nestled in the woods with a remodeled studio space, and this next early spring i plan to begin holding small, intimate weekend workshops every now and then.  i still have a lot of kinks to iron out, so i'll coast through the winter getting ready to open those studio doors to those who want to come to these beautiful mountains and learn.  for now, though, i'm absolutely tickled to announce that i've been invited to teach in the glorious home state coastal city of Wilmington, North Carolina, the weekend of November 9-10!     i realize  that this is short notice – only one month away – but when i received the invitation from the workshop hostess, kim beller, i trusted completely the intuitive feeling that this workshop/wilmington experience would be a very good thing (for an interview with kim, and some background history on her personal studio space, go here; to read about the workshop that fellow artist and friend judy wise taught there, read kim's words here).  i'm not always like that; those of you who know me well will attest to that fact.  i fret about leaving home, fret about leaving my pup walter at the kennel, fret about whether i'll feel up to teaching again after an extended period of time has passed since the last workshop wound down.  but i'm going with this, wholeheartedly.  it will be a fine opportunity for those of you who've not taken a workshop with me, for those who live on this side of the country, for those of you who are art retreat-weary, for those who prefer a smaller, more intimate setting.  kim has a large studio space on her residential property there in wilmington; she has invited walter to come and stay (this will be his first!), and i'm looking forward to taking that boy out onto the beach for his first introduction to the ocean.  picture smelly dead things for him to investigate (and onto which to roll), wave-chasing, you name it.  picture me walking down the beach the day before, in search of natural findings to incorporate into a new design.  picture yourself sitting with a group of 12 or so like minded spirits, creating and brainstorming and sharing together for two solid days of artful bliss…. a rare opportunity to take a smaller workshop with me, in a lovely and personal environment.  (Update, Oct.
i'm not sure why i fought the offer for as long as i did.  the thought of moving is one that i purely detest, so there was that reason, right at the top of the list.  what to do with so many of my things?!  how to get them from point A (here) to point B (there, an hour's drive down winding, twisted mountain roads)?  who would help me, if anyone at all?  but she invited me, again and then again, to make the move.  this past time, she finally talked some sense into me when she offered to let me move into the cabin and live there for as long as i wish, rent free.  and she offered, as well, to help me set up a new studio space in the bottom of the cabin, a basement car garage that is much bigger than where i work now.  okay, then, i thought.  well, yessss.  alright.  okay.  okay…   it is a sweet little place – built of logs on the edge of a hill, sitting snugly on four acres that are full of hardwood trees.  there is a view, or there will be one, once sapling trees and undergrowth are cleared away.  there are antique architectural elements that were incorporated from daddy's demolition business – stained glass hanging in a high window, gingerbread trim, beautiful heart pine floors, a gorgeous old stair bannister and rails.  two bedrooms and baths, an open (tiny) kitchen, a great big screened in porch.  a front porch that will be wonderful for a swing.  a side yard for walter.  and that boxed-in, no-window basement garage.  so, for the past month i've been sorting through belongings, selling furniture with my son robin's wonderful help (he drove from colorado, placed things on craig's list, and out some no longer needed pieces went).  he replanted my succulents that were a gift from roy years ago, and the process seemed fitting with this new adventure of rebirth and growth that waits just at the horizon for walter and me.
  i know, i truly do, how much there is for which i am to be forever grateful.  i live in a beautiful part of the world, my boys have good health, i continue to work at the things that i and am able – no matter how much i worry or fret – to carve out a living making the bits and pieces of jewelry that come out of everywhere, down through my fingers, and into this world.  the other day, when i was speaking over the phone with a good friend i've known for years and years, i openly shared with her how sad i have felt, how full of anxiety and fear my days and months have been.  "you have a roof over your head", she said to me.  and yes, she is right, but these were not the words that at that moment i wanted or needed to hear.  i am honest and wide open to a fault, with family and friends, with all of you here at Ornamental.  maybe that is why i've been holding back, here in the shadowed corners.  maybe i've felt like sparing all of you the darkest details of the way i've been feeling, the way i've been living my life draped in a wet blanket of dampened emotion.  i don't want to hear from anyone that i need to appreciate the things that i have; i have deepest gratitude, i just feel it through some sort of filter right now.  i don't want a lecture, i don't want anyone telling me what they think i need to do.  i'm only sharing with you how i have felt, i'm only trying vainly to explain the pockets of absence and the long stretches of silence that so many of you have experienced from me when the emails don't get written and sent, the phone calls aren't returned, the invitations are politely turned down.  i'm trying, in all the little ways i know to do, to honor myself, to pick up the dusty pieces, to move forward in hope and with grace.  right now, that is not at all an easy thing to do.
  it's done:  i have the move more behind me now, rather than looming ever large in front.  i couldn't have done it this time around, after living in one house out in the country for over eight years, without the enormous help of three very dear people in my life:  robin, my older son, who drove all the way from colorado and stayed with me for the better part of six weeks; my treasured friend katey, from alabama – someone i've known just over a year but also someone i feel that i've always known and loved.  one of those - and julie, my beloved friend who is also another "one of those" i've known forever and ever….  katey drove the 4 hours over from alabama for four nights and helped me pack up into a jillion cardboard boxes the overstuffed, filled-to-the-brim studio that all these years had been crammed into that tiny little bedroom space.  she also helped make phone calls, made arduous lists that she checked off every night.  she packed up return mail order clothing and bedskirt items, packed up jewelry items to be shipped, drove out to the cabin (an hour's drive) and back again, drew a layout of the future studio with shelves and tables and measurements.
 so here, without much fanfare, is - the studio.  The Studio – a new, greatly expanded spot where i'll be spinning mysteries and memories into tangible bits and pieces of ornaments with which to connect, to wear and hopefully to love.  getting to this place seemed to take so very long (and many, many, many $$$ – thank you, mama!!!)  - the garage car door removed, new windows installed, multiple ceiling lights and electric outlets installed, drywall up, paint on walls, shelves built, gas wall heater moved from upstairs to down, and many many many boxes unpacked, materials and tools put into the places where they fit – and none of this has been easy.  not much of it, really, at all has been what i would call fun.  it's the first time that i've done any remodeling whatsoever, first time i've dealt with contractors and carpenters, first time i've tried to stand my ground on what i think would work best for me, on what would look and feel right (that was the most difficult thing of all – asserting my own priorities over the schedule and opinions of a butt headed contractor).  but now that most of the upheaval and drywall dust have settled, and i've sat at the table before those windows with hammer in hand for more than a day or two, i can say that it feels exactly right, that i'm thrilled (and still a little overwhelmed) with the results.  i'll show you a few of the "before" photos and a few of the after:    garage car door removed, and three big windows installed, side by side; metal door has now been replaced with a full window insert door and screened door.
the studio continues to pull, and i am happy with this sensation.  what a joy it is to create, to work very happily at what i do.  my schedule has been a wild ride these past few weeks, with family and friends visiting, with a trip to alabama; work was put aside for a spell, resumed at a heightened pace, and now i'm off to wisconsin and beloved valley ridge art studio once again to teach two back-to-back workshops, six straight days of standing in the teacher's role.  it's been nearly a year since i was last in that position, and i'm a little nervous about jumping back in.  i hope i will not disappoint.  i already know that my students will amaze me with their capabilities, with their own sense of creativity.  bit by bit, i'll feel my way in these days before the workshop begins, i'll sort myself out and step into my instructor shoes.  the shoes are red.  my heart is still there, on my sleeve.  let the lessons begin, for them and for me.  in between the hours of sitting at my studio table, summoning ornamental pieces from some deep and ethereal place in my soul, i find quiet pockets of reflection, of deepest gratitude for the gifts and blessings that life has bestowed upon me.  things will be quiet here at Ornamental for just a bit, but you know i'll be back as soon as i can.
this week, for the first time in well over a month, i spent a couple of days at the studio table, hammering and sawing and drilling and polishing, and this felt very comforting, very good.  i continue to be amazed at how straight i've managed to keep the surface of the table since i conquered the disastrous mess in the studio this time last year.  i don't think i'll ever let it get to that critical state again; the cleaner surface is a lovely thing, a lovely practice to maintain.  i straighten the day's work as i stand to walk out, just before i turn off the lights, and am pleased to walk in to an organized surface every single time i go through that door.  this is no minor thing.  the work that i turned out is for a retreat where i'll teach with two friends, 8.5 hours away in maryland.  i'm actually looking forward to the drive, looking forward to the adventure.  i'm not overly anxious about leaving home for a few days; the anxiety is still there (to leave walter at a kennel again for five more days is something that brings its own brand of angst), but is manageable.  this is also no small feat, and i acknowledge and honor this strength.
i am currently beginning to finally pull together some ideas and notions that have been brewing and bubbling in my head for quite a while – months, really – involving old leather and stone and glass, so that will be what surfaces next in the jewelry work.  no photos yet, there isn't enough pulled together to show.  when that falls into place,  i'll let you know.  for now, i can say in earnest that it has been a winter of quiet, one of long evenings sitting in the blue chair pulled up next to the fireplace while i stitch to my silent heart's content.  i have been silent here for reasons that take too long to explore on this rainy afternoon.  i'll save that for another day.  for now, i wish you evenings that bring you peace, whether with words that you read, with pictures that you see, with talks that you share with a friend or a loved one, with pats on the back of a four legged friend – whatever it is that brings you comfort and a sense of peace, i wish you much of that.  and longer stretches of time to do the things you love to do, with the ones that you dearly love.
  i miss a great many things about the house on firefly road, while falling deeply in love with this cabin on heartrock hill.  i miss that wide, expansive open view, i miss the sun streaming madly in on winter days when i worried that the strength of those rays would fade my sofa, my oriental rug.  they did, but i didn't care.  the sun was a welcome thing.  it is welcome here too, in this beloved log cabin overlooking the valley from the woods; it just isn't as insistent, or nearly quite as bold.  we walk to the end of Wooded Way to find strong sun these days.  the trees wait, as i do, for the midday sun to warm their branches, to thaw the earth at their feet.  i'm feeling a little like an old tree, too.  i'm letting my hair go grey, like spanish moss, and as some wild mountain woman might do, i'm surprised to find that i'm liking it so far.  i like the contrast of white and grey against what used to be as dark as raven's wings.  i like that i no longer care.  i think of these wandering things on this quiet winter's night.  i shouldn't be writing them for everyone to see, but that is what i do when i come here to be.  i open my heart, i let you all see just which way the winds are carrying my drifting, winding thoughts of this one solitary, reflective day.
14.  winter.  i used to hate it, but ever since i moved deep into the countryside seven and 1/2 years ago, i've grown to love the bare tree branches, the exposed bones of the land – the rocks, the streams, the roots, the clear forest floors.  snow.  expanded mountain range view when leaves are gone.  flannel sheets.  good books.  a fire in the hearth.  homemade soups.  cinnamon rolls, also homemade, recipe by the pioneer woman, ree hammond.  essential oils burning into the night (thank you, wendyxo).  old movies.  red wine and chocolate.  french pressed coffee every morning.  flannel pajamas printed with clouds, worn soft and thin by years of wear.  cashmere scarves wrapped twice around my neck.  fingerless gloves.  the sound of the woods, all quiet now that most birds have flown south.  the occasional red tailed hawk circling, overhead.  two glimpses of owls, two days apart.  groups ("murders") of crows, calling into the dusk.  the thinnest crescent new moon, setting into the deep pink and blue western dusk above the mountain range that i can see from here.  poetry.  memoirs.  ken burns on pbs this sunday and monday night.  plans for traveling to alabama for thanksgiving.  candles.  hot showers with bath gel that is scented with citrus and evergreen.  hot water.  electricity.  laundry, washed and dried and folded and put away.  a new day.  a new evening.  a good night's sleep.  life.
  lately, it has seemed more and more difficult for me to step forward from my little corner of the world, wherever that corner happens to be at the time (mostly in alabama, for weeks at a time) and share with you however i might be feeling at that moment.  i've been riding a roller coaster of emotions for months and months and months, mostly way down in the deepest part of the ride where the tracks swoop down, down, down.  who wants to write and share when the feeling is as bleak as that?  not i.  my modus operandi is to shrink back into the shadows and hide where i can't be decifered.  such a bad place to be, that corner into which i have painted myself.  poor old Ornamental.  this blog has suffered, so.  i used to write on a three or four day-a-week basis; since this summer began, or even before, the posts slowed down to a pitiful crawl.  what can i say?  i was hiding.  still am.  i know i don't need to hide anymore, even though these days, that is what i usually want and tend to do.  it's a terrible thing to feel this way, to watch myself fading further and further from the rest of the world.  i'm still here, i really am, although you'd never guess it.  i'm still here, and i'm reaching the point where something has to give.
now perhaps you'll understand just why it's taken me so long to play catch up here at Ornamental.  now, i hope you'll see just what i have ahead of me:  the clearing out of unneeded furniture and other belongings that my parents still have in the cabin; the sort out and packing or tossing or selling of things that have cluttered this house for eight full years; the remodeling project that i am getting ready to dive into out at the cabin for a new studio space.  this involves the installment of three windows where a garage car door now rests, the addition of overhead lighting and drywall and additional electric outlets, the installation of an antique pedestal sink for water, connected to the one single place where water can be drawn.  heating.  tables.  chairs.  because?  it is my hope to finally have a space large enough to conduct small workshops right there in my own studio.  a place where you can come to learn techniques and artistic approaches from me, from little old me.  that is my hope, and i'm working on a Kickstarter project that will be launched next week.  for  now, though, my son roy and his girlfriend will be here over the weekend to help pack up the last of his things, and robin will be back from alabama to help some more.  things are crazy.
i've had hesitations about posting anything to do with my work, or my jewelry, ever since i received a comment back a couple of weeks ago when i finally posted after a long spell.  the reader was "disappointed" that she ""saw a pattern in my posts, relating to the making and selling of my jewelry.  it's what i do.  i make jewelry.  i take walks through the woods, along the river, and i think about art.  those thoughts stew and bubble for a while – they brew, they steep – and then they turn into wearable pieces of jewelry.  i sell the jewels, or try to, anyway, and i also write about the things that i make. a this is how i make my living, it is how i pay the bills and buy my food.  if i write a post, after having not written for a period of time, and jewelry is mentioned, i'm not exactly sure why i should refrain.  the two are so closely interwoven that sometimes i'm not sure which is which.  i take photographs of the things that speak to me.  i think about those photographs, i share them here, and sooner or later those photographs have a lot to do with the things that i make.  so do the things that i write.  and i write about jewelry, i make the jewelry, then i write about the process of how it gets done.  ever since i received that comment, though, i've held back – again – on posting anything agt all.  kinda sucks, really, to have a feeling of hesitation on my own blog, a place that i pay $15.00 a month to maintain.  i share photographs and musings with you because i want to do that, not because i feel that i must.  i also share photographs of my jewelry, and the process behind it - as my work is very process oriented, inspired by all that i see and all that i do – because it helps to sell my work, frankly, and because i want you to understand what i have felt behind a piece, what the particular emotions were that channeled into something someone else could wear.  these things matter, a lot.
  i was away, as those of you know who are still with me here, most of the summer.  there was one quiet stretch when i stayed at home for a good four weeks in a row, and i spent that time focusing on work that came out of the studio, jewelry that was born of quiet and calm and solitude.  the rest of the time i was rushing back and forth between wisconsin and home, alabama and home, alabama, alabama, alabama, colorado.  i'm leaving again for alabama tomorrow because the worry factor over my mother runs fairly strong right now, and because i realize that my presence down there is (as always) deeply welcome and actually needed.  but the time i've had here these past two weeks have been lovely and sweet, paying homage to the last few lingering moments of my favorite season of the year.
       i'm trying to make the most out of each hour of the day; i'm spending less time sitting and staring blankly, helplessly, into vapid space.  evenings continue to be my most comforting time of the day, when expectations for the day's accomplishments have been set aside, when i can sit quietly and simply be.  i've begun walking out the back trail, that opens from the back yard, at the last light of day.  i love standing quietly on the trail, in the midst of the woods, and listening for any sounds that might make their way to me.  standing still like that, not making any sounds of my own, i'm open to the call of an owl, the tapping of dry leaves moving with the breeze, the patter of the leaves that fall through the trees and down at my feet.  i'm not afraid when darkness falls around me; i have walter with me, ever the faithful companion.  we spend the last dying light like this, off in the woods, then walk through the warm light that waits for us inside the door.  there is such quiet beauty in that.
 quite a few of you last week wrote to ask for more details on the red work embroidery that has held my attention through the short days and long nights of this cold winter.  i thought i'd share with all of you the inspiration behind my latest project (a long completely hand stitched scarf of vintage muslin).  last october, i received a wonderful birthday package from a fellow fabric artist friend, lorri scott of LAS fibers.  lorri knows of my own passion for textiles, for hand stitching, and send a box filled with goodness:  the vintage redwork stitched linen tablecloth i keep on my dining table, another soft vintage cotton white tablecloth for project work, a crisp cellophane packet filled with rolls of my favorite perle cotton #8 in a beautiful deep red, a bundle of new fabric that looks old (printed with what resembles something that has been dipped in tea), and a wonderful book of redwork projects by author and needlework artist kathy schmitz.  i was touched by lorri's generosity, and love the projects that kathy designed for the book.
  i used to share a photograph of myself here at Ornamental once a week, when there was a Self Portrait website that i followed.  years have passed, and those years are showing now, on this nearly 56 year old face.  there are more shadows, and deeper wrinkles; the roots of my hair are white.  i'm no longer the mid-30's woman with children under my protective wing, am no longer raising two shining boys, no longer baking for them, taking them to interesting places, sharing life's magic, teaching them the good things that i know.  there is no fairy that visits the house for them; they visit now for me.  from me, the boys learned to love the outdoors, to have a passion for the life that they are now living on their own, and this brings me great pride; yet, i still pine for their presence, even though they live hundreds and thousands of miles away.  phone calls with them are precious pockets of time.  visits are scarce.  they are their own versions of what a good human being is:  they love, they contribute, they strive, they honor and respect the land.  their hearts are good.  but i miss them.  oh, i miss them, so much.
last wednesday, i was spending the entire day rushing around, as usual, doing last minute errands and packing my suitcase and tool bag for an 8.5 hour drive northeast to a place where two major rivers join as one.  i was nervous, more than ever.  i felt a little trepidatious about the long drive, didn't know anyone other than the instructors – good friends i've known from teaching all these twelve or thirteen years, lesley riley and claudine hellmuth – and feeling as i've felt for the past few weeks and months, i was hoping i'd be able to rise to the occasion, to enjoy the company, the teaching, the camaraderie.  of course, i was anxious about leaving home, anxious about leaving walter, anxious about teaching, anxious about being "on" for a number of days.  i was an hour later leaving home than i had anticipated, and sad to drop walter off at the kennel; but the day was lovely, with blue, deep blue october skies, a lot of color still left in these mountain trees.
on this late friday morning, the sun outside my window is brightly shining.  there are still a couple of hummingbirds lingering at the feeder, the last of visits from their busy rainbow presence before they head on their valiant journey south for winter.  how they fly so far, with those tiny tiny wings and rapidly beating hearts, i do not know.  i'm going to do my best to journey onward, myself.  there will be changes, many of them good.  there will be things that i face in paralyzing fear, but hopefully the fear won't freeze me to the point of being unable to keep from advancing ahead.  it's not an easy thing to do alone, to face this life, to provide solely for myself, to advance in age with courage and quiet dignity.  one foot ahead of the other, right?  one walk at a time, along that beautiful river.
i had written heartfelt words about this house, about our walks through fog and rain that will not lift, about how good it is to force ourselves out into the wet woods, to stand in fog and gaze at bare tree branches reaching up out of that ethereal mist, and how good it is to finish those walks, dripping with the mist and the cold rain, and to walk back into the warmth and the glow of this sweet home and settle down before the fire and the glow of the little tree.  but the words, entire posts, keep inexplicably evaporating, unlike the weather that has stubbornly hovered for days as this country continues to mourn, as our grief grows deeper as each day fades into the next.  whether or not i'll have a chance to pop back in here before christmas remains a mystery.  if not – i wish all of you the warmest love, the coziest glow, the peace that comes from seeking not the answers but the mysteries and strengths of what we firmly hold within us, of embracing life with its good and its bad, of loving one another in times hard and times tender and sweet.  i'm grateful that you all keep coming back here, whether i'm in or not.  i thank you for that.  happy holidays to you, dear readers of Ornamental.
     this photo tells a lot.  i took it the other afternoon, after coming home from the hair salon, when i was lying on the bed unable to make myself get up and do something, anything, other than lying immobile for a couple of hours in the late afternoon.  look at those glasses.  this house has inexpensive reader glasses scattered all over the place, yet the only pair i could get my hands on at the time is broken.  the glasses look like i feel:  incomplete, a little damaged but still functional.  so, yesterday, off to the river we went, walter and i.  it is a place from which i draw great strength, where the sound of the rushing water and the cries of the birds and the wind in the trees can be a wonderful balm.  i used to be on a very good schedule, rising at dawn, leaving the house at daybreak, driving over to the river so we could have an early start to the day.  right now it is all i can do to wade around in this mayhem of a disheveled house, a place that doesn't even feel like home anymore because i've been away so very much.  but, off to the river we went, and i wore my every day "river walker" earrings, to remind myself that i have feet to walk and a river to see.

Shopping Cart Chicken Victorian Green and Gold Christmas Ornament Chicken1 -6914 The Ceramic Victorian Green and Gold Chicken Ornament adds an elegant touch to any Christmas tree.
Shopping Cart Chicken Victorian Red and Gold Christmas Ornament Chicken1 -6913 The Ceramic Victorian Red and Gold Chicken Ornament adds an elegant touch to any Christmas tree.
Shopping Cart Chicken Porcelain Ball Christmas Ornament Chicken1 -4959 This porcelain ball ornament will make a perfect addition to any tree.
Shopping Cart Chicken Ceramic Red Drum Christmas Ornament Chicken1 -6922 This beautiful Red Drum Shaped Ceramic Chicken ornament has red trim on the edges and sides and is hand painted with gold trim.
The Red Drum Chicken Christmas Ornament makes a great holiday gift item, looks fantastic on any Christmas Tree, and will become a cherished collectible for many years to come.
Shopping Cart Chicken Porcelain Christmas Ornament Chicken1 -0934 Chicken1 -0934 This delightful round porcelain Chicken Christmas Ornament will provide a festive addition to your family celebrations.
> Ball Ornament – Chicken Porcelain Ball Christmas Ornament – Chicken Ball Ornament – Chicken Chicken1 -4959 Product Description This porcelain ball ornament will make a perfect addition to any tree.
> Porcelain Disc Ornament – Chicken Porcelain Disc Christmas Ornament – Chicken Porcelain Disc Ornament – Chicken Chicken1 -0934 Product Description This delightful round porcelain Chicken Christmas Ornament will provide a festive addition to your family celebrations.
Shopping Cart Chicken Porcelain Christmas Ornament Chicken1C -0934 Chicken1C -0934 This delightful round porcelain Chicken Christmas Ornament will provide a festive addition to your family celebrations.
The ornament features a rendition of a Chicken on the face with a Christmas tree and holly decorating this beautiful keepsake.
The ornament features a rendition of a Chicken on the face with a Christmas tree and holly decorating this beautiful keepsake.
Fried Chicken Leg Glass Ornament Who's got the best fried chicken? We think our scrumptious exclusive glass version gives us a leg -up on the competition! With a hanging height of 3¼" and coming ready to hang with a gold cord, our 1¾" tall by 4¼" wide chicken leg ornament looks so tempting you just may want to order up a bucketful ! Bronner #1179749 .
> Chicken & Rooster Eglomise Ornament Chicken & Rooster Eglomise Ornament 5672 SALE: $15.05 A charming addition to your Christmas tree – this keepsake ornament was crafted using a reverse painting technique from China called eglomise.
Who's got the best fried chicken? We think our scrumptious exclusive glass version gives us a leg-up on the competition! With a hanging height of 3¼ and coming ready to hang with a gold cord our 1¾ tall by 4¼ wide chicken leg ornament looks so tempting you just may want to order up a bucketful!Bronner #1179749.
Chicken free blown glass christmas ornament Chicken free blown glass christmas ornament A 3 1/2 x 4" Free blown glass Christmas ornament Chicken.Fully glittered in shimmering white glitter with black highlights.
Chicken Palace Ball Christmas Ornaments Each of these whimsical Christmas ornaments features a different animal, bird, or amphibian dressed in holiday finery and ready to bring quintessential MacKenzie-Childs style to your holiday tree .

Tags: , , ,