Dear John

When the Metropolitan Museum of Art re-opened the Wrightsman Galleries after refurbishment, it threw a great reception around the centrepiece of the gallery: an 18th century state bed from France.

John Buscemi, our Boston friend and colleague, has over the years worked tirelessly and patiently with North American museums, and historical restoration and preservation organisations, promoting with ever-increasing success the use of Sevinch’s work. Working for these organisations is a validation as great as one can hope for: not only are they utterly demanding in terms of craftsmanship and technique – but more importantly, in terms of authenticity.

One of the great commissions John secured for us quite early in our relationship remains the most complex, the most arduous piece of weaving we ever did. It took 6 months to make 22 yards, and the hanging decorative elements on the fringe contained over 20,000 hand-made components. It was the reproduction of an 18th century piece for the Biltmore Estate in North Carolina.

Take a look:

When the Metropolitan had its opening party, the Curator himself was kind enough to describe our work on the State Bed as “the most impressive passementerie that the Museum had commissioned in its history”. John was almost peeing himself, puppy-wise, at these words. Later, he was standing close to a couple of distinguished designers who were examining the fringes and the tassels:

American designer: “these trimmings are definitely American-made: Scalamandre”

French designer: “mais non, mais non, these are made in France: Claude Declercq”

John Buscemi, tapping them on the shoulder: “gentlemen, you are both wrong, these are made in Egypt, and they are made by SEVINCH”….

Dear John.