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Wavebid > Buyers Guide
Auction Catalog March 2021 Auction Auction Date: Sunday, Feb 28 2021 Bidding Starts: 12:00 PM EST Granny's Auction House Phone: (727) 572-1567 5175 Ulmerton Rd Email: grannysauction@gmail. Ste B com Clearwater, FL 33760 © 2021 Granny's Auction House 02/28/2021 07:36 AM Lot Title & Description Number 12" x 16" Wyland Lucite Limited Edition Orca Family Statue - Free form clear lucite form reminiscent of ice with sun softened edges 1 holding family pod of 3 Orcas/ killer whales, etched Wyland signature lower left, numbered 105/950 lower right - in house shipping available 2 6" x 4" Russian Lacquerware Box Signed and Numbered with Mythic Cavalry Scene - Black Ground, Bright Red Interior - In House Shipping Available Tiffany & Co. Makers Sterling Silver 6 1/2" plate - 16052 A, 7142, 925-1000, beautiful rimmed plate. 5.095 ozt {in house shipping 3 available} 2 Disney Figurines With Original Boxes & COA - My Little Bambi and Mothe # 14976 & Mushroom Dancer Fantasia. {in house shipping 4 available} 2 Art Glass Paperweights incl. Buccaneers Super Bowl Football - Waterford crystal Super Bowl 37 Buccaneers football #1691/2003 & 5 Murano with copper fleck (both in great condition) {in house shipping available} 6 Hard to Find Victor "His Master's Voice" Neon Sign - AAA Sign Company, Coltsville Ohio (completely working) {local pick up or buyer arranges third party shipping} 7 14K Rose Gold Ring With 11ct Smokey Topaz Cut Stone - size 6 {in house shipping available} 8 5 200-D NGC Millennium Set MS 67 PL Sacagawea Dollar Coins - Slabbed and Graded by NGC, in house shipping available Elsa de Bruycker Oil on Canvas Panting of Pink Cadillac Flying in to the distance - Surrealilst image of cadillac floating above the road 9 in bright retro style, included is folio for Elsa's Freedom For All Statue of Liberty Series - 25" x 23" canvas, framed 29" x 28" local pick up and in house shipping available 10 1887 French Gilt Bronze & Enamel Pendent Hanging Lamp - Signed Emile Jaud Et Jeanne Aubert 17 Mai 1887, electrified. -
The Ethnic History of the Toltecs As Reflected in Their Clothing*
Patricia Anawalt The Ethnic History of the Toltecs as Reflected in their Clothing* Guiado por el interés en señalar la importancia que el análisis de las vestimentas tiene para la reconstrucción cultural, este artículo considera la historia étnica de los toltecas a tra- vés de un examen de sus prendas de vestir. Para este propó- sito se ha establecido la hipótesis que la historia y las rela- ciones sociales de un pueblo pueden ser reconstruidas gracias a determinadas características en sus vestimentas. La investi- gación se ha centrado en el xicolli. Resulta que este traje típico experimentó una cierta transformación desde el clásico y postclásico temprano yucateco, donde constituía una prenda de guerra, hasta su uso como traje ritual y distintivo de la clase alta en el postclásico tardío de la región central de México. Este cambio parece haberse originado en la región huasteca, concretamente en el área desde el cual los nonoalcas, repre- sentantes de la antigua tradición teotihuacana, emprendieron la migración hacia Tollan. La ausencia del traje característico de los nonoalcas en los testimonios arqueológicos toltecas, permite suponer que una fracción militar tolteca subyugó el segmento intelectual-religioso de Tollan. * Paper delivered in the symposium, "Problems in the Iconography of Postclassic Mesoamerican Art," at the XLIII International Congress of Americanists, August 1 1 - 17, 1979, Vancouver, British Columbia, Canada. INDIANA 10 (1985): 129-146 129 ISSN 0341-8642 Ibero-Amerikanisches Institut, Stiftung Preußischer Kulturbesitz For scholars involved in the reconstruction and interpretation of Meso- american social and cultural systems, depictions of Prehispanic clothing provide a rich repository of valuable and revealing ethnographic data. -
Mermet Technical Fabric Guide
Mermet Technical Fabric Guide © 2017 Mermet Corporation Table of Contents 1. Intro.....................................................3 13. Determining Design Intent: Considerations................................31 2. Yarn and Fabric Properties...............4 14. Determining Design Intent: 3. Manufacturing Process.....................7 Fabric Applications........................33 4. Weaving and Knitting........................10 15. Interior and Exterior.......................36 5. Types of Weaves...............................12 16. Fabric Styles: High Performance..........................38 6. Fabric Orientation.............................15 17. Fabric Styles: 7. Solar Energy Spectrum....................18 Sustainable Fabrics........................42 8. Performance Analysis: 18. Fabric Styles: Thermal Properties...........................20 Decorative Fabrics.........................46 9. Performance Analysis: 19. Fabric Styles: Optical Properties.............................22 Conventional Fabrics.....................51 10. Measuring Brightness Levels........25 20. Fabric Styles: Privacy Fabrics...............................55 11. Glare................................................27 21. Common Certifications..................58 12. Acoustical Performance................29 Disclaimer and Notices Mermet's Technical Fabric Guide is protected by U.S. and International copyright protection laws. Reproduction, distribution, display and use of any content within this document is prohibited without written permission from Mermet. -
The Study of Coast Salish Weaving Began with the Remarkable
Classic Salish Twined Robes Katharine Dickerson he study of Coast Salish weaving began with the remarkable work of Oliver N. Wells, who was born in 1907. He was a farmer and an amateur ethnographer, and was a third generation member Tof the Wells family, who lived on a farm near Chilliwack in the lower Fraser Valley. Oliver Wells grew up among the Stó:lō, the nearby Coast Salish people, and he was one of the few settler British Columbians who appreciated their Native neighbours and sought to understand and record their ways. His slim self-published booklet, Salish Weaving Primitive and Modern as Practiced by the Salish Indians of South West British Columbia (1969) is the point of departure for all subsequent studies of Coast Salish weaving. Wells divided his study into two chronological categories: primitive and modern. The former comprised all Salish weaving (including blankets, cloaks, straps and belts, aprons, mats, and baskets) before its virtual demise and eventual modern revival (for which he was partly responsible) during his own day. He did not explore the progressive penetration of external influences on the Indigenous weaving tradition beginning shortly after European contact. This was first attempted by Carolyn Marr in a little known master’s thesis that she completed in 1979 at the University of Denver.1 Marr associated what she called “organized blankets” with the new wealth produced in the maritime- and land-based fur trades,2 and with two-strand twining, or tapestry, weaving – a broad categorization that does not take into account the difference between traditional Salish weaving and its successors, which were influenced by European contact. -
Fibres & Fabrics
BrIefInG fibres & fabrics By philippa watkIns European textiles are a strong force again. Their creativity and inventiveness, which has kept growing despite the years of difficulties and still prevailing uncertainties, is helping them out of crisis. Fabric Fairs such as MFS, Milano Unica and Première Vision were busy, maintaining the increase in visitors noted a year ago – even London’s little Textile Forum was buzzing with visitors. PV and Expofil recorded 53,065 visitors overall with EU visitors now accounting for 70%. Visitors from the US, whose economy has been showing signs of recovery, accounted for 5% and there was a surge in Asian visitors, mostly from Japan, South Korea and China. With buyers showing such interest, exhibitors were cautiously optimistic. Notable also are new techniques, and sheer craftsmanship, which create both a new PV Awards aesthetic as well as greater ‘sustainability’. There’s an air of responsibility, as the with a twist, masculine look. These fabrics industry works towards more sustainable are also printed – often in huge prints, and production. Use of water, for instance, is a double faced reversing print to plain. Italian serious issue, and new ways of water and Ratti, for instance, had a new ‘scuba’ cloth chemical free finishing are making headway – in a crêpe-type quality made with crêpe such as digital printing and laser technology. yarns, also printed, and Menta, always Even more spectacular is the development experimenting with extraordinary printing of new ways of finishing through ‘plasma’ techniques, had printed ribbed spacers. technology – one to really watch. While these fabrics have smooth volume, they are not flat – in fact nothing is quite PV AWArDs 2014 Trend area at Milano Unica flat. -
Sheerweave-Brochure-V17.Pdf
WEAVING EXCELLENCE WITH INNOVATION ® 1 AN INTRODUCTION SheerWeave® interior sun control fabrics provide the perfect balance of light, comfort and beauty, making them the ideal window covering solution for residential and commercial spaces alike. A sleek and functional alternative to ordinary window coverings, SheerWeave effortlessly and elegantly manages the sun’s harsh heat and blinding glare. MULTI-FUNCTIONAL SheerWeave filters and diffuses light while reducing glare and solar heat gain, conserving energy and helping to create a more comfortable environment. SheerWeave also helps reduce the fading of interior furnishings and flooring by protecting these surfaces from the sun’s harmful effects. And unlike many window treatments, SheerWeave allows excellent outward visibility – even when shades are lowered – to maintain optimal views. UNMATCHED STYLE From modern, neutral hues to subtly-textured, organic weaves in warm earth tones, these fabrics are the perfect complement to any interior design scheme. SheerWeave fabrics are also available in a variety of openness factors ranging from one to 25 percent and wide widths to cover large window openings. Simple, clean and classic, SheerWeave can be fabricated into many different types of window treatments, and the aesthetic quality of these fabrics allows them to easily pair with other draperies and window coverings. QUALITY SECOND TO NONE Phifer’s quality standards are among the highest in the world. SheerWeave fabrics are manufactured in our state-of-the-art facility in Tuscaloosa, Alabama USA under strict guidelines through ISO-certified production processes. From yarn coating to packaging, every step of the production process is checked to ensure only the finest quality fabrics are given the SheerWeave name. -
Sew Any Fabric Provides Practical, Clear Information for Novices and Inspiration for More Experienced Sewers Who Are Looking for New Ideas and Techniques
SAFBCOV.qxd 10/23/03 3:34 PM Page 1 S Fabric Basics at Your Fingertips EW A ave you ever wished you could call an expert and ask for a five-minute explanation on the particulars of a fabric you are sewing? Claire Shaeffer provides this key information for 88 of today’s most NY SEW ANY popular fabrics. In this handy, easy-to-follow reference, she guides you through all the basics while providing hints, tips, and suggestions based on her 20-plus years as a college instructor, pattern F designer, and author. ABRIC H In each concise chapter, Claire shares fabric facts, design ideas, workroom secrets, and her sewing checklist, as well as her sewability classification to advise you on the difficulty of sewing each ABRIC fabric. Color photographs offer further ideas. The succeeding sections offer sewing techniques and ForewordForeword byby advice on needles, threads, stabilizers, and interfacings. Claire’s unique fabric/fiber dictionary cross- NancyNancy ZiemanZieman references over 600 additional fabrics. An invaluable reference for anyone who F sews, Sew Any Fabric provides practical, clear information for novices and inspiration for more experienced sewers who are looking for new ideas and techniques. About the Author Shaeffer Claire Shaeffer is a well-known and well- respected designer, teacher, and author of 15 books, including Claire Shaeffer’s Fabric Sewing Guide. She has traveled the world over sharing her sewing secrets with novice, experienced, and professional sewers alike. Claire was recently awarded the prestigious Lifetime Achievement Award by the Professional Association of Custom Clothiers (PACC). Claire and her husband reside in Palm Springs, California. -
Women's Collection by Dorfman Pacific | Winter 2020
WOMEN’S COLLECTION BY DORFMAN PACIFIC | WINTER 2020 CALLANAN™ | AEGEAN | SCALA™ | SCALA™ KIDS | DPC® | FALL/WINTER 2020 For so long, people thought Dorfman was about selling hats. But really, we’re about our hat community. You see a hat is just an accessory, but our millinery community is fostered by the artisans that hand make our hats, local shops that display our creations, and our customers’ stories who wear them with distinction. This is coupled with our relentless commitment to service instilled by our founder, Jack Dorfman. Fashion trends are in a constant state of motion, but happy retail partners and valued customers are a constant for us. RIVERSIDE • LW749-ASST • PG 65 THE TREK • MC146 • MEN’S FW20 PG 78 An American Headwear Company Since 1921. Page 2 HANDMADE SINCE 1921 CONTENTS CALLANAN™ WOOL FELT ........................................................................... 6 WOOL BLEND ........................................................................ 8 HEADBANDS ......................................................................... 22 WEATHERED COTTON ........................................................ 24 BOILED WOOL ...................................................................... 24 SCALA™ WOOL FELT CLOCHE ........................................................... 31 WOOL FELT WESTERN ......................................................... 38 WOOL FELT SAFARI .............................................................. 38 WOOL FELT BOATER ........................................................... -
Coast Salish Textiles: from ‘Stilled Fingers’ to Spinning an Identity
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2010 Coast Salish Textiles: From ‘Stilled Fingers’ to Spinning an Identity Eileen Wheeler Kwantlen Polytechnic University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Wheeler, Eileen, "Coast Salish Textiles: From ‘Stilled Fingers’ to Spinning an Identity" (2010). Textile Society of America Symposium Proceedings. 59. https://digitalcommons.unl.edu/tsaconf/59 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. NOMINATED FOR FOUNDING PRESIDENTS AWARD COAST SALISH TEXTILES: FROM STILLED FINGERS TO SPINNING AN IDENTITY EILEEN WHEELER [email protected] Much that had been theirs that was fine was destroyed and lost. Much that they were proud of still remains, but goes unnoticed by those who have not the eyes to see nor the desire to comprehend.1 ~ Oliver Wells, 1965 I feel free when I weave. ~ Frieda George, 2010 When aboriginal women of south western British Columbia, Canada undertook to revisit their once prolific and esteemed ancestral textile practices, the strand of cultural knowledge linking this heritage to contemporary life had become extremely tenuous. It is through an engagement with cultural memory, painstakingly reclaimed, that Coast Salish women began a revival in the 1960s. It included historically resonant weaving and basketry, as well as the more recent adaptive and expedient practice of knitting. -
S/S21collection Welcome
L / B Fashion Collection S/S21COLLECTION WELCOME ... Our SS21 Collection is here and I’m delighted to share it with you. The last 12 months have been so tough on all of us, but in spite of repeated lockdowns and the significant economic fallout, the Hartwell team have kept focused to develop a new range that befits a more positive outlook for 2021. With vaccines giving us all hope, I echo the piece in our recent blog that suggested this will be the era for small independent fashion brands and re- tailers to thrive once life returns to something like normal! I do hope you enjoy the pages that follow and we can all once again Live Well and Dress Well over the coming Spring/Summer months. Monica Sassoon HEAD OF DESIGN Item Name Code #23343, $2300 American Style www.americana.com Item Name Item Name Code #23343, $2300 Code #23343, $2300 American Style American Style www.americana.com www.americana.com LAYLA NEW SNAFFLES 100% COTTON SATIN LYCRA LAYLA PINK BIRDS 100% COTTON SATIN LYCRA LAYLA BLACK & WHITE HUNTING 100% COTTON SATIN LYCRA LAYLA POLKA DOT PHEASANTS 100% COTTON SATIN LYCRA LAYLA FLYING DUCKS 100% COTTON SATIN LYCRA LAYLA GROUSE 100% COTTON SATIN LYCRA LAYLA NEW HORSES 100% COTTON SATIN LYCRA LAYLA POINTER DOG 100% COTTON SATIN LYCRA LAYLA PHEASANT FRIENDS 100% COTTON SATIN LYCRA LAYLA WHITE PEARLS 100% COTTON SATIN LYCRA LYDIA DOGS LYDIA WHITE ANIMAL PARTY 100% VISCOSE 100% VISCOSE ZOE DRAGONFLY 100% OXFORD COTTON LYDIA FOXES LYDIA HORSE HEADS 100% VISCOSE 100% VISCOSE LYDIA BROWN STAGS 100% VISCOSE LYDIA RUNNING PHEASANTS 100% -
Library Author List 12:2020
SDCWG LIBRARY INVENTORY December 2020 SORTED BY AUTHOR Shelf Author Title Subject Location Abel, Isabel Multiple Harness Patterns Weaving Instruction Adelson, Laurie Weaving Tradition of Highland Bolivia Ethnic Textiles Adrosko, Rita Natural Dyes and Home Dyeing Dyeing Adrosko, Rita Natural Dyes in the United States Dyeing Ahnlund, Gunnila Vava Bilder (Swedish Tapestry) Ethnic Textiles Albers, Anni On Designing Design Albers, Anni On Weaving General Weaving Albers, Josef Interaction of Color Design Alderman, Sharon D. Handwoven, Tailormade Clothing Alderman, Sharon D. Handweaver's Notebook General Weaving Alderman, Sharon D. Mastering Weave Structures Weaving Patterns Alexander, Marthann Weaving Handcraft General Weaving Allard, Mary Rug Making Techniques and Design Rug Weaving Allen, Helen Louise American & European Hand Weaving General Weaving American Craft Museum Diane Itter: A retrospective Catalog American Tapestry American Tapestry Biennial I Tapestry Alliance American Tapestry American Tapestry Today Tapestry Alliance American Tapestry Panorama of Tapestry, Catalog Tapestry Alliance American-Scandinavian The Scandinavian Touch Ethnic Textiles Foundation Amos, Alden 101 Questions for Spinners Spinning 1 SDCWG LIBRARY INVENTORY December 2020 SORTED BY AUTHOR Shelf Author Title Subject Location Amsden, Charles A. Navaho Weaving Navajo Weaving Anderson, Clarita Weave Structures Used In North Am. Coverlets Weave Structures Anderson, Marilyn Guatemalan Textiles Today Ethnic Textiles Anderson, Sarah The Spinner’s Book of Yarn Designs -
Jaina Figures and the Figuration of Maya Social Roles: a Study of SAMA Object 64.289.94 Natalie Carrier Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Undergraduate Student Research Awards Information Literacy Committee 2018 Jaina Figures and the Figuration of Maya Social Roles: A Study of SAMA Object 64.289.94 Natalie Carrier Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/infolit_usra Repository Citation Carrier, Natalie, "Jaina Figures and the Figuration of Maya Social Roles: A Study of SAMA Object 64.289.94" (2018). Undergraduate Student Research Awards. 47. https://digitalcommons.trinity.edu/infolit_usra/47 This Article is brought to you for free and open access by the Information Literacy Committee at Digital Commons @ Trinity. It has been accepted for inclusion in Undergraduate Student Research Awards by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. 1 Natalie Carrier Dr. Mathews ANTH/ARTH 3335 20 Nov 2018 Jaina Figures and the Figuration of Maya Social Roles: A Study of SAMA Object 64.289.94 2 Abstract The site of Jaina island, for which Jaina figures are named, is unique in comparison to the sites where other Maya ceramic figurines have been found due to the scale and specially developed burial culture involving ceramic figurines that developed there (McVicker 2011: 211). The exceptional and artistic renderings and context for these figures from Campeche, Mexico has led to problems of looting and forgeries that have created obstacles for scholars trying to understand this body of work. A careful consideration of the stylistic features and grouping of individual figurines to determine their authenticity and meaning is therefore a step that can be undertaken to attempt to chip away at this problem.