DOCSLIB.ORG

186 C Ambuter the Open Canvas 286 Anchor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

186 C Ambuter The Open Canvas 286 Anchor Book of Stitches Crewel Stitches & Patterns 214 Anchor Crewel Stitches & Patterns 259 Anne Andrew Embroidery Skills – Smocking** 241 Lis Arthur Kathleen Whyte Embroiderer 350 D J Ashby Stumpwork 195 Ashley/Woolsey Creative Embroidery Techniques – Colour through Gold 332 N Askari/R Crill Colours of the Indus 404 Rhoda L Auld Mola – Ideas for Creative Applique 97 Banbury & Dewar Making Embroidered Bags & Purses 278 Banbury & Dewar How to design – Banners 282 Beadworkers Guild Introduction to Beadwork Earrings 283 Beadworkers Guild Introduction to Beadwork Bracelets 340 Margaret Beal Fusing Fabric 1 Jan Beaney Stitch Images ** 33 Jan Beaney The Art of the Needle 36 Jan Beaney Stitch Images II ** 88 Jan Beaney Design into Stitch ** 163 Jan Beaney Inspirations ** 353 Beaney/Littlejohn A Tale of Two Stitches 358 Beaney/Littlejohn A Sketch in Time – Book 12 359 Beaney/Littlejohn A sketch in Time – Book 12 360 Beaney/Littlejohn No Stone Unturned – Book 13 361 Beaney/Littlejohn Connections – Book 14 362 Beaney/Littlejohn Over the Line – Book 16 363 Beaney/Littlejohn Grids to Stitch – Book 17 364 Beaney/Littlejohn Seductive Surfaces – Book 18 365 Beaney/Littlejohn Red – Book 19 366 Beaney/Littlejohn Embellish & Enrich – Book 20 368 Beaney/Littlejohn Trees as a Theme – Book 7 380 Beaney/Littlejohn Location, Location, Book 21 381 Beaney/Littlejohn Seeing Double – Book 22 382 Beaney/Littlejohn Fragile Fabrics – Book 23 ** 383 Beaney/Littlejohn Constructions – Book 24 262 Beaney/Littlejohn New Dimensions 263 Beaney/Littlejohn Trees as a Theme 264 Beaney/Littlejohn Double Vision 174 Beaney/Littlejohn Voluptuous Velvet ** 176 Beaney/Littlejohn Bonding and Beyond 243 Beaney/Littlejohn Conversations with Constance 246 Beaney/Littlejohn Vanishing Act 244 Beaney/Littlejohn Gardens and More 245 Beaney/Littlejohn Giving Pleasure 337 Thomasina Beck Gardening with Silk and Gold 243 Beckworth & Fisher African Ceremonies Part 1 of 2 254 Beckworth & Fisher African Ceremonies Part 2 of 2 390 Lisa Bergene A Passion for Patchwork 387 Basil Blackwell Ikats 289 Juliet Bowden The Hat book 232 Juliet Bowden (signed) Art and Craft of Paper Mache 17 Box Drawing & Design for Embroidery 37 Bromley Embroidery with Transparent Fabrics ** 191 Jean Brown Embroidery in Miniature 152 Pauline Brown Applique Skills 345 Pauline Brown Encyclopaedia of Embroidery Techniques 93 P. Brown Applique Skills 386 Ruth Brown Digital Imagery on Fabric ** 165 J. Bullen Embroidery Stitches 356 Muriel Best Stumpwork – Historical & Contemporary Embroidery 346 Bury St Edmunds Art Gallery Art Textiles 2000 Catalogue 189 Val Campbell-Harding Starting to Stitch Creatively 27 Val Campbell-Harding Machine Embroidery Stitch Techniques 298 Val Campbell-Harding Weaving with Ribbon 197 Val Campbell-Harding Machine Embroidery Stitched Patterns 129 Ruth Campbell-Harding Goldwork 279 Julia Caprara The Magic of Embroidery 369 Julia Caprara Exploring Colours – Experimental Approach 306 Jacqui Carey Beginners Guide to Braiding Kumini 314 B. Case A World of Beads 177 Angela Caxton Quick Quilts 285 M Chapell-Hewitt Dissolving Embroidery ** 140 Judy Chicago The Dinner Party – Needlework 208 Raie Clare Bobbin Lace 216 A Claxton/C. Owen Making Jewellery 193 CD Videostitch Images II ** 328 E Coetsee Craft Aft in South Africa 43 A. Coleman Quilting – New Dimensions 166 Penny Cornell The Liberated Canvas ** 160 Penny Cornell The Liberated Canvas 251 Constance/Reuter Whole Cloth 268 222 Mary Costellow Embroidery South Africa 300 Ann Cox Silk Ribbon Embroidery ** 268 Crabree & Stallebrass Beadwork – A World Guide 326 R Crompton Modern Design in Embroidery 291 M Cross/S Soudan Magic Carpets 237 Nancy Crow Quilts and Influences 213 Anna Crutchley Tassels for the Home 312 Bailey Curtis Inspiration to Stitch 252 K Ball/J Draper/M Ball Kay Ball Embroidery 52 B Dawson Whitework Embroidery 130 Beryl Dean Church Needlework 132 Beryl Dean Design of Ecclesiastical Textiles 230 Beryl Dean Ideas for Church Embroidery 379 Helen Deighan Textile Coil Pots and Baskets 388 Wendy Dolan Layer Paint & Stitch 349 Jean Draper Maker Profile – Jean Draper 367 J Drew/VWatkins Whitework 271 J Drew/V Watkins Whitework ** 55 J Dudding Coggleshall Tambour Lace 56 J Dudding Coggleshall Lace 164 G Eccles/I Edwards Art Textiles ** 296 Janet Edmonds Beginner’s Guide to Embroidered Boxes 402 Edwina Ehrman The Wedding Dress – 300 years of Bridal Fashions 151 Embroiderers Guild Designer Textiles 115 Embroiderers Guild Embroidery Studio 393 Textiles by William Morris and Fairclough/Leary Morris & Co 175 Barbara Fitch Decorative Straw Work 227 Regina Forster Traditional Samplers 292 Tracy A Franklin New Ideas in Goldwork 319 S Freeman Felt Craft 19 Geddes/McNeil Blackwork Embroidery 305 Ailsa Golden Creating Handmade Books 336 Maggie Gray & J Wild Paper, Metal & Stitch 294 Maggie Gray Raising the Surface with Machine Embroidery 370 Maggie Gray Textile Translations – Mixed Media 339 Kay Greenlees Creating Sketchbooks for Textile Artists 347 Valerie Greenwood Starting Needlepoint Lace 385 Isobell Hall Bags with Paper & Stitch 384 Isabel Hall Embroidered Books ** 355 E. Harlow The Anchor book of Counted Thread Embroidery 391 Jennifer Harris 50 Years of Textiles 371 S Hawkins (signed) Crewel Embroidery 198 Gwen Hedley Surfaces for Stitch 372 J Heldsworth (signed) The Goodhart Samplers 112 Birte Hilberg The Patchwork Planner 159 B & R Hirst New Designs in Raised Embroidery 8 Constance Howard Book of Stitches 316 Constance Howard 20 th Century Embroidery 1940-1963 242 W M Howley Chinese Folk Designs 143 Liz Hubbard GutermannThread Painting 156 Jane Hunston-Almquist Mountmellick Work 37 H Hutton Textile Structures 297 Ruth Issett Colour on Paper & Fabric 310 Ruth Issett Colour on Cloth 185 Pamela Johnson Michael BrennandWood – You Are Here 111 H. Joynes Complete Book of Ribbon Embroidery 90 H Kendick English Needlework 228 Lyaty Kerimot Folk Designs from the Caucasus 280 Alice Kettle Eye of the Needle 327 S.Klopper/P. Mugabane Dress & Adornment – Zulu 287 Kyoto Collection Fashion 18 th & 20 th Centuries 248 Shereen La Plantz The Art and Craft of Handmade Books 394 Shereen La Plantz Cover to Cover 308 Gail Lawther Inspirational Ideas for Embroidery 293 Jane Lemon Metal Thread Embroidery 399 Paul & Elaine Lewis People of the Golden Triangle 265 Liddell & Watanobe Japanese Quilts 12 Jean Littlejohn Fabrics for Embroidery 273 P Longford Embroidery from Ketch to Stitch 30 P Longford Lettering for Embroidery 375 Marcia Love Art Nouveau Designs and Motifs 357 Sue Love Painting with Stitches 154 Kate Matthews Fibrearts 21 M McNeill Quilting 39 M McNeill Machine Embroidered Lace and See-through Techniques 331 A Mein The Art of Annemieke Mein 182 Merill./Jessgo Needlework in Miniature 322 J Messent Wool ‘n’ Magic 18 J Messent The Embroiderer’s Workbook 29 J Messent Embroidery & Architecture 199 J Messent World of Embroidery 261 J Messent Designing Worksheets 276 J Messent Designing with Pattern 307 Susan Millodot Chinese Knots for Beaded Jewellery 323 E Moller Shibori 167 J Moody Beads – Keepsake Crafts 250 H Moore & K Clark Henry Moore’s Sheep Sketchbook 169 Hilary More Ribbons & Bows 335 Anne Morrell Contemporary Embroidery 392 Anne Morrell The Techniques of Indian Embroidery 288 Lyulle Mostaghhimi Countryside Needlecraft Source Book 255 Nodin & Styles Design & the Decorative Arts 1500-1900 184 A. Ormrod Exploring Cross Stitch 127 Rod Owen Big Book of Sling and Rope Braids 301 Mary Parker Sashiko – Japanese Machine Embroidery 15 M Pascoe Blackwork Embroidery 344 Olivia Pass Dorset Feather Stitch (replaced Nov2017) 389 R & K Pellman The World of Amish Quilts 394 Sheila Payne The Linen Goddess – Travels from the Red Sea to Prizren 396 Sheila Payne Chikan Embroidery – theFloral Whitework of India 397 Sheila Payne Embroidered Textiles – Traditional Patterns from Five Continents 398 Sheila Payne Amulets 400 Sheila Payne Embroidery from India & Pakistan 201 Phaidon Press The Bayeux Tapestry 102 Kit Pyman Gold & Silver Embroidery 272 J Rainbow The Ups and Downs of Crewel Embroidery 194 J Rainbow Beginners’ Guide to Crewel Embroidery 351 Mary Rhodes Ideas for Canvas Work 85 M Rivers Working on Canvas 40 A. Salehhe Braided Cross Stitch 196 Sally Saunders Royal School of Needlework Techniques 148 Jane Simpson Embroidery 311 Mary Sleigh African Inspiration in Embroidery 341 R Smith & G Corrigan Embroidery from South West China 295 Kumiko Sudo Omijage, Handmade Gifts in Fabric 303 Kumiko Sudo Folded Flowers – Fabric Omijage 334 Sutton & Holton Tablet Weaving 210 Shuji Tamura Techniques of Japanese Embroidery 401 Thai Textiles Threads of Cultural Heritage 348 L Thornton/J Devon Introduction to Beadwork Necklaces 395 Jun & Noriko Japanese Ikat Weaving 374 Linda Tudor (signed) Embroidered Purses 403 Turkmen Folk Art 320 L Turpin-Delport Quilts & Quilting 155 Dinah Travis The Applique Quilt 144 D Tucker Applique 260 Victoria & Albert Oriental Art in the V & A Museum 257 Wallce & O’Floinn Treasures of the National Museum of Ireland 181 Edna Wark Metal Thread Embroidery 62 P Warner History of Embroidery 178 P Warner Miniature Embroidery – Georgian 179 P Warner Miniature Embroidery – Victorian 240 P Warner (signed) Miniature Embroidery – Tudor & Stuart 284 P Warner Miniature Embroidery – 20 th Century 13 Verina Warren Landscape in Embroidery 116 P Watts Machine Embroidery 158 P Watts Bead Embroidery ** 133 P Watts Bead Embroidery 343 R Anne Williams The Batsford Embroidery Course 224 1981-1992 The Quaker Tapestry Guide in Colour 79 Stitch Images 11 ** 238 Art & Design in Textiles 239 Fabric & Needlework Illustration 249 Silk & Stone – the Art of Asia 338 Beginners Guide to Silk Painting ** indicates that this book is currently missing .
Recommended publications
  • Cora Ginsburg Catalogue 2015

    Cora Ginsburg Catalogue 2015

    CORA GINSBURG LLC TITI HALLE OWNER A Catalogue of exquisite & rare works of art including 17th to 20th century costume textiles & needlework 2015 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] NEEDLEWORK SWEET BAG OR SACHET English, third quarter of the 17th century For residents of seventeenth-century England, life was pungent. In order to combat the unpleasant odors emanating from open sewers, insufficiently bathed neighbors, and, from time to time, the bodies of plague victims, a variety of perfumed goods such as fans, handkerchiefs, gloves, and “sweet bags” were available for purchase. The tradition of offering embroidered sweet bags containing gifts of small scented objects, herbs, or money began in the mid-sixteenth century. Typically, they are about five inches square with a drawstring closure at the top and two to three covered drops at the bottom. Economical housewives could even create their own perfumed mixtures to put inside. A 1621 recipe “to make sweete bags with little cost” reads: Take the buttons of Roses dryed and watered with Rosewater three or foure times put them Muske powder of cloves Sinamon and a little mace mingle the roses and them together and putt them in little bags of Linnen with Powder. The present object has recently been identified as a rare surviving example of a large-format sweet bag, sometimes referred to as a “sachet.” Lined with blue silk taffeta, the verso of the central canvas section contains two flat slit pockets, opening on the long side, into which sprigs of herbs or sachets filled with perfumed powders could be slipped to scent a wardrobe or chest.
  • Quaker Tapestry Ltd Friends Meeting House, Stramongate Kendal, Cumbria LA9 4BH

    Quaker Tapestry Ltd Friends Meeting House, Stramongate Kendal, Cumbria LA9 4BH

    Quaker Tapestry Ltd Friends Meeting House, Stramongate Kendal, Cumbria LA9 4BH 01539 722975 [email protected] www.quaker-tapestry.co.uk Charity Registration No. 1035077 Company Registration No. 2901085 VAT Registration No. 621 2925 64 Quaker Tapestry Museum Assistant (Seasonal) Summary Your role will be to ensure that every aspect of our visitor experience will delight our customers and exceed all expectations of their visit. Hours 14 hours a week March to end of November, Monday to Friday during museum opening times and occasional Saturdays. Tuesday 9.30am to 5.30pm And another full day or two half days to be agreed Rate of Pay: £9.30 per hour You will be working alongside a staff team and a team of experienced volunteers in a small independent museum within the historic, Georgian Quaker Meeting House in Kendal. The Quaker Tapestry consists of a modern community embroidery displayed in individual panels depicting Quaker stories from 350 years. Alongside the panels of embroidery visitors can enjoy other subsidiary displays, films and artefacts from our collection. We have a gift shop featuring our own Quaker Tapestry books, cards and embroidery products, a small garden, visitor parking and The Garden Café and Takeaway. What you'll be doing You'll be responsible for welcoming visitors to the Museum and ensuring that you provide an excellent service to all our visitors. You will be selling tickets and Gift Aid on entry through our till system. Advising visitors with their purchases in our shop, replenishing stock from stock rooms, maintaining the displays and keeping the shop clean.
  • Crewel Embroidery 0F Colonial New England

    Crewel Embroidery 0F Colonial New England

    o o . 1‘ ‘ lb ‘ \w‘.‘ v ‘ " O . .1' '-' «7A :1. 90;": “W;ul.\u’$31.?l'“.‘ 1),. 3:10; 'M " d5‘_);”: ”‘22. ‘ '11“. 5"? $0.053“: . ~ .t"""\" 0‘70' ' ‘. ""7"! ( J::T.m4‘u '.""‘:.O-c :cnou ~11 ‘5'. u o. _'.‘ "' "‘:"-: .t-‘. _ n J; :ln'. ‘“:.;.’ ‘u‘ 9“ .‘ A.“ '. .. *“." " V'W‘ ’:".I|\~u"oOI(|‘. ""h’" '...Iigv-I . 01.11 f"-"'-":""‘°uo‘f.‘ .. - . ‘ p...‘ ‘I . ‘ a " . ...<o CREWEL ... EMBROIDERY THE Thesis MICHIGAN ENVIRONMENTAL MARY for 0F LYNNE the STATE COLONIAL 1975 Degree RICHARDS UNIVERSIIY INFLUENCES ovo- Of NEW M. cOc "9...! A ENGLAND -~ 0 ’Ipup~ ”‘0... l 00"! . AND I'ocumnmnwwwvwv- - Q . o . IIIII IIIIIIIOO PLACE II RETURN BOX to remove this Moat from yout record. To AVOID FINES Mum on or More data duo. DATE DUE DATE DUE DATE DUE — LI- * Om MSU Is An Affirmative MINI/Emil Opportunity Institution Wanna-9.1 ABSTRACT CREWEL EMBROIDERY OF COLONIAL NEw ENGLAND AND THE ENVIRONMENTAL INFLUENCES By Mary Lynne Richards The purposes of this study were: 1) to describe the characteristic colors, stitches and designs found in crewel embroidery created within New England during the colonial period, 2) to analyze these characteris- tics in relation to the dates and locations of the sample embroideries, and 3) to analyze the characteristic designs in relation to aspects of the colonial New England physical environment. The sample was composed of fifty crewel embroidered items, believed to have been created between 1620 and 1781, within the geographic boundaries of New England. A data sheet, plus color slides or black and white sketches, were used to record information pertaining to each embroidered item.
  • VASTRAM: SPLENDID WORLD of INDIAN TEXTILES CURATED by SHELLY JYOTI a Traveling Textile Exhibition of Indian Council of Cultural Relations, New Delhi, India

    VASTRAM: SPLENDID WORLD of INDIAN TEXTILES CURATED by SHELLY JYOTI a Traveling Textile Exhibition of Indian Council of Cultural Relations, New Delhi, India

    VASTRAM: SPLENDID WORLD OF INDIAN TEXTILES CURATED BY SHELLY JYOTI A traveling textile exhibition of Indian council of Cultural Relations, New Delhi, India Curator : Shelly Jyo/ OPENING PREVIEW OCTOBER 15, 2015 DATES: UNTIL OCTOBER 2015 VENUE: PROMENANDE GARDEN, MUSCAT, OMAN ‘Textiles were a principal commodity in the trade of t i‘TexGles were a principal commodity in the trade of the pre-industrial age and India’s were in demand from china and Mediterranean. Indian coUons were prized for their fineness in weave, brilliance in colour, rich variety in designs and a dyeing technology which achieved a fastness of colour unrivalled in the world’ ‘Woven cargoes-Indian tex3les in the East’ by John Guy al age and India’s were in demand from china and Mediterranean. Indian cottons were prized for their fineness in weave, brilliance in colour, rich variety in designs and a dyeing technology which achieved a fastness of colour unrivalled in the world’ ‘Woven cargoes-Indian textiles in the East’ A traveling texGle exhibiGon of Indian council of Cultural Relaons, New Delhi, by John Guy India PICTORIAL CARPET Medium: Silk Dimension: 130cm x 79cm Source: Kashmir, India Classificaon: woven, Rug Accession No:7.1/MGC(I)/13 A traveling texGle exhibiGon of Indian council of Cultural Relaons, New Delhi, India PICTORIAL CARPET Medium: Silk Dimension: 130cm x 79cm Source: Kashmir, India Classificaon: woven, Rug Accession No:7.1/MGC(I)/13 Silk hand knoUed carpet depicts the Persian style hunGng scenes all over the field as well as on borders. Lots of human and animal figures in full moGons is the popular paern oaen seen in painGngs during the Mughal period.
  • Identifying Handmade and Machine Lace Identification

    Identifying Handmade and Machine Lace Identification

    Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audiences. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4.
  • Collections Development Policy 2021 – 2023

    Collections Development Policy 2021 – 2023

    Britain Yearly Meeting Collections development policy 2021 – 2023 Approved by BYM Trustees 12 June 2021 (minute BYMT-2021-06-13) Contents 1 Britain Yearly Meeting collections ....................................................................... 3 1.1 Purpose ......................................................................................................... 3 1.2 Collecting remit and priorities ........................................................................ 4 1.3 How we will use this policy ............................................................................ 5 2 Authority and responsibility for collections development ..................................... 6 3 Background to the collections ............................................................................. 7 4 Outline of the collections ..................................................................................... 8 4.1 Britain Yearly Meeting (BYM) archive ........................................................... 8 4.2 The core library and archive collections ........................................................ 8 4.2.1 Rare books, tracts and other early printed material ................................ 9 4.2.2 Manuscripts ............................................................................................ 9 4.3 The current library and archive collections .................................................... 9 4.3.1 Archives .................................................................................................. 9 4.3.2 Published
  • Liste Complète

    Liste Complète

    Liste complète Juin 2016 1 308 titres Mission services aux chercheurs et Département du Développement des Collections de la BIS 2 Table des matières 1. Histoire générale ............................................................................... 3 2. Antiquité - Langue et littérature classiques - Art et archéologie ............... 7 3. Histoire médiévale - Art et archéologie médiévale ............................... 23 4. Histoire moderne ............................................................................. 38 5. Histoire contemporaine (19e-20e siècles) ........................................... 52 6. Art et archéologie - Généralités ......................................................... 65 7. Langue et littérature françaises ......................................................... 66 8. Langues et littératures étrangères ..................................................... 73 Langues et littératures étrangères (allemande) ................................... 73 Langues et littératures étrangères (anglaise) ...................................... 76 Langues et littératures étrangères (ibérique) ...................................... 78 Langues et littératures étrangères (italienne) ...................................... 78 9. Littérature générale et comparée....................................................... 80 10. Linguisitique et sciences du langage .................................................. 84 11. Philosophie ..................................................................................... 85 12 Sciences
  • The Ultimate Experience

    The Ultimate Experience

    The Ultimate Experience Battlefield Revelations and the Making of Modern War Culture, 1450–2000 Yuval Noah Harari The Ultimate Experience January 18, 2008 19:52 MAC/TUE Page-i 9780230_536920_01_prexvi Also by Yuval Noah Harari RENAISSANCE MILITARY MEMOIRS: War, History and Identity, 1450–1600 SPECIAL OPERATIONS IN THE AGE OF CHIVALRY, 1100–1550 January 18, 2008 19:52 MAC/TUE Page-ii 9780230_536920_01_prexvi The Ultimate Experience Battlefield Revelations and the Making of Modern War Culture, 1450–2000 Yuval Noah Harari Department of History Hebrew University of Jerusalem January 18, 2008 19:52 MAC/TUE Page-iii 9780230_536920_01_prexvi © Yuval Noah Harari 2008 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2008 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd.
  • The Bayeux Tapestry

    The Bayeux Tapestry

    The Bayeux Tapestry The Bayeux Tapestry A Critically Annotated Bibliography John F. Szabo Nicholas E. Kuefler ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by John F. Szabo and Nicholas E. Kuefler All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Szabo, John F., 1968– The Bayeux Tapestry : a critically annotated bibliography / John F. Szabo, Nicholas E. Kuefler. pages cm Includes bibliographical references and index. ISBN 978-1-4422-5155-7 (cloth : alk. paper) – ISBN 978-1-4422-5156-4 (ebook) 1. Bayeux tapestry–Bibliography. 2. Great Britain–History–William I, 1066–1087– Bibliography. 3. Hastings, Battle of, England, 1066, in art–Bibliography. I. Kuefler, Nicholas E. II. Title. Z7914.T3S93 2015 [NK3049.B3] 016.74644’204330942–dc23 2015005537 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
  • FIS December 17

    FIS December 17

    !1 December, 2017 patches in the fabric.. Carmella talked about it " being faded somewhat, though really, the colours were still quite stunning and the Visit to the National Gallery contrasts still work beautifully. Wilma Davidson The CSR is a controlled environment When I read Sally’s request to ‘go into therefore I wasn’t allowed to bring out my to National Gallery and check out the colours wools, however, both Rose and I took lots of of Linor Robey’s embroidery and match them photos to assist with the panel. I did have to with wools for the panel’ I did have a little sign a waver stating the photos would not be chuckle. If only it was that simple! published. I have included two photos of I checked the website and there are 32 details of the work that as long as they go no of her works in the Gallery, only a few which further than this newsletter, can be shared with are embroidery, and of those, few illustrations Quaker stitchers. on this list. And nothing was on display - not I feel very privileged to have viewed unusual in institutions holding large National this work that is considered so precious and collections. thank Sally and Margaret for the opportunity. The only information available to me " was who donated the work to the Gallery in " 2016 – no name for the work, no date of completion. The Gallery has a remarkable space, the collections study room (CSC) where works not on display can be viewed. I use this room often with our slow art group, when we want to look closely at works of particular artists.
  • Silverwork and Sequins

    Silverwork and Sequins

    Session 2: Cornucopia II: Silverwork and sequins In this session you will be learning how to couch metallic threads, both Jap Thread and twist. You will also learn how to stitch sequins in place using a bead. Metallic threads add a touch of sparkle to your embroidery designs. They are made by tightly wrapping a flat metallic strip around a core of cotton or silk thread. This produces a shiny thread which can be bought in a range of sizes. There are particular ways of stitching with metallic threads which you will learn in this session. MATERIALS AND EQUIPMENT NEEDED FOR THIS SESSION: • Embroidery hoop or small frame • Embroidery scissors • Needles: o Crewel/embroidery needle size 10/12 o Large-eyed needle such as a chenille or tapestry needle (large enough to take the metallic threads) • The worked embroidery from Session 1: Cornucopia I: Blackwork Infills • Silver Jap Thread • Silver Twist Thread (or DMC silver metallic stranded thread) • Grey sewing cotton • Silver sequins, 3-4 mm, either round or flower-shaped or both: about 5-6 in total • Silver or clear seed beads, one per sequin plus one spare READ ALL OF THE INSTRUCTIONS THROUGH BEFORE YOU START YOUR EMBROIDERY. WORKING THE EMBROIDERY: HORN-OF-PLENTY SECTIONS 1. Place your worked piece from Session 1: Cornucopia I: Blackwork Infills in your hoop or frame (if it isn’t still there!) 2. You are going to use a technique called COUCHING to stitch the silver threads in position on your embroidery. Metallic threads are often too heavy to stitch through the fabric and the outer metallic cover will separate off if you take them through the fabric too often.
  • Fifteenth Century Literary Culture with Particular

    Fifteenth Century Literary Culture with Particular

    FIFTEENTH CENTURY LITERARY CULTURE WITH PARTICULAR* REFERENCE TO THE PATTERNS OF PATRONAGE, **FOCUSSING ON THE PATRONAGE OF THE STAFFORD FAMILY DURING THE FIFTEENTH CENTURY Elizabeth Ann Urquhart Submitted for the Degree of Ph.!)., September, 1985. Department of English Language, University of Sheffield. .1 ''CONTENTS page SUMMARY ACKNOWLEDGEMENTS ill INTRODUCTION 1 CHAPTER 1 The Stafford Family 1066-1521 12 CHAPTER 2 How the Staffords could Afford Patronage 34 CHAPTER 3 The PrIce of Patronage 46 CHAPTER 4 The Staffords 1 Ownership of Books: (a) The Nature of the Evidence 56 (b) The Scope of the Survey 64 (c) Survey of the Staffords' Book Ownership, c. 1372-1521 66 (d) Survey of the Bourgchiers' Book Ownership, c. 1420-1523 209 CHAPTER 5 Considerations Arising from the Study of Stafford and Bourgchier Books 235 CHAPTER 6 A Brief Discussion of Book Ownership and Patronage Patterns amongst some of the Staffords' and Bourgchiers' Contemporaries 252 CONCLUSION A Piece in the Jigsaw 293 APPENDIX Duke Edward's Purchases of Printed Books and Manuscripts: Books Mentioned in some Surviving Accounts. 302 NOTES 306 TABLES 367 BIBLIOGRAPHY 379 FIFTEENTR CENTURY LITERARY CULTURE WITH PARTICULAR REFERENCE TO THE PATTERNS OF PATRONAGE, FOCUSSING ON THE PATRONAGE OF THE STAFFORD FAMILY DURING THE FIFTEENTH CENTURY. Elizabeth Ann Urquhart. Submitted for the Degree of Ph.D., September, 1985. Department of English Language, University of Sheffield. SUMMARY The aim of this study is to investigate the nature of the r61e played by literary patronage in fostering fifteenth century English literature. The topic is approached by means of a detailed exam- ination of the books and patronage of the Stafford family.