DOCSLIB.ORG

CRAFTING CULTURE, FABRICATING IDENTITY Gender and Textiles in Limerick Lace, Clare Embroidery and the Deerfield Society of Blue and White Needlework

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CRAFTING CULTURE, FABRICATING IDENTITY Gender and Textiles in Limerick Lace, Clare Embroidery and the Deerfield Society of Blue and White Needlework CRAFTING CULTURE, FABRICATING IDENTITY Gender and Textiles in Limerick Lace, Clare Embroidery and the Deerfield Society of Blue and White Needlework by Susan Elizabeth Cahill A thesis submitted to the Department of Art in conformity with the requirements for the degree of Master of Arts Queen’s University Kingston, Ontario, Canada (September, 2007) Copyright © Susan Elizabeth Cahill, 2007 Abstract My thesis examines how identity was constructed in the late nineteenth and early twentieth century amidst the growing possibilities of the cross-cultural transfer of ideas and products by analysing case studies of women-owned and -operated craft organisations: Limerick Lace and Clare Embroidery (Ireland) and the Deerfield Society of Blue and White Needlework (United States). I contend that the increased accessibility of print culture, travel and tourism, and World’s Fairs enabled the women responsible for these craft organisations to integrate a pastiche of artistic influences – those recognised as international, national, and local – in order to create a specific and distinct style of craft. The Arts and Crafts movement, with its ideas about art, craft, design, and display, provided a supra-national language of social and artistic reform that sought to address the harshness of industrialisation and to elevate the status of craft and design. The national framework of revival movements – the Celtic Revival in Ireland and Colonial Revival in the United States – promoted the notion that Folk and peasant culture was fundamental to each country’s heritage, and its preservation and renewal was essential to fostering and legitimising a strong national identity. I critically access the way these case studies, which were geographically separate yet linked through chronology, gender, and craft, operated within these international and national movements, yet they negotiated these larger ideologies to construct identities that also reflected their local circumstances. My intention is to unite social history with material culture in order to investigate the ways in which the discussion and display of the crafts, and the artistic components of the textiles themselves operated as a vehicle for establishing identity. ii Acknowledgements I would like to thank my supervisor Dr. Janice Helland, who provided much encouragement, enthusiasm, and expertise throughout the research and writing of this project. I would also like to thank my thesis committee, Dr. Peter Thompson, Dr. Lynda Jessup, Dr. Jeffrey Brison, and Dr. Katherine Romba, whose comments and critiques were insightful and constructive. David Bosse at the Pocumtuck Valley Memorial Association Archive and Suzanne L. Flynt at the Memorial Hall Museum in Deerfield, Massachusetts offered support and involvement that went far beyond the call of duty, and I am very grateful for their help during my time doing on-site research. Friends and colleagues in the Art History department provided infinite support and wisdom throughout this process, and I would particularly like to thank Rebecca Ehlert, Erin Morton, Andrea Terry, and Kristy Holmes (among others). Finally, I would like to thank my mom, dad, and brother Andy, who kept me anchored in reality and constantly reassured me that not everyone’s happiness and peace of mind depended on whether I had a productive work day or not. iii Table of Contents Abstract ...........................................................................................................................ii Acknowledgements ........................................................................................................ iii Table of Contents ...........................................................................................................iv List of Figures.................................................................................................................vi Chapter 1 INTRODUCTION ..........................................................................................1 Chapter 2 LIMERICK LACE AND CLARE EMBROIDERY ...................................................17 Overview of Organisations International Influences Arts and Crafts Movement in Ireland National Influences Home Arts and Industries Celtic Revival Local Applications Craft and Philanthropy Reform and Education Division of Labour and Class Object and Design Chapter 3 DEERFIELD SOCIETY OF BLUE AND WHITE NEEDLEWORK..............................68 Overview of Organisation International Influences Philadelphia Centennial, 1876 Arts and Crafts Movement in the United States National Influences Colonial Revival Local Applications Gender, Craft, and Heritage Division of Labour and Cultural Inheritance Moral Environmental Imperative and Production Display and Tourism Object and Design iv Chapter 4 CONCLUSION .........................................................................................119 Works Consulted .........................................................................................................124 Figures ........................................................................................................................137 v List of Figures Figure 1. Photograph of Florence Vere O’Brien and Robert Vere O’Brien, 1883 (137). Figure 2. Limerick lace scarf, designed by Florence Vere O’Brien, worker unknown, 1887 (137). Figure 3. Class photograph, Limerick Lace School, c. 1899 (138). Figure 4. Ballyalla House, c. 1900 (138). Figure 5. Class photograph, Clare Embroidery, c. 1914 (139). Figure 6. Detail of smoked yoke, Dress, Clare Embroidery, designed by Florence Vere O’Brien, date unknown (139). Figure 7. Detail, Scarf, Limerick lace, designed by Emily Anderson, 1886 (140). Figure 8. Apron, Clare Embroidery, designed by Florence Vere O’Brien, c. 1900 (140). Figure 9. Hungarian apron with Folk motifs, designer unknown, nineteenth century (141). Figure 10. Detail, Hungarian tablecloth with Folk motifs, designer unknown, early 1900s (141). Figure 11. Tea cosy, designed and worked by Jessie Newbery, early 1900s (142). Figure 12. Cushion cover, designed and worked by Jessie Newbery, c. 1900 (142). Figure 13. “Holly,” “Lily of the Valley,” “Periwinkle,” Drawings and embroidered samplers, Clare Embroidery, designed by Florence Vere O’Brien, early 1900s (143). Figure 14. Pillowcase, Clare Embroidery, designed by Florence Vere O’Brien, early 1900s (143). Figure 15. Hand-drawn map of Old Deerfield, artist unknown, date unknown (144). Figure 16. Cover page, Flowers of the North-Eastern States, Ellen Miller and Margaret Whiting, 1895 (144). Figure 17. “Pasture Rose,” Flower design, Flowers of the North-Eastern States, Ellen Miller and Margaret Whiting, 1895 (145). Figure 18. “Knotweed,” Flower design, Flowers of the North-Eastern States, Ellen Miller and Margaret Whiting, 1895 (145). vi Figure 19. Pomegranate, Embroidery on linen, Wallhanging, the Deerfield Society of Blue and White Needlework, designed by Ellen Miller and Margaret Whiting, 1908 (146). Figure 20. Two Red Roses Across the Moon, Embroidery on linen, Wallhanging, the Deerfield Society of Blue and White Needlework, designed by Ellen Miller and Margaret Whiting, 1919 (146). Figure 21. Untitled, Cross-stitch on linen, Table runner, the Deerfield Society of Blue and White Needlework, designed by Ellen Miller and Margaret Whiting, c. 1907 (147). Figure 22. Detail of logo, Untitled, Cross-stitch on linen, Table runner, the Deerfield Society of Blue and White Needlework, designed by Ellen Miller and Margaret Whiting, c. 1907(147). Figure 23. Advertisement Pamphlet showing logo, the Deerfield Society of Blue and White Needlework, designer unknown, date unknown (148). Figure 24. Entrance to Miller home with mounted wheel, the Deerfield Society of Blue and White Needlework, photographer unknown, date unknown (148). Figure 25. Embroiderers working in their own home, the Deerfield Society of Blue and White Needlework, photographed by Mary and Frances Allen, 1900 – 1903 (149). Figure 26. Display of embroidery, the Deerfield Society of Blue and White Needlework, photographed by Mary and Frances Allen, 1899 – 1905 (149). Figure 27. Rose Tree, Embroidery on linen, Wallhanging, the Deerfield Society of Blue and White Needlework, designed by Ellen Miller and Margaret Whiting, 1910 – 1916 (150). vii Chapter 1 Introduction This thesis seeks to examine the way in which identity is constructed through the dialogic relationship between international, national, and local frameworks by analysing case studies of women-owned and -operated craft organisations in the late-nineteenth and early-twentieth century: Limerick Lace and Clare Embroidery (Ireland) established by Florence Vere O’Brien and the Deerfield Society of Blue and White Needlework (United States) founded by Ellen Miller and Margaret Whiting.1 The project aims to engage critically with the way in which each association managed to balance a pastiche of artistic influences – those recognised as international, national, and local – in order to create a specific and distinct style of craft. My intention is to unite social history with material culture in order to investigate the ways in which the discussions and displays of the crafts along with the artistic components of the textiles themselves operated as vehicles for establishing identity. I frame these craft organisations around the triangular interconnection of the international, the national, and the local;2 this methodology, however, must be implemented cautiously as each of these components are complex and multifarious. I aim
Load more

Recommended publications
  • Culty Protest Wage Contracts BOG Passes Eastern's IOTTPEPPERS University
    Eastern Illinois University The Keep September 1991 9-13-1991 Daily Eastern News: September 13, 1991 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_1991_sep Recommended Citation Eastern Illinois University, "Daily Eastern News: September 13, 1991" (1991). September. 9. http://thekeep.eiu.edu/den_1991_sep/9 This is brought to you for free and open access by the 1991 at The Keep. It has been accepted for inclusion in September by an authorized administrator of The Keep. For more information, please contact [email protected]. Bard art faculty gather under the Martin Luther King J1: University Union walkway Thursday and listen to speakers before walking i~ a single file line directly through the BOG meeting. culty protest wage contracts BOG passes Eastern's IOTTPEPPERS University. ties in Illinois had been unfairly "(Contract) negotiations have excluded from early retirement f'1scal '93 budget request been slow and very unsatisfying," benefits given to other state lty and staff from Eastern By MIKE CHAMBERS said Jayne Ozier, chief negotiator employees earlier this year. Staff editor '· other four universities rep­ for the UPI. "We are miffed and are "We went to the (BOG) and said • Board of Gover­ by the Board of Governors here to show that to the (BOG)." we understand that it's a bad time ... The Board of Governors unani­ nors takes auditor demonstration Thursday at "The board's most recent con- so what we offered the (BOG) was mously passed a $268 million thly meeting of the BOG to tract proposals can best be to try to solve our problems over a budget request for its five univer· general's report dissatisfaction with their described as an insult," Ozier said.
    [Show full text]
  • Costura: De La Reivindicación Política a La Recreación Poética
    COSTURA: DE LA REIVINDICACIÓN POLÍTICA A LA RECREACIÓN POÉTICA. EL PROCEDIMIENTO DE LA COSTURA COMO RECURSO CREATIVO EN LA OBRA DE ARTE. TESIS DOCTORAL MARÍA MAGÁN LAMPÓN Directora: Dª Consuelo Matesanz Pérez Universidad de Vigo, 2015 COSTURA: DE LA REIVINDICACIÓN POLÍTICA A LA RECREACIÓN POÉTICA. EL PROCEDIMIENTO DE LA COSTURA COMO RECURSO CREATIVO EN LA OBRA DE ARTE. TESIS DOCTORAL MARÍA MAGÁN LAMPÓN Directora: Dª Consuelo Matesanz Pérez Universidad de Vigo, 2015 COSTURA: DE LA REIVINDICACIÓN POLÍTICA A LA RECREACIÓN POÉTICA. EL PROCEDIMIENTO DE LA COSTURA COMO RECURSO CREATIVO EN LA OBRA DE ARTE. TESIS DOCTORAL MARÍA MAGÁN LAMPÓN Directora: Dª Consuelo Matesanz Pérez Departamento de Pintura, Facultad de Bellas Artes Universidad de Vigo Pontevedra, Mayo, 2015 María Magán Lampón Imágenes: sus respectivos autores Licencias: El contenido de este trabajo está sujeto a una licencia “Creative Commons 3.0”. Se puede reproducir, distribuir, comunicar y transformar los contenidos incluidos en este documento y en el CD-ROM adjunto, si se reconoce su autoría y se realiza sin ánimo de lucro. El copyright de las imágenes de las obras corresponde a sus respectivos autores. Impresión y Encuadernación Códice Pontevedra, 2015 Agradecimientos Es complicado entender la importancia de los agradecimientos de una tesis doctoral hasta que no se ha terminado; es entonces cuando miras atrás y te das cuenta de la ayuda y apoyo que has recibido. Intentaré resumir en unas líneas la gratitud que siento a todas las personas que han estado presentes durante esta etapa. Mi más cálido agradecimiento a Chelo Matesanz, directora de la tesis y ahora amiga, con quien he recorrido un largo camino desde el momento en que planteamos el tema de la investigación.
    [Show full text]
  • Daily Eastern News: September 20, 1991 Eastern Illinois University
    Eastern Illinois University The Keep September 1991 9-20-1991 Daily Eastern News: September 20, 1991 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_1991_sep Recommended Citation Eastern Illinois University, "Daily Eastern News: September 20, 1991" (1991). September. 14. http://thekeep.eiu.edu/den_1991_sep/14 This is brought to you for free and open access by the 1991 at The Keep. It has been accepted for inclusion in September by an authorized administrator of The Keep. For more information, please contact [email protected]. Deadication • On your mark Perfunctory This Band pays . · Football takes respect to the Gratefulest Band. ·:. on Murray State Racers. Pullout section Page 12A ditions, including one that he be allowed to return to his position next school year. umpkin College of Business However, he said he tried to tinguished Professor Efraim withdraw his request after Rives has filed a complaint with accepted the leave, but refused to federal Equal Employment honor the conditions. "As far as I rtunity Commission against know, ... I've been a victim," sident Stan Rives, Lumpkin Turban said. lege of Business Dean Ted Turban is in the midst of a three­ · and Mark Dunn, the attorney y ear contract for the Lumpkin investigated Eastern 's han­ College of Business $l10,000-a­ of a sexual harassment com­ year Endowed Chair, Ivarie con­ t levied against Turban, he said · finned Thursday. Turban's contract y. was to have run from 1989 to 1992, ban, who is currently on an Ivarie added. ·ct leave.of absence from the Ivarie recently offered Turban his rsity, also said that Eastern chair back for next school year, · ·stration claims that his leave Turban said, adding the offer came voluntary are a lie.
    [Show full text]
  • A C C Jj P T Iiid
    ACCjJPTiiiD FACULTY OF GRAHUATF qTnn,r?HE "NEW WOMAN" IN FIN-DE-SIECLE ART: tS FRANCES AND MARGARET MACDONALD by 1ATF _______________' i2 Janice Valerie Helland ~ --- ------ B.A., University of Lethbridge, 1973 M.A., University of Victoria, 1984 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY : in the Department of History in Art We accept this thesis as conforming to the required standard _________________ Dr. Ej^Tumasonis, Supervisor (Department of History in Art) Dr. J. Osborne, Departmental Member (Department of History in Art) Dr. A. Wel<gj)^*DepartmentaI Member (Department of Histor^in Art) Dr. A. McLa^fen, Outside Member (Department of History) _________________________________________ Dr. A. Fontaine, Outgj.de Member (Department of Biology) ________________________________________ Dr. B./Elliott, External Examiner (University of Alberta) ® JANICE VALERIE HELLAND, 1991 University of Victoria All rights reserved. Thesis may not be reproduced in whole or in part, by mimeograph or other means, without the permission of the author. 11 Supervisor: Dr. E, Turoasonis ABSTRACT Scottish artists Margaret and Frances Macdonald produced their most innovative art during the last decade of the nineteenth century. They received their training at the Glasgow School of Art and became known for their contribution to "the Glasgow Style," Scotland's answer to Continental Art nouveau and Symbolism. Although they inherited their visual vocabulary from the male-dominated language of the fin-de-siècle. they produced representations of women that differed from those made by their male colleagues. I suggest that these representations were informed by the female exper,i*nce and that they must be understood as such if we, as historians, are to discuss their art.
    [Show full text]
  • Th E St Ory Ofir Ish Lace Is a St Ory O
    www.nmni.com/uftm/Collections/Textiles---Costume/Lace-page Ulster Folk and Transport Museum, lace collection. collection. lace Museum, Transport and Folk Ulster To find a conservator: www.conservationireland.org conservator: a find To www.museum.ie/en/collection/lace.aspx National Museum of Ireland, Lace collection. collection. Lace Ireland, of Museum National Useful contacts: Useful Vol. 26, No. 2, pp.152-167. 2, No. 26, Vol. Display and Meaning, 1886–1909’ in Journal of Design History 2013, 2013, History Design of Journal in 1886–1909’ Meaning, and Display Embroidery, Dresses: ‘Irish’ Aberdeen’s ‘Ishbel J., Helland, Ireland’, Women’s History Review, 1996, Vol. 5, Issue 3, pp. 326-345. pp. 3, Issue 5, Vol. 1996, Review, History Women’s Ireland’, organisation: Commercial lace embroidery in early 19th-century 19th-century early in embroidery lace Commercial organisation: Chapman S. & Sharpe, P., ‘Women’s employment and industrial industrial and employment ‘Women’s P., Sharpe, & S. Chapman There are a number of articles on Irish lace-making, including: lace-making, Irish on articles of number a are There Further reading: Further www.oidfa.com www.laceguild.org Library of Ireland of Library www.craftscotland.org The Lawrence Photograph Collection, Courtesy of the National National the of Courtesy Collection, Photograph Lawrence The Circular lace photo: lace Circular Irish lace collar (c.1865-1914), Robert French, French, Robert (c.1865-1914), collar lace Irish Other sites relating to lace-making include: lace-making to relating sites Other
    [Show full text]
  • Daily Eastern News: September 27, 1991 Eastern Illinois University
    Eastern Illinois University The Keep September 1991 9-27-1991 Daily Eastern News: September 27, 1991 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_1991_sep Recommended Citation Eastern Illinois University, "Daily Eastern News: September 27, 1991" (1991). September. 19. http://thekeep.eiu.edu/den_1991_sep/19 This is brought to you for free and open access by the 1991 at The Keep. It has been accepted for inclusion in September by an authorized administrator of The Keep. For more information, please contact [email protected]. Deja Vu Tony Bell & Kutchie return to Eastern on Saturday. Special Pullout Section o compromise could lead to a faculty strike The BOO governs Eastern, Chicago State other state employees, early retirement BOG whether it will strike at the Oct. 17 University, Governors State University, options and better health care benefits. BOG board meeting at Western Illinois Northeastern Illinois University and Western "Our demands are very simple. Most University, Vogel said: As the possibility of a faculty strike looms Illinois University. importantly, we want equity," Vogel said. "The second last thing UPI really wants is loser, the Board of Governors, the faculty "We have reason to be optimistic there will "When the new contract UPI is negotiating to strike, but the absolute last thing we want d University Professionals of Illinois, each be no strike, but the possibility of a strike is for ends, we want all faculty salaries to be is to continue working under the. existing owed no sign of a willingness to compro­ more imminent now than it was two weeks equal with the nati9nal average." conditions," h~ said.
    [Show full text]
  • Culty Senate to Review Rea Report Think It's Fortunate That We've Struggling Financially, but Got Emily Bryson from the Eastern Isn't As Bad As Some
    Eastern Illinois University The Keep August 1991 8-27-1991 Daily Eastern News: August 27,1991 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_1991_aug Recommended Citation Eastern Illinois University, "Daily Eastern News: August 27,1991" (1991). August. 9. http://thekeep.eiu.edu/den_1991_aug/9 This is brought to you for free and open access by the 1991 at The Keep. It has been accepted for inclusion in August by an authorized administrator of The Keep. For more information, please contact [email protected]. .·"' , Cl~aning up Turbulence . L•. Jon Collins, supervisor of grounds, Panther opponent Lock~ is named supervisor of the year. Haven had a rough flight in 1990. Page Page 16 Rives lists priorities for upcoming year By CHRIS SEPER dents, Rives has also answered Staff writer the Faculty Senate's request for open communication. He has A stiff budget and hopes for scheduled monthly meetings better communication between with the chairs of the Faculty faculty and staff will be two of Senate and Civil Service the goals in Eastern President Council, the president and vice Stan Rives' personal priorities presidents of the student body. for the academic year. The Illinois budget crunch The list, which also includes will affect every area of the uni­ last year's goals of working on a verisity and the goal of an ade­ task force on cultural diver­ quate 1992-93 appropriation, sity/enhancing minority educa­ Rives said, since this year tional opportunity, the study of Eastern only received a 0.2 per­ graduate education and the cent or $11,000 increase over implementation of core general last year's appropriation from education program, was an­ the state.
    [Show full text]
  • The Celtic Revival in Britain and Ireland
    Edinburgh Research Explorer The Celtic Revival in Britain and Ireland Citation for published version: Fowle, F 2015, The Celtic Revival in Britain and Ireland: Reconstructing the past. in J Farley & F Hunter (eds), Celts: Art and Identity. British Museum Publishing, London, pp. 234–259. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Celts General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 The Celtic Revival in Britain and Ireland: reconstructing the past Frances Fowle In 1890 George Henry’s and E.A. Hornel’s The Druids: Bringing in the Mistletoe (FIG) was exhibited at the Grosvenor Gallery in London, where it caused a sensation. The art critic R.A.M Stevenson described the druidical figures as ‘grim, tawdry, and savage ... glowing with crude colour.’1 Surrounded by a spectacular gold frame of interlaced snakes, the composition is painted in brilliant vermillion, emerald and gold, recalling the colour range of insular manuscripts. As if stepping out of the pages of Pliny, a solemn procession of Celtic priests emerges from a grove of oaks and descends a snow-clad hill.
    [Show full text]
  • LACE and LACE MAKING by ESTHER SINGLETON
    A Value Not to Be Measured Association is confronted with an unusual situation, and gg riT^^^ B ^y we now appeal to you because you are as vitally interested in a The Mentor as we are. You have often asked—how the full bene- gi fits of The Mentor could be given for tlie price ^beautiful pictures a in gravure and in colors, interesting, instructive text by well-known a writers, and a full, intelligent service in suppljring information in the a various fields of knowledge—all for the annual membership fee of n $3.00.' One of you recently wrote to us: "The Mentor is a bargain for Q the money. This additional service makes it absolutely priceless." a imi JOW have we been able to do it? By care and good judgment, nand by knowing where and how to get things—at a minimum ™ price. But that was under normal conditions. Now new condi- a * tions are forced upon us. Paper, ink, labor, and everything that " goes into the manufacture of magaziiies and books have advanced a " in cost one hundred per cent, or more. The paper on which The o " Mentor is printed cost 4% cents a poimd two years ago. To-day B " it costs 9 cents a pound—and it is still going up. And so it is with ° the cost of other materials. The condition is a general one in the ^ " publishing business. B ' ; ra ; a ^¥S^ have been together in a delightful association for fovir years b ffl \4/ —^just the length of a college course.
    [Show full text]
  • Siegl, Nicholas (Translator) a Fable of Bidpai West Burke, VT: the Janus Press, 1974
    Boston Book Fair 2014 ~ Booth 426 ~ Artisan Books & Bindery Craig R. Olson 111 Derby Road Islesboro, Maine 04848-4904 Telephone: 207.734.6852 E-mail: [email protected] Web Site: www.artisanbooksandbindery.com "Helping clients build and maintain their libraries." DESCRIPTIONS: All books are First Editions, First Printings, and hard cover unless otherwise indicated. TERMS: All items are offered subject to prior sale. Any book may be returned within 10 days. Photographs are available upon request. SHIPPING: Media Mail Shipping is Free. Shipping is by USPS/Priority/Insured at $10.00 for the first book, $1.50 for each additional book. Overseas shipping is via Air only with parcels insured and will be billed at cost. PAYMENT: American Express, Discover, MasterCard, VISA, PayPal, and Checks. Maine residents subject to 5% State Sales Tax. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • ~ AMERICANA ~ Maine World War II Sketchbook First Edition. Small spiral bound "Artcraft Sketchbook" with brown cardboard covers. Has a new mylar dust jacket and housed in a custom clamshell box built by bookseller's in-house bindery. Fine. Spiral Bound. Note taped to verso of front cover signed Florence Phinney but no record of that name associated with a cartoonist. An exquisite collection of fifteen original pencil drawings with some colored pencil work from the World War II era depicting life on the home front. This unknown artist was very likely a professional as each drawing is exceptional and very humorous. (#19738) $2,000.00 Buck, Pearl S. The Kennedy Women: A Personal Appraisal New York, NY: Cowles Book Company, Inc., 1970. First Edition. Third Printing. 218 pp.
    [Show full text]
  • Dressmakers Dictionary
    S 1309 >py 1 'r/ce Co/r/^s- \ aOPYRIOMTEB BY J. W. GODDARD Au SONS (incohporatks) • a-S4-»« BLCCCKER ST., NEW YORK Dressmakers Dictionary PRICE TWENTY-FIVE CENTS (^, ^ui'^irvw^xv O Copyrighted, 1916, by J. W. GODDARD & SONS (Incorporated) 92-94-96 BLEECKER ST., NEW YORK Acknowledging the Dress- makers' Chart in the center of this booklet, from the Jno. J. Mitchell Co., Pub- lishers, and valuable assist- ance from the Dry Goods Economist. rs/3o9 SEP 19 1916 ©CI.A437740 Compiled by HOMER S. CURTIS 1916 With Our Compliments ^^^^^HE purpose of this little m C"*\ booklet is not to bore you ^L J with things you already ^^i^^ know, but rather to sup- ply you with information that may prove useful and interesting. A careful perusal cannot fail to aid you in tasteful and harmonious selection of fabrics for your suits and gowns, possibly strengthening your judgment and, perhaps, point- ing the way to more beautiful and finer wardrobes, without an increased expenditure. That you will find it helpful is the wish of the makers of Witchiex Is a Universal Linmg Fabric Terms A List, Giving the Meaning of the Terms in Everyday Use at Dress Goods and Silk Counters. Agra Gauze—Strong, transparent silk fabric of a gauzy texture. ^^ Agaric—^A cotton fabric of loop yam construction, having a surface somewhat similar to a fine Turkish toweling. Armoisine—Also spelled "Armozeen" and "Armo- zine." In the 18th century and earlier this fabric was used in both men's and women's wear. It was of a taffeta or plain silk texture.
    [Show full text]
  • Francis Henry Newbery and the Glasgow School of Art
    Rawson, George Mansell (1996) Francis Henry Newbery and The Glasgow School of Art. PhD thesis. http://radar.gsa.ac.uk/5419 Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given RADAR http://radar.gsa.ac.uk/ [email protected] FRANCIS HENRY NEWBERY AND THE GLASGOW SCHOOL OF ART Thesis presented to the Department of Architecture of the University of Glasgow for the Degree of Doctor of Philosophy by GEORGE MANSELL RAWSON October 1996 © George Rawson This is a one volume 1216 edition of the original two volume thesis held in Glasgow University Library with slightly different pagination. 1 ABSTRACT This thesis takes the form of a biographical study of the art teacher and painter Francis Henry Newbery. Its focus is Newbery’s thirty-three year association with the Glasgow School of Art. The first two chapters examine Newbery’s early life and his educational background in Dorset and London where he attended the National Art Training School at South Kensington. John Beard, Newbery’s headmaster at the Bridport General School in Dorset, the educational theory of Friedrich Froebel and the modern approach to art teaching of Edward Poynter the Principal of the National Art Training School are all identified as formative influences in the development of Newbery’s own approach to pedagogy at Glasgow.
    [Show full text]