DOCSLIB.ORG

Stumpwork Smocking Whitework Blackwork Boxes Gold/ Metal Threads Church Embroidery Canvas Work

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stumpwork Smocking Whitework Blackwork Boxes Gold/ Metal Threads Church Embroidery Canvas Work MEG Library Books 2015 STUMPWORK Stumpwork. Why Not? Daphne J Ashby & Jackie Woosey A Beginners Guide to Stumpwork Kay Davies SMOCKING Smocking Anne Andrews WHITEWORK Whitework Jane Dew and Viv Watkins BLACKWORK Complete guide to Blackwork Amanda Cox Blackwork- a new approach Brenda Day Blackwork Embroidery Elizabeth Geddes Blackwork Mary Gostelow BOXES Embroidered Boxes Jane Lemon Beginners Guide to embroidered Boxes Janet Edmonds GOLD/ METAL THREADS Metal Thread Embroidery Jane Lemon Metal Thread Embroidery Barbara Dawson Goldwork- revised and expanded Jane Lemon & Kit Pyman CHURCH EMBROIDERY English Church Embroidery 1833-1953 Mary Schoeser Embroidery in Religion + ceremonial Beryl Dean CANVAS WORK Ideas for Canvas Work Mary Rhodes Dictionary of Canvas Work Stitches Mary Rhodes Needlepoint-the art of canvas embroidery Mary Rhodes Canvas Embroidery Peggy Field& June Linsey The Open Canvas; ( hardanger, pulled canvas) Carolyn Ambuter Page 1 of 6 COLLAGE/ PATCHWORK Collage for the Soul-expression hopes and Holly Harrison dreams through art Stitched Textile-collage Lucille Toumi Patchwork Averil Colby Strip Patchwork Inspired to Quilt ( creative experiments) Melanie Testa The Complete Crazy Patchwork Anne Hulbert NATURAL INSPIRATION Embroidery and Nature Jan Messent Flowers and Plants in Embroidery Valerie Campbell -Harding The Embroiderer’s Floral Janet Haigh Landscapes in Embroidery Verena Warren The Embroiderer’s Countryside Helen M Stevens FELT Nuno Felt Liz Clay FABRIC PAINTING Fabric Painting for Embroidery Valerie Campbell -Harding The Creative Guide to Fabric Screen Printing Pam Stallebrass Dyeing & Printing ( basic dyeing, batik etc) Ed Thomas Browne How to Paint on Silk Ed Pam Dawson MODERN TECHNIQUES Layers of Stitch( contemporary machine Valerie Campbell –Harding & Maggie Grey embroidery) Hot Textiles- inspiration and techniques with Kim Thittichai heat tools Creative embellishing for needle point machine Teresa Searle Textile Surface Decoration- silk and velvet Margo Singer Creative Embellishment for paper , jewellery, Sherril Khan fabric and more Stitch, Dissolve , Distort with Machine Valerie Campbell –Harding & Maggie Grey embroidery Embellish and Stitch Valerie Campbell –Harding & Maggie Grey Colour on Paper and Fabric Ruth Issett Stitch, cloth, paper and paint; mixed media Angie Hughes Raising the surface-with machine embroidery Maggie Grey Between the sheets with Angelina-fusible Alysn Midgelow -Marsden fabrics Page 2 of 6 JEAN LITTLEWOOD AND JAN BEANEY SERIES IN LIBRARY UNAVAILABLE AT MOMENT 1 Vanishing Act 2 Voluptuous Velvet 3 Bonding and Beyond 4 Transfer to Transform 5 Gardens and More 6 Conversations with Constance ( Howard) 7 Trees as a Theme 8 Giving pleasure ( 2 copies) 9 New Dimensions ( 2 copies) 10 Double Vision 11 A Tale of Two Stitches 12 A Sketch in time 13 No Stone Unturned 14 Connections 15 Colour Exploration 16 Over the line-Couching 17 Grids to Stitch 18 Seductive surfaces 19 Red 20 Embellish and Enrich If anyone has any of the missing volumes that can be returned/ donated to library, can they Let me know Please???? SPECIFIC ARTISTS AND HISTORIC Jan Messent’s World of Embroidery Jan Messent Ornament- a survey of decoration since 1830 Stuart Durant The life of Ann MacBeth of Patterdale Marjorie Ives The Needlework of Mary Queen of Scots Margaret Swain 1066- the hidden history of the Bayeux Andrew Bridgeford Tapestry Lifelines 3- William Morris Audrey Walker Pub. Ruthin Craft Centre Quaker Tapestry Stitch guide Bridget Guest Kathryn Whyte- Embroiderer Liz Arthur Renni Makintosh Dorothy Wood The Art of Annmeike Mein- wildlife artist Annmeike Mein SPECIALISED TECHNIQUES Design your own needlepoint Ann Gittine & Jennie Peterson Beginners guide to Crewel embroidery Jane Rainbow Embroidering Table Linen Jan Eaton Danish Pulled Thread Embroidery E. Fangal, I. Wicker & A.W.Madsen Bead Embroidery Valerie Campbell –Harding & Pamela Watts The Technique of Needlepoint Nenia Lovesey Page 3 of 6 Weaving with Ribbon Valerie Campbell –Harding Tassels – the fanciful embellishment Nancy Welsh Creative Embroidery Techniques using colour Ashby & Woosley through Gold Creative Embellishing for Needle Punch Teresa Searle Machine WORLD INSPIRATION KYUUTO !!. Woolly embroidery- Japanese Crafts Embroidered Textiles- Patterns from 5 Sheila Paine Continents Islamic design Eva Wilson Viennese Stained Glass Renner & Seeman Authentic art nouveau stained Glass Design Ed. M.J Gradl Lapland embroidery Central Asian Embroideries Traditional Japanese small motifs Inca Embroideries Persian Rug Motifs for Needlepoint Lyatif Kerimov Russian Peasant Design Motifs V Stasou Shisha Embroidery ( Indian mirror work) Gross & Fontana South East Asian textile design Caren Caraway North American Indian design Eva Wilson Chinese Folk design W.M. Hawley Celtic Inspiration for Machine Embroidery Valerie Campbell –Harding & Maggie Grey Celtic art- methods of construction George Bain Celtic Alphabets Aiden Meehan Celtic Design – illuminated letters Aiden Meehan Amish- Art of Quilt Robert Hughes Embroidery Motifs from Dutch Samplers A Meulenbelt-Nieuwburg BEGINNER’S GUIDE Needlecraft series Applique 1 Canvas work 2 Quilting 3 Patchwork 4 Smocking 5 Stitchery 6 Blackwork 7 Embroidery design 9 Machine embroidery 12 Drawn Fabric 14 Patchwork 2 15 Small-scale weaving 17 Cross-stitch 18 Machine patchwork 19 Goldwork 20 Page 4 of 6 DESIGN Designing worksheets- presentation for textile Jan Messent students The textile design book Karin Jerstorp & Eve Kohlmark Design for embroidery- a fine art approach Diana Sprignall The crafters Pattern Sources book Mary MacCartney Design in Embroidery Kathleen Whyte Surfaces in creative Design Rottger, Klante & saltzmann Fabrics for embroidery Jean Littlejohn MACHINE EMBROIDERY Beginners Guide to Machine Embroidery Pam Watts Machine Embroidery Gail Harker Machine Embroidery- stitch Techniques Valerie Campbell –Harding EMBROIDERY / reference The Needlework Dictionary Pamela Clabburn The complete guide to Needlework Readers Digest The Batsford Encyclopaedia of Embroidery stitches The encyclopaedia of Needlework Anne Butler & T H de Dillmont Complete encyclopaedia of Needlwork T H de Dillmont Therese de Dillmonts Encyclopaedia of Ed. Mary Gostelou Needlework Dictionary of embroidery Stitches Mary Thomas Embroidery Book Mary Thomas Handbook of stitches Peterson & Svennas Needlework stitches Hills & Gibson The Constance Howard book of stitches Needlework School Constance Howard Inspiration for embroidery Constance Howard ( 2 copies Embroidery and Colour Constance Howard Stitches- new approach Jan Beaney The Art of the Needle Jan Beaney Principles of the stitch Lilo Markrich Creative Stitches Edith John Embroidery – a fresh approach Alison Lilley Embroidery Diana Sprignall The Embroiderers Workbook Jan Messant Painting with stitches Sue Dove The Embroidery Studio Embroiderers Guild Page 5 of 6 Page 6 of 6 .
Load more

Recommended publications
  • HAND SEWING NEEDLES Quality Makes the Difference
    No. 14 HAND SEWING NEEDLES Quality makes the difference. Hand sewing needles Hand sewing needles Embroidery needles Embroidery needles Sewing, embroidery and darning needles. • Sharps • Self-threading needles • Chenille • Tapestry Stitch by stitch – perfect and precise. • Betweens • Jersey needles • Crewel • Smyrna • Millinery needles Centuries of experience in metal processing, combined with Hand sewing needles: For fine embroidery we have a special needle known The higher the needle number, the finer and shorter the latest production technology available today, make Prym as a crewel needle. These slender needles with a the needle. Betweens have the same wire diameter somewhat larger eye can take one or more threads sewing, embroidery and darning needles perfect precision as the respective no. in sharps but they are approx. of stranded cotton, e.g. for white linen embroidery. Tapestry needles (with blunt point) are most tools. The needle range from Prym sets international quality 7 mm (1/4”) shorter. Both needle types are available • burr-free and finger friendly head As they correspond in length and gauge with the sharps suitable for counted thread embroidery on coarse- in packs in single sizes as well as in assorted sizes. standards – also in the variety of the assortment. Here, specialists needles, and are also easier to thread, they are often weave or even-weave fabrics. For closely woven will find their special needles. • silver or gold smooth eye facilitates used as a sewing needle. fabrics we recommend the use of sharp-pointed chenille needles. threading and avoids thread damage Sharps are our standard Both needles have large eyes which are suitable sewing needles, used to for thicker thread or wool.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’S Costumes Jeana Jorgensen Butler University, [email protected]
    Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2006 Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes Jeana Jorgensen Butler University, [email protected] Follow this and additional works at: http://digitalcommons.butler.edu/facsch_papers Part of the Dance Commons, Feminist, Gender, and Sexuality Studies Commons, Folklore Commons, and the Social and Cultural Anthropology Commons Recommended Citation Jorgensen, Jeana, "Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes" Midwestern Folklore / (2006): 83-97. Available at http://digitalcommons.butler.edu/facsch_papers/673 This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Midwestern folklore. Terre Haute, Ind. : Dept. of English, Indiana State University, [1987- http://hdl.handle.net/2027/inu.30000125293849 Creative Commons Attribution http://www.hathitrust.org/access_use#cc-by-3.0 This work is protected by copyright law (which includes certain exceptions to the rights of the copyright holder that users may make, such as fair use where applicable under U.S. law) but made available under a Creative Commons Attribution license. You must attribute this work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
    [Show full text]
  • Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar
    Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar April Grow, Michael Mateas, and Noah Wardrip-Fruin Computational Media Department University of California Santa Cruz Santa Cruz, CA 95060 USA [email protected], [email protected], [email protected] Abstract Design tools with computational algorithms have been aiding artists for many years in 2D and 3D, from of- fering a digital drafting table or canvas to applying im- age filters or other mathematical transformations. How- ever, there are many more non-digital creative tasks that can benefit from computer-aided design. This paper presents an interactive parametric shape grammar for blackwork embroidery pattern generation, whose pat- terns are then implemented (sewn) using an unmodified home embroidery machine. A design tool executes the grammar-guided user input, enumerates expanded pat- tern possibilities, and compiles patterns into an imme- Figure 1: Generated samples by our parametric shape gram- diately sewable file format. The grammar is capable of mar. These demonstrate borders, focal designs (motifs), and generating published embroidery patterns as well as in- two examples of space-filling patterns. finitely possible new patterns, and has future applica- tions in other areas of surface pattern design and crafts. Related Work Introduction ”Embroidery” is a broad term that roughly encompasses any embellishment by thread, or materials held or strung via thread, on nearly any material, most commonly on textiles. In the multi-millennial lifespan of embroidery, while many fundamental stitches remain the same, dozens of styles and approaches have been classified (Leslie 2007). This paper chooses to focus on non-freeform blackwork embroidery, one of the most restrained styles, as a first approach to em- broidery pattern generation.
    [Show full text]
  • GI Journal No. 75 1 November 26, 2015
    GI Journal No. 75 1 November 26, 2015 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO.75 NOVEMBER 26, 2015 / AGRAHAYANA 05, SAKA 1936 GI Journal No. 75 2 November 26, 2015 INDEX S. No. Particulars Page No. 1 Official Notices 4 2 New G.I Application Details 5 3 Public Notice 6 4 GI Applications Bagh Prints of Madhya Pradesh (Logo )- GI Application No.505 7 Sankheda Furniture (Logo) - GI Application No.507 19 Kutch Embroidery (Logo) - GI Application No.509 26 Karnataka Bronzeware (Logo) - GI Application No.510 35 Ganjifa Cards of Mysore (Logo) - GI Application No.511 43 Navalgund Durries (Logo) - GI Application No.512 49 Thanjavur Art Plate (Logo) - GI Application No.513 57 Swamimalai Bronze Icons (Logo) - GI Application No.514 66 Temple Jewellery of Nagercoil (Logo) - GI Application No.515 75 5 GI Authorised User Applications Patan Patola – GI Application No. 232 80 6 General Information 81 7 Registration Process 83 GI Journal No. 75 3 November 26, 2015 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 75 of the Geographical Indications Journal dated 26th November 2015 / Agrahayana 05th, Saka 1936 has been made available to the public from 26th November 2015. GI Journal No. 75 4 November 26, 2015 NEW G.I APPLICATION DETAILS App.No. Geographical Indications Class Goods 530 Tulaipanji Rice 31 Agricultural 531 Gobindobhog Rice 31 Agricultural 532 Mysore Silk 24, 25 and 26 Handicraft 533 Banglar Rasogolla 30 Food Stuffs 534 Lamphun Brocade Thai Silk 24 Textiles GI Journal No.
    [Show full text]
  • Autumn, 2007 $P5a.G0e0 1
    HILLCREEK FIBER NEWS Autumn, 2007 $P5a.g0e0 1 Carol Leigh’s Specialties HILLCREEK FIBER STUDIO Established 1982 Established 1986 Specializing in Custom Handwoven Specializing in Workshops Textiles, Nature-Dyed Fibers, in Nature-dyeing, Spinning, Handspun Yarns Knitting, and Weaving, and in using natural fibers and dyes related tools, supplies and books Carol Leigh’s Bed & Breakfast and Home of the Airport Shuttle Service from Spriggs 5 ' & 7 ’ A d j u s t a b l e St Louis & Kansas City Triangle, Square, & Rectangle HILLCREEK FIBER STUDIO available for students Frame Looms Autumn 2007, Vol XXV, No 2 Event Calendar for 2007-2008 Subscription $8.00/year for two issues Autumn Greetings, Fiber Friends! Welcome to Fall and some cooling temps! This summer’s record-breaking heat and way below normal rainfall has taken its toll on plants and energy. News-breaking announcements! There have been some major developments on the Hillcreek Fiber front. As of July 1, 2007, Hillcreek Yarn Shoppe, LLC, the knitting part of our business, has become a separate entity. Daughter Rebecca has partnered with Joan Ditmore who has purchased from us the knitting part of the business, only. Denny and I will continue Hillcreek Fiber Studio, the weaving, spinning and natural dyeing part of the business, now in its 25th year. The Yarn Shoppe will be sending out its own announcements, mostly by e-mail, so if you’d like to receive communications from them on upcoming classes, new products, and specials, let them know. Check out page 7 of this issue of Hillcreek Fiber News for further info.
    [Show full text]
  • Why Indian Embroidered Clothing Is Preferred by Everyone?
    International Journal For Technological Research In Engineering Volume 1, Issue 1, September-2013 ISSN (Online): 2347 - 4718 WHY INDIAN EMBROIDERED CLOTHING IS PREFERRED BY EVERYONE? Mrs. Dharti B. Thakkar Lecturer in C.A.C.D. & D. M. Department, Government Polytechnic for Girls, Ahmedabad. I. INTRODUCTION Embroidered Clothing of your desire and style. Customized Indian Embroidered clothing is the most ancient trend of Clothing provides us a wide range of designs and fittings to fashion and is still going on and will surely last to long choose from. Embroidered Clothing has remained a mark of lasting ages. The origin of Embroidered Clothing lies in various civilizations and cultures. Kashmiri Embroidered Stone Age. Many Embroidered Clothing made of animal Clothing has earned a name worldwide. Phulkari is a famous skins decorated with threads and beads have been found clothing used by Punjabi women. Wigs used by Egyptians during several excavation projects. Ever since man has were designed out of human hair or wool. Arabic embroidery invented clothing for protecting himself from natural climatic styles are known for their extraordinary handicraft patterns changes, he has always remained desperate to develop new and designs. Some Embroidered Clothing is marked for designs and styles for his dresses. Embroidered Clothing has special occasion like wedding wear. Today not only colorful played a significant role in it. Designing of Embroidered threads are used for embroidery works but gold and silver Clothing is an art of giving different looks to the same dress fibers are also used. Such types of Embroidered Clothing are material by adding separate designs and patters to it.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • JANICE WILLIAMS THREADS - Shiny & Glittery Threads Etc
    CREATIONS nature Silken Strands & Fantasy Fabrics JANICE WILLIAMS THREADS - shiny & glittery threads etc... GOLDWORK AND JAPANESE EMBROIDERY Natesh Indian Rayons - 300+ colours. 95 Multi. We stock a wide range of traditional Madeira - Rayons, Metallics, Pure Silks & Lana. and contemporary metal threads; DMC, Perlé (especially 8’s & 12’s), Japanese metallics, including fine, coloured metallics, GIMP, Aquafilm, Solvy, Rajmahal. and over 200 shades of flat silks; YLI, Seta Reale, traditional & glass shisha Metallic skin in gold, silver, copper, and pewter; Books on goldwork and other embroidery techniques. Visitors by Appointment only please We also stock the full range of Appleton’s crewel wool. Lots more as well: www.silkenstrands.co.uk Prompt mail order service E: [email protected] Please send 2 x 1st class stamps for our price list which includes details of the GOLDWORK GUILD magazine and events 01248 362361 Sheldon Cottage Studio (W), Epney, Gloucester, GL2 7LN The Spaldings, Silken Strands, 20 Y Rhos, Bangor, LL57 2LT Tel/Fax: 01452 740639 Visitors by appointment only ADVERTISE Not just for lace... Huge range of threads Threads - Sewing cotton Tools - Tatting shuttles HERE FROM - Fine crochet cotton - Scissors Mail Order & Online Shopping - Perle cotton - Pins and needles Suppliers of hand wound packs - Silks Mounting - Frames, velour of pure silk thread in beautiful JUST £40 - Linen …and lots more! colour schemes • Topics Connoisseur Range • Ribbons Call us now on - Metallic E: [email protected] Call on 01425 483450 www.mulberrysilks- 01395 233 247 85 North Poulner Road, Ringwood, Hants BH24 3LA patriciawood.com Email: [email protected] 2 The Old School, Stratford Road, Shipston-on-Stour, CV36 4AU www.claireslace.co.uk APPLETON’S WOOLS Shade Cards and complete range of 4ply tapestry and 2ply crewel skeins from stock.
    [Show full text]
  • 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.
    [Show full text]