"The Patchwork Quilt"
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Mead Library Listing As of December 2019 MEAD QUILTERS LIBRARY Page 2 of 14
MEAD QUILTERS LIBRARY Page 1 of 14 Surname Forename Title Publisher ISBN Date Adams Pauline Quiltmaking Made Easy Little Hills Press 1-86315-010-2 1990 Alderman Betty Precious Sunbonnet Quilts American Quilters Society 978-1-57432-951-3 2008 Alexander Karla Stack A New Deck Martindale 1-56477-537-2 Anderson Charlotte Warr Faces & Places C & T Publishing 1-57120-000-2 1995 Anderson F. Crewel Embroidery Octopus Books Ltd. 0-7064-0319-3 1974 Asher & Shirley & Beginner's Guide To Feltmaking Search Press 1-84448-004-6 2006 Bateman Jane Austin Mary Leman American Quilts Primedia Publications 1999 Baird Liliana The Liberty Home Contemporary Books 0-80922-988-9 1997 Balchin Judy Greetings Cards to Make & Treasure Search Press 978-1-84448-394-5 2010 Bannister & Barbara & The United States Patchwork Pattern Book Dover Publications Ltd. 0-486-23243-3 1976 Ford Edna Barnes Christine Colour- the Quilters Guide That Patchwork Place 1-56477-164-4 1997 Bell Louise 201 Quilt Blocks, Motifs, Projects & Ideas Cico Books London 0-19069-488-1 2008 Berg & Alice & Little Quilts All Through The House That Patchwork Place 1-56477-033-8 1993 Von Holt Mary Ellen Berlyn Ineke Landscape in Contemporary Quilts Batsford 0-7134-8974-X 2006 Berlyn Ineke Sketchbooks & Journal Quilts Ineke Berlyn 2009 Besley Angela Rose Windows for Quilters Guild of Master Craftsman 1-86108-163-4 2000 Bishop & Robert & Amish Quilts Laurence King 1-85669-012-1 1976 Safandia Elizabeth Bonesteel Georgia Lap Quilting Oxmoor House Inc. 0-8487-0524-6 1982 Mead Library Listing as of December 2019 MEAD QUILTERS LIBRARY Page 2 of 14 Surname Forename Title Publisher ISBN Date Bonesteel Georgia Bright Ideas for Lap Quilting Oxmoor House Inc. -
Textile Periods in Ancient Peru: Ii Paracas Caverns and the Grand Necropolis
TEXTILE PERIODS IN ANCIENT PERU: II PARACAS CAVERNS AND THE GRAND NECROPOLIS BY LILA M O';EALE- UNRERSITY OF CFORNIA PUBLTICATIONS IN EwasN AROOY AND ETENOLOG#Y Volnme 39, No. 2, pp. 14>202, plates 1-6, 20 figures in text ,, ,, .. vE \ . # :. UNIVERSITY 0t CALIP6RNIA PRESS BERKELEY AND tOS ANGBLES 1942 TEXTILE PERIODS IN ANCIENT PERU: II PARACAS CAVERNS AND THE GRAND NECROPOLIS BY LILA M. O'NEALE UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND LOS ANGELES 1942 UNIVERSITY Or CALIFORNIA PUBLICATIONS IN AMERICAN ARCHAEOGY AND ETHNOLOGY EDITORS: A. L. KRoEBER, R. H. LoWIE, T. D. MCCowN, R. L. OLSON Volume 39, No. 2, pp. 143-202, plates 1-5, 20 figures in text Submitted by editors March 12, 1941 Issued October 23, 1942 Price, 75 cents UNIVESITY OF CALIFORNIA PRESS BERKELEY, CALIFORNIA CAM1BRDGE UNIVERSITY PRESS LONDON, ENGLAND PRINTED IN THE UNITED STATES OF AMERIOA CONTENTS PAGE METHOD AND MATERIAL ..................................................... 143 Revisions . ............................................................... 144 Paracas time periods: Caverns and Necropolis ................................ 145 TRAITS COMMON TO ALL PERIODS .............................................. 148 Paracas yarns . .......................................................... 149 Paracas loom types ....................................................... 151 Technical processes at Paracas ............................................. 152 Warp-weft techniques ................................................... 152 Plain weaves ................. ...................................... -
Copyright Law and Quilted Art, 9 J. Marshall Rev. Intell. Prop. L
THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW PATCHWORK PROTECTION: COPYRIGHT LAW AND QUILTED ART MAUREEN B. COLLINS ABSTRACT Historically, quilts have been denied the same copyright protection available to any other expression in a fixed medium. When quilts have been considered protectable, the protectable elements in a pattern have been limited, or the application of the substantial similarity test has varied widely. One possible explanation for this unequal treatment is that quilting is viewed as 'women's work.' Another is that quilts are primarily functional. However, quilts have evolved over time and may now be expensive collectible pieces of art; art that deserves copyright protection. This article traces the history of quilt making, addresses the varying standards of protection afforded to quilts and concludes that consistent and comprehensive protection is needed for this art form. Copyright © 2010 The John Marshall Law School Cite as Maureen B. Collins, Patchwork Protection: Copyright Law and QuiltedArt, 9 J. MARSHALL REV. INTELL. PROP. L. 855 (2010). PATCHWORK PROTECTION: COPYRIGHT LAW AND QUILTED ART MAUREEN B. COLLINS * INTRODUCTION When is a quilt a blanket and when is it art? This question takes on greater importance as the universe of quilted art expands and changes. Once relegated to attics and church craft bazaars, the quilt has come out of the closet. Today, quilts are found in museums 2 and corporate headquarters. 3 They are considered to be among the most collectible "new" forms of art. 4 Quilting is a multi-million dollar industry. 5 Handmade quilts fetch asking prices in the tens of thousands of dollars. -
Alef-Bet Patchwork Quilt
Women’s League for Conservative Judaism CH #24 ALEF BET INSTANT PATCHWORK QUILT Patchwork and quilting are two separate arts that were combined by the early settlers of this country to make beautiful quilts. Patchwork is very simple, requiring only accuracy in making the units. The sewing of patchwork consists only of a straight seam. Quilting is the process of sewing the layers of quilt together by hand. Patchwork and quilting, while pleasant to do, take time and patience – but are indeed worth it. Instant patchwork quilting is fun to do, for in no time at all, beautiful and lasting easy care quilts, comforters and throws can be made for loved ones. The quilts can be made quickly because you use material with a patchwork design for the top layer of your quilt (there is no need to sew squares together). This patchwork material may be bought at your yard goods department or you may use a “patchwork design” sheet found in the line department. Bed sheets are excellent to use for both top and lining of your quilt. If you buy the no-iron sheets, they are practically care-free and come in widths to fit all beds. MATERIALS: 1. Patchwork material – fast dye, cotton fabric. 2. Lining – fast dye, cotton fabric of same good quality as top. 3. Scraps of plain colored material for alphabet. 4. Long needle with large eye. 5. Small ball of matching or contrasting yarn. 6. Batting – enough for 1 or 2 layers (I used two for added puffiness) 7. Dining room table or large work table. -