Wrights Pleater Tape Instructions
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Largs & District
CONTACTmonthly01/2021 Largs & District After a difficult year, Largs & District EG challenge pieces are only limited by the We very much hope, however, that by Branch will be starting the New Year members’ imaginations. accepting this challenge it will give us all with optimism as they gear up to meet Needlework has been such a solace for an opportunity to focus, even if only for their ‘21 in 21’ Challenge. many of us during the stressful months a short time, on an activity that brings The aim of the Challenge is to get of 2020. We aim to harness those us so much pleasure. members motivated by producing beneficial effects to kick start our stitch- Our ‘21 in 21’ Challenge will launch 21 small project pieces over the ing and perhaps, over the year, move us at our first Zoom meeting in 2021 on coming year. ever so slightly out of our comfort zones. January 20th, when we look forward to Members can set their own param- The pieces are intended to be small, engaging in a lively discussion on the eters, so may choose to produce 21 roughly postcard size, so as not to be many ideas for meeting the Challenge pieces on a particular theme, relating to stressful in the planning or production. that members will undoubtedly bring. a specific technique or perhaps linked We are a small Branch and the challeng- Fiona Duggan, Largs & District EG by a colour scheme. The options for the es of the past year have been many. Terry Murphy Terry Murphy, the Guild’s CEO, will be retiring from his role as The Board wishes to thank Terry for his support and his of 31st January 2021. -
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. -
Catalogue of the Famous Blackborne Museum Collection of Laces
'hladchorvS' The Famous Blackbome Collection The American Art Galleries Madison Square South New York j J ( o # I -legislation. BLACKB ORNE LA CE SALE. Metropolitan Museum Anxious to Acquire Rare Collection. ' The sale of laces by order of Vitail Benguiat at the American Art Galleries began j-esterday afternoon with low prices ranging from .$2 up. The sale will be continued to-day and to-morrow, when the famous Blackborne collection mil be sold, the entire 600 odd pieces In one lot. This collection, which was be- gun by the father of Arthur Blackborne In IS-W and ^ contmued by the son, shows the course of lace making for over 4(Xi ye^rs. It is valued at from .?40,fX)0 to $oO,0()0. It is a museum collection, and the Metropolitan Art Museum of this city would like to acciuire it, but hasnt the funds available. ' " With the addition of these laces the Metropolitan would probably have the finest collection of laces in the world," said the museum's lace authority, who has been studying the Blackborne laces since the collection opened, yesterday. " and there would be enough of much of it for the Washington and" Boston Mu- seums as well as our own. We have now a collection of lace that is probablv pqual to that of any in the world, "though other museums have better examples of some pieces than we have." Yesterday's sale brought SI. .350. ' ""• « mmov ON FREE VIEW AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK FROM SATURDAY, DECEMBER FIFTH UNTIL THE DATE OF SALE, INCLUSIVE THE FAMOUS ARTHUR BLACKBORNE COLLECTION TO BE SOLD ON THURSDAY, FRIDAY AND SATURDAY AFTERNOONS December 10th, 11th and 12th BEGINNING EACH AFTERNOON AT 2.30 o'CLOCK CATALOGUE OF THE FAMOUS BLACKBORNE Museum Collection of Laces BEAUTIFUL OLD TEXTILES HISTORICAL COSTUMES ANTIQUE JEWELRY AND FANS EXTRAORDINARY REGAL LACES RICH EMBROIDERIES ECCLESIASTICAL VESTMENTS AND OTHER INTERESTING OBJECTS OWNED BY AND TO BE SOLD BY ORDER OF MR. -
10/2011 Dress with Galloon Lace Detail By: Burda Style Magazine
10/2011 Dress with galloon lace detail By: burda style magazine http://www.burdastyle.com/projects/102011-dress-with-galloon-lace-detail Dress with galloon lace detail: Galloon lace is a double edge lace with a usable border on both sides that can be separated for matching border trim. burda style magazine patterns FAQ 1 Materials Wool crpe Step 1 — Preparation Paper cut for ANSI A (German DIN A4) prints: This pattern is printed on 8.5″ × 11″ sheets of plain paper. Do not scale or center pages before printing. Wait until all sheets are printed out before beginning to tape them together. Do not cut out pattern pieces yet— Arrange the sheets on a large, hard, flat surface so that they fit together, matching up like numbers and letters (i.e. 6A to 6A). To tape pattern together, fold under the margin of one piece (6A) and tape right against the line of it’s matching number/letter (6A). Trace the pattern pieces from the pattern sheet, follow lines for the respective sizes. The sizes for this dress is 76, 80, 84, 88, 92. 76 / EUR 38 / US 8 80 / EUR 40 / US 10 84 / EUR 42 / US 12 88 / EUR 44 / US 14 92 / EUR 46 / US 16 burda style magazine pattern do not have seam allowance included. Seam and hem allowances to be added: Seams and edges 1.5 cm (5/8 in). Step 2 — Cutting out 2 Cut the following pieces: Main fabric: Pattern piece number 1 – Center front piece, cut on fold x1 Pattern piece number 2 – Side front piece, cut x2 Pattern piece number 3 – Center back piece, cut x2 Pattern piece number 4 – Side back piece, cut x2 Pattern piece number 5 – Sleeve, cut x2 Pattern piece number 6 – Front neck facing, cut x2 Pattern piece number 7 – Back neck facing, cut x2 Lining: Pattern piece number 1 – Center front piece, cut on fold x1 Pattern piece number 2 – Side front piece, cut x2 Pattern piece number 3 – Center back piece, cut x2 Pattern piece number 4 – Side back piece, cut x2 Interfacing: Cut pieces for and iron onto all facing pieces. -
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. -
The American Lady-Tailor Glove-Fitting System of Dress Making
' : - . fdfl . - . ... • • . 1 i , 1 • • • • i ft) '•-.; r i. # i ' ".. - i ! It r it ; . CvAMDkPS^ fedt Improved and Simplified. LIBRARY OF CONGRESS. ®|ap. - ®W'Sl l 1« # Slielf .vGr..2? fc UNITED STATES OF AMERICA. 4$ f. L Second Edition.] [Price, Five Dollars, THE AMERICAN Lady-Tailor Gloye-Fitting- System OP- DRESS-MAKING Invented and Taught by ^ • Mrs, Elizabeth Gartland IN HER SCIENTIFIC COLLEGE. KE^nSED, iLLTJSTBiLTED # SlIMIIF'IQjIIF'IEID- PHILADELPHIA, PA. 1884. Entered according to Act of Congress, in the year 1884, by Mrs. Elizabeth in the Office of the Librarian of Congress, at Washington, D. C. : IMPORTANT NOTICE. \K^ To all whom it may Concern : —Only those purchasing this Book from me or my authorized agents are hereby licensed to use my Systems of Cutting and Fitting, set forth in this work, the contents of which I have secured by copyright. And no person shall have any right whatever to sell or teach in any manner, my system, without first procuring from me or my duly authorized agents a license in writing, signed by me, specifying how and in what way it may be used. MRS. E. GARTLAND, 15 SOUTH 13th STREET, PHILADELPHIA, PA. LEADING PARIS FASHION MAGAZINES And they can be had at any time by the single number or by subscrip- tion; post-paid, at the prices given in the following list One Six Three Single Year. Months. Months. Copy. *Aquarelle Mode Weekly 9 16 20 9 9 00 $ 5 00 45c. *Album de la Toilette Semi-Monthly.. 7 25 4 00 2 25 45c. *Coquet Semi-Monthly. -
For the INDUSTRIOUS NEEDLEWOMAN Adelaide Byrd
The San Francisco Sunday Caß For the INDUSTRIOUS NEEDLEWOMAN Adelaide Byrd Daughter's Dresses season ushers In certain dis- a delicate lace yoke without any wear- tinctive marks that stamp Its sim- ing quality. EACHplest frocks as belonging to the year Soutache and heavy cotton star braid In\ question. Sometimes these differ- are effective upon linen, and the latest Centerpiece ences are so slight that an untrained fashion demands a touch of figured eye might pass the garment by as the foulaVdas tie and girdle. The four-in- sanite old gingham dress, but to those hand, looped through slots in the front in who know arid to "sweet sixteen" ,her- of the linen bodice, gives a good self they take on a great deal of im- chance for the touch of ornamental portance, these little changes, and each material of Persian. Indian or Egyp- little twist and turn of the styles gives tian design. the frock a definite position. Ginghams for the young girl are as Decided notes are readily" found, but goo 4styl-a this year as they have ever some of the. more obscure are scarcely been, and their outlines are most nor- discernible. There Is little change in mal. For instance, there Is no un- materials for young girls, there being necessary fulness in bodice, sleeve or ifew- new cottons and linens except skirt, and the belt has dropped to the. homespun "and hopsacklng. which are usual line of the waist. Field Daisies made in both, linen and cotton. The panel has more or less disap- That made of cotton has a burlap ap- peared, and in Paris the princes* ef- pearance and is not be altogether. -
Trims, Labels, Treads, Elastics, Underlying Fabrics, Zippers, Butto
10/12/2009 1 TRIMS AND FINDINGS Chapter 8 2 Findings and Trims Findings: trims, labels, treads, elastics, underlying fabrics, zippers, buttons, other closures, other miscellaneous items Trims: subdivision of findings – decorative materials – ribbons, braids, laces, other narrow fabric trims, appliqués, flowers, beads, sequins, other decorative items Findings/trims usually aren’t the reason for purchase but they are often the reason for discarding a garment 3 Performance Finding/trim must reflect same quality level as the fabric Performance of finding or trim could negate the performance of the body fabric Ex. If fabric is dry-clean only, the trims must be dry-cleanable 4 Establishing specs Often established by the suppliers themselves or by the manufacturers in partnership w/ the suppliers Too many types of findings and trims to be an expert on all and be able to write accurate specs on all – best to rely on the supplier of the specific type of finding you need 5 Aesthetic performance Must complement the appearance of the garment Must be considered in concert with the design, construction, and finish of the garment Need to be attractive, fashionable, and functional to help sell the garment 6 Functional Performance Includes utility and durability of the finding Utility includes: dimensional stability, appearance retention, comfort, ease of care, and safety Durability includes: strength, abrasion resistance, and degradation by chemical & other elements 7 Performance, Cont. Design, materials, and constructions of a garment interact to determine -
SUMMER 1992" Ment Stores, but I Thought the Smithsonian Is Family New World Dutch Barn in Montgomery Supposed to Be an Institution That Preserves, Inter County
A Quarterl Journal of Historical Preservation Volume 2. Number 3 "To dye for •••" "We'd like you to do an indigo dye-pot." The request came from Historic Bethlehem, a Pennsylvania pioneer site with an active pro gram of living history and re-enactment. To dyers with little experience with this early dye, the request was welcome. Indigo provides a true blue that lasts the life of the fiber on which it is used. The very word evokes images of Eliza Pinckney striving to master the complex process of fermentation on her South Caro lina plantation. We have also found refer ences to indigo being imported and sold in colonial Philadelphia. A magical opportunity to work with this costly dye and forge alink with its past users beckoned. We'd like you to be as authentic as possible." Since the members of Past Mas ters enjoy working as accurately as we can, following period receipts and trying not to let 20th-century ways intrude into 18th-century processes, these were equally welcome words. Indigo is easily, if expensively, purchased from weavers' and dyers' supply houses. There is a cheaper modern synthetic avail able, buttor us no discussion was needed. We purchased half a pound of "the real stuff," which looks like bright blue coal. Pulverizing it is tedious, time-consuming work. I often longed for a small cannonball, which would have made the job SO much easier. Its use was described by J. and R. Bronson in 1817: liThe common method of grinding indigo by hand is to suspend an iron pot, of a suitable size, with a rope, and using a cannon .ball, which is rolled round by taking hold ofthe legs with the hands... -
Textile Conservation Newsletter Tcn
r NUMBER 33 FALL 1997 TCN TEXTILE CONSERVATION NEWSLETTER TCN TABLE OF CONTENTS From the Editors 3 Historical Reprint 4 A Fresh Approach to the Problem of Support for Tapestries 5 Sheila Laidi Light Fastness of irgalan and Lanaset Dyed Silk: Immersion vs Direct Application 14 Jan Vuori and Season Tse The Dyes Have It 19 The Royal Ontario Museum Chinese Collection Project 20 Part One: Conservation Treatment of a 1 7th c Dragon Robe and 18th c Silk Rug Esther M611,6 and Bonnie Haivorson Part Two: The Storage Upgrade of a Selected Portion of the Chinese Robe Collection 25 Shannon Elliot and Bonnie Halvorson A Blanket Quest: In Search ofthe Lowly, Lofty Blanket 33 Ruth Mills Families in the Cotton Mills 40 Judith Rygiet News from the University of Alberta 46 Shirley Ellis How to Reach Us - TOI Subscription Form 47 Disclaimer Articles in the Textile Conservation Newstetter are not intended as complete treatments of the subjects but rather notes publishedfor {he purpose of general interest. Aliation with the Textile Conservation Newsletter does not imply professional endorsement. The Tex:ile Conserpation Newsletter, published twice yearly is a forumfor textile and costume newsfrom around :he world Submissions related to textile conservation, history, technology and analysis, information regarding recent publications, supplies and equipment, health and safely, employment opportunities and upcoming courses, conferences and exhibitions are invited They should be typed and, d possible, accompcmied by a disk using IBM Wordperfect 4.2,5.0, 5.1, Microsoft Word or ASCII formats. 2 TCN FROM THE EDITORS 1 attended the Textile Symposium here in Ottawa this September and, as always with these types of events, 1 enjoyed catching up with old friends and putting some faces to people whose names are old friends. -
Complete Sewing Instructions—The Russell Way' COMPLETE SEWING INSTRUCTIONS— the RUSSELL WAY
Qomp/ete Semino Instructions Russell MAUDE W. RUSSELL Inventor Russell System of Garment Cutting and Author "Complete Sewing Instructions—The Russell Way' COMPLETE SEWING INSTRUCTIONS— THE RUSSELL WAY The Newest, Simplest, and Most Perfect Method of Sewing Ever Offered Women COPYRIGHTED, 1917, By MAUDE W. RUSSELL KANSAS CITY, MISSOURI All Rights Reserved. Including the Right to Translate Into Any and All Foreign Languages PUBLISHED BY THE RUSSELL COMPANY 912 Grand Avenue KANSAS CITY, MO. I9I7-I918 <> / ©C1.A476691 ^' / / COMPLETE SEWING INSTRUCTIONS—THE RUSSELL WAY J0r^mor& N THE YEAR 1904 Maude W. Russell established herself as a dressmaker and ladies' tailor and continued this line of work until 1910. During these years of experience she realized how essen- tial it was to the success of her work to have a system of pattern cutting that would simplify the methods of dressmaking then in use. In 1910 she began to teach dressmaking and then realized more than ever the necessity of having some system of pattern cutting which all could readily understand. With the idea of solving this problem she continued her work and finally brought all of the knowledge and principles which she had acquired from her practical experience into use in perfecting the model of the Maude Russell System of Garment Cutting. After much experimenting and careful tests, she perfected this wonderful, adjustable pattern cutting system. This she offered to the public believing that its use would prove a great blessing not only to those who are compelled to earn their liveli- hood by sewing but to every woman who desires to be well dressed at the least possible expenditure of time, trouble and money. -
Concordia Project Records (CA6099)
PRELIMINARY INVENTORY ACCESSION CA6099 CONCORDIA PROJECT RECORDS This collection is available at The State Historical Society of Missouri, Research Center- Columbia. If you would like more information, please contact us at [email protected]. Dates: 1990s Creator: Concordia Area Heritage Society Collection Size: 0.6 cubic feet Introduction Color photographs and negatives of textiles produced by Missouri artisans for the Concordia Project. Includes crochet and tatting, cut work and embroidery, quilts and quilting, rag rugs, and weaving. Also includes miscellaneous files and audio cassette interviews. Donor Information The records were donated by Laurel E. Wilson on 24 January 2006. Laurel E. Wilson donated additional material in February 2006 and March 2007. Box List Box 1 Albert, Clarence Quilts and quilting Bowtie Crazy Quilt Kaleidoscope Nine Patch Octagonal Star Schoolhouse Star of Bethlehem Texas Star Trip Around the World Wedding Ring Windmill Bethel, Missouri—Friendship Quilt Hildebrand, Edna P. Crochet/Tatting Cross stitch Cut Work Embroidery Quilts and quilting Clay's Choice Rugs Weaving Limbach, Viola Crochet & tatting THE STATE HISTORICAL SOCIETY OF MISSOURI MANUSCRIPT COLLECTION 6/10/2020 ACCESSION CA6099 CONCORDIA PROJECT RECORDS Cross stitchery Cut work Embroidery Leatherwork Quilts and quilting Appliqué Caesar's Crown Dove in the Window Jacob's Tears Log Cabin Nine Patch Sampler [2] Single Irish Chain Smocking Rag rugs Weaving Ohrenberg, Helen Cross stitch Embroidery Ohrenberg, Helen/Limbach, Viola Irene Crochet & Tatting