The Corded Buttonhole – Demystified Corded Buttonholes with Standard
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Cora Ginsburg Llc Titi Halle Owner
CoraGinsburg-11/2006.qxd 11/22/06 11:26 AM Page 1 CORA GINSBURG LLC TITI HALLE OWNER A Catalogue of exquisite & rare works of art including 17th to 20th century costume textiles & needlework Winter 2006 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] EMBROIDERED LINEN FOREHEAD CLOTH English, ca. 1610 Triangular in shape and lavishly embellished, a forehead cloth—also called a cross-cloth or crosset—was a feminine accessory sometimes worn with a coif, an informal type of cap. Rare after the mid-seventeenth century, forehead cloths first appeared in conjunction with the coif around 1580; embroidered with patterns to match, they were worn around the forehead and draped over the coif with the point facing backwards. Though the occasions on which a lady might wear a forehead cloth are not fully known, it seems that they were used for bedside receptions and in times of sickness. In his 1617 travels through Ireland, English author Fynes Moryson observed that, “Many weare such crosse-clothes or forehead clothes as our women use when they are sicke.” The remarkable embroidery seen here shows the practiced hand of a professional. Much fine needlework was accomplished domestically in sixteenth- and seventeenth-century England, but there were also workshops and skilled individuals that catered to the luxury trade. The Broderers’ Company, an organization for professional needleworkers, was founded under Royal Charter in 1561; specialists were also retained for wealthy private households, and journeymen embroiderers were hired as necessity demanded. -
23. Embroidery As an Embellishment in Fabric Decoration
EMBROIDERY AS AN EMBELLISHMENT IN FABRIC DECORATION By OLOWOOKERE PETER OLADIPO Department of Fine and Applied Arts, Federal College of Education, Osiele, Abeokuta. Abstract Nigeria is endowed with abundant human, natural and material resources, which could be used in different vocational practices. Practitioners have consistently practiced their art with attention to uniqueness and high quality forms, styles and content. Embroidery as a decorative process in Art has played principal roles in entrepreneurship development. Hence, this paper made a critical analysis of the forms, content and significant of embroidery in art, the thread colours, fabric motifs and pattern suitable for a successful embroidery design would also be considered. The general conclusion is that if embroidery is properly done, it would increase the embroiderers sense of creativity in our societal growth and the interested individual should be encourage to learn the craft so that the tradition will remain forever. Embroidery is an interesting stitching technique by which coloured threads, generally of silk or wool are used with a special needle to make a variety of stitches, and it is used to make an attractive design on garment, wall hanging or upholstery pieces. In Nigeria today, embroidery clothing are used far and wide and its unique feature and elegance remain the ability to trill and appeal to the people’s fervent love for it whereby the artisan considered different textile materials such as guinea brocade, damask and bringing out the significance of thread with which it is worked. Ojo (2000) defined, embroidery as an art of making pattern on textiles, leather, using threads of wool, linen, silk and needle. -
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. -
Dressing Aids F Are Available Through Specialtyretailers
The War Amps For Your Information Tel.: 1 877 622-2472 Fax: 1 855 860-5595 [email protected] Dressing Aids rom buttons, buckles, zippers and laces, these Fsimple fasteners can pose difficulties in an amputee’s daily activities. Featured below are various Velcro tabs dressing aids that can make many of these tasks easier. Some can be made using household items and others are available through specialty retailers. Hassle-free Fasteners • Velcro tabs under shirt or blouse buttons instead of conventional button holes. • A Velcro strip instead of a zipper in the fly of trousers. • Velcro on jacket cuffs. • Toggle buttons on outer wear which are easier to manage than stiff, flat buttons. Elastic cufflink • Cuff links made of elastic thread between two buttons keep cuffs looking tidy while letting you slide your hand in and out without undoing the button. • Some button-up shirts can be put on without being fully unbuttoned, simply leave enough buttons undone to allow room for your head, and then A C fasten the rest later. B D Button Hooks To assist the amputee with buttoning clothing, various button hooks are available including the regular handle(A), rubber handle(B), cuff handle(C), and ball or knob handle(D). Prosthetic Limbs and Devices Prosthetic A button hook has a small wire loop that slips over the button and when pulled, guides the button through the buttonhole. Zipper Pull Rings For those who have difficulty holding onto and pulling the regular zipper tabs, a variety of zipper pull rings are available which attach to the regular zipper tab and which can be grasped more easily by artificial limbs. -
Hobby 1142-Manual-EN.Pdf
hobby114 2 Owner´s manual 7 6 5 4 3 2 1 28 8 9 27 211 2626 100 202 111 191 122 188 25 141 24 151 233 16 171 22 122 11 2020 133 Parts of your hobby™ 1142 sewing machine 1 Bobbin winder stop 2 Bobbin winder spindle 3 Hole for extra spool pin 4 Spool pin 5 Carrying handle 6 Bobbin thread guide 7 Take-up lever 8 Foot pressure dial 9 Face plate 10 Thread cutter 11 Buttonhole lever 12 Needle threader 13 Slide for lowering the feed dog 14 Needle plate 15 Accessory tray 16 Throat plate 17 Throat plate release button 18 Thumbscrew 19 Needle screw 20 Presser foot lifter 21 Thread tension dial 22 Reverse stitch lever 23 Power switch 24 Connecting socket 25 Stitch length dial 26 Stitch selector dial 27 Handwheel 28 Stitch width dial Congratulations on purchasing your new PFAFF® hobby! Your hobby is so easy to use and offers a whole range of features and accessories for you to explore. Please spend some time reading these operating instructions as it is a great way to learn the machine and also to make full use of the features. Your Pfaff dealer will be at your service with any help or advice you need. We wish you many enjoyable hours of sewing ! Some fabrics have excess dye which can cause discoloration on other fabric but also on your sewing machine. This discoloring may be very difÀ cult or impossible to remove. Fleece and denim fabric in especially red and blue often contain a lot of excess dye. -
How to Use Access Commodities Filament Silk Gimp
How to Use Access Commodities Filament Silk Gimp This innovative thread was recreated from 17th century examples found on period needlework. The unique structure of silk gimp consists of a filament silk core wrapped with filament silk. The cord like appearance is both sleek and supple to use, providing an interesting surface texture. It is recommended to treat Filament Silk Gimp like real metal thread passing threads, which are not stitched back and forth through a fabric or canvas, but applied on the surface to great effect. Step 1: First knot the end of the silk gimp before unreeling it off the spool. As you un- reel the silk gimp, it may twist back on itself, due to the composition of the thread. Sim- ply stroke it to smooth it out. Step 2: Unreel a small amount of thread about 4 to 6 inches and snap the top of the spool on the remainder. (See illustration #1) Don’t cut it off the spool but leave it on, unrolling a little more as you stitch. This helps controls the thread as you work and minimizes the twisting. Illustration No. 1 Step 3: The thread can be couched with Au Ver á Soie, Soie 100/3 or a single ply of Au Ver à Soie, Soie de Paris. (See list below for list matching colors.) A Crewel #10 needle is recommended. You will find it helpful if the couching thread is waxed for control. Copyright L. Haidar for Access Commodities, 2013. Date: December 2013 Step 4: Make your couching stitches slanted rather than straight because of the twist of the thread. -
Shirt, Flame-Resistant Aramid
5100-91K April 28, 2020 Supersedes 5100-91J February 24, 2011 U.S. DEPARTMENT OF AGRICULTURE FOREST SERVICE SPECIFICATION FOR SHIRT, FLAME RESISTANT ARAMID Beneficial comments (recommendations, additions, deletions) and any pertinent data that may be used in improving this document should be addressed: via electronic mail <[email protected]> or U.S. mail to the U.S. Department of Agriculture, Forest Service, National Technology and Development Program, 5785 Highway 10 West, MT 59808. Distribution Statement A: Approved for public release; distribution is unlimited. FSC 8415 5100-91K CONTENTS 1. SCOPE AND CLASSIFICATION ............................................................................................ 4 1.1. Scope. This specification covers the requirements for flame resistant aramid shirts. .......................... 4 1.2. Classification. The shirt shall be of one type in the following sizes (see 6.2): ...................................... 4 1.3. Interpretations and Definitions. ............................................................................................................ 4 2. APPLICABLE DOCUMENTS ..................................................................................................................... 4 2.1. Government documents. ..................................................................................................................... 4 2.2. Non-Government publications. ........................................................................................................... -
Instruction Book
INSTRUCTION BOOK IMPORTANT SAFETY INSTRUCTIONS When using an electrical appliance, basic safety precautions should always be followed, including the followings: Read all instructions before using this appliance. DANGER— To reduce the risk of electric shock: 1. An appliance should never be left unattended when plugged in. Always unplug this sewing machine from the electric outlet immediately after using and before cleaning. WARNING— To reduce the risk of burns, fire, electric shock, or injury to persons: 1. Do not allow children to play with the machine. The machine is not intended for use by children or infirmed persons without proper supervision. Do not allow to be used as a toy. Close attention is necessary when this sewing machine is used by or near children. 2. Use this appliance only for its intended use as described in this owner’s manual. Use only attachments recommended by the manufacturer as contained in this owner’s manual. 3. Never operate this sewing machine if it has a damaged cord or plug, if it is not working properly, if it has been dropped or damaged, or dropped into water. Return this sewing machine to the nearest authorized dealer or service center for examination, repair, electrical or mechanical adjustment. 4. Never operate the appliance with any air opening blocked. Keep ventilation openings of this sewing machine and foot controller free from accumulation of lint, dust and loose cloth. 5. Never drop or insert any object into any opening. 6. Do not use outdoors. 7. Do not operate where aerosol (spray) products are being used or where oxygen is being administered. -
Stitches and Seam Techniques
Stitches and Seam Techniques Seen on Dark Age / Medieval Garments in Various Museum Collections The following notes have been gathered while attempting to learn stitches and construction techniques in use during the Dark Ages / Medieval period. The following is in no way a complete report, but only an indication of some techniques observed on extant Dark Ages / Medieval garments. Hopefully, others who are researching “actual” garments of the period in question will also report on their findings, so that comparisons can be made and a better total understanding achieved. Jennifer Baker –New Varangian Guard – Hodegon Branch – 2009 Contents VIKING AND SAXON STITCHES 1. RUNNING STITCH 2. OVERSEWING 3. HERRINGBONE 4. BLANKET STITCH SEAMS 1. SEAMS 2. BUTTED SEAMS 3. STAND-UP SEAM 4. SEAMS SPREAD OPEN AFTER JOIN IS MADE 5. “LAPPED” FELL SEAM 6. FELL SEAM WORKED ON WRONG SIDE OF GARMENT FINISHES ON RAW EDGES OF SEAMS SEWING ON TABLET WOVEN BRAID HEMS OTHER STITCHES FOUND IN ARCHEOLOGICAL FINDS REFERENCES 1 Stitches and Seam Techniques VIKING AND SAXON STITCHES There are only four basic stitches to master: 1. RUNNING STITCH , 2. OVERSEWING, ALSO KNOWN AS OVERCAST STITCH OR WHIP STITCH 3. HERRINGBONE , ALSO KNOWN AS CATCH STITCH 4. AND BLANKET STITCH. ALSO KNOWN AS BUTTONHOLE STITCH Running stitch is probably the easiest to start with followed by oversewing. With these two stitches you can make clothing. The other two are for decorative edging. These directions are for a right handed person, if you are left handed remember to reverse all directions. 2 Stitches and Seam Techniques RUNNING STITCH A running stitch is done through one or more layers of fabric (but normally two or more), with the needle going down and up, down and up, in an essentially straight line. -
Powerhouse Museum Lace Collection: Glossary of Terms Used in the Documentation – Blue Files and Collection Notebooks
Book Appendix Glossary 12-02 Powerhouse Museum Lace Collection: Glossary of terms used in the documentation – Blue files and collection notebooks. Rosemary Shepherd: 1983 to 2003 The following references were used in the documentation. For needle laces: Therese de Dillmont, The Complete Encyclopaedia of Needlework, Running Press reprint, Philadelphia, 1971 For bobbin laces: Bridget M Cook and Geraldine Stott, The Book of Bobbin Lace Stitches, A H & A W Reed, Sydney, 1980 The principal historical reference: Santina Levey, Lace a History, Victoria and Albert Museum and W H Maney, Leeds, 1983 In compiling the glossary reference was also made to Alexandra Stillwell’s Illustrated dictionary of lacemaking, Cassell, London 1996 General lace and lacemaking terms A border, flounce or edging is a length of lace with one shaped edge (headside) and one straight edge (footside). The headside shaping may be as insignificant as a straight or undulating line of picots, or as pronounced as deep ‘van Dyke’ scallops. ‘Border’ is used for laces to 100mm and ‘flounce’ for laces wider than 100 mm and these are the terms used in the documentation of the Powerhouse collection. The term ‘lace edging’ is often used elsewhere instead of border, for very narrow laces. An insertion is usually a length of lace with two straight edges (footsides) which are stitched directly onto the mounting fabric, the fabric then being cut away behind the lace. Ocasionally lace insertions are shaped (for example, square or triangular motifs for use on household linen) in which case they are entirely enclosed by a footside. See also ‘panel’ and ‘engrelure’ A lace panel is usually has finished edges, enclosing a specially designed motif. -
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. -
Bucklepage 9 – Part Nine 17Th-18Th Century
Home C J’s Metal detecting pages Coin galleries BUCKLES BUCKLEPAGE 05/09/2013 BY NMS Having already looked at some buckle types of the 17th century we again start in that period but with buckles that are technically of a different form of construction. These are distinguished from all other types by having a double-loop frame (as Types IIIA-IIID) but with the frame drilled to take a separate pin or spindle. These I have classified as Type V. They were generally made to be removable and so the previously common ‘sandwich’ type buckle-plate used for attachment to straps and belts is replaced by a chape that attaches the buckle by a stud, a hook, or a spike. When used for the shoe these buckles were attached across the instep by two straps called latchets. The buckle was attached to one latchet by the chape. The second latchet was then pulled through the buckle frame to the required tension for securing the shoe and then fastened by the spike of the tongue. See fig.9: xix for the terms used to describe the parts of these buckles. Strictly speaking the chape constitutes all the moving parts within the buckle frame but the term is used here to describe the type of fastening employed to attach the buckle to the shoe. Although shoe buckles had been used in previous times, by the late 1500′s they had been replaced by rosettes and ribbon ties and these continued in use through most of the 17thc. However it is clear that by 1660 buckles were again being used for fastening shoes, at least by the upper classes, and that they were of this removable type: ‘This day I began to put on buckles to my shoes’ - the diary of Samuel Pepys – entry for January 22nd, 1660.