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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 -
2018 Annual Report
2A018 nnual Report Details Trustees, staff and volunteers The William Morris Society PRESIDENT WMS VOLUNTEER ROLES Registered address: Jan Marsh (to 12 May 2018) Journal Editor: Owen Holland Kelmscott House Lord Sawyer of Darlington (from 12 May 2018) Magazine Editor: Susan Warlow 26 Upper Mall Librarian: Penny Lyndon Hammersmith TRUSTEES Journal Proofreader: Lauren McElroy London W6 9TA Martin Stott, Chair (to 12 May 2018) Stephen Bradley, Chair (from 12 May 2018) The William Morris Society is extremely Tel: 020 8741 3735 Rebecca Estrada-Pintel, Vice Chair fortunate to be able to draw on a wide range Email: [email protected] Andrew Gray, Treasurer of expertise and experience from our www.williammorrissociety.org Natalia Martynenko-Hunt, Secretary volunteers, who contribute many hundreds of Philip Boot (from 12 May 2018) hours of their time to help with welcoming TheWilliamMorrisSociety Jane Cohen visitors to the museum, delivering education @WmMorrisSocUK Serena Dyer (to 12 May 2018) sessions to schools and families, giving printing williammorrissocietyuk Michael Hall demonstrations, answering enquiries, Kathy Haslam (to 12 May 2018) cataloguing and caring for our collections, Registered Charity number 1159382 Jane Ibbunson (from 12 May 2018) office administration, serving refreshments and Fiona Rose maintaining our garden. John Stirling (from 12 May 2018) We are grateful to all who give up their time The Trustee Board operates through five to help with the work of the Society. committees. These are: Finance and General -
The Melk Chasuble, an Opus Anglicanum
THE MELK CHASUBLE, AN OPUS ANGLICANUM BY HANNA KRONBERGER-FRENTZEN F late years the great artistic and paintings is also to be found in the beautiful technical merit of early English em- needlework of the Melk Chasuble. broidery and its widespread diffusion The subject of the crucifixion is often used in in various parts of Europe, has been English embroidery. It is to be met with in demonstrated again and again. Thus nearly all the famous series of designs with the oldest chasuble [PLATES A and B] of Melk which vestments are usually decorated. But Cathedral, hitherto regarded as an unknown there it always formed part of all the other piece of embroidery, must now be recognized as scenes, except that it is placed in the centre in Opus Anglicanum. Professor Tietze 1 mentions order to emphasize its significance. Thus we this chasuble as an iconographically interest- find it-to mention only a few-on the famous ing specimen of the early fourteenth century, Syon cope in the Victoria and Albert Museum without stating its origin. In spite of every and on those in the Vatican,5 also on that in the effort, it has proved impossible to trace how the Museo Civico in Bologna, and on that in Ascoli- chasuble found its way to the Treasury of the Piceno (the latter being the gift of Pope Nicholas Cathedral. Perhaps we may assume a certain IV). In the rare cases where the Crucifixion connexion with the cope, which until lately occurs alone, it is on a very small scale. It may belonged to the Cathedralof Salzburg and which be seen on the front of a burse (T. -
The Bayeux Tapestry Embroiderers Story PDF Book
THE BAYEUX TAPESTRY EMBROIDERERS STORY PDF, EPUB, EBOOK Jan Messent | 112 pages | 01 Jan 2011 | Search Press Ltd | 9781844485840 | English | Tunbridge Wells, United Kingdom The Bayeux Tapestry Embroiderers Story PDF Book Lists with This Book. Oxford University Press. The tapestry is a band of linen feet 70 metres long and Want to Read saving…. Is any historical primary source of information entirely reliable? Richard Burt, University of Florida. Reopening with new conditions: Only the gallery of the Tapestry is open, the interpretation floors remain closed Timetable: 9. The Latin textual inscriptions above the story-boards use Old English letter forms, and stylistically the work has parallels in Anglo-Saxon illuminated manuscripts. What's on? According to Sylvette Lemagnen, conservator of the tapestry, in her book La Tapisserie de Bayeux :. Hearing this news, William decides to cross the Channel in to reclaim his throne…. With a visit to the museum, you can discover the complete Bayeux Tapestry, study it close up without causing damage to it, and understand its history and how it was created thanks to an audio-guide commentary available in 16 languages. Rachelle DeMunck rated it it was amazing Sep 06, Open Preview See a Problem? Heather Cawte rated it it was amazing Apr 05, American historian Stephen D. The design and embroidery of the tapestry form one of the narrative strands of Marta Morazzoni 's novella The Invention of Truth. It required special storage in with the threatened invasion of Normandy in the Franco-Prussian War and again in — by the Ahnenerbe during the German occupation of France and the Normandy landings. -
Vilniaus Dailės Akademijos Kauno Fakultetas Grafikos Katedra
VILNIAUS DAILĖS AKADEMIJOS KAUNO FAKULTETAS GRAFIKOS KATEDRA Ugnės Krasauskaitės ORNAMENTO METAMORFOZĖS: AUGALINIŲ MOTYVŲ GRAFIKA Magistro baigiamasis teorinis darbas Taikomosios grafikos studijų programa, valstybinis kodas 621W10007 Magistrantė: Ugnė Krasauskaitė .................................................. (parašas) .................................................. (data) Darbo vadovė: doc. dr. Odeta Žukauskienė .................................................. (parašas) .................................................. (data) Tvirtinu, katedros vedėjas: doc. Vaidas Naginionis .................................................. (parašas) .................................................. (data) Kaunas, 2017 1 AUTENTIŠKUMO DEKLARACIJA Aš, Ugnė Krasauskaitė, kandidatas (-ė) VDA Grafikos katedros magistro laipsniui gauti, patvirtinu, kad šis baigiamasis darbas paremtas mano paties (-čios) tyrimais ir jame naudotasi tik tokia papildoma informacija, kuri nurodyta nuorodose, paaiškinimuose, šaltinių, literatūros bei lentelių ir paveikslų sąrašuose. Patvirtinu, kad baigiamajame darbe nėra naudojamasi kitų darbais to nenurodant ir nė viena baigiamojo darbo dalis nepažeidžia jokių asmens ar institucijos autorinių teisių. Taip pat nė viena baigiamojo darbo dalis nebuvo pateikta jokiai kitai aukštojo mokslo institucijai, kaip akademinis atsiskaitymas ar siekiant gauti mokslo laipsnį. Ugnė Krasauskaitė 2 Turinys SANTRAUKA ...................................................................................................................................... -
Golden Threads & Silken Gardens 14Thcentury English Medieval
Golden Threads & Silken Gardens 14th Century English Medieval Embroidery{Opus Anglicanum) By Dana Zeilinger . .having noticed that the ecclesiastical ornaments of certain English priests, such as choral copes and mitres, were embroidered in gold thread after a most desirable fashion, (the Pope) asked whence came this work. From England. They told him. Then exclaimed the Pope, 'England is for us surely a garden of delights..." -Mathew Paris {Chronica Majora) Christie's Education London Master's Programme September 2001 © Dana Zeilinger ProQuest Number: 13818857 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818857 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 (^VERS«*1 Abstract "In contrast to fashionable theories of the present day a medieval work of art asks to be understood as well as admired"- A.F. Kendrick. England, in the thirteenth and fourteenth centuries became famous for its production of high quality embroidery known as Opus Anglicanum or "English Work". The majority of the surviving examples are religious vestments. Some secular pieces have survived but they are less well documented. -
Basics of Opus Anglicanum Embroidery (Pdf)
Basics of Opus Anglicanum by Sidney Eileen 23 April, 2015 What is Opus Anglicanum? Opus Anglicanum is Latin for “English Work”, and refers to a style of embroidery practiced in England from approximately 1200-1350 c.e. It is typified by underside couched gold and silver thread, and silk thread worked in split stitch to create flowing details and shading often referred to as “painting with thread”. A handful of ecclesiastical examples survive to this day, but at the time it was may also have been used for secular pieces. Stylistic Details Metal threads are typically used for halos and backgrounds, worked almost exclusively in an underside couching stitch. This is done because it saves the couching thread from wear, and it creates a hinge in the metal thread, allowing the finished piece to move and flow, rather than being overly stiff. Background stitches are often placed in a way that creates a pattern on the finished piece, such as herringbone, lattice, chevrons, or florals. Halos are stitched in an oval or circle around the subject's head. Silks are worked in split stitch, often very tiny (as small as 2mm in detailed areas like faces), using three or more shades of each color to create detailed flow and shading of the figures, objects, and garments. The direction of the stitches is important to indicate flow and direction. For example, spiraling stitches on the forehead, cheek, tip of the nose, and chin to give a feeling of roundness and fullness. Stitches follow the folds of fabric, and the flow of hair. -
Catalogo-Liberty-2014.Pdf
Soon after opening on London’s Regent Street in 1875, trading exotic goods and textiles from the Far East, Arthur Liberty began working with local artisans and manufacturers to produce Liberty’s own textiles and objets d’art. By the 1890s Liberty Art Fabrics were a byword for the very best of Avant Garde textile design. Liberty Art Fabrics Interiors beautiful new collection of furnishing fabrics and wallpapers combine detailed pattern and vivid colour in signature Liberty style. Comprising three exquisite ranges; The Nesfield Collection, The Jubilee Collection and The Heritage Collection, designs showcase contemporary, illustrative handwriting alongside traditional and revival archive prints translated on a range of premium quality furnishing cloths. With a commitment and passion for design excellence, the rich heritage of Liberty print continues. Cushions from left Royal Daisy in Velvet Blush, Ray in Midnight, Floral Mawston Meadow in Pollen, Field of Xanthe Sunbeam in Dove The Nesfield Collection A showcase of Liberty’s modern and archival designs: textures, meadows, forests and gardens influenced by the work of British landscape archivist William Nesfield. The collection celebrates both botanical beauty and design craftsmanship. Design detail and vibrant colour palettes are borrowed from Nesfield’s most famous English landscapes: from the turquoise greens and soft fountain blues of Castle Howard’s cascading waterfall, to exotic, rich reds and pinks from Kew Garden’s Palm House and subtle tones of fawn and moss of spacious English parklands at Whitley Court. Hand drawn and painted designs including cartography, lithographs and delicate flowers sit alongside landscape photography and blend effortlessly with classic archive florals. -
Highlights Release
Highlights Release Opus Anglicanum: Masterpieces of English Medieval Embroidery Support generously provided by The Ruddock Foundation for the Arts Supported by Hand & Lock 1 October 2016 – 5 February 2017 vam.ac.uk/opus | #OpusAnglicanum © Canterbury Cathedral Episcopal shoes from the tomb of Archbishop Hubert Walter, 1170-1200 These shoes were among the clothing in which Hubert Walter, Archbishop of Canterbury from 1193 until his death, was buried in Canterbury Cathedral in 1205. The prestigious materials and skilled workmanship used to decorate these shoes, including interlaced bows, rosettes, fleurs-de-lys, mythical animals and cabochon jewels, reflect his status as a highly influential statesman as well as Church leader. © Victoria and Albert Museum, London London © Victoria Albert and Museum, The Clare Chasuble, 1272-94 This chasuble was commissioned by Margaret de Clare. Margaret and her husband Edmund had close links to the royal court. He was a member of the Plantagenet dynasty, while the Clares were one of the most powerful families in England. The blue ground is a kanzi, a fabric of silk and cotton made in Iran – this is the only known example of its use in England at this time. This chasuble demonstrates the important role that aristocratic and royal women played in the making of luxurious English embroideries. Seal-bag, about 1280 © This seal-bag is associated with a charter of Edward I, which confirms Westminster Abbey possessions and privileges for Westminster Abbey. It is the only example of wool inlaid work preserved from medieval England. The seal-bag is decorated on both sides with the arms of England. -
The Stitches
Stitchery Series Part III – The Stitches Heather Daveno Contact: [email protected] AugustPhoenixHats.com Embroidery stitches in China Satin stitch appears to date from the Shang Dynasty (1523-1027 BCE). Appliqué and silverwork have been found in tombs in Mongolia from the Chou Dynasty (6th century BCE). Textiles from Han Dynasty tombs show that the stitches used during this time period included1: • Satin (ping) – also called flat stitch • Stem (xian wen) – sometimes referred to as outline stitch • Peking Knot (da zi) – called seed knot in early centuries and came to be known as Forbidden Stitch, when it was outlawed from embroidery factories during the 1940’s because it was thought that women were going blind in their extensive use of it, although modern literature attributes this to an old urban legend. I have personally lost more of my eyesight from working with metallics, than I have working with this stitch. • Chain (suo) - also known as lock or loop stitch • Couching (ding) – also called nail stitch Appliqué, buttonhole, net stitch, pine needle stitch and quilting stitches were also used during the Han Dynasty, but are not detailed in this article. No new stitches appeared in China until the Ming Dynasty (1368-1644). Counted stitches (Florentine and petit-point) came into use during the Ch'ing Dynasty (1644-1912). Embroidery stitches in Europe (My Cliff Notes version) During the Viking era, embroidery stitches were employed more as seam finishing techniques than as decorative elements. When decorative stitches were used, they included stem, back, herringbone, Vandyke, blanket, and chain stitch. Couching was used to secure metal or leather strips around applique, or to secure cords and braids.2 The Bayeux Tapestry that was featured in Part I of this series was worked in wools on bleached linen, in stem and outline stitch, with laid and couched work used as a fill stitch. -
Unit 119: Printed Textiles for Fashion and Clothing
Unit 119: Printed Textiles Code: R/502/5438 QCF Level 3: BTEC National Credit value: 10 Guided learning hours: 60 Aim and purpose The aim of the unit is to develop learners’ knowledge and skills in the use of printed textiles for different applications and their understanding of the way designers, artists and craftworkers work with traditional and non-traditional materials to produce individual and diverse work using a variety of techniques. Unit introduction Textile designers, who produce designs for commercial fashion and clothing, work with small and large pattern repeats. Large-scale designs that wrap around a garment can be produced by textile artists who use printed textiles to communicate and express ideas in their personal work and these are usually one-off pieces. Textile designers usually produce hand painted designs or computer generated work which is sold to buyers on behalf of fabric printers. Ideas are then adapted and put into production. Designers usually present their ideas in a selection of colour-ways that follow seasonal or independent trend predictions. The aim of the unit is to introduce learners to the techniques and application of printed textiles in fashion and clothing. Fashion designers and textile artists work with traditional and non-traditional materials to produce individual and exciting work using a variety of techniques. Designers use a range of skills in developing ideas for printed textiles. Learners will research a range of visual sources including exploring the work of historical and contemporary textile designers. They will develop these sources using a variety of materials, techniques and processes using both traditional and non-traditional materials. -
Kunst- Und Museumsbibliothek Der Stadt Köln
Kunst- und Museumsbibliothek der Stadt Köln KUNSTDOKUMENTATION WERNER KITTEL Register der Firmen und Institutionen Register of firms and institutions Vereinbarungen zur Alphabetisierung des physischen Conventions concerning the alphabetical order (in the shelves) Bestandes Zahlen finden sich am Ende des Alphabets. Numbers are found at the end of the alphabet. Deutsche und dänische Umlaute sind alphabetisch relevant: d.h. German and Danish umlauts have alphabetical relevance: i.e. ä ä = ae, ø = oe. would be equivalent to ae, and ø would be equivalent to oe. Artikel bleiben alphabetisch irrelevant. Articles are considered to be alphabetically irrelevant (The Firmennamen, die erkennbar aus europäischen Vor- und Gallery would be found at Gallery, The). Familiennamen bestehen (John Deere Traktoren z.B.) werden Firm names consisting of European-type first and family names nach dem Familiennamen aufgeführt (in diesem Fall: Deere). (such as John Deere tractors) will figure by “family” name, in this Monogrammähnliche Abkürzungen werden in das fortlaufende case “Deere”. Monogram-type abbreviations are integrated into Alphabet integriert: also P.J. Furniture nach Pittsburgh Plate. the general alphabet: P.J. Furniture follows Pittsburgh Plate. „Le“ und „La“ werden meist wie Namensbestandteile behandelt: “Le” and “La”-prefixes are usually considered to be part of the also Le Coultre wie Lecoultre. family name: Le Coultre is treated as Lecoultre. Alphabetisierung der öffentlich-rechtlichen Institutionen Alphabetical sorting-in of public institutions Fachschulen, Universitäten, Fakultäten etc. werden bei und Design schools, universities, faculties etc. are sorted unter den Orten alphabetisch erfasst, in denen sie angesiedelt alphabetically under the name of the town of activity: VChutemas waren oder sind: also VChutemas unter Moskau.