Fair Isle Sampler Cowl Last Spring Sheep’S Clothing Customers Enjoyed Making Fair Isle Sampler Cowls

Total Page:16

File Type:pdf, Size:1020Kb

Fair Isle Sampler Cowl Last Spring Sheep’S Clothing Customers Enjoyed Making Fair Isle Sampler Cowls Sheep’s Clothing knitting supply Please check www.knitdoctor.com the first day of each month to find out what’s happening at Sheep’s Clothing. 2015 MARCHKNITTING maddness Fair Isle Sampler Cowl Last spring Sheep’s Clothing customers enjoyed making Fair Isle sampler cowls. We got a lot of great practice in stranded color knitting, enjoyed the color and pattern therapy, cheered our hearts and kept our necks warm in the changeable weather of spring. We’re going to repeat the project this spring incorporating the good lessons we learned last year. If you are new to stranded knitting this is your chance to jump in. If you made a cowl last year, join us and make a new one incorporating some new charts and ideas. $10 plus supplies To register for classes call 219-462-1700 February 2015 sheepsclothingvalpo www.knitdoctor.com 1 Sheep’s Clothing knitting supply March 2015 swatch their choices. As we continue, we GUEST will create charts for intarsia, discuss yarn handling strategies, and knit a small project of TEACHER our own design. Please bring needles in sizes from US 3 to 5. WEEKEND $95 includes color wheel yarn JULIA SUNDAYAPRIL 12, 9:30 AM TO 4:30 PM FARWELL STRUCTURE CLAY BEFORE LUNCH: HAPPY LITTLE SLEEVE CAPS The most FRIDAYAPRIL 10 7PM universally flattering interface between sweater sleeve and sweater body is also the most evasive. In this class, students will MEET THE become key masters to an elegant join and able to customize sleeve caps for untraditional JuliaDESIGNER will share her recent book of patterns, From sizes. Students will need to bring yarn and Folly Cove, published by Classic Elite Yarns. Along matching needles, scratch paper and pencil, with a trunk show of the collection’s samples, and some form of calculator if they don’t have Julia has prepared for us an informal slide show one on their phone. about her development as a designer, her design AFTER LUNCH: SEAMS inspirations, and the story of Virginia Lee Burton AND OTHER FINISHING and the Folly Cove Designers, textile artists from TOUCHES As a Shogun of the double Gloucester, Massachusetts who were a national pointy sticks, do you cower before you pick sensation in the 1950s and 60s. up a single needle with a hole in one end? There is no charge for this presentation, but Seamless sweaters are all the rage, but which registration is required. came first? The fear or the rage? Join me SATURDAYAPRIL 11, 9:30 AM TO 4:30 PM in this adventure all about (you guessed it) joining, and see if I can convince you that a good mattress stitch is COLOR Color is one of the custom every bit as satisfying (and fun) as a yo elements of knitting that makes a project truly k2tog, and that some sweaters benefit from personal. But many knitters are intimidated by the framework of a stable edge (and how to technique and seemingly unlimited choices. recognize them). We’ll also look at button Everything from simple stripes or more complex bands and play with different types of button patterns involve confidence in handling yarn, holes. Students will need to come prepared reading your knitting, and finishing techniques that with 4 blocked swatches, 15 stitches wide ensure the project looks tidy and professionally by 4 inches long, worked in stockinette in done. the same smooth yarn. Other materials Step by step, we will demystify the process, and needed for class include a darning or yarn begin with rational and intuitive approaches to needle, yarn and needles for swatching, choosing pleasing combinations for our color work. and a couple of different buttons you might Terms like Hue and Tone will be discussed, and use for a cardigan.$95 students will assemble a yarn color wheel, and then To register for classes call 219-462-1700 March 2015 sheepsclothingvalpo www.knitdoctor.com 2 Sheep’s Clothing knitting supply Liberty Wool Classic Afghan Club 2015 Elite Spring Knit Classic Elite will be sending us two brand new colorways of Liberty Wool a month a Long for 6 months. We’ll be making a diamond within a square and learning to do extended double This will be crochets in the process. our 5th spring The squares will be crocheted together with participating in CEY’s a picot edging and outer borders added as spring event. Choose a desired. Make 1 square a month for a small pattern from any one of afghan. Two squares a month will make a larger CEY’s monthly pattern afghan. Club membership fee of $20 entitles books released January you to 10% discount on yarn, pattern, and all through May. Your the help you need along the way. project must use at least 3 balls of Classic Elite yarn purchased this year. Finish your project and drop your name in the jar for the big prize drawing the evening of Friday, July 31. Your name will be in the jar one time for each 100 yards of yarn in your completed project. Prizes include a $100 gift basket from Classic Elite, downtown Valparaiso restaurant gift certificates, and knitting related good things from Sheep’s Clothing. Please check www.knitdoctor.com the first day of each month to find out what’s happening at Sheep’s Clothing. To register for classes call 219-462-1700 March 2015 sheepsclothingvalpo www.knitdoctor.com 3 Sheep’s Clothing knitting supply Irish Aran Classes Cabled Hat Finished your Aran cabled scarf? It’s time to take the next step and make an Irish Aran hat to match. You will learn how the size of the diamond motif determines the size of the hat, and how to let the diamond shape guide the decreases for Hitofude Cardie the crown of the hat. Hitofude (pronounced HE-TOE- Monday FOO-DAY) means “a single 1 to 3 pm stroke of the paint brush.” Mar 23, 30 It’s designed to be worked in $30 plus supplies one continuous strand from Teacher: Debbie beginning to end. If you enjoy knitting lace, but don’t fancy Noro Corded Vest wearing a shawl, this design Kate loves to help people is for you. This design will be be successful with their first Tapestry Crochet enjoyable for seasoned lace real sweater project. She Bookmark knitters but is also accessible is always on the lookout for BJ will be your guide learning for less experienced lace suitable designs and loves the technique of tapestry knitters. The garment shape to help her students with the crochet while creating a is a hybrid of a sweater, shawl, finishing details that make all bookmark. Crocheters and shrug. Heidi, our lace the difference. This vest design with advanced beginner to expert, declares this to be as worked in Noro Silk Garden intermediate skills will enjoy close to a perfect pattern as meets her high standards. It learning this crochet color work you can get. You’ll be able caught her eye because of the technique where two colors to choose from a selection of sophisticated touches like the travel the length of the row, but fingering weight yarns to create corded edgings and button only one color forms the stitch. your own Hitofude Cardie. loops. Saturday Monday Thursday 1 to 4 pm 4 to 6 pm 4 to 6 pm March 21 Mar 23, 30, Apr 6, 13 Mar 19, 26, Apr 2, 9 $30 plus supplies $50 plus supplies $50 plus supplies Teacher: BJ Teacher: Heidi Teacher: Kate To register for classes call 219-462-1700 March 2015 sheepsclothingvalpo www.knitdoctor.com 4 Sheep’s Clothing www.knitdoctor.com Beth Brown-Reinsel To register for classes call 219-462-1700 will be our guest teacher M-Tu 12 to 7 W 10 to 7 Th 12 to 9 F 12 to 7 the weekend of Sa 10 to 5 July 18 and 19. Teachers Heidi Yelich We’ll be making Susan Brobst Kate Schroeder Debbie Teibel Latvian mittens. Paula Strietelmeier BJ Licko-Keel Design Kristina Rost Details forthcoming. Artwork Susan Childress Please check www.knitdoctor.com SPINNING first day of each month 4 to 6pm the every 4th Friday to find out what’s happening at Spinners are invited Sheep’s Clothing. to bring their wheels and spin. Interested in Spinning? It’s a great opportunity to get your questions answered. Drop spindle demonstrations. Open KnitClasses N O K OPEN Kid’s Knitting Night Owl Knitters Early Bird Knitters K NIT Knitting EVERY Wednesday EVERY Thursday 1st & 3rd Saturday EVERY Friday Every Friday EVERY Wednesday 6-9 pm EVERY month 8 am 5 to 7 pm 10am to noon 4- 5 pm 4 to 7 pm LATE HOURS WEEKDAYSTILL7PM THURSDAYSTILL9PM To register for classes call 219-462-1700 February 2015 sheepsclothingvalpo www.knitdoctor.com 5 Sheep’s Clothing knitting supply MARCHKNITTING maddness Beginner Classes Knitting Crochet Knitting for Beginners Crochet for Beginners Learn to knit by making swatches of basic stitches. Begin your crochet future with a set of 3 classes Emphasis is placed on learning to “read” your designed to get you comfortable with the basic stitches so that you can become a confident knitter. crochet stitches. You will begin with the classic Class also includes a taste of lace and cables. granny square and a scarf. Basic finishing skills OR for crochet fabrics will also be included. Wednesday Tuesday Saturday 1 to 3 pm 7 to 9 pm 8 to 10 am Mar 18, 25, Mar 24, 31, April 18, 25, Apr 1, 8 Apr 7, 14 May 2 $60 includes yarn, needle, book $60 includes yarn, needle, book Knit Beginner Project Crochet Beginner Project This hat and scarf combination gives beginners The Crochet Lattice Stitch Scarf is a great fashion opportunity to practice and polish their basic skills.
Recommended publications
  • 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]
  • Cascade 220® Fingering Lattice Sampler Shawl
    FW240 Cascade 220® Fingering Lattice Sampler Shawl Designed by Jennifer Weissman © 2017 Cascade Yarns® - All Rights Reserved. Cascade 220® Fingering Lattice Sampler Shawl Designed By Jennifer Weissman Skill Level: Intermediate Size: 64" wide x 32.5" deep Materials: Cascade Yarns® Cascade 220® Fingering 100% Peruvian Highland Wool 50 g (1.75 oz)/ 273 yds (250 m) 4 skeins color #9593 (Ginseng) US 4 (3.5 mm) knitting needles or size to obtain gauge 3 Stitch markers Yarn needle Pins for blocking Gauge: 20 sts x 40 rows = 4" (10 cm) blocked, in Garter Stitch Abbreviations: BO = Bind Off CO = Cast On K = Knit K2tog = Knit 2 sts together (decrease 1) KFB = Knit into the front and then the back of the next st (increase 1) M = Marker P = Purl PM = Place Marker Sl = Slip st purlwise with yarn in front Sl2-K1-P2SSO = Slip 2 sts knitwise, knit 1, then pass the 2 slipped sts over (decrease 2) SM = Slip Marker SSK = Slip 1 st knitwise, slip 1 st purlwise, insert left needle into front loops of the slipped sts and knit them together (decrease 1) St(s) = Stitch(es) WS = Wrong Side YO = Yarn Over (increase 1) Notes: The Lattice Sampler Shawl is an asymmetric triangular shawl featuring bands of lattice lace in a Garter st field. Each of the lace bands is set off from the Garter st background by ridges of double Garter st. The shawl finishes with a wider band of large lattice lace. This shawl begins with 2 sts. Sts are then added at the beginning of RS rows so that the piece grows into a right triangle.
    [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]
  • Blackwork Journey © 1 'Sublime Stitches' Aida Part 8, Patterns 101 - 109
    Blackwork Journey © 1 'Sublime Stitches' Aida Part 8, Patterns 101 - 109 Full Design Area: 16.07 x 29.57 inches worked on 14 count AIDA 225 x 414 stitches Material: Minimum size - 26 x 40 inches to allow for embroidery frame and mounting Suggested fabric: Zweigart 14 count Aida, white, antique white or cream The sample was worked on Zweigart 14 count Aida, white Over dyed or space dyed fabrics may detract from the design - select carefully! There are 12 pages of patterns. One page will be placed in 'Freebies' in Blackwork Journey every month. Each pattern or group of patterns have their: Individual numbers, Technique, Threads and beads used, Chart, Picture and Method. Each month join a printout of the chart to the one before. The final chart will consist of 12 pages arranged in the order as shown above. Please follow the main chart carefully to place and work the different patterns. The embroidery may differ slightly. Where patterns overlap between the pages do not start the pattern. The part patterns are there to help in the placing of the design. As additional pages are added the part patterns will be complete. Do not add beads to the design until all 12 pages have been worked. The sample was worked in DMC and Anchor floss in four shades including DMC 310 as the base colour. Cross stitch is worked in TWO strands over two threads, back stitch is worked in ONE strand over two threads. Threads used: DMC 310 Black, three skeins Anchor 1206 variegated, or DMC 815 Garnet, three skeins DMC 415 Pearl grey, one skein DMC 414 Steel grey, one skein Metallic threads used: Rainbow Gallery Petite Treasure Braid PB01, one card or DMC Lights Effects E3852 Dark Gold, one skein DMC Lights Effects E317 DMC 996 electric blue is used on the chart to show ONE strand of 415 and ONE strand 414 together to make two strands for pulled thread work stitches.
    [Show full text]
  • European and American Needlework Samplers June 7
    MAKE MUCH OF PRECIOUS TIME WHILE IN YOUR POWER: EUROPEAN AND AMERICAN NEEDLEWORK SAMPLERS JUNE 7- SEPTEMBER 1, 2019 A CATALOGUE OF THE EXHIBIT LYCOMING COUNTY HISTORICAL SOCIETY 858 WEST FOURTH STREET WILLIAMSPORT, PENNSYLVANIA CURATED BY GARY W. PARKS EXECUTIVE DIRECTOR #1: BAND NEEDLEWORK SAMPLER- Sarah RELPH, in her 10th year, [England, or possibly Rhode Island], October 30, 1745 Linen ground with silk thread Known as a band sampler, this was a primary learning tool for a young woman of the 17th through the 19th centuries. Through a basic marking sampler, the young lady would learn to sew and use darning stitches, necessary for her future roles as wife, mother, and housekeeper. As samplers continued to be made, religious verses and maxims were added to guide her toward a purposeful life. Decorative bands of geometrical motifs were copied across the width of the sampler and served as a reference when the young woman wished to embellish an article of clothing or household linen. Inscription: “Make Much of Precious Time While in Your Power/ Be Careful Well to Husband Evry Hour/ for Time Will Come When You Shall Sore Lament/ The Unhappy Minutes That You Have Mispent Collection of Gary W. Parks #2: NEEDLEWORK SAMPLER- Ellen Elizabeth JACKSON, [Norfolk, England], 18[0]6 Linen gauze with reinforced woolen backing ground, applied silk thread Stitches: Cross stitch, crewelwork- satin and stem Description: Ellen Jackson’s sampler belongs to a large body of needlework produced in Norfolk, England. The diamond-shaped inner border is one of the elements tying them together, as well as the bouquets of flowers in each corner.
    [Show full text]
  • 1 Blackwork Journey © 'Sublime Stitches' Evenweave Part 11 Patterns 137 - 140
    1 Blackwork Journey © 'Sublime Stitches' Evenweave Part 11 Patterns 137 - 140 Full Sampler Design Area: 16.07 x 29.57 inches worked on 28 count evenweave 225 x 414 stitches Material: Material: Minimum size - 26 x 40 inches to allow for embroidery frame and mounting Suggested fabric: Zweigart 28 count evenweave, white, antique white or cream Zweigart 25 count Lugana, white or cream There are 12 pages of patterns. One page will be placed in 'Freebies' in Blackwork Journey every month. Each pattern or group of patterns have their: Individual numbers, Technique, Threads and beads used, Chart, Picture and Method. Each month join a printout of the chart to the one before. The final chart will consist of 12 pages arranged in the order as shown below. The evenweave sampler was worked in DMC Coloris floss in six shades plus DMC 310 as the base colour. Evenweave Sampler Threads: DMC 996 electric blue is used on the chart to show DMC Cotton Pérle No.12, ecru. Key- please note the threads can be adapted to suit your requirements. These are a guideline only! Page 11 is worked underneath Page 8. This is the first part of the final row. Instructions for the pulled thread work border will be included in Part 12. To help position the patterns correctly on the fabric and to see how they relate to each other look carefully at the embroidery. If only a small part of a pattern is shown on one page leave it until the following month and work the pattern as a whole.
    [Show full text]
  • Fall (Band) Sampler
    FALL BAND SAMPLER BAND 4: Guillouche Stitch with beads 1. Start at the left hand basting thread 6 fabric threads down from the chevron stitch. 2. Place 3 satin stitches over 3 fabric threads. Skip 3 fabric threads; repeat the satin stitches. Work to end of row, ending 1 fabric thread before the basting, see chart #12.Work a total of 13 sets of satin stitches. Chart #12 ! ! 3. Weave through the satin stitch blocks. Weave in a figure eight fashion. Bring needle up between the 2nd and 3rd stitches of the block and slide the needle under the first two stitches to start the weaving. Go under all stitches following chart #13. DO NOT PIERCE FABRIC AS YOU WEAVE. ! ! ! ! Chart #13 Chart #14 4. At the end of the row continue weaving back to the beginning of the weaving. At the end take the needle to the wrong side between two stitches, green stitches on chart #14. 5. The second row is off set by three stitches. Start the second row 6 fabric threads below the satin stitches of first row and 3 fabric threads from the basting stitch, chart #15. !7 (C) Jane Ellen Balzuweit, 2019 FALL BAND SAMPLER Chart #15 ! ! 6. When weaving is complete place a seed bead in the center as shown on chart #15. Use beading thread and tapestry #26 needle. BAND 5: Eyelets 1. When working an eyelet, always go down in the center and pull to form a hole. 2. Start 10 fabric threads below the satin stitch blocks at the left basting thread.
    [Show full text]
  • Gg Usefulhours.Pdf
    3 seful hours: needlework and Painted textiles from south - ern California ColleCtions Uexplores the development of the needle arts in the United States in the late 18th and early 19th centuries through a selection of more than 25 samplers, coats of arms, family trees, mourning pictures, pocketbooks, and narrative painted textiles made be tween 1763 and 1844. Most of these richly engaging com - positions were stitched by girls between the ages of 8 and 19 as part of their preparation for marriage and later life. Such samplers were handsomely framed for display in the “best parlor” of the young needleworker’s home, where they could be admired by visitors and family alike. ey served as symbols of the family’s wealth and social standing as well as of the maker’s refinement and eligibility for marriage. Today, these works are highly prized by collectors of American folk art for their fresh beauty and for the remarkable technical accomplishment of their creators. Because they represent rare examples of work designed and made by women, samplers are also valued today for the extraordinary insight they offer into the early training, daily lives, and social and cultural values of American women in the late 18th and early 19th centuries. e exhibition is drawn in large part from the collection of Thomas H. Oxford and Victor Gail. The Gail-Oxford Collec tion, comprising more than 500 objects, from American furniture and painting, to ceramics, metals, and needlework, is a promised gift to e Huntington Library, Art Collections, and Botanical Gardens. e Gail-Oxford material is supple - mented by loans from other public and private collections in Southern California.
    [Show full text]
  • Attic Sampler Newsletter 05152017
    Where Samplers Rule Just 15 minutes from the Airport at the SE CORNER OF DOBSON & GUADALUPE 1837 W. Guadalupe Rd, Suite 109 Mesa, AZ 85202 THE ATTIC TELEPHONE (480)898-1838 TOLL-FREE: 2017 May 15 Issue No. 17-09 www.atticneedlework.com 1.888.94.ATTIC May Sampler of the Month Hands Across the Sea Samplers’ “Sarah Borton 1815” from the design studio of Sigrid and Torsten Eckel Save 15% when you purchase 2 of the 3 starred parts: * chart ($30) * linen (cost depends on count) * AVAS ($98.90) or hand- dyed silks (cost depends on type) We have been planning the introduction of this magnificent reproduction as our May sampler of the month since early January, this debut reproduction from Sigrid and her husband. Sigrid’s superb embroidery skills are a joy to behold, and with the help of the tutorials, we, too, can embroider the exquisite wreath. Sarah Borton’s original sampler, the beautiful Left, a flower from the embroidered wreath that surrounds the antique above, is no longer on display in The verse. Attic; it has gone to a loving needleworker’s Here is the link to all of the information about Sarah Borton’s home. But the beautifully executed sampler, including a freehand tutorial with wonderful up-close reproduction is still on display to inspire you. photos to help you step by step. The Attic, Mesa, AZ Toll-Free: 1.888.94-ATTIC (1.888.942.8842) www.atticneedlework.com More Photos of “Sarah Borton” THETHE ATTIC ATTIC PAGE PAGE2 2 These up-close photographs of the wreath/cartouche that surrounds the verse depict the very Parts of the four alphabets are shown below, basic freehand embroidery techniques used: the stem stitch, the satin stitch, and French knots.
    [Show full text]
  • Shelf Mark Author Title ISBN Copy Number
    The Quilters’ Guild of the British Isles LIBRARY CATALOGUE – GENERAL EMBROIDERY (GE) Shelf Mark Author Title ISBN Copy Number GE/ADA ADAMCZEWSKI FIONA DESIGNER TEXTILES. STITCHING FOR INTERIORS 715390406 1479 GE/ADA THE EMBROIDERERS' GUILD DESIGNER TEXTILES 0-7153-9040-6 00N130 GE/AND ANDERSON ALEX SHADOW REDWORK 1571201564 1738 ASHBY DAPHNE J & WOOLSEY GE/ASH CREATIVE EMBROIDERY TECHNIQUES. USING COLOUR THROUGH GOLD 1-86108-087-5 00N645 JACKIE GE/BAB BABINGTON AUDREY CREATIVE WALLHANGINGS & PANELS 715381687 44 GE/BAB BABINGTON AUDREY CREATIVE WALL-HANGINGS & PANELS 0-7153-8168-7 00N622 GE/BAR BARON GILDA THE ART OF EMBROIDERED FLOWERS 1-903975-38-7 N331 GE/BEA BEANEY JAN ART OF THE NEEDLE 0-7126-5146-2 136 GE/BEA BEANEY JAN STITCHES : NEW APPROACHES 0-7134-8887-5 00N323 BEANEY JAN & LITTLEJOHN GE/BEA A COMPLETE GUIDE TO CREATIVE EMBROIDERY 0-7126-1942-9 00N120 JEAN BEANEY JAN & LITTLEJOHN GE/BEA STITCH MAGIC 0-7134-8196-X 00N559 JEAN GE/BEA BEAUTEMENT & LOWCOCK ENCYCLOPEDIA OF EMBROIDERY 863071775 364 GE/BEC BECK THOMASINA GARDENING WITH SILK & GOLD 0-7153-0487-9 00N989 GE/BEC BECK THOMASINA THE EMBROIDERER'S FLOWERS 0-7153-9901-2 00N988 GE/BEN BENN, ELIZABETH ( ED) TREASURES FROM THE EMBROIDERS' GUILD COLLECTION 715398296 262221 GE/BES BEST MURIEL STUMPWORK. HISTORICAL & CONTEMPORARY RAISED EMBROIDERY 0-7134-5572-1 00N464 GE/BRA BRAMLEY SILVIA EMBROIDERY WITH TRANSPARENT FABRICS 713456868 45 GE/BRO BROWN PAULINE DECORATION ON FABRIC : A SOURCEBOOK OF IDEAS 1-86108-213-4 26258 GE/BUT BUTLER WINIFRED NEEDLEWORK 47 GE/CAM CAMPBELL ETTA LINEN EMBROIDERIES 120 GE/CAM CAMPBELL-HARDING VALERIE FACES & FIGURES IN EMBROIDERY 071341099X 1458 CAMPBELL-HARDING, VALERIE GE/CAM CELTIC INSPIRATIONS FOR MACHINE EMBROIDERERS 0-7134-8958-8 26253 & GREY, MAGGIE GE/CAP CAPRARA JULIA THE MAGIC OF EMBROIDERY 0-7134-6227-2 00N633 GE/CAR CAREY JACQUI CREATIVE KUMIHIMO 0-9523225-0-1 26259 GE/CAR CARROLL MARY MAKING NEEDLECRAFT LANDSCAPES 715387979 113 GE/CBC COTTONS C.B.
    [Show full text]
  • Nest Danica Maier 2014 Wall Drawing, Jacobean Crewel Embroidered Bedspread Lcnug: 1927/30, & Blue Tit Pencil Drawing on Seritrace Courtesy the Artist
    Nest Danica Maier 2014 wall drawing, jacobean crewel embroidered bedspread lcnug: 1927/30, & blue tit pencil drawing on seritrace courtesy the artist This installation focuses on the 17th Century bedspread that was the starting point for the Stitch & Peacock exhibition. Maier’s wall drawing, similar to wallpaper, and an almost hidden small drawing purposely put her own laborious work to the background therefore hosting the historical object. The highly patterned historical bedspread is created using a repeat pattern, however while the outline of the imagery is repeated the details within are each different and unique. Looking from left to right you can see similar birds and leaves but the decorative detail of each is different. The idea of disrupting or working with the singular, within a repeat pattern, is something the artist is very interested in and can be seen in different elements of the exhibition. In this large installation Maier creates what appears as a line of stitch, yet on closer inspection you will see that this repetition is created from 17th century slang terms for female genitalia. As we consider this work the social and political environment that surrounds the historic work and its production comes into focus. Bringing up questions about the link between the three works making up the installation and how the artist allows us to approach a historical item anew. Many of the designs are similar to those found in crewel embroidery from collections such as the V&A and are thought to come from Richard Shorleyker’s pattern book of 1624, A ‘schole-house, for the needle’.
    [Show full text]
  • A Remedy for Rents Darning Samplers and Other Needlework from the Whitelands College Collection
    A Remedy for Rents Darning Samplers and Other Needlework from the Whitelands College Collection Constance Howard Gallery Goldsmiths, University of London January 19 – March 10 2016 Supported by the WhitelandsAnnual College Collection Fund1 A Remedy for Rents Darning Samplers and Other Needlework from the Whitelands College Collection It was but yesterday my own womankind were … in the practice of some new device of remedy for Rents … whereby it might be daintily effaced, and with a newness which would never make it worse. The process began – beautiful even to my uninformed eyes – in the likeness of herring-bone masonry, crimson on white, but it seemed to me marvellous that anything should yet be discoverable in needle process, and that of so utilitarian character.1 John Ruskin, 1884 The revelatory ‘remedy for Rents’ at which John Ruskin marvelled was the mending of clothes, the ‘herring-bone masonry’ a stitch, ‘chiefly used to secure the raw edges of flannel’ (Figure 1).2 That a practical solution to damaged textiles could, as Ruskin noted, be beautiful as well as useful, is abundantly evident in the darning and plain needlework samplers produced, between 1877 and 1902, by student teachers at Whitelands College, Chelsea. The Head Governess at this time 1. Herringbone stitch (detail of E. Winton, 1877). was Kate Stanley, and Ruskin, a leading figure in the Victorian art world, was an admirer of her needlework and a patron of the College.3 The samplers’ exquisitely fine stitching demonstrates not only the makers’ technical skill but, together with the small-scale practice garments made by the students, they illuminate also the history of working-class dress, female education and gendered roles, experiences and expectations in nineteenth-century Britain and beyond.
    [Show full text]