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4-H Crocheting Project Member Guide
4-H Crocheting Project Member Guide Crocheting is one of the oldest needlework arts. To crochet means to form yarn or thread into a fabric using a hook. Its name comes from the French word croche, meaning “hook.” The crochet hook was one of many tools first used to make delicate lace. As time went on, more stitches and designs came into being, and crocheting became a separate art. Crocheting appeals to many people because it can be used to make a variety of creations, such as scarves, caps, vests, sweaters, purses, belts, lace, doilies, tablecloths, afghans, pillow covers, and bedspreads. In the 4-H Crocheting Project, you can learn to: • Crochet articles for yourself and others • Select, use, and care for crocheting tools • Work and share with others in your club • Keep simple records of your project and activities The 4-H Crocheting project is divided into six phases. Skills to learn and suggested articles to make are on page 2. Your club leader will teach you how to do basic crochet stitches and help you find patterns to use as you learn. When you reach the advanced phases, you’ll need to choose patterns from a variety of pattern books, needlework books, and magazines. You can find these at newsstands, notions counters, fabric stores, or specialty shops that sell yarn and thread. If you want to show others what you learn in the Crocheting project, check with your leader about exhibiting articles at fairs or other community events. If you make an article to wear, you might like to model in your county 4-H fashion revue. -
NEEDLE LACES Battenberg, Point & Reticella Including Princess Lace 3Rd Edition
NEEDLE LACES BATTENBERG, POINT & RETICELLA INCLUDING PRINCESS LACE 3RD EDITION EDITED BY JULES & KAETHE KLIOT LACIS PUBLICATIONS BERKELEY, CA 94703 PREFACE The great and increasing interest felt throughout the country in the subject of LACE MAKING has led to the preparation of the present work. The Editor has drawn freely from all sources of information, and has availed himself of the suggestions of the best lace-makers. The object of this little volume is to afford plain, practical directions by means of which any lady may become possessed of beautiful specimens of Modern Lace Work by a very slight expenditure of time and patience. The moderate cost of materials and the beauty and value of the articles produced are destined to confer on lace making a lasting popularity. from “MANUAL FOR LACE MAKING” 1878 NEEDLE LACES BATTENBERG, POINT & RETICELLA INLUDING PRINCESS LACE True Battenberg lace can be distinguished from the later laces CONTENTS by the buttonholed bars, also called Raleigh bars. The other contemporary forms of tape lace use the Sorrento or twisted thread bar as the connecting element. Renaissance Lace is INTRODUCTION 3 the most common name used to refer to tape lace using these BATTENBERG AND POINT LACE 6 simpler stitches. Stitches 7 Designs 38 The earliest product of machine made lace was tulle or the PRINCESS LACE 44 RETICELLA LACE 46 net which was incorporated in both the appliqued hand BATTENBERG LACE PATTERNS 54 made laces and later the elaborate Leavers laces. It would not be long before the narrow tapes, in fancier versions, would be combined with this tulle to create a popular form INTRODUCTION of tape lace, Princess Lace, which became and remains the present incarnation of Belgian Lace, combining machine This book is a republication of portions of several manuals made tapes and motifs, hand applied to machine made tulle printed between 1878 and 1938 dealing with varieties of and embellished with net embroidery. -
Introduction to Crochet
Introduction to Crochet Crochet is such a wonderful craft. There are so many facets and variations to explore with a hook and some yarn. The creative possibilities are endless. Crocheters do not just use yarn; they crochet with every imaginable form of fiber. I have seen items made with kite string, fishing line, wire, rag strips, and paper strips. I’m sure there are some fibers used for crocheting that I have yet to see. In this book, I have included an extensive collection of stitches, from the very basic to more intricate techniques. Delicate lacy openwork to heavier textures like bobbles, bullions, limpets, basket weave, and double-sided crochet, edgings, and motifs are all included. Detailed, step-by-step instructions, charts, and photographs accompany each stitch. Every stitch is ranked by level of difficulty to help you try your hand at progressively complex stitches, and there are sample projects throughout the book that showcase at least one of the stitches used in each group. In addition to the stitch section, there is a specialty crochet methods section. In this section, I have included methods such as freeform crochet, intermeshing crochet, and crocheting raglans from the top down. I have asked fellow designers, who are experts in their fields, to contribute a project in their area of expertise to the specialty crochet methods section. Contributors and their projects include: Pauline Turner, Polish Star; Melody MacDuffee, Overlay Crochet; Julia Bryant, Tapestry Tunisian; Jennifer Hansen, Hairpin Lace and Broomstick Lace; and Tatyana Mirer, Bruges Lace. Fellow freeform crocheters Prudence Mapstone, Myra Wood, and Pam Shore have graciously allowed me to show photographs of some of their garments in the Freeform Crochet chapter. -
Joan's List of Tatting & Other Craft Books
Joan’s List of Tatting & Other Craft Books — April 2009 In bold, books with good tatting instructions In red, new for 2009 A Book of Edgings, Coats & Clark Book # 305, 1982 A Tatter’s Workbook, by A. Tatter, Lacis Publications, 2001 A Tatting Adventure, by Ben Fikkert, 2005 Application of Coronation Cord for Modern Needlework and Trimmings, 1920ish, scan & original A New Twist on Tatting, Catherine Austin Beginning Tatting, Gloria Crowther, 1987 Big Book of Tatting, Designs by Darlene Polachic, #151011, 2000 www.whitebirches.com Celtic Tatting, Knots & Patterns, Rozella Linden, Handy Hands Classic Tatting Patterns by Anne Orr, 1985 (1940) Clever Cluny, by Lorraine Eisbrenner, 1993 Coronation Braid Crochet, The Dorothy Bradford Series (scan only), available for purchase from me Cro-tatting – Timeless Doilies, 872811, Annies Attic (lost the needle ) Die Schiffchenarbeit…It’s all Tatting, Georgia 2002 reprint of 1917 book DMC Tatting, Ref 8632-2, 1987 Easy Tatting, Rozella Linden, 1999 Elegant Tatting Patterns, Janet Carroll, Dover Needlework Series Every Womans Complete Guide to Tatting, Barbara Foster Floriade, Ben Fikkert Fredone’s Netting Lesson video GR-8 Self Closing Mock Ring, by the Shuttle Brothers, 1999 Glass Christmas Balls, JoAnn Stearns Hector’s 2004 Special Book 6 from Georgia Hook Tatting No. 2 (Japanese visual diagrams booklet) Learn How Book, #170, 1941, knit/crochet/tat/embroidery, The Spool Cotton Co ☺ Learn how book, knit/crochet/tat/embroidery, Coats & Clarks book #170-D, 1975 Learn to Tat by Janette Baker with Interactive -
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. -
Charles A. Whitaker Auction Co. October 29-30 Session Two Lot 549-1244
Charles A. Whitaker Auction Co. October 29-30 Session Two Lot 549-1244 549 FRENCH CHINOISERIE BROCADE SILK, c. 1740-1750. Four small panels including one pieced, having ivory pattern on raspberry ground. Three pieces 24 wide x 15 1/2, 26 and 31. One 28 1/2 x 17. Holes and tears, fair. $57.50 550 LOT of SILK TEXILES, 18th C. Consisting of a red velvet panel, cushion cover and valance, the valance having shield-form tabs (applique and tassels removed), and a panel with narrow stripes in cream, dusty rose, yellow and green on a tiny checked weave. Fair. $34.50 551 THREE PRINTED COTTON PANELS, 19th C. One striped in teal with small white leaves and white with red and tan botehs, probably Persian. One English floral print. Both excellent. One large pieced panel with pomegranate trees, probably Indian, (oxidizing browns, mends and tears) poor. $103.50 552 BEADED NEEDLEWORK VICTORIAN BELL PULL. Wool flowers with beaded foliage on a ground of crystal beads having a Bohemian glass finial. (Glass cracked, backing shattered, minor bead loss) needlework intact, fair. $230.00 553 LOT of ASSORTED SMALL BEAD and NEEDLEWORK, 18th-19th C. Including two 18th C. petit point rectangles of figures in landscapes, three rectangles of needlework birds, a silk satin embroidered bag having gilt metal doves and chenille bell tassels, two framed 18th C embroideries: one eagle in tree, one basket of fruit. Good-excellent. $345.00 554 TWO PIECED SILK TEXTILES with FLORAL BROCADE, 18th C. Dusty pink damask bedcover with a serpentine floral in pastel hues, backed in blue silk, (some splits, mostly at seams). -
6 3 3 3 71.22 9 71.33 71.35 3 71.46 71.48 9 3 71.53 1 71.57 71.59 3
▪ Year Items Donor 71.1 6 Norton, Edward, Mrs. 71.2 4 Parise, Ralph, Mrs. 71.3 7 Norton, Edward, Mrs. 71.4 1 Dutton, Royal, Mrs. 71.5 1 Stevens, Hazel, Miss 71.6 3 Latham, David, Yrs. Z' 71.7 1 Greig, Wallace, Mrs. 71.8 1 Barton, Charles, Mrs. U) X D w 71.9 4 Reed, Everett, Mrs. < fr > Norton, Edward, Mrs. xc2E 71.10 19 0rt , D 71.11 1 Farnum, Harold, Mrs. .. >w hi 71.12 3 Central Congregational Church O D Emerson, Bradford, 0. p0 71.13 3 ,c Pettee, Cristy, Mrs. .< Da. 71.14 12 71.15 1 Skelton, Donald, Jr. 71.16 132 Scoboria, Marjorie, Miss 71.17 11 Stevens, Hazel, Miss 71.18 21 Stevens, Hazel, Miss 71.19 1 Mitchell, Ruth, Mrs. 71.20 1 Harrington School Children 71.21 1 Hiscoe, deMerritt, Dr. 71.22 3 Chew, Ernest, Mrs. 71.23 69 Turner, Gardner, Mrs. 71.24 1 Johnson, Ralph, Mr. & Mrs. 71.25 2 Lahue, Warren, C. 71.26 4 Stewart, Jessie,Atwood 71.27 1 Stewart, Frederick, Mrs. 71.28 32 Stevens, Hazel, Miss ..-- 71.29 13 Warren, Miriam, Miss 71.30 11 Davis, Carl, J. 71.31 9 Brown, Berniece, Miss, Estate 71.32 8 Wolf, Roacoe, Mrs. 71.33 1 Marchand, George, Mr. & Mrs. 71.34 15 Wells, Evelyn, Miss 71.35 1 Gumb, Lena, Miss 71.36 28 Eddy, Donald, Mrs. 71.37 8 Norton, Edward, Mrs. 71.38 11 Scoboria, Marjorie, Miss 71.39 3 Ball, Lester, W. 71.40 1 deJager, Melvin, Yrs. -
Crochet I & Advanvced Greentop
4-H Crochet I & Advanced – Greentop 400.C-3 (R-18) Resources: 4-H Crochet Project Book – 100.C-3 4-H Project Record – 300.A-7 (R-18) This year you will: • Review your project book, record sheet and greentop to become familiar with the project before your first project meeting or practice. • Complete the General Project Guidelines. • Participate in club, county, district or state contests. This project introduces members to the basics of crochet including • Participate at county and state fairs. equipment, materials, steps, and stitches. Members follow this • For completion of the Crochet guide to complete Crochet I, II, and III. Project, complete the record sheet and turn in a county record book to In this project, you will learn: your local Extension Agent. Level I • Project requirements vary according • To read and follow instructions for basic crochet stitches. to First Year or Second Year. • To understand abbreviations for stitches and procedures. Citizenship and Leadership • To handle yarn and needle correctly. Activities: • To check gauge of stitches and patterns. • To increase and decrease stitches. • Give a talk or demonstration about • To block and join crocheted pieces with a needle. your crochet project at your club or county contest. Level II • Assist with fairs or Achievement • The half double and triple crochet stitches. Day in your county. • A variety of patterned crochet stitches (star, shell, popcorn, • Teach another person one of your cluster, V-stitch, open mesh, loop, knot, etc.). skills you’ve learned. • To join yarn and change colors. • Donate items created to a local • To make a crocheted edging using picot, picot-loop, open shell, nursing home or Senior Center or mesh stitches. -
The Priscilla Filet Crochet Book; a Collection of Beautiful Designs In
I (y^ \f Hollinger Corp. pH8.5 TT 820 .R7 Copy 1 tide ^risiciUaJfilet Crocijet poofe A COLLECTION OF BEAUTIFUL DESIGNS IN FILET CROCHET EQUALLY ADAPTED TO CROSS-STITCH BEADS AND CANVAS WITH Wotkin^ directions; BY BELLE ROBINSON PRICE. 25 CENTS PUBLISHED BY tETfje $rt£;ciUa ^uiilifiitjing Company 85 BROAD STREET. BOSTON. MASS. Copyright. 1911, by The PriicilU Publiihing Company. Botlon, Mau. ^ No. 1450. Pillow in Filet Crochet and Cross Stitch Embroidery See Page 5 and Figs. 12, 13, 15, 16, 18 i^ ©ci.A:u»3aoo Ho. ( 4th row — Turn with triangle, x open, 2 solid, i open, i solid, i open. Turn with $ chain. 5th row — Three open, i solid, i MmMwWM open, I triangle. 6th row — Turn with triangle, 2 open, I solid, I open. Fig. 3 Patternof Fig. 2 7th row — Turn with open, i mil 5, 3 triangle, etc. In Filet, it is a rare e.xception that has not one mm row, or more, of open meshes outside the design, and we should follow the same rule in Filet Crochet. The edge of a medallion or insert is usually covered with single crochet, three stitches over each chain of two and four stitches over each triangular mesh. This corresponds nicely with the Fig. 2 buttonhole-stitch with which the netted medallion Working Model of Pattern Fig. 3 is invariably finished. It will always be one more than a multiple of 3, Figure 6 is a model of the border of Doily, as io, 13, 16, 19, etc. 4, 7, Fig. 22, showing how to mitre the corner in a way In the 3d row (following Working Model, Fig. -
African Lace
Introduction Does changing an original material destroy its traditional context? If a material assumes new meaning or significance in a new context, is this inherently an appropriation of the object? What loss does this cause, and is it a positive change, a negative one, or neither? This lexicon revolves around African Lace. Through an analysis of this particular material, I broadly explain, craftsmanship, authenticity and reasons behind an object’s creation, including why and how it is made, from which materials, and how the object translates into a specific environment. Various kinds of objects are created in and relate to specific places and time periods. If situated in an environment in which it did not originate, the meaning of an object changes. In fact, the object is used from a new perspective. Although it is possible to reuse an object as a source of inspiration or research, it cannot be used as it was in its previous context. Thus, it is necessary to rethink the authenticity of an object when it is removed from its past context. History is important and can explain a materials origin, and it therefore warrants further attention. A lack of knowledge results in a loss of authenticity and originality of a historical material. In view of this, I develop this Lexicon to elaborate on the importance of this historical attention. It is interesting to consider how an object can influence a user in relation to emotional or even material value. The extent of this influence is uncertain, but it is a crucial aspect since any situation could diminish the value and the meaning of an object. -
Programme of the Forum 2015
Forum Programme Please note that there still may be a few changes made to the programme. We will keep you updated! Monday, November 2 - arrival day Welcome and official opening of the Forum Possibility to set up tools etc. for demonstration Tuesday, November 3 10:00 - Ruth Gilbert: On the terminology of non-woven textile structures and techniques, and why it matters. There is a great deal of confusing terminology in use with regard to looping, netting, knitting and other non-woven structures. The most fundamental issue is the separation of descriptions of technique from descriptions of structure, but there are other considerations. Ideally we should be using one word, and one only, for each distinct technique; structures need to be described, not referred to by mysterious place names. I will review the available terminologies for both structures (Irene Emery, Peter Collingwood, Egon Hansen and others) and techniques (Buhler, Seiler- Baldinger, Amsden). Unfortunately I am only able to propose exact terminology in English: it would be useful if native speakers of other languages would like to contribute suggestions. 11:00 - Petra Linscheid: Early knitting? Knitting-like structures from Roman and Early Byzantine Sites Real knitting is presumed to make it´s appearance in Europe and in the Near East not earlier than the Middle Ages (11th century). Recently though, some knitted structures from Roman and Early Byzantine sites have been published (Didymoi, Maximianon, Pompeji, Krokodilopolis), which call this theory into question. The paper wants to introduce this finds and raise the discussion, if they can be classified as ?real knitting? or not.