DOCSLIB.ORG

Beads Oct Bro.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beads Oct Bro.Pdf Exhibitors7 Hands Design 224 Chule’s 190 Absolutely Unique, LLC 157 Colibri Sisters 201 AE Trade Shows 115 Color Vibe Designs 178 African Gems San Miguel #A Craft Fantastic 182 Design Superb Studios 171 Dewa 236 Diana Serrano 171 Dichroic Inc 184 Donna Conklin 153 Dorothy Dudek 110 Dovetail37 102 Dutch Stowe 112 East West Best Trading Co 130 Elaine Sonne 142 African Imports 181 Elle of California North 161 Ancient Designs 142 Elle of California South 189 Anne Englehardt 182 Evan Anderson 101 Art Spirit Studio 245 Forever Silvers 119 Atalia Molaro Santa Rosa #B Gemini Gems 180 A-Z Arts & Crafts 116 Barbara Garwood 164 Gemstones of Africa 121-123 Glass Clay Santa Rosa #B Goddess Anacapa Rm #A & 250 Gregoire-Jones Designs 233 H.E. Tunkara & Beads 194 HandFast Design 165 Healing Stones Jewelry 142 Bead Art Worth San Miguel #B Himalayan Designs 197-198 Bead Resources Corp Santa Cruz #B Huichol Beaded Jewelry 155 Beads and Etc 244 Incredibly Handmade 107 Beads by Sandy Santa Cruz #A Inspired Adornment 128 Beads Creation Santa Rosa #A -134-135 Janu Gems 229-220 Beads U Need Anacapa Room #B Jewelry by WendyLea 137 Beadshaper 221 Jewelry Designs by Judith 179 Beroya Designs 170 Joan’s Collection 246 Betty Jane’s Creations 235 Jody Young San Miguel #B Beyond Beads San Miguel #B Josie Wood Atelier 237 Billy’s a Bad Kitty 231 Judie Mountain 105 Callie Morgan Designs 103 Judith Balcerzak 179 Carole Witt Santa Rosa #B Julie Picarello 167 Chara Designs 234 Kim Fox 165 Charlie’s Creations 141 Kim Williams 200 Klews Gallery 225 Realm of the Goddess 242Exhibitors Robert Lopez Designs 231 Rose Klapman 221 Royal International 203-204 Royale Creations 192-191 Sahil Gems 116 Sandy Schor Co. Santa Cruz #A Savannah Design Studio 223 Krystal Light Imports 227 Kunsang Lama 236 Kuo’s Jewelry 192 Laura Gasparrini 128 Laura Moore 231 Lazuli Gems and Beads 192-191 Leanne Huddleston Santa Rosa #B Leksart 116 Sew Silly Hats 237 Leslie Hamilton 112 Sharon Gellerman 178 Lidi Fidan-Chule 190 Shell La Vie 201 Linda Lopez 224 Sherry Bittner 234 Lorraine Clemmons 102 Silver Egypt 120 Mame Diarra Style 110 Sister Stones 196-195 Marion Hamilton 103 Soul Currents, LLC 101 Mary Ayres 149/145 Southern Sky Gems 185 Meegan Hamilton 189 Stephen Hayes 245 Michelle Cameron 104 stones, glass, + bones 110 Michelle Davis 232 String Bead Santa Rosa #B Michelle Marchiano Santa Rosa #B Sunlight Gems 174-172 Micro-Tools 211-212 Surrealist USA 140 Miguel Torres Designs 109 Tamara Ward 140 Misti Cleveland 238 Tangible Light Studio 232 Monty Clark 184 Tara Murano Beads 199 Mountain Robbins Studio 105 The Happy Beader 238 Mythos 202 The Hayes Collection 245 Nancy Uhlmann 157 The Mandrel 153 Nimaga Import 181 Timmy Woods Beverly Hills 147 Om Tara! 128 Unique Designs by Merilou 1 32 Opal Beads 186 URU Clothing 104 Pacific Silverworks 223 Wayne Robbins 105 Patricia Healey 169 What’s Your Animal 189 Pema Arts 125-126 Wristy Business 112 Planet Chic Imports 149/145 Yellow House Designs 167 Prima Donna Beads 153 YevArts Wearable Art Jewelry 154 Pure Intent 200 YongJia Co. 226 Workshops Heavy Wire Multi-Bangle Cuff Atalia Molaro 2pm - 5pm Thurs, 29th Fees: $69 Santa Rosa Room #B Beautiful Bracelet Kim Fox 6pm - 9pm Stackables Fees: $85 including tools Michelle Marchiano 2pm - 5pm San Miguel Room #B Fees: $69 Santa Rosa Room #B Fri, 30th VIKING KNIT BRACELET Rose Klapman 2pm - 5pm Fees: $60 Kit fee $50 Kumihimo Double Strand Mission Board Room Bracelet Kim Fox 9am - 1pm Spirals & Swirls Earrings Fees: $75 kit fee $50 Misti Cleveland 3:45pm-4:45pm San Miguel Room #B Fees: $25 supply fee $14 San Miguel Room #B Ball Gown Pendant Misti Cleveland 9am - 3pm Batty for Halloween Earrings Fees: $79 Kit fee $22 Misti Cleveland 5pm - 6pm San Miguel Room #B Fees: $25 Supply fee $10 San Miguel Room #B Botanics in Bronze using torch friable Prometheus Free Demo & Make & Takes! Bronze Clay 5pm - 7pm Fees: $0 free demo! Laura Moore 9am - 4pm Registration Tables Fees: $69 Kit fee $25 San Miguel Room #B Demo of Raised Texture Beading & Free-Form peyote Make Your Own Findings! Jody Young 5pm - 7pm Atalia Molaro 10am - 1pm Fees: $0 free demo! Fees: $69 San Miguel Room #B Santa Rosa Room #B Crinkle Cuff Etching Leanne Huddleston 6pm - 9pm Michelle Marchiano 10am - 1pm Fees: $69 Santa Rosa Room #B Fees: $69 Santa Rosa Room #B Torch Soldering Carole Witt 6pm - 10pm Bejeweled Leather Lace Cuff Fees: $69 Santa Rosa Room #B Laura Gasparrini 10am - 1pm Fees: $75 materials included San Miguel Room #B Sat, 31st BEAD CROCHET NECKLACE Organic Metal Patinas Rose Klapman 11am - 1:30pm Michelle Marchiano 10am - 1pm Fees: $60 Kit fee $40 Fees: $69 Mission Board Room Santa Rosa Room #B Workshops Wire Wrapped Basic Bangle Etching Merilou Jenkins 10am - 1pm Rose Klapman 2pm - 5pm Fees: $85 Kit fee $50 Fees: $60 Booth #132 Mission Board Room Pearl Knotting Wire Wrapped Basic Pendant Leanne Huddleston 10am - 1pm Merilou Jenkins 2pm - 5pm Fees: $69 Fees: $85 Kit fee $50 Santa Rosa Room #B Booth #132 Wire Wrapping 101 Soldered Chain! Dutch Stowe 10am - 1pm Michelle Marchiano 2pm - 5pm Fees: $45 Kit fee $15 Fees: $69 Booth #114 Santa Rosa Room #B Leather and Embellished MAKING ART GLASS Herringbone Stitch Cuff Carole Witt 2pm - 5pm Laura Gasparrini 10am - 2pm Fees: $69 Kit fee $20 Fees: $75 materials included Booth #125-126 San Miguel Room #B Snap Set Swirl Ring Raised Texture Pendant Dutch Stowe 2pm - 5pm Jody Young 10am - 4pm Fees: $35 Kit Fee $25 Fees: $165 Booth #114 San Miguel Room #B Riveting Viking Knit Bracelet Leanne Huddleston 2pm - 5pm Paula Gregoire-Jones Fees: $69 Ongoing all day Santa Rosa Room #B Fees: $20 Materials Fee $15 $15 Viking Knit Draw Plate Marbled Resin Class Booth #233 Misti Cleveland 3:15pm - 5:15pm Fees: $59 supply fee $24 Ghosties and Goulies and San Miguel Room #B Long Legged Beasties....! Carole Witt 11am - 12pm Spirals & Swirls Earrings Fees: $0 FREE CLASS! Misti Cleveland 3:45pm - 4:45pm Booth #125-126 Fees: $25 supply fee $14 San Miguel Room #B Macrame Bracelet with Nylon Cord Batty for Halloween Rose Klapman 11:00am - 1:30pm Earrings Fees: $70 includes supplies Misti Cleveland 4:30pm - 5:30pm Mission Board Room Fees: $25 Supply fee $10 San Miguel Room #B “Dichrauxic” (Faux Dichroic) Pendant Know Your Saw Misti Cleveland 12:45pm - 2:45pm Atalia Molaro 6pm - 9pm Fees: $59 supply fee $21 Fees: $69 San Miguel Room #B Santa Rosa Room #B Workshops SHIBORI SILK WRIST WRAP FINISHING Your Pieces! Jody Young 10am - 4pm Carole Witt 6pm - 9pm Fees: $175 kit included Fees: $69 San Miguel Room #B Santa Rosa Room #B “Dichrauxic” (Faux Dichroic) Bronze Clay Pendant Michelle Marchiano 6pm - 9pm Misti Cleveland 10:15am - 12:15pm Fees: $69 Santa Rosa Room #B Fees: $59 supply fee is $21 Booth #125-126 Elegant Wire Leanne Huddleston 6pm - 9pm Macrame Bracelet with Fees: $69 Nylon Cord Santa Rosa Room #B Rose Klapman 12pm - 3pm Fees: $70 includes supplies Sun, 1st Mission Board Room Marbled Resin Class WIRE WRAPPED EARRINGS Misti Cleveland 12:45pm - 2:45pm Merilou Jenkins 10am - 1pm Fees: $59 supply fee $24 Fees: $85 $50 kit fee Booth #125-126 Booth #132 Clusters Torch Enameling Leanne Huddleston 2pm - 5pm Carole Witt 10am - 1pm Fees: $69 Fees: $69 Santa Rosa Room #B Santa Rosa Room #B Wire Leaf Earrings Working with Leather – Dutch Stowe 2pm - 5pm Macramé Bracelets! Fees: $35 Materials Fee $10 Laura Gasparrini 10am - 1pm Booth #114 Fees: $75 Includes kit San Miguel Room #B Torch Soldering Carole Witt 2pm - 5pm Making Unique Fees: $69 Leather Findings Santa Rosa Room #B Leanne Huddleston 10am - 1pm Fees: $69 Batty for Halloween Earrings Santa Rosa Room #B Misti Cleveland 3:15pm - 4:15pm Fees: $25 Supply fee $10 Three Daises Pendant Booth #125-126 Laura Moore 10:00am - 2:00pm Fees: $55 $25 Spirals & Swirls Earrings San Miguel Room #B Misti Cleveland 4:30pm - 5:30pm Fees: $25 supply fee $14 Beauty Of The Sea Nautilus Booth #125-126 Shell Pendant Jody Young 10:00am - 4:00pm Free Classes and demos Fees: $175 » includes kit listed on back page San Miguel Room #B Layout Demos Friday Night Preview Schedule Watch demos on Raised Texture Beading Techniques and Free-Form peyote stitch Or make your own metal stampings & findings at one of the free make & takes!! Reception with wine & hors d’oeuvres from 5 - 7pm Fashion show presented by August Finch Events A raffle drawing for great prizes such as Workshop Package ($900 value); Carole Witt Enameled Necklace ($200 value); URU Clothing Silk Scarf ($100 value); Mountain Robbins Studio Sculptural Earrings ($75 value); and much more Trick or Treat giveaways (beads, gemstones, supplies, and other small items) Sponsored by Ghosties and Goulies and Long Legged Beasties....! Join Carole Witt for this Free Class Oct 31, 11am - 12pm Make these silly, fun glow-in-the-dark ghoulies. A fast, fun & easy mini-workshop great for children of all ages! Ongoing Demos Jewelry Tool Demonstrations String Bead Staff Ongoing - Santa Rosa Room #B Daily demonstrations of how to use the Vintaj Stamp Machine and other jewelry tools to create earrings, metal findings, pendants and more! Wristy Business Free Demos! Leslie Hamilton Ongoing - Booth #112 Daily demonstrations on wire wrapping & basic jewelry making techniques! Om Tara Crimping Techniques Free Demo! Laura Gasparrini Ongoing - Booth #128 Daily demonstrations on how to use the tools for basic jewelry making techniques! Create Your Own Pendants! Anne Englehardt Ongoing - Booth #182 Learn to make your own “glass pendants” with Art Images, paper ephemera, collage or family photos! Viking Knit Bracelet Variations Paula Gregoire-Jones Ongoing - #233 Learn to make a single knit Viking Knit bracelet.
Load more

Recommended publications
  • Ghana's Glass Beadmaking Arts in Transcultural Dialogues
    Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985).
    [Show full text]
  • Vintage, Antique Textiles & Passion for Fashion, Tue, 15 June 2021 10:00
    Vintage, Antique Textiles & Passion for Fashion, Tue, 15 June 2021 10:00 1 Dorset buttons, late 18th-early 19th century, 5 Eight silk bodices, mainly 1860s, four examples comprising: blue haberdashery card of 36 'high with padded breast cups to the interior, including top' buttons, of conical shape worked in fine a matching day and evening bodice of green silk linen thread; together with a card applied with 72 woven with black diamond motif; and an 1810s 'Singleton' buttons (2) example of changeant silk in shades of red and These buttons were made in Dorset somewhere green, busts approx 76-86cm, 30-34in (8) between the early 18th century and early 19th (Dimensions: busts approx 76-86cm, 30-34in) century. High Tops were first made in (Qty: 8) £400-600 Shaftsbury, Dorset between 1680 and 1700. 6 A Japonisme printed cotton undress robe, late They were made from a disc of horn from the 1870s-early 1880s, with Chinese chang-fu Dorset Horn sheep. It was covered by a small inspired wrap-over front neckline, concealing piece of linen and worked with a needle and buttons beneath, two slit pockets to rear hips, thread to make a conical shaped button. These the bodice lined in striped cotton, chest approx were used on fashionable clothing from the late 92cm, 36in (Dimensions: chest approx 92cm, 17th to early 18th century. They were 36in ) £200-300 superseded by “Singleton” buttons, which have wire rings covered with linen and tiny 7 A group of Victorian clothing, 1850s-1880s, (microscopic!) stitching with French knots at the comprising: four dresses, including one of merlot centre which were commonly used on shirts, silk and cut-velvet, 1880s, and an altered mid- underwear and fine gowns.
    [Show full text]
  • Glossary of Jewellery Making and Beading Terms
    Glossary of Jewellery Making and Beading Terms A jewellery glossary of beading terms and jewellery making terminology combining clear images with easy to understand dictionary like definitions. This bead glossary also provides links to more in depth content and bead resources. It can be used as a beading A to Z reference guide to dip into as needed, or as a beading and jewellery glossary for beginners to help broaden beading and jewellery making knowledge. It is particularly effective when used alongside our Beading Guides, Histories, Theories and Tutorials, or in conjunction with our Gemstones & Minerals Glossary and Venetian Glass Making Glossary. A ABALONE These edible sea creatures are members of a large class of molluscs that have one piece shells with an iridescent interior. These shells have a low and open spiral structure, and are characterized by several open respiratory pores in a row near the shell’s outer edge. The thick inner layer of the shell is composed of a dichroic substance called nacre or mother-of-pearl, which in many species is highly iridescent, giving rise to a range of strong and changeable colors, making it ideal for jewellery and other decorative objects. Iridescent nacre varies in colour from silvery white, to pink, red and green- red, through to deep blues, greens, and purples. Read more in our Gemstones & Minerals Glossary. Above are examples of Paua and Red Abalone. ACCENT BEAD Similar in purpose to a Focal Bead, this is a bead that forms the focus for a piece of jewellery, but on this occasion rather then through its size, it is usually through contrast.
    [Show full text]
  • ACKNOWLEDGEMENT Preparing a Project of This Nature Is an Arduous Task and I Was Fortunate Enough to Get Support from a Large Number of Persons
    PREFACE I am pleased to present the project report “Gold Jewellery” before my respected readers. It is a humble attempt from my part to judge consumer behavior for the effectiveness of existing and self designed ad- copy of Spices. This study deals with a number of topics, which will help the reader understand and learn how consumers make consumption decisions regarding Spices. Language of the report is simple and lucid. Attempts have been made to arrange the subject matter in a systematic and well-knit style. Efforts have also been made to deal with all topics precisely and gently. I express thanks to all those prolific teachers and experts of management whose theories and ideas have been incorporated in this project report. Despite of this it is very difficult to be perfect to the core and mistakes do creep in for which I extend my apology and carve the hospitality of the readers to point them out. Their criticism and suggestions for the improvement in future are welcomed. VANDNA PATHAK B.COM VTH SEM ACKNOWLEDGEMENT Preparing a project of this nature is an arduous task and I was fortunate enough to get support from a large number of persons. Iwish to express my deep sense of gratitude to all those who generously helped in successful completion of this report by sharing their invaluable time and knowledge. It is my proud and previledge to express my deep regards to Respected Mrs. Anjali Namdeo Thakur FeranSingh Art and Commerce Collage Shahpur for allowing me to undertake this project. I feel extremely exhilarated to have completed this project under the able and inspiring guidance of Mrs.
    [Show full text]
  • Beads in the Straits Settlements: Trade and Domestic Demand, 1827-1937
    BEADS: Journal of the Society of Bead Researchers Volume 15 Volume 15 (2003) Article 5 1-1-2003 Beads in the Straits Settlements: Trade and Domestic Demand, 1827-1937 Hwei-Fe'n Cheah Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Cheah, Hwei-Fe'n (2003). "Beads in the Straits Settlements: Trade and Domestic Demand, 1827-1937." BEADS: Journal of the Society of Bead Researchers 15: 23-39. Available at: https://surface.syr.edu/beads/ vol15/iss1/5 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. BEADS IN THE STRAITS SETTLEMENTS: TRADE AND DOMESTIC DEMAND, 1827-1937 Hwei-Fe'n Cheah Beads have long been a part of the exchange of goods in Southeast 2002: 172). The pattern of bead trade was obviously not Asia. lndo-Paci.fic beads were traded in Southeast Asia and static and hints at the possibility of dynamic developments colored beads from China were exchanged for spices and forest in bead trade throughout the 19th and 20th centuries. This products from the Indonesian archipelago. The Straits Settlements, article draws on various statistical sources on bead trade comprising the ports of Singapore, Malacca, and Penang, was to examine the role of Singapore and the other Straits formed in 1826, to consolidate the trading position of the British Settlements ports in regional bead trade from 1827 to 1937, in Southeast Asia.
    [Show full text]
  • Murano Beads Interweave 2004
    Murano beads/10/13/04 Joanne Cleaver 1927 N. 52nd St. Milwaukee, WI 53208 414.259.7928 [email protected] By Joanne Cleaver In Venice, fire and water meet…and make glass beads with the temper of both. Venetian glass is world renowned for its frozen fluidity. Whether it’s bent into long, sinuous leaves that petal a flower fantasy Baroque chandelier or form a huge, single, clear drop encasing colored waves, the glass twirled from Venetian furnaces has a style and pedigree that can’t be matched anywhere else. As miniatures of the craft, Venetian glass beads crystallize all the trademark modes of glassmaking. From tiny pearlized globes frosted with lacy lines of gold to smooth modern pendants and drops with all the colors of the sky swirling in them, Venetian beads are a perfect souvenir for those who love glass, beads, or both. With water all around, the islands of Venice were a perfect setting for the hot, grueling work of blowing glass. But as the craft developed in the high middle ages, even a lagoon a few steps away wasn’t enough to quell medieval residents’ fear of fire. In the thirteenth century, glassmaking was restricted by law to the island of Murano, one of the many islands of Venice. A 15-minute boat ride from the northern end of the city, it is the village version of Venice, where canals are crowded by practical flat-bottomed barges hauling construction supplies and taped boxes, not the elegant gondolas of the city. Venice is thick with graceful buildings, ornate churches, and ritzy shops.
    [Show full text]
  • Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead
    Beadwork Index through April/May 2017 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 21st century designs 21st century jewelry: the best of the 500 series.
    [Show full text]
  • How Beads Are Made GBI Knowledge Center Introduction
    How Beads Are Made GBI Knowledge Center Introduction There are a number different ways of making beads from glass. The three principle methods are described in this chapter. Beads can be made 1. by winding molten glass to form a bead (Wound); or 2. by drawing molten glass to form a long thin tube, which can then be cut into many beads, (Drawn); or 3. by placing glass in moulds and heating in a kiln until it fuses together (Fused). There are two variations on these techniques: first, with mould pressed beads, the molten glass is forced into a mould to give beads a certain shape, and to speed up the process of producing beads; second, mosaic beads are made by fusing slices of drawn canes to a wound or drax, n glass body. One can also blow molten gJass to make beads, but such beads are fragile, and rarely survive for archaeologists to find, so this method is not dealt with here. The method of making beads in Ghana is described here in the most detail, as this method is only to be found in Ghana and Mauritania: in all other places beads are made by working with molten glass. Contemporary methods of making beads are described, with illustrations, and two historical accounts of bead making are reprinted for comparison. The method of making beads is also used as the primary criterion for classifying beads, both by others (Beck 1928, Kidd and Kidd 1970, Karklins 1985) and in the classification developed for the beads in the Museum of Archaeology.
    [Show full text]
  • The Helen Larson Private Collection Important Period, Couture and Historically Significant Costume
    The Helen Larson Private Collection Important Period, Couture and Historically Significant Costume Sale Date Saturday April 28, 2018 at 10AM Preview Times Thursday April 26, 2018 by appointment only Friday April 27, 10AM-6PM Saturday April 28, 8AM-10AM Sale Location New Hope Eagle Fire Co. Exhibition Hall 46 North Sugan Road New Hope PA 18938 Every lot in this catalog is illustrated with multiple detailed images on our website www.whitakerauction.com The Charles A. Whitaker Auction Co. holds semi-annual Couture, Vintage Clothing, Ethnographic Art and Textile Auctions in the Spring and Fall. For information on future sales or consigning to one of our sales please contact us for a free consultation Charles A. Whitaker Auction Co. Auctioneers and Appraisers of Fine Art, Antiques, Period Costume, Textiles 1002 West Cliveden Street Philadelphia, PA. 19119-3701 215-817-4600 www.whitakerauction.com Helen Larson and James Laver of Victoria and Albert Museum, 1965 The HELEN LARSON Private Collection Helen Larson was a passionate collector of both fashion and history. She, with the assistance of her close friend Doris Langley Moore - founder of The Costume Museum, Bath, England - assembled a massive collection over a 50 year career beginning in the 1940’s. There are many lots offered here that are illustrated in Moore’s The Woman in Fashion and The Child in Fashion. The Helen Larson Private Collection spans several centuries and offers collectors, historians, and institutions a unique opportunity to acquire historical, royal and haute couture with a secure chain of provenance. Many lots include copies of correspondence between Larson and Moore as well as copies of invoices and auction records.
    [Show full text]
  • Study Days on Venetian Glass. the Origins of Modern Glass Art in Venice and Europe
    ISTITUTO VENETO DI SCIENZE, LETTERE ED ARTI ATTI TOMO CLXXV CLASSE DI SCIENZE FISICHE, MATEMATICHE E NATURALI Fascicolo I CLXXIX ANNO ACCADEMICO 2016-2017 VENEZIA 2017 ISSN 0392-6680 © Copyright Istituto Veneto di Scienze, Lettere ed Arti - Venezia 30124 Venezia - Campo S. Stefano 2945 Tel. 041 2407711 - Telefax 041 5210598 [email protected] www.istitutoveneto.it Progetto e redazione editoriale: Ruggero Rugolo Direttore responsabile: Francesco Bruni Autorizzazione del Tribunale di Venezia n. 544 del 3.12.1974 stampato da CIERRE GRAFICA - Sommacampagna (VR) 2017 ISTITUTO VENETO DI SCIENZE, LETTERE ED ARTI STUDY DAYS ON VENETIAN GLASS THE ORIGINS OF MODERN GLASS ART IN VENICE AND EUROPE. ABOUT 1900 edited by ROSA BAROVIER MENTASTI and CRISTINA TONINI VENEZIA 2017 Si raccolgono qui alcuni dei contributi presentati dal 2 al 4 marzo 2016 al Corso di alta formazione organizzato dall’Istituto Veneto sul tema: Study Days on Venetian Glass. The Origins of Modern Glass Art in Venice and Europe. About 1900. Giornate di Studio sul vetro veneziano. Le origini della vetraria moderna a Venezia e in Europa. 1900 circa. higher education course With the support of Corning Museum of Glass Ecole du Louvre Fondazione Musei Civici di Venezia LE STANZE DEL VETRO Venice Foundation Victoria & Albert Museum Organised with the collaboration of AIHV – Association Internationale pour l’Historie du Verre – National Italian Committee LAMA – Laboratorio Analisi Materiali Antichi dell’Università IUAV, Venezia Museo del Vetro, Fondazione Musei Civici di Venezia
    [Show full text]
  • Sworders Cambridge Road Stansted Mountfitchet Objects of Desire Essex CM24 8GE United Kingdom Started 18 Oct 2017 10:00 BST
    Sworders Cambridge Road Stansted Mountfitchet Objects of Desire Essex CM24 8GE United Kingdom Started 18 Oct 2017 10:00 BST Lot Description 1000 A Moschino black patent and logo fabric handbag, with heart-shaped keyring and twist metal lock, with dust bag A Chanel black caviar lambskin leather 'Kelly' style handbag, with two hard handles and double 'C' locking, interior pocket stamped 1001 'Chanel', authenticity number 5211844 An Hermès 'So-Kelly 22' bag, in black Togo calfskin, zip front pocket, adjustable strap, embossed 'Hermès-Paris', in silver and 1002 palladium-plated hardware, with dust bag and box A Gucci crocodile 'Aviatrix Boston' bag, black crocodile skin with gold-toned hardware, dual flap-top handles, suede lining with interior 1003 zip, front push lock closure, with dust bag A Gucci vintage black leather handbag with techno canvas banding and gold-tone hardware, and a Gucci monogrammed canvas and 1004 techno canvas shoulder handbag (2) A Lulu Guinness 'rose flower pot' handbag, a black velvet flower pot with red velvet roses to lid, opening to reveal a 'Lulu Guinness 1005 Harrods Knightsbridge' label, and a vintage black velvet bombe-form hard case evening handbag, black velvet with gold tone and simulated pearl clasp, opening to reve ...[more] A Kate Spade black pebbled leather satchel purse handbag, with gold-tone hardware, with dust bag, and a Jaegar brown leather 1006 shopper bag, with gold-tone hardware (2) A Christian Dior black leather clutch bag, with white metal clasp and logo engraved 'Dior', stamped 'Christian
    [Show full text]
  • BEADS: JOURNAL of the SOCIETY of BEAD RESEARCHERS Volumes 1-30 (1989-2018) AUTHOR INDEX
    BEADS: JOURNAL OF THE SOCIETY OF BEAD RESEARCHERS Volumes 1-30 (1989-2018) AUTHOR INDEX The numbers following each entry indicate the volume followed by the pages. Allen, Jamey D. 2009a The Nordic Glass Bead Seminar: A Review. 21:8-11. 2009b Pumtek–An Introductory Report Upon an Unusual Class of Decorated Stone Beads. 21:5-8. Anonymous 2015 From the Past: Indians of U.S. Spurn All Beads Except Italy’s. 27:75. Atkins, Robin 2002 Beadwork of Hungary and Transylvania. 14:9-22. Baysal, Emma L. 2016 Beads at The Place of White Earth – Late Neolithic and Early Chalcolithic Aktopraklýk, North- western Turkey. 28:50-59. Beck, Horace C. 2006 Classification and Nomenclature of Beads and Pendants. 18:1-76. Billeck, William T. 2008 Red-on-White Drawn or Cornelian Beads: A 19th-Century Temporal Marker for the Plains. 20:49- 61. 2017 Flying Woman’s Beaded Cheyenne Cradleboard and Associated Bead Card from Fort Keogh, Mon- tana. 29:76-84. Blair, Elliot H. 2017 An XRF Compositional Analysis of Opaque White Glass Beads from 17th-Century Mission Santa Catalina de Guale, Georgia. 29:31-48. Blick, Jeffrey P., Richard Kim, and Tyler G. Hill 2010 Lucayan Beads from San Salvador, Bahamas (ca. A.D. 900-1500). 22:27-40. Bonannini, Alessia 2009 Venetian Glass Bead Production in the First Half of the 19th Century: Research at the Venetian National Archives. 21:11-16. Bonneau, Adelphine, Jean-François Moreau, Ron G.V. Hancock, and Karlis Karklins 2014 Archaeometrical Analysis of Glass Beads: Potential, Limitations, and Results. 26:35-46.
    [Show full text]