Leonida Leatherdale Needle Arts Library

Total Page:16

File Type:pdf, Size:1020Kb

Leonida Leatherdale Needle Arts Library Leonida Leatherdale Needle Arts Library SUBJECT AUTHOR TITLE PUBLISHER YEAR PRINTED Assissi Canetta, Alfredo (Editor) RICAMI D'ASSISI Mani Di Fata 1973 Assissi DMC Library ASSISSI EMBROIDERIES Editions Th de Dillmant 1974 Assissi Leszner, Eva Maria ASSISI EMBROIDERY B.T.Batsford Ltd 1988 Assissi Ness, Pamela Miller ASSISI EMBROIDERY Dover Publications, Inc 1979 Assissi Zimmerman, Jane D. ASSISI EMBROIDERY Self Published 1977 Banners Achen, Sven Tito SYMBOLS AROUND US Van Nostrad Reinhold 1978 Banners Alexander, Sven Tito FABRIC PICTURES Mills & Boone Limited 1968 Banners Anderson, R. W. BANNERS, BANNERS, BANNERS, ETC Christian Art Associates 1967 Banners Babington, Audrey CREATIVE WALL HANGINGS & PANELS Arco Publishing Inc 1982 Banners Ballarian, Anne FABRIC COLLAGE Davis Publications, Inc 1976 Banners Banks, Dorothy BANNERS Self Published Banners Beaney, Jan FUN WITH COLLAGE Kaye & Ward 1970 Banners Binder, Pearl MAGIC SYMBOLS OF THE WORLD Hamlyn 1973 Banners Blair, Margo BANNERS & FLAGS Harcourt Bruce Jovano 1977 Banners Brooke-Little, J.P. AN HERALDIC ALPHABET Arco Publishing Inc 1973 Banners Embroiderers' Guild of Victoria BANNER JOURNAL Self Published 2012 Banners Kay, Frances STARTING FABRIC COLLAGE Studio Vista 1969 Banners Laliberte, Norman BANNERS AND HANGINGS Reinhold Book Corporation 1966 Banners Lehner, Ernst THE PICTURE BOOK OF SYMBOLS Wm. Penn Publishing Co 1956 Banners Metzig, William HERALDRY FOR THE DESIGNER Van Nostrand Reinhold Banners Post, W. Ellwood SAINTS, SIGN & SYMBOLS Morehouse-Barlow Co 1974 Banners Shepherd, Walter SHEPHERD'S GLOSSARY OF GRPHIC SIGNS AND SYMBOLS Dover Publications, Inc 1971 Banners Sherman, Vera WALL HANGINGS OF TODAY Charles T. Branford Co 1972 Banners Sternau, Susan ART NOUVEAU SPIRIT OF THE BELLE EPOCH Todtri Productions 1976 Beadwork Baker, Arlene BEADS IN BLOOM Interweave Press 2002 Beadwork Campbell, Jean BEADWORK CREATES BEADED BAGS Interweave Press 2003 Beadwork Campbell, Jean BEADED CORDS CHAINS STRAPS & FRINGS Beadwork Magazine 2001 Beadwork Campbell, Jean BEADWORK CREATES BEADED BEADS Interweave Press 2003 Beadwork Campbell, Jean BEADWORK CREATES BRACELETS Interweave Press 2002 Beadwork Campbell, Jean BEADWORK CREATES NECKLACES Interweave Press 2002 Beadwork Clabburn, Pamela BEADWORK Shire Publications Ltd 1980 Beadwork Cook, Jeannette BEADING WITH PEYOTE STITCH Interweave Press 2000 Beadwork Dean, David BEADING IN THE NORTH AMERICAN TRADDITION Interweave Press 2002 Beadwork Edwards, Joan BEAD EMBROIDERY B.T.Batsford Ltd 1966 Beadwork Fitzgerald, Diane NETTED BEADWORK Interweave Press 2003 Beadwork Giltsoff, Natalie FASHION BEAD EMBROIDERY B.T.Batsford Ltd 1971 Beadwork Kidd, Alexandra BEAUTIFUL BEADS Chilton 1994 Beadwork Kliot, Jules & Kaethe BEAD WORK 2nd Ed Lacis 1996 Beadwork Lacroix, Grethe CREATING WITH BEADS Sterling Publishing 1969 Beadwork Olson, Gordon L. BEADS:THEIR USE BY UPPERS GREAT LAKES INDIANS Grand Rapids Public M 1977 Beadwork Pearce, Helen BEADED DIMENSIONAL EMBROIDERY Milner 2004 Beadwork Stradal, Marianne NEEDLECRAFT WITH BEADS AND CRYSTALS Mills & Boone Limited 1971 Beadwork Sustrik, Mary WITH BEADS Gemstone Press 1987 1 of 41 2020-09 Leonida Leatherdale Needle Arts Library SUBJECT AUTHOR TITLE PUBLISHER YEAR PRINTED Beadwork Thompson, Angela EMBROIDERY WITH BEADS B.T.Batsford Ltd 1987 Beadwork Vernon, Diana BEADING Clarkson Potter 1995 Beadwork White, Mary HOW TO DO BEAD WORK Dover Publications, Inc 1972 Beadwork Woodsmall, Annabel CONTEMPORARY APPLIQUED BEADWORK HTH Publishers 1979 Blackwork Altherr, Ilse REVERSIBLE BLACKWORK Self Published 1985 Blackwork Altherr, Ilse BLACKWORK & HOLBEIN EMBROIDERY Self Published 1981 Blackwork Altherr, Ilse BLACKWORK & HOLBEIN EMBROIDERY BOOK 2 Blackwork Altherr, Ilse BLACKWORK: MAKE A JOYFUL STITCH Self Published 1983 Blackwork Altherr, Ilse BLACKWORK COMPANION BOOK 3 Self Published 1999 Blackwork Altherr, Ilse REVERSIBLE BLACKWORK BOOK 1 Self Published 1978 Blackwork Anchor THE NEW ANCHOR BOOK OF BLACKWORK David & Charles 2005 Blackwork Barnett, Lesley BLACKWORK Search Press Limited 1996 Blackwork Coats Sewing Group EMBROIDERY FROM SPAIN Coats Sewing Group 1970 Blackwork Cornelius, Rosemary EXPLORING BLACKWORK Self Published 1974 Blackwork Day, Brenda BLACKWORK Guild Master Craftsman 2000 Blackwork Drysdale, Rosemary THE ART OF BLACKWORK EMBROIDERY Charles Scribner's Sons 1975 Blackwork Geddes, Elizabeth BLACKWORK EMBROIDERY Mills & Boone Limited 1966 Blackwork Geddes, Elizabeth BLACKWORK EMBROIDERY Dover Publications, Inc 1973 Blackwork Geddes, Elizabeth BLACKWORK EMBROIDERY Dover Publications, NY 1976 Blackwork Gostelow, Mary BLACKWORK B.T.Batsford Ltd 1976 Blackwork Langford, Pat EMBROIDERY IDEAS FROM BLACKWORK Kangaroo Press, Sydney 1999 Blackwork Nielen, Agnete Bech HOLBEINWORK Host & Sons Forlag 1960 Blackwork Pascoe, Margaret BLACKWORK EMBROIDERY B.T.Batsford Ltd 1986 Blackwork Perin, Laura BLACKWORK PATTERNS Self Published 2005 Blackwork Pyman, Kit (editor) BLACKWORK Search Press Limited 1979 Blackwork Scheuer, Nikki DESIGNS FOR HOLBEIN EMBROIDERY Doubleday & Company 1976 Blackwork Scoular, Marion BLACKWORK Leisure Arts 1976 Blackwork Scoular, Marion FOLIO OF BLACKWORK PATTERNS Self Published NY Blackwork Scoular, Marion WHY CALL IT BLACKWORK? Self Published 1993 Blackwork Skinner, Linn BLACKWORK FOR THE BEWILDERED Self Published 1999 Blackwork Strite-Kurz THE HEART OF BLACKWORK Self Published 1992 Blackwork White, A.V. BLACKWORK EMBROIDERY OF TODAY Mills & Boone Ltd London 1958 Blackwork Wilkins, Lesley BEGINNER'S GUIDE TO BLACKWORK Search Press Limited 2002 Blackwork Wilson, Erica THE CRAFT OF BLACKWORK & WHITEWORK Scribner 1973 Blackwork Zimmerman, Jane D. BLACKWORK EMBROIDERY PATTERNS Self Published 1975 Blackwork Zimmerman, Jane D. BLACKWORK EMBROIDERY PATTERNS Self Published 1985 Brazilian Chapman, Virginia FLOSS FLOWERS – BOOK 1 Impact Presentations 1988 Brazilian Chapman, Virginia FLOSS FLOWERS – BOOK 2 Self Published 2001 Brazilian Clark, Mary THE BOSSA NOVA ROSE & FRIENDS Self Published 1980 Brazilian Ferrell Ria JDR BRAZILIAN EMBROIDERY Self Published 1991 Brazilian Freitas, Maria THE ART OF DIMENSIONAL EMBROIDERY - 4th ED. Edmar 2002 Brazilian Freitas, Maria APPLES TO ZINNIAS Edmar 1999 Brazilian Freitas, Maria BRAZILIAN EMBROIDERY BOOK 1 Edmar 1982 2 of 41 2020-09 Leonida Leatherdale Needle Arts Library SUBJECT AUTHOR TITLE PUBLISHER YEAR PRINTED Brazilian Freitas, Maria BRAZILIAN EMBROIDERY BOOK II Edmar 1985 Brazilian Johnson, Barbara Demke BRAZILIAN EMBROIDERY INSTRUCTIONS Hawkes Publishing Inc 1980 Brazilian Kurbis, Mary DESIGNING WITH FLOWERS MBE Designs 1998 Brazilian Levine, Patricia BRAZILIAN STITCHERY INSTRUCTIONS BOOK 1 Amer. Crewel & Canvas Brazilian Schulhauser, Joyce BRAZILIAN EMBROIDERY: A BEGINNER'S NOTEBOOK P & G Enterprises Canvas & Rugs Hanley, Hope NEEDLEPOINT RUGS Charles Scribner's Sons 1971 Canvas & Rugs Kaestner, Dorothy DESIGNS FOR NEEDLEPOINT AND LATCHHOOK RUGS Charles Scribner's Sons 1978 Canvas & Rugs Lane, Maggie CHINESE RUGS DESIGNED FOR NEEDLEPOINT Charles Scribner's Sons 1975 DESIGNS & PATTERNS FROM NORTH AFRICAN CARPETS & Canvas & Rugs Revault, Jaques Dover Publications, Inc 1973 TEXTILES Canvas & Rugs Stone Patricia PORTUGUESE NEEDLEWORK RUGS Epm Publications, Inc 1981 Canvas Work Aiken, Joyce THE PORTABLE NEEDLEPOINT BOUTIQUE Taplinger 1977 Canvas Work Alderson, Chottie STITCHIN' WITH CHOTTIE' NEEDLEPOINT STITCHES Self Published 1975 Canvas Work Alderson, Chottie STITCHIN' WITH CHOTTIE: COMPOSITE STITCHES Self Published 1978 Canvas Work Alderson, Chottie STITCHIN' WITH CHOTTIE: NEEDLEPOINT GARDENS Self Published 1977 Canvas Work Alderson, Chottie STITCHIN' WITH CHOTTIE: ALQUERQUE GAME Self Published 1979 Canvas Work Ambuter, Carolyn CAROLYN AMBUTER'S COMPLETE BOOK OF NEEDLEPOINT Thomas Y. Crowell Co 1972 Canvas Work Ambuter, Carolyn THE OPEN CANVAS Workman Publishing 1982 CAROLYN AMBUTER'S EVEN MORE COMPLETE BOOK OF Canvas Work Ambuter, Carolyn Harper and Row 1987 NEEDLEPOINT Canvas Work Ambuter, Carolyn CAROLYN AMBUTER'S NEEDLEPOINT CELEBRATIONS Workman Publishing 1976 Canvas Work Ambuter, Carolyn OPEN CANVAS DESIGNS Carolyn Ambuter's Needleworks 1985 Canvas Work Archer, Kathy PERFECT NEEDLEPOINT PROJECTS St Martin's Press 1977 Canvas Work Arnold, Dennis THE NEEDLEPOINT PATTERN BOOK Willianm Morrow & Co 1974 Canvas Work Arthur, Sandra SHAPES OF NEEDLEPOINT BOOK 1 Duo Designs inc 2010 Canvas Work Baker, Muriel NEEDLEPOINT: DESIGN YOUR OWN Charles Scribner's Sons 1974 Canvas Work Baker, Muriel L. THE ABC'S OF CANVAS EMBROIDERY Old Sturbridge, Inc 1968 Canvas Work Baker, Muriel L. THE XYZ'S OF CANVAS EMBROIDERY Old Sturbridge, Inc 1971 Canvas Work Barnes, Charles BARGELLO AND RELATED STITCHERY Hearthside Press, Inc. 1971 Canvas Work Barnes, Charles 120 NEEDLEPOINT DESIGN PROJECTS Crown Publishers Inc 1974 Canvas Work Bates, Susan PILLOW TALK Susan Bates 1986 Canvas Work Beinecke, Mary Ann BAISIC NEEDLERY STITCHES ON MESH FABRICS Dover Publications, Inc 1973 Canvas Work Berman, J. & Lazarus, C. THE MINIATURE NEEDLEPOINT COLLECTION Ebury Press London 1994 Canvas Work Blackburn, Robert FATHER B'S BOOK OF STITCHES Self Published 1988 Canvas Work Blackburn, Rev. Robert FATHER B'S 21st CENTURY BOOK OF STITCHES Rainbow Gallery 2000 Canvas Work Bodi, Jack et al A GARDENER'S BOOK OF NEEDLEPOINT Simon & Schuster 1978 Canvas Work Borssuck, B. 1001 DESIGNS FOR NEEDLEPOINT & CROSS STITCH Arco Publishing Inc 1977 Canvas Work Boyles, Margaret AMERICAN INDIAN NEEDLEPOINT WORKBOOK Collier Books 1976 Canvas Work Boyles, Margaret BARGELLO AN EXPLOSION IN COLOUR Macmillan
Recommended publications
  • HAND SEWING NEEDLES Quality Makes the Difference
    No. 14 HAND SEWING NEEDLES Quality makes the difference. Hand sewing needles Hand sewing needles Embroidery needles Embroidery needles Sewing, embroidery and darning needles. • Sharps • Self-threading needles • Chenille • Tapestry Stitch by stitch – perfect and precise. • Betweens • Jersey needles • Crewel • Smyrna • Millinery needles Centuries of experience in metal processing, combined with Hand sewing needles: For fine embroidery we have a special needle known The higher the needle number, the finer and shorter the latest production technology available today, make Prym as a crewel needle. These slender needles with a the needle. Betweens have the same wire diameter somewhat larger eye can take one or more threads sewing, embroidery and darning needles perfect precision as the respective no. in sharps but they are approx. of stranded cotton, e.g. for white linen embroidery. Tapestry needles (with blunt point) are most tools. The needle range from Prym sets international quality 7 mm (1/4”) shorter. Both needle types are available • burr-free and finger friendly head As they correspond in length and gauge with the sharps suitable for counted thread embroidery on coarse- in packs in single sizes as well as in assorted sizes. standards – also in the variety of the assortment. Here, specialists needles, and are also easier to thread, they are often weave or even-weave fabrics. For closely woven will find their special needles. • silver or gold smooth eye facilitates used as a sewing needle. fabrics we recommend the use of sharp-pointed chenille needles. threading and avoids thread damage Sharps are our standard Both needles have large eyes which are suitable sewing needles, used to for thicker thread or wool.
    [Show full text]
  • 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.
    [Show full text]
  • Cora Ginsburg Catalogue 2015
    CORA GINSBURG LLC TITI HALLE OWNER A Catalogue of exquisite & rare works of art including 17th to 20th century costume textiles & needlework 2015 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] NEEDLEWORK SWEET BAG OR SACHET English, third quarter of the 17th century For residents of seventeenth-century England, life was pungent. In order to combat the unpleasant odors emanating from open sewers, insufficiently bathed neighbors, and, from time to time, the bodies of plague victims, a variety of perfumed goods such as fans, handkerchiefs, gloves, and “sweet bags” were available for purchase. The tradition of offering embroidered sweet bags containing gifts of small scented objects, herbs, or money began in the mid-sixteenth century. Typically, they are about five inches square with a drawstring closure at the top and two to three covered drops at the bottom. Economical housewives could even create their own perfumed mixtures to put inside. A 1621 recipe “to make sweete bags with little cost” reads: Take the buttons of Roses dryed and watered with Rosewater three or foure times put them Muske powder of cloves Sinamon and a little mace mingle the roses and them together and putt them in little bags of Linnen with Powder. The present object has recently been identified as a rare surviving example of a large-format sweet bag, sometimes referred to as a “sachet.” Lined with blue silk taffeta, the verso of the central canvas section contains two flat slit pockets, opening on the long side, into which sprigs of herbs or sachets filled with perfumed powders could be slipped to scent a wardrobe or chest.
    [Show full text]
  • Crewel Embroidery 0F Colonial New England
    o o . 1‘ ‘ lb ‘ \w‘.‘ v ‘ " O . .1' '-' «7A :1. 90;": “W;ul.\u’$31.?l'“.‘ 1),. 3:10; 'M " d5‘_);”: ”‘22. ‘ '11“. 5"? $0.053“: . ~ .t"""\" 0‘70' ' ‘. ""7"! ( J::T.m4‘u '.""‘:.O-c :cnou ~11 ‘5'. u o. _'.‘ "' "‘:"-: .t-‘. _ n J; :ln'. ‘“:.;.’ ‘u‘ 9“ .‘ A.“ '. .. *“." " V'W‘ ’:".I|\~u"oOI(|‘. ""h’" '...Iigv-I . 01.11 f"-"'-":""‘°uo‘f.‘ .. - . ‘ p...‘ ‘I . ‘ a " . ...<o CREWEL ... EMBROIDERY THE Thesis MICHIGAN ENVIRONMENTAL MARY for 0F LYNNE the STATE COLONIAL 1975 Degree RICHARDS UNIVERSIIY INFLUENCES ovo- Of NEW M. cOc "9...! A ENGLAND -~ 0 ’Ipup~ ”‘0... l 00"! . AND I'ocumnmnwwwvwv- - Q . o . IIIII IIIIIIIOO PLACE II RETURN BOX to remove this Moat from yout record. To AVOID FINES Mum on or More data duo. DATE DUE DATE DUE DATE DUE — LI- * Om MSU Is An Affirmative MINI/Emil Opportunity Institution Wanna-9.1 ABSTRACT CREWEL EMBROIDERY OF COLONIAL NEw ENGLAND AND THE ENVIRONMENTAL INFLUENCES By Mary Lynne Richards The purposes of this study were: 1) to describe the characteristic colors, stitches and designs found in crewel embroidery created within New England during the colonial period, 2) to analyze these characteris- tics in relation to the dates and locations of the sample embroideries, and 3) to analyze the characteristic designs in relation to aspects of the colonial New England physical environment. The sample was composed of fifty crewel embroidered items, believed to have been created between 1620 and 1781, within the geographic boundaries of New England. A data sheet, plus color slides or black and white sketches, were used to record information pertaining to each embroidered item.
    [Show full text]
  • 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]
  • JANICE WILLIAMS THREADS - Shiny & Glittery Threads Etc
    CREATIONS nature Silken Strands & Fantasy Fabrics JANICE WILLIAMS THREADS - shiny & glittery threads etc... GOLDWORK AND JAPANESE EMBROIDERY Natesh Indian Rayons - 300+ colours. 95 Multi. We stock a wide range of traditional Madeira - Rayons, Metallics, Pure Silks & Lana. and contemporary metal threads; DMC, Perlé (especially 8’s & 12’s), Japanese metallics, including fine, coloured metallics, GIMP, Aquafilm, Solvy, Rajmahal. and over 200 shades of flat silks; YLI, Seta Reale, traditional & glass shisha Metallic skin in gold, silver, copper, and pewter; Books on goldwork and other embroidery techniques. Visitors by Appointment only please We also stock the full range of Appleton’s crewel wool. Lots more as well: www.silkenstrands.co.uk Prompt mail order service E: [email protected] Please send 2 x 1st class stamps for our price list which includes details of the GOLDWORK GUILD magazine and events 01248 362361 Sheldon Cottage Studio (W), Epney, Gloucester, GL2 7LN The Spaldings, Silken Strands, 20 Y Rhos, Bangor, LL57 2LT Tel/Fax: 01452 740639 Visitors by appointment only ADVERTISE Not just for lace... Huge range of threads Threads - Sewing cotton Tools - Tatting shuttles HERE FROM - Fine crochet cotton - Scissors Mail Order & Online Shopping - Perle cotton - Pins and needles Suppliers of hand wound packs - Silks Mounting - Frames, velour of pure silk thread in beautiful JUST £40 - Linen …and lots more! colour schemes • Topics Connoisseur Range • Ribbons Call us now on - Metallic E: [email protected] Call on 01425 483450 www.mulberrysilks- 01395 233 247 85 North Poulner Road, Ringwood, Hants BH24 3LA patriciawood.com Email: [email protected] 2 The Old School, Stratford Road, Shipston-on-Stour, CV36 4AU www.claireslace.co.uk APPLETON’S WOOLS Shade Cards and complete range of 4ply tapestry and 2ply crewel skeins from stock.
    [Show full text]
  • Fifteenth Century Literary Culture with Particular
    FIFTEENTH CENTURY LITERARY CULTURE WITH PARTICULAR* REFERENCE TO THE PATTERNS OF PATRONAGE, **FOCUSSING ON THE PATRONAGE OF THE STAFFORD FAMILY DURING THE FIFTEENTH CENTURY Elizabeth Ann Urquhart Submitted for the Degree of Ph.!)., September, 1985. Department of English Language, University of Sheffield. .1 ''CONTENTS page SUMMARY ACKNOWLEDGEMENTS ill INTRODUCTION 1 CHAPTER 1 The Stafford Family 1066-1521 12 CHAPTER 2 How the Staffords could Afford Patronage 34 CHAPTER 3 The PrIce of Patronage 46 CHAPTER 4 The Staffords 1 Ownership of Books: (a) The Nature of the Evidence 56 (b) The Scope of the Survey 64 (c) Survey of the Staffords' Book Ownership, c. 1372-1521 66 (d) Survey of the Bourgchiers' Book Ownership, c. 1420-1523 209 CHAPTER 5 Considerations Arising from the Study of Stafford and Bourgchier Books 235 CHAPTER 6 A Brief Discussion of Book Ownership and Patronage Patterns amongst some of the Staffords' and Bourgchiers' Contemporaries 252 CONCLUSION A Piece in the Jigsaw 293 APPENDIX Duke Edward's Purchases of Printed Books and Manuscripts: Books Mentioned in some Surviving Accounts. 302 NOTES 306 TABLES 367 BIBLIOGRAPHY 379 FIFTEENTR CENTURY LITERARY CULTURE WITH PARTICULAR REFERENCE TO THE PATTERNS OF PATRONAGE, FOCUSSING ON THE PATRONAGE OF THE STAFFORD FAMILY DURING THE FIFTEENTH CENTURY. Elizabeth Ann Urquhart. Submitted for the Degree of Ph.D., September, 1985. Department of English Language, University of Sheffield. SUMMARY The aim of this study is to investigate the nature of the r61e played by literary patronage in fostering fifteenth century English literature. The topic is approached by means of a detailed exam- ination of the books and patronage of the Stafford family.
    [Show full text]
  • RSN Annual Review 2018-2019 View
    RSN Annual Review 2018-2019 1 Mission The RSN’s mission is to teach, practise and promote the techniques of hand embroidery, in both historical and contemporary contexts, to keep the art of hand embroidery alive. Vision The RSN’s vision is to be the best school of hand embroidery in the world: a school which celebrates tradition and inspires the new, through its teachers, students, programmes and projects. An organisation that is recognised for its embroidery knowledge and reference resources as much as its teaching. Values The RSN’s core values, which underpin everything we do, are Quality, Tradition and Innovation. Aware of where we have come from, but always looking to the future in new ways and always operating at a high level of performance. Public Benefit The RSN believes that it is important to engage with the Court: Animals in Embroidery and The Embroidered public and does this in a number of ways. During 2018- Home both of which brought in a wide range of visitors 19 these have included: including WIs, Embroiderers’ Guilds, U3A, special interest groups, Arts Society groups and individual * Working with an increasing number of museum visitors from all over the world. partners including, new for this year, the D-Day Story * The CE has lectured nationally and internationally on Museum in Portsmouth which displays the Overlord the RSN’s history, the work of its Studio and especially Embroidery, made by the RSN in the late 1960s-early the work of its students including at Winterthur in the 1970s, and the Victoria and Albert Museum.
    [Show full text]
  • 7. Constructing a Vocabulary Or Authority
    7. Constructing a Vocabulary or Authority Constructing a rich and complex controlled vocabulary or authority is a time-consuming and labor-intensive process. However, the benefits are worth the cost, because the resulting vocabulary helps to ensure consis- tency in indexing and facilitates successful retrieval. It also saves labor, because catalogers do not have to repeatedly record the same information. The issues discussed in this chapter concern both the construction of a local authority and the construction of a new vocabulary for broader use. Further information is found in Chapter 6: Local Authorities. Given that an authority in this context is also a kind of vocabulary, both are intended by the use of the term vocabulary below. 7.1. General Criteria for the Vocabulary Before beginning the project, the creators of the vocabulary must agree upon and document the intended compliance with standards, construc- tion methods, plans for maintenance, desired structure, types of rela- tionships, display formats, and policies regarding compound terms, true synonymy, and types of acceptable warrant. A first step in resolving these issues is to determine the purpose, scope, and audience of the vocabulary. 7.1.1. Local or Broader Use Is the vocabulary intended strictly for local use or to be shared in a broader environment? Local authorities should be customized so that they work well with the specific situation and the specific collection or collections at hand. Each institution should develop a strategy for creating local authorities customized for their specific collections. However, if the collection is or will be queried in consortial or federated environments, controlled vocabularies should be customized for retrieval across different collections; depending upon the particular situ- ation, the requirements are different and the terminology is broader or narrower in scope.
    [Show full text]
  • Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Spring 2016 Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 28:1 — Spring 2016" (2016). Textile Society of America Newsletters. 73. https://digitalcommons.unl.edu/tsanews/73 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 28. NUMBER 1. SPRING, 2016 TSA Board Member and Newsletter Editor Wendy Weiss behind the scenes at the UCB Museum of Anthropology in Vancouver, durring the TSA Board meeting in March, 2016 Spring 2016 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Caroline Charuk (Membership & Communications Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives.
    [Show full text]
  • 186 C Ambuter the Open Canvas 286 Anchor
    186 C Ambuter The Open Canvas 286 Anchor Book of Stitches Crewel Stitches & Patterns 214 Anchor Crewel Stitches & Patterns 259 Anne Andrew Embroidery Skills – Smocking** 241 Lis Arthur Kathleen Whyte Embroiderer 350 D J Ashby Stumpwork 195 Ashley/Woolsey Creative Embroidery Techniques – Colour through Gold 332 N Askari/R Crill Colours of the Indus 404 Rhoda L Auld Mola – Ideas for Creative Applique 97 Banbury & Dewar Making Embroidered Bags & Purses 278 Banbury & Dewar How to design – Banners 282 Beadworkers Guild Introduction to Beadwork Earrings 283 Beadworkers Guild Introduction to Beadwork Bracelets 340 Margaret Beal Fusing Fabric 1 Jan Beaney Stitch Images ** 33 Jan Beaney The Art of the Needle 36 Jan Beaney Stitch Images II ** 88 Jan Beaney Design into Stitch ** 163 Jan Beaney Inspirations ** 353 Beaney/Littlejohn A Tale of Two Stitches 358 Beaney/Littlejohn A Sketch in Time – Book 12 359 Beaney/Littlejohn A sketch in Time – Book 12 360 Beaney/Littlejohn No Stone Unturned – Book 13 361 Beaney/Littlejohn Connections – Book 14 362 Beaney/Littlejohn Over the Line – Book 16 363 Beaney/Littlejohn Grids to Stitch – Book 17 364 Beaney/Littlejohn Seductive Surfaces – Book 18 365 Beaney/Littlejohn Red – Book 19 366 Beaney/Littlejohn Embellish & Enrich – Book 20 368 Beaney/Littlejohn Trees as a Theme – Book 7 380 Beaney/Littlejohn Location, Location, Book 21 381 Beaney/Littlejohn Seeing Double – Book 22 382 Beaney/Littlejohn Fragile Fabrics – Book 23 ** 383 Beaney/Littlejohn Constructions – Book 24 262 Beaney/Littlejohn New Dimensions 263
    [Show full text]