Leonida Leatherdale Needle Arts Library
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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. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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