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Wavebid > Buyers Guide
Auction Catalog March 2021 Auction Auction Date: Sunday, Feb 28 2021 Bidding Starts: 12:00 PM EST Granny's Auction House Phone: (727) 572-1567 5175 Ulmerton Rd Email: grannysauction@gmail. Ste B com Clearwater, FL 33760 © 2021 Granny's Auction House 02/28/2021 07:36 AM Lot Title & Description Number 12" x 16" Wyland Lucite Limited Edition Orca Family Statue - Free form clear lucite form reminiscent of ice with sun softened edges 1 holding family pod of 3 Orcas/ killer whales, etched Wyland signature lower left, numbered 105/950 lower right - in house shipping available 2 6" x 4" Russian Lacquerware Box Signed and Numbered with Mythic Cavalry Scene - Black Ground, Bright Red Interior - In House Shipping Available Tiffany & Co. Makers Sterling Silver 6 1/2" plate - 16052 A, 7142, 925-1000, beautiful rimmed plate. 5.095 ozt {in house shipping 3 available} 2 Disney Figurines With Original Boxes & COA - My Little Bambi and Mothe # 14976 & Mushroom Dancer Fantasia. {in house shipping 4 available} 2 Art Glass Paperweights incl. Buccaneers Super Bowl Football - Waterford crystal Super Bowl 37 Buccaneers football #1691/2003 & 5 Murano with copper fleck (both in great condition) {in house shipping available} 6 Hard to Find Victor "His Master's Voice" Neon Sign - AAA Sign Company, Coltsville Ohio (completely working) {local pick up or buyer arranges third party shipping} 7 14K Rose Gold Ring With 11ct Smokey Topaz Cut Stone - size 6 {in house shipping available} 8 5 200-D NGC Millennium Set MS 67 PL Sacagawea Dollar Coins - Slabbed and Graded by NGC, in house shipping available Elsa de Bruycker Oil on Canvas Panting of Pink Cadillac Flying in to the distance - Surrealilst image of cadillac floating above the road 9 in bright retro style, included is folio for Elsa's Freedom For All Statue of Liberty Series - 25" x 23" canvas, framed 29" x 28" local pick up and in house shipping available 10 1887 French Gilt Bronze & Enamel Pendent Hanging Lamp - Signed Emile Jaud Et Jeanne Aubert 17 Mai 1887, electrified. -
Headwear How Do YOU Get Ahead? the TRICK to GETTING Ahead in TODAY’S VAST SEA of RETAIL IS to CAST a WIDE NET in ORDER to GATHER up ALL CUSTOMERS WHO ENTER YOUR SHOP
Headwear How do YOU get Ahead? THE TRICK TO GETTING Ahead IN TODAY’S VAST SEA OF RETAIL IS TO CAST A WIDE NET IN ORDER TO GATHER UP ALL CUSTOMERS WHO ENTER YOUR SHOP. OUR ALTERNATIVE GRAPHICS AND KNACK FOR PAIRING UP THE RIGHT ORNAMENTATION TECHNIQUE FOR EACH PIECE, SATISFIES CUSTOMERS OF ALL AGES AND TASTES. BAIT YOUR SHOPPERS WITH Ahead’s GREAT STYLING, MODERN FABRICS, AND ON TREND COLORS TO KEEP THOSE DOLLARS FROM SWIMMING AWAY. Ahead HAS BEEN SUCCESSFULLY FISHING IN THESE WATERS FOR OVER 20 YEARS... join us! Felt Appliqué Chain Stitch Direct Embroidery Printed Rubber Appliqué Bounce Stitch Printed Vintage Label Twill Patch Vintage Label w/Embroidery What drives Us to be Ahead? New Bedford Heritage: It’s in the Water & Soil! Farmers will tell you that the best tasting crops owe it to the water and soil. They discount, or perhaps don’t even realize, the know-how and work ethic that they inherited from those before them. The crew at Ahead is very similar. Hard work comes naturally to our staff as a result of the industries that their New Bedford ancestors pioneered. Today, the city’s thriving arts community helps to drive creativity within Ahead’s walls. In the 1800s, whale oil was After whaling, Textile mills After The Great Depression, used for lamps, candles, & boomed, & skilled workers 2/3s of New Bedford’s mills household items. The tireless from around the world mi- closed. Decades later, artists sailors of New Bedford’s grated to the area. By 1905, began gravitating to the whaling ships landed enough about 80% of the residents impoverished city in search Leviathans to make the city had arrived from Portugal, of inexpensive lofts. -
3D Weaving Process : Development of Near Net Shape Preforms and Verification of Mechanical Properties
Vol. 34, No. 2, 96-100 (2021) DOI: http://dx.doi.org/10.7234/composres.2021.34.2.096 ISSN 2288-2103(Print), ISSN 2288-2111(Online) Paper 3D Weaving Process : Development of Near Net Shape Preforms and Verification of Mechanical Properties Vinzenz Klapper*,**,***, Kwang-Hoon Jo*, Joon-Hyung Byun*, Jung-Il Song**, Chee-Ryong Joe**† ABSTRACT: The lightweight industry continuously demands reliable near-net-shape fabrication where the preform just out-of-machine is close to the final shape. In this study, different half-finished preforms are made π-beams. Then the preforms are unfolded to make a 3D shape with integrated structure of fibers, providing easier handling in the further processing of composites. Several 3D textile preforms are made using weaving technique and are examined after resin infusion for mechanical properties such as inter-laminar shear strength, compressive strength and tensile strength. Considering that the time and labor are important parameters in modern production, 3D weaving technique reduces the manufacturing steps and therefore the costs, such as hand-lay up of textile layers, cutting, and converting into preform shape. Hence this 3D weaving technique offers many possibilities for new applications with efficient composite production. Key Words: 3D weaving, weave pattern, π-beam, T-joint 1. INTRODUCTION connection in position and length by the warp yarn is offering many possibilities to create 3D textile preforms. With 3D To reduce the product weight and material cost, the light- weaving techniques, many integrated structural solutions such weight industry is continuously demanding a preform that is as different beam types and stiffeners can be produced [4]. -
Mermet Technical Fabric Guide
Mermet Technical Fabric Guide © 2017 Mermet Corporation Table of Contents 1. Intro.....................................................3 13. Determining Design Intent: Considerations................................31 2. Yarn and Fabric Properties...............4 14. Determining Design Intent: 3. Manufacturing Process.....................7 Fabric Applications........................33 4. Weaving and Knitting........................10 15. Interior and Exterior.......................36 5. Types of Weaves...............................12 16. Fabric Styles: High Performance..........................38 6. Fabric Orientation.............................15 17. Fabric Styles: 7. Solar Energy Spectrum....................18 Sustainable Fabrics........................42 8. Performance Analysis: 18. Fabric Styles: Thermal Properties...........................20 Decorative Fabrics.........................46 9. Performance Analysis: 19. Fabric Styles: Optical Properties.............................22 Conventional Fabrics.....................51 10. Measuring Brightness Levels........25 20. Fabric Styles: Privacy Fabrics...............................55 11. Glare................................................27 21. Common Certifications..................58 12. Acoustical Performance................29 Disclaimer and Notices Mermet's Technical Fabric Guide is protected by U.S. and International copyright protection laws. Reproduction, distribution, display and use of any content within this document is prohibited without written permission from Mermet. -
An Empirical Assessment of the Relationship Of
An International Multidisciplinary Journal, Ethiopia Vol. 7 (2), Serial No. 29, April, 2013:350-370 ISSN 1994-9057 (Print) ISSN 2070--0083 (Online) DOI: http://dx.doi.org/10.4314/afrrev.7i2.22 Adire in South-western Nigeria: Geography of the Centres Areo, Margaret Olugbemisola- Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] & Kalilu, Razaq Olatunde Rom - Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] Abstract Adire, the patterned dyed cloth is extant and is practiced in almost all Yoruba towns in Southwestern Nigeria. The art tradition is however preponderant in a few Yoruba towns to the extent that the names of these towns are traditionally inseparable with the Adire art tradition. With Western education, introduction of foreign religions, influence from other cultures, technique and technology, there is a shift in the producers of Adire, the training pattern, and even an evolution in the production centre. While Western education resulted in a shift from the hitherto traditional Copyright© IAARR 2013: www.afrrevjo.net 350 Indexed African Journals Online: www.ajol.info Vol. 7 (2) Serial No. 29, April, 2013 Pp.350-370 apprenticeship method to the study of the art in schools, unemployment gave birth to the introduction of training drives by government and non governmental parastatals. This study, a field research, is an appraisal of the factors that contributed to the vibrancy of the traditionally renowned centres, and how the newly evolved centres have in contemporary times contributed to the sustainability of the Adire art tradition. -
USA Net Price List (Prices Not Applicable for Markets Outside USA) Carnegiefabrics.Com 800.727.6770
USA Net Price List (Prices not applicable for markets outside USA) carnegiefabrics.com 800.727.6770 USA Net Price List Effective January 6, 2021 TABLE OF CONTENTS GENERAL INFORMATION ................................................................................ 3 FABRIC FINISHES ............................................................................................. 8 PRICE LIST, ALPHABETICAL ........................................................................... 13 A | B | C | D | E | F | G | H | I | J | K | L | M N | O | P | Q | R | S | T | U | V | W | Z PRICE LIST, NUMERICAL ................................................................................ 46 2000 | 4000 | 5000 | 6000 | 7000 | 8000 | 30000 | 100000 Net Pricelist January 2021 2 carnegiefabrics.com 800.727.6770 General Information PRICES Prices shown are the net wholesale costs per linear yard F.O.B Rockville Centre, N.Y. Prices are not applicable for markets outside USA. Please see carnegiefabrics.com for listings of our International Distribution Partners. These prices are subject to change without notice. We therefore suggest that before concluding a transaction you confirm prices with our Rockville Centre office or your local sales representative. SALES SERVICES To place orders, request samples or for other general information, please contact Carnegie Sales Services, Monday through Thursday, 8:30am - 5:30pm. Friday, 8:30am - 5:00pm, Eastern time. Carnegie 110 North Centre Avenue Rockville Centre, New York 11570 Tel. (800)727-6770 Tel. (516)678-6770 Fax (516)307-3765 [email protected] TERMS OF SALE Terms are net 30 days for customers with open accounts. You may apply for an open account by sending us the names, addresses, and fax numbers of four trade credit references and your bank with your account number. INSPECTION All orders are carefully inspected before shipment for pattern, color, quality and yardage. -
First Review - Professional Peers - ITAA Members
DESIGN EXHIBITION COMMITTEE First Review - Professional Peers - ITAA Members Mounted Gallery Co-Chairs: Melinda Adams, University of the Incarnate Word Laura Kane, Framingham State University Su Koung An, Central Michigan University Ashley Rougeaux-Barnes, Texas Tech University Laurie Apple, University of Arkansas Lynn Blake, Lasell College Lynn Boorady, Buffalo State College Design Awards Committee: Melanie Carrico, University of North Carolina, Greensboro Review Chair: Belinda Orzado, University of Delaware Chanjuan Chen, Kent State University Kelly Cobb, University of Delaware Catalog: Sheri L. Dragoo, Texas Woman’s University Sheri Dragoo, Texas Woman’s University V.P. for Scholarship: Youn Kyung Kim, University of Tennessee Rachel Eike, Baylor University Andrea Eklund, Central Washington University Jennifer Harmon, University of Wyoming First Review Erin Irick, University of Wyoming A total of 107 pieces were accepted through the peer review Ashley Kim, SUNY Oneonta process for display in the 2017 ITAA Design Exhibition with Eundeok Kim, Florida State University a 37% acceptance rate. All jurying employed a double blind Helen Koo, Konkuk University process so the jurors had no indication of whose work they Ashley Kubley, University of Cincinnati were judging. A double-blind jury of textile and apparel peers Jung Eun Lee, Virginia Tech reviewed each submission including design statement and YoungJoo Lee, Georgia Southern University images. Further, a panel of Industry experts reviewed submissions Diane Limbaugh, Oklahoma State University -
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. -
TRANSPORTATION PROFESSIONALS THIS IS WEAR YOUR BRAND STANDS TALL with Red Kap.®
UNIFORM SOLUTIONS for TRANSPORTATION PROFESSIONALS THIS IS WEAR YOUR BRAND STANDS TALL with Red Kap.® 2 Transportation.RedKap.com BOOST YOUR PROTECT ELEVATE PRODUCTIVITY YOUR TEAM YOUR BRAND KEEP YOUR TEAM FOCUSED ON VISIBILITY SAFETY APPAREL – FOR AN FOR A LOOK THAT STANDS THE JOB. NOT THEIR UNIFORMS. EXTRA LEVEL OF ASSURANCE. THE TEST OF TIME. Pages 4-13 Pages 14-21 Pages 22-31 3 THIS IS WEAR PERFORMANCE MATTERS KEEP YOUR TEAM FOCUSED ON THE JOB. NOT THEIR UNIFORMS. Red Kap® is built to deliver job-inspired performance – giving your team unequalled flexibility and freedom of movement without sacrificing an ounce of comfort. 4 Transportation.RedKap.com PERFORMANCE Red Kap® with Specially designed FLEX PANELS increase your freedom of movement. ELEVATE YOUR BRAND AND BOOST YOUR TEAM’S PERFORMANCE Durable RIPSTOP FABRIC on work ® shirts is 75% STRONGER than UTILIZING RED KAP other poplin work fabrics. WITH MIMIX™ Your business, and your team, are always in motion. Red Kap® with MIMIX™ ensures your PREMIUM, PROFESSIONAL LOOK team is free to focus on the job at hand, not improves customer perception their clothes. Red Kap® with MIMIX™ revolutionizes and fosters employee pride. uniform apparel by providing optimum mobility and comfort for physically active workers, while providing an elevated, professional image for your ™ brand. Our patented MIMIX flex panels greatly MOISTURE WICKING FINISH increase freedom of movement and allow for on work shirts draws moisture breathability where it’s needed most. away from the body. Put it to the test today and discover the Red Kap® with MIMIX™ difference. PERFORMANCE FLEX FABRIC provides ADDITIONAL BREATHABILITY Bend, stretch, squat and reach where you need it most. -
Sheerweave-Brochure-V17.Pdf
WEAVING EXCELLENCE WITH INNOVATION ® 1 AN INTRODUCTION SheerWeave® interior sun control fabrics provide the perfect balance of light, comfort and beauty, making them the ideal window covering solution for residential and commercial spaces alike. A sleek and functional alternative to ordinary window coverings, SheerWeave effortlessly and elegantly manages the sun’s harsh heat and blinding glare. MULTI-FUNCTIONAL SheerWeave filters and diffuses light while reducing glare and solar heat gain, conserving energy and helping to create a more comfortable environment. SheerWeave also helps reduce the fading of interior furnishings and flooring by protecting these surfaces from the sun’s harmful effects. And unlike many window treatments, SheerWeave allows excellent outward visibility – even when shades are lowered – to maintain optimal views. UNMATCHED STYLE From modern, neutral hues to subtly-textured, organic weaves in warm earth tones, these fabrics are the perfect complement to any interior design scheme. SheerWeave fabrics are also available in a variety of openness factors ranging from one to 25 percent and wide widths to cover large window openings. Simple, clean and classic, SheerWeave can be fabricated into many different types of window treatments, and the aesthetic quality of these fabrics allows them to easily pair with other draperies and window coverings. QUALITY SECOND TO NONE Phifer’s quality standards are among the highest in the world. SheerWeave fabrics are manufactured in our state-of-the-art facility in Tuscaloosa, Alabama USA under strict guidelines through ISO-certified production processes. From yarn coating to packaging, every step of the production process is checked to ensure only the finest quality fabrics are given the SheerWeave name. -
7. Industrial and Modern Resource
Chapter 7: Industrial Period Resource Assessment Chapter 7 The Industrial and Modern Period Resource Assessment by Robina McNeil and Richard Newman With contributions by Mark Brennand, Eleanor Casella, Bernard Champness, CBA North West Industrial Archaeology Panel, David Cranstone, Peter Davey, Chris Dunn, Andrew Fielding, David George, Elizabeth Huckerby, Christine Longworth, Ian Miller, Mike Morris, Michael Nevell, Caron Newman, North West Medieval Pottery Research Group, Sue Stallibrass, Ruth Hurst Vose, Kevin Wilde, Ian Whyte and Sarah Woodcock. Introduction Implicit in any archaeological study of this period is the need to balance the archaeological investigation The cultural developments of the 16th and 17th centu- of material culture with many other disciplines that ries laid the foundations for the radical changes to bear on our understanding of the recent past. The society and the environment that commenced in the wealth of archive and documentary sources available 18th century. The world’s first Industrial Revolution for constructing historical narratives in the Post- produced unprecedented social and environmental Medieval period offer rich opportunities for cross- change and North West England was at the epicentre disciplinary working. At the same time historical ar- of the resultant transformation. Foremost amongst chaeology is increasingly in the foreground of new these changes was a radical development of the com- theoretical approaches (Nevell 2006) that bring to- munications infrastructure, including wholly new gether economic and sociological analysis, anthropol- forms of transportation (Fig 7.1), the growth of exist- ogy and geography. ing manufacturing and trading towns and the crea- tion of new ones. The period saw the emergence of Environment Liverpool as an international port and trading me- tropolis, while Manchester grew as a powerhouse for The 18th to 20th centuries witnessed widespread innovation in production, manufacture and transpor- changes within the landscape of the North West, and tation. -
Sew Any Fabric Provides Practical, Clear Information for Novices and Inspiration for More Experienced Sewers Who Are Looking for New Ideas and Techniques
SAFBCOV.qxd 10/23/03 3:34 PM Page 1 S Fabric Basics at Your Fingertips EW A ave you ever wished you could call an expert and ask for a five-minute explanation on the particulars of a fabric you are sewing? Claire Shaeffer provides this key information for 88 of today’s most NY SEW ANY popular fabrics. In this handy, easy-to-follow reference, she guides you through all the basics while providing hints, tips, and suggestions based on her 20-plus years as a college instructor, pattern F designer, and author. ABRIC H In each concise chapter, Claire shares fabric facts, design ideas, workroom secrets, and her sewing checklist, as well as her sewability classification to advise you on the difficulty of sewing each ABRIC fabric. Color photographs offer further ideas. The succeeding sections offer sewing techniques and ForewordForeword byby advice on needles, threads, stabilizers, and interfacings. Claire’s unique fabric/fiber dictionary cross- NancyNancy ZiemanZieman references over 600 additional fabrics. An invaluable reference for anyone who F sews, Sew Any Fabric provides practical, clear information for novices and inspiration for more experienced sewers who are looking for new ideas and techniques. About the Author Shaeffer Claire Shaeffer is a well-known and well- respected designer, teacher, and author of 15 books, including Claire Shaeffer’s Fabric Sewing Guide. She has traveled the world over sharing her sewing secrets with novice, experienced, and professional sewers alike. Claire was recently awarded the prestigious Lifetime Achievement Award by the Professional Association of Custom Clothiers (PACC). Claire and her husband reside in Palm Springs, California.