Reigning Men Word Bank
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C H R I S T Y &
C h r i s t y & C ooC Since 1773 History and Legacy by Irra K With special thanks to The Stockport library and hat museum FamilyFamily Six reigns of Royals, and Eight generations of the Christy family have forged the brand of Christys London since it’s foundation by Miller Christy in 1773, 237 years ago Following his apprenticeship to a Hatter in Edinburgh, Miller Christy created a company that would survive for generations, outliving thousands of hat makers across the former British Empire: by 1864 for example there were 53 hatting firms in Stockport alone. Throughout hundreds of years, the factory was still managed by direct descendants of the founder of the Firm ValuesValues 1919 Christys readily registered their own The Christy Collection in Stockport is appreciation testament to the influence the company of workers’ had. At its height, it employed 3000 excellent local people leaving a valuable legacy service < - During World War II, hats were not rationed in order to boost morale, and Christys supported the effort within their family-run company, effectively running it like an extended family Celebrating Victory as well as mourning the fallen at the -> end of World War I Trade MarksTrade Marks The Stockport Collection With business of Christy Papers includes a expanding to 500 page booklet detailing foreign lands, trade marks registered safeguarding around the world at the the insignia in height of the British Empire. all it’s forms These involve registering the full name, letters 'C', it’s became vital – insignia, shape, and colours as we shall see In the early days, < - several variations - > of company marks and insignia were circulated, later consolidating into the Christy crown and heraldry which is now recognised the world over Trade Marks iiiiTrade In many territories, Trade Marks were either disputed or had to be re-registered. -
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. -
The Morgue File 2010
the morgue file 2010 DONE BY: ASSIL DIAB 1850 1900 1850 to 1900 was known as the Victorian Era. Early 1850 bodices had a Basque opening over a che- misette, the bodice continued to be very close fitting, the waist sharp and the shoulder less slanted, during the 1850s to 1866. During the 1850s the dresses were cut without a waist seam and during the 1860s the round waist was raised to some extent. The decade of the 1870s is one of the most intricate era of women’s fashion. The style of the early 1870s relied on the renewal of the polonaise, strained on the back, gath- ered and puffed up into an detailed arrangement at the rear, above a sustaining bustle, to somewhat broaden at the wrist. The underskirt, trimmed with pleated fragments, inserting ribbon bands. An abundance of puffs, borders, rib- bons, drapes, and an outlandish mixture of fabric and colors besieged the past proposal for minimalism and looseness. women’s daywear Victorian women received their first corset at the age of 3. A typical Victorian Silhouette consisted of a two piece dress with bodice & skirt, a high neckline, armholes cut under high arm, full sleeves, small waist (17 inch waist), full skirt with petticoats and crinoline, and a floor length skirt. 1894/1896 Walking Suit the essential “tailor suit” for the active and energetic Victorian woman, The jacket and bodice are one piece, but provide the look of two separate pieces. 1859 zouave jacket Zouave jacket is a collarless, waist length braid trimmed bolero style jacket with three quarter length sleeves. -
Catalogue of the Famous Blackborne Museum Collection of Laces
'hladchorvS' The Famous Blackbome Collection The American Art Galleries Madison Square South New York j J ( o # I -legislation. BLACKB ORNE LA CE SALE. Metropolitan Museum Anxious to Acquire Rare Collection. ' The sale of laces by order of Vitail Benguiat at the American Art Galleries began j-esterday afternoon with low prices ranging from .$2 up. The sale will be continued to-day and to-morrow, when the famous Blackborne collection mil be sold, the entire 600 odd pieces In one lot. This collection, which was be- gun by the father of Arthur Blackborne In IS-W and ^ contmued by the son, shows the course of lace making for over 4(Xi ye^rs. It is valued at from .?40,fX)0 to $oO,0()0. It is a museum collection, and the Metropolitan Art Museum of this city would like to acciuire it, but hasnt the funds available. ' " With the addition of these laces the Metropolitan would probably have the finest collection of laces in the world," said the museum's lace authority, who has been studying the Blackborne laces since the collection opened, yesterday. " and there would be enough of much of it for the Washington and" Boston Mu- seums as well as our own. We have now a collection of lace that is probablv pqual to that of any in the world, "though other museums have better examples of some pieces than we have." Yesterday's sale brought SI. .350. ' ""• « mmov ON FREE VIEW AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK FROM SATURDAY, DECEMBER FIFTH UNTIL THE DATE OF SALE, INCLUSIVE THE FAMOUS ARTHUR BLACKBORNE COLLECTION TO BE SOLD ON THURSDAY, FRIDAY AND SATURDAY AFTERNOONS December 10th, 11th and 12th BEGINNING EACH AFTERNOON AT 2.30 o'CLOCK CATALOGUE OF THE FAMOUS BLACKBORNE Museum Collection of Laces BEAUTIFUL OLD TEXTILES HISTORICAL COSTUMES ANTIQUE JEWELRY AND FANS EXTRAORDINARY REGAL LACES RICH EMBROIDERIES ECCLESIASTICAL VESTMENTS AND OTHER INTERESTING OBJECTS OWNED BY AND TO BE SOLD BY ORDER OF MR. -
My Father's Fortune
You loved your last book...but what are you going to read next? Using our unique guidance tools, Lovereading will help you find new books to keep you inspired and entertained. Opening Extract from… My Father’s Fortune A Life Written by Michael Frayn Published by Faber & Faber All text is copyright © of the author This Opening Extract is exclusive to Lovereading. Please print off and read at your leisure. michael frayn My Father’s Fortune A Life First published in 2010 by Faber and Faber Ltd Bloomsbury House 74–77 Great Russell Street London wc1b 3da Typeset by Faber and Faber Ltd Printed in England by CPI Mackays, Chatham All rights reserved Michael Frayn, 2010 The right of Michael Frayn to be identified as author of this work has been asserted in accordance with Section 77 of the Copyright, Designs and Patents Act 1988 A CIP record for this book is available from the British Library isbn 978–0–571–27058–3 2 4 6 8 10 9 7 5 3 1 Contents Homburg 1 part one 1 Smart Lad 9 2 House of Straw 19 3 Duckmore 38 4 Furniture and Fittings 55 5 Quick / Slow 74 6 Fire Resistance 91 7 A Glass of Sherry 104 part two 1 Childcare 129 2 Top to Bottom 148 3 Skylark 169 4 Chez Nous 186 5 Black Dog 203 6 Closer 222 7 Legatees 236 List of Photographs 255 Homburg The handle of my study door softly turns. I look up from my typewriter, startled. The two older children are at school, my wife’s out with the baby, the house is empty. -
10/2011 Dress with Galloon Lace Detail By: Burda Style Magazine
10/2011 Dress with galloon lace detail By: burda style magazine http://www.burdastyle.com/projects/102011-dress-with-galloon-lace-detail Dress with galloon lace detail: Galloon lace is a double edge lace with a usable border on both sides that can be separated for matching border trim. burda style magazine patterns FAQ 1 Materials Wool crpe Step 1 — Preparation Paper cut for ANSI A (German DIN A4) prints: This pattern is printed on 8.5″ × 11″ sheets of plain paper. Do not scale or center pages before printing. Wait until all sheets are printed out before beginning to tape them together. Do not cut out pattern pieces yet— Arrange the sheets on a large, hard, flat surface so that they fit together, matching up like numbers and letters (i.e. 6A to 6A). To tape pattern together, fold under the margin of one piece (6A) and tape right against the line of it’s matching number/letter (6A). Trace the pattern pieces from the pattern sheet, follow lines for the respective sizes. The sizes for this dress is 76, 80, 84, 88, 92. 76 / EUR 38 / US 8 80 / EUR 40 / US 10 84 / EUR 42 / US 12 88 / EUR 44 / US 14 92 / EUR 46 / US 16 burda style magazine pattern do not have seam allowance included. Seam and hem allowances to be added: Seams and edges 1.5 cm (5/8 in). Step 2 — Cutting out 2 Cut the following pieces: Main fabric: Pattern piece number 1 – Center front piece, cut on fold x1 Pattern piece number 2 – Side front piece, cut x2 Pattern piece number 3 – Center back piece, cut x2 Pattern piece number 4 – Side back piece, cut x2 Pattern piece number 5 – Sleeve, cut x2 Pattern piece number 6 – Front neck facing, cut x2 Pattern piece number 7 – Back neck facing, cut x2 Lining: Pattern piece number 1 – Center front piece, cut on fold x1 Pattern piece number 2 – Side front piece, cut x2 Pattern piece number 3 – Center back piece, cut x2 Pattern piece number 4 – Side back piece, cut x2 Interfacing: Cut pieces for and iron onto all facing pieces. -
Costume Crafts an Exploration Through Production Experience Michelle L
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Costume crafts an exploration through production experience Michelle L. Hathaway Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Hathaway, Michelle L., "Costume crafts na exploration through production experience" (2010). LSU Master's Theses. 2152. https://digitalcommons.lsu.edu/gradschool_theses/2152 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. COSTUME CRAFTS AN EXPLORATION THROUGH PRODUCTION EXPERIENCE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Theatre by Michelle L. Hathaway B.A., University of Colorado at Denver, 1993 May 2010 Acknowledgments First, I would like to thank my family for their constant unfailing support. In particular Brinna and Audrey, girls you inspire me to greatness everyday. Great thanks to my sister Audrey Hathaway-Czapp for her personal sacrifice in both time and energy to not only help me get through the MFA program but also for her fabulous photographic skills, which are included in this thesis. I offer a huge thank you to my Mom for her support and love. -
Instruction Manual Manuel D'instructions Manual De
Instruction Manual Manuel d’instructions Manual de instrucciones Manual de Instruções "IMPORTANT SAFETY INSTRUCTIONS" When using the sewing machine, basic safety precautions should always be followed, including the following: "Read all instructions before using." DANGER – To reduce the risk of electric shock: 1. The sewing machine should never be left unattended when plugged in. Always unplug this sewing machine from the electrical outlet immediately after using and before cleaning. 2. Always unplug before changing the light bulb. Replace bulb with same type rated 15 watts. WARNING – To reduce the risk of burns, fire, electric shock, or injury to persons: 1. Do not allow this machine to be used as a toy. Close attention is necessary when the sewing machine is used by or near children. 2. Use this sewing machine only for its intended use as described in this manual. Use only accessories recommended by the manufacturer as contained in this manual. 3. Never operate this sewing machine if it has a damaged cord or plug, if it is not working properly, if it has been dropped or damaged, or dropped into water. Return the sewing machine to the nearest authorized dealer or service center for examination, repair, electrical or mechanical adjustment. 4. Never operate the sewing machine with any of the air openings blocked. Keep the ventilation openings of the sewing machine and foot controller free from the accumulation of lint, dust and loose cloth. 5. Never drop or insert any object into any openings. 6. Do not use this machine outdoors. 7. Do not operate this machine where aerosol (spray) products are being used or where oxygen is being administered. -
Famous Hats Quiz
Test your knowledge of some #HATTASTIC celebrities! FAMOUSFAMOUS HATSHATS QUIZQUIZ ANSWERS 1. What type of hat is Pharrell Williams’ 11. What is the name of the hat that assigns 21. The Mad Hatter is a fanciful character in signature look? Hogwarts’ students into their houses in which children’s tale? Harry Potter? Buffalo. Alice in Wonderland. The Sorting Hat. 2. Who designed his original hat? 22. What is the national hat of France? 12. Which famous Dr. Seuss character is an Vivienne Westwood. animal wearing a hat? Beret. 3. Name the three celebrities on this sheet Cat in the Hat. 23. Everyone knows Santa’s hat, but what type who have supported Wear A Hat Day. of hat did the traditional Sinterklaas wear? 13. Since her accession to the throne, how Sarah Beeny, Vic Reeves, many hats has Queen Elizabeth II worn? Mitre. Gillian Anderson. Over 5,000. 24. Which actress donned a saucer hat for her 4. Who is the Queen’s milliner? role in ‘Breakfast at Tiffany’s’? 14. What colour of hat do The Smurfs wear? Rachel Trevor-Morgan. Audrey Hepburn. White. 5. What is the most expensive hat ever 25. Who designed the iconic hat Princess made called? 15. When Walter White from Breaking Bad Beatrice wore to The Royal Wedding puts on his pork pie hat, he becomes in 2011? Hat of Love. known as? Philip Treacy. 6. What is its value? Heisenberg. 26. Which famous comedian typically wore a £2.7 million. 16. How many hats has Johnny Depp worn fez when performing? on screen? 7. -
Rer~O Flashy Cocktail Dress and Hat ~~HITNEY Grey Business Suit, Prince-Nez CHORUS ~Jot"EN, SINGING GIRLS BILL COOKER Stree
"'T , ANYTHING GOES Costume Plot ACT I, SC I Caprice Bar, afternoon smart hotel ~JO~1E~j -~1EN REr~O Flashy cocktail dress and hat ~~HITNEY Grey business suit, prince-nez CHORUS~JOt"EN, SINGING GIRLS BILL COOKER Street clothes Assorted Cocktail dresses and hats DANCINGGIRLS JOHN Bartenders jacket, dark pants Spangled cocktail sheaths bow tie CHORUSMEN/SINGING Business suits, dark colors DANCINGBOYS suits to go with girls ACT I, SC lIOn the ship t1RS. HARCOURT ~JHITr~EY Palm beach suit and hat Summer suit with hat JUNIOR Sports jacket and pants HOPEHARCOURT Young smart afternoon dress and BISHOP DOBSO~J hat, gloves and bag Clerical suit with collar ~1RS.t~E~JT~/ORTH Middle aged. Smart dress or suit SIR DEVELIN Cutaway and bowler with fur scarf and hat I SNOOKS Street dress and hat, somewhat BILLY ~~hite dinner jacket flashy BISHOP MOONClerical outfit with black hat REr~O Traveling suit with hat TWOFEDERAL ~1EN BONNIE Nice dress and hat Dark business suits, hats T~JOCHINESE Sol id kimonos and pants w/hats BOr~VOYAGE BON VOYAGE I SI~JGINGGIRLS CHORUSMEN/SINGING ~1E~J Assorted street dresses, suits Business suits and sports out- sport clothes fits with 1 ships officer in white uniform, 2 sailors, 2 porters, DANCINGGIRLS 1 steward Set alike, sports outfits with hats DANCI~IGMEN ~Jhite Sailor uniforms ALL THROUGHTHE NIGHT ALL THROUGHTHE NIGHT DANCI~JGGIRLS DANCINGBOYS Grey tux jackets with black Soft 3/4 length chiffon dresses black pants alike or in 3 to 4 colors WHITNEY Plus fours, sport jacket PURSER White uniform ACT I, SC III On Board BO:~NIE Slacks, halter top and sweater SIR DEVELIr~ Heavy cable knit sweater and HOPE 3 piece linen sun costumes tennis pants sleeveless top, shirt and skirt / , - 2 - MRS. -
Letter Carriers' Uniform: Hats, Introduction
Letter Carriers’ Uniform: Hats, Introduction In 1868 the Postmaster General listed a cap as the letter carrier’s uniform headgear. It was to be made of the same material as the coat, bound round with a black cloth band 1 1/2 inches wide, and have small buttons at the sides. In 1873, panama hats were authorized for summer. In 1887, numbered badges were added to the carriers' headwear, and helmets were approved for use. Helmets were short-brimmed with a tall crown, similar to British bobby helmets. In 1893, the more general straw hat replaced the panama hat as allowable summer headgear. By 1901, a western-style hat appeared, with a stiff crown and wide brim. Though never described in the Postal Laws and Regulations, photographs indicate this cowboy-style hat was standard wear at some Post Offices. From 1902 through 1948, postal regulations listed the hat, cap or helmet as acceptable carrier headwear. Uniform manufacturers advertised many variations in headgear style. The bobby-style helmet was last advertised in The Postal Record in 1907; in 1949, the safari-style helmet ws first pictured. Although carriers at each Post Office were to dress uniformly, photographs indicate that this was not always enforced. In 1955, only the helmet and cap were listed as acceptable headgear. The helmet was specified for summer; it was made of molded fiber in a blue-gray cadet shade and had a maroon chinstrap. The cap was a blue-gray eight-point style cap with braid the same color as the cap and a maroon chin strap. -
Britain and the Fur Trade: Commerce and Consumers in the North-Atlantic World, 1783-1821
Citation: Hope, David (2016) Britain and the Fur Trade: Commerce and Consumers in the North-Atlantic World, 1783-1821. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/31598/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html Britain and the Fur Trade: Commerce and Consumers in the North-Atlantic World, 1783-1821 David Hope PhD 2016 Britain and the Fur Trade: Commerce and Consumers in the North-Atlantic World, 1783-1821 David Hope A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the Faculty of Arts, Design & Social Sciences September 2016 Abstract This is a study of the mercantile organisation of the British fur trade in the late eighteenth and early nineteenth centuries.