DOCSLIB.ORG

Traditional Motifs, Techniques

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Traditional Motifs, Techniques AN ABSTRkCTABTRkCT OF T1ET1E TffESITffEI OF Nona JeanJean NelsonNelson ror for the the IVI. M. S.8,in. Clothing, Textiles, and. Related Arts Date thesis is presented Ju1yuly 23,23, 19571957 Title The InfluenceInfluence orof Swedish,Swedish, Finnish,Finnish, and.and DanishDanish Textiles on Contemporary Americanerican Fabrics Abstract approvedapproved ',,',Signature redacted for privacy. ScandinaviScandinavian textiles have played an importantimportant partpart in the ramilyfamily life of the Nordic people. During the evenings, members orof a ramilyfamily worked on textiles and wove colors anand designs of the countryside and o1of the ramilyfamily lirelife into their rabrics.fabrics. Traditional motifs,moti1s, techniques,techniques, and color combinationscombinations werewere developeddeveloped andand passed.passed down through the years fromfrom familyfamily toto family. The techniques orof weaving Scandinavian textiles may may be divided into groupsgroups accordingaccording to to thethe method used. used in weaving the fabrics.rabrics.These groups are tapestry weaves, pile-knot weaving,weaving, r1ishingflushing weaves,weaves, plainplain weaves,weaves, and.and other weaves which willwill not fitfit intointo a particular group- ing. Each group hashas characteristiccharacteristic motirs,motifs, colors,colors, and.and yarn content. Many techniques are centuries old. Scandinavian craft craft societiessocieties are responsible rorfor thethe revival of handcraftshandcrafts arterafter thethe industrialindustrial revolu.tion.revolution. These societiessocieties aid.aid inin preservingpreserving traditional patterns. techniques and color combinations,cobinations, andand inin encouragingencouraging folkrolk art. There are many Scandinavian textile designers who have gained recognition in their country and inin thethe United States. Many ofor their fabrics have been importedimported to the United States. Mdrta Maas-Fjetterstrdrn,Maas-Fjetterstrdm, Astrid.Astrid Sampe-Hultberg, DoraDora sung,sung, CountCount Bernad.otte,Bernadotte, andand PaulaPaula Trock are some of the leading Scandinavian designers who are influencing designs in contemporary Americanfabrics. Many of theirtheir designsdesigns and.and patternspatterns are basedbased onon traditionaltraditional ScandinavianSeand.inavian fabrics.fabrics. ManyMauy fabric rabric designers inin thethe United.United StatesStates showshow thethe influenceinflu.ence ofor ScandinavianScandinavian textilestextiles inin theirtheir fabrics.rabrics. Similarity isis seenseen inin colors, designs,designs, motirs,motifs, and.and. in weaving techniques.Some designers who show Scandinavian influence areare DorothyDorothy Lie'bes,Liebes, MariaMaria Kipp,Kipp, JackJack LenorLenor Larsen, Robert Sailors, Frank Lloyd Wright, Boris Kroll, and Finnish-born Marianne Strengell. Influence oro1 Scandinavian textiles on contemporary AmericanAierican fabrics may also be seen in other sources. Collections ofof Labricsfabrics beingbeing produced.produced byby companiescompanies such as Celanese, FullerFuller Fabrics,Fabrics, andand SchumacherSchumacher and.and CompanyCompany are showing influenceinfluence ofof foreignforeign cou.ntries,countries, includingincluding the Scandinavian countries. Exhibitions ofo1 Scandinavian fabricsrabrics areare alsoalso inrlu.encinginfluencing Americanerican fabrics.rabrics. 'Desin"Design in Scandinavia" is an example, and individuals such as Count Bernadotte are showingshowing rabricsfabrics in private show- ings. Imported textiles from the Scandinavian countries are also influencing American textiles. Scandinavian&and.inavian influence on contemporary American fabricsrabrics is seen.seen. inin adaptationsadaptations orof color,color, motirs,motifs, and.and weaving techniques. Influence is also made by leading designers o1of AmericaAmerica and.and Scandinavia; and.and weavingweaving schools inin Arnerica,America, Sweden,Sweden, Finland,Finland, and.and DenmarkDenmark alsoalso exert considerable influence. Because ofo1 the amount ofo1 influence and the interest seen in Scandinavian rabrics,fabrics, Sweden, Finland, and Denmark are among the countries leadingleading inin influenceinfluence onon conteniporarycontemporary AmericanAmerican fabrics. THE INFLUENCEINFLUENCE OF OF SVEDISH, SVEDISH, Ffl'NISH, Ffl'NISH, ANDA1D DANISH TEXTILES ONON CCONTEMPORARY ONTE1\PORARY A11ERI £'1ERI CAN FABRICS by NONA .TEANIEAN NELSONNELSON A THESISTHESIS submitted to OREGON STATE STATE COLT.RGEC OLLEGE in partialpartial fulfillmentfulfillment ofof the requirementsrequirements forfor the degree of MASTERMA$TER OFOF SCIENCE tune 1958195 APPROVED: Signature redacted for privacy. Professor of Clothing,Clothing, Textiles,Textiles, and. and RelatedRelated ArtsArts In ChargeCharge ofof MajorMajor Signature redacted forfor privacy.privacy. Head.Head orof DepartmentDepartnient of of Clothing, Clothing, TextilesTextiles andand Related ArtsArts Signature redacted for privacy. OhairianChairman ofor SchoolSchool Grathiateradu.ate CoimuitteeCoimnittee Signature redactedfor privacy. .._- Dean ofof GraduateGraduate SchoolSchool Date thesisthesis isis presentedpresented 2J3J /e7/é-7 Typed byby EstherEsther SuzanneSuzanne NelsonNelson ACKNOVLEDGMENTACKNOWLEDGMENT The author expresses her appreciation to Miss Toan Patterson, ProfessorProfessor of'of Clothing,Clothing, Textiles,Textiles, and.and RelatedRelated Arts,J.rts, forfor herher assistanceassistance andand encouragementencouragement duringduring thethe preparation of this thesis. Appreciation and.and aoknowledgnientaoknowledgnient isis alsoalso extendedertended to Mrs. Esther Nelson,Nelson, thethe author'sauthor's niother,mother, withoutwithout whosewhose assistance parts of this thesis would not have been possible. Appreciation is also extended to Miss Ruth McCorkle,McOorkle, InstructorThstructor in English, for her invaluable help and tech- nical advice. TABLE O1Oi CONTENTS Page CHAPTER IINTRODUCTION 1 Purpose ofor the Study 3 Limitations ofor the Study 4 CHAPTER II HISTORIC $CAIDINAVIAI8CANDINAVW TEXTILESTEXTILES 5 DevelopmentDevelopnient ofo1 ScandinavianScandinavian TertilesTextiles 5 Characteristics o1of Scandinavian textiles 7 Scandinavian tapestries 8 Ryijy ruesrugs 9 Preservation of textile designs 13 Textiles as used in the home and in dress 15 Scandinavian WeavingWeaving TechniquesTechniques 19 Tapestry techniques 19 Pile knot weaving 32 FlashingFlushing 37 Other weavesweaves 47 Scandinavian Craft Societies 59 CHAPTEROEAP1R IIIIII CONTEMPORARYCONTEMPORA.RY SCANDINAVIANSO NDIiAVIA DESIGNDESIGNERSRS 63 Swedish Designers 63 Finnish Designers 73 Danish Designers 77 Page CHATTERCILA.PTER IVIV CONTEMPORkRYCONTPORARY AiRICNURICAN DESIGNERS DESIG1N2S INFLUENCED BY SCANDINAVIAN TEXTILES 79 Mrs. Eliel Saarinen 80 Marianne Strengell 81 Anni Albers 84 Greta Magnusson Grossman 86 Maria Kipp 87 Dorothy Liebes 91 Tack LeziorLenor LarsenLarsen 93 Robert Sailors 97 Henning WattersonWattorson 100 Frank Lloyd Wright 101 Knoll Associates 104 Boris Kroll 105 CHAPTER V OTHER AVENIThSAVENUES OF SCAIDINAVIAi\SCANDINAVIAN INFLUENCE ON CONTEMPORARYCONTE[FORARY FABRICS 108 CHAPTER VI CONCLUSION 117 BIBLIOGRAPHY 121 Th.BLETLBI.E OFOF PLTSPTATS No. Page Traditional Weaving TeenniquesTecnniques ofo Sweden, Finland,Finland, and.and. DerunarkDenmark 20 Ground Webs 22 FlmskvavnadFlAmskv'ávnad TechniquesTechniques 2424. A diagrariidiagram illustrating illustrating the method.method. of'of interlocking weft tireads in the RllakanRSllakan technique.I,teehnique.I, 282 RllakanR1lakan 29 A diagram Illustratingillustrating the method otof introducing the pattern thread. in the technique of Souivak-inlay 31 The method of knotting in flossa pile 33 Double Flossa 35 DukagangDukagn 404.0 I. MunkabälteMunlcabälte 454.5 RosengngRoseng&ng 48 A d.Iagramdiagram showingshowing thethe techniquetechnique ofot Danish Open Work 53 Danish Open Work 54 Tapestry by Mrta Ms Fjetterstrm 66 Fabric by Maria Kipp 90 Fabric by Jack L. Larsen 96 Fabric by Robert Sailors 99 Fabric by Frank L. Wright 103 XII. Fabric by Boris Kroll 106 Pile rugs 111 Tapestries 113 No. Page Pile rug ll411 Drapery 115 THE INFLUENCE OF OF SWEDISH,SWEDISH, FINNISH,FINNISH, AND DANISH DANISH TEXTILES TEILES ONON CONTE1PORARY AMERICAN AMERICM FABRICS CHAPTER I1 INTRODUCTION Decorative textilestextiles havehave longlong playedplayed anan importantimportant part in man'sman's life,lire,Since early times,times, manman has usedused rab-fab- rics toto decoratedecorate hishi borneborne andand hishis body,body, andand throughoutthroughout the centuries, thethe artart or of weaving weaving andand textile designdesign hashas be-be- come a a highly highly developeddeveloped skill. skill.As thethe techniquestechniques orof weav-weav- ing and,and thethe developnientdevelopment of of designsdesigns grew,grew, differencesdifi'erences in the designsdesigns orof variousvarious areasareas occurred.occurred. For example,example, American Indian Indian tribes tribes werewere identifiable identifiable accordingaccording to their di.rferentdifferent dress. Many countries countries have have contributed contributed to to the the world'sworld's col-col- lection ofof textiles.textiles.Luxurious silksilk brocad.esbrocades were de- veloped.veloped in in the the Orient,Orient, Kashmir shawls shawls and and calicos calicos origi- origi- nated,nated inin India, PersianPersian rugsrugs came came fromfrom the NearNear East, andand beautiful velvetsvelvets developed,developed in in ItalyItaly andand Spain, giving a wide variety variety ofof elegant,elegant, colorfulcolorrul
Load more

Recommended publications
  • Weaverswaver00stocrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • 'Nameless Motif'
    112 Fig. 1 Anonymous, Tataouine area, Tunisia, c. 1920-50. Knotted rug with primary ‘nameless motif’. Wool, 156 x 128 cm. paul vandenbroeck The ‘Nameless Motif’: On the Cross-Cultural 113 Iconography of an Energetic Form Paul Vandenbroeck * As I strolled through a quiet Tuscan townlet on a late summer’s afternoon in * KMSKAntwerpen/IMMRC-KULeuven 1973, in the days before the rural hinterland was changed for ever by the tourist invasion, I was struck by the sight of an elderly lady sitting at a table by the entrance to her house. Displayed on the tabletop were various home-made items of lace and textile that she was offering for sale. As a student of the his- tory of art, I was all too familiar with canonised Art, with capital A, but en- tirely ignorant about domestically crafted textiles. Yet I stopped in my tracks, captivated as I was by an ungraspable aesthetics that was quite alien to me, as it was light years away from the universe of male-dominated Renaissance art. There was one piece, featuring both abstract and stylised patterns, that I found particularly attractive – despite myself. When I enquired about the price, the woman asked: ‘Are you married?’. I told her I was not. ‘Then I cannot sell this piece to you’, she said. I stood there dumbfound, unable to comprehend why this should be the case, and tried to assure her that I found the piece genuinely beautiful. Speaking in the local dialect, slowly and clearly for my benefit, she said she believed me, but that that was not the point.
    [Show full text]
  • Fashion Arts. Curriculum RP-54. INSTITUTION Ontario Dept
    DOCUMENT RESUME ED 048 223 SP 007 137 TITLE Fashion Arts. Curriculum RP-54. INSTITUTION Ontario Dept. of Education, Toronto. PUB LATE 67 NOTE 34p. EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 DESCRIPTORS Clothing Instruction, *Curriculum Guides, Distributive Education, *Grade 11, *Grade 12, *Hcme Economics, Interior Design, *Marketing, Merchandising, Textiles Instruction AESTRACT GRADES OR AGES: Grades 11 and 12. SUBJECT MATTER: Fashicn arts and marketing. ORGANIZATION AND PHkSTCAL APPEARANCE: The guide is divided into two main sections, one for fashion arts and one for marketing, each of which is further subdivided into sections fcr grade 11 and grade 12. Each of these subdivisions contains from three to six subject units. The guide is cffset printed and staple-todnd with a paper cover. Oi:IJECTIVE3 AND ACTIVITIES' Each unit contains a short list of objectives, a suggested time allotment, and a list of topics to he covered. There is only occasional mention of activities which can he used in studying these topics. INSTRUCTIONAL MATERIALS: Each unit contains lists of books which relate either to the unit as a whole or to subtopics within the unit. In addition, appendixes contain a detailed list of equipment for the fashion arts course and a two-page billiography. STUDENT A. ,'SSMENT:No provision. (RT) U $ DEPARTMENT OF hEALTH EOUCATION & WELFARE OFFICE OF THIS DOCUMENTEOUCATION HAS BEEN REPRO DUCED EXACT' VAS RECEIVED THE PERSON OR FROM INAnNO IT POINTSORGANIZATION ()RIG IONS STATED OF VIEW OR DO NUT OPIN REPRESENT OFFICIAL NECESSARILY CATION
    [Show full text]
  • Disseminating Design: the Post-War Regional Impact of the Victoria & Albert Museum’S Circulation Department
    DISSEMINATING DESIGN: THE POST-WAR REGIONAL IMPACT OF THE VICTORIA & ALBERT MUSEUM’S CIRCULATION DEPARTMENT JOANNA STACEY WEDDELL A thesis submitted in partial fulfilment of the requirements of the University of Brighton in collaboration with the Victoria & Albert Museum for the degree of Doctor of Philosophy April 2018 BLANK 2 Disseminating Design: The Post-war Regional Impact of the Victoria and Albert Museum’s Circulation Department This material is unavailable due to copyright restrictions. Figure 1: Bill Lee and Arthur Blackburn, Circulation Department Manual Attendants, possibly late 1950s, MA/15/37, No. V143, V&A Archive, © Victoria and Albert Museum, London. Joanna Weddell University of Brighton with the Victoria and Albert Museum AHRC Part-time Collaborative Doctoral Award AH/I021450/1 3 BLANK 4 Thesis Abstract This thesis establishes the post-war regional impact of the Victoria and Albert Museum’s Circulation Department (Circ) which sent touring exhibitions to museums and art schools around the UK in the period 1947-1977, an area previously unexplored to any substantial depth. A simplistic stereotypical dyad of metropolitan authority and provincial deference is examined and evidence given for a more complex flow between Museum and regions. The Introduction outlines the thesis aims and the Department’s role in the dissemination of art and design. The thesis is structured around questions examining the historical significance of Circ, the display and installation of Circ’s regional exhibitions, and the flow of influence between regions and museum. Context establishes Circ not as a straightforward continuation of Cole’s Victorian mission but as historically embedded in the post-war period.
    [Show full text]
  • Fabric Swatch Book
    Fabric Swatch Book Swatch Name # Fiber Content Yarn Structure Coloration Finishes Uses Osnaburg 45 Family: Cotton Usually carded only Drapes, slipcovers, Present: cotton, rayon, Coarsely woven plain mattress ticking, work- cotton blends, usually polyester weave wear Unbleached muslin sheeting w/cotton 'trash' still in it Muslin 46 Family: Cotton Usually carded only Sizing Casual wear; trial garments Present: cotton, rayon, Plain weave cotton blends, usually polyester Percale 47 Family: Muslin, percale: cotton; Combed yarns; plain weave Usually piece dyed Durable Press Sleepwear, shirts, holland: flax dresses, sportswear, Present: cotton, rayon, sheeting, drapes cotton blends, usually polyester Crinoline 48 Horsehair Carded only; plain weave Heavily stiffened Underslip to hold out full skirts Burlap 49 Coarser plant fibers: Jute, Hemp Coarse, uneven Hangings, inexpensive Fairly open, drapes, upholstery, sacking Balanced plain weave linoleum backing Batiste 50 Family: Flax Fine yarns Mercerized Blouses, shirts, Present: Cotton or blends Combed cotton dresses, underwear, Wool batiste and silk batiste (rare) Balanced plain weave nightwear, handkerchiefs Ninon 51 Family: Silk Fine, high-twist filament yarn; Lingerie, party and bridal Present: Silk, MF filament, usually balanced plain weave; open wear, neckwear, trim polyester for apparel, nylon meshlike appearance, crisp hand curtains Organdy 52 Family: Cotton Fine, combed yarn, may be Crisp finish by acid treatment or Blouses, dresses, evening and bridal Present: Best quality is 100% high
    [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]
  • Fabric Cleaning Specialist
    Fabric Cleaning Specialist Bill Yeadon 1 317 201 7670 [email protected] Copyright © 2011 Jon-Don Reproduction without permission is prohibited. Table of Contents Fabric specialist 3 Fibers 5 Review #1 Natural Fibers 11 Leather 16 Fiber ID 17 Fiber summary 18 Review # 2 Synthetic Fibers 19 Yarn manufacturing 20 Types of weaves 21 Tufting, flocking 24 Fabric finishes 25 Review # 3 Yarns 27 Dyeing 28 Soil 29 Classes of Soil 30 Review # 4 Dyeing & Soiling 32 Principles of Cleaning 33 Levels of cleaning 36 Methods of Cleaning 37 Safety Issues 40 Review # 5 Principles & Methods 42 Chemistry 43 Review # 6 Chemistry 47 Required Chemicals 48 Spotting for the Professional 52 Spotting Chemicals 53 Specialty Spotting 56 Spotting Chart 59 Review # 7 Chemicals & Spotting 60 Inspection 61 Sofa components 61 Inspections 62 Cleaning Procedures 64 Problem fabric summary 65 Partitions 66 Equipment & chemical list 67 Problems & solution 68 Review #8 Procedures & Problems 71 Clean Trust Forms 73 The IICRC reviews course manuals only to verify that each manual covers all of the test questions on the respective course exam, and that the course manual otherwise meets the criteria in the IICRC Policy and Procedures Manual. The IICRC does not otherwise review or approve course manuals for content or technical accuracy. The schools are independent of the IICRC and the responsibility for course manual content and technical accuracy, except as to exam question coverage, remains the responsibility of the respective schools and not the IICRC. Copyright© 2011 Fabric Cleaning Specialist 2 Are you sure you want to be a fabric specialist? If you think you can clean fabrics because you are an expert carpet cleaner you will be right about half the time.
    [Show full text]
  • Fabric Dictionary
    FABRIC DICTIONARY A Absorbency- The ability of a fabric to take in moisture. Acetate- A manufactured fiber formed by compound of cellulose, refined from cotton linters and/or wood pulp, and acedic acid that has been extruded through a spinneret and then hardened. Acrylic- A manufactured fiber, its major properties include a soft, wool-like hand, machine washable and dryable and excellent color retention. Alpaca- A natural hair fiber obtained from the Alpaca sheep, a domesticated member of the llama family. Angora- The hair of the Angora goat. Also known as Angora mohair. Angora may also apply to the fur of the Angora rabbit. Antique Satin-A reversible satin-weave fabric with satin floats on the technical face and surface slubs on the technical back created by using slub-filling yarns. It is usually used with the technical back as the right side for drapery fabrics and often made of a blend of fibers. Argyle- A pattern designed with different color diamond shapes knit into a fabric. B Bamboo Fabric- Bamboo fabric is a natural textile made from the pulp of the bamboo grass. Bamboo fabric has been growing in popularity because it has many unique properties and is more sustainable than most textile fibers. Bamboo fabric is light and strong, has excellent wicking properties, and is to some extent antibacterial. Barkcloth- A textured woven, usually printed cotton fabric that was popular in the 30s-40s and 50s as an interiors fabric. The prints were often large vines, leaves and florals. Basket Weave- A distinctive technique of weaving that creates a fabric resembling basket work with interwoven fibers.
    [Show full text]
  • Carlhian Records, 1867-1988
    http://oac.cdlib.org/findaid/ark:/13030/c8z89dsn No online items Finding aid for the Carlhian records, 1867-1988 Teresa Morales and Karen Meyer-Roux Finding aid for the Carlhian 930092 1 records, 1867-1988 Descriptive Summary Title: Carlhian records Date (inclusive): 1867-1988 Number: 930092 Creator/Collector: Carlhian (Firm) Physical Description: 1331.62 Linear Feet(837 boxes, 627 flatfile folders, 86 rolls) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Records of the Paris-based interior design firm, including ledgers, stock books, furniture designs, correspondence, photographs, fabric samples, drawings, and business records for the firms' Paris, London, New York, and Buenos Aires offices. Request Materials: Request access to the physical materials described in this inventory through the library catalog record for this collection. Click here for access policy . Language: Collection material is in French Organizational / Historical Note The Carlhian family operated a leading Paris-based interior design firm that specialized in interiors in the French eighteenth-century style. The firm's foundation is traced back to 1867, when Anatole Carlhian and his brother-in-law, Albert Dujardin-Beaumetz, founded the export commission business Carlhian & Beaumetz located in Paris at 30, rue Beaurepaire, close to the place de la République. The firm initially made purchases on behalf of its clients and later specialized in reproductions of period French furniture. The London dealer Duveen Brothers became an important client, using Carlhian & Beaumetz as an intermediary for its dealings in the French market not involving fine art and antique objects.
    [Show full text]
  • Musicals & Opera
    1 ww w.wexford fri nge. ie contEnts 2 Town Map & Exhibitions Trail 4 Presidents Welcome 6 Thank You 8 History of Wexford 11 Ticket Information 12 Musicals and Opera 14 Music 16 Festival Tours 17 Spoken Word 27 Children’s Events 29 Exhibitions In Town 34 Exhibitions Out of Town 36 Comedy, Theatre and More 38 Singing and Swinging Pubs 2 3 R733 to: New Line Road, Whitford House Hotel, St Joseph’s Club N11/N25 to: Whythay Art Studios, Newtown Road, Wexford General Hospital, Murphy’s Barn Skeeter Park, Cleariestown, Wexford County Buildings Carricklawn, Irish National Heritage Park, Ferrycarrig Hotel, Duncannon Line and Arthurstown, Hook Lighthouseuse Paul Maloney Pottery Barntown, The Ros Tapestry Exhibition Centre, New Ross Kyle Cross Crossabeg, Kiltrea Bridge Pottery Enniscorthy CBS SchoolT St. Michaels Enniscorthy Athenaeum Museum and Theatre Enniscorthy , h o Theatre W W m G ARTBANK Bunclody S a a r Exhibitions In Town and a t o t t s e Tesco e g T J r r a S o l l o o o n Out of Town t H h r t o o s e e e N n i r t l e R S l R R ; n s 1 t K h S d d d o 1 1 4 J i R r t Bride Street Church / n e p r p N d e g U e 2 S 2 Dun Mhuire Theatre 1 t t RRoches Road School Street Lower John Street 5 r ythe e 12 Fa e J M 3 e M Tourist Office Th P o t P a a h U r r n p y 4 y s The Friary SSt.
    [Show full text]
  • Dare We Forget?
    AJR Information Volume XLIX No. 4 April 1994 £3 (to non-members) Don't miss . Reflections on the Hidden Children New title competition p3 Dare we forget? The Survivor's ta.\e pi2 welve days into the countdown from the but to speak out in order to lighten their burden and A Republic Second Seder Night to the beginning of Shavuot to help themselves and each other to come to terms there is a day of quite distinctive sadness which, with their traumatic legacy. without T in the opinion of one Jewish theologian, 'the thinkers Republicans p/6 A book has just been published which records in and the rabbis do not yet know how to observe'. deeply moving fashion the details of a number of these In 1991 it was observed by sixteen hundred Jewish 'secret survivors of the Holocaust'. In it, the 'few men and women meeting in New York for what was speak for the many' of their shared past, of their False analogy possibly one of the most significant experiences of ordeal in the hiding places of their war-time years, their adult lives. They came together to remember that their liberation from immediate danger and its which they would rather have forgotten and to aftermath and of their need to find a way to being fter the Hebron examine that which, after five decades, they were healed at last and so to be released from the prison mosque unable to forget: their childhood innocence destroyed without bars of their mental anguish and despair. A for no good reason other than that they were Jews.
    [Show full text]
  • Gazette Drouot INTERNATIONAL
    Gazette Drouot INTERNATIONAL NUMBER 10 UPDATE CLICK HERE TO FIND THE LATEST NEWS W ART MARKET - MAGAZINE CONTENTS UPCOMING . 7 DESIGN . 92 Vintage cars, fashion, Modern Art Aldo Bakker, the quintessence of the form… RESULTS . 18 EXHIBITIONS . 98 The best of the December auctions Auguste Rodin, the draughtsman INTERVIEW NEWS . 38 THE IMAGINARY . 104 Jewellery market on top… Rendez-vous with Fatin-Latour TRENDS . 84 MEETING . 108 Paris, medieval art capital Decorator and designer Roxane Rodriguez EDITORIAL THE MAGAZINE As these lines are being written we're still in 2011, juggling the latest results of a particularly successful season. Press releases are pouring in. From New York comes news about the Hollywood bids on the Elizabeth Taylor Collection and, from London, news about the phenomenal prices for works by Old Masters such as Brueghel II, Coorte and Velázquez. Meanwhile, the variety of specialities in Paris is growing. Contemporary art shines especially brightly this season, with a world record for Nicolas de Staël, Orientalist paintings - Levy- DR Dhurmer and Étienne Dinet being the standard-bearers - and Asian art or archaeological items, always highly sought-after, as the Vérité Collection's tremendous success shows. These pages will again Stéphanie Perris-Delmas EDITORIAL MANAGER demonstrate that the art market is fit as a fiddle, offering investors a refuge. One example is the brilliant performance of the jewellery collection, basking in the glow of a glamorous provenance, screen legend Elizabeth Taylor. The art market, too, can
    [Show full text]