Antiques, Furnishings, Collectors' Items, Textiles & Vintage Fashion

Total Page:16

File Type:pdf, Size:1020Kb

Antiques, Furnishings, Collectors' Items, Textiles & Vintage Fashion Antiques, Furnishings, Collectors' Items, Textiles & Vintage Fashion Thursday 23rd November 2017, 10am Viewing Wednesday 22nd November 10.30am-6pm and day of sale from 9am THE OLD BREWERY BAYNTON ROAD ASHTON BS3 2EB [email protected] 0117 953 1603 www.bristolauctionrooms.co.uk Live Bidding at @BristolAuctionRooms @BristolSaleroom BUYERS PREMIUM 24% (INCLUSIVE OF VAT) PLUS VAT ON THE HAMMER PRICE AT 20% WHERE INDICATED Sale No. 191 Catalogue £2 IMPORTANT NOTICES We suggest you read the following guide to buying at Bristol Auction Rooms in conjunction with our full Terms & Conditions at the back of the catalogue. HOW TO BID To register as a buyer with us, you must register online or in person and provide photo and address identification by way of a driving licence photo card or a passport/identity card and a utility bill/bank statement. This is a security measure which applies to new registrants only. We operate a paddle bidding system. Lots are offered for sale in numerical order and we usually offer approximately 80-120 lots per hour. We recommend that you arrive in plenty of time before the lots you are wishing to bid on are up for sale. ABSENTEE BIDS If you cannot attend an auction in person, Bristol Auction Rooms can bid on your behalf, acting upon your instructions to secure an item for you at the lowest possible price as allowed by other bids and reserves. You can leave bids in person, through our website, by email or telephone - detailing your intended bids clearly, giving your price limit for each lot (excluding Buyer’s Premium and VAT). We cannot accept liability for failure to execute such bids or for errors or omissions. All bids must be received before the start of the sale (10am GMT) in order to ensure placement. If we receive more than one bid of the same value the first one received will take precedence. Bids may be rounded down to the nearest amount consistent with the auctioneers bidding increments. TELEPHONE BIDS Telephone bidding may be arranged on lots before the start of the auction. As the number of telephone lines is limited, early booking is advised. We also recommend that you leave a ‘security’ bid in case we are unable to reach you by telephone. ONLINE BIDDING To register for live bidding or to follow the sale online please visit www.the-saleroom.com, this service incurs an additional fee of 3% of the hammer price (plus VAT, if applicable). CONDITION REPORTS Bidders must satisfy themselves as to the condition of each lot. Condition reports will be made available on our website wherever possible and are available on request via our email, our website, or the-saleroom.com. Requests for condition reports must be submitted by 4pm on the day prior to the auction. Please note that we are unable to give verbal condition reports for any lot. BUYER’S PREMIUM All items in our auction are subject to buyer’s premium of 20% plus VAT (24% in total) which will be added to the hammer price for items up to £150,000. The commission then reduces to 12% plus VAT for items with a hammer price of £150,001 and over. In the event that a lot has an asterisk (*) beside the lot number in the catalogue, this indicates that the item is owned by an entity or company required to pay VAT for which an extra 20% is payable on the hammer price. Normal buyer’s premium applies. PAYMENT & COLLECTION All items must be paid for and collected within 3 working days of the auction. Payment methods are: cash (up to £9,000), debit or credit card (3% processing fee for credit card) with chip and pin, bank transfer or online by card or PayPal (via our website). We do not accept cheques, American Express or Diners Club cards. LOCATION Bristol Auction Rooms, Baynton Road, Ashton, is situated close to Bristol City Football Club, on the corner of Ashton Road and North Street, in a cul-de-sac between the Coopers Arms and the Red & White Cafe, opposite Greville Smyth Park. PARKING A 30 space car park is available at our premises in addition to on-street parking in the surrounding area (subject to normal traffic regulations). PUBLIC TRANSPORT The number 24/25 First Bus service from the City Centre stops at Frayne Road which is on the corner of Baynton Road. PICTURES 10 17 1 Sir Muirhead Bowe HRWS (1876- A 19th Century coloured map of Arthur Briscoe, RI, RE (1873-1943) 1953) Somersetshire, published by Arch. ‘A Casualty’ ‘San Nicholas Villafranca del Bierzo’ Fullarton & Co, Glasgow 21 x 26cm Watercolour Watercolour and another of the West of England Signed, inscribed and dated 1938 Signed and inscribed lower right in maple frame (2) 32 x 49cm 34 x 24.5cm £60 - 80 £300 - 500 £200 - 300 18 2 11 William L Wylie David Martin, British, 19th/20th The Royal Geographical Society A Ship at Sea century Silver Map Etching ‘Toil of the Bank’ 38 x 57cm Signed in the margin, 28 x 20cm Watercolour £20 - 30 £70 - 100 Signed and inscribed lower right 12 19 34 x 51cm Poster - A French poster for the A loose group of County hand £300 - 400 Francis Bacon Exhibition at Le grand coloured maps held in a folio, by J & 3 Palais, Paris C Walker, together with railway and Peter de Wint (1784-1849) 27 Octobre - 10 Janvier 1972 transport maps ‘Cromer Beach’ Published by Arte Paris £200 - 300 Graphite and chalk 159 x 119 cm 20 26 x 34cm £50 - 100 John Cary hand coloured map of £200 - 300 13 North Wales, John Blau hand 4 Lesley Trim coloured map of Buckinghamshire , English School, 19th century A Reclining Nude together with further United ‘Christians Sheltering, After the Sketch with colour wash, signed and Kingdom examples (7) Crucifixion’ dated lower right £120 - 180 Mixed method coloured engravings, 47 x 81cm 21 a pair £80 - 120 Willem Janszoon Blaeu hand 23.5 x 48.5cm 14 coloured map of Flanders together £80 - 100 Lesley Trim with further maps of Flanders and 5 Flamingos France Manner of Johann Christian Zeitter Oil on canvas, signed lower right £120 - 180 ‘Gypsy Wedding’ 39 x 39cm 22 Oil on canvas £60 - 80 Silk Escape and Invasion Maps Cold 61 x 93cm 15 War, Double sided Basra and £500 - 800 After Henry Bunbury ' 18th Century Baghdad and Europe 6 engravings, The Breakfast' 'Tea £40 - 60 Japanese School, two photographic Drinking' and 'A Barbers Shop' also 23 reproductions The Smoking Room, a coloured print After Alfred Seifert 48 x 106cm of the Mediterranean, a 19th A reverse painted portrait of a lady £40 - 60 Century engraving of The Laws of the 24 x 20cm 7 Noble Game of Cricket, Mars and £100 - 200 Early 19th century Continental Venus or Sir Cecil Chastised and 24 School still life with a basket of fruit Master Billy's Procession to Grocers Percy Sturdee and flowers. Hall Still Life with Flowers Watercolour. £40 - 60 Oil on canvas Oval, a pair (2) 16 49 x 59cm, together with an oval 58 x 49 cm Harold Lawes (1865-1940) pastel portrait of a young girl and an £700 - 1,000 A Cottage Scene oil on canvas of a street scene in 8 Watercolour Bruges (3) English School Signed and dated lower right, 1913 £80 - 120 Duelling Scenes 18 x 25cm 25 Oil on copper panel Together with another believed to E Eyres 17 x 23cm be by the same hand, unsigned and Portrait of a Lady £80 - 120 an etching of three horses heads, Gouache 9 monogrammed signature indistinct Signed lower left M.C. Bonner (3) 86 x 56cm ‘Culcross’ £80 - 120 £200 - 300 Oil on canvas 33 x 48cm £300 - 500 Estimates are subject to 24% Buyers Premium (inclusive of VAT), plus VAT (20%) on the hammer price where indicated with an * asterisk 26 33 42 Reginald Aspinwall (1858-1921) John Hopkinson (b. 1941) Donne (Henry Richard Beadon 1860- Seascape with rocky coastline "I'll buy you a pint, you give me the 1949) Oil on canvas fish" Indian Mountain Landscape Signed and dated lower left, 1884 Pencil and Wash Watercolour within heavily carved 50 x 74cm Sign lower right frame £200 - 300 62 x 50 cm Signed lower left, 28 x 59cm 27 £50 - 70 Together with another similar John Hopkinson (b. 1941) 34 possibly by same hand (unsigned Children's playground near John Hopkinson (b. 1941) 22.5 x 32cm) (2) greenhouse "Tea Break" £80 - 120 Oil on panel Pencil and Crayon 43 Signed lower left Signed lower right Barbara Stewart (1929) 61 x 92 cm 62 x 50 cm Red Rose, Red Coffee Pot £200 - 300 £60 - 80 Oil on board 28 35 Signed lower right John Hopkins (b. 1941) John Hopkinson (b. 1941) 61 x 50cm The Playground "Unloading a Trawler" £150 - 200 Oil on panel Pencil 44 signed lower right Signed lower left Barbara Stewart (1929-) 92 x 98 cms. 50 x 62 cm Still Life with Oranges The reverse with a scene depicting £60 - 80 Signed lower right, oil on board terraced houses 36 74 x 59cm £300 - 500 John Hopkinson (b. 1941) £150 - 200 29 "Steel Erector" 45 John Hopkinson (b. 1941) Pencil Susan Sansome "Market Day" Signed lower right Lady in an interior Oil on panel, unsigned 62 x 50 cm Signed and dated lower right 1990 91 x 92 cm £50 - 70 78 x 58cm The reverse with an unfinished scene 37 £40 - 60 of an allotment. John Hopkinson (b.1941) 46 £300 - 500 Fish Dock Workers Susan Sansome 30 Oil on panel Scattered Cushions John Hopkinson (b.
Recommended publications
  • Cloth Without Weaving: Beaten Barkcloth of the Pacific Islands, November 1, 2000-February 18, 2001
    Cloth Without Weaving: Beaten Barkcloth of the Pacific Islands, November 1, 2000-February 18, 2001 Unlike most textiles, which are made of interworked yarns, beaten barkcloth is made of strips of the inner bark of trees such as the paper mulberry, breadfruit, or fig, pounded together into a smooth and supple fabric. It is an ancient craft, practiced in southern China and mainland Southeast Asia over 5,000 years ago. From there, the skill spread to eastern Indonesia and the Pacific Islands. While the technique is also known in South America and Africa, it is most closely associated with the islands of Polynesia. In Polynesia, the making of beaten barkcloth, or tapa, as it is commonly known, is primarily women's work. The technique is essentially the same throughout the Pacific Islands, with many local variations. Bark is stripped from the tree, and the inner bark separated from the outer. The inner bark is then pounded with wooden beaters to spread the fibers into a thin sheet. Large pieces of tapa can be made by overlapping and pounding together several smaller sheets. Women decorate the cloth in many ways, and techniques are often combined. Mallets carved or inlaid with metal or shell designs may impart a subtle texture to the surface. Color may be applied with stamps, stencils, freehand painting, or by rubbing dye into the tapa over a patterned board. Glazes may be brushed onto the finished cloth. Each tapa-producing culture has its own vocabulary of recognized decorative motifs. Many pattern names are drawn from the natural world, and the motifs appear as highly stylized images of local flora and fauna or simple geometric shapes.
    [Show full text]
  • The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity
    The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity by Tunde M. Akinwumi Department of Home Science University of Agriculture, Abeokuta, Nigeria Abstract The paper investigated the nature of machine-produced fabric commercially termed African prints by focusing on a select sample of these prints. It established that the general design characteristics of this print are an amalgam of mainly Javanese, Indian, Chinese, Arab and European artistic tradition. In view of this, it proposed that the prints should reflect certain aspects of Africanness (Africanity) in their design characteristics. It also explores the desirability and choice of certain design characteristics discovered in a wide range of African textile traditions from Africa south of the Sahara and their application with possible design concepts which could be generated from Macquet’s (1992) analysis of Africanity. This thus provides a model and suggestion for new African prints which might be found acceptable for use in Africa and use as a veritable export product from Africa in the future. In the commercial parlance, African print is a general term employed by the European textile firms in Africa to identify fabrics which are machine-printed using wax resins and dyes in order to achieve batik effect on both sides of the cloth, and a term for those imitating or achieving a resemblance of the wax type effects. They bear names such as abada, Ankara, Real English Wax, Veritable Java Print, Guaranteed Dutch Java Hollandis, Uniwax, ukpo and chitenge. Using the term ‘African Print’ for all the brand names mentioned above is only acceptable to its producers and marketers, but to a critical mind, the term is a misnomer and therefore suspicious because its origin and most of its design characteristics are not African.
    [Show full text]
  • 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.
    [Show full text]
  • Schiffer Fashion Press BACKLIST 1 3 Plaids: a Visual Survey of Pattern
    Schiffer Fashion Press BACKLIST 13 Plaids: A Visual Survey of Pattern Varia- Metallic Textile Designs. Tina Skin- Funky Fabrics of the ’60s. Joy Shih. tions. Tina Skinner. More than fi ve decades of ner. They’re hot, they’re shiny, and they’re The wide range of sixties fabric designs twentieth century plaids. Photographs of actual oh-so-glamorous. This book revisits me- refl ected the transition from the comfort- printed and woven textiles. A sweeping survey of tallic’s past, with historic fabric swatches ing tranquility of the early years to the plaids, from the standard checks and ginghams from Europe and Japan dating back to bolder, more “hip” end of the decade. to the farthest reaches of designers’ imaginations. the 1950s, and takes us to today’s top A nostalgic tour of pastel and splashy Size: 8 1/2" x 11" • 558 color photos • 112 pp. European couture houses in a visual fl orals, patchwork calicos, denims and ISBN: 0-7643-0481-X • soft cover • $24.95 exploration of metallics’ allure. stripes, wild abstract geometrics, and Size: 11" x 8 1/2" • 237 color neon paisleys. photos • 112 pp. Size: 11" x 8 1/2" • 250+ color ISBN: 0-7643-0635-9 • soft cover • $19.95 photos • 112 pp. ISBN: 0-7643-0174-8 • soft cover • $19.95 Foulards: A Picture Book of Prints Art Deco Era Textile Designs. Tina Designer Fabrics of the Early ‘60s. for Men’s Wear. Tina Skinner. 350+ Skinner. More than 300 historic fab- Tina Skinner. From top couture fabric photos of historic fabric swatches ric samples from the mid-1920s and design houses of Paris during the early explore design variations in foulards, 1930s provide a visual textbook of the 1960s, this visual feast explores a mul- small motifs printed on silks and fabrics everyday fabrics used for housedresses titude of styles, ranging from playful that were intended for men’s ties and and curtains, adorned with the era’s geometrics to novelty prints and from dressing gowns.
    [Show full text]
  • Mounting Barkcloth with Rare Earth Magnets
    Mounting barkcloth with rare earth magnets: the compression and fiber resiliency answer Gwen Spicer Abstract The use of magnets to mount barkcloth is common, yet details of the specific techniques used had not been adequately documented. An investigation of magnetic systems globally found that while all current systems use 'point fasteners' on the surface of the cloth, this is where the similarities end. The unresolved question for mounting barkcloth is the potential for compression. Compression is a significant issue for art works on paper, especially when magnets are located on the face. How are backcloth and paper different? While researching various materials frequently placed together and used within a magnetic mounting system, otherwise known as ‘the gap’, some interesting ancillary results were found. Materials are typically selected for their archival value, which includes their long-term stability. Over time, a set of preferred materials became well established; these encompass both natural and synthetic materials, woven and non-woven alike. The phrase ‘like with like’ is often used when materials are selected. This long-held philosophy should be re-examined. Compression relates to an object’s ability to regain shape once a force is applied, one aspect of its resiliency. It appears that barkcloth is less likely to experience compression than does paper, although both media are cellulosic. Cellulose is rated as a low-resilience fiber, when compared to proteins and polyester. These materials most likely have different compression potentials due to the different ways in which paper and barkcloth are prepared. This and other surface phenomena will be discussed. The investigation will briefly summarise why the 'point-fasteners' system appear to be favoured over ‘large area pressure.’ Introduction The conservation and mounting of barkcloth has long been a challenge.
    [Show full text]
  • Spring/Summer 2017 Tutti I Bambini Hanno Cuori Dolci Come Il Miele, Falli Crescere Con Cura E Affetto
    Spring/Summer 2017 Tutti i bambini hanno cuori dolci come il miele, falli crescere con cura e affetto... e ti accorgerai che sono fatti per amare. All kids have hearts as sweet as honey; grow them with care and affection...and you realize they were born to give love. L’espressione più vera dell’amore è il sorriso di un bambino felice. The truliest demonstration of love is the smile of a happy child. D’estate il bambino pensa a giocare, sognando castelli di sabbia e l’azzurro del mare. During summer the child always thin- ks about playing, dreaming of sandca- stles and blue sea. Nanan è un mondo d’incanto. Perdercisi è una favola. Nanan is an enchanted world. Getting lost in it is like a fairy tale. I bambini devono poter credere nella magia, il vero motore della vita. Children must be fond of magic, the real driving force in life. LOOKBOOK New collection Spring Summer 2017 Corredino Pon Pon Pon Pon Nursery Collection E170211B Bib E170091B Cap E170211R E170091R E170211A E170091A E170101B Gloves E170101R E170101A E170341B Jersey sleeping bag E170341R E170341A E170041B Jersey babygro E170051B Jersey 2 pcs babygro E170191B Socks E170041R E170051R E170191R E170041A E170051A E170191A E170121B Jersey blanket E170042B Jersey babygro E170241B Jersey romper suit E170011B Jersey body E170121R E170042R E170241R E170011R E170121A E170042A E170241A E170011A 13 Corredino Chicca Chicca Nursery Collection E171448R Band E171421R E1714092R Bib Cap E1714073R E1714411R Fleece jacket Dress + body E1714162R Jersey shrug E1714041R E1714042R E1714241R Jersey babygro
    [Show full text]
  • St. Patrick*S Day Special Pages 13-28 Early Christian Women of the Province
    The Denver Catholic Register MARCH 7,1990 VOL LXVI NO. 10 Colorado's Largest Weekly 40 PAGES 25 C E N TS Episcopal leader leaves BISHOP FREY a legacy of ecumenism By Colleen Smith Mason beyond de facto disunity and demonstrate our un­ unity.” derstanding that we are bound together by our Bap­ Bishop Frey’s relationships with former bishops of When Episcopal Bishop William C. Frey ordained tism in Jesus Christ. I think the fact that The Denver Denver also were marked by camaraderie. The late a woman to the priesthood March 1 at the Air Force Catholic Register is interested in doing this inter­ Archbishop James V. Casey was quoted as saying, “ I Academy in Colorado Springs, he performed his last view is evidence of the progress we’ve made.” have a lot of respect and affection for Bishop Frey official act as head of the Episcopal Diocese of Bishop Frey added, “ It has been a blessing to both as a friend and as a leader. He’s highly gifted by Colorado. enjoy the companionship of the Catholic church for God.” For Colorado Christians, Bishop Frey’s departure the common task. You know, different parts of the Bishop Frey, whose early ministry was spent in a marks the end of the beginning of an era of ec­ country react differently; not everyone gets the priv­ circuit of Colorado mountain missions, will leave the umenism. ilege of the type of fellowship here in Colorado.” state the middle of March to assume the role of dean Bishop Frey, 60, said that the most satisfying as­ and president of Trinity Episcopal School for Minis­ pect of his 18 years as Episcopal bishop of Colorado Desire for Christian unity try in Ambridge, Pa.
    [Show full text]
  • Product Recalls Identify Unsafe Consumer Products on the Us, Canadian, Australian and European Markets
    PRODUCT RECALLS IDENTIFY UNSAFE CONSUMER PRODUCTS ON THE US, CANADIAN, AUSTRALIAN AND EUROPEAN MARKETS. PRODUCT RECALLS IS PUBLISHED FORTNIGHTLY BY SGS TO KEEP YOU UP TO DATE WITH ALL THE LATEST RECALL NOTICES. CONSUMER AND RETAIL OCTOBER 1-15, 2017 ELECTRIC SHOCK CHEMICAL STRANGULATION INJURIES TOYS AND JUVENILE PRODUCTS FASHION JEWELLERY + TEXTILES COSMETICS + - FURNITURE BURNS ELECTRICAL & ELECTRONICS FIRE CHOKING CLOTHING, TEXTILE & FASHION ITEMS COSMETICS ELECTRICAL & ELECTRONICS FURNITURE JEWELLERIES OTHER PRODUCTS TOYS & JUVENILE PRODUCTS For an easy back and forth navigation, please download the PDF. PRODUCT RECALLS OCTOBER 1-15, 2017 P. 2 CLOTHING, TEXTILE & FASHION ITEMS JURISDICTION OF PRODUCT NAME PICTURE DETAILS RECALL NORTH AMERICA (US & CANADA) Canada “Touch of Nature” Fluffy Boas More details EUROPEAN UNION Croatia Children’s jackets More details Croatia Children’s jacket More details Cyprus Girls’ clothing set More details Spain Romper suit More details Spain Fancy-dress beard More details Germany Riding gloves More details Back to Content PRODUCT RECALLS OCTOBER 1-15, 2017 P. 3 CLOTHING, TEXTILE & FASHION ITEMS JURISDICTION OF PRODUCT NAME PICTURE DETAILS RECALL EUROPEAN UNION (CONTINUED) The Netherlands Work gloves More details The Netherlands Hockey glove More details The Netherlands Fitness gloves More details The Netherlands Baseball glove More details The Netherlands Riding gloves More details AUSTRALIA Australia Girl’s Frill Sleep Short More details Back to Content PRODUCT RECALLS OCTOBER 1-15, 2017 P. 4 COSMETICS JURISDICTION OF PRODUCT NAME PICTURE DETAILS RECALL EUROPEAN UNION Germany Skin lightening cream More details Latvia Skin care product More details United Kingdom Skin lightening product More details United Kingdom Skin lightening product More details AUSTRALIA Australia Rescue & Renew Detox Body Wash More details Back to Content PRODUCT RECALLS OCTOBER 1-15, 2017 P.
    [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]
  • WOOL TEXTILE TERMS Handout for the WRSW Wool Panel Discussion
    WOOL TEXTILE TERMS Handout for the WRSW Wool Panel Discussion Over the years, the wool industry has attempted to standardize wool textile terminology. The following is list of such terms listed in “Twills, Tweeds and All-Wool Fabrics” by Harriet C. Douglas. Public Domain on arizona.edu. Broken Twill – are twills in which one or more shafts are omitted in the threading, but the weaving is regular. Dornik is an example. Cheviot Tweeds – originally from the Cheviot Hills of Scotland. Made from the rough, coarse wool of the Cheviot wool in plain weave or in 2/2 twill, with warp and weft of the same color. Often pieced dyed rather than skein dyed. Combined Twills – are Fancy twills woven in small patterns with broken diagonals and irregular warp and weft skips. Corkscrew Twills – are warp and weft rib twills produced on an uneven number of shafts, by weaving semi-opposites. One of the few twills which is not a balanced weave. Curved Twills – are Fancy twills in which the twill lines have a waved or curved nature. District Checks – is the general name applied to the Scotch Tweed checks developed during the rein of Queen Victoria for hunting and sport wear. They are characterized by a certain boldness of small figures, but “protective coloration”. They include such checks as the Glenns, The Glen Urquharts and the Shepherd check, woven on two, three or four colors. Donegal Tweed – has two types. One is a herringbone weave on a white warp with a dark weft; the other, a plain weave fabric woven with a weft which has colored nubs.
    [Show full text]
  • A Dictionary of Men's Wear Works by Mr Baker
    LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000
    [Show full text]
  • Donegal Heritage Collection
    Irish Life and Lore Series Donegal Heritage Collection IRISH LIFE AND LORE SERIES DONEGAL HERITAGE COLLECTION _____________ CATALOGUE OF 64 RECORDINGS www.irishlifeandlore.com Page: 1 / 34 © 2010 Maurice O'Keeffe Irish Life and Lore Series Donegal Heritage Collection Irish Life and Lore Series Maurice and Jane O’Keeffe, Ballyroe, Tralee, County Kerry E-mail: [email protected] Website: www.irishlifeandlore.com Telephone: + 353 (66) 7121991/ + 353 87 2998167 Recordings compiled by : Maurice O’Keeffe Catalogue Editor : Jane O’Keeffe Secretarial work by : NB Secretarial Services, Tralee Recordings mastered by : Media Duplication Privately published by : Maurice and Jane O’Keeffe, Tralee The Donegal Heritage ‘Life & Lore’ Collection was commissioned by the County Donegal Heritage Office, Donegal County Council, the County Donegal Heritage Forum and The Heritage Council under the County Donegal Heritage Plan (2007- 2011). An Action of the County Donegal Heritage Plan (2007-2011) Page: 2 / 34 © 2010 Maurice O'Keeffe Irish Life and Lore Series Donegal Heritage Collection NAME: MATTHEW GRAHAM, BORN 1939, ST. JOHNSTON, ARDAGH (Part 1) Title: Irish Life and Lore Donegal Heritage Collection CD 1 Subject: Changing landscapes Recorded by: Maurice O’Keeffe Date: 2010 Time: 56:08 Description: Matthew Graham’s grandfather originally arrived in St. Johnston in 1888 and he farmed fifty acres there. Matthew’s father also farmed there and Matthew discusses the arrival of the first tractor at the farm in 1957, butter-making and the arrival of electricity, the growing of flax for thatching and also wheat straw, rye straw and rushes. He recalls the McGlincheys of the Green who were flax millers, and some of the other milling families.
    [Show full text]