Amherst Community History Mural Is the Result of the Hard Work and Generosity of Many Individuals and Groups

Total Page:16

File Type:pdf, Size:1020Kb

Amherst Community History Mural Is the Result of the Hard Work and Generosity of Many Individuals and Groups CREDITS & SPONSORS The Amherst Community History Mural is the result of the hard work and generosity of many individuals and groups. West Cemetery History Business/Organization Sponsors Amherst-Pelham Education Association The Amherst Club After several incidents of vandalism in the 1990s, the Amherst In 1727-28, during a lull in the French and Indian Wars, the British Atkins Farm Country Market Basha’s Oriental Rugs colonial settlers of the Hadley plantation began to build homes in Blair, Cutting & Smith Ins. Agency Blue Horizon Jazz Band Historical Commission undertook and completed the 1999 West their East District. In 1730, Hadley Town Meeting authorized a Coddington, LLP Cousins Market Cemetery Preservation Plan. The Plan established a multi-year new burying ground for these settlers. The one-acre lot took its Cowls Building Supply Florence Savings Bank program of restoration, resulting in new perimeter fencing and name—West Cemetery—from “the West Street” within which the Hampshire Hospitality Group Jones Properties, LP A Guide to the restoration of the historic Gaylord and Burnham gates, as well cemetery was created. The West Street was one of two, 40 rod (660 Jones • Town & Country Realty Kendrick Property Mgmt., Inc. as new signs and lighting. During installation of the fencing, a foot) wide north-south highways established in a 1703 Hadley land New Black Eagle Jazz Band Northampton Cooperative Bank row of infested hemlocks was removed, exposing the adjacent Pacific Lodge AF & AM Panda Enterprises Amherst Community commercial buildings. division. Amherst’s early meetinghouses, village center commons, Sawicki Real Estate Singer Potito Associates cemeteries, and other shared public uses would all be placed in these The Commission decided to pursue a community history mural, highways. Other Major Sponsors History Mural to frame the cemetery and help the buildings blend into the John & Elizabeth Armstrong Jean J. Beard 1730-1769 – At first, West Cemetery was an open, unfenced landscape. Following a community participation process in 2002- Marian & Bruce Brown Ricardo Guerrero & Lynn Margulis meadow without roads or paths. Graves were not plotted, but at the West Cemetery Edythe (Roberts) Harris Donald & Phyllis Hastings 2003, muralist David Fichter completed designs for the Amherst simply dug where there was room as people died. Burials faced Richard O. Johnson, Jerald H. Denison & Barbara Jones & Family Amherst, Massachusetts Community History Mural overlooking West Cemetery. Individuals, east and headstones faced west. Most graves were unmarked or Gates, & Robert Ritchie Paul Jones & Ruth Owen Jones businesses and organizations generously funded the mural, and had impermanent wooden markers. Permanent markers were of Arthur F. Kinney Teresa Hamilton Laprade’s Children She dwelleth in the Ground – installation began in fall 2004. local stone—granite, schist, and sandstone. African Americans, Edith Nye MacMullen Kenneth & Elizabeth Mundt Where Daffodils – abide – Native Americans, and other people of color were buried together Rose & John Olver Toni & Gregory S. Prince, Jr. The Amherst Community History Mural is designed to increase in a separate section of the cemetery at the southeast corner. The Stephen P. Puffer, Jr. Perry & Jean Thompson Her Maker – Her Metropolis – understanding of this ancient burying ground and build support cemetery was kept open by the pasturing of livestock. and more than 150 others The Universe – Her Maid – for its restoration. The mural provides historical interpretation - Emily Dickinson and enhances the cemetery as a public open space. 1770-1832 – The burying ground acquired fixed boundaries during Amherst Historical Commission this period. Slate became a popular headstone material and funeral 2004-2005 MEMBERS OTHER RECENT MEMBERS Edith Nye MacMullen, Chair Don Frizzle, Chair Carol Birtwistle plantings using native species were introduced. Land for the North Gai Carpenter Barbara Carpenter Sharon Smith Carty and South Amherst cemeteries was purchased in 1818. Paul Norton Cindy Dickinson Sarah La Cour 1833-1868 – The Town expanded the cemetery to the east and Caroline Olson John Martin Max Page west, purchased the access road to North Pleasant Street (the West Jean Thompson Robert Romer Perry Thompson James Wald Marie Twohig-Burbine In January 1730, the town meeting of the British colonial plantation Highway), and fenced the area. Family plots began to be fenced or at Hadley voted to grant the settlers of its East District “liberty coped with stone, and marble became the predominant headstone Staff for a burying place.” Set in the ancient (1703) West Highway, the material. In 1854, the Town laid out the first cemetery road. The Jonathan Tucker Lynda Faye burying ground became known as the West Cemetery. Amherst was next year, the Town Tomb was erected for the “free use of the town,” Senior Planner Historic Preservation Planner created as a separate colonial parish in 1759 and named for General serving as temporary storage for bodies prior to burial, especially in Jeffery Amherst, a British hero of the French and Indian Wars. West winter. In 1858, Edward Dickinson arranged for an ornamental iron HELP ENSURE A FUTURE FOR AMHERST’S PAST! Cemetery was expanded in 1833, and again in 1870. Amherst’s oldest fence to enclose the Dickinson family plot. YOUR DONATIONS CAN HELP MAINTAIN THE AMHERST COMMUNITY HISTORY MURAL, OR HELP PRESERVE AND RESTORE AMHERST’S HISTORIC CEMETERIES. burying ground retains some of the town center’s original unchanged 1870-1906 – Individuals and families were required to take deeds landscape, recognizable to the early colonial settlers who lie here next and pay for grave plots for the first time. West Cemetery doubled Make checks payable to “TOWN OF AMHERST, WEST CEMETERY MURAL” (for to farmers, millworkers, servants, soldiers, professors, and poets. in size, and its roadway was extended to a new entrance on mural maintenance) or, “TOWN OF AMHERST, [WEST/NORTH/SOUTH] CEMETERY th Triangle Street. Granite became a popular headstone material, and IMPROVEMENTS” (for improvements to specific cemeteries) and mail/deliver During the 20 century, the cemetery suffered from neglect, years ornamental funeral trees and plantings were added. them to: of environmental damage, uncontrolled foot traffic, vandalism, and inappropriate use. In 1998, Historic Massachusetts named West 1907-2005 – The Gaylord Gate (1908) was built at the original AMHERST HISTORICAL COMMISSION Cemetery one of Massachusetts’ “Ten Most Endangered Historic burying ground entrance, and the Burnham Gate (1954) on Triangle c/o Amherst Planning Department Resources.” By 2000, the Historical Commission had succeeded Street became the new main entrance. More ornamental plantings Town Hall, 4 Boltwood Ave. in getting Amherst’s ancient burying ground listed on the National were added, including a Camperdown Elm at the gravesite of William Amherst, MA, 01002. Register of Historic Places. Smith Clark. Most plantings have since been lost to disease and neglect, and not replaced. The Community History Mural was Cemetery funds are organized by the Amherst Historical Commission for each West Cemetery is located in downtown Amherst, between North cemetery and for the Amherst Community History Mural. All gifts and donations completed in 2005. for these public purposes are tax-deductible. Contact the Amherst Planning Dept. Pleasant and Triangle Streets. Pedestrians can enter from either Source: West Cemetery Preservation Plan, Denig Design (413) 259-3040 or [email protected] for information. end. Vehicle access is from Triangle Street only. No parking is Associates (Martha Lyon, consultant), 1999. permitted in the burying ground except during funerals. Ray Stannard Baker (tending bees, 1870-1946) – An Lt. Frazar Stearns W (background, in “Peanut John” Musante (1848- Who’s On the Mural early muckraking journalist, Baker wrote a Pulitzer Prize- uniform, 1840-1862) – Well-loved young son 1904) & Candida Musante (18??- Those depicted on the Amherst Community History Mural were chosen based on winning biography of Woodrow Wilson. As David Grayson of Amherst College President William Augustus 1924) – First-generation Italian citizen recommendations and represent the full sweep of Amherst’s history as a he wrote about his gardening and beekeeping on Sunset Stearns and close friend of the Dickinson immigrants, the Musantes moved to settled community. Those who are buried in West Cemetery are indicated with a Avenue. family. Frazar’s death at the battle of Newbern Amherst in 1882. They worked as fruit while serving as Col. Clark’s adjutant sent and nut vendors from a sidewalk stand symbol (W). From left to right, the mural is divided into the following aspects of Helen Hunt Jackson (1830-1885) – Amherst native and Amherst’s community life: shock waves through the community. along Merchant’s Row on South Pleasant contemporary of Emily Dickinson, Jackson authored nature Street and a wagon at Amherst College. and travel stories of the West, as well as the popular novel Henry Jackson W (foreground, 1817-1902) FARMING Candida continued to operate the stand Ramona which highlighted the plight of Native Americans. – Popular local teamster, and probable for 20 years after John died. Farm Children – North of Mount Norwottuck, young Marjorie Atkins Elliott and a conductor on local Underground Railroad routes, Jackson traveled up and down the Valley friend carry a basket of apples. DOMESTIC LIFE from Springfield to Vermont. He was a central
Recommended publications
  • SENATE—Wednesday, September 7, 2011
    13014 CONGRESSIONAL RECORD—SENATE, Vol. 157, Pt. 9 September 7, 2011 SENATE—Wednesday, September 7, 2011 The Senate met at 10 a.m. and was SCHEDULE MEASURE PLACED ON THE called to order by the Honorable Mr. REID. Madam President, fol- CALENDAR—H.J. Res. 66 KIRSTEN E. GILLIBRAND, a Senator from lowing leader remarks, if any, there Mr. REID. Madam President, I under- the State of New York. will be an hour of morning business, stand H.J. Res. 66 is at the desk and is PRAYER with the majority controlling the first due for a second reading. half and the Republicans controlling The ACTING PRESIDENT pro tem- The Chaplain, Dr. Barry C. Black, of- the final half. Following morning busi- pore. The clerk will read the joint reso- fered the following prayer: ness, the Senate will resume consider- lution by title for the second time. Let us pray. Lord God, You are holy and inhabit ation of the motion to proceed to the The legislative clerk read as follows: the praises of Your people. We are America Invents Act. A joint resolution (H.J. Res. 66) approving thankful that those who seek You will The Senate will recess from 12:30 the renewal of import restrictions contained until 2:15 for our weekly party con- in the Burmese Freedom and Democracy Act not lack any good thing. Help us to of 2003. make You our source of hope, depend- ferences. At 2:30, there will be 30 min- ing on Your providence and trusting utes of tribute to the late Senator Mr.
    [Show full text]
  • A Practical Guide to Creating a Mural
    A PRACTICAL GUIDE TO CREATING A MURAL 1 WHY CREATE A MURAL? The benefits of murals are plentiful: not only do they beautify and enhance the urban environment, they deter costly tagging, foster community partnerships and pride, and can even boost the local economy. Above all, they’re fun! This guide assists artists, community organizations, business and property owners and arts and heritage organizations by recommending best practices in mural production. The guide is to be used in conjunction with the City of Nelson Murals Policy, which outlines the approval process for murals. An application form must be completed to propose a mural. The City of Nelson’s Cultural Development Commission is also available to offer advice. DEFINITIONS COMMEMORATION: The act of honouring or perpetuating the memory of a person, persons, event, historical period or idea that has been deemed significant. COMMUNITY ART: Public participation and collaboration with professional artists in visual art, dance, music, theatre, literary and/or media arts within a community context and venue. MURAL: A large-scale artwork completed on a surface with the permission of the owner. Media may include paint, ceramic, wood, tile and photography, etc. SIGN: If the primary intent of the work is to convey commercial information, it is a sign. TAGGING: A common type of graffiti is "tagging", which is the writing, painting or "bombing" of an identifiable symbolic character or "tag" that may or may not contain letters. PUBLIC WALLS: A space that belongs to a public organization, i.e. municipal, provincial or federal government. Approval for the mural should be among the first steps undertaken in the planning process.
    [Show full text]
  • Mural Installation Guide City of Frankfort, Kentucky
    Mural Installation Guide City of Frankfort, Kentucky This guide is intended to provide answers to basic questions anyone must answer about creating a mural, from how to prepare a wall surface, to what kind of approvals you will need, to appropriate materials to use. The information here has been culled from best practices that have been documented by artists and mural organizations throughout the country. While this guide provides a roadmap, every project will have its own unique circumstances. Anyone taking on a mural project should look for guidance from artists, curators, arts organizations or others who are experienced with the details of mural production. At the end of this publication there is a Resource Guide that provides additional information and tips about where to find help. In This Guide… Part One – Evaluating a Wall I Page 2 Part Two – Approvals and Permissions I Page 4 Part Three – Creating a Design I Page 5 Part Four – Prep Work I Page 6 Part Five – Paint and Supplies I Page 9 Part Six – Maintenance, Repair, Conservation I Page 11 Part Seven – Checklist of Commonly Used Items I Page 12 Part Eight – Resource Guide I Page 13 Part One – Evaluating a Wall The best type of surface to receive paint is one that is a raw, unpainted brick, concrete or stone material that is free of the defects described below. However, keep in mind that the unpainted masonry requires special approval from the Architectural Review Board. Painting unpainted masonry in the historic district is generally not permitted. Wood, metal and other materials that are in new or good condition can also be satisfactory if properly prepared and sealed.
    [Show full text]
  • SAMPLE Portfolio Assessment for ART-395 Urban Mural
    SAMPLE Portfolio Assessment for ART-395 Urban Mural Art Note from the Office of Portfolio Assessment Knowledge and background in more “applied” subjects tend to be better suited for portfolio assessment credit because the student’s proof of “doing the work” is viewed as direct evidence of the knowledge. In this portfolio you will see more than a dozen “samples of work” along with several letters of support. In such portfolios those are the two most significant types of necessary evidence to earn credit. ART-395 Urban Mural Art – Table of Contents Course Description and Learning Outcomes page 1 Introduction page 2 Narrative pages 3- 13 Evidence Items • Bibliography page 14 • Letter of support page 15 • Letter of support page 16 • Newspaper Article pages 17 & 18 • Newspaper Article page 19 • Samples of work (17 pages) pages 20 - 36 Summary page 37 Urban Mural Art (ART-395) 3.00 s.h. Course Description The course discusses the history and practice of the contemporary mural movement. The course couples step-by-step analysis of the process of designing with the actual painting of a mural. In addition students will learn to see mural art as a tool for social change. Combining theory with practice, students will design and pain a large outdoor mural in West Philadelphia in collaboration with Philadelphia high school students and local community groups. Learning outcomes: • Develop and understanding of the history and practice of mural design • Analyze the design process • Design and paint a mural • Articulate familiarity with the concept of mural painting as it reflects social change • Demonstrate the ability to collaborate with groups and individuals toward a finished piece of art Introduction My career as an artist predates my career as an educator.
    [Show full text]
  • 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.
    [Show full text]
  • Mural Mural on the Wall: Revisiting Fair Use of Street Art
    UIC REVIEW OF INTELLECTUAL PROPERTY LAW MURAL MURAL ON THE WALL: REVISITING FAIR USE OF STREET ART MADYLAN YARC ABSTRACT Mural mural on the wall, what’s the fairest use of them all? Many corporations have taken advantage of public art to promote their own brand. Corporations commission graffiti advertising campaigns because they create a spectacle that gains traction on social media. The battle rages on between the independent artists who wish to protect the exclusive rights over their art, against the corporations who argue that the public art is fair game and digital advertising is fair use of art. The Eastern Market district of Detroit is home to the Murals in the Market Festival. In January 2018, Mercedes Benz obtained a permit from the City of Detroit to photograph its G 500 SUV in specific downtown areas. On January 26, 2018, Mercedes posted six of these photographs on its Instagram account. When Defendant-artists threatened to file suit, Mercedes removed the photos from Instagram as a courtesy. In March 2019, Mercedes filed three declaratory judgment actions against the artists for non-infringement. This Comment will analyze the claims for relief put forth in Mercedes’ complaint and evaluate Defendant-artists’ arguments. Ultimately, this Comment will propose how the court should rule in the pending litigation of MBUSA LLC v. Lewis. Cite as Madylan Yarc, Mural Mural on the Wall: Revisiting Fair Use of Street Art, 19 UIC REV. INTELL. PROP. L. 267 (2020). MURAL MURAL ON THE WALL: REVISITING FAIR USE OF STREET ART MADYLAN YARC I. INTRODUCTION ........................................................................................................... 267 A.
    [Show full text]
  • Studying Craft: Trends in Craft Education and Training Participation in Contemporary Craft Education and Training
    Studying craft: trends in craft education and training Participation in contemporary craft education and training Cover Photography Credits: Clockwise from the top: Glassmaker Michael Ruh in his studio, London, December 2013 © Sophie Mutevelian Head of Art Andrew Pearson teaches pupils at Christ the King Catholic Maths and Computing College, Preston Cluster, Firing Up, Year One. © University of Central Lancashire. Silversmith Ndidi Ekubia in her studio at Cockpit Arts, London, December 2013 © Sophie Mutevelian ii ii Participation in contemporary craft education and training Contents 1. GLOSSARY 3 2. FOREWORD 4 3. EXECUTIVE SUMMARY 5 3.1 INTRODUCTION 5 3.2 THE OFFER AND TAKE-UP 5 3.3 GENDER 10 3.4 KEY ISSUES 10 3.5 NEXT STEPS 11 4. INTRODUCTION 12 4.1 SCOPE 13 4.2 DEFINITIONS 13 4.3 APPROACH 14 5. POLICY TIMELINE 16 6. CRAFT EDUCATION AND TRAINING: PROVISION AND PARTICIPATION 17 6.1 14–16 YEARS: KEY STAGE 4 17 6.2 16–18 YEARS: KEY STAGE 5 / FE 22 6.3 ADULTS: GENERAL FE 30 6.4 ADULTS: EMPLOYER-RELATED FE 35 6.5 APPRENTICESHIPS 37 6.6 HIGHER EDUCATION 39 6.7 COMMUNITY LEARNING 52 7. CONCLUDING REMARKS 56 8. APPENDIX: METHODOLOGY 57 9. NOTES 61 1 Participation in contemporary craft education and training The Crafts Council is the national development agency for contemporary craft. Our goal is to make the UK the best place to make, see, collect and learn about contemporary craft. www.craftscouncil.org.uk TBR is an economic development and research consultancy with niche skills in understanding the dynamics of local, regional and national economies, sectors, clusters and markets.
    [Show full text]
  • Recipes Your Best Pies 39 Focus on Texas Photo Contest: Swings 40 Around Texas List of Local Events 42 Hit the Road Taking in Tyler by Melissa Gaskill
    LOCAL ELECTRIC COOPERATIVE EDITION APRIL 2016 Helping Local Libraries Gettysburg Casualty Best Pies. Yum! HATSON! Texas hatmakers have you covered We’re e on a mission to set the neighborhood standard. With the most dependable equipment, we create spectacular spaces. We thrive on the fresh air, the challenge and the results of our efforts. We set the bar high to create a space we’re proud to call our own. kubota.com © Kubota Tractorr Corpporation, 2016 Since 1944 April 2016 FAVORITES 5 Letters 6 Currents 20 Local Co-op News Get the latest information plus energy and safety tips from your cooperative. 33 Texas History Gettysburg’s Last Casualty By E.R. Bills 35 Recipes Your Best Pies 39 Focus on Texas Photo Contest: Swings 40 Around Texas List of Local Events 42 Hit the Road Taking in Tyler By Melissa Gaskill Jeff Biggars applies steam ONLINE as he shapes a hat. TexasCoopPower.com Find these stories online if they don’t FEATURES appear in your edition of the magazine. Observations Cowboy Hatters Texas artisans crown your cranium in Tough Kid, Tough Breaks 8 a grand and storied tradition By Clay Coppedge Story by Gene Fowler | Photos by Tadd Myers Texas USA The Erudite Ranger Community Anchors Enlivening libraries establishes By Lonn Taylor 12 an environment for learning, sharing and loving literacy By Dan Oko NEXT MONTH New Directions in Farming A younger generation seeks alternatives to keep the family business thriving. 33 39 35 42 BIGGARS: TADD MYERS. PLANT: CANDY1812 | DOLLAR PHOTO CLUB ON THE COVER J.W. Brooks handcrafts hats for cowboys and cowgirls at his shop in Lipan.
    [Show full text]
  • GUIDE to the HITCHCOCK FAMILY PAPERS Scope and Content Note the Hitchcock Family Papers Have Been Received As Gifts by the Pocum
    GUIDE TO THE HITCHCOCK FAMILY PAPERS Scope and Content Note The Hitchcock Family Papers have been received as gifts by the Pocumtuck Valley Memorial Association from several sources over many years. The collection numbers just over 400 items, and date between 1731 and 1979. The papers are those of and relating to the descendants of Luke [d. 1659] and Elizabeth (Gibbons) Hitchcock [d. 1696] of Wethersfield, Connecticut, through their sons John and Luke. The number that accompanies names in the notes below refers to the number assigned to the individual by George Sheldon in genealogical notes on the Hitchcock family in the second volume of his History of Deerfield [1895]. Many of the following biographical notes were selected from that source and from The Genealogy of the Hitchcock Family, compiled and published by Mrs. Edward Hitchcock, Jr. [Amherst, Mass., 1894]. Biographical Notes and Description of Series John Hitchcock4, son of Deacon John2 and Hannah (Chapin) Hitchcock, was born in Springfield, Mass., on April 13, 1670. On September 24, 1691 he married Mary Ball of Springfield and the couple had 11 children, one of whom is mentioned below. He received two shares of the township granted to survivors of the Falls Fight [Turners Falls, Mass.,1676] and their descendants and bequeathed them to his son John. He died in 1751, his widow in 1760. He is represented by four items: deeds to land in Brookfield and Springfield, Mass., dated 1731, a copy of his will, dated December 12, 1750, an account relating to the sale of his estate. Samuel Hitchcock7, son of Ensign John4 and Mary (Ball) Hitchcock, was born in Springfield, Mass., on June 9, 1717.
    [Show full text]
  • Emily Dickinson - Poems
    Classic Poetry Series Emily Dickinson - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Emily Dickinson(10 December 1830 – 15 May 1886) Emily Elizabeth Dickinson was an American poet. Born in Amherst, Massachusetts, to a successful family with strong community ties, she lived a mostly introverted and reclusive life. After she studied at the Amherst Academy for seven years in her youth, she spent a short time at Mount Holyoke Female Seminary before returning to her family's house in Amherst. Thought of as an eccentric by the locals, she became known for her penchant for white clothing and her reluctance to greet guests or, later in life, even leave her room. Most of her friendships were therefore carried out by correspondence. Although Dickinson was a prolific private poet, fewer than a dozen of her nearly eighteen hundred poems were published during her lifetime. The work that was published during her lifetime was usually altered significantly by the publishers to fit the conventional poetic rules of the time. Dickinson's poems are unique for the era in which she wrote; they contain short lines, typically lack titles, and often use slant rhyme as well as unconventional capitalization and punctuation. Many of her poems deal with themes of death and immortality, two recurring topics in letters to her friends. Although most of her acquaintances were probably aware of Dickinson's writing, it was not until after her death in 1886—when Lavinia, Emily's younger sister, discovered her cache of poems—that the breadth of Dickinson's work became apparent.
    [Show full text]
  • The Milliner Cross Stitch Pattern by Perrette Samouiloff
    The Milliner cross stitch pattern by Perrette Samouiloff Manufacturer: Perrette Samouiloff Reference:PER239 Price: $11.99 Options: download pdf file : English Description: The Milliner CROSS STITCH PATTERN READY TO DOWNLOAD, DESIGNED BY Perrette Samouiloff This design is part of a series of cross stitch charts related to needlecrafts. After the Lacemaker, here is a tribute to the fine art of hatmaking. The milliner's trade, which has almost disappeared today, is the art of designing, making, decorating and personalizing hats, fashion accessories par excellence. In this cross stitch pattern, the milliner is at work, needle in hand, in her hat shop, while her customers try various hats on. The hats come in a wide variety of styles and very feminine shapes: wide brim and veil, cloche hats from the thirties, floppy brimmed hats, round caps, straw hats, together with a whole collection of exquisite small hat pins. The title of the embroidery "The Milliner" is embroidered in pretty cursive letters. The design is an adaptation from the French "La Modiste". If you would rather stitch the French version, please contact us after placing the order and we will send you the chart with the original French text (last picture). A cross stitch pattern by Perrette Samouiloff. >> see more patterns related to Fashion and Costumes by Perrette Samouiloff Chart info & Needlework supplies for the pattern: The Milliner Chart size in stitches: 138 x 160(wide x high) Needlework fabric: Aida, Linen or Evenweave, white >> View size in my choice of fabric (fabric calculator) Stitches: Cross stitch, Backstitch, 3/4 cross stitch Chart: Black & White, color detail Threads: DMC Number of colors:1 Themes: hat making workshop, hat shop, fashion, ornamental hat pins >> see all patterns related to Clothes and Fashion accessories (all designers) All patterns on Creative Poppy's website are printable and available for instant download.
    [Show full text]
  • Vital Signs the Intersection of Health & Community Development
    Vital Signs The Intersection of Health & Community Development Tweet @phillycdcs Join the Movement Towards An Equitable Philadelphia PACDC Community Development Leadership Institute’s 2019 FORWARD EQUITABLE DEVELOPMENT CONFERENCE Wednesday, June 26th & Thursday June 27th, 2019 KEYNOTE SPEAKER Liz Ogbu A designer, urbanist, and social innovator, Liz is an expert on social and spatial innovation in challenged urban environments Philadelphia globally. Through her multidisciplinary design and innovation consultancy, Studio O, she collaborates with/in communities in need does Better to leverage the power of design to catalyze sustained social impact. Among her honors, when we ALL she is a TED speaker, one of Public Interest Design’s Top 100, and a former Aspen Ideas do Better Scholar. “What if gentrification was about healing communities instead of displacing them?” —Liz Ogbu PHOTO CREDIT: RYAN LASH PHOTOGRAPHY Join 300 community developers, small business entrepreneurs, health practitioners, researchers, artists, educators, and activists committed to working toward a more equitable Philadelphia. Conference attendees will explore innovative pathways to ensuring all Philadelphia’s residents and businesses prosper, network with others striving to undertake equitable development, and be uplifted and energized through moving stories of success and lessons learned. Keynote and workshops on Wednesday, June 26th, and in-depth learning seminars on Thursday, June 27th. CONFERENCE SPONSOR PARTNERS: Jefferson Center for Urban Health/Jefferson Health Systems,
    [Show full text]