The Calumet & Hecla Mining Company Semi-Centennial
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Michigan Technological University Archives' Postcard Collection MTU-196
Michigan Technological University Archives' Postcard Collection MTU-196 This finding aid was produced using ArchivesSpace on February 08, 2019. Description is in English Michigan Technological University Archives and Copper Country Historical Collections 1400 Townsend Drive Houghton 49931 [email protected] URL: http://www.lib.mtu.edu/mtuarchives/ Michigan Technological University Archives' Postcard Collection MTU-196 Table of Contents Summary Information .................................................................................................................................... 3 Biography ....................................................................................................................................................... 3 Collection Scope and Content Summary ....................................................................................................... 4 Administrative Information ............................................................................................................................ 4 Controlled Access Headings .......................................................................................................................... 4 Collection Inventory ....................................................................................................................................... 5 A ................................................................................................................................................................... 5 B .................................................................................................................................................................. -
International Journal of Textile Science and Engineering Chowdhary U
International Journal of Textile Science and Engineering Chowdhary U. Int J Text Sci Eng 3: 125. Review Article DOI: 10.29011/IJTSE-125/100025 Impact of Interfacings and Lining on Breaking Strength, Elongation and Duration of the Test for Knitted Wool Usha Chowdhary* Department of Human Environmental Studies Fashion Merchandising and Design, Central Michigan University, Mount Pleasant, Mich- igan, USA *Corresponding author: Usha Chowdhary, Department of Human Environmental Studies Fashion Merchandising and Design, Central Michigan University, Mount Pleasant, Michigan, USA. Email: [email protected] Citation: Chowdhary U (2019) Impact of Interfacings and Lining on Breaking Strength, Elongation and Duration of the Test for Knitted Wool. Int J Text Sci Eng 3: 125. DOI: 10.29011/IJTSE-125/100025 Received Date: March 5, 2019; Accepted Date: March 20, 2019; Published Date: March 29, 2019 Abstract The study examined breaking strength, elongation and time at break for 100% medium weight knitted wool with in- terfacings and lining. Several ASTM standards were used to measure structural and performance attributes. Fabric strength, elongation, and time taken to rupture for fabric exclusively and with interfacings and lining attached were measured for eight relationships. Hypotheses were tested using T-test analysis. Confidence level was established at 95%. Results revealed that majority of the hypotheses were accepted. Results for fusible and non-fusible interfacings varied. Adding fusible interfacing did not enhance strength in the lengthwise direction. Fusible and non-fusible interfacings did not differ for elongation. It took longer for fabric to break in lengthwise than the crosswise direction. Future research is needed to confirm the findings of this study for various fabrics, seam types, stitch types, fabric construction and fiber contents. -
Aic Paintings Specialty Group Postprints
1991 AIC PAINTINGS SPECIALTY GROUP POSTPRINTS Papers presented at the Nineteenth Annual Meeting of the American Institute for Conservation of Historic and Artistic Works Albuquerque, New Mexico Saturday, June 8,1991. Compiled by Chris Stavroudis The Post-Prints of the Paintings Specialty Group: 1991 is published by the Paintings Specialty Group (PSG) of the American Institute for Conservation of Historical and Artistic Works (AIC). These papers have not been edited and are published as received. Responsibility for the methods and/or materials described herein rests solely with the contributors and these should not be considered official statements of the Paintings Specialty Group or the American Institute for Conservation. The Paintings Specialty Group is an approved division of the American Institute for Conservation of Historical and Artistic Works (AIC) but does not necessarily represent AIC policies or opinions. The Post-Prints of the Paintings Specialty Group: 1991 is distributed to members of the Paintings Specialty Group. Additional copies may be purchased from the American Institute for Conservation of Historical and Artistic Works; 1400 16th Street N.W., Suite 340; Washington, DC 20036. Volume designed on Macintosh using QuarkXPress 3.0 by Lark London Stavroudis. Text printed on Cross Pointe 60 lb. book, an acid-free, recycled paper (50% recycled content, 10% post-consumer waste). Printing and adhesive binding by the Mennonite Publishing House, Scottdale, Pennsylvania. TABLE OF CONTENT S Erastus Salisbury Field, American Folk Painter: 4 His Changing Style And Changing Techniques Michael L. Heslip and James S. Martin The Use of Infra-red Vidicon and Image Digitizing Software in 4 Examining 20th-century Works of Art James Coddington Paintings On Paper: Collaboration Between Paper 11 and Paintings Conservators Daria Keynan and Carol Weingarten Standard Materials for Analysis of Binding Media and 23 GCI Binding Media Library Dusan C. -
Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content. -
Ace Hardware Calumet
Named 2003 Business of the Year by the Keweenaw Industrial Council, the staff of Pasty.NET and Pasty Central are grateful to members across the U.S. and U.P. who support our efforts. Born as a fund raiser for Still Waters Assisted Living in Calumet, support and encouragement throughout the community enables us to provide innovative Internet service, and a vital world-wide connection to Upper Michigan’s rich beauty, history, culture, and products. We send a special THANK YOU to local business professionals, organizations, and sponsors who make it possible - as well as hundreds of families and individuals who rely on Pasty.NET to stay connected. Our best wishes in 2004! Ace Hardware Calumet ESL-Houghton.Org Korpela Estate Sales Sacred Heart, Calumet Adams Township Evert's Snowmobile Rentals La Salle Technologies Sandstone Piecemakers Affordable Planning Fanny Hooe Resort Lac Labelle Lodge, Inc. Sayen's Auto Sales Arcadian Motel Farmers & Merchants Mutual Lake Linden Police Sharon Smith, Copper Harbor Art Vasold Festival Foods Laughing Loon Silver Bear Mfg. Co Aurora Studios Finlandia University Laurium Apostolic Lutheran Skypixs.com Avis Car Rental Finn Camp Laurium Manor Inn Smart Zone Baroni's Finnish American Heritage CenterLCP Construction Society for Industrial Bay Electric Finnish American Reporter Leveque Agency Archeology Bay Engineering First Baptist Church Lighthousecelebration.Info Society Of St. John Bella Vista Motel First United Methodist Church Little Brothers Softmedia Artisans, Inc. Bethany Baptist Church Fudgie Pastie Little Gem Theatre South Range Apostolic Bird's Eye Creations Gemignani's Restaurant Main Street Calumet Steve Brimm's Brimmages Blizzard Corporation George's Eagle Harbor Web Manitou Island Bird Survey Stixnstonzart.Com Briggs And Stratton Gitche Gumee Bible Camp Marilyn's Stained Glass Strandwood Moulding Brockway Photography Goodman Travel Mark Carlton Sunset Bay Calumet Drug Grant Forest Products Marquette Co. -
Info/How to Examine an Antique Painting.Pdf
How to Examine an Antique Painting by Peter Kostoulakos Before we can talk about the examination process, an overview of how to handle an oil painting is necessary to prevent damage to the work and liability for the appraiser. The checklist below is essential for beginning appraisers to form a methodical approach to examining art in the field without heavy, expensive equipment. Although the information may seem elementary for seasoned appraisers, it can be considered a review with a few tips to organize your observational skills. When inspecting an antique painting, as with any antique, a detailed on the spot, examination should take place. A small checklist covering composition, support, paint layers, varnish, and frame is necessary. Also, a few tools such as a UV lamp, magnifiers, camera, soft brush, cotton swabs, and tape measure are needed. A "behind the scenes" investigation can tell you a great deal about the painting. The name of the artist, title of the painting, canvas maker, date of canvas and stretcher, exhibitions and former owners are some of the things that may be revealed upon close examination. Document your examination with notes and plenty of photographs. Handling Art Older paintings should be thought of as delicate babies. We need to think about the consequences before we pick one up. To prevent acidic oil from our skin to be transferred to paintings and frames, we must cover our hands with gloves. Museum workers have told me that they feel insecure using white, cotton gloves because their grip becomes slippery. I tried the ceremonial gloves used in the military to grip rifles while performing. -
Tailoring and Dressm King 5 LINING A. SKIRT Or DRESS Today's Fashions
tailoring and dressm king 5 LINING a. SKIRT or DRESS Today’s fashions and fabrics often call for linings. This raises questions among the home seamstresses regarding types of lining and how to attach these to the garment. Lining serves many purposes. It: 0 gives a professional 100k and adds quality 0 adds body and/or opacity to lightweight or thin fabric 0 gives roundness to structural lines where needed 0 prevents sagging, stretch or “sitting " out” in straight skirts (helps to preserve shape of garment) ' 0 gives longer service to the garment 0 helps to eliminate wrinkles A distinCtion should be made among four sometimes confusing terms: 1. Lining refers to a material that partially or entirely covers the inside of a garment. It is assembled separately as though it were a second garment. It finishes the wrong side of the garment as well as serving the purposes listed C above. For better fit and more strength it should be cut on the same grain as the outer fabric. 2. Underlining is a material which is cut in the shape of the garment pieces. The underlining sections are staystitched to- the corresponding outer fabric sections before any seams are joined. This is especially good for loosely woven or thin fabrics. This treatment is usually called “double fabric con- struction.” It is also called backing or underlay. 3. Interlining ,is usually thought of as giving warmth to a coat as well as giving some shape. The interlining is cut' to match the garment pieces and is placed between the lining and the outer fabric. -
C:\Documents and Settings\Fred.Schottman\Aawp\Y07
Harmonized Tariff Schedule of the United States (2007) Annotated for Statistical Reporting Purposes CHAPTER 99 TEMPORARY LEGISLATION; TEMPORARY MODIFICATIONS ESTABLISHED PURSUANT TO TRADE LEGISLATION; ADDITIONAL IMPORT RESTRICTIONS ESTABLISHED PURSUANT TO SECTION 22 OF THE AGRICULTURAL ADJUSTMENT ACT, AS AMENDED XXII 99-1 U.S. Notes 1. The provisions of this chapter relate to legislation and to executive and administrative actions pursuant to duly constituted authority, under which: (a) One or more of the provisions in chapters 1 through 98 are temporarily amended or modified; or (b) Additional duties or other import restrictions are imposed by, or pursuant to, collateral legislation. 2. Unless the context requires otherwise, the general notes and rules of interpretation, the section notes, and the notes in chapters 1 through 98 apply to the provisions of this chapter. Statistical Notes 1. For statistical reporting of merchandise provided for herein: (a) Unless more specific instructions appear in the subchapters of this chapter, report the 8-digit heading or subheading number (or 10-digit statistical reporting number, if any) found in this chapter in addition to the 10-digit statistical reporting number appearing in chapters 1 through 97 which would be applicable but for the provisions of this chapter; and (b) The quantities reported should be in the units provided in chapters 1 through 97. 2. For those headings and subheadings herein for which no rate of duty appears (i.e., those headings and subheadings for which an absolute quota is prescribed), report the 8-digit heading or subheading number herein followed by the appropriate 10-digit statistical reporting number from chapters 1 through 97. -
Boston Symphony Orchestra Concert Programs, Season 126, 2006-2007, Subscription, Volume 02
BOSTON SYM PHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK CONDUCTOR EMERITUS SEIJI OZAWA MUSIC DIRECTOR LAUREATE • a (tie. Leaa richer J [fH1*V?*!?n w If John Hancock is proud to support the Boston Symphony Orchestra. the future is yours A World-Class Alcohol and Drug Treatment Program lliii View from The McLean Center, Princeton, MA E McLEAN CENTER AT FERNSIDE A comprehensive residential treatment program. Expertise in treating co-occurring psychiatric disorders. Highly discreet and individualized care for adults. Exceptional accommodations in a peaceful, rural setting. McLean Hospital: A Legacy of Compassionate Care and Superb Clinical Treatment wvvw.mclean.harvard.edu • 1-800-906-9531 McLean Hospital is a psychiatric teaching facility of Harvard Medical School, an affiliate of Partners Massachusetts General Hospital and a member of H E A I T H L \ R F Partners HealthCare. REASON #75 transplan exper s It takes more than just a steady hand to perform a successful organ transplant. The highly complicated nature of these procedures demands the utmost in experience and expertise. At Beth Israel Deaconess Medical Center, we offer one of the most comprehensive liver, kidney and pancreas transplant programs available today. Our doctors' exceptional knowledge and skill translate to enhanced safety and care in transplant surgery - and everything that goes into it. For more information on the Transplant Center, visit www.bidmc.harvard.edu or call 1-800-667-5356. A teaching hospital of Beth Israel Deaconess Harvard Medical School Medical Center Official | Hospital of the Boston Red Sox Affiliated with Joslin Clinic | A Research Partner of Dana-Farber/Harvard Cancer Center James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 Trustees of the Boston Symphony Orchestra, Inc. -
Quaderni D'italianistica : Revue Officielle De La Société Canadienne
LUCA CODIGNOLA FRANCIS PARKMAN'S ROMAN EXPERIENCE (1844) On 5 April 1844, the twenty-year old Francis Parkman (1823-93) wrote to his mother, Caroline Hall Parkman (1794-1871), from Rome.' He had been there for some six weeks and was about to leave for Florence. He had fallen under the charm of the Eternal City. "You may think two months a long time to remain in Rome, but it is not too much to see the place thor- oughly-in fact, it is not half enough. I do not think the time could be more profitably spent. "^ He was careful to reassure her that his extended stay had nothing to do with a new penchant towards Roman Catholicism: "The farce of [Joseph] Coolidge Shaw has not been reenacted in my person." J.C. Shaw (1821-50 ori 851), as we shall see, was a cousin of the Parkmans and had recently converted, vainly trying to persuade Parkman to follow his example. "We are in the midst of the fooleries before the Holy Week," Parkman continued, going on to describe the weeks before Easter and the pagan rites performed by the superstitious faithful in their thousands.^ Almost 46 years later, a historian of great repute, Parkman was still using expressions of the kind to describe his days in Rome to a consider- ably wider public. That had proved a useful, first-hand introduction to the Catholic world he was afterwards to write about so extensively in his books, he explained. However, it had had no particular effect on his philo- sophical or religious convictions, despite the many positive aspects he was forced to acknowledge in so many members of the Catholic Church.'^ One A preliminary and shorter version of this article was published as Luca Codignola, "Francis Parkman. -
VTE Framework: Fashion Technology
Massachusetts Department of Elementary & Secondary Education Office for Career/Vocational Technical Education Vocational Technical Education Framework Business & Consumer Services Occupational Cluster Fashion Technology (VFASH) CIP Code 500407 June 2014 Massachusetts Department of Elementary and Secondary Education Office for Career/Vocational Technical Education 75 Pleasant Street, Malden, MA 02148-4906 781-338-3910 www.doe.mass.edu/cte/ This document was prepared by the Massachusetts Department of Elementary and Secondary Education Mitchell D. Chester, Ed.D. Commissioner Board of Elementary and Secondary Education Members Ms. Maura Banta, Chair, Melrose Ms. Harneen Chernow, Vice Chair, Jamaica Plain Mr. Daniel Brogan, Chair, Student Advisory Council, Dennis Dr. Vanessa Calderón-Rosado, Milton Ms. Karen Daniels, Milton Ms. Ruth Kaplan, Brookline Dr. Matthew Malone, Secretary of Education, Roslindale Mr. James O’S., Morton, Springfield Dr. Pendred E. Noyce, Weston Mr. David Roach, Sutton Mitchell D. Chester, Ed.D., Commissioner and Secretary to the Board The Massachusetts Department of Elementary and Secondary Education, an affirmative action employer, is committed to ensuring that all of its programs and facilities are accessible to all members of the public. We do not discriminate on the basis of age, color, disability, national origin, race, religion, sex, gender identity, or sexual orientation. Inquiries regarding the Department’s compliance with Title IX and other civil rights laws may be directed to the Human Resources Director, 75 Pleasant St., Malden, MA 02148-4906. Phone: 781-338-6105. © 2014 Massachusetts Department of Elementary and Secondary Education Permission is hereby granted to copy any or all parts of this document for non-commercial educational purposes. -
Dressmaking up to Date
PRICE, 25 CENTS or Is. PUBLISHED BY THE BUTTERICK PUBLISHING COMPANY, Limited AT THE BUTTERICK BUILDING, NEW YORK PARIS LONDON NEW YORK TORONTO Copyright, /QOj, by The Butter ick Publishing Co., Limited. Entered at Stationers’ Hall. A ll rights reserved. ■r o: ; < A Dressmaking, TUp to Date h.-K'ARV,^ rorS^BiS1 f'flsi $cp»es jits,wiYW( { . > i SfcP Hi ; « Ooiwngns umt J-^/ o2 &. I c/C61 / a 1X733! COPY f;s> . 3 FRONTISPIECE —THE SEWING CIRCLE HAND-SEWING STITCHES IMPORTANT POINTS AND AIDS IN DRESSMAKING THE CORRECT METHOD OF ALTERING PATTERNS SHIRT-BLOUSES DRAPED WAISTS SKIRTS NOVEL, ARTISTIC SEAMS WEDDING AND EVENING GOWNS THE TAILOR-MADE GOWN COATS AND JACKETS PRACTICAL AND ORNAMENTAL STITCHES BIAS BANDS AND FOLDS—TURNING CORNERS AN EMPIRE TEA-GOWN DESIRABLE GARMENTS FOR MATERNITY WEAR MAKING /ND FINISHING UNDERWEAR THE BATH-ROBE. CHILDREN’S CLOTHES BOYS’ SUITS XTlp to 5>ate inning (EirrU SDressmahtrtg, TUp to Date SIMPLE SEWING STITCE1ES AKING A KNOT.—Holding the threaded needle in the right hand, twist the end of the thread once and a half, around the forefinger of the left hand; press, roll downward on the ball of the thumb, twisting once or twice; slip off and draw down M with the middle finger of the left hand. BASTING.—There are two kinds of basting; even and uneven. In even basting the stitches; and spaces are the same length; in uneven basting, as its name implies, the stitches are so formed that they are not of equal length. EVEN BASTING STITCH.—Start with a knot in basting and always have it on the right side; it is more easily removed.