Australian Quaker Tapestry

Australian Quaker Tapestry Newsletter - January 2008 Ann Wynn-Wilson The Quaker tapestry began in 1981 in the Friends Meeting in Taunton, Somerset, where Anne Wynn-Wilson was responsible for a children’s class, sometimes only one boy; Jonathon. They met on Sundays in a gloomy room in the old part of the Meeting House. Ann had studied the Bayeux Tapestry. When Jonathon suggested embroidering a story about Quakers instead of colouring it Ann was enthralled by the idea of telling stories by means of embroidery. She knew the famous 11th century Bayeux tapestry was s a supreme example, and could see the Illustrations from the Quaker Tapestry possibility of using embroidery to website & workshop film by Bridget Guest. tell the story of Quakerism More than just a tapestry... create a craft project that could be shared among ...a delightful visual chronicle Friends of Quaker life through the in the course of working together, get to know each centuries other Australian Quaker Tapestry Project Groups - Meetings for Stitching/Design Blue Mountains (Lawson, NSW) Contact Barbara Sinclair for details. Brisbane (Queensland) Contact Jude Pembleton for details. Canberra (ACT) Contact Catherine Dabron - How long does it take to make one panel? Darwin (NT) A - On average it takes about two years to Contact Elizabeth Kwan embroider a panel. However one of the Melbourne (Victoria) Scottish panels was completed in 8 months Contact Tessa Spratt and another panel sewn in Kendal took many years to complete! Newcastle (Mayfield, NSW) Contact Annie Frizell Central Committee Perth (Western Australia) Contact Trish Wood Cathy Davies Garry Duncan Sydney (Waitara, NSW) Contact Cathy Davies All enquires to: [email protected] Exchange ideas about the Quaker Tapestry on the Website yahoo group link below. Click on Join this Group www.freewebs.com/australianquakertapestry http://au.groups.yahoo.com/group/australianqua kertapestryproject/ .

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Bayeux Tapestry Writing Assignment You Do Not Have to Be A
Bayeux Tapestry Writing Assignment You do not have to be a needlepoint enthusiast to appreciate the magnificent Bayeux Tapestry, which chronicles the events leading up to the conquest of England by Duke William of Normandy in the year 1066. Technically speaking it is not a tapestry at all – but an embroidery, stitched with wool on a linen background by a team of needle workers. But the interesting question is: was it made just to celebrate a great victory? To answer this question you have to consider the political situation at the time. Duke William claimed that the King, Edward the Confessor, had promised him the throne of England. However this event had not been properly witnessed or recorded. He also claimed that Harold, the future King of England, had previously sworn allegiance to him. But Harold had been imprisoned in France at that time, and his actions could have been misunderstood. On Edward’s death, William of Normandy had expected to ascend the English throne. But instead Harold disputed his claims, insisting that the Kingdom had been bequeathed to him by the dying monarch, and was duly crowned King. William replied to this by invading England, defeating the English army and killing King Harold at the Battle of Hastings. Now the new King William had to ensure that history told the story his way. What better way to achieve this than with a huge 230 feet long tapestry – a priceless work of art, which would be preserved for centuries, and confirm his right, and that of his successors, to the throne of England.
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Quaker Tapestry Ltd Friends Meeting House, Stramongate Kendal, Cumbria LA9 4BH
Quaker Tapestry Ltd Friends Meeting House, Stramongate Kendal, Cumbria LA9 4BH 01539 722975 [email protected] www.quaker-tapestry.co.uk Charity Registration No. 1035077 Company Registration No. 2901085 VAT Registration No. 621 2925 64 Quaker Tapestry Museum Assistant (Seasonal) Summary Your role will be to ensure that every aspect of our visitor experience will delight our customers and exceed all expectations of their visit. Hours 14 hours a week March to end of November, Monday to Friday during museum opening times and occasional Saturdays. Tuesday 9.30am to 5.30pm And another full day or two half days to be agreed Rate of Pay: £9.30 per hour You will be working alongside a staff team and a team of experienced volunteers in a small independent museum within the historic, Georgian Quaker Meeting House in Kendal. The Quaker Tapestry consists of a modern community embroidery displayed in individual panels depicting Quaker stories from 350 years. Alongside the panels of embroidery visitors can enjoy other subsidiary displays, films and artefacts from our collection. We have a gift shop featuring our own Quaker Tapestry books, cards and embroidery products, a small garden, visitor parking and The Garden Café and Takeaway. What you'll be doing You'll be responsible for welcoming visitors to the Museum and ensuring that you provide an excellent service to all our visitors. You will be selling tickets and Gift Aid on entry through our till system. Advising visitors with their purchases in our shop, replenishing stock from stock rooms, maintaining the displays and keeping the shop clean.
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Collections Development Policy 2021 – 2023
Britain Yearly Meeting Collections development policy 2021 – 2023 Approved by BYM Trustees 12 June 2021 (minute BYMT-2021-06-13) Contents 1 Britain Yearly Meeting collections ....................................................................... 3 1.1 Purpose ......................................................................................................... 3 1.2 Collecting remit and priorities ........................................................................ 4 1.3 How we will use this policy ............................................................................ 5 2 Authority and responsibility for collections development ..................................... 6 3 Background to the collections ............................................................................. 7 4 Outline of the collections ..................................................................................... 8 4.1 Britain Yearly Meeting (BYM) archive ........................................................... 8 4.2 The core library and archive collections ........................................................ 8 4.2.1 Rare books, tracts and other early printed material ................................ 9 4.2.2 Manuscripts ............................................................................................ 9 4.3 The current library and archive collections .................................................... 9 4.3.1 Archives .................................................................................................. 9 4.3.2 Published
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Liste Complète
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The Ultimate Experience
The Ultimate Experience Battlefield Revelations and the Making of Modern War Culture, 1450–2000 Yuval Noah Harari The Ultimate Experience January 18, 2008 19:52 MAC/TUE Page-i 9780230_536920_01_prexvi Also by Yuval Noah Harari RENAISSANCE MILITARY MEMOIRS: War, History and Identity, 1450–1600 SPECIAL OPERATIONS IN THE AGE OF CHIVALRY, 1100–1550 January 18, 2008 19:52 MAC/TUE Page-ii 9780230_536920_01_prexvi The Ultimate Experience Battlefield Revelations and the Making of Modern War Culture, 1450–2000 Yuval Noah Harari Department of History Hebrew University of Jerusalem January 18, 2008 19:52 MAC/TUE Page-iii 9780230_536920_01_prexvi © Yuval Noah Harari 2008 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identiﬁed as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2008 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd.
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FIS December 17
!1 December, 2017 patches in the fabric.. Carmella talked about it " being faded somewhat, though really, the colours were still quite stunning and the Visit to the National Gallery contrasts still work beautifully. Wilma Davidson The CSR is a controlled environment When I read Sally’s request to ‘go into therefore I wasn’t allowed to bring out my to National Gallery and check out the colours wools, however, both Rose and I took lots of of Linor Robey’s embroidery and match them photos to assist with the panel. I did have to with wools for the panel’ I did have a little sign a waver stating the photos would not be chuckle. If only it was that simple! published. I have included two photos of I checked the website and there are 32 details of the work that as long as they go no of her works in the Gallery, only a few which further than this newsletter, can be shared with are embroidery, and of those, few illustrations Quaker stitchers. on this list. And nothing was on display - not I feel very privileged to have viewed unusual in institutions holding large National this work that is considered so precious and collections. thank Sally and Margaret for the opportunity. The only information available to me " was who donated the work to the Gallery in " 2016 – no name for the work, no date of completion. The Gallery has a remarkable space, the collections study room (CSC) where works not on display can be viewed. I use this room often with our slow art group, when we want to look closely at works of particular artists.
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FIS March 19 Newsletter.Pdf
March, 2019. Newsletter think of that idea? It seems to have been https://www.quakersaustralia.info/Stitches lost. It is sometimes suggested that they should all be together at Silver Wattle. The [email protected] argument against that is, what if there was a fire or a flood and we lost the lot! Better to Putting the Panels to work. have them split up around the states so that by Sally O’Wheel the risk is spread.At the moment they are in Queensland, Victoria, South Australia and There is a rumour that there exists a US Tasmania. I cannot tell how many are on Quaker Tapestry that consists of a number of display but I can say that since November panels, stored under a bed in a nursing the five panels in Tasmania have mostly home. This is nightmare material! been in a suitcase in the spare room. I have Meanwhile we have now 20 Australian the Elizabeth Fry Retreat on display in the panels and it is a concern for me. Where dining room. It has also been viewed by the are they stored? Devonport Embroiderers Guild at ‘show and tell’ and taken to Melbourne City I understand the original idea was that the Meeting. When Jason McLeod held a person who stitched a panel would be session in Deloraine I took the Vigil and the responsible for caring for it. What do we East Timor panels and I have also taken East Timor to a Greens Meeting, and quoted it in Indeed these are issues to consider.
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Gale Owen-Crocker (Ed.), the Bayeux Tapestry. Collected Papers, Aldershot, Hampshire (Ashgate Publishing) 2012, 374 P
Francia-Recensio 2013/1 Mittelalter – Moyen Âge (500–1500) Gale Owen-Crocker (ed.), The Bayeux Tapestry. Collected Papers, Aldershot, Hampshire (Ashgate Publishing) 2012, 374 p. (Variorum Collected Studies Series, CS1016), ISBN 978-1-4094-4663-7, GBP 100,00. rezensiert von/compte rendu rédigé par George Beech, Kalamazoo, MI Scholarly interest in the Bayeux Tapestry has heightened to a remarkable degree in recent years with an increased outpouring of books and articles on the subject. Gale Owen-Crocker has contributed to this perhaps more than anyone else and her publications have made her an outstanding authority on the subject. And the fact that all but three of the seventeen articles published in this collection date from the past ten years shows the degree to which her fascination with the tapestry is alive and active today. Since her own specialty has been the history of textiles and dress one might expect that these articles would deal mainly with the kinds of materials used in the tapestry, the system of stitching, and the like. But this is not so. Although she does indeed treat these questions she also approaches the tapestry from a number of other perspectives. After an eight page introduction to the whole collection the author groups the first three articles under the heading of »Textile«. I. »Behind the Bayeux Tapestry«, 2009. In this article she describes the first examination of the back of the tapestry in 1982–1983 which was accomplished by looking under earlier linings which had previously covered it, and the light which this shed on various aspects of its production – questions of color, type of stitching used, and later repairs.
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186 C Ambuter the Open Canvas 286 Anchor
186 C Ambuter The Open Canvas 286 Anchor Book of Stitches Crewel Stitches & Patterns 214 Anchor Crewel Stitches & Patterns 259 Anne Andrew Embroidery Skills – Smocking** 241 Lis Arthur Kathleen Whyte Embroiderer 350 D J Ashby Stumpwork 195 Ashley/Woolsey Creative Embroidery Techniques – Colour through Gold 332 N Askari/R Crill Colours of the Indus 404 Rhoda L Auld Mola – Ideas for Creative Applique 97 Banbury & Dewar Making Embroidered Bags & Purses 278 Banbury & Dewar How to design – Banners 282 Beadworkers Guild Introduction to Beadwork Earrings 283 Beadworkers Guild Introduction to Beadwork Bracelets 340 Margaret Beal Fusing Fabric 1 Jan Beaney Stitch Images ** 33 Jan Beaney The Art of the Needle 36 Jan Beaney Stitch Images II ** 88 Jan Beaney Design into Stitch ** 163 Jan Beaney Inspirations ** 353 Beaney/Littlejohn A Tale of Two Stitches 358 Beaney/Littlejohn A Sketch in Time – Book 12 359 Beaney/Littlejohn A sketch in Time – Book 12 360 Beaney/Littlejohn No Stone Unturned – Book 13 361 Beaney/Littlejohn Connections – Book 14 362 Beaney/Littlejohn Over the Line – Book 16 363 Beaney/Littlejohn Grids to Stitch – Book 17 364 Beaney/Littlejohn Seductive Surfaces – Book 18 365 Beaney/Littlejohn Red – Book 19 366 Beaney/Littlejohn Embellish & Enrich – Book 20 368 Beaney/Littlejohn Trees as a Theme – Book 7 380 Beaney/Littlejohn Location, Location, Book 21 381 Beaney/Littlejohn Seeing Double – Book 22 382 Beaney/Littlejohn Fragile Fabrics – Book 23 ** 383 Beaney/Littlejohn Constructions – Book 24 262 Beaney/Littlejohn New Dimensions 263
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Dark Age Tablet Weaving
Dark Age Tablet Weaving for Viking and Anglo-Saxon re-enactors 1 Introduction Tablet weaving, also known as card weaving, is a method of using square tablets with holes in the corners to weave narrow decorative bands made of wool, linen or silk threads. Tablet weaving was widespread in Europe and Britain in the first millenium AD and is an excellent craft for historical re-enactors as it is portable, interesting, little known nowadays and you can make beautiful bands to decorate your outfit. However, creating replicas of Dark Age bands is challenging. Many of the surviving historic bands are difficult to weave, and so most re-enactors either buy in tablet-weaving or weave simplified bands, and may use patterns and techniques that aren't appropriate to the Dark Ages. The aim of this document is to describe the characteristic styles and methods of Dark Age tablet- weaving. There is also information about materials, equipment and tablet-weaving techniques. Perhaps the most striking theme of the historic bands is inventiveness, and the advantage of the historic techniques is that they allow the weaver to create a far wider range of patterns than the modern methods, which were mostly developed in the 19th and 20th centuries as tablet-weaving was 'rediscovered' in Europe1. This document isn't exhaustive, and I recommend that the interested reader explore further patterns and techniques. There are many good patterns available online. Just remember, as I once read on the internet, the first instruction in tablet weaving is “remove the cat”. Please contact me with any comments or corrections.
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Re-Embroidering the Bayeux Tapestry in Film and Media: the Flip Side of History in Opening and End Title Sequences
Exemplaria Medieval, Early Modern, Theory ISSN: 1041-2573 (Print) 1753-3074 (Online) Journal homepage: https://www.tandfonline.com/loi/yexm20 Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences Richard Burt To cite this article: Richard Burt (2007) Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences, Exemplaria, 19:2, 327-350, DOI: 10.1179/175330707X212895 To link to this article: https://doi.org/10.1179/175330707X212895 Published online: 18 Jul 2013. Submit your article to this journal Article views: 148 View related articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=yexm20 EXEMPLARIA, VOL. 19, NO. 2, SUMMER 2007, 327 – 350 Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences RICHARD BURT University of Florida This essay explores homologies between the Tapestry and cinema, focusing on the opening title sequences of several ﬁ lms that cite the Bayeux Tapestry, including The Vikings; Robin Hood, Prince of Thieves; Bedknobs and Broomsticks; Blackadder; and La Chanson de Roland. The cinematic adaptation of a medieval artifact such as the Bayeux Tapestry suggests that history, whether located in the archive, museum, or movie medievalism, always has a more or less obscure and parodic ﬂ ip side, and that history, written or cinematic, tells a narrative disturbed by uncanny hauntings
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Discover the Contemporary Quaker
6 February 2015 £1.80 the DISCOVER THE CONTEMPORARYFriend QUAKER WAY the Friend INDEPENDENT QUAKER JOURNALISM SINCE 1843 CONTENTS VOL 173 NO 6 3 Thought for the Week: Hunting the Higgs . Anne Cluysenaar 4-5 News 6-7 Peace work in Ukraine John Lampen 8-9 Letters 10-11 William Henry Davidson Janet Ridley 12 The Christmas Truce Diana Lampen 13 Discernment and making decisions Alick Munro 14 Poem: On using this laptop for the and Mikhail Roshchins Rand Photo courtesy of Roland A war-damaged church in the Ukraine. first time See pages 10-11. Roy Stephenson 14 Friends Quarterly ‘I feel that more long-term 16 q-eye: a look at the Quaker world peacemaking Quaker work in 17 Friends & Meetings Lugansk and Eastern Ukraine is not only possible, but needed.’ Mikhail Roshchins Cover image: Lanty’s tarn ice covered. Photo: Val Corbett The Friend Subscriptions Advertising Editorial UK £79 per year by all payment Advertisement manager: Editor: types including annual direct debit; George Penaluna Ian Kirk-Smith monthly payment by direct debit [email protected] £7; online only £59 per year. Articles, images, correspondence For details of other rates, Tel/fax 01535 630230 should be emailed to contact Penny Dunn on 54a Main Street, Cononley [email protected] 020 7663 1178 or [email protected] Keighley BD20 8LL or sent to the address below. the Friend 173 Euston Road, London NW1 2BJ Tel: 020 7663 1010 Fax: 020 7663 1182 www.thefriend.org Editor: Ian Kirk-Smith [email protected] • Sub-editor: Trish Carn [email protected] • Production and office
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