Bromley Embroiderers' Guild: Library Books
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Cora Ginsburg Catalogue 2015
CORA GINSBURG LLC TITI HALLE OWNER A Catalogue of exquisite & rare works of art including 17th to 20th century costume textiles & needlework 2015 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] NEEDLEWORK SWEET BAG OR SACHET English, third quarter of the 17th century For residents of seventeenth-century England, life was pungent. In order to combat the unpleasant odors emanating from open sewers, insufficiently bathed neighbors, and, from time to time, the bodies of plague victims, a variety of perfumed goods such as fans, handkerchiefs, gloves, and “sweet bags” were available for purchase. The tradition of offering embroidered sweet bags containing gifts of small scented objects, herbs, or money began in the mid-sixteenth century. Typically, they are about five inches square with a drawstring closure at the top and two to three covered drops at the bottom. Economical housewives could even create their own perfumed mixtures to put inside. A 1621 recipe “to make sweete bags with little cost” reads: Take the buttons of Roses dryed and watered with Rosewater three or foure times put them Muske powder of cloves Sinamon and a little mace mingle the roses and them together and putt them in little bags of Linnen with Powder. The present object has recently been identified as a rare surviving example of a large-format sweet bag, sometimes referred to as a “sachet.” Lined with blue silk taffeta, the verso of the central canvas section contains two flat slit pockets, opening on the long side, into which sprigs of herbs or sachets filled with perfumed powders could be slipped to scent a wardrobe or chest. -
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. -
Crewel Embroidery 0F Colonial New England
o o . 1‘ ‘ lb ‘ \w‘.‘ v ‘ " O . .1' '-' «7A :1. 90;": “W;ul.\u’$31.?l'“.‘ 1),. 3:10; 'M " d5‘_);”: ”‘22. ‘ '11“. 5"? $0.053“: . ~ .t"""\" 0‘70' ' ‘. ""7"! ( J::T.m4‘u '.""‘:.O-c :cnou ~11 ‘5'. u o. _'.‘ "' "‘:"-: .t-‘. _ n J; :ln'. ‘“:.;.’ ‘u‘ 9“ .‘ A.“ '. .. *“." " V'W‘ ’:".I|\~u"oOI(|‘. ""h’" '...Iigv-I . 01.11 f"-"'-":""‘°uo‘f.‘ .. - . ‘ p...‘ ‘I . ‘ a " . ...<o CREWEL ... EMBROIDERY THE Thesis MICHIGAN ENVIRONMENTAL MARY for 0F LYNNE the STATE COLONIAL 1975 Degree RICHARDS UNIVERSIIY INFLUENCES ovo- Of NEW M. cOc "9...! A ENGLAND -~ 0 ’Ipup~ ”‘0... l 00"! . AND I'ocumnmnwwwvwv- - Q . o . IIIII IIIIIIIOO PLACE II RETURN BOX to remove this Moat from yout record. To AVOID FINES Mum on or More data duo. DATE DUE DATE DUE DATE DUE — LI- * Om MSU Is An Affirmative MINI/Emil Opportunity Institution Wanna-9.1 ABSTRACT CREWEL EMBROIDERY OF COLONIAL NEw ENGLAND AND THE ENVIRONMENTAL INFLUENCES By Mary Lynne Richards The purposes of this study were: 1) to describe the characteristic colors, stitches and designs found in crewel embroidery created within New England during the colonial period, 2) to analyze these characteris- tics in relation to the dates and locations of the sample embroideries, and 3) to analyze the characteristic designs in relation to aspects of the colonial New England physical environment. The sample was composed of fifty crewel embroidered items, believed to have been created between 1620 and 1781, within the geographic boundaries of New England. A data sheet, plus color slides or black and white sketches, were used to record information pertaining to each embroidered item. -
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 -
Liste Complète
Liste complète Juin 2016 1 308 titres Mission services aux chercheurs et Département du Développement des Collections de la BIS 2 Table des matières 1. Histoire générale ............................................................................... 3 2. Antiquité - Langue et littérature classiques - Art et archéologie ............... 7 3. Histoire médiévale - Art et archéologie médiévale ............................... 23 4. Histoire moderne ............................................................................. 38 5. Histoire contemporaine (19e-20e siècles) ........................................... 52 6. Art et archéologie - Généralités ......................................................... 65 7. Langue et littérature françaises ......................................................... 66 8. Langues et littératures étrangères ..................................................... 73 Langues et littératures étrangères (allemande) ................................... 73 Langues et littératures étrangères (anglaise) ...................................... 76 Langues et littératures étrangères (ibérique) ...................................... 78 Langues et littératures étrangères (italienne) ...................................... 78 9. Littérature générale et comparée....................................................... 80 10. Linguisitique et sciences du langage .................................................. 84 11. Philosophie ..................................................................................... 85 12 Sciences -
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. -
The Bayeux Tapestry
The Bayeux Tapestry The Bayeux Tapestry A Critically Annotated Bibliography John F. Szabo Nicholas E. Kuefler ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by John F. Szabo and Nicholas E. Kuefler All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Szabo, John F., 1968– The Bayeux Tapestry : a critically annotated bibliography / John F. Szabo, Nicholas E. Kuefler. pages cm Includes bibliographical references and index. ISBN 978-1-4422-5155-7 (cloth : alk. paper) – ISBN 978-1-4422-5156-4 (ebook) 1. Bayeux tapestry–Bibliography. 2. Great Britain–History–William I, 1066–1087– Bibliography. 3. Hastings, Battle of, England, 1066, in art–Bibliography. I. Kuefler, Nicholas E. II. Title. Z7914.T3S93 2015 [NK3049.B3] 016.74644’204330942–dc23 2015005537 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed -
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. -
Silverwork and Sequins
Session 2: Cornucopia II: Silverwork and sequins In this session you will be learning how to couch metallic threads, both Jap Thread and twist. You will also learn how to stitch sequins in place using a bead. Metallic threads add a touch of sparkle to your embroidery designs. They are made by tightly wrapping a flat metallic strip around a core of cotton or silk thread. This produces a shiny thread which can be bought in a range of sizes. There are particular ways of stitching with metallic threads which you will learn in this session. MATERIALS AND EQUIPMENT NEEDED FOR THIS SESSION: • Embroidery hoop or small frame • Embroidery scissors • Needles: o Crewel/embroidery needle size 10/12 o Large-eyed needle such as a chenille or tapestry needle (large enough to take the metallic threads) • The worked embroidery from Session 1: Cornucopia I: Blackwork Infills • Silver Jap Thread • Silver Twist Thread (or DMC silver metallic stranded thread) • Grey sewing cotton • Silver sequins, 3-4 mm, either round or flower-shaped or both: about 5-6 in total • Silver or clear seed beads, one per sequin plus one spare READ ALL OF THE INSTRUCTIONS THROUGH BEFORE YOU START YOUR EMBROIDERY. WORKING THE EMBROIDERY: HORN-OF-PLENTY SECTIONS 1. Place your worked piece from Session 1: Cornucopia I: Blackwork Infills in your hoop or frame (if it isn’t still there!) 2. You are going to use a technique called COUCHING to stitch the silver threads in position on your embroidery. Metallic threads are often too heavy to stitch through the fabric and the outer metallic cover will separate off if you take them through the fabric too often. -
Fifteenth Century Literary Culture with Particular
FIFTEENTH CENTURY LITERARY CULTURE WITH PARTICULAR* REFERENCE TO THE PATTERNS OF PATRONAGE, **FOCUSSING ON THE PATRONAGE OF THE STAFFORD FAMILY DURING THE FIFTEENTH CENTURY Elizabeth Ann Urquhart Submitted for the Degree of Ph.!)., September, 1985. Department of English Language, University of Sheffield. .1 ''CONTENTS page SUMMARY ACKNOWLEDGEMENTS ill INTRODUCTION 1 CHAPTER 1 The Stafford Family 1066-1521 12 CHAPTER 2 How the Staffords could Afford Patronage 34 CHAPTER 3 The PrIce of Patronage 46 CHAPTER 4 The Staffords 1 Ownership of Books: (a) The Nature of the Evidence 56 (b) The Scope of the Survey 64 (c) Survey of the Staffords' Book Ownership, c. 1372-1521 66 (d) Survey of the Bourgchiers' Book Ownership, c. 1420-1523 209 CHAPTER 5 Considerations Arising from the Study of Stafford and Bourgchier Books 235 CHAPTER 6 A Brief Discussion of Book Ownership and Patronage Patterns amongst some of the Staffords' and Bourgchiers' Contemporaries 252 CONCLUSION A Piece in the Jigsaw 293 APPENDIX Duke Edward's Purchases of Printed Books and Manuscripts: Books Mentioned in some Surviving Accounts. 302 NOTES 306 TABLES 367 BIBLIOGRAPHY 379 FIFTEENTR CENTURY LITERARY CULTURE WITH PARTICULAR REFERENCE TO THE PATTERNS OF PATRONAGE, FOCUSSING ON THE PATRONAGE OF THE STAFFORD FAMILY DURING THE FIFTEENTH CENTURY. Elizabeth Ann Urquhart. Submitted for the Degree of Ph.D., September, 1985. Department of English Language, University of Sheffield. SUMMARY The aim of this study is to investigate the nature of the r61e played by literary patronage in fostering fifteenth century English literature. The topic is approached by means of a detailed exam- ination of the books and patronage of the Stafford family. -
How to Needlepoint
How to Needlepoint A quick guide for the on the go learner to get started stitching By Casey Sheahan What is needlepoint? Needlepoint is a type of embroidery where wool, cotton or silk is threaded through an open weave canvas. Needlepoint can be used to create many different objects, crafts or art canvases. Sources : Colorsheets, Viviva, and Shovava. “What Is Needlepoint? Learn the DIY Basics to Begin This Fun and Colorful Craft.” My Modern Met, 9 Sept. 2018, https://mymodernmet.com/what-is-needlepoint/. The Editors of Encyclopaedia Britannica. “Needlepoint.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 4 Sept. 2019, https://www.britannica.com/art/needlepoint#:~:targetText=Needlepoint as it is known,the foundation for the embroidery Needlework has been around for centuries. Throughout history we have seen a variety of different types History of of stitching. Tapestries have been found dating back to the 15th century Needlepoint and needlepoint was even found in the cave of a Pharaoh. In the 17th century when upholstered furniture became pooular. Source: “The English Needlepoint.” Ghorbany, https://ghorbany.com/inspiration/the-english-needlepoint. Getting Started Now that you know a little more about the history of needlepoint, you will start collecting your materials to begin stitching. Getting Started Material Options: Threads and Yarns Althea DeBrule outlines some of the most common types of threads used in needlepoint. Persian Yarn: By far the most popular yarn used for needlepoint. Persian wool can be be purchased in hundreds of colors from delicate hues to bold shades. Tapestry Yarn: Tapestry wool is a single strand thread that cannot be separated for fine stitching. -
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.