Xi-5810-1 58.10 (I) Embroidery Without Visible Ground
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Project Gutenberg's Beeton's Book of Needlework, by Isabella Beeton
Project Gutenberg's Beeton's Book of Needlework, by Isabella Beeton This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Beeton's Book of Needlework Author: Isabella Beeton Release Date: February 22, 2005 [EBook #15147] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK BEETON'S BOOK OF NEEDLEWORK *** Produced by Julie Barkley and the PG Online Distributed Proofreading Team. BEETON'S BOOK OF NEEDLEWORK. CONSISTING OF DESCRIPTIONS AND INSTRUCTIONS, ILLUSTRATED BY SIX HUNDRED ENGRAVINGS, OF TATTING PATTERNS. CROCHET PATTERNS. KNITTING PATTERNS. NETTING PATTERNS. EMBROIDERY PATTERNS. POINT LACE PATTERNS. GUIPURE D'ART. BERLIN WORK. MONOGRAMS. INITIALS AND NAMES. PILLOW LACE, AND LACE STITCHES. Every Pattern and Stitch Described and Engraved with the utmost Accuracy and the Exact Quantity of Material requisite for each Pattern stated. CHANCELLOR PRESS Beeton's Book of Needlework was originally published in Great Britain in 1870 by Ward, Lock and Tyler. This facsimile edition published in Great Britain in 1986 by Chancellor Press 59 Grosvenor Street London W 1 Printed in Czechoslovakia 50617 SAMUEL BUTLER'S PREFACE The Art of Needlework dates from the earliest record of the world's history, and has, also, from time immemorial been the support, comfort, or employment of women of every rank and age. Day by day, it increases its votaries, who enlarge and develop its various branches, so that any addition and assistance in teaching or learning Needlework will be welcomed by the Daughters of England, "wise of heart," who work diligently with their hands. -
African Lace
Introduction Does changing an original material destroy its traditional context? If a material assumes new meaning or significance in a new context, is this inherently an appropriation of the object? What loss does this cause, and is it a positive change, a negative one, or neither? This lexicon revolves around African Lace. Through an analysis of this particular material, I broadly explain, craftsmanship, authenticity and reasons behind an object’s creation, including why and how it is made, from which materials, and how the object translates into a specific environment. Various kinds of objects are created in and relate to specific places and time periods. If situated in an environment in which it did not originate, the meaning of an object changes. In fact, the object is used from a new perspective. Although it is possible to reuse an object as a source of inspiration or research, it cannot be used as it was in its previous context. Thus, it is necessary to rethink the authenticity of an object when it is removed from its past context. History is important and can explain a materials origin, and it therefore warrants further attention. A lack of knowledge results in a loss of authenticity and originality of a historical material. In view of this, I develop this Lexicon to elaborate on the importance of this historical attention. It is interesting to consider how an object can influence a user in relation to emotional or even material value. The extent of this influence is uncertain, but it is a crucial aspect since any situation could diminish the value and the meaning of an object. -
Basic Blackwork Class – HL Anja Snihová Camarni
Basic Blackwork Class – HL Anja Snihová Camarni I’m including in this handout a couple of different ways of explaining “how-to” in blackwork, because not every explanation works for every person. Also, please excuse the crass commercial plugs. I didn’t have time to completely re-write, so pretend that this somebody else’s. Which it is! Anja and MaryAnne are not the same person. <grin> MaryAnne Bartlett is a 21st century woman, making a living by writing and researching, designing and selling blackwork designs and products. Anja Snihova’ was born in the late 14th century and due to the potions that her alchemist husband makes, survived into the early 17th century! Beginning Blackwork Blackwork is a counted thread technique made popular in England in the 1500's by Catharine of Aragon, the Spanish first wife of King Henry VIII of England. It was immortalized in the incredibly detailed portraits done by the court painter, Hans Holbein, whose name is give to the stitch used, which is just a running stitch that doubles back on itself at the other end of its "journey". Blackwork can be anything from a simple line drawing to the complex pattern of #10 below, and on to designs so complex no one seems to know how to do them! It was usually done with silk thread on a white even-weave linen, and despite the name of the technique, was done in every colour of the rainbow, although black was the most popular colour, followed by red and blue. The most peculiar thing about this technique is that, done properly, the design repeats on both the right and wrong sides of the fabric, making it perfect for collars, cuffs, veils and ribbons where both sides need to look nice! Blackwork Embroidery Instructions 1. -
Sheila Machines in Switzerland Are Busy As I Write, Re- Running Some Old Favorites
Bear in Mind An electronic newsletter from Bear Threads Ltd. Volume 10 – Issue 6 June/July 2018 From The Editor – however, is that we will be introducing some gorgeous NEW embroideries in our next issue – “A rainy day in Georgia” indeed as Alberto dumps August. These are beautiful designs and very more rain on our soggy ground. But a great much in line with our two-part feature on Broidere stitching week as well, as we are officially into Anglaise. summer, albeit not by the calendar!!! I gathered supplies for my summer stitching projects before And put the date of Sunday, September 9, 2018 on the Memorial Day weekend, my porches are clean your calendar NOW to make sure you can see us and everything ready for summer sipping and at the Birmingham Creative Sewing Market. I stitching. assure you, it would be tragic not to be one of the first to see the new Swiss Broderie Anglaise Remember that we publish ‘Bear In Mind’ 10 times embroideries, as well as our newest lace set. And a year, combining June and July as well as for icing on the cake we will have certain Maline November and December. So this issue is really laces available for ½ price – guess that your eyes not late, but rather we are stretching the lazy days and ears perked up!!! of summer. We have definitely not been lazy here at the office, as the website now has been updated So for now, enjoy your summer, be saving your with the newsletter index, our newest lace set, and money for September, and all the past newsletters. -
Medieval Clothing and Textiles
Medieval Clothing & Textiles 2 Robin Netherton Gale R. Owen-Crocker Medieval Clothing and Textiles Volume 2 Medieval Clothing and Textiles ISSN 1744–5787 General Editors Robin Netherton St. Louis, Missouri, USA Gale R. Owen-Crocker University of Manchester, England Editorial Board Miranda Howard Haddock Western Michigan University, USA John Hines Cardiff University, Wales Kay Lacey Swindon, England John H. Munro University of Toronto, Ontario, Canada M. A. Nordtorp-Madson University of St. Thomas, Minnesota, USA Frances Pritchard Whitworth Art Gallery, Manchester, England Monica L. Wright Middle Tennessee State University, USA Medieval Clothing and Textiles Volume 2 edited by ROBIN NETHERTON GALE R. OWEN-CROCKER THE BOYDELL PRESS © Contributors 2006 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2006 The Boydell Press, Woodbridge ISBN 1 84383 203 8 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620, USA website: www.boydellandbrewer.com A CIP catalogue record for this book is available from the British Library This publication is printed on acid-free paper Typeset by Frances Hackeson Freelance Publishing Services, Brinscall, Lancs Printed in Great Britain by Cromwell Press, Trowbridge, Wiltshire Contents Illustrations page vii Tables ix Contributors xi Preface xiii 1 Dress and Accessories in the Early Irish Tale “The Wooing Of 1 Becfhola” Niamh Whitfield 2 The Embroidered Word: Text in the Bayeux Tapestry 35 Gale R. -
Madeira Embroidery
Blackwork Journey Inspirations Madeira Embroidery Madeira is an island located in the Atlantic Ocean west and slightly south of Portugal. The capital of Madeira is Funchai on the main island’s south coast and it was to Funchai, the capital that I travelled to explore the history of Madeira embroidery and find some modern examples of this traditional form of whitework embroidery. The hand embroidery of Madeira is generally recognised as being the finest of its kind available in the world. Over the last 150 years, Madeira has collected expertise from the fast disappearing regional centres of hand embroidery across Europe and moulded these various styles into a distinctive form of handwork recognised throughout the world. The Development of Madeira Embroidery The story began in the 1860’s when a wine shipper’s daughter, Elizabeth Phelps turned the rural pastime of simple embroidery into a cottage industry using her skills to motivate, organise and sell the work of the embroiders to Victorian England. In the 1860’s it was estimated that there were 70,000 women embroiderers (bordadeiras) in Madeira working on linen, silk, organdy and cotton to create table linen, clothing, bedding and handkerchiefs. Today there are about 30 companies producing handmade embroideries employing around 4,500 embroiderers. During the 19th century the main exports were to England and Germany. In the 20th century Madeiran Embroidery was exported to many parts of the world. Italy, the United States, South America and Australia became important markets. France, Singapore, Holland, Brazil and other countries also contributed to the trading expansion of and reputation of Madeira Embroidery. -
The Dictionary of Needlework
Digitized by the Internet Archive in 2010 with funding from Boston Library Consortium IVIember Libraries http://www.archive.org/details/dictionaryofneed03caul THE DICTIONARY OF NEEDLEWORK GUIPURE D'ART. macram£ MODERN POINT. DEDICATED TO H.R.H. PRINCESS LOUISE. MARCHIONESS OF LORNE. THE DimiOIlJiW OF I^EEDIiEtflO^I^, ENCYCLOPEDIA OE AETISTIC, PLAIN, AND EANCY NEEDLEWORK, DEALING FULLY WITH THE DETAILS OF ALL THE STITCHES EMPLOYED, THE METHOD OF WOEKING. THE MATERIALS USED, THE MEANING OF TECHNICAL TEEMS, AND, WHERE NECESSARY, TRACING THE ORIGIN AND HISTORY OF THE VARIOUS WORKS DESCRIBED. ILLUSTRATED WITH UPWARDS OF 1200 WOOD ENGRAVINGS, AND COLOURED PLATES. PLAIN SEWING, TEXTILES, DRESSMAKING, APPLIANCES, AND TERMS, By S. E. a. CAULEEILD, Aitthor of "Side Nursiiin at Some," "Desmond," "Avencle," and Papers on Needlework in "TIte Queen," "Girl's Own Paper," "Cassell's Domestic Dictionary," tC-c. CHURCH EMBROIDERY, LACE, AND ORNAMENTAL NEEDLEWORK, By blanche C. SAWAED, AiUhoi- of ''Church Festival Decorations," and Papers on Fancy and Art Work in "The Bazaar," ''Artistic Amusementu," '^Girl's Own Paper," tfcc. Division 1 1 1 .— E m b to K n i . SECOND EDITION. LONDON: A. W. COWAN, 30 AKD 31, NEW BEIDGE STREET. LUDGATE CIRCUS. LONDON: PRINTED BY A. BRADLEY, 170, '^/?.^'?-^Y : THE DICTIONARY OF NEEDLEWORK. 193 and it is sometimes vavied in tlio manuoi- illustrated in of the leaf in rows of large Back Stitches, and pad Fig. 376, where it fills in with int. i-ia.va sdtri,,.; f^i.le the left hand with perpendicular runnings, giving the of the leaf, of -which the other greatest height near the centre is worked in Back Stitch, the veins. -
Broderie Anglaise Lace' Shoettes
Instructions for 'Broderie Anglaise Lace' Shoettes You Will Need: Water Soluble Vilene Pre-Shrunk Fabric – either a good quality Linen fabric or Poly – Cotton Embroidery Thread 2 x Length of ribbon no wider than ¼ inch / 5mm & 10 inches / 25 cm in length Wing Needle Quick Unpick Regular Sewing Machine 'Bodkin' – to help thread the ribbon through the eyelet holes Magic Tape You will need to Stitch out per Pair Of Shoettes: 2 x Front 2 x Back 2 x Left Side 2 x Right Side 2 x Sole Please check with your Dealer which is the best 'Wing Needle' to use for your machine. When using a Wing Needle, please use an embroidery foot with a biggish hole – please check with your Dealer which foot they would recommend. All the Design Pieces are stitched out using the method below: Hoop a Double Layer of Water Soluble Vilene. Please ensure that the water soluble vilene is flat and smooth when it is hoop and is 'firm' in the hoop. There must be no folds or bubbles as this will affect the stitch out. Stitch out the First Colour – this is an outline of the design piece. Place a piece of fabric on top of this running stitch outline. Stitch out the second colour – this is again an outline of the design piece and will hold the fabric in place. Remove the hoop from the machine. Replace your 'regular' embroidery needle with the wing needle. Replace the hoop in the machine and stitch out the third colour. This will be the broderie anglaise patterning. -
Broderie Anglaise
2019-2020 ROYAL SCHOOL OF NEEDLEWORK ACADEMIC YEAR DIPLOMA WHITEWORK BRODERIE ANGLAISE Broderie Anglaise is a traditional technique comprising predominantly eyelets or varying shapes and sizes. It often includes some surface stitches, particularly padded satin stitch. AIM – to produce a piece of whitework embroidery demonstrating that you have understood the principles of Broderie Anglaise, you have chosen appropriate stitches for the design of the piece, executed the stitches with the clarity and accuracy required in the absence of colour and kept the work clean and fresh during completion. DESIGN Size to fit within 10 x 10 cm (or 18 x 18cm if combined with Richelieu Cutwork) This technique must be produced in white on white and be well balanced in keeping with the technique and design size. Stitches that must be included: Teardrop eyelets, round eyelets, shaded eyelets Padded satin Optional stitches: Trailing, stem stitch or similar outlines MOUNTING To be mounted on card, edged with a hem or made into a lavender bag (or similar). Take care to consider the colour of the fabric covering the board if you choose to mount your piece. Bear in mind that the blue side of the colour wheel tends to look fresh and bright whereas yellow tends to detract from the clean appearance. ASSESSMENT CRITERIA: Please see Project Evaluation sheet for details TIPS: Design lines should be applied by the trace and tack method or drawn on with a pale blue pencil. This should be done with great care. Water erasable pens are acceptable as the work MUST be washed, however no other pens can be used (e.g. -
Remembering Ricamo Italian Embroidery
GALLERY76 EXHIBITION GUIDE AN EXHIBITION OVERVIEW CURATOR: APRIL SPIERS AUGUST 2020 WATCH THE LIVE WALKTHROUGH AND CONVERSATION WITH FIBER TALK VIA https://m.youtube.com/watch?v=KF6Gc8AF9VE&feature=youtu.be RETICELLO Reticello (Italian, “small net”) is a variety of needle lace which arose in the 15th century, first recorded in Milan 1493, and remained popular into the 17th century. Reticello was originally a form of cutwork (where threads are pulled from linen fabric to form a grid on which the pattern is stitched primarily using buttonhole stitch) Later reticello used a grid made of thread rather than a fabric ground. Reticello is characterised by a geometric design of squares and circles and geometric motifs and is traditionally worked on white or ecru fabric. It is regarded as a forerunner of punto in aria. One of the contemporary champions of the style is Giuliana Buonpadre who established an Embroidery School in Verona in order to preserve the knowledge and skills involved in traditional Italian embroidery. Under her Karen Little guidance, Giuliana’s students have taken these traditional Reticello techniques and introduced a contemporary twist with the introduction of coloured threads. We have a number of these coloured pieces worked by Guild member Karen Little, along with a number of traditional pieces in this exhibition. Also known as: Greek point; reticello; point coupé; point couppe; radexela; radicelle Tina Miletta PUNTO ANTICO Punto Antico (Italian, “Antique Stitch) dates as far back as the 15th century and was known by a variety of names including Punto Toscano, Punto Reale, and Punto Riccio. The style did not became known as “Punto Antico” until the early 20th century. -
Textile Glossary Astrakhan Fabric: Knitted Or Woven
Textile Glossary Astrakhan fabric: knitted or woven fabric that imitates the looped surface of newborn karakul lambs Armscye: armhole Batiste: the softest of the lightweight opaque fabrics. It is made of cotton, wool, polyester, or a blend. Bertha collar: A wide, flat, round collar, often of lace or sheer fabric, worn with a low neckline in the Victorian era and resurrected in the 1940s Bishop sleeves: A long sleeve, fuller at the bottom than the top, and gathered into a cuff Box pleats: back-to-back knife pleats Brocade: richly decorative woven fabric often made with colored silk Broken twill weave: the diagonal weave of the twill is intentionally reversed at every two warp ends to form a random design Buckram: stiff loosely woven fabric Cambric: a fine thin white linen fabric Cap sleeves: A very short sleeve covering only the shoulder, not extending below armpit level. Cartridge pleat: formed by evenly gathering fabric using two or more lengths of basting stitches, and the top of each pleat is whipstitched onto the waistband or armscye. Chambray fabric: a lightweight clothing fabric with colored (often light blue) warp and white weft yarns Changeable fabric: warp and weft are different colors, when viewed from different angles looks more one color than the other Chemisette: an article of women's clothing worn to fill in the front and neckline of any garment Chiffon: lightweight, balanced plain-woven sheer fabric woven of alternate S- and Ztwist crepe (high-twist) yarns producing fabric with a little stretch and slightly rough texture -
Bayeux Style Initials
©Ava, 2014 Bayeux style initials Drachenwald Crown Tourney 2014 workshop by Ava van Allecmere [email protected] Introduction: The Bayeux Tapestry is an embroidered cloth—not an actual tapestry—nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. The word tapestry comes from French tapisser, which means ‘to cover the wall’, thus wall covering. The tapestry consists of some fifty scenes with Latin tituli (captions), embroidered on linen with coloured woollen yarns. It is likely that it was commissioned by Bishop Odo, William's half- brother, and made in England—not Bayeux—in the 1070s. In 1729 the hanging was rediscovered by scholars at a time when it was being displayed annually in Bayeux Cathedral. The tapestry is now exhibited at Musée de la Tapisserie de Bayeux in Bayeux, Normandy, France. In a series of pictures supported by a written commentary the tapestry tells the story of the events of 1064–1066 culminating in the Battle of Hastings. The two main protagonists are Harold Godwinson, recently crowned King of England, leading the Anglo-Saxon English, and William, Duke of Normandy, leading a mainly Norman army, sometimes called the companions of William the Conqueror. Construction, design and technique: The Bayeux tapestry is embroidered in wool yarn on a tabby-woven linen ground 68.38 metres long and 0.5 metres wide (224.3 ft × 1.6 ft) and using two methods of stitching: outline or stem stitch for lettering and the outlines of figures, and couching or laid work for filling in figures.