DOCSLIB.ORG

Research Tables: Certificate 1 in Embroidery by Iris Major

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Researching EGSA Library and Museum Resources Certificate 1 in Embroidery Terms listed in the library and museum columns are drawn from the Embroidery and Textile Classification and Thesaurus: used by the Embroiderers’ Guild of South Australia Museum and Library by Iris L Major (Adelaide: 2016). Terms are listed hierarchically as presented in the thesaurus. Iris L Major August, 2016 POINT OF THE STAR LIBRARY CLASSIFICATIONS LIBRARY MUSEUM NON PREFERRED TERMS TECHNIQUES WITH SUBJECT HEADINGS “TECHNIQUE” CLASSIFICATIONS [Researchers are referred from these SUBJECT HEADINGS [Broad Terms (BT) to Narrow [Broad Terms (BT) to Narrow terms to those listed in the Library and Styles of Embroidery Terms (NT)] Terms (NT)] Museum columns] CANVAS STITCHES LEVEL 1 F Canvas Work Canvas Work Canvas Work Canvas Embroidery Cross Stitch on Canvas Needlepoint Tapestry Woollies Woolwork Straight Stitches Ab Stitches Stitches Stitches Flat Stitches Flat Stitches Straight Stitch Straight Stitch Florentine (Bargello) Fc Florentine Work Canvas Work Canvas Work Bargello Florentine Work Florentine Work Flame Stitch Hungarian Point Irish Stitch Norweave Fe Norweave Embroidery Canvas Work Canvas Work Akle Norweave Embroidery Norweave Embroidery Satin Stitch Ab Stitches Stitches Stitches Flat Stitches Flat Stitches Satin Stitch Satin Stitch Crossed Stitches Ab Stitches Stitches Stitches Crossed Stitches Crossed Stitches Tent Stitch work Ab Stitches Stitches Stitches Basketweave Stitch including petit point Flat Stitches Flat Stitches Canvas Stitch Tent Stitch Tent Stitch Continental Stitch Cushion Stitch Needlepoint Stitch Petit Point Cross Stitch on Canvas F Canvas Work Canvas Work Canvas Work Cross Stitch on Canvas D Counted Thread Work Counted Thread Work Counted Thread Work E Cross Stitch Cross Stitch Cross Stitch Ab Stitches Stitches Stitches Flat Stitches Flat Stitches Cross Stitch Cross Stitch 3 POINT OF THE STAR LIBRARY CLASSIFICATIONS LIBRARY MUSEUM NON PREFERRED TERMS TECHNIQUES WITH SUBJECT HEADINGS “TECHNIQUE” CLASSIFICATIONS [Researchers are referred from these SUBJECT HEADINGS [Broad Terms (BT) to Narrow [Broad Terms (BT) to Narrow terms to those listed in the Library and Styles of Embroidery Terms (NT)] Terms (NT)] Museum columns] CANVAS STITCHES LEVEL 2 4-way Bargello Fc Florentine Work Canvas Work Canvas Work Bargello Florentine Work Florentine Work Hungarian Point Fc Florentine Work Canvas Work Canvas Work Hungarian Point Florentine Work Florentine Work Flat Rug Techniques Jr Rug Work Rug Work Rug Work Flat Rug Techniques Flat Rug Techniques, Soumaks Soumaks Pile Rug Techniques Jr Rug Work Rug Work Rug Work Pile Rug Techniques Pile Rug Techniques, Ghiordes Knot Ghiordes Knot Tent Stitch Work Stitches Stitches Flat Stitches Flat Stitches Tent Stitch Tent Stitch Contemporary Canvas F Canvas Work Canvas Work Canvas Work Work O Contemporary Contemporary Embroidery Contemporary Embroidery Embroidery Canvas Stitches with C Surface Stitchery Surface Stitchery Surface Stitchery Free Stitchery Surface Stitches 4 POINT OF THE STAR LIBRARY CLASSIFICATIONS LIBRARY MUSEUM NON PREFERRED TERMS TECHNIQUES WITH SUBJECT HEADINGS “TECHNIQUE” CLASSIFICATIONS [Researchers are referred from these SUBJECT HEADINGS [Broad Terms (BT) to Narrow [Broad Terms (BT) to Narrow terms to those listed in the Library and Styles of Embroidery Terms (NT)] Terms (NT)] Museum columns] CANVAS STITCHES LEVEL 3 Experimental Threads O Contemporary Contemporary Embroidery Contemporary Embroidery on Canvas Embroidery Bead Work on Canvas Fb Beaded Canvas Work Canvas Work Canvas Work Beaded Canvas Work Beaded Canvas Work Grisaille Beadwork Grisaille Beadwork Complex Stitches (Rice Ab Stitches Stitches Stitches William and Mary Stitch Stitch, Double Cross Crossed Stitches Crossed Stitches Stitch) Rice Stitch Rice Stitch Stitches Stitches Leviathan Stitch Flat Stitches Flat Stitches Smyrna Cross Stitch Cross Stitch Cross Stitch Smyrna Knot Double Cross Stitch Double Cross Stitch Star Stitch Counted Thread Work Counted Thread Work Diamant-som Diamant-som 3 dimensional canvas F Canvas Work Canvas Work Canvas Work work Cr Raised Work Surface Stitchery Surface Stitchery Raised Work Raised Work Dimensional Embroidery Dimensional Embroidery LEVEL 4 Rug techniques - Jr Rug Work Rug Work Rug Work advanced Mixed canvas F Canvas Work Canvas Work Canvas Work techniques O Mixed Media Mixed Media Embroidery Mixed Media Embroidery Embroidery 5 POINT OF THE STAR LIBRARY CLASSIFICATIONS LIBRARY MUSEUM NON PREFERRED TERMS TECHNIQUES WITH SUBJECT HEADINGS “TECHNIQUE” CLASSIFICATIONS [Researchers are referred from these SUBJECT HEADINGS [Broad Terms (BT) to Narrow [Broad Terms (BT) to Narrow terms to those listed in the Library and Styles of Embroidery Terms (NT)] Terms (NT)] Museum columns] COUNTED STITCHES LEVEL 1 D Counted Thread Work Counted Thread Work Counted Thread Work Cross stitch - traditional E Cross Stitch Cross Stitch Cross Stitch Pattern darning Dp Pattern Darning Counted Thread Work Counted Thread Work Pattern Darning Pattern Darning Filet Lc Net Embroidery Needlemade Lace Needlemade Lace Filet Guipure Net Embroidery Net Embroidery Filet Lace Lacis Lacis Filet Richelieu Filet Filet Guipure d’Art Guipure Lace Guipure Work Needlerun nets – Lc Net Embroidery Needlemade Lace Needlemade Lace Darned Net counted straight Net Embroidery Net Embroidery stitches Needlerun Net Needlerun Net Ab Stitches Stitches Stitches Flat Stitches Flat Stitches Straight Stitch Straight Stitch Swedish darning – Dp Pattern Darning Counted Thread Work Counted Thread Work huck-a-buck Pattern Darning Pattern Darning Swedish Darning Swedish Darning Counted Thread Work Counted Thread Work Huck Weaving Pattern Darning Pattern Darning Huck-a-buck Darning Huckaback Darning Huckaback Darning Huckaback Embroidery Counted (geometric) D Counted Thread Work Counted Thread Work Counted Thread Work satin stitch - Perugino Counted Satin Stitch Counted Satin Stitch Dx Perugino Embroidery Counted Thread Work Counted Thread Work Perugino Embroidery Perugino Embroidery Assisi embroidery Da Assisi Work Counted Thread Work Counted Thread Work Assisi Work Assisi Work Lagartera - simple Dk Lagartera Counted Thread Work Counted Thread Work Legatera Lagartera Lagartera Spanish Legatera 6 POINT OF THE STAR LIBRARY CLASSIFICATIONS LIBRARY MUSEUM NON PREFERRED TERMS TECHNIQUES WITH SUBJECT HEADINGS “TECHNIQUE” CLASSIFICATIONS [Researchers are referred from these SUBJECT HEADINGS [Broad Terms (BT) to Narrow [Broad Terms (BT) to Narrow terms to those listed in the Library and Styles of Embroidery Terms (NT)] Terms (NT)] Museum columns] COUNTED STITCHES LEVEL 2 Cross stitch - various E Cross Stitch Cross Stitch Cross Stitch Ethnic embroidery - R Ethnic Embroidery Ethnic Embroidery Ethnic Embroidery counted [Look for terms followed by country sub-headings] [Look for objects by country] Needlerun Net - Lc Net Embroidery Needlemade Lace Needlemade Lace Embroidered Net Limerick Net Embroidery Net Embroidery Lace Net Embroidery Needlerun Net Needlerun Net Net Lace Limerick Lace Limerick Lace Tulle Embroidery Sorbello knot Ab Stitches Stitches Stitches embroidery Knotted Stitches Knotted Stitches Sorbello Knot Sorbello Knot D Counted Thread Work Counted Thread Work Counted Thread Work Sorbello Knot Embroidery Sorbello Knot Embroidery Blackwork - introduction Db Blackwork Counted Thread Work Counted Thread Work Blackwork Blackwork Colbert embroidery Dd Colbert Embroidery Counted Thread Work Counted Thread Work Colbert Embroidery Colbert Embroidery 7 POINT OF THE STAR LIBRARY CLASSIFICATIONS LIBRARY MUSEUM NON PREFERRED TERMS TECHNIQUES WITH SUBJECT HEADINGS “TECHNIQUE” CLASSIFICATIONS [Researchers are referred from these SUBJECT HEADINGS [Broad Terms (BT) to Narrow [Broad Terms (BT) to Narrow terms to those listed in the Library and Styles of Embroidery Terms (NT)] Terms (NT)] Museum columns] COUNTED STITCHES LEVEL 3 Russian cross stitch – D Counted Thread Work Counted Thread Work Counted Thread Work with metal thread work Russian Cross Stitch Russian Cross Stitch Lagatera embroidery – Dk Lagartera Counted Thread Work Counted Thread Work with drawn thread work Lagartera Lagartera Bb Drawn Thread Work Drawn Thread Work Drawn Thread Work Cut and Drawn Work Drawn-work Openwork Pulled Thread Work Punto Tirato Crossed stitches - Ab Stitches Stitches Stitches complex Crossed Stitches Crossed Stitches Ethnic embroidery LEVEL 4 Ethnic embroidery - complex Blackwork - advanced 8 POINT OF THE STAR LIBRARY CLASSIFICATIONS LIBRARY MUSEUM NON PREFERRED TERMS TECHNIQUES WITH SUBJECT HEADINGS “TECHNIQUE” CLASSIFICATIONS [Researchers are referred from these SUBJECT HEADINGS [Broad Terms (BT) to Narrow [Broad Terms (BT) to Narrow terms to those listed in the Library and Styles of Embroidery Terms (NT)] Terms (NT)] Museum columns] LACE STITCHES LEVEL 1 Needle lace Needle lace edges - La Needle Lace Lace Lace Needlelace simple Needlemade Lace Needlemade Lace Needlepoint Lace Needle Lace Needle Lace Point Lace Buttonhole stitch and Ab Stitches Stitches Stitches variations Looped Stitches Looped Stitches Buttonhole Stitch Buttonhole Stitch Any braid or tape lace – Ce Braid Embroidery Surface Stitchery Surface Stitchery machine-made braid Braid Embroidery Braid Embroidery Jh Braids Textiles Textiles Passementerie Passementerie Braids Braids Ll Braid Lace Lace Lace Tape Based Lace Mixed Lace Mixed Lace Braid Lace Braid Lace Lm Machine Made Lace Lace Lace Machine Made Lace Machine Made Lace Battenburg Lace, Ll Braid Lace Lace Lace crochet braid Mixed Lace Mixed Lace Braid
Recommended publications
  • NEEDLE LACES Battenberg, Point & Reticella Including Princess Lace 3Rd Edition

    NEEDLE LACES Battenberg, Point & Reticella Including Princess Lace 3Rd Edition

    NEEDLE LACES BATTENBERG, POINT & RETICELLA INCLUDING PRINCESS LACE 3RD EDITION EDITED BY JULES & KAETHE KLIOT LACIS PUBLICATIONS BERKELEY, CA 94703 PREFACE The great and increasing interest felt throughout the country in the subject of LACE MAKING has led to the preparation of the present work. The Editor has drawn freely from all sources of information, and has availed himself of the suggestions of the best lace-makers. The object of this little volume is to afford plain, practical directions by means of which any lady may become possessed of beautiful specimens of Modern Lace Work by a very slight expenditure of time and patience. The moderate cost of materials and the beauty and value of the articles produced are destined to confer on lace making a lasting popularity. from “MANUAL FOR LACE MAKING” 1878 NEEDLE LACES BATTENBERG, POINT & RETICELLA INLUDING PRINCESS LACE True Battenberg lace can be distinguished from the later laces CONTENTS by the buttonholed bars, also called Raleigh bars. The other contemporary forms of tape lace use the Sorrento or twisted thread bar as the connecting element. Renaissance Lace is INTRODUCTION 3 the most common name used to refer to tape lace using these BATTENBERG AND POINT LACE 6 simpler stitches. Stitches 7 Designs 38 The earliest product of machine made lace was tulle or the PRINCESS LACE 44 RETICELLA LACE 46 net which was incorporated in both the appliqued hand BATTENBERG LACE PATTERNS 54 made laces and later the elaborate Leavers laces. It would not be long before the narrow tapes, in fancier versions, would be combined with this tulle to create a popular form INTRODUCTION of tape lace, Princess Lace, which became and remains the present incarnation of Belgian Lace, combining machine This book is a republication of portions of several manuals made tapes and motifs, hand applied to machine made tulle printed between 1878 and 1938 dealing with varieties of and embellished with net embroidery.
  • The Godey Quilt: One Woman’S Dream Becomes a Reality Sandra L

    The Godey Quilt: One Woman’S Dream Becomes a Reality Sandra L

    Western Kentucky University TopSCHOLAR® DLSC Faculty Publications Library Special Collections 2016 The Godey Quilt: One Woman’s Dream Becomes a Reality Sandra L. Staebell Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/dlsc_fac_pub Part of the Fiber, Textile, and Weaving Arts Commons Recommended Citation Sandy Staebell, “The Godey Quilt: One Woman’s Dream Becomes a Reality,” Uncoverings 2016, Volume 37, American Quilt Study Group, edited by Lynne Zacek Bassett, copyright 2016, pp. 100-134, Color Plates 8-11 This Article is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in DLSC Faculty Publications by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. The Godey Quilt: One Woman’s Dream Becomes a Reality Sandra Staebell The Godey Quilt is a 1930s appliqué quilt composed of fifteen fabric portraits of men and women clothed in fashionable mid-nineteenth century attire. The dream of Mildred Potter Lissauer (1897−1998) of Louisville, Kentucky, this textile is a largely original design that is not representative of the majority of American quilts made during the early 1930s. Notable for the beauty and quality of its workmanship, the quilt’s crafting was, in part, a response to the competitive spirit that reigned in quiltmaking at the time. Significantly, the survival of the materials that document its conception, design, and construction enhances its significance and can be used to create a timeline of its creation. Reflecting Colonial Revival concepts and imagery, the Godey Quilt is a remarkable physical expression of that era.
  • Mead Library Listing As of December 2019 MEAD QUILTERS LIBRARY Page 2 of 14

    Mead Library Listing As of December 2019 MEAD QUILTERS LIBRARY Page 2 of 14

    MEAD QUILTERS LIBRARY Page 1 of 14 Surname Forename Title Publisher ISBN Date Adams Pauline Quiltmaking Made Easy Little Hills Press 1-86315-010-2 1990 Alderman Betty Precious Sunbonnet Quilts American Quilters Society 978-1-57432-951-3 2008 Alexander Karla Stack A New Deck Martindale 1-56477-537-2 Anderson Charlotte Warr Faces & Places C & T Publishing 1-57120-000-2 1995 Anderson F. Crewel Embroidery Octopus Books Ltd. 0-7064-0319-3 1974 Asher & Shirley & Beginner's Guide To Feltmaking Search Press 1-84448-004-6 2006 Bateman Jane Austin Mary Leman American Quilts Primedia Publications 1999 Baird Liliana The Liberty Home Contemporary Books 0-80922-988-9 1997 Balchin Judy Greetings Cards to Make & Treasure Search Press 978-1-84448-394-5 2010 Bannister & Barbara & The United States Patchwork Pattern Book Dover Publications Ltd. 0-486-23243-3 1976 Ford Edna Barnes Christine Colour- the Quilters Guide That Patchwork Place 1-56477-164-4 1997 Bell Louise 201 Quilt Blocks, Motifs, Projects & Ideas Cico Books London 0-19069-488-1 2008 Berg & Alice & Little Quilts All Through The House That Patchwork Place 1-56477-033-8 1993 Von Holt Mary Ellen Berlyn Ineke Landscape in Contemporary Quilts Batsford 0-7134-8974-X 2006 Berlyn Ineke Sketchbooks & Journal Quilts Ineke Berlyn 2009 Besley Angela Rose Windows for Quilters Guild of Master Craftsman 1-86108-163-4 2000 Bishop & Robert & Amish Quilts Laurence King 1-85669-012-1 1976 Safandia Elizabeth Bonesteel Georgia Lap Quilting Oxmoor House Inc. 0-8487-0524-6 1982 Mead Library Listing as of December 2019 MEAD QUILTERS LIBRARY Page 2 of 14 Surname Forename Title Publisher ISBN Date Bonesteel Georgia Bright Ideas for Lap Quilting Oxmoor House Inc.
  • Catalogue of the Famous Blackborne Museum Collection of Laces

    Catalogue of the Famous Blackborne Museum Collection of Laces

    'hladchorvS' The Famous Blackbome Collection The American Art Galleries Madison Square South New York j J ( o # I -legislation. BLACKB ORNE LA CE SALE. Metropolitan Museum Anxious to Acquire Rare Collection. ' The sale of laces by order of Vitail Benguiat at the American Art Galleries began j-esterday afternoon with low prices ranging from .$2 up. The sale will be continued to-day and to-morrow, when the famous Blackborne collection mil be sold, the entire 600 odd pieces In one lot. This collection, which was be- gun by the father of Arthur Blackborne In IS-W and ^ contmued by the son, shows the course of lace making for over 4(Xi ye^rs. It is valued at from .?40,fX)0 to $oO,0()0. It is a museum collection, and the Metropolitan Art Museum of this city would like to acciuire it, but hasnt the funds available. ' " With the addition of these laces the Metropolitan would probably have the finest collection of laces in the world," said the museum's lace authority, who has been studying the Blackborne laces since the collection opened, yesterday. " and there would be enough of much of it for the Washington and" Boston Mu- seums as well as our own. We have now a collection of lace that is probablv pqual to that of any in the world, "though other museums have better examples of some pieces than we have." Yesterday's sale brought SI. .350. ' ""• « mmov ON FREE VIEW AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK FROM SATURDAY, DECEMBER FIFTH UNTIL THE DATE OF SALE, INCLUSIVE THE FAMOUS ARTHUR BLACKBORNE COLLECTION TO BE SOLD ON THURSDAY, FRIDAY AND SATURDAY AFTERNOONS December 10th, 11th and 12th BEGINNING EACH AFTERNOON AT 2.30 o'CLOCK CATALOGUE OF THE FAMOUS BLACKBORNE Museum Collection of Laces BEAUTIFUL OLD TEXTILES HISTORICAL COSTUMES ANTIQUE JEWELRY AND FANS EXTRAORDINARY REGAL LACES RICH EMBROIDERIES ECCLESIASTICAL VESTMENTS AND OTHER INTERESTING OBJECTS OWNED BY AND TO BE SOLD BY ORDER OF MR.
  • Textile Periods in Ancient Peru: Ii Paracas Caverns and the Grand Necropolis

    Textile Periods in Ancient Peru: Ii Paracas Caverns and the Grand Necropolis

    TEXTILE PERIODS IN ANCIENT PERU: II PARACAS CAVERNS AND THE GRAND NECROPOLIS BY LILA M O';EALE- UNRERSITY OF CFORNIA PUBLTICATIONS IN EwasN AROOY AND ETENOLOG#Y Volnme 39, No. 2, pp. 14>202, plates 1-6, 20 figures in text ,, ,, .. vE \ . # :. UNIVERSITY 0t CALIP6RNIA PRESS BERKELEY AND tOS ANGBLES 1942 TEXTILE PERIODS IN ANCIENT PERU: II PARACAS CAVERNS AND THE GRAND NECROPOLIS BY LILA M. O'NEALE UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND LOS ANGELES 1942 UNIVERSITY Or CALIFORNIA PUBLICATIONS IN AMERICAN ARCHAEOGY AND ETHNOLOGY EDITORS: A. L. KRoEBER, R. H. LoWIE, T. D. MCCowN, R. L. OLSON Volume 39, No. 2, pp. 143-202, plates 1-5, 20 figures in text Submitted by editors March 12, 1941 Issued October 23, 1942 Price, 75 cents UNIVESITY OF CALIFORNIA PRESS BERKELEY, CALIFORNIA CAM1BRDGE UNIVERSITY PRESS LONDON, ENGLAND PRINTED IN THE UNITED STATES OF AMERIOA CONTENTS PAGE METHOD AND MATERIAL ..................................................... 143 Revisions . ............................................................... 144 Paracas time periods: Caverns and Necropolis ................................ 145 TRAITS COMMON TO ALL PERIODS .............................................. 148 Paracas yarns . .......................................................... 149 Paracas loom types ....................................................... 151 Technical processes at Paracas ............................................. 152 Warp-weft techniques ................................................... 152 Plain weaves ................. ......................................
  • August 2021.Indd

    August 2021.Indd

    Search Press Ltd August 2021 The Complete Book of patchwork, Quilting & Appliqué by Linda Seward www.searchpress.com/trade SEARCH PRESS LIMITED The world’s finest art and craft books ADVANCE INFORMATION Drawing - A Complete Guide: Nature Giovanni Civardi Publication 31st August 2021 Price £12.99 ISBN 9781782218807 Format Paperback 218 x 152 mm Extent 400 pages Illustrations 960 Black & white illustrations Publisher Search Press Classification Drawing & sketching BIC CODE/S AFF, WFA SALES REGIONS WORLD Key Selling Points Giovanni Civardi is a best-selling author and artist who has sold over 600,000 books worldwide No-nonsense advice on the key skills for drawing nature – from understanding perspective to capturing light and shade Subjects include favourites such as country scenes, flowers, fruit, animals and more Perfect book for both beginner and experienced artists looking for an inspirational yet informative introduction to drawing natural subjects This guide is bind-up of seven books from Search Press’s successful Art of Drawing series: Drawing Techniques; Understanding Perspective; Drawing Scenery; Drawing Light & Shade; Flowers, Fruit & Vegetables; Drawing Pets; and Wild Animals. Description Learn to draw the natural world with this inspiring and accessible guide by master-artist Giovanni Civardi. Beginning with the key drawing methods and essential materials you’ll need to start your artistic journey, along with advice on drawing perspective as well as light and shade, learn to sketch country scenes, fruit, vegetables, animals and more. Throughout you’ll find hundreds of helpful and practical illustrations, along with stunning examples of Civardi’s work that exemplify his favourite techniques for capturing the natural world.
  • Powerhouse Museum Lace Collection: Glossary of Terms Used in the Documentation – Blue Files and Collection Notebooks

    Powerhouse Museum Lace Collection: Glossary of Terms Used in the Documentation – Blue Files and Collection Notebooks

    Book Appendix Glossary 12-02 Powerhouse Museum Lace Collection: Glossary of terms used in the documentation – Blue files and collection notebooks. Rosemary Shepherd: 1983 to 2003 The following references were used in the documentation. For needle laces: Therese de Dillmont, The Complete Encyclopaedia of Needlework, Running Press reprint, Philadelphia, 1971 For bobbin laces: Bridget M Cook and Geraldine Stott, The Book of Bobbin Lace Stitches, A H & A W Reed, Sydney, 1980 The principal historical reference: Santina Levey, Lace a History, Victoria and Albert Museum and W H Maney, Leeds, 1983 In compiling the glossary reference was also made to Alexandra Stillwell’s Illustrated dictionary of lacemaking, Cassell, London 1996 General lace and lacemaking terms A border, flounce or edging is a length of lace with one shaped edge (headside) and one straight edge (footside). The headside shaping may be as insignificant as a straight or undulating line of picots, or as pronounced as deep ‘van Dyke’ scallops. ‘Border’ is used for laces to 100mm and ‘flounce’ for laces wider than 100 mm and these are the terms used in the documentation of the Powerhouse collection. The term ‘lace edging’ is often used elsewhere instead of border, for very narrow laces. An insertion is usually a length of lace with two straight edges (footsides) which are stitched directly onto the mounting fabric, the fabric then being cut away behind the lace. Ocasionally lace insertions are shaped (for example, square or triangular motifs for use on household linen) in which case they are entirely enclosed by a footside. See also ‘panel’ and ‘engrelure’ A lace panel is usually has finished edges, enclosing a specially designed motif.
  • Identifying Handmade and Machine Lace Identification

    Identifying Handmade and Machine Lace Identification

    Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audiences. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4.
  • Project Gutenberg's Beeton's Book of Needlework, by Isabella Beeton

    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.
  • Quilts from Nebraska Collections

    Quilts from Nebraska Collections

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1974 Quilts from Nebraska Collections Norman Geske Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman, "Quilts from Nebraska Collections" (1974). Sheldon Museum of Art Catalogues and Publications. 101. https://digitalcommons.unl.edu/sheldonpubs/101 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. QUILTS FROM NEBRASKA COLLECTIONS An exhibition presented in collaboration with The Lincoln Quilters Guild SHELDON MEMORIAL ART GALLERY UNIVERSITY OF NEBRASKA - LINCOLN September 17 - October 13, 1974 PREFACE In early America most quilts were made for utilitarian purposes. Later, when time and fabrics became more plentiful, quilt making developed into an art form which flourished during the 19th century and continues to do so today. Within the broad definition of "patchwork," three types are rep­ resented in this exhibition-pieced, applique and crazy. Pieced quilts are made from materials cut in geometric shapes and put to­ gether in pattern blocks. These blocks are repeated to form the quilt top. The designs were often of political, historical or religious events, but many also were associated with abstract visual ideas and images. "Rocky Road to California" and "Lincoln Quilt" are examples of the first category; "In­ diana Puzzle" and "Log Cabin" the second; "Star of Bethlehem" and "Jacobs Ladder" the third.
  • African Lace

    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.
  • Attic Sampler Newsletter 07012014

    Attic Sampler Newsletter 07012014

    Where Samplers Rule Just 15 minutes from the Airport at the SE CORNER OF DOBSON & GUADALUPE 1837 W. Guadalupe Rd, Suite 109 Mesa, AZ 85202 TELEPHONE THE ATTIC (480)898-1838 2014 July 1 Issue No. 14-14 www.atticneedlework.com TOLL-FREE: 1.888.94.ATTIC July Sampler of the Month “Jesus Wept” from The Scarlet Letter I am thrilled to be able to offer this rare, two-sided miniature sampler as our July Sampler of the Month. Unavailable for a long time, nearly a decade, I believe, Marsha Parker of The Scarlet Letter reluctantly decided to reprint this reproduction. I’ve had it in my personal collection for many years and have always wanted to stitch it, and the best way for that to happen is to make it a Sampler of the Month ... so here it is! Here’s what Marsha writes about this sampler: Circa 1820, originally worked on fine tammy (wool) cloth with silk flosses, these two separate samplers were bound together, back to back, with pink grosgrain ribbon edging. They are quite compact yet comprehensive in scope, with wonderfully varied and detailed motifs including a cat on a cushion, a house, peacocks, butterflies, birds, dogs, and many flowering plants. The Scarlet Letter model was stitched over 1 on 35c similar to the original. However, you should stitch it on whatever is most pleasurable for you. Debra of our Attic staff let the 35-over-one get in the way of adding this sampler to her collection over 10 years ago, and she regretted it ever since.