Textile arts and artworks Books

Book SynopsisWith his unerring eye, Kaffe has succeeded in finding the perfect location for his exquisite new collection of quilts, featuring both his scintillating new fabric designs and his classics, all in his unique colour palette. This time he has chosen the medieval English village of Lavenham in Suffolk, where the 19 quilts in this book are set off against the ancient half-timbered Tudor houses. They are displayed in all their glory in a sumptuous eye-catching quilt gallery. Included in this set of new designs are many very special ones by Kaffe, and several by his long-time friend and co-designer, Liza Prior Lucy. Kaffe's Starry Night, featured on the cover, fussy cuts some of his brilliant floral fabrics in deep rich colours to great effect, setting them off by surrounding stars in his Shot Cottons. Shards translates the traditional Broken Dishes design into deliciously soft and subtle blends of pastel fabrics, shown off to perfection against the pale plaster and weathered timbers of the Lavenham houses. In a quite different vein, the boldly contrasting background stripes in black and white fabric in Blooming Columns make a dramatic contrast to the huge fussy-cut flowers appliquéd onto it. This book - the 23rd in the series - includes a range of quilts for all skill levels, from beginners to advanced. Shaded Squares is one such lovely quilt for first timers, with its cleverly shaded squares each made up from two large triangles, one plain and one striped in Kaffe's Shot Cotton and Wide Stripe fabrics. Flat shots, a practical know-how section and glossary, back up the fully illustrated, step-by-step instructions for each quilt. AUTHOR: San Francisco-born artist Kaffe Fassett is a name every quilter knows. His work has been commissioned by the British monarchy, American fashion designers, and the Royal Shakespeare Company. He has written numerous best-sellers including Kaffe Fassett's Quilts in Italy, Kaffe Fassett's Quilts in Morocco, and Kaffe Fassett's Quilts in the Cotswold's. SELLING POINTS: . Kaffe Fassett is a world-renowned texture artist whose work has been commissioned by British royalty, American fashion designers as well as the Royal Shakespeare Company. His works have been exhibited in museums around the world and have drawn record-breaking attendances . This is the 23rd book in Kaffe Fassett's P&Q book collections

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Book SynopsisThe first in-depth study of a monumental wall hanging—rediscovered after many years—by renowned Bauhaus artist Anni Albers.Albers was influential in elevating textiles from craft to fine art. Her exquisite wall hanging Camino Real—seen for the first time outside of Mexico City at David Zwirner, New York, in 2019, and the subject of this book—is a superb example of this modern master’s work.In 1967, noted architects Ricardo Legorreta and Luis Barragán commissioned Albers to create a work for the newly built Hotel Camino Real in Mexico City. Completed in 1968, her striking wall hanging Camino Real is heavily influenced by Latin American art and culture. Showcasing Albers’s approach to working with textiles as a “many-sided practice,” it is accompanied in this book by works Albers made following her move to the United States in 1933, including innovative wall hangings, weavings, and a range of works on paper. Together, these works reflect Albers’s brilliant embrace of different materials and techniques and her ability to work at varied scales. The works in this publication offer additional context and motifs, demonstrating the artist’s pioneering investment in textiles as an art form and her parallel interest in mass-produced designs.Published on the occasion of the Anni Albers exhibition presented at David Zwirner, New York, in 2019, this catalogue features new scholarship from the show’s curator, Brenda Danilowitz, art historian and chief curator of The Josef and Anni Albers Foundation, and T’ai Smith, an expert on Bauhaus craft and weaving.

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Book SynopsisGlory and Exile: Haida History Robes of Jut-ke-Nay Hazel Wilson marks the first time this monumental cycle of ceremonial robes by the Haida artist Jut-Ke-Nay (The One People Speak Of)—also known as Hazel Anna Wilson—is viewable in its entirety. On 51 large blankets, Wilson uses painted and appliquéd imagery to combine traditional stories, autobiography, and commentary on events such as smallpox epidemics and environmental destruction into a grand narrative that celebrates the resistance and survival of the Haida people, while challenging the colonial histories of the Northwest Coast.Of the countless robes Wilson created over fifty-plus years, she is perhaps best known for The Story of K’iid K’iyaas, a series about the revered tree made famous by John Vaillant’s 2005 book The Golden Spruce. But her largest and most important work is the untitled series of blankets featured here. Wilson always saw these works as public art, to be widely seen and, importantly, understood. In addition to essays by Robert Kardosh and Robin Laurence, the volume features texts about each robe by Wilson herself; her words amplify the power of her striking imagery by offering historical and personal context for the people, characters, and places that live within her colossal work. Glory and Exile, which also features personal recollections by Wilson’s daughter Kūn Jaad Dana Simeon, her brother Allan Wilson, and Haida curator and artist Nika Collison, is a fitting tribute to the breathtaking achievements of an artist whose vision will help Haida knowledge persist for many generations to come.

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Book SynopsisInnovative textile-based artwork exploded across the Canadian Prairies in the second half of the twentieth century. Melding craft traditions with modern and modernist movements in art and theory a diverse body of creators opened a beautiful new chapter in textile art.Prairie Interlace brings together some of the most important scholars of craft in Canada to examine the work of forty-eight artists working with textiles from the 1960s to the 2000s. Recapturing and recording lost histories, this book explores both artists working with textiles and centres of textile study and production, paying special attention to the contexts in which artworks were produced. Indigenous scholars, experts in textile techniques, and experts on the Canadian Prairies provide fascinating insight into an artistic movement which, until now, has been nearly undocumented.Featuring beautiful full-colour images of textile works, many of which have never before been photographed for print, Prairie Interlace provides an opportunity to discover a fascinating movement which has not received the attention it deserves and invites further investigation of this rich period in Canadian art history.Developing from the travelling exhibition of the same name, Prairie Interlace is a collaboration between Nickle Galleries, University of Calgary in Calgary, AB and the MacKenzie Art Gallery, Regina, SK.

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Book SynopsisInnovative textile-based artwork exploded across the Canadian Prairies in the second half of the twentieth century. Melding craft traditions with modern and modernist movements in art and theory a diverse body of creators opened a beautiful new chapter in textile art.Prairie Interlace brings together some of the most important scholars of craft in Canada to examine the work of forty-eight artists working with textiles from the 1960s to the 2000s. Recapturing and recording lost histories, this book explores both artists working with textiles and centres of textile study and production, paying special attention to the contexts in which artworks were produced. Indigenous scholars, experts in textile techniques, and experts on the Canadian Prairies provide fascinating insight into an artistic movement which, until now, has been nearly undocumented.Featuring beautiful full-colour images of textile works, many of which have never before been photographed for print, Prairie Interlace provides an opportunity to discover a fascinating movement which has not received the attention it deserves and invites further investigation of this rich period in Canadian art history.Developing from the travelling exhibition of the same name, Prairie Interlace is a collaboration between Nickle Galleries, University of Calgary in Calgary, AB and the MacKenzie Art Gallery, Regina, SK.

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Book SynopsisThe Great Tapestry of Scotland is an outstanding celebration of thousands of years of Scottish history and achievement, from the end of the last Ice Age to Dolly the Sheep and Andy Murry’s Wimbledon victory of 2013. More than 1000 stitchers spent a total of 55,000 sewing hours on the 160 panels that make up this extraordinary work of art. This book shows in full colour all the finished panels of the tapestry – one of the biggest community arts projects ever to take place in Scotland – together with descriptive and explanatory material on each panel and lists of all the stitchers involved.Trade Review'A real people’s history that has humour and pathos, erudition and wit, and where in every panel you feel the presence and the engagement of the makers' * BBC Radio 4, ‘Museums That Make Us’ *'This remarkable teamwork has made Andrew Crummy's artistic vision a reality, and The Great Tapestry of Scotland is now a gift to the nation' * Edinburgh Life *'[T]he most ambitious attempt to capture the past in needle and thread since the Bayeux Tapestry ... The result is not just visually stunning but intensely moving and occasionally very funny' * The Times *'The beauty of this book lies in the ample space devoted to illustrating each panel of the tapestry, allowing the reader to study the detail in the crafting of each story at their leisure' * Scottish Field *'This sumptuous book details every single panel in rich detail, giving a real sense of the scale of the project [. . .] perfect as an introduction to this wonderful work of art, or as a reminder for anyone who has seen the exhibition' * National Association of Decorative & Fine Arts Societies *'If you are unable to see the Tapestry in all its glory, this wonderful book will take you through the country’s history from the Ice Age to the present day as told in the stitches of 160 panels' * New Stitches *

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Book SynopsisBlackwork is a traditional type of counted-stitch embroidery. Monochromatic, with superb shadow effects, it has been revisited here in a magnificently graphic, contemporary style highlighted with occasional splashes of colour. The 13 patterns designed by Bernadette Baldelli modernize the technique by adding a touch of red to the traditional black and white, and by including both geometric and more figurative styles. You’ll discover a lush, graphic world with embroidery that is simple to do and gives stunning results. You can make a basket, a pouch, wall hangings, place mats, an embroidered shirt, throw blanket and more. Simple diagrams make them easy to do, and there is a wealth of tempting patterns to choose from. Bernadette’s creations are known for their excellent finishing touches and these are no exception.Trade ReviewA beautifully presented book with clear instructions and patterns. The photos are styled nicely and show all the elements of the stitching, which is really helpful for reference whilst making up any of the patterns. I particularly like the french table mats and the elegant little mouse. Because of the way blackwork is done, you could easily adapt any of the patterns to suit a different project. -- Simmi Duffin * Amazon *Blackwork is a Moorish style of embroidery which came to Britain via Spain with Catherine of Aragon. In this book are sixteen modern projects using the traditional stitches, showing how it can be updated and reinvented for the 21st century. There are even some splashes of coloured thread among the black and white which gets my approval. No style should be so mired in tradition that it can’t be dusted down and remixed for a new generation of stitchers. The stitches remain the same and there are instructions for these, but I think the person who will get the most out of this book will be somebody who is already au fait with the basics of embroidery. It will help if they can also sew, as most of the projects involve more than just blackwork. Diagrams and patterns are given for a makeup purse, pillows, lampshade, soft toy mouse and simple child’s tunic dress. Patterns need to be resized or measured out, and then made up following text instructions. Other simpler pieces with less making up include wraps to add interest to candle holders, a sampler, bunting and table mats. Some of the embroidery is geometric; others depict flowers, moths, children playing, words and a fish. All are the type of designs that aren’t contemporary as much as timeless, and Catherine of Aragon would have been familiar with this style of embroidery used to decorate clothing. There are some lovely projects in here that are sure to have wide appeal. -- Rachel A Hyde * Amazon *This book is filled with stunning projects that can be kept as heirlooms or given as treasured gifts. I loved the Elegant Little Mouse and think this will be my first project. The Blackwork Embroidery is both stylish and decorative and really does give a beautiful finish to each of the designs. The projects are complete with instructions and design charts which are easy to understand. Also included are some templates, some will need enlarging and all come with fixings listed. Techniques for your Blackwork are given, but the beauty of this book is really in the projects. The decoration on the Camellia Blouse is exquisite. Blackwork is a simple embroidery technique and beginners can achieve a beautiful result. -- Tracy Shephard * Amazon *This book has beautiful photographs throughout. Clear instructions are written and pictorial. There are handy tips & information regarding the difficulty level of projects, which are both nice additions, for beginners to experienced. Black sampler would be the favourite project to do, being a 'newbie', it would be good for learning the various stitches, and makes a lovely finished piece of work to display. * Customer review *This book is useful to both beginners and experienced stitchers of Blackwork embroidery. It has clear instructions and beautiful photographs. The projects instructions are well laid out and easy to follow. It explains clearly what tools are needed and which threads give the best results. I have enjoyed looking at all the designs and hope to do the Butterfly design first. * Customer review *Table of ContentsMaterials 4 Basic blackwork techniques 6 PROJECTS Tealight holders 10 Padded pouch 14 Moth-patterned cushions 18 Embroidered garland 22 Pendant lampshade 26 Lace-look make-up bag 30 Camellia blouse 34 Black sampler 38 A fish on my satchel 42 Jolly table mats 46 Moorish blanket 50 Little girl’s dress 54 Elegant little mouse 58

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Book SynopsisA wide-ranging and varied collection of essays which examine surviving garments, methods of production and clothes in society. The second decade of this acclaimed and popular series begins with a volume that will be essential reading for historians and re-enactors alike. Two papers consider cloth manufacture in the early medieval period: Ingvild Øye examines the graves of prosperous Viking Age women from Western Norway which contained both textile-making tools and the remains of cloth, considering the relationship between the two. Karen Nicholson compliments this with practical experiments in spinning. This is followed by Tina Anderlini's close examination of the details of cut and construction of a thirteenth-century chemise attributed to King Louis IX of France (St Louis), out of its shrine for the firsttime since 1970. Three papers consider fashionable clothing and morality: Sarah-Grace Heller discusses sumptuary legislation from Angevin Sicily in the 1290s which sought to restrict men's dress at a time when preparation for war was more important than showy clothes; Cordelia Warr examines the dire consequences of a woman dressing extravagantly as portrayed in a fourteenth-century Italian fresco; and Emily Rozier discusses the extremes of dress attributed by moral and satirical writers to the men known as "galaunts". Two textual studies then show the importance of textiles in daily life. Susan Powell reveals the austere but magnificent purchases made on behalf of Lady Margaret Beaufort, mother of King Henry VII, in the last ten years of her life (1498-1509); Anna Riehl Bertolet discusses in detail the passage in Shakespeare's A Midsummer Night's Dream where Helena passionately recalls sewinga sampler with Hermia when they were young and still bosom friends.Table of ContentsProduction, Quality, and Social Status in Viking Age Dress: Three Cases from Western Norway - Ingvild Oye The Effect of Spindle Whorl Design on Wool Thread Production: A Practical Experiment Based on Examples from Eighth-Century Denmark - Karen Nicholson The Shirt Attributed to St. Louis - Tina Anderlini Angevin-Sicilian Sumptuary Statutes of the 1290s: Fashion in the Thirteenth-Century Mediterranean - Sarah-Grace Heller The Devil on My Tail: Clothing and Visual Culture in the Camposanto Last Judgment - Cordelia Warr "Transposing þe shapus þat God first mad them of": Manipulated Masculinity in the Galaunt Tradition - Emily J. Rozier Textiles and Dress in the Household Papers of Lady Margaret Beaufort (1443-1509), Mother of King Henry VII - Susan Powell "Like two artificial gods": Needlework and Female Bonding in A Midsummer Night's Dream - Anna Riehl Bertolet

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Book SynopsisThe best new research on medieval clothing and textiles, drawing from a range of disciplines. The studies collected here range through art, artifacts, documentary text, and poetry, addressing both real and symbolic functions of dress and textiles. John Block Friedman breaks new ground with his article on clothing for pets and other animals, while Grzegorz Pac compares depictions of sacred and royal female dress and evaluates attempts to link them together. Jonathan C. Cooper describes the clothing of scholars in Scotland's three pre-Reformation universities and the effects of the Reformation upon it. Camilla Luise Dahl examines references to women's garments in probates and what they reveal about early modern fashions. Megan Cavell focuses on the treatment of textiles associated with the Holy of Holies in Old English biblical poetry. Frances Pritchard examines the iconography, heraldry, and inscriptions on a worn and repaired set of embroidered fifteenth-century orphreys to determine their origin.Finally, Thomas M. Izbicki summarizes evidence for the choice of white linen for the altar and the responsibilities of priests for keeping it clean and in good repair.Table of ContentsThe Attire of the Virgin Mary and Female Rulers in Iconographical Sources of the Ninth to Eleventh Centuries: Analogues, Interpretations, Misinterpretations - Grzegorz Pac Sails, Veils, and Tents: The Segl and Tabernacle of Old English Christ III and Exodus - Megan Cavell Linteamenta altaria: The Care of Altar Linens in the Medieval Church - Thomas M. Izbicki Coats, Collars, and Capes: Royal Fashions for Animals in the Early Modern Period - John Block Friedman A Set of Late-Fifteenth-Century Orphreys Relating to Ludovico Buonvisi, a Lucchese Merchant, and Embroidered in a London Workshop - Frances Pritchard Academical Dress in Late Medieval and Renaissance Scotland - Jonathan C. Cooper Dressing the Bourgeoisie: Clothing in Probate Records of Danish Townswomen, ca. 1545-1610 - Camilla Luise Dahl Recent Books of Interest

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Book SynopsisThe best new research on medieval clothing and textiles, drawing from a range of disciplines. Three of the essays in this collection focus on Italy, with contributions on footwear in Lucca based on documentary evidence of the fourteenth century; aristocratic furnishings as described in a royal letter of the fifteenth century, along with its first translation into English; and Boccaccio's treatment of disguise involving Christian/Islamic identity shifts in his Decameron. The Bayeux Tapestry is discussed as a narrative artwork that adopts various costumes for semiotic purposes. Another chapter considers surviving artefacts: a detailed study of a piece of quilted fabric armour, one of two such items surviving in Lübeck, Germany, reveals how it was made and suggests reasons for some of the unusual features. The volume also includes an investigation of the commercial vocabulary related to the medieval textile and fur industries: the terms used in Britain for measuring textile and fur are listed and discussed, especially the unique use of Anglo-French "launces" in a document of 1300. Contributors: Jane Bridgeman, Mark C. Chambers, Jessica Finley, Ana Grinberg, Christine Meek, Gale R. Owen-CrockerTrade ReviewThose working in the sphere of medieval clothing and textiles are very fortunate. Medieval Clothing and Textiles is a series which maintains high standards, showcases new research and is beautifully produced. * MEDIEVAL ARCHAEOLOGY *An excellent collection... it provides both new information and new perspectives on studying the medieval clothing culture through a comparative and interdisciplinary approach. * JOURNAL OF DRESS HISTORY *Table of ContentsPreface The Significance of Dress in the Bayeux Tapestry - Gale R. Owen-Crocker How Long Is a Launce? Units of Measure for Cloth in Late Medieval Britain - Mark C Chambers Robes, Turbans, and Beards: "Ethnic Passing" in Decameron 10.9 - Ana Grinberg Calciamentum: Footwear in Late Medieval Lucca - Christine E. Meek "Bene in ordene et bene ornata": Eleonora d'Aragona's Description of Her Suite of Rooms in a Roman Palace of the Late Fifteenth Century - Jane Bridgeman The Lübeck Wappenröcke: Distinctive Style in Fifteenth-Century German Fabric Armor - Jessica Finley Recent Books of Interest

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Book SynopsisAn examination of the fabrics, garments and cloth of the Iberian Middle Ages, bringing out in particular the international context. The Medieval Iberian Peninsula, encompassing various territories which make up present-day Spain and Portugal, was an ethnic and religious melting pot, comprising Christian, Jewish and Muslim communities, each contributing to a vibrant textile economy. They were also defined and distinguished by the material culture of clothing and dress, partly dictated by religious and cultural tradition, partly imposed by rulers anxious to avoid cross-ethnic relationships considered undesirable. Nevertheless, textiles, especially magnificent Islamic silks, crossed these barriers. The essays in this volume offer the first full analysis of Iberian textiles from the period, drawing on both material remains and historical documents, supported by evidence from contemporary artwork. Chapters cover surviving textiles, many of them magnificent silks; textile industries and trade; court dress and its use as a language of power and patronage; the vast market in utilitarian textiles for lower-status clothing and furnishings; and Muslim and Jewish dress. It also considers Arabic and Jewish texts as sources of information on textiles and the Arabic garment-names which crossed into Spanish. Particular emphasis is given to the the different ethnicities of Iberia and their influences on the use and trade of garments (both precious and common-place) and textiles.Table of ContentsIntroduction María Barrigón, Naḥum Ben-Yehuda, Gale R. Owen-Crocker and Joana Sequeira I The Historical Background/Context 1 From the Five Kingdoms to the Hispanic Monarchy: Political Structures, Ideology and Historical Development in the Medieval Iberian Peninsula (1157-1504) David Nogales Rincón II Techniques, Trade and Industry 2 Textile Techniques in the Iberian Peninsula (Thirteenth to Fourteenth Centuries) María Barrigón 3 Cloth Tade in the Iberian Kingdoms during the Late Middle Ages Máximo Diago Hernando 4 Textiles in the Crown of Aragon: Production, Commerce, Consumption Germán Navarro Espinach 5 The Textile Industry in al-Andalus Adela Fábregas 6 Flax, Wool and Silk: Textile Industries in Medieval Portugal Joana Sequeira III Social Context 7 Dress as a Language: A Survey of ArabicTexts from al-Andalus Manuela Marín 8 Muslim Dress in Medieval Portugal: Textual Evidence in the Context of the Iberian Peninsula †Maria Filomena Lopes de Barros 9 Medieval Castilian Garments and their Arabic Names Dolores Serrano-Niza 10 Clothing, Furnishings and Ceremonies at the Castilian Court (c. 1214−c. 1332) María Barrigón 11 Fabrics and Attire at the Court of Navarre in the Second Half of the Fourteenth Century Merche Osés Urricelqui 12 Textile Production and Jewish Clothing in the Iberian Peninsula: Characteristics, Customs and Differences between Catalan and Other Jewish Communities Esperança Valls Pujol 13 Silk as Reflected in Medieval Iberian Jewish Literature Naḥum Ben-Yehuda 14 The Garment and the Difference: The Attire of Portuguese Jews and New Christians (Conversos) during the Thirteenth to Fifteenth centuries Susana Bastos Mateus Index of Persons and Places Index of Textile terms

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Book SynopsisThe patchwork is an apt metaphor for the region not only because of its colourfulness and the making of something whole out of fragments but as an attempt to make coherence out of disorder. The seeking of coherence was the exact process of putting together this book and foregrounds the process of Caribbean societies forging identity and identities out of plural and at times conflicting and contested groups that came to call the region home. Within the metaphor of the patchwork however is the question, where are the vernacular needlework artists within the visual art tradition of the Caribbean? The introduction sets out to both clarify and rectify this situation, and several common themes flow through the following essays and interviews. Themes include that that the land and colonization remain baseline issues for several Caribbean artists who stage and restage the history of conquest and empire in varying ways. That artists in the region amalgamate as part of their practice and seem to prefer an open-endedness to art making as opposed to expressing fidelity to a particular medium. That artists and scholars alike are dismantling long-held perceptions of what Caribbean art is thought to be, and are challenging boundaries in Caribbean art. These are among the issues addressed in the book as it looks at ecological concerns and questions of sustainability, how the practices of the artists and their art defy the easy categorization of the region, and the placement of women in the visual art ecology of the Caribbean. The latter is one of the most contested areas of the book. Readers should come away with the sense that questions of race, colour, and class loom large within questions of gender in the Jamaican art scene and that the book, dedicated to Sane Mae Dunkley, aims to insert vernacular needleworkers into the visual art scene in both Jamaica and the larger Caribbean. Audience will include researchers and scholars of Caribbean and African diasporic art, college students, those interested in post-colonial studies, Caribbean artists, art professionals interested in a wider, globalized view of contemporary art; students curious to know about the many phases of art production throughout the Caribbean. General readers interested in the culture of the region.Table of ContentsAcknowledgments Introduction The Importance of Place 1. Wendy Nanan Talks about the Importance of Place in Her Works 2. Annalee Davis Uses Art to Unearth and Interrogate 3. For Deborah Anzinger, Ecology Is of Utmost Importance 4. Puerto Rico’s Lionel Cruet’s Artworks Are Focused on the Intimate Relationship with the Environment 5. The In-between Places of Jodie Lyn-Kee-Chow’s Visual Art Practice 6. Robin Farquharson, Unplugged The Process of Art-Making 7. Garfield Morgan Discusses an Intuitive Approach to Art-Making 8. Jasmine Thomas-Girvan Utilizes the Subject of Loss to Right the Wrongs of the Past and the Present 9. Alicia Brown Revisits and Revises Colonial Narratives within the Languages of Portraiture and Painting 10. Living Gratefully: An Interview with Earl McKenzie 11. Katrina Coombs Discusses Her Fetish for Creating Fine-Art Fiber Works 12. Olivia McGilchrist Explores Caribbean Futures in Virtual Reality Narratives Women and Visual Culture 13. Using Objects to Convey Meaning and Break Silences: An Interview with Material Culture Expert Steeve Buckridge 14. Master Jamaican Mat-Maker Sane Mae Dunkley Wove Together the Story of the Jamaican People 15. Women and Art: An Interview with O’Neil Lawrence 16. Jamaica’s Rich Bio-Diversity Is Painter Amy Laskin’s Muse 17. Oneika Russell Engages the Tropical Body and Caribbean Identity 18. For Amanda Coulson, Women Artists in Particular Should Remain Vigilant Challenging Boundaries 19. Jaime Lee Loy Walks the Fine Line between the Familiar and the Unfamiliar 20. Sheena Rose Seeks to Challenge People (and Boundaries) with Her Work 21. Exploring the Art of Female Sexual Desires 22. Llanor Alleyne’s Female Figures Grounded in Nature as an Assertion and Reclamation of Inner Selves 23. La Vaughn Belle’s Contemporary Art Practice of Speaking in Layers 24. Artist Kereina Chang Fatt Uses Her Work to Address Relationships, Community, and Connectedness Defying Easy Categorization 25. Krista Thompson Brings a Critical Eye to What Is Confined to the Footnotes of Art History 26. For Art Historian Edward J. Sullivan, the Caribbean (and Caribbean Artists, like Puerto Rico’s Francisco Oller) Defy Easy Categorization 27. Queen Victoria Give We Free: Tackling Victorian Jamaica in the Visual Arts 28. Pre-Raphaelite Sisters Exhibition Features Jamaican: An Interview with Jan Marsh 29. Art Historian and Curator Allison Thompson Believes That Art Is a Forum to Envision What Is Possible 30. Where Others See Fragmentation, Tatiana Flores Sees Continuity in Caribbean Art Appendix About the Author

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Book SynopsisThe best new research on medieval clothing and textiles, drawing from a range of disciplines. This year's volume focuses largely on the British Isles, with papers on dress terms in the Middle English Pearl; a study of a thirteenth-century royal bride's trousseau, based on unpublished documents concerning King HenryIII's Wardrobe; an investigation into the "open surcoat" referenced in the multilingual texts of late medieval England; and, based on customs accounts, a survey of cloth exports from late medieval London and the merchants who profited from them. Commercial trading of cloth is also the subject of a study of fifteenth-century brokers' books, revealing details of types, designs, and regulation of the famous silks from Lucca, Italy. Another paper focuseson art, reconsidering the incidence of frilled veils in the Low Countries and adopting an innovative means of analysis to question the chronology, geographical diversity, and social context of this style. Robin Netherton is a professional editor and a researcher/lecturer on the interpretation of medieval European dress; Gale R. Owen-Crocker is Professor of Anglo-Saxon Culture at the University of Manchester. Contributors: Benjamin L.Wild, Isis Sturtewagen, Kimberly Jack, Mark Chambers, Eleanor Quinton, John Oldland, Christine MeekTrade ReviewThe eclectic but loosely connected contents of Volume 7 do expand our knowledge of the vagaries and importance of cloth and clothing to the medieval world; as such their appeal goes far beyond the confines of textile historians. * JOURNAL OF MEDIEVAL ARCHAEOLOGY *Table of ContentsPreface The Empress's New Clothes: A Rotulus Pannorum of Isabella, Sister of King Henry III, Bride of Emperor Frederick II - Benjamin L. Wild Unveiling Social Fashion Patterns: A Case Study of Frilled Veils in the Low Countries [1200-1500] - Isis Sturtewagen What Is the Pearl-Maiden Wearing, and Why? - Kimberly Jack "Hys surcote was ouert": The "Open Surcoat" in Late Medieval British Texts - Mark Chambers London Merchants' Cloth Exports, 1350-1500 - Eleanor Quinton and John Oldland Laboreria Sete: Design and Production of Lucchese Silks in the Late Fourteenth and Early Fifteenth Centuries - Christine Meek Recent Books of Interest Contents of Previous Volumes

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Book SynopsisPan-European research on medieval clothing and textiles, drawing from a range of disciplines. This volume continues the series' tradition of bringing together work on clothing and textiles from across Europe. It has a strong focus on gold: subjects include sixth-century German burials containing sumptuous jewellery and bands brocaded with gold; the textual evidence for recycling such gold borders and bands in the later Anglo-Saxon period; and a semantic classification of words relating to gold in multi-lingual medieval Britain. It also rescues significant archaeological textiles from obscurity: there is a discussion of early medieval headdresses from The Netherlands, and an examination of a fifteenth-century Italian cushion, an early example of piecework. Finally, uses of dress and textiles in literature are explored in a survey of the Welsh Mabinogion and Jean Renart's Roman de la Rose. Robin Netherton is a professional editor and a researcher/lecturer on the interpretationof medieval European dress; Gale R. Owen-Crocker is Professor of Anglo-Saxon Culture at the University of Manchester. Contributors: Brigitte Haas-Gebhard, Britt Nowak-Böck, Maren Clegg Hyer, Louise Sylvester, ChrystelBrandenburgh, Lisa Evans, Patricia Williams, Katherine Talarico.Trade Review[M]akes several valuable contributions to the fields of textile studies, art history, and archaeology. * STUDIES IN MEDIEVAL AND RENAISSANCE TEACHING *A rewarding combination of archaeological, documentary, literary and representational evidence...which remains essential reading for anyone interested in this field of study. * TEXT *This series is an excellent forum for new research around the world in medieval textiles and dress and the papers merit wider reading. * MEDIEVAL ARCHAEOLOGY *A book to be recommended. * COSTUME *Table of ContentsPreface The Unterhaching Grave Finds: Richly Dressed Burials from Sixth-Century Bavaria - Brigitte Haas-Gebhard and Britt Nowak-Böck Old Finds Rediscovered: Two Early Medieval Headdresses from the National Museum of Antiquities, Leiden, the Netherlands - Chyrstel Brandenburgh Reduce, Reuse, Recycle: Imagined and Reimagined Textiles in Anglo-Saxon England - Maren Clegg Hyer Mining for Gold: Investigating a Semantic Classification in the Lexis of Cloth and Clothing Project - Louise Sylvester Dress and Dignity in the Mabinogion - Patricia Williams Dressing for Success: How the Heroine's Clothing [Un]Makes the Man in Jean Renart's Roman de la Rose - Kathryn Marie Talarico Anomaly or Sole Survivor? The Impruneta Cushion and Early Italian "Patchwork" - Lisa Evans Recent Books of Interest Contents of Previous Volumes

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Book SynopsisThe best new research on medieval clothing and textiles, drawing from a range of disciplines. The usual wide range of approaches to garments and fabrics appears in this tenth volume. Three chapters focus on practical matters: a description of the medieval vestments surviving at Castel Sant'Elia in Italy; a survey of the spread of silk cultivation to Europe before 1300; and a documentation of medieval colour terminology for desirable cloth. Two address social significance: the practice of seizing clothing from debtors in fourteenth-century Lucca, and the transformation of the wardrobe of Margaret Tudor, daughter of King Henry VII, upon her marriage to the king of Scotland. Two delve into artistic symbolism: a consideration of female headdresses carved at St Frideswide's Priory in Oxford, and a discussion of how Anglo-Saxon artists used soft furnishings to echo emotional aspects of narratives. Meanwhile, in an exercise in historiography, there is an examination of the life of Mrs. A.G.I. Christie, author of the landmark Medieval English Embroidery. ROBIN NETHERTON is a professional editor and a researcher/lecturer on the interpretation of medieval European dress; GALE R. OWEN-CROCKER is Professor of Anglo-Saxon Culture at the University of Manchester. Contributors: Michelle L. Beer, Elizabeth Coatsworth, Valija Evalds, Christine Meek, Maureen C. Miller, Christopher J. Monk, Lisa Monnas, Rebecca Woodward WendelkenTrade ReviewThe contributors to this volume focus on special and also general aspects and demonstrate through their excellent research and clear presentation of the material how much...topics pertaining to textiles allow us to understand many different aspects of culture and society at large. * MEDIAEVISTIK *Table of ContentsBehind the Curtains, Under the Covers, Inside the Tent: Textile Items and Narrative Strategies in Anglo-Saxon Old Testament Art - Christopher J Monk Some Medieval Colour Terms for Textiles - Lisa Monnas Wefts and Worms: The Spread of Sericulture and Silk Weaving in the West before 1300 - Rebecca Woodward Wendelken The Liturgical Vestments of Castel Sant'Elia: Their Historical Significance and Current Condition - Maureen C. Miller Clothing Distrained for Debt in the Court of Merchants of Lucca in the Late Fourteenth Century - Christine Meek Sacred or Profane? The Horned Headdresses of St. Frideswide's Priory - Valija Evalds "Translating" a Queen: Material Culture and the Creation of Margaret Tudor as Queen of Scots - "A formidable undertaking": Mrs. A. G. I. Christie and English Medieval Embroidery - Elizabeth Coatsworth Recent Books of Interest

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Book SynopsisLinking histories of women, relationships to the natural environment, material culture and art, Andrea Pappas presents a new, multi-dimensional view of eighteenth-century American culture from a unique perspective. This book investigates how and why women pictured the landscape in their needlework. It explores the ways their embroidered landscapes address the tumultuous environmental history of the period; how their depictions of nature differ from those made by men; and what women’s choices of motifs can tell us about their lives and their relationships to nature. Embroidering the Landscape situates these pastoral and georgic needleworks (c. 1740-1775) at the intersection of environmental and social histories, interpreting them through ecocritical and social lenses. Pappas’ investigation draws out connections between women’s depicted landscapes and environmental and cultural history at a time when nature itself was a charged arena for changes in agriculture, husbandry, gardening, and the emerging discourses of botany and natural history. Her insights change our understanding of the relationship between culture and the environment in this period and raise new questions about the unrecognized extent of women’s engagement with nature and natural science.Table of ContentsIntroduction: Surveying the Field; 1 The Eye of the Needle; 2 Roots and Terroir; 3 Greener Pastures; 4 Flock, Fish and Fowl; 5 Women’s Estate; 6 Women and ‘Experiential Botany’; Conclusion: Women’s Harvest; Notes; Bibliography; Image credits; Index

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Book SynopsisThis large MacRae Modern Red genuine tartan cloth notebook has 192pp of 80gsm cream paper, with left page plain, right page ruled. Cloth supplied by kilt makers Kinloch Anderson. With a ribbon marker, inner note pocket, elastic enclosure, history of tartan leaflet, and bookmark with a brief history of the MacRae Modern Red tartan. The MacRaes are a Highland clan whose historic seat is Eilean Donan Castle. For generations, the MacRaes were constables of the castle for the Mackenzie family. Offical variant spellings and septs of the name include: Crae, Cree, Macrae, Macraw, Macree, Macrath, Macgrath, Macgraw, Machray, Macraith, Rae, Raith and Reath.

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Book SynopsisBound in real Murray of Atholl Ancient tartan cloth supplied with the authority of Kinloch Anderson, this hardback notebook is 21 x 13cm, with 192 pages - each spread has left blank, right ruled. Has stained edges, ribbon marker, bookmark and inner note holder. Eight perforated end leaves and expandable inner note holder. Each includes a removable booklet and bookmark giving information on the specific tartan used for the binding. With 192 pages, acid-free threadsewn, 80 gsm cream shade pages, with round-cornered cover and bookblock corners, and a matching elastic closure. The tartan cloth is supplied by and produced with the authority of Kinloch Anderson who are tailors and kiltmakers in Edinburgh.

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Book SynopsisBound in Stewart Modern Camel tartan cloth made in British mills, this large hardback notebook is 21 x 13cm, with 192 pages - each spread has left blank, right ruled. Has stained edges, ribbon marker, bookmark and inner note holder. Eight perforated end leaves and expandable inner note holder. Each includes a removable booklet and bookmark giving information on the specific tartan used for the binding. With 192 pages, acid-free threadsewn, 80 gsm cream shade pages, with round-cornered cover and bookblock corners, and a matching elastic closure. The tartan cloth is supplied by and produced with the authority of Kinloch Anderson who are tailors and kiltmakers in Edinburgh.

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Book SynopsisThis Maclean of Duart genuine tartan cloth large notebook is made with genuine British tartan cloth. It measures 21cm x 13cm, and has 192 pages of 80gsm cream paper, with left page plain, right page ruled. Cloth supplied by tailors and kilt makers Kinloch Anderson. With a ribbon marker, inner note pocket, elastic enclosure, history of tartan leaflet, and colourful bookmark with a brief history of the Maclean of Duart tartan. Presented in a clear acetate bag. The Maclean of Duart tartan is red with black, and touches of yellow, white and blue. The Macleans claim descent from Gillean of the Battleaxe, a kinsman of Fergus Mor, the sixth-century-ruler of the ancient kingdom of Dalriada. Lands given to the clan chief included the isle of Mull, off the west coast of Scotland. During the 16th century the Campbells emerged as the most powerful clan in the West Highlands. Several marriages took place between the Macleans and the Campbells. Septs of the Maclean clan include Beaton, Black, Dowart, Dowie, Duart, Garvie, Gillan, Lane, Lean, Leith, MacBeth, MacCormick, MacFadyen, Macgeachan, MacVey, Patten and Rankin. Scientists, thinkers and writers in the Scottish Enlightenment used 'commonplace notebooks' to record thoughts and ideas. Many British writers such as Virginia Woolf and Arthur Conan Doyle continued to use them. Tartan belongs to Scottish heritage and culture, and thrives today both at home and overseas. There are now over 7,000 tartans officially recorded in the Scottish Register of Tartans located within the National Archive of Scotland. Waverley Books (Waverley Scotland) are delighted to innovate on the commonplace notebook idea with the Waverley tartan notebooks bound in genuine tartan cloth supplied by kilt makers and tailors Kinloch Anderson, Edinburgh.

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Book SynopsisThis book features the collector/author's well-informed views about a careful selection of mainly 19th century knotted pile carpets and flatwoven covers in various techniques from his own extensive collection, which has been built up over a period of more than five decades. Many of the rugs, which are all of the highest graphic and artistic quality, have been acquired without recourse to the open market and are therefore previously unseen and unpublished. Raoul (Mike) Tschebull's long experience in the genre allows insights that go beyond the conventional wisdom of the traditional antique oriental carpet bazaar. His collecting career began under the aegis of one of the great US collectors of a previous generation, Joseph V. McMullan. This beautifully illustrated book will include a general introduction to the region, which straddles the present-day border between north-western Iran and the Republic of Azerbaijan, setting the context for the focused presentation of some 70 examples, each with the author's comments about design, structure, technique and attribution, providing a matrix within which dating can be considered. In-country field experience colours some of his views, and extracts from his field notes and accompanying images will be included the book.

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Book Synopsis"Extensive text, beautifully-written and well-researched, this book leads us through many historical and geographical adventures and towards a plethora of full-colour plates...These pages ground us by sharing a complex culture expressed through an object of practical simplicity." —Ptolemy Mann, Selvedge The Michael and Amy Rothberg Collection of knotted-pile tribal and nomadic bags and other rare small format pile weavings, among them many pieces made for women's dowries and other ceremonial functions, is recognised as the best of its kind anywhere in the world. The collection has been carefully and thoughtfully assembled over the past four decades. Michael Rothberg's collections are above all distinguished by the collector's acutely sensitive and perceptive eye for the best museum-quality material available on the international market. Specialists in the field and other collectors and tribal weaving enthusiasts have awaited the publication of this part of the Rothberg Collection for many years, ever since a selection of the material was shown at Sotheby's in Los Angeles in a feature exhibition during the American Conference on Oriental Rugs in January 1996. The scope of the collection includes antique pile bags, from the Transcaucasus region, as well as from the Shahsavan, Kurdish, Varamin region, Qashqa'i, Khamseh, Luri, Bakhtiari, Afshar and Baluch tribes of Iran.Trade Review"Extensive text, beautifully-written and well-researched, this book leads us through many historical and geographical adventures and towards a plethora of full-colour plates...These pages ground us by sharing a complex culture expressed through an object of practical simplicity." - Ptolemy Mann, SelvedgeTable of ContentsFOREWORD 7 PREFACE 8 ACKNOWLEDGEMENTS 11 INTRODUCTION 13 I. CONTEXT 17 EARLY RUG WEAVING 19 NOMADIC PASTORALISM 20 SHEEP, GOATS, AND OTHER ANIMALS 23 THE ROLE OF NOMADIC WOMEN 25 TRANSPORT BAGS 26 PERSIAN SADDLE BLANKETS 28 TRIBAL DESIGN ORIGINS 29 ASPECTS OF DESIGN 31 THE ROSETTE 34 SYMBOLISM 40 THE PLATES – OVERVIEW 41 2. TRANSCAUCASIA & NORTH PERSIA 45 2.1 TRANSCAUCASIA 46 HISTORY AND GEOGRAPHY 47 DESIGN TRADITION 48 TECHNICAL PROFILE 50 PLATES 1–26 52 2.2 THE SHAHSEVAN CONFEDERATION 86 HISTORY 87 SHAHSEVAN WOMEN 91 DESIGN TRADITION 91 TECHNICAL PROFILE 92 ARRANGEMENT OF PLATES 27–44 92 PLATES 27–44 94 2.3 PERSIAN AZERBAIJAN 120 HISTORY 121 THE TRIBES OF AZERBAIJAN 123 TECHNICAL PROFILE & DESIGN TRADITION 124 PLATES 45–71 126 2.4 THE KURDS 170 HISTORY 171 RELIGION & WOMEN 172 THE JAF KURDS 172 TECHNICAL PROFILE & DESIGN TRADITION 173 PLATES 72–94 176 2.5 varamin 210 THE TRIBES 211 ATTRIBUTIONS 212 WEAVING FORMAT & DESIGN TRADITION 212 TECHNICAL PROFILE 214 PLATES 95–110 216 3. SOUTH & EAST PERSIA 239 3.1 THE AFSHAR TRIBES OF KERMAN PROVINCE 240 HISTORY 241 DESIGN TRADITION 242 TECHNICAL PROFILE 244 PLATES 111–137 248 3.2 THE KHAMSEH CONFEDERATION 288 THE TRIBES 289 TECHNICAL PROFILE & DESIGN TRADITION 292 PLATES 138–154 294 3.3 THE QASHQA’I 320 HISTORY 321 ECONOMY 321 RELIGION 322 Qashqa’i WOMEN 322 DESIGN TRADITION 324 TECHNICAL PROFILE 325 PLATES 155–177 326 3.4 THE LURI 362 DESIGN TRADITION 363 TECHNICAL PROFILE 366 PLATES 178–194 368 3.5 THE ‘BALUCH’ 392 THE TRIBES 393 DESIGN TRADITION 395 TECHNICAL PROFILE 396 PLATES 195–205 398 TECHNICAL DETAILS & PRIOR PUBLICATION 414 NOTES 425 BIBLIOGRAPHY 428

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Book SynopsisIn New York, Jason Nazmiyal has a rug collection like no other. For the past three decades, interior designers and collectors have flocked to his Manhattan gallery to source art for the floor, be it a treasured antique classical carpet, an elegant Art Deco rug, or a Scandinavian minimalist piece. This book delves into the history of the handmade carpet across the world, before looking at the many ways rugs can be used to bring together interiors in a variety of styles. From a Mid-Century Modern residence to a contemporary urban sanctuary and a classic Upper East Side apartment, there is a rug for every space. With stunning interior photography and full of practical advice for the professional decorator as well as the amateur enthusiast, this publication is a useful and beautiful addition to the library of anyone with an interest in interior decoration.

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Book SynopsisNational Jewish Book Awards 2019 Finalist for Visual Arts. Richly illustrated and meticulously documented, this is the first comprehensive survey of synagogue textiles to be available in English. Bracha Yaniv, a leading expert in the field of Jewish ceremonial textiles, records their evolution from ancient times to the present. The volume contains a systematic consideration of the mantle, the wrapper, the Torah scroll binder, and the Torah ark curtain and valance, and considers the cultural factors that inspired the evolution of these different items and their motifs. Fabrics, techniques, and modes of production are described in detail; the inscriptions marking the circumstances of donation are similarly subjected to close analysis. Fully annotated plates demonstrate the richness of the styles and traditions in use in different parts of the Jewish diaspora, drawing attention to regional customs. Throughout, emphasis is placed on presenting and explaining all relevant aspects of the Jewish cultural heritage. The concluding section contains transcriptions, translations, and annotations of some 180 inscriptions recording the circumstances in which items were donated, providing a valuable survey of customs of dedication. Together with the comprehensive bibliography, inventory lists, and other relevant documentation, this volume will be an invaluable reference work for the scholarly community, museum curators, and others interested in the Jewish cultural heritage.Trade Review‘Bracha Yaniv has assembled a thorough documentation of ceremonial synagogue textile from every possible perspective in this beautifully illustrated book… It showcases the depth of knowledge of a research of an author who has been studying and writing about these subjects for many years. The amply illustrated text reflects her long-time, exhaustive work with Jewish textiles. It will surely be of use to students of the subject as a reference as well as lovers of historic synagogue textiles.’ Annette B. Fromm, Women in Judaism‘Bracha Yaniv’s monograph on synagogal textiles, originally published in Hebrew in 2009, and translated here by Yohai Goell, is the first English-language publication to investigate this somewhat under-explored aspect of material culture. The book’s importance is self-evident, and it should become essential reading for students and scholars of Judaica, and religious textiles in general.’ Nikolaos Vryzidis, Textile HistoryTable of ContentsNote on Transliteration, Names, Dates, and Other Conventions Used in the Text Part I Ceremonial Synagogue Textiles 1. The Evolution of Synagogue Textiles in Ancient and Medieval TimesA. Wrapping and Storing the Torah ScrollThe Mapah (Wrapper)The Tik (Case)The Tevah (Chest)The Holy Ark (Heikhal, or Aron kodesh)B. The Evolution of the WrappingsThe WrapperThe BinderThe MantleC. The Parokhet (Curtain for the Ark)D. The Cover for the Reading Desk 2. Fabrics and TechniquesA. Luxury FabricsThe History of Silk Production and Trade in EuropeJews in International CommerceB. Embroidered ObjectsEmbroidery by Women DonorsProfessional EmbroideryC. PassementerieD. Professional Training, Organization, and ProductionTrainingOrganizationProductionE. Jewish Law and Tradition in Production 3. The Torah Wrapper and the Torah BinderA. The Wrapper in Italy and the Sephardi DiasporaB. The Binder: Terminology, Customs, and DesignLinen and Silk Binders Embroidered by Female DonorsBinders Made from Random Materials 4. The Torah MantleA. Terminology, Design, and IconographyB. Mantles in Italy and the Portuguese Congregations of Western EuropeItalyThe Portuguese Diaspora in the Netherlands and EnglandC. Mantles in the Sephardi DiasporaMoroccoAlgeriaAnatolia and the BalkansD. Ashkenazi Mantles across Europe 5. The Torah Ark Curtain and ValanceA. Parokhot Made from Luxurious Embroidered or Patterned FabricsB. Parokhot Displaying Jewish MotifsThe Gateway to Heaven MotifMotifs Inspired by the Ark of the CovenantThe Motif of the Temple and its Vessels on Parokhot and KaporotThe Giving of the Torah Motif on ParokhotOther Motifs and Later Developments in the Tradition Epilogue Part II Annotated Plates of Representative Textile Objects in the SynagogueA. ItalyB. The Portuguese Congregations in Western EuropeC. MoroccoD. AlgeriaE. Sephardi Synagogues in the Ottoman Empire and the BalkansF. Ashkenazi CommunitiesG. Central EuropeH. Eastern Europe Part III Dedication of Ceremonial Objects A. Inscriptions as a Reflection of Customs of DedicationThe Content of the DedicationThe Circumstances of the DedicationDedication of Ceremonial ObjectsB. Annotated Corpus of Dedicatory InscriptionsTorah Wrappers (Mapot)Torah Binders (Mapot; Italian colloquial term, fascia)Torah MantlesItaly and the NetherlandsNorth AfricaAnatolia and the BalkansCentral EuropeEastern EuropeTorah Ark Curtains (Parokhot) and Valances (Kaporot)ItalyAnatolia and the BalkansCentral Europe and the NetherlandsEastern Europe AppendicesA. Inventory ListsB. Documents Relating to TextilesC. Miscellaneous Inventories Glossary Bibliography List of Figures List of Museums, Libraries, and Collections Index of Places Index of People Index of Subjects

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Book SynopsisEmbroidered in 1885-1886, Reading's version of the famous Bayeux Tapestry is a faithful, full-length replica of the original except in a few beguiling details. True to the principles of the Arts and Crafts movement, its Victorian makers in the Leek Embroidery Society, matched their materials, colours and techniques to those of the eleventh century nuns thought to have created the original. The result is an extraordinarily vibrant reproduction, important in its own right and on permanent display in a purpose-built gallery in Reading Museum. Scene-by-scene, read through the story of the succession to the English throne by first Harold and then William the Conqueror. Find out why the Duke of Normandy had a claim to be King of England and what the original purpose of the tapestry may have been. Discover how Victorian society's values affected the replica and how it came to reside in Reading, so fittingly close to the ruins of the Abbey built by William's youngest son, Henry I.

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Book Synopsis‘There is a certain feeling – standing between rows of richly dyed blue cloth – that you are within an enclave of protection, that within this ocean you can feel calm; a separation from the outside world.’ One summer, a mother and daughter are reunited in the small village of Betws Gwerful Goch in North Wales following the death of a father and grandfather. Ellie returned from studying at university, while Jeanette had been studying the art of indigo dyeing in Japan. In this lyrical memoir, Ellie Evelyn Orrell transports readers to their hillside garden, reflecting on a summer spent learning to work with indigo, and witnessing the power of creativity in moments of mourning and recovery. In it, she weaves together stories of resettling in a once-familiar landscape; the healing powers of art; the historical, mythological and present day properties of indigo; and the presence of this indelible colour within the Welsh landscape. An Indigo Summer is an absorbing meditation on art, rural life and roots, grief, creativity and the artistic process.

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Book SynopsisNeedle Work: Stitched Illustrations is a lavishly illustrated volume that explores the growing trend in textile-based art and illustration. The works of each featured artist are showcased with full-page illustrations, alongside a brief biography that examines their work, inspiration, and artistic vision.

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Book SynopsisIn-Between Textiles is a decentred study of how textiles shaped, disrupted, and transformed subjectivities in the age of the first globalisation. The volume presents a radically cross-disciplinary approach that brings together world-leading anthropologists, archaeologists, art historians, conservators, curators, historians, scientists, and weavers to reflect on the power of textiles to reshape increasingly contested identities on a global scale between 1400 and 1800. Contributors posit the concept of “in-between textiles,” building upon Homi Bhabha’s notion of in-betweenness as the actual material ground of the negotiation of cultural practices and meanings; a site identified as the battleground over strategies of selfhood and the production of identity signs troubled by colonialism and consumerism across the world. In-Between Textiles establishes cutting-edge conversations between textile studies, critical cultural theory, and material culture studies to examine how textiles created and challenged experiences of subjectivity, relatedness, and dis/location that transformed social fabrics around the globe.Trade Review“At a time when the fabric of democracy is rent by xenophobic zealotry, this outstanding volume provides us with the warp and woof of historical exchange and cultural co-existence. These enthralling essays engage with material practices of weaving across genres and geographies, displaying the travelling world of textiles as they record the shifting global communities of a ‘woven imaginary.’ Reading In-Between Textiles, brought to life the migratory memory of my mother’s Parsi garas: a traditional sari, commissioned in Bombay from Chinese sailors who offered her a range of silks and motifs, and brought her the sari, months later, when they docked again in Bombay harbor. Set out on this wondrous voyage of the woven world.” Homi K. Bhabha, Harvard University. “Ranging across five centuries, six continents, and an impressive range of fields, from chemistry-based technologies to ethnographic fieldwork, this broad collection of textile studies recovers the place of subalterns in history, and the varying meanings that early modern textiles took on depending on the communities that used them. Employing the concept of ‘in-betweenness,’ this volume includes the agency of the excluded and allows historians to move away from glorifying metropolitan ‘culture’ without a clear consciousness that it is a culture of imperialism.” Suraiya Faroqhi, Ibn Haldun University. “What happens when a material methodology is used to investigate subjectivities? This remarkable collection of sixteen essays considers the ways in which textiles and clothing serve to unlock the space ‘in-between,’ one of negotiation, translation, and sometimes subversion of identities. In this book early modern cloth, but also dress, embroideries, and carpets are interrogated to create a new conceptualization of the global. Here material exchange, cultural connections, and the encounters of ideas are woven together in a rich tapestry traversing the entire world.” Giorgio Riello, European University Institute Florence. “This pioneering volume offers sixteen case studies that consistently cross-fertilize Homi Bhabha’s postcolonial theory with the new history of material practices to show how dress and textiles produced difference and mimicry in cultural struggles that remade subjectivities in the early modern world. A remarkable feat and excellent read. Beautifully illustrated, incisive, and original, this book presents cutting-edge scholarship.” Ulinka Rublack, University of Cambridge.Table of ContentsContents List of Contributors List of Illustrations Acknowledgements 1 Subjectivities In-Between Early Modern Global Textiles (Beatriz Marín-Aguilera (University of Liverpool), Stefan Hanß (University of Manchester)) Part I: Unhomeliness, Mimicry, and Mockery 2 Maori Textiles and Culture: Adaptation, Transformation, and Manifestation in Early Aotearoa (Catherine Smith (University of Otago)) 3 Contesting Images: The Archaeology of Early Modern Textiles, Clothing and Closures from Puritan New England (Diana DiPaolo Loren (Peabody Museum, Harvard University)) 4 “A Few Shreds of Rough Linen” and “a Certain Degree of Elegance”: Enslaved Textile-Makings in Colonial Brazil and the Caribbean (Robert S. DuPlessis (Swarthmore College)) Part II: The Material Enunciation of Difference 5 Textiles, Fashion, and Questions of Whiteness: Racial Politics and Material Culture in the British World, c.1660–1820 (Beverly Lemire (University of Alberta)) 6 Abolitionism and Kente Cloth: Early Modern West African Textiles in Thomas Clarkson’s Chest (Malika Kraamer (MARKK Hamburg)) 7 Dressing in the Deccan: Clothing and Identity at the Courts of Central India, 1550–1700 (Marika Sardar (Independent Scholar) 8 “Rags of Popery”: Dressing and Addressing the Material Culture of Disrupted Faith in Early Modern England (Mary Brooks (Durham University)) Part III: Identity Effects In-Between the Local and the Global 9 Globalizing Iberian Moorishness: Japanese Visitors, Chinese Textiles, and Imperial Cultural Identity (Javier Irigoyen-García (University of Illinois at Urbana-Champaign)) 10 Tornasol Techniques as Cultural Memory: Andean Colonial Practices of Weaving Shimmering Cloth, and Their Regional Forebears (Denise Y. Arnold (University College London and Instituto de Lengua y Cultura Aymara, La Paz)) 11 In Between the Global and the Local: Silk in Seventeenth- and Early Eighteenth-Century Russia (Victoria Ivleva (Durham University)) 12 African Cotton: Cultural and Economic Resistance in Mozambique in the Mid-Eighteenth Century (Luís Frederico Dias Antunes (University of Lisbon)) Part IV: Material Translation and Cultural Appropriation 13 Mediating Mediterranean Cultures: Silk Embroidery and the Design of the Self in Early Modern Algiers (Leyla Belkaïd-Neri (Institut Français de la Mode)) 14 The Material Translation of Persian and Indian Carpets and Textiles in Early Modern Japan (Yumiko Kamada (Keio University)) 15 Globalisation and the Manufacture of Tablet-Woven Sanctuary Curtains in Ethiopia in the Eighteenth Century (Michael Gervers (University of Toronto) and Claire Gérentet de Saluneaux (Lyon)) 16 Cochineal and the Changing Patterns of Consumption of Red Dyes in Early Modern European Textile Industries (Ana Serrano (University of Amsterdam)) Archives, Libraries, and Museums (Abbreviations) Select Bibliography Index

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Book SynopsisAround 1515, Raphael (1483-1520) designed a set of tapestries for Leo X, the first Medici pope. Each was sumptuously woven in gold, silver, and silk, and depicted scenes from classical mythology with inventive grotesques. Now lost, these spectacular, grand-scale textiles are reconstructed in Raphael's Tapestries and set among a series of unprecedented decorative projects that Pope Leo commissioned from the artist. Likely produced by the Brussels weaver Pieter van Aelst, the tapestries pioneered a new all'antica style analogous with contemporary painted and sculpted interior programs. Tapestries played a central role at Leo's court, as spectacle and as propaganda, and the Grotesques of Leo X would inform tapestry design for the next three centuries. Their beauty and complexity rivaled those of contemporary painting, and their luxurious materials made them highly prized. With this new study, the Grotesques take their rightful place as Renaissance masterworks and as documents of the fervent humanist culture of early 16th-century Rome.Trade Review“Writing about lost works is difficult, and Karafel handles the task with eloquence, offering a logical presentation, clearly written text, and outstanding illustrations . . . Scholarly yet accessible, this book contributes nicely to discussion of understudied aspects of Renaissance art.”–Choice * Choice *

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Book SynopsisMade by Americans of European, African, Native and Hispanic heritage, these quilts and bedcovers range from family heirlooms to acts of political protest, each with its own story to tellA New York Magazine 2021 holiday gift guide pickA mother stitches a few lines of prayer into a bedcover for her son serving in the Union army during the Civil War. A formerly enslaved African American woman creates a quilt populated by Biblical figures alongside celestial events. A quilted Lady Liberty, George Washington and Abraham Lincoln mark the resignation of Richard Nixon. These are just a few of the diverse and sometimes hidden stories of the American experience told by quilts and bedcovers from the collection of the Museum of Fine Arts, Boston.Spanning more than 400 years, the 58 works of textile art in this book express the personal narratives of their makers and owners and connect to broader stories of global trade, immigration, industry, marginalization, and territorial and cultural expansion.Artists include: Faith Ringgold, Sanford Biggers, Irene Williams, Bisa Butler, Harry Tyler, Harriet Powers, Marie D. Webster, Marguerite Zorach, Dorothy Phillips Haagensen, Rachel Cary George, Florence Peto, Creola Pettway, Susan Hoffman, Molly Upton, Nancy Crasco, Agusta Agustsson, Edward Larson, Michael James, Virginia Jacobs and Carla Hemlock.Trade ReviewOnce a luxury item, since the 17th century quilts have evolved into a democratic art form that celebrates collaboration. Fabric of a Nation, a new book, brings together quilts spanning more than 300 years from the Museum of Fine Arts, Boston. It’s a snapshot of America – Native American history, women’s suffrage, the construction of the railway, the civil rights movement. “Quilts are incredibly accessible objects,” says Jennifer M Swope, who curated the book and exhibition running in Boston. “They have been made and treasured by so many – rich and poor; women and men; urban and rural; white makers and artists of colour. In this way, quilts speak to many threads of the story of America.” -- Kathryn Bromwich * Guardian *Filled with photos of vibrant, historical and modern hand-stitched textile art. -- Rebecca Malinsky * Wall Street Journal *Named an Honor Book. * The 2022 Historic New England Book Prize *Table of ContentsDirector’s Foreword • Preface by Laurel Thatcher Ulrich • Introduction • Ships & Hands • Canals & Cotton Gins • Railroads & Power Looms • Street Cars & Sewing Machines • Automobiles & Advertising • Rockets & Gallery Walls • Further Reading • List of illustrations • Acknowledgements • Index

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Book SynopsisAccounts providing details of the quantities and cost of clothing and other items manufactured for the first Tudor kings.By the late fifteenth century the Great Wardrobe, the section of the royal household that supplied the king and his household with clothing and furnishings, was well established in the London parish of St Andrew by the Wardrobe (many of the suppliers of fabric to the Great Wardrobe and many of the individuals who worked for it lived and worked in the city). This volume provides an edition and calendar of the accounts for 1498-99 and 1510-11, as wellas the section of the 1544 account relating to Henry VIII's campaign in France. In addition there are two appendices listing the recipients of livery in the extant Great Wardrobe accounts and warrants and an extensive glossary. The Introduction to the edited texts discusses the patterns of supply to the Great Wardrobe and assesses the significance of a small but influential group of Italian merchants who traded alongside the Londoners. Professor Maria Hayward teaches in the Department of History, University of Southampton.Trade ReviewAn example of good, selfless scholarship and the warrants offer such a wealth of information that they will surely inspire further research. * COSTUME *Offers the reader an invaluable source of reference for many years to come by providing a valuable insight into the purchase, supply and costs of materials for a section of the royal household. * THE RICARDIAN *Table of ContentsIntroduction Particulars of the account of Robert Lytton, knight, keeper of the Great Wardrobe of King Henry VII, from the feast of St Michael 14 Hen. VII [1498] to the same feast 15 Hen. VII [1499] Particulars of the account of Sir Andrew Windsor, knight, keeper of the Great Wardrobe of King Henry VIII, from the feast of St Michael 2 Hen. VIII [1510] to the same feast 3 Hen. VIII [1511] Particulars of the account of Sir Ralph Sadler, knight, keeper of the Great Wardrobe of King Henry VIII, from the feast of St Michael 35 Hen. VIII [1543] to the same feast 36 Hen. VIII [1544]. Appendix 1: Documents relating to the Great Wardrobe from the reigns of Henry VII and Henry VIII Appendix 2: The recipients named in the particular accounts of the Great Wardrobe from the reigns of Henry VII and Henry VIII Appendix 3: The recipients named in the warrants subsidiary to the particular accounts of the Great Wardrobe from the reigns of Henry VII and Henry VIII Glossary Bibliography

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book Synopsis

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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