Home-Improvement:Interior-Design-and-Decorating Articles

Home-Improvement:Furniture Articles

Home-Improvement Articles

Saturday, October 10, 2009

Create Your Very Own Fireplace With the Available Fireplace Design Ideas

Create Your Very Own Fireplace With the Available Fireplace Design Ideas

When you think about the design of your fireplace, you can either think about the structure or the decoration. However, the design of your fireplace actually is both put together. The fireplace in anyone's home should be the center piece for the decoration that they have created for the rest of the room.

It should not only be a functional object in the room but an accent as well. Visiting the many websites on the Internet is a great place to start when you want to get Fireplace Design Ideas for your own fireplace.

There are many different companies that not only sell different types of fireplaces, but will also help you to design your very own. This type of customization may cost extra money, but you will get exactly what you want.

When thinking about the Fireplace Design Ideas that you have, you need to consider the type of fireplace that you have. Whether it be fueled by wood or gas, will cause a change in the frame of the fireplace as well as the decor. Once you know exactly what type of fireplace you have or want, you can start your design.

Vintage Style Home Decoration

Vintage Style Home Decoration

The most important thing about vintage style home decoration is to find a great source. You'll need to find your local antique store, thrift shop, vintage store, flea market or car boot sale, try them all out and start hunting for unique vintage furnishings.

Remember to be patient when you are looking for things, and choose only quality items that will suit the look you are going for. Take a list with you of items you might want in your home, like a classic vintage chair or an antique mirror, then search hard for these items.

Try to stick to the list, and really think through every item before purchasing, it's easy to get carried away when you are shopping for vintage.

When you are styling your home, you can either opt for a shabby chic look which is a mix of modern and vintage, or you can choose all vintage pieces, but edit them by hand to bring them up to date. Or you can simply choose to have a few vintage pieces to make a very eclectic looking home.

There are several key items that anyone wishing to start vintage styling their home should keep their eye out for:

Make Your Room Enticing With Stunning Shutters and Draperies

Make Your Room Enticing With Stunning Shutters and Draperies

Everybody wants good stuff! Beauty is linked with man's soul and man has strived hard to achieve a pleasure to the senses and success in life. From life to death, everything is linked with attractiveness. So, what about your home?

Do you want your place to look beautiful? Precisely, everybody wants. Therefore, you can select the good decorative articles for your home. The items for decoration are available everywhere and you just have to make the decision.

If you want your home to look beautiful, then you have to make every room look enticing. Now, here is your chance to make the most out of it. Make your room stunning with shutters and draperies.

Wooden shutters have been a part of every man's life. No matter what, we have installed them since ages. In ancient times, people used wood and other materials in order to embellish their rooms and homes.

Similarly, even today, people strive hard to make things look flawless, especially rooms and the houses. Shutters play a very important role in beautification of your house. Wooden shutters were mostly used by the people of past era. However, even today majority of people prefer wooden shutters.

Exterior shutters are very common today as they protect and secure the windows from outside. When you install these shutters, you will get the feeling of relaxation and comfort. You will be surprised to know that these also come in exquisite and enticing designs.

There are various types of shutters and the best alternative to wooden is use of vinyl shutters. Vinyl shutters are basically made up of plastic and they give different feel yet serve same purpose.

In other words, they are inexpensive and can completely give you the feeling of wooden shutters. You do not have to spend a lot of money after wooden shutters when you are getting something at a very low price.

Traditional wooden shutters had different value and vinyl wood shutters have different value. Whatever the reason is, these both materials play a crucial role in beautification of your room.

If you want to add more beauty to your room, then you must find more alternatives as there are numerous options available for you to add charm to your room. Besides this, you can also go for draperies.

Draperies have history of beautifying the courts of kings and queens of earlier times. It is said that draperies also played a key role in religious sentiments. Pagans and Wiccans always had draperies for ritualistic activities.

In modern times too, draperies have enticed every soul and you will find these in almost every home. Draperies are decorated around the windows, could be exterior or interior, depending on the person's choice.

Before curtains came into existence, draperies ruled the lives of people in many ways. Countries in Europe still practice this tradition of draperies. You can find a number of exquisite designs and exotic patterns. There is a wide range of draperies to choose from and you can select any of these stunning designs depending on your choice.

Connor R. Sullivan recently purchased blinds from a Houston shutters company for his office building in the south. His interior designer ordered new window treatments from a Houston draperies company for his study.

Monday, September 28, 2009

Top Tips For Decorating Your Lounge Room

Top Tips For Decorating Your Lounge Room

Want to create a sanctuary for you and your loved ones to enjoy when in your lounge room? Want to make a great impression on your guests? There are some tips that you need to know to help you successfully decorate your lounge and living room to create the effect that you want.

The lounge is a place to relax, to entertain, to talk and to watch your favourite shows so make the way you want it. Here are the top tips you should know:

1. Declutter the space to make it inviting and relaxing

Whether you are awar of it or not, the room that you walk into has direct effects on the brain waves you make and how stressed or relaxed those brain waves are. If you have a room full of clutter or piles of papers, even 1 pile somewhere, it can have a negative impact on you and your guests whether you are conscious of it or not. So clear up the space so that what you have in your room can shine.

2. Ensure that the lounge is inviting

This means that it should be easy to get to the lounge and that it's ready for you and guests to sit on. A lounge suite that has too many pillows or has too many throws on it can be distracting, but just the right amount can be very nice. Ensure that the coffee tables and central table is not cluttered either. So look at your setup as if you're a guest and see how the space looks to you.

3. Add a piece of art to the room

Adding a piece of art, be it a painting or a tapestry wall hanging can transform a room. When used as a backdrop to the room you feel as if you've stepped into a different place and time. This is why a large art work of a verdure scene of nature, or a romantic scene by Boucher, or other beautiful art piece has remained so popular as a way to enchant and entice its viewers. You are transported to a certain place and emotion when using wall art.

4. Add a good amount of color

Consider the range of color in your room. You want just the right amount, not too little or too much. Color can be added with flowers, wall art , cushions, shawls, or any decorative object. Too much black or white does not invite joy, so choose some colors that you love and that your family loves and see if they enliven the area.

5. Add a personal item that interest you

If you have a special interest or hobby then an item from this hobby is a great way to make a space unique and interesting. For example, if you love to photograph birds, then include a photo or illustration of birds in the room somewhere. They are also a great conversation starter as well as provide plenty of visual interest for you and your family

So as you can see, you can now decorate your lounge to achieve a look and feel that will not only keep you impressed and entertained as well as relaxed and comfortable, it will also provide plenty of interest for your friends and guests as well.

Looking for elegant wall decor? You can use European wall hangings to enhance your home. Tom Matherson writes for Worldwide Tapestries which features a range of quality wall tapestries including large wall tapestry art and wall hangings to transform any room in your home.

Current Tapestry Trends

Current Tapestry Trends

Tapestries are a wonderful creative expression, an art form, which has survived generations. Since about seven hundred years, tapestries have combined art with the practical necessity of home decoration. The year 2009 has seen the return of tapestries in all their glory as fabulous, fashionable pieces of home decor.

Although tapestries have proven to be the best and most economical way to give your house a makeover, taking the plunge may seem like a daunting decision. Questions arise: Are tapestries suitable for my home? Would they look gorgeous or gaudy? How do I select the right piece of tapestry for a particular room?

Expert interior decorators are of the opinion that when carefully chosen, tapestries are an attractive eye-catcher in almost every home setting. Besides, both decorators and most tapestry vendors provide expert advice on tasteful interior decoration using tapestries.

The current interior decor trend lays emphasis on "casual elegance" - a blend of class, comfort and functionality. Living and dining rooms, along with bedrooms, are living spaces where tapestries play a pivotal role.

Undoubtedly, tapestries are most commonly used as upholstery material - decorative covers for cushions and furniture. The range and creativity of designs are breathtaking - floral, stripes, geometric patterns, contrast colors, tribal prints, abstract art... the list goes on.

Current trends favor mixing and matching two or more categories of design to create a unique, customized one to reflect the personality of the residents of the house. Another trend that is regaining momentum is that of floral tapestries. Now-a-days interior designers are using floral themes, which gives the house a refreshing and natural look.

Tapestries have adorned the walls of churches, palaces as well as humbler dwellings for centuries. Traditionally, they were used to trap heat or to narrate religious events or historic battles pictorially. Even though their functional role has evolved to aesthetics and noise reduction, wall tapestries maintain their popularity.

Skilled weavers and modern machines offer an opportunity to transform personal photographs into wall hangings tapestries. Photographs are essentially a repository of pleasant memories, and those of famous personalities, family members, best friends or a collage of multiple favorites woven into a tapestry can acquire heirloom status over time.

Increasingly seen on fashion ramps across the world are tapestry handbags, an interesting combination of stylish and sophisticated accessories. Tapestry pieces sewn onto these bags portray reproductions of classic art, tribal motifs and native designs of various countries.

Modern-day tapestries are an effective synthesis of timeless art and innovative technology that helps enhance the appearance and durability of the art.

With an exciting range of vibrant colors and pastel hues, cotton and woolen fiber and designs by the best in the industry, the customer is certainly spoilt for choice. Displaying an exquisite piece of tapestry is the most fashionable way of enhancing your interior decor and feeling house-proud!

Heirloom European Tapestries is one of the leading providers of tapestries and fine hand woven wall hangings tapestries in USA. We offer tapestries of all kinds, right from floral tapestries to French tapestries.

Tuesday, September 22, 2009

Top Tips For Selecting a Tapestry For Your Home

Top Tips For Selecting a Tapestry For Your Home

If you're wanting to select a tapestry for your home, then here are the top 7 tips that will help you out. Decorating your home is a personal decision, and if you have a partner or others living in your home, then remember to get their opinion as well. Here's how to ensure that your choice is a superb one:

1. Consider the theme of your home decor

If your home has a certain feel and look to it, then you may want to stick with this theme. For example if you have a French styled home, a cottage home or a modern home, then select a work of art that will complement and go well with this style. With modern homes, the style can be quite varied and still fit in.

2. Consider the size of the wall

If you have a large wall, then a large work can make a more profound impact than a small wall hanging. In fact, a large tapestry can create a backdrop impression to a room or hallway to give the illusion that you've just walked into another place and time. Quite impressive.

3. Consider the colors surrounding

If you have a light colored wall, then most works can suit this space. But if your wall is strongly colored, then just ensure that the work will go well with that color. Most tapestries are forgiving this way as even a contrast in color can be very striking and even enhance the effect of the art piece.

4. Choose a tapestry that you like

Above all, despite the above considerations, you should choose a scene of design that you like. Some people prefer romantic scenes of Francois Boucher, while others prefer a verdure where foliage and nature abounds. Some prefer impressionistic art. Whichever way, select from a good range and find something that you like.

5. Consider a work that has a specific impact

What this means is that the tapestry can have a specific impact depending on the scene that it's portraying. For example, you can create an illusion of an enlarged living space by selecting a scene of the outdoors.

You can add romance with a work depicting floral illustrations or a pastoral scene by Boucher. You can also create serenity with a scene of gondolas in Venetian canals.

6. Choose a tapestry that is backed with a tunnel

Most tapestries nowadays have a tunnel at the back. This is so that you can hang the tapestry easily by inserting a tapestry rod and using mounts on the wall. This makes the hanging of tapestries so much more convenient. Not many pieces come without a tunnel, but check anyway to make sure.

7. Frame the tapestry with a tapestry rod

Choosing a beautiful tapestry rod that features a scroll finial, Fleur de Lis finial or other elegant design can really finish a tapestry off very nicely. Consider the choice of rod whether it's finished in black, rustic gold or other color with the colors and theme of the work itself.

So as you can see, you can use these above tips to help you select a wall tapestry art that will suit your room or home. It's a personal process and one that will reap many rewards over the years as yo enjoy the space that you live in with this beautiful form of art.

Looking for wall tapestries? Tom Matherson is a writer for Worldwide Tapestries which offers a range of European wall tapestries and wall decor to transform any home. See this site for the finest and most romantic designs in tapestry wall art that you can use to enhance any room setting or home.

How to Create Romance in Your Home Decor

How to Create Romance in Your Home Decor

Ever wanted to create that extra sense of romance and luxury in your home? Then take a few tips from here and easily create that special feeling that only a well loved and well thought about home can give.

Whether you want a lovely sanctuary to live in or a place where your guests and friends can feel at home and serene and much appreciated, these tips will help you achieve that. So where to start? These 5 tips will get you started.

1. Have a piece of art on your wall

There is nothing as alluring to the imagination as well as the emotions as a piece of art on your wall. Whether it be a painting, wall hanging or other piece of art, a piece of beauty here will set the entire tone and mood of the room.

When you enter any room in your home, you are influenced subconsciously, whether you know it or not, by the clarity and beauty of that room. When you have a beautiful piece on your wall, your mind and emotions relax and go to another place and time. A gorgeous work here will transport you, transform your experience, and set a backdrop to the entire scene.

2. Have a piece with color to enliven the room

Whether this is from an art work on the wall, a throw or a piece of art you place on a table, a piece in crimson or pink will add romance. A crimson throw or cushions will add not only color, but mood to light up the day or night.

Colors in this range adds fire to sensuality and improves appetite, and encourages thoughts and feelings of romance. Flowers such as tulips, gerberas or peonies also add to the romantic fire in a home.

3. Add a photograph of picture depicting romance

You can choose a picture of yourself with a partner or a picture of a couple or any scene which means romance to you. When it is in the room, again, your mind subconsciously picks up on the theme of romantic love.

Even a small picture placed in an appropriate position will do. If you subscribe to Feng Shui you will know to put this image in the South West direction of your room or bedroom for added effect. Either way, select a picture you like and place it where you can see it!

4. Add flowers

Yes, flowers will add a feeling of warmth to any room or home. It doesn't have to be any particular type, but anything that you like such as tulips, roses, and even potted herbs such as lavender, rosemary and fragrant species such as jasmine will enliven the room and add a sense of serenity, relaxation which can help romance and love. If you don't have the real thing, a picture or wall hanging can have the same effect.

5. Have a place for 2 people to sit in comfort

This is such an obvious point but so many people miss out on this. If it's your sofa, then ensure that it's neat and clean and is ready for guests to sit on. On the coffee table, clear away clutter and have a clean empty space.

Make sure that he space is easy to get to and nothing is in the way. Look and feel your home as if you're a visitor with new eyes, and see where you need to declutter or need to add an element of beauty.

So as you can see, these 5 tips can help you achieve a sense of romantic mood in any room or home. By doing one or two you will get there, and if you follow all 5, then you're sure to be on a winner when it comes to transforming your home into something truly special and romantic.

Want to add romance to your home? Then see this collection of romantic French tapestries that will suit any home. Tom Matherson writes for Worldwide Tapestries where you will find a variety of large wall hangings and European wall tapestries from France, Belgium and Italy to suit any home decor.

Thursday, September 17, 2009

Cheap Decorating Ideas Turning the Spare Bedroom Into an Old Tuscan Villa on a Limited Budget

Cheap Decorating Ideas Turning the Spare Bedroom Into an Old Tuscan Villa on a Limited Budget

Interior decorating ideas begin by deciding on a theme this will establishes guidelines to which a basic design is allowed to develop as a style. Every journey has a destination, a point of arrival, to go somewhere without the correct directions will end up, with you lost, in the state of total confusion. Let's decide on the theme, the look of Tuscany remains a very popular style, and is a beautiful vacation setting, so, go pack your bags!

The trip to a Tuscan Villa transformation starts by clearing the room of all previous furnishings. Prep the walls first, now paint three of the four walls, and ceiling a rich cream, the wall the bed anchors on apply a Tuscan terracotta paint color. Next add glaze, and rich cream paint into a container, half and half of each,and stir.

This will create the vintage look of Tuscany. Using a roller apply glaze on the terracotta wall in small sections, use a rayon cloth wiping off, after you add the glaze similar to a bread kneading motion. You can achieve random runny affects by lightly spritzing with a spray bottle of water, and use a cloth to control the dripping.

Who doesn't have some of Mom's or Aunt Tillie's treasures lying around the house just collecting dust. Furniture items like comfortable reading chair, dressers, armories, desks, trunks, hat boxes, or old birdcages.

The condition can be old, battered, and distressed is even better. Here's several suggestions for headboards, old doors, aged shutters, wrought iron pieces , or how about a collection of odd size frames, with added tapestry fabric inserts.

Aged lace curtains as a bed skirt, new works as well, a good soak in cold coffee for a few minutes, and presto an instant antique. A Damask coverlet, with five to seven textured pillows, and lots of fringe.

On the floor, place three various sized tapestry rugs going in different directions, and a larger rug partially the under the bed for a grounding technique. Add warmth, with a collection of old photographs in vintage frames on, a round skirted table, and a tapestry wall hanging, or an area rug are perfect for the wall.

The final touch, a window treatment, without hardware! Purchase six window scarves at an outlet or import shop, tie a medium knot at one end, hang them with drawer pulls, small nails, or cup hooks. Attach three panels on the left, and three panels on the right of the window, let them crush on the floor, and now send out the invitations, you're ready for guest.

Transformation complete, Chow!

Interior decorating is a personal expression of your inner self. Everyone deserves to live or work in an environment that is comfortable and excites them. You can definitely do it yourself but you want to be sure you're not making any costly mistakes.

I invite you to discover the answers to the most important decorating questions asked by people planning a decorating project. Visit http://www.AffordableDecors.com now to pick up your free special report.

Donald Ramey, is a graduate of the American Academy of Art, with more than 25 years as a professional designer. He has been a highly sought-after designer for upscale department stores. He now works with private clients locally and across the country to help them define their style, choose colors, fabrics, paints, furniture, accessories, lighting and flooring that creates a wow factor for every day living. He also owns a design showroom in Naperville, Illinois.

Friday, September 4, 2009

The Quaker Tapestries - An Inspired Creation

The Quaker Tapestries - An Inspired Creation

For centuries faith and spirituality has inspired art and the development of tapestry. The Quaker tapestry is a twentieth century creation, and originally an idea by Anne Wynne-Wilson after studying the magnificence of the Bayeux Tapestry.

She became enthralled at the concept of telling stories through tapestry and aimed to create a project that told the story of the development of the Quaker religion worldwide. As the masterpiece grew the very essence of spirituality became woven into the work.

The Bayeux Connection

Anne Wynne-Wilson proposed a crewel based tapestry consisting of separate panels which could then be sent to different Friends in the Quaker faith to complete, and at the same time enable people to learn about the story of the Quaker religion.

Like the Bayeux Tapestry the technique saw three separate panels, each with a restricted colour scheme on hand woven wool with the material designed to stand the test of time. The tapestry contained four ancient stitches - Stem, Knot, Split and Chain with the thread laying method of Bayeux Point, and natural dyes.

The original intention had been to create a tapestry to tell the story of the development of the Quaker faith globally, however the faith of the stitchers became embedded in the work and in doing so captured the very essence of the elements that motivate Quaker faith.

The Children of Light

Light has always been significant in the teaching of Quakerism, particularly the concept of Inner Light. This is portrayed via the first tapestry inspiring Quakers to use themselves to reflect their inner light on others. A simple prism glowing colour and direction strengthens the belief that early Quakers called themselves "The Children of Light."

George Fox founded the Quaker movement in 1652 and his life and teaching is beautifully recorded throughout the panels. Accompanying pictures of events in his life are texts with simple Quaker teachings and beliefs.

Light weaves its way through the tapestry and acts as a simple thread which joins the thoughts, work and culture of Quakerism. Panels bearing simple teaching and thought accompany designs of key Quakers such as Fox, and tell their story through tapestry.

Through the panels the feeling of quiet contemplation and simplicity emerges when viewing the designs of Quaker Merchants or John Woolman in prayer. Others reflect a more turbulent time and portray anger, persecution and a questioning of belief during the history of the religion.

The panel depicting the persecutions of Oxford in 1654 have been designed to impart fear and the real horror of the event when two Quaker missionaries attempted to talk to the people. The detailed facial expressions ensure the dark days of Quaker history are told to the observer and not forgotten. Art has always enabled stories to be told through expression and simplicity and this dramatic and reflective work stands as a testimony to the Quaker faith.

Simple Values of a Global Religion

As light shines through the panels the true Quaker values of healing, compassion and reform emerge. Elizabeth Fry and her work in transforming prison services, known Quaker doctors who pioneered new ways of healing, and those who reached out to help displaced people are represented in the stitching and tell the story in simple words and pictures of their life's contribution. Healing through plants and the relief of suffering weave their way through the tapestry with the placing of delicate botanical pictures adding colour and light.

The adventurous and enterprising nature of Quakers is portrayed both with the designs of William Penn discovering Pennsylvania and in those showing engineering inventions and the whole tapestry manages to tell many different stories within one bigger tale.

Each small picture carries a message and new learning within the designs and colour schemes. Simple Quaker texts combined with pictures and expressions impart the thoughts and beliefs of their designers in a creative tableau.

The unique concept behind the Quaker Tapestry has ensured a global belief has been captured by sending sections overseas to be completed, each adding a new story and a cultural flavour, whilst enabling the light of the Quaker faith to be reflected in the exquisite design.

An Inspirational Legacy

When the Bayeux Tapestry was designed and put on display it laid the foundation for a concept in storytelling that spanned the ages and enabled a tale to be portrayed in a unique media. In future years the Bayeux and Quaker Tapestries may inspire more creative ideas in art and design to tell a tale of momentous and transformational events in history and everyday life.

Angela Dawson-Field writes extensively on home decor and tapestry & textile art. She divides her time between family and The Tapestry House

Sunday, August 30, 2009

Professor Helps Shed New Light on Renowned Bayeux Tapestry

Professor Helps Shed New Light on Renowned Bayeux Tapestry

The Bayeux Tapestry captured a pivotal moment in European history. The 230-foot-long embroidered cloth, which depicts events leading up to the Battle of Hastings in 1066 and scenes from the battle iself, is renowned among scholars of medieval history, art and literature.

Illinois Wesleyan University Professor of English Dan Terkla is helping to uncover the mysteries of the Tapestry with the new book The Bayeux Tapestry: New Interpretations (Boydell & Brewer, 2009).

“History is written by the victors, and the Tapestry is a great piece of public relations,” said Terkla, who co-edited the collection of essays for the book, and contributed his own chapter. In the case of the Bayeux Tapestry, the victor was William of Normandy, who defeated King Harold I of England at the Battle of Hastings.

Thought to be embroidered around 1068, the Tapestry tells the story of how William the Conqueror ascended to the throne of England as the rightful king, and portrays Harold as a usurper.

Bayeux Tapestry Cover

Edited by Terkla, Martin Foys and Karen Eileen Overbey, the book is a collection from a combination of well-established scholars and voices new to Tapestry studies, said Terkla. “We truly hope to live up to the title of the book, New Interpretations,” he said.

“Not only does the book take a multi-disciplinary approach, with scholars from fields ranging from history to art to Anglo-Saxon studies contributing, but its particular mix of seasoned and young scholars can provide a new perspective.”

Terkla’s chapter, titled “From Hastingus to Hastings and Beyond: Inexorable Inevitability on the Bayeux Tapestry,” situates the Norman invasion of 1066 in a context that reaches back to the first Viking ruler in Normandy, Hastingus, forward to William and the Norman invasion, and beyond to the broader history of Norman conquests.

Setting the Tapestry in this broad context causes one to wonder, as Terkla does, “Did Hastingus’s presence in Normandy set into motion an inevitable link that runs all the way to William?” He argues that the Tapestry’s design creates a sense of historical inevitability through its use of line.

Read complete article in IWU.edu

Wednesday, July 1, 2009

Live review: Amity Dry in Tapestry – A Carole King Tribute Show

Live review: Amity Dry in Tapestry – A Carole King Tribute Show

Amity Dry clearly has a loyal following in Adelaide if the audience at her final performance of Tapestry at the Promethean is anything to go by. There was a real warmth in the applause of this largely older crowd, who hummed along to many of the great songs from the ’60s to the ’80s.

Dry is an understated and unpretentious performer. She just gets up and sings, along with her three-piece band and back-up vocalist Charmaine Jones. The show opens with a somewhat underpowered rendition of “I Feel The Earth Move” and doesn’t really pick up pace until mid-way through with a powerful interpretation of “So Far Away”.

Other highlights included “Smackwater Jack” and the James Taylor classic “You’ve Got a Friend”. Unfortunately, a number of the songs were undermined by a harsh mix and various microphone problems.

There are no accoutrements of cabaret here – no slinky evening frocks for the girls, no sharp black suits for the boys.; this is more “come as you are” cabaret.

Read complete article in IndependentWeekly.com

Tapestry-Tastic Exhibition at An Lanntair

Tapestry-Tastic Exhibition at An Lanntair

TAPESTRY has never gone away, but the new An Lanntair exhibition – Suas leis an Oir-Ghreus! (Long Live Tapestry!) – is still pitched as something of a revival.
And Suas leis an Oir-Ghreus was in fact first shown as 'Vive le Tapisserie!' at the French Institute in Edinburgh last year – proving in its own way that tapestry is something of an international language.

The exhibition comprises of four miniatures, each created by 17 of Scotland's leading tapestry artists.

Archie Brenna, Sara Brennan, Amanda Gizzi, Linda Green, Alice Hannigan, Maureen Hodge, Stephen Hunter, Fiona Hutchison, William Jefferies, Ellen Lenvik, Brigitta MacDonald, Jo McDonald, Susan Mowatt, Colin Parker, Paul R Penrice, Anna Ray and Joanne Soroka are all members of the newly formed group STAR (Scottish Tapestry Artists Re-Grouped); and graduates of the tapestry department of Edinburgh College of Art.

Read complete article in StornowayGazette.co.uk

Tuesday, June 9, 2009

The Wish Maker Unfolds A Cultural Tapestry Of Contemporary Pakistan

The Wish Maker Unfolds A Cultural Tapestry Of Contemporary Pakistan

About a month ago on "The Daily Show," Jon Stewart began a segment about Pakistan by describing it as a “distant and mysterious land of spice and anger.” After momentarily feigning interest in the country's history and culture, he admitted, “Actually, we really just care about the nuclear arsenal.”

That wry jab at single-minded reporters might amuse Ali Sethi, who's written an earnest and deeply considered debut novel about Pakistan without pandering to the interests and clichés that dominate our nightly news. The Wish Maker is a family saga that gracefully unfolds a cultural tapestry of contemporary Pakistan.

Zaki Shirazi is the intelligent, observant son of two affluent matriarchs, his grandmother Daadi and his mother Zakia. His father died while flying a military plane when Zaki was “minus two months old.”

The Wish Maker
begins with Zaki returning from an Ivy League education in the States to find his home, Lahore, Pakistan, changed. “There was an added estrangement from the known,” Zaki notes.

“The drive home was too short, the bridge too small, the trees not high enough on the canal ... the bed in my room was just a bed.” Sethi's clearly writing from recent experience — he, too, is an affluent Ivy League-educated 24-year-old of Lahore, Pakistan. Sethi's prose, however, is written with the disciplined distance and evenhanded delivery expected from someone twice his age.

Read complete article in CreativeLoafing.com

The Rich Tapestry Of Contemporary American Extremism

The Rich Tapestry Of Contemporary American Extremism

For many years he was the “monetary architect” of the “Liberty dollar,” much beloved by antigovernment “Patriots.” Nowadays, after running afoul of federal authorities over his alternative currency scheme, Bernard von NotHaus has embarked on a more ethereal venture: the Free Marijuana Church of Honolulu, where he is the “high priest.”

Church members step into the “High Room” for one toke of marijuana, then retire to a meditation room “in serene bliss,” according to a church press release.

Von NotHaus, 64, says he once was friends with psychedelic drug proponent Timothy Leary. But he’s best known on the radical right for creating “American Liberty currency” certificates in denominations of $1, $5 and $10, starting in 1998. The certificates were backed by stocks of silver and gold stored in Idaho, von NotHaus said.

The currency has been popular with extreme-right tax protesters and members of the radical “sovereign citizens” movement, who maintain that the federal government has no right to tax or otherwise regulate them, as well as those who believe that the Federal Reserve, America’s central bank, is run by a private body for personal profit.

In 2007, federal agents raided the company’s Evansville, Ind., headquarters, and seized two tons of copper coins featuring Republican presidential candidate Ron Paul and 500 pounds of silver from a Liberty Dollars warehouse. The raids followed the U.S. Mint’s issuance of a public warning to consumers and businesses that using Liberty Dollars in lieu of U.S. currency was a crime.

Read complete article in Wired.com

Tuesday, May 26, 2009

The Battle Of Fulford Tapestry

The Battle Of Fulford Tapestry

THE team creating a huge tapestry showcasing an ancient battle near York is looking for fellow embroiderers to join them in “sewing a piece of history”.

The creation of the 15-feet tapestry is well underway and the first three feet, depicting the arrival at Scarborough of Harald Hardrada, king of Norway, is now complete.

The project, which has been funded with part of a £24,000 lottery grant awarded to the Fulford Battlefield Society, began in 2005. After a slow start due to a lack of volunteers, it could now be finished by the end of the year.

One of the organisers, Mary Ann Dearlove, 63, said: “We are really motoring on with it now.

“I am on a bit of a recruitment drive at the moment because we need more people who can come down and work on it. The first three feet are done and we are working on the next section which depicts the arrival of both sides at Fulford. Once you start working on it, time absolutely flies – it’s so absorbing,” she added.

“It’s not complicated at all – it’s a laid stitch which is fairly basic.”

The embroiderers meet at Barley Hall in Coffee Yard, and will be there on Wednesday, from 10am to 2pm, if anyone is interested in adding to the piece.

Taken From ThePress.co.uk

Tuesday, April 28, 2009

Toyota Grants Will Pay For A TAPESTRY Of Research

Toyota Grants Will Pay For A TAPESTRY Of Research

TORRANCE, Calif. - Two Maui teachers each have been honored with a $10,000 grant for excellence and innovation in science education to be used for projects in their classrooms.

The Toyota TAPESTRY awards to Kathleen Ireland and Dan Kuhar are sponsored by Toyota Motor Sales USA Inc. and administered by the National Science Teachers Association.

Ireland, a biology teacher at Seabury Hall, will lead her students in a project to harvest and press oils from native Hawaiian plant seeds. The oil will then be tested for energy production and used to run a student-designed motor.

The Seabury Hall students also will work in conjunction with University of Hawaii at Manoa students to uncover the optimal growing environment for a new type of oil-producing plant.

Kuhar, a science and health teacher at the Kihei Charter Middle School, will use his grant money to create a program for students to study the statewide spread of invasive algae. Kuhar's class has partnered with the National Oceanic and Atmospheric Administration to determine which species of algae cause the most problems and which water conditions cause the biggest algae blooms.

Toyota TAPESTRY is the largest annual K-12 science teacher grant program in the country, according to the company's news release. Award-winning projects are selected from three critical areas for youth: environmental science, physical science and science applications that promote literacy.

Fifty grants of up to $10,000 are awarded each year, along with a minimum of 20 grants of as much as $2,500 each. More than $8.5 million has been awarded to 1,064 teams of teachers throughout the program's 19-year history.

Kuhar said he and others at Kihei Charter School are excited about embarking on the algae project.

"Students will be empowered to be stewards of their community, aina and kai," Kuhar wrote in an e-mail. "Students will also benefit from the positive and healthy impacts of spending time outdoors, observing the natural world, and cooperative learning," he added.

The Kihei Charter project will involve approximately 160 students in grades 6 to 8 working in partnership with community members, scientists and partners at NOAA. The program emphasizes community-based education and a classroom-without-walls concept of hands-on work that takes place in the field.

At Seabury Hall, Ireland will start the first segment of her project with approximately 70 freshmen. They will locate kukui nut trees, analyze the microenvironments of these trees and harvest the nuts. They will then work with student mentors in Seabury's engineering class to press oil from the collected nuts.

The project moves forward with sophomores adding findings; then seniors in an engineering class will use the oil to power their biofuel motor. They will record any observations they find in the use of the oil.

Ireland expects some 170 students will be involved in the project, and will present their findings to Seabury's entire student body.

"I am very interested in providing authentic learning experiences in my classrooms as well as stimulating interest in 'real life' science," Ireland said in an e-mail. "The take-home message from this project is that Seabury Hall students will be working in a large cohesive group to identify possible solutions to our dwindling fuel issues.

They will learn the importance of careful and clear data collection, as well as discovering the challenges of working on real world problems in a group setting.

"With any luck, Seabury Hall students will be able to produce a viable alternative fuel, complete with some efficiency testing!"

* Claudine San Nicolas can be reached at claudine@mauinews.com.

Taken From MauiNews.com

Saturday, April 25, 2009

Cumbrian Church’s History Sewn Up In New Tapestries

Cumbrian Church’s History Sewn Up In New Tapestries

Friends of a 400-year-old Cumbrian church have history all sewn up with tapestries to chart the building’s journey through the ages.

Longtown’s Arthuret Church – also known as St Michael and All Angels Church – is one of the oldest in the Diocese of Carlisle.

The tapestries are the latest in a year-long programme of 400th anniversary celebration events and were mounted on the church walls on Saturday when a special blessing was carried out.

Tapestry co-ordinator Christine Batey, of Oakshaw Hill, Longtown, said: “There are four tapestries now hanging on the wall of the church which have been made by about 40 friends of the church and other local people.

“About 40 people were involved and it has taken about 18 months to complete so it was quite a task to co-ordinate them all.”

Mrs Batey added: “I am really pleased with the way it has turned out, it has surpassed my expectations. The tapestries will hang in the church for years to come and I hope they will be admired by my grandchildren when they grow up.”

The Church of England church is led by The Rev Russell Tague and the Most Reverend Dr Idris Jones Primus.

It is now part of the benefice of three churches, St Michael and all Angels, Longtown; St Andrew, Kirkandrews-on-Esk; and St Nicholas, Nicholforest.

Between them they cover an area from the Scottish border to north of Carlisle.

The building, which dates back to 1609, has a long and important history which started with James VI of Scotland and the unruly Border Reivers.

The people of Longtown are marking the anniversary with a long programme of events, which started last November.

A flower show is planned for the summer. The theme will be the thistle and the rose to mark the ancient cross border connections of the church.

Taken From Cumberland-News.co.uk

Sunday, April 12, 2009

Home Style: Decorating With Plates

Home Style: Decorating With Plates

I was doing some window-shopping during a rare break from the store during a particularly busy holiday retail season when I spotted them: the set of fish plates that spoke to me.

I decided on the spot that if these antique Lamoge china plates, each decorated with the picture of a fish, were still there in January, I would treat myself to them as a reward for surviving another crazy holiday season.

Years later, I'm still enjoying my fish plates and I have used them time and again in my decorating, and always with dramatic results. They have hung on the thick molding between the French windows in my dining room. I've showcased them on my walls, below wall pockets, above wall brackets and on either side of a lovely china platter.

Plates are masterpieces that look smashing when mixed in with framed art.

But one of my favorite ways to display my fish plates was to prop them on easels on my mantel. However, this plan backfired when our cat sent one tumbling when she paraded back and forth across the mantel.

I think of all the plates in my cupboard as lovely pieces of art, and I display them all over my home. So does Dillon, one of the designers at Nell Hill's. Give Dillon a hammer and nails, and he will transform a stack of dishes into a thing of beauty. So I asked Dillon to join me in sharing a few tips for decorating with plates in your own home.

MIX PLATES WITH ARTWORK: Whether they sport a design -- like a scene from an English village, a flower, an animal, are embellished with a unique geometric pattern or gold trim -- or are simply creamy white, your dishes are masterpieces in their own right. So hang them on your walls, either in a grouping by themselves or mixed in with other pieces of framed art.

The other day, Dillon created a show-stealing display with a tall mirror, two sconces and a stack of plates. He flanked the mirror with the sconces. Then he hung a dinner plate to the side and bottom of each sconce, placing a dessert plate in between them. He put an oval platter above the mirror, with two smaller plates on either side. The effect was stunning.

REPEAT A COMMON THREAD: Whether it's a wall covered in blue-and-white transfer ware or a small column of plates painted with birds, when grouping plates, make sure they share a similar color scheme, theme or pattern so they look harmonious. While variety is the spice of life, when you group together too many colors and patterns, you end up with a look that's chaotic and disorganized.

EXPERIMENT WITH SYMMETRY AND ASYMMETRY: Dillon says symmetrical arrangements are the easiest to pull off: Simply create a design you love on one side of a piece of art, a doorway or on your mantel, then repeat it on the other side.

But don't just play it safe: Be willing to experiment with asymmetrical arrangements. The key to pulling together an asymmetrical look that's exciting, unexpected and visually appealing is to ensure it is balanced.

USE PLATES IN EVERY ROOM: Instead of confining plates to the kitchen, use them as art all over your home. Put a set of botanical plates in an unexpected spot, like above the doorway in your living room. Use a collection of similar plates to create a chair rail in your dining room. Cover your study wall with a tapestry of transfer-ware pieces. Surround your powder-room mirror with hand-painted dessert plates. Find some beautiful platters to display above the headboard in your bedroom. I've even hung plates on my front door.

(Mary Carol Garrity is the proprietor of three successful home-furnishings stores and is the author of several best-selling books on home decorating. Write her at nellhills(at)mail.lvnworth.com. For more stories, visit scrippsnews.com.)

Taken From CourierPress.com

Saturday, April 4, 2009

Hand-Stitched Tapestry That Weaves Tales Of Medieval Life Goes On Display In New Ross

Hand-Stitched Tapestry That Weaves Tales Of Medieval Life Goes On Display In New Ross

THE STATE’s newest tourist attraction was unveiled yesterday when the Ross Tapestry went on public display in the Co Wexford port town of New Ross.

Organisers of the permanent exhibition predict that the series of elaborate, hand-stitched tapestries depicting scenes of Irish medieval life will attract 60,000 visitors in year one.

Work on Europe’s biggest embroidery project began in 1998. For the past decade, more than 100 volunteers, from Co Wexford and neighbouring counties, have created 15 large, 6ft by 4ft, needlework panels which record the Anglo-Norman invasion of Ireland and its aftermath.

The exquisitely coloured, intricate tapestries include Arrogant Trespass: The Normans Landing at Bannow – a reference to the nearby strand where the invasion by 30 knights and 360 soldiers in 1169 led to 800 years of British rule in Ireland.

The Ross Tapestry is based on original paintings by Countess Ann Griffin Bernstorff, the Limerick-born artist who married a Danish aristocrat and settled on a farm in Co Wexford.

Yesterday, she praised volunteers who had devoted “thousands of hours and millions of stitches” and said, “we turned on a switch in the community and they responded”.

She explained that the original idea for the project had come from a Church of Ireland rector, Paul Mooney, who has since moved to Malaysia.

Project chairman Seán Reidy hailed “a world-class work of art” created by “the best example of volunteerism that Ireland will ever see”.

He thanked patrons, who include financier Dermot Desmond, newspaper magnate Tony O’Reilly and AIB’s Gerry Murtagh, for each making personal contributions of “significant five-figure sums”.

He also revealed that the project has attracted the attention of former US ambassador to Ireland Jean Kennedy-Smith who was “completely blown away by it”. She has asked that at least some of the tapestries be temporarily shipped to Washington in 2011 for celebrations to mark the 50th anniversary of John F Kennedy’s inauguration.

The late president’s great-great-grandfather emigrated from the town and the Kennedy family maintains strong links with New Ross.

Yesterday’s opening was a low-key affair, with pride of place given to the volunteer embroiderers who expressed delight and pride at seeing their work hung permanently for the first time.

Mary Maher, a former secretary who had “stitched for two mornings a week” said it was “a fantastic achievement and brilliant to see on permanent display”.

All the embroiderers were women except John Ronan whose “wife encouraged me to have a go”. He was “uncomfortable in the beginning with all the women” but drew inspiration from his grandfather, “a tailor who had stitched his way into the fabric of the town”. Mr Ronan decided to “do the same” and yesterday said, “I’m so proud.”

Seán Connick, the local Fianna Fáil TD and a director of the project, was given a tour of the exhibition by Countess Bernstorff.

Afterwards, his “heart was thumping with pride” and he said, “This is what the community and the people of Ireland are capable of.”

The permanent exhibition is open to the public, seven days a week, from today at Priory Court, The Quay, New Ross.

A Fáilte Ireland spokesman said the exhibition was “destined to become a must-see attraction in Ireland”.

Taken From IrishTimes.com

Friday, March 27, 2009

Easter Tapestries Return to St. John the Divine

Easter Tapestries Return to St. John the Divine

The Cathedral Church of St. John the Divine has hoisted into place two poignant — and quite beautiful — reminders of the suffering and penance that always precede rebirth in the Christian liturgical calendar.

On Monday, members of the cathedral’s Textile Conservation Laboratory raised two of the 12 Barberini tapestries in St. John’s collection, “The Crucifixion” and “Agony in the Garden,” into the arches of the north and south transept for display during the Easter season.

It is the first time either of these tableaux have been on public view since the devastating fire in 2001 that heavily damaged the north transept and two other Barberini tapestries.

“We’re remembering the agony and the crucifixion first — and, in a way, we’ve had that, too,” said the Very Rev. Dr. James A. Kowalski, dean of the cathedral, which is the seat of the Episcopal Diocese of New York.

“It’s been a long journey until we got to this point.” The cathedral was rededicated last year after seven years of recovery, restoration, conservation and cleaning.

“We’re very lucky to have a treasury of art that can be used as this art was intended,” Dean Kowalski said — that is, to tell stories appropriate to the liturgical season of Lent, which began on Ash Wednesday (Feb. 25 this year) and will end on Holy Saturday (April 11), the day before Easter.

Though the tapestries were made by Giovanni Francesco Romanelli in the mid-1600s, they take their name from Cardinal Barberini, who commissioned them for Pope Urban VIII, his uncle. The pope died just as the set was being finished.

The tapestries were presented to the cathedral in 1891. When “The Crucifixion” was unrolled on Monday, perhaps the most striking sensation was the vividness of the blue in Mary’s robe and the red in John’s.

Details around the borders also popped out, like the bees symbolizing the Barberini family. Marlene Eidelheit, director of the textile laboratory, emphasized that she and her colleagues were as conservative as possible in their intervention, which included cleaning, interstitial weaving, spot patching and overall reinforcement. “We don’t do restoration,” she said. “We make sure it’s healthier and stronger.”

Coincidentally, as the 16-foot-high tapestries were raised into position, James Wetzel, a Juilliard senior who is the cathedral’s current organ scholar, was performing the weekly demonstration of the Aeolian-Skinner great organ.

After he finished Bach’s Fugue in A minor, he played an ethereal — almost elegaic — improvisational piece to accompany the tapestry raising. Acknowledging Lent, he based it on the hymn “40 Days and 40 Nights.”

Taken From NYTimes.com

Saturday, March 21, 2009

Quilt Show Honors State's Anniversary

Quilt Show Honors State's Anniversary

The Milwaukie Center, 5440 S.E. Kellogg Creek Drive, will host its 15th annual quilt show from 9 a.m. to 5 p.m. Friday and 9 a.m. to 4 p.m. Saturday. The exhibit theme is "My Oregon," in honor of the 150th anniversary of statehood.

The Milwaukie Center, 5440 S.E. Kellogg Creek Drive, will host its 15th annual quilt show from 9 a.m. to 5 p.m. Friday and 9 a.m. to 4 p.m. Saturday.

The exhibit theme is "My Oregon," in honor of the 150th anniversary of statehood. Quilts from the community range from vintage hand-quilted to current machine-made quilts. In the past, an average of 100 to 160 quilts have been entered.

A raffle will be held for a "Tapestry Rose Our Way" quilt, created by the center's quilting team, which adapted its own version of the standard Tapestry Rose pattern. Tickets are $1 or six for $5 and are available at the center's gift shop.

On Friday, there will be a suggested $3 donation and on Saturday admission is $3. You may purchase lunch either day. Sponsors are Sellwood Landing, Clackamas Federal Credit Union, Mill End Store and Friends of the Milwaukie Center. For information, call 503-653-8100.

-- Thelma Savage

Taken From OregonLive.com

Monday, March 16, 2009

European Decorative Arts Sales in New York Offer Fresh to the Market Private Collections in April

European Decorative Arts Sales in New York Offer Fresh to the Market Private Collections in April

NEW YORK, NY The month of April at Christie’s New York presents three sales of European Decorative Arts, which will bring fresh to the market works from the 17th century to the modern day, from several private collections and museums.

With a range of price points featured in each sale, collectors will find one-of-a-kind examples of furniture, sculpture, ceramics, tapestries, clocks and decorative works of art varying from the scholarly to the fantastic, and the austere to the ornate.

Important English Furniture, Clocks and Ceramics – April 7

Three estates lead the English Furniture, Clocks and Ceramics sale on April 7 — The Collection of Professor and Mrs. Clifford Ambrose Truesdell, Property from the Estate of Mr. & Mrs. Gordon T. Southam, and The Property of a Private Canadian Collector.

The Collection of Professor and Mrs. Clifford Ambrose Truesdell

Professor and Mrs. Clifford Ambrose Truesdell were a delightfully eccentric couple who shared an appreciation for the classics, music and art. Their diverse collection of Italian, Dutch and Flemish furniture was founded on connoisseurship and their story is one of passion, intellectual stimulation, and a love of beautiful objects. Works from the collection will be offered in the April 7th as well as the April and May sales of European Furniture.

Clifford Ambrose Truesdell III devoted his career to the advancement of rational mechanics, and his professional experience spanned from MIT and the Naval Research Laboratory to Indiana University and Johns Hopkins University.

Together with his wife, the Truesdells were a true “Renaissance couple” in every sense of the term. Their artistic interests ranged from Baroque music and fine silver to European paintings and Italian architecture, and these tastes shone through in the impressive works of art they lived with in their Palladian-style Baltimore home, Il Palazzetto.

The Truesdell English Furniture collection is comprised of 30 lots and is highlighted by a George II mahogany and silk damask four-poster bed, circa 1740 (estimate: $200,000-300,000).

This magnificent state bed was purchased by the Truesdells in the 1960s, shortly after it was removed from Brympton D’Evercy, the beautiful manor house in Somerset, England where the bed had been since the 18th century.

With its damask-covered cornice emblazed with the Fane family crest, the bed is a rare survivor from the early George II period and has been attributed to Giles Grendey, the celebrated London furniture maker.

Other English furniture highlights from the Truesdell collection include a George II giltwood mirror, circa 1735 (estimate: $50,000-80,000); two pairs of George III giltwood open armchairs attributed to John Linnell, circa 1765 (each estimate:

$150,000-250,000); a pair of George II gilt-gesso two-light girandole mirrors, circa 1725 (estimate: $120,000-180,000); and a pair of George II giltwood console tables, circa 1740 (estimate: $100,000-150,000).

Property from the Estate of Mr. & Mrs. Gordon T. Southam, Vancouver, Canada

The marriage of Jean MacMillan to Gordon Southam in 1941 united two of Canada’s top-tier families as well as the forestry and newspaper industries. The Southams enjoyed a life-long romance and an enduring partnership in which they traveled regularly to London and New York on collecting trips.

The Southam Collection is comprised of over 80 works and highlights include a Queen Anne walnut oval stool with floral needlework, whose pair is illustrated in Masterpieces of English Furniture and Clocks, (estimate: $30,000-50,000); a Queen Anne walnut settee, circa 1710 (estimate: $70,000-100,000); and a George I walnut chest-of-drawers, circa 1730 (estimate: $70,000-100,000).

Property of a Private Canadian Collector

A private collection from a Toronto country home consists of 60 works of furniture and paintings, with estimates ranging from $800 to $30,000, and several works offered for no reserve.

Top lots include a George IV mahogany secretaire breakfront bookcase, circa 1825 (estimate: $20,000-30,000), and a pair of George III satinwood, rosewood and marquetry commodes (estimate: $80,000-120,000).

Examples of various owner highlights in the April 7th sale are a George III giltwood side table with scagliola top, attributed to Thomas Chippendale, circa 1770 (estimate: $100,000-150,000), and a George III ormolu-mounted Wedgwood, Derby biscuit porcelain and white marble mantel clock by Vulliamy, the royal clockmaker (estimate: $40,000-60,000), and a George III ormolumounted mahogany commode attributed to Wright and Elwick, circa 1765, supplied to one of Britain’s great country houses, Wentworth Woodhouse (estimate: $30,000-50,000).

European Furniture, Works of Art, Sculpture and Tapestries – April 16

The European Furniture, Works of Art, Sculpture and Tapestries sale on April 16th will feature over 40 works from the Truesdell collection. A leading highlight is a Dutch eglomisé collector’s cabinet on stand (estimate: $40,000-60,000).

The eglomisé panels depict scenes from Roman myths and would open to reveal items of curiosity or objects of vertú. Surprises continue to unfold behind the two central doors which open to display the technical virtuosity of the cabinet-maker.

Its use of mirrors create the illusion of two complete houses whose inlaid facades slide to reveal further secret drawers for the rarest, or most secret of treasures.

Among the other highlights in the European Furniture offered in the Truesdell collection is an Italian silvered wood console, Rome, late 17th/ early 18th century. It appears to grow almost organically from a lushly carved foliate spray and is an early precursor to the natural forms that inspired the Rococo (estimate: $30,000-50,000).

A pair of North Italian giltwood torcheres, circa 1750 (estimate: $20,000-40,000), with their bold scrolling forms illustrate the asymmetry emblematic of this style.

In addition to the Truesdell collection, The European Furniture, Works of Art, Sculpture and Tapestries sale on April 16th offers unique objects such as collector’s cabinets, vivid tapestries, extravagant giltwood from the 18th century, as well as 19th and 20th century examples inspired by many stylistic eras. This diverse array assures there is something for every taste and budget.

The sale features a dozen tapestries, dating from the mid 16th century to the 18th century, which encompass many genres — armorial, mille fleurs, historical and mythological.

A Franco-Flemish millefleurs tapestry (estimate: $40,000-60,000) whose stylized, large scale flowers would be equally at home in both traditional and modern homes while a Flemish mythological game park tapestry, late 16th/ early 17th century, sold to benefit the acquisition funds of Carnegie Museum of Art in Pittsburgh, depicts the god of Music, Orpheus sleeping amongst vividly woven exotic animals (estimate: $30,000-50,000).

Works by the famed French design atelier Jansen and other furniture commissioned by interior decorators are also included in the auction. Among the group is an elegant pair of French ormolu-mounted black lacquer two-tier etageres by Jansen (estimate: $6,000-9,000).

An impressive pair of marble-veneered and ebonized wood bookcases designed by Renzo Mongiardino, circa 1987, were part of the spectacular custom furnishings made for the library in the Park Avenue apartment of the New York financier and philanthropist Peter Jay Sharp (estimate: $25,000-40,000). They are certain to make an equally strong impact with collectors of this highly sought after, legendary designer.

19th Century Furniture, Sculpture, Works of Art and Ceramics – April 21

The 19th Century Furniture, Sculpture, Works of Art and Ceramics sale on April 21st opens with a choice selection of European ceramics and glass, highlighted by a unique pair of Mintons pâte-sur-pâte vases by the master craftsman Louis Solon.

The pair titled 'The Key to Hearts' depicts maidens toying with putti enclosed within heart-shaped cages, (estimate: $150,000-200,000) and relates directly to a similar pair which achieved over $200,000 on the 21st of October 2008.

The Continental porcelain selection features a number of massive vases in both the Sevres and Vienna styles. A monumental Sevres style ivory-ground centerbowl stands over 137.8 cm. high (estimate $100,000 - 150,000); and three pairs of Vienna style vases in the $20,000-50,000 range feature finely painted classical and mythological vignettes.

This group is rounded out by 24 Vienna style sumptuous portrait plates depicting King Ludwig's gallery of Bavarian beauties from the Twinight Collection (estimate: $30,000-50,000).

Two charming studies of hounds on Berlin (K.P.M.) porcelain, dated 1888, immortalize the Prince and Princess of Battenberg’s favorite dogs named Wat and Basco (estimate: $5,000-7,000).

The Princess was Queen Victoria’s beloved youngest daughter Beatrice and by tradition, these plaques were passed by descent to the present owner from a member of the family in service at Windsor Castle.

Other unusual works in the majolica and palissy ware section include: a Mintons fish-form teapot and cover (estimate: $8,000-12,000) and a George Jones cobalt-blue ground garden seat (estimate: $6,000-8,000).

Recently deaccessioned from the Fine Arts Museums of San Francisco and sold to benefit the Acquisition Fund, a magnificent ormolu-mounted black and gilt-lacquered commode (estimate: $70,000-100,000) and its companion sécretaire (estimate: $50,000-70,000) are among the highlights of the afternoon session of Furniture, Sculpture and Works of Art.

These faithful reproductions are after the models by J.H. Riesener commissioned in 1783 by Marie Antoinette for her cabinet intérieur at Saint-Cloud. The originals, now at the Metropolitan Museum of Art, are considered to be the jewel in the crown of Riesener’s oeuvre.

Although the maker of these excellent copies remains a mystery, the quality of craftsmanship, while undoubtedly 19th century, is an homage to Riesener's mastery in the 18th century.

A group of European carved ivory works of art from the estate of J. Irwin and Xenia S. Miller, are led by two grand scale German carved ivory tankards ornately carved with mythological figures (estimate: $30,000-50,000 each).

Three dozen lots from a Mid-Atlantic private collection are offered at no reserve, and include a rare group of four Continental ‘jewelled’ ivory figures, each with a mechanical accoutrement, that exhibit exceptional ingenuity in their decoration and craftsmanship (estimate: $6,000-8,000 each).

Taken From ArtDaily.org

Friday, March 13, 2009

The Bayeux Tapestry, Napoleon and the Nazis

The Bayeux Tapestry, Napoleon and the Nazis

University of Leicester

The Bayeux Tapestry is an 11th century Norman interpretation of the Battle of Hastings in 1066 and one of the many mysteries surrounding it is why this iconic eleventh-century source has been so coveted by modern dictators.

Dr Carola Hicks, a former fellow of Newnham College, Cambridge, lecturer in Art History at Cambridge, and a prolific author of many books on medieval history and art history, will be pondering this question in a public lecture to take place at the University of Leicester on Wednesday 18th March at 6pm.

Dr Hicks will discuss the way in which the story told by the Tapestry was appropriated by later regimes, who sought to reinterpret the past in the light of contemporary political and military goals.

Her research has taken her to the archives of the Nazi regime, including personal letters from Himmler showing that he coveted the Tapestry as a key piece of evidence to link contemporary Nazi ideology with the Viking past (and the conquest of the British Isles).

Napoleon too realised its propaganda value in support of his own military ambitions against the English people.

Dr Joanna Story, Senior Lecturer in Early Medieval History, and co-organiser of the Medieval Research Centres public lecture series commented: “The past is (as any student of history, archaeology or literature knows well) constantly being re-interpreted and reshaped, often to fit modern political or cultural objectives. In her lecture Dr Hicks will show us how one of the most iconic, recognisable pieces of medieval story-telling, was coveted by dictators in the modern era.”

Dr Carola Hicks is an expert in the reception and (re)-interpretation of medieval sources, buildings and objects in later centuries. Two of her most recent books include The Kings Glass (2007 – abridged for Radio 4) and The Bayeux Tapestry: The Life Story of a Masterpiece (2006), which reveals the mystery, secrets and continuing fascination of the 70m tapestry, worked nearly 1000 years ago and still a vibrant example of pictorial storytelling.

Dr Hicks groundbreaking book on the Bayeux Tapestry explores the way in which generations of people have interpreted this iconic object in the centuries after the eleventh-century Norman Conquest of Anglo-Saxon England. The Tapestry tells a pro-Norman version of the events that led up to Duke Williams victory against the Anglo-Saxon armies in 1066.

The lecture is open to all comers, and is particularly recommended for undergraduate and graduate students of History, Archaeology and English who are interested in the ways in which the past is shaped, reshaped and retold – often for nefarious political motives.

The Medieval Research Centre is a forum for all students and staff at the University of Leicester whose work focuses on the sources and interpretation of the Middle Ages (School of Historical Studies, School of Archaeology and Ancient History, School of English).

http://www.le.ac.uk/arts/medieval/

The activities of the MRC include the annual series of Public Lectures, of which this lecture is a part, as well as a research seminar series. The final lecture in the 2009 series, The Matter of Fulk: Romance and History in Fourteenth Century England? will be given by Professor Ralph Hanna, of the University of Oxford, on Wednesday 6th May.

Dr Carola Hickss talk,The Bayeux Tapestry, Napoleon and the Nazis will take place at the University of Leicester Attenborough Lecture Theatre 2 (Film Theatre) on Wednesday 18th March 2009, 6.00pm. It is open to the public and free of charge.

Taken From InLoughBorough.com

Monday, March 9, 2009

'Creation Story' Evolves On Fabric

'Creation Story' Evolves On Fabric

Artist tells nearly forgotten past in distinctive process

By Dorothy Shinn
Beacon Journal art & architecture critic

Today, many of us will sit glued to our TV sets as we wait to see on whom the Oscars will be bestowed, and to which among all the stories told the golden statue will be awarded.

We all have stories, some from our childhood, some from adulthood and some from our old age. Many of them are even good enough to write down. But not all of us have the focus and talent to make those stories into works of art, nor do we all realize that stories don't always get told in books or at the movies.

Sometimes stories get told in paint, line and figure. And sometimes stories, magnificent stories, get told in the unique and unmatched way one individual puts odd, old and unconventional materials together.

The Akron Art Museum is displaying the work of such a talent in an exhibit that reveals the focus, energy and sense of mission needed to compose memories into incredible, three-dimensional, multimedia narratives that have thrilled art lovers since the early 1980s.

Through April 5, the museum is exhibiting Along Water Street: New Work by Aminah Brenda Lynn Robinson, a mixed-media ''creation story'' pieced together from 1984 to 2007, based on tales she'd heard from her Uncle Alvin from the time she could first remember (at age 3 in 1943) until his death in 1990.

Organized by the Columbus Museum of Art, the exhibit reflects Robinson's memories of now-lost neighborhoods in Columbus along the Scioto River, as well as the universal themes of migration, community and family reminiscences.

She has stitched these stories together with others and her own belief in evolution, using her distinctive layering process, combining rags, buttons, shells and other found objects with her own drawings and paintings on handmade paper.

The Akron Art Museum, the site of Robinson's first solo museum show in 1987, is the first stop on the four-museum tour (all in Ohio) of this exhibit, which consists of 12 rag paintings, one watercolor and a form unique to Robinson that she calls ''RagGonNon,'' or artwork that just ''keeps on ragging on and on.''

The RagGonNon in this exhibit is a 60-foot-long cloth and mixed-media work encrusted with buttons, beads, men's ties, sashes and scarves, handmade dolls and spirit packets, and at least one long skinny item that closely resembles a shed snakeskin.

These pieces take years to research, assemble and create, because they continue to evolve in response to others' responses to them. This particular RagGonNon began in 1984 and expresses themes of creation, discovery, acceptance and community.

The exhibit reconstructs the history of the largely forgotten Columbus neighborhood called Water Street.

Uncle Alvin was Alvin Frederick Zimmerman, Aminah's mother's oldest sibling and only brother. His memories were in turn based on the stories he heard from his great-uncle Bill Taylor, who owned a bait shop on Water Street in an area that is now in the heart of downtown Columbus.

This area along the Scioto River was inundated during the Flood of 1913, the same flood that destroyed the Ohio & Erie Canal, one of the worst natural disasters in Ohio's history.

''In 1938, Water Street was renamed Marconi Boulevard, and after that the Water Street community was completely forgotten,'' said Allison Tillinger Schmid, Akron Art Museum assistant curator.

''Uncle Alvin's stories are combined with stories she looked up in the Columbus Library, plus stories that are more urban folklore. Uncle Alvin told stories of Native Americans greeting Africans in the 1200s in a place called Chipo Village. She couldn't find any reference to that village existing in the Ohio Valley area, but she uses it anyway.

''She goes back and forth in time, using a technique called Sankofa, which means looking to the past in order to move forward.''

Robinson's RagGonNon has the mixture of observation and oral history similar to that found in the Bayeux Tapestry, where closely examined vignettes lie cheek by jowl with lavishly embroidered fancies. For Robinson, however, Water Street is no fancy, but a metaphor for the larger story of African-Americans migrating to and from the Ohio Valley.

Her memories, her knowledge of and loyalty to her community and appreciation of the past have driven her to record these stories in a way that causes all of us to want to listen, to remember, to put down and pass on our own stories.

That, of course, is only one aspect of our attraction to this work. Visitors interested in working with fabric have been particularly responsive to this exhibit, as have those who are intrigued by artworks made up of unconventional materials.

The watercolor and the rag paintings have been framed, whereas the RagGonNon has been ''skied,'' hung in one continuous course above them.

Just as there are many layers of materials, methods and perspectives in her work, there are many ways of appreciating it.

Students from Akron's Miller South School for the Visual and Performing Arts, for instance, have borrowed Robinson's RagGonNon format to create their own project, One South High: Collaborative Works by Miller South Students Inspired by the Art of Aminah Brenda Lynn Robinson, which is on display in the Akron museum's Mary S. and David C. Corbin Foundation Gallery through March 22.

These youngsters and others who want to discuss Robinson's work will be able to do so in person when she gives a free lecture from 2 to 3 p.m. March 22 at the museum, along with the Columbus Museum of Art's Carole Genshaft and the Akron museum's Barbara Tannenbaum.

In an interview last year with Genshaft, Robinson explained the RagGonNon in this show.

''The white cloth with stitching that begins this RagGonNon is a Memory Map that has not yet been fully designed, but the voices are beginning to take shape, crossing all the boundaries of the universe,'' Robinson said. ''The voices of humanity are being shaped by God. I have tried to show the migratory flux of people going back and forth in time and the evolution of these communities.

''I show the people nestled in the Ohio Valley peering out as if to reach out to a new dawn, a new beginning.

''It is also about the system of Black Laws that made African-Americans invisible, even though we helped to build the country. . . . I have also included the Farmlands, Mount Vernon Avenue and the communities. From all these places, the ancestors' voices emerge, and they are still emerging.''

In addition to the extensive amount of work that focuses on Columbus, Robinson has created other narrative series based on the people and places she has visited, such as her residencies in Kenya, Senegal, Egypt, Israel and Chile, and more recently, Italy and Peru.

Her work reflects not only the formal training she received at the Columbus Art School (now the Columbus College of Art and Design), but also the traditional skills — papermaking, needlework — passed down to her by the elders of her family.

Robinson was a 2004 recipient of the prestigious MacArthur Fellowship, the so-called Genius Grant. The Columbus Museum of Art is developing a permanent center devoted to the study of her work.

Western Reserve PBS, in collaboration with the Akron Art Museum, has produced a documentary about Robinson that includes insightful interviews with the artist, who talks about the stories and experiences behind her works, as well as the teachers and students who created the Miller South project.

The program is available at http://www.westernreservepublicmedia.org and is being played continuously in the Akron museum's video box, along with a video on photographer Edward Weston.

''One's life does not begin with oneself,'' Robinson says at the beginning of her video. ''I stand on their shoulders, their stories, their gifts, and they allow me to continue the work.''


Dorothy Shinn writes about art and architecture for the Akron Beacon Journal. Send information to her at the Akron Beacon Journal, P.O. Box 640, Akron, OH 44309-0640 or dtgshinn@neo.rr.com.

Taken From Ohio.com

Friday, February 13, 2009

A Compelling Choice For Home Decor - William Morris Tapestries

A Compelling Choice For Home Decor - William Morris Tapestries

During the Victorian era Morris tapestries were renowned for their quality and finish, and their attention to detail. Each design was meticulously woven and was a prefect blend of ancient art and modern technique. It is no surprise that even now, a century later, modern decorators are looking again at the Morris legacy for their modern décor aspirations.

Originally founded as Morris, Marshall, Faulkner & Co in 1861, Morris & Co were renowned for the design and production of very high quality decorative art. The range of works included textiles, tapestries and stained glass work, much of which still survives today.

Founded on the Pre-Raphaelite principle of authenticity, William Morris embraced an ideal that viewed modern art as mere mass production, with none of the verve and dynamism of earlier approaches, in particular Medieval art, which they believed retained more of the artist's original personality in the work, lending it a uniqueness lost in mass production.

Through an early love of poetry Morris soon taught himself printing and from that learned to weave and work a loom. It was the latter pursuit that would come to demonstrate Morris's talent at it's most impressive. His wall tapestries became his most famous creations.

It was Morris's ambition to breathe new life into the art and he achieved it. Morris's wall hangings and tapestries still remain an important influence on design today. His most famous works generally featured figures drew by Burne-Jones. Morris would design the background and the tapestry would be woven by Morris & Co.

One of the most intricate and beautiful creations from the company is the Tree of Life tapestry. Designed by Morris it demonstrates his talent with patterns and his awareness and appreciation of the use of color. Symbolising growth and continuous life, the Tree of Life wall hanging is still one Morris's most recognised works.

Morris & Co.'s most popular religious tapestry The Adoration of Magi was first produced in 1890. As well as being Morris's most ecclesiastical it was also the most complex. At least ten similar versions of the tapestry were woven between 1890-1907. Originally designed by Burne-Jones the tapestry depicts the Nativity scene.

The Quest for the Holy Grail, currently exhibited at the Birmingham Museum is one of the most well known works of Morris & Co. Like many of the others, the tapestry, which depicts the fascinating story of the search for the Holy Grail, was designed by Edward Burne-Jones. It is one of six wall hangings illustrating the story and was woven in 1895-96.

Possibly the most captivating and charming of Morris & Co.'s tapestries is the Honour the women. Designed by Marianne Stokes the hanging was inspired by a quotation from Friedrich von Schiller's 1796 poem "Wurde der Frauen" (Women's Worth), which appears in the upper border: "Honour the Women, they braid and weave heavenly roses into earthly life."

However all William Morris tapestries are designed along similar lines, with vivid colors, striking subject matter and exceptional attention to detail.

Tapestries are one of William Morris's most enduring legacies. By the mid-19th century wall tapestries had become just another mass produced item. Driven by the need to demonstrate the importance of the individual over the means of production Morris used tapestry and textile design to revitalize the central importance of creativity in art.

Its effect was not only felt during the Victorian era, but also well into the 20th century influencing many modern graphic designers to experiment in new areas of design. Morris's approach, to assume all aspects of a work were open to experiment, has become more commonplace, but was unusual for its day.

Morris was one of the most prolific artists of the 19th century. The works of William Morris are proof that real beauty can be timeless. As popular today as they were over a century ago, Morris's art has continued to inspire new generations of art lovers looking for something more striking for their home décor choices.

Angela Dawson-Field writes extensively on home decor and tapestry & wall hangings. She divides her time between family and The Tapestry House

Saturday, January 31, 2009

The Bayeux Tapestry

The Bayeux Tapestry

Because of William I of England's victory in the 1066 Battle of Hastings, he was known as William the Conqueror. His previous moniker was William the Bastard because he was an illegitimate child of Robert I, the Duke of Normandy.

He had two other brothers to his mother, Herleva, both of which from other fathers. He succeeded his father in 1035 at a young age of eight. King Henry I of France knighted William, who was then only 15-years-old.

From then, he became a formidable leader and a strong warrior. When he was 19-years-old, he had already successfully defended Normandy from invasion and rebellion. Even Henry I himself felt envious of William's power and tried to invade Normandy, but the attempts failed.

When England's Edward the Confessor died, William felt he was the rightful successor to his throne. For one, it was said the Edward had promised him the throne when he visited London in 1052.

Also, Harold was said to have pledged alliance to William when he came to Normandy in 1064, two years before the Battle of Hastings. Harold was knighted by William after they successfully defeated Brittany's Conan II. Feeling betrayed by the late Edward and the newly-crowned Harold, William, with a fleet of ships and a formidable armada, went to England to fight.

This account is clearly illustrated in the Bayeux Tapestry. In the last panels of the Bayeux Tapestry, it was shown that the Normans had the upper hand of the battle. The Normans, as illustrated in the tapestry, killed Harold's brothers.

It also showed Bishop Odo, William's half-brother, fighting along side William's armada. In a panel, William fell from his horse but was very much alive and still able to fight. He then raised his helmet and encouraged his men to continue fighting, after which it was shown that Harold was defeated.

There were at least three figures in the tapestry that illustrated how Harold died, making the cause of his death vague when using the Bayeux Tapestry as basis. On one scene, Harold had an arrow sticking out in his eye, while another figure ha Harold speared with a spear.

There was another figure with legs hacked off which was presumed to be Harold. Although it is not clear, how Harold died (either he died of any of these causes, or he experienced all three fates), what was clear was that William and the Normans had won.

While the last section of the Bayeux Tapestry was said to be lost, it is assumed that this missing section deals with the coronation of William after he made the English magnates submit to him.

The Bayeux Tapestry is a work-of-art and tells a historic event in 77 panels. These panels are woven into wall hangings for individual hanging in the home or schools, to educate the children. The original Bayeux tapestry is 230' long and 20" high.

Alex Hanson writes articles to help the artists and their crafts from around the world survive just a little bit better and is supportive of high quality decor for the home that might push some power to skilled workers offering artistic works-of-art.

Decor4u.com offers European Tapestries and other wall art such as The Bayeux Tapestry.

Wednesday, January 7, 2009

The Bayeux Tapestry - Controversy Rages On

The Bayeux Tapestry - Controversy Rages On

The practice of reproducing tapestry art for use in the home is becoming more popular by the year. The versatility of tapestry lends itself easily to use for a more substantial version of masterpieces. Among the many reproductions of famous artwork sometimes seen in living rooms are scenes from a work known as the Bayeux Tapestry.

The Bayeux Tapestry has been the source of much controversy over the centuries since the Norman Conquest. Strictly speaking, it's not a tapestry at all, but a series of embroidered panels stretching some 230 feet in length. It has long been held up as one of the most authentic historic accountings of William the Conqueror's invasion of Britain.

There is enough muddle over its commission, origin and authenticity to spur vigorous debate at many a dinner party or soiree. Portions of the 'tapestry' are well known enough to be easily recognizable, and the events that took place are clearly depicted. How accurate the portrayal is has oft been brought into question, however.

The Tapestry's Origin
The commission of the tapestry has alternately been assigned to various parties. Some attribute it to William's devoted wife Mathilde, who was said to have stitched it with her ladies in waiting. They point to one Aethelflaed, widow of Byrhtnoth, Earl of Essex who died in the Battle of Malden in 991. Aethelflaed commissioned a tapestry of her husband's last stand in honor of Byrhtnoth, and presented it to the Ely Cathedral.

A more plausible explanation perhaps is that William's half-brother, the Bishop Odo of Bayeux, directed that the tapestry be embroidered in England by Saxon nuns. Others maintain the work was done in Winchester itself. Certainly the tapestry is of the right length to surround the nave of the Bayeux Cathedral, and the stitching is comparable to premier English needle workers of the time.

The tapestry itself has several prominent scenes which have been reproduced for home interior use. Harold's preparations for the invasion is one, the launching of William's fleet to set sail for Britain and his subsequent landing comprise two more. The Battle of Hastings which concludes the existing tapestry is particularly favored as a reproduction.

Historical Accuracy In Doubt
Still more debate rages over the actual historical value of the tapestry, seeing as how it was commissioned by the victors and understandably can be expected to be slanted hard in their favor. There is no solid description of the Norman conquest from the invaded countrymen's point of view, and nearly all of the information we have of the event is gleaned from the tapestry itself.

The Normans maintain that William had received an oath of support from Harold, brother-in-law of Edward the Confessor, after William had rescued Harold from shipwreck. When Harold ascended to the throne of England upon Edward's death, William invaded citing Harold's breach of faith as the reason.

Historians differ in their acceptance of this version of events. The only collaboration of Harold's oath ever occurring is in a Norman account dating a full ten years after the invasion. This naturally falls under the same suspicion as it is likely the Normans would paint themselves in the best possible light despite the real facts of the matter.

Be that as it may, the panels showing Harold swearing allegiance and later being killed are among some of the most well known panels. The controversy lingers - The panel showing the Prince's death holds some ambiguity as to how he actually died.

Tradition holds that it was an arrow through the eye that took him out, but the embroidered words on the tapestry are ambiguous both in context and placement.

Tapestry Still Worth Consideration
Some things in the tapestry ring undeniably true; the appearance of Halley's comet is chronologically correct, and the castles of the time are depicted inside and out with what seems to be reasonable accuracy based on excavations of similar sites.

It is likely that there is as much truth as propaganda in the tapestry as a whole, much like many other historic documents written from one side's point of view.

When looking at the panels available as reproductions, you should decide which portion of the story you wish to concentrate on. Most of the research concerning the Norman conquest is based on the tapestry itself, so don't expect to find much more than general suppositions.

One thing you can count on is for the controversy to continue. Whatever the panel or panels you choose for your home, you can rest assured your selected portion of the Bayeux Tapestry will quickly become a conversation piece and a valuable, interesting addition to your home.

Copyright © The Tapestry House, all rights reserved.

Angela Dawson-Field writes on a number of subjects for the Tapestry House including the Bayeux Tapestry and other Medieval tapestry wall hangings