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Textiles
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Textiles titles on ABE Will open in a new window - prices in UK Pounds. |
| The history of the world can be read in textiles; the rise of civilizations and the fall of empires are woven into their warp and weft along with the great adventures of conquest, religion and trade. John Gillow/Bryan Sentance |
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The Paisley Pattern - the official illustrated history Valerie Reilly Richard Drew 1st 1987 The alluring beauty of the Paisley pattern has fascinated generations; the story of its Eastern origins, its evolution and dramatic impact on the world of fashion is explained in this fully illustrated history. Paisley Museum, which houses the largest collection of shawls in the world, has provided the illustrations and source material. Produced only in Kashmir and only from the underfleece of the capra-hir,ca goat, the precursors of the Paisley shawl were the desire of every eighteenth century lady of fashion. The Kashmiri originals — with their curious and distinct teardrop motif derived from the palm trees of Babylon - took up to 3 years to make and were extravagantly beautiful. They were also prohibitively expensive. Nineteenth century entrepreneurial spirit was not slow to exploit the possibilities of imitation. Paris, Vienna, Edinburgh, Norwich and Paisley fought fiercely and unscrupulously for the lucrative market. Superior piracy and plagiarism combined with determination and inventiveness to see Paisley triumph and the "big corks'; weavers and draw boys of Paisley make their own a pattern that endures to this day. Through a series of lavish illustrations The Paisley Pattern traces the metamorphoses of the Paisley design as it reacted to changes in culture, fashion and technology. From the first crude European copies of the Indian originals there was continuous progress towards more sophisticated and complicated designs. Looms evolved and experimentation with dyeing and spinning techniques produced richer colours and better yarns. Eventually over-elaboration lead to a fussiness of design which is decadent to the modern eye. For the town of Paisley fashion proved a fickle basis for prosperity. Over-dependent on one product the town was subject to periodic depressions and in 1842 the entire town went bankrupt. Although the fortunes of the industry revived to some extent subsequently, a terminal decline set in when the coming of the bustle made the Paisley plaids finally unfashionable. The Paisley pattern itself, however, is a survivor. In the nineteen-sixties it enjoyed a brief return to prominence in the ties and shirts of the Beatles’ generation and today it can be found on a variety of garments in any fashion store across the Western world. In her wide-ranging and lucid account of the Paisley pattern on its journey from the needle to the loom and from the east to the west Valerie Reilly fires the imagination and makes the reader yearn to acquire – by fair means or foul – “an imitation of the Indian”. 4to. Neat handwritten name and printed previous owner's name and address sticker to 1/2 title page, otherwise Fine+ in a Fine wrapper. 675 gms. £25.00 |
The
Art of African Textiles Colourful and complex, textiles form an important medium of artistic expression in twentieth-century Africa, yet most literature on the subject has until now dwelt upon the idea of the 'traditional' in African textiles, implying an essentially 'authentic, unchanging, pan-African process, as though the history of African textiles were a single narrative account. The reality of twentieth-century
African textiles is as complex and inter-woven as the textiles themselves.
This book reveals the new materials, images, technologies and demands
that have enriched textiles in Africa over the last 150 years. |
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Textile
Structures Helen Hutton B T Batsford 1st 1975 The term 'textile structures' covers anything created from a linear element—such as yarns composed of wool, cotton, rags—and includes the accepted methods of interlooping threads to produce a fabric mass. This book deals with knitting and crochet, knotting and macrame, weaving and wrapping and other related methods. By presenting the techniques and finished works of a wide variety of artists and students it is hoped to stimulate others into using creative methods and new materials to create their own imaginative structures. The skills described here are easily acquired and the equipment needed is basic: crochet hooks, knitting needles, an old picture frame or the forked branch of a tree. However, whether the end product is the result of inspired planning or a progression of creative steps, it is the design idea which is the important factor and this is the main theme of this evocative book. Helen Hutton is a freelance designer and has previously written books on weaving, mosaics and collage. 128 pages 40 line drawings 87 photographs 4to. Minor spotting to prelims and inside dustwrapper, otherwise VG+ in a VG+ wrapper. 550 gms. £10.00 |
| Collecting
Textiles Patricia Frost Millers 1st 2000 If you have inherited an old sampler or a piece of embroidery. you will now how beautiful and fascinating such textiles are, but do you now how much your piece is worth, or when and where it was made? If you are thinking of starting a collection, the questions can seem puzzling. How can you tell the difference between 17th-century and 9th centurysilks? Why is one piece of lace more collectable than another? How should you choose a collecting niche that is both accessible and affordable? Miller's Collecting Textiles gives you all the information you need to start your collection — whether you decide to base it on a particular period, a certain technique, or an area of textile production. With over 350 fully captioned photographs in full colour; and a straightforward and informative text, all the key collecting areas are covered: from English embroidery and lace to Oriental silks and velvets, from North American samplers and quilts to 20th-century printed cottons and scarves. With an emphasis on what is available and affordable, this is an invaluable guide to collecting textiles from all over the world. Each collecting area is given detailed coverage — what to look foi. what to avoid, suggestions on how to specialize and so on. Items of all values are included, with a few rare examples to give context, and many more at accessible prices. A realistic price range is gven for every item, along with information on its condition.There is also a section explaining the different techniques, with all specialist terms defined, and a bibliography, together with information on how to display and care for your collection and where to buy. 4to. Very, very minor bumps to the boards, otherwise VG++ in a VG++ wrapper. 750 gms. £12.00 |
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Ancient
Peruvian Textiles F Anton Thames & Hudson 1st 1987 More ancient textiles have been found in Peru than anywhere else in the world. The fabrics survived because of their lavish use in Indian burials: as much yarn was used for the wrappings of a single mummy as for the clothing of several hundred living people. The textiles, which date from c. 1200 BC to the end of the Inca Empire shortly before 1500 AD, display nearly every weaving technique known. Many are masterpieces of stylization, reducing organic forms to amazingly beautiful arrangements of shapes and colors; and the mysterious intensity of their imagery — gods, birds, feline deities and demons — haunts the modern imagination. Many of the best pieces come from grave robberies and have lost all context, but it is now increasingly possible to understand the relation of the textiles to society, myth and beliefs about the afterlife. In the absence of written documents our only access to the Indians' ideas is through their imagery, and it is with this that Ferdinand Anton is concerned. The painted, embroidered and woven motifs on fabrics are interpreted with reference to sculpture, ceramics and metalwork, while dozens of analytical drawings break down the complex patterns into their component parts. The photographs, over 100 of them in color, superbly reflect the full range of ancient Peruvian textiles, clearly showing the varied techniques, the great diversity of ornamentation, and the brilliant coloring of these astonishing creations which, taken together, can re-create for us three millennia of the ancient Indians' art and way of life. Large 4to. VG++ in a VG++ wrapper. 1695 gms. £110.00 |
Textile Crafts Constance Howard (ed) Pitman 1st 1978 Constance Howard is widely known on both sides of the Atlantic as a leading authority on embroidery and textile design. For this book, she has brought together a team of experts from Britain and the United States to provide truly practical, illustrated introductions to the crafts in which they specialize. The result is nine handbooks in one volume, each containing all the basic information needed to practise that particular craft (whether the reader is a beginner or not) and to stimulate interest in the related crafts that form the rest of the book. Although different in concept and technique, each of these crafts is concerned with the manipulation of threads. The success of any textile craft project depends on the thoughtful use of yarns as well as techniques, and the character of a yarn is related to the fibres from which it is spun. The first chapter of the book is therefore Margaret Seagroatt's Spinning, in which she describes the nature of the various fibres and how to spin and dye them. Constance Howard's own chapter, Embroidery, covers all aspects of hand and machine stitchery, fabric manipulation, and the consideration of design for embroidery projects. Peter Collingwood's Sprang (plaiting on stretched threads) explains in detail the techniques of inter-linked, interlaced, intertwined and circular warp sprang. Enid Russ's Weaving deals with tapestry weaving as well as the intricacies of work on the modern loom and the making of balanced weaves. In Crochet and Knitting Eve de Negri examines not only the basic principles of each craft but also the advanced techniques and non-traditional ideas which have given both their `new look'. In Bobbin Lace Dorothea Nield makes it clear that the use of unusual yarns and a freer approach to techniques enable the lacemaker to reconsider traditional methods and effects, and to interpret them in new and exciting ways. Macrame, too, can be freer with many more varieties of thread available than the light lacy threads used by the Victorians; Zoe de Negri explains basic macrame techniques as well as encouraging an individual approach to projects. The techniques of Coiled Basketry are simple, incorporating stitches that relate to embroidery and to weaving, and using stitching fibres that are common to all textile crafts; Helen Richards's chapter explores the creative use of materials and methods, and shows how to make a functional container also a work of art. In its coverage of a wide variety of crafts whose material is thread and fabric, this book is unique. It is an invaluable work of practical instruction, inspiration and reference. Every chapter is illustrated with specially taken photographs (many in full colour) of striking finished work, and there are over 150 diagrams and detailed working drawings, all executed by the same artist, of stitches and techniques. 4to. Mint in a Fine wrapper. 1060 gms. £12.50 |
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