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| '''Awards Received'''
| | Etan Moira MacNessa |
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| Award of Arms (An Tir) By: Thorin Njalsson, Angharad Drakenhefd o Fynydd Blaena May 19, 1990 (AS XXV)
| | [https://drive.google.com/file/d/12YN-k4mjhELc69U7t-tey5jpJhIrA6g0/view?usp=sharing Etan Moira MacNessa] |
| Jambe de Lion (An Tir) By: Gunnarr Brunwulf, Gabriell MacBain May 16, 1992 (AS XXVII)
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| Magistrae Ithra (Ithra) Nov 15, 1992 (AS XXVII)
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| Seagull (Seagirt) By: None listed for this time period Aug 5, 1995 (AS XXX)
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| Baron's Favor (Dragon's Mist) By: Finn Grim Aug 18, 2017 (AS LII)
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| Princess' Talon of Favor (Tir Righ) By: Nadezhda Toranova Feb 17, 2018 (AS LII)
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| Prince's Favor (Tir Righ) By: William MacBrennan Feb 17, 2018 (AS LII)
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| Etoile d'Argent (Tir Righ) By: William MacBrennan, Nadezhda Toranova Feb 17, 2018 (AS LII)
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| '''Offices / Retinue''' | | '''Athenaeum'''- |
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| Joint Arts Mistress Seagirt -1989-1992
| | [https://drive.google.com/file/d/11ip1yyckUuacBvAo97rJvUAt3nsTfivm/view?usp=drivesdk Athenaeum Display #1] |
| Shire waterbearer Seagirt 1989 -1991
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| Co-autocrat for the feast of the Immaculate Confection, Seagirt 1991
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| Various judging for Principality and Kingdom A&S competitions
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| Lady in Waiting – Princess Nadezhada Toranove, Tir Righ
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| '''Classes'''
| | [https://drive.google.com/file/d/11j_fSVY4zx68a1QH63rbsNrufgpzZyV7/view?usp=drivesdk Athenaeum Display #2] |
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| Classes
| | [https://drive.google.com/file/d/11lmHq9RV_B3RnuogKXML6gyIkkzUcpqf/view?usp=drivesdk Athenaeum Display #3] |
| Basic Embroidery,
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| blackwork,
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| Bayeaux tapestry stitch,
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| Introduction to tapestry weaving,
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| Colleguium class on the History of Gothic tapestry
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| '''Works''' | | '''Awards Received''' |
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| | Award of Arms (AS XXV) <br /> |
| | Jambe de Lion (AS XXVII) <br /> |
| | Magistrae Ithra (AS XXVII) <br /> |
| | Seagull (Seagirt) (AS XXX) <br /> |
| | Baron's Favor (Dragon's Mist) (AS LII) <br /> |
| | Princess' Talon of Favor (Tir Righ) (AS LII) <br /> |
| | Prince's Favor (Tir Righ) (AS LII) <br /> |
| | Etoile d'Argent (Tir Righ) (AS LII) <br /> |
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| ''1989'' – | | '''Offices / Retinue Held''' |
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| Embroider 2 panels of the Seagirt Tapestry
| | Joint Arts Mistress Seagirt -1989-1992 <br /> |
| | Shire waterbearer Seagirt 1989 -1991 <br /> |
| | Co-autocrat for the feast of the Immaculate Confection, Seagirt 1991 <br /> |
| | Various judging for Principality and Kingdom A&S competitions <br /> |
| | Lady in Waiting – Princess Nadezhada Toranove, Tir Righ <br /> |
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| Embroider and make yellow dress, large embroidery border based on an early sword scabbard
| | '''Classes Taught''' |
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| ''1992'' –
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| design and embroider Eduardo’s peacock cloak
| | blackwork, |
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| Create a complete early Celtic outfit for Eduardo, including weave trim and appleque
| | Bayeaux tapestry stitch, |
| celtic knotwork border
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| Blackwork bands for various people
| | Introduction to tapestry weaving, |
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| ''2017'' –
| | Colleguium class on the History of Gothic tapestry |
| print, embroider outline in gold, and hand sew blue Norman tunic for William Mac Brennan
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| Norman socks for both William MacBrennan and Finn Grimm – print, embroider and sew
| | '''Tapestry Works''' |
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| ''2018'' -
| | [https://drive.google.com/file/d/10lJXc7Gdi_hYwiqOa-UwnjJziq_L6W42/view?usp=drivesdk Tapestry Database] |
| Design and execute the ducal cloak for Duke Savric
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| Print and embroider border of Celtic beast from the Chapel at Cashel, hand sew the tunic
| | [https://drive.google.com/file/d/10hQf6yQdJXJ9a01m7Kpi3eqZtp2ha6im/view?usp=drivesdk Database Bibliography] |
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| Two Mille fleur tapestries based on the Unicorn tapestry, one my own design
| | [https://drive.google.com/file/d/10iDUYrHqvi1IsRENRzWEIznXb7fkRmRJ/view?usp=drivesdk Database Timeline] |
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| King Arthur Tapestry
| | [https://drive.google.com/file/d/11bQU3UgFJh49qu4ldfb0TYiUbmHWEAXU/view?usp=drivesdk Two Mille fleur tapestries] |
| | Based on the Unicorn tapestry,One made to represent the flowers on the Tapestry, one my own design, using period woodcuts and styles to match the Unicorn Tapestry |
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| Sampling for the Baldishol tapestry, and Norse beast using the techniques from the Baldishol tapestry
| | [https://drive.google.com/file/d/116INJ-EcyG-rD_BB48vA_r9icwLX1vUn/view?usp=sharing Two Mille Fleur in Progress] |
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| '''Tapestry Work'''
| | [https://drive.google.com/file/d/11RbRm4-AS62NY0T7JxzHSvZPyyEu1vxM/view?usp=sharing Close up of Columbine] |
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| ''Database'' -
| | [https://drive.google.com/file/d/11_DgMvQuAPCwZIZdRfwntYieedTgxJVV/view?usp=sharing Fragment of Portrait Tapestry] |
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| ''Database Bibliography'' -
| | [https://drive.google.com/file/d/11r8U-olPsNuZa1X4yiAiESeCVJuHAHDC/view?usp=sharing Fragment of Baldishol c. 1150] |
| Tapestry: Craft & Art, Maurice Pianzola, Coffinet, Julien; van Nostrand Reinhold Company, (1971)
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| Masterpieces of Tapestry; Metropolitan Museum of Art (1973)
| | [https://drive.google.com/file/d/113VC_eJ1G3ggPddj1HYnzotA19-1gwQf/view?usp=sharing Tapestry Fragment] |
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| Wrought in Gold & Silk, Quye, Anita; Halleett, Kathryn; Carretero, Concha Herero, (2009)
| | [https://drive.google.com/file/d/10vErAeSXMorjHKzMyHCjtr3P9EAB1qGF/view?usp=sharing Woman's Face in Progress] |
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| This book has the most information on restoration and dyes
| | [https://drive.google.com/file/d/10xtNXJNKuuaXWbM0Su4dKBz5nZZWe8iB/view?usp=sharing Face Fragment] |
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| The Lost Tapestries of the City of Ladies, Bell, Susan Groag, University of California Press
| | [https://drive.google.com/file/d/11ImpfufugQJ2tGizTK6XA-07czFp1YPL/view?usp=sharing God in Majesty, From Apocalypse at Angers] |
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| World Tapestry , Jarry, Madeleine, G.P. Putnam's Sons, New York, (1968)
| | [https://drive.google.com/file/d/11Kct0nqnxwBzjMhJKldcr4gITs2AKIHg/view?usp=sharing Fragments to Explain differences in EPI] |
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| Tapestry in the Renaissance: Art and Magnificence, Metropolitan Museum of Art
| | [https://drive.google.com/file/d/11_4ONLtHD4OXKTgfOA2S4stPQol9qzVh/view?usp=sharing Face Fragment] |
| Swiss Medieval Tapestries, Gysin, Frederic
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| A good look at Tapestries that are not usually included in other books
| | [https://drive.google.com/file/d/124UdHWrIXAmI5hTdJN_iYfTRhchBnk4M/view?usp=sharing Face Fragment] |
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| Five Centuries of Tapestry, Bennett, Anna Grey, Fine Arts Museum of San Francisco
| | [https://drive.google.com/file/d/121zHYJOeFTo8RpMF4-k_3A7pYK-2Td-C/view?usp=sharing Face Fragment] |
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| The Tapestry Collection: Medieval and Renaissance, Digby, G.F. Wingfield, the V&A Museum
| | [https://drive.google.com/file/d/1235sIOcK-Eqtb-6lf1jdXTE0-v1blNB4/view?usp=sharing Face Fragment] |
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| The Art of Tapestry, Various texts, Thames & Hudson, (1964)
| | [https://drive.google.com/file/d/12LP5TRi5rkwb3zWM9sN1L5lMmf98x4QU/view?usp=sharing Tapestry Dyed with Madder, Cutch and Weld] |
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| The Lady and the Unicorn, Sutherland Lyall, Parkstone Limited, London, (2000)
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| The Unicorn Tapestries at the Metropolitan Museum of Art, Adolfo Salvatore Cavallo; Yale University Press, New Haven & London, (1998)
| | King Arthur Tapestry |
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| Tapestries from the Renaissance to the 19th Century, Mercedes Viale; Cassell London (1984)
| | Sampling for the Baldishol tapestry, and Norse beast using the techniques from the Baldishol tapestry |
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| Tapestry of the Apocalypse of Angers: Front & Back, Francis Muel; Images de Patrimoine (1996)
| | '''Other Works''' |
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| Les Tres Riches Heures du Duc de Berry, Edmond Pognon: Minerva (1979)
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| French Tapestry, Roger-Armand Weigert, Charles t. Branford Company, Newton 59, Mass. (1956)
| | ''1989'' – |
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| History of Tapestry, W. G. Tompson; Hodder and Stoughton
| | Embroider 2 panels of the Seagirt Tapestry |
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| Tapestry, Barty Phillips; Phaidon
| | Embroider and make yellow dress, large embroidery border based on an early sword scabbard |
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| Tapestry Mirror of History, F.P. Thompson, Crown
| | ''1992'' – |
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| Great Tapestries: The Web of History from the 12th to the 20th Century, Edited by Joseph Jobe (with Verlet, Floursone, etc.); Edita Lusagnne
| | design and embroider Eduardo’s peacock cloak |
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| The Conservation of Tapestries & Embroideries, The Getty Conservation Institute
| | Create a complete early Celtic outfit for Eduardo, including weave trim and appleque |
| | celtic knotwork border |
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| Proceeding of meetings at the Institute Royal du Patrimoine Artistuwis, Brussels, Belgium, September 1987.
| | Blackwork bands for various people |
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| ''Database Timeline'' - | | ''2015'' - |
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| Date Information/tapestry Source
| | [https://drive.google.com/file/d/127RSJDBJkfzQQZ1lO_CBTASxp_zeG7cJ/view?usp=sharing Embroidery] |
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| 1066 The Normans invade England
| | ''2016'' - Card Weaving from Finnish book in Wool |
| | [https://drive.google.com/file/d/12B6Ih-7CnvtfDP17Bd72TPgyEIOPndWe/view?usp=sharing Card Weaving] |
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| 1075 Bayeux Tapestry embroidered (approximate date)
| | ''2017'' – |
| | print, embroider outline in gold, and hand sew blue Norman tunic for William Mac Brennan |
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| 1095/99 The First Crusade
| | [https://drive.google.com/file/d/12NdmM0pu4kr5NpN-A7UxEndN6n_tt89_/view?usp=sharing Close up of Neckline] |
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| 1100 St. Gereon Tapestry, (approximate date) The Tapestry Collection
| | Norman socks for both William MacBrennan and Finn Grimm – print, embroider and sew |
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| 1189/92 The Third Crusade, sack of Constantinople
| | [https://drive.google.com/file/d/12XkpFxotKofkCV-1nzJXmr_bqJJK4TkW/view?usp=sharing Close up of Tops] |
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| 1200/30 The Months Tapestry probably created, stylistically similar to the Bayeux Tapestry
| | [https://drive.google.com/file/d/12WNgRj9YobqfysXe_XZDzQji-U-2LDP7/view?usp=sharing Socks] |
| Gothic tapestry originally used 15 to 20 colours, 13 -15 epi Art of Tapestry
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| 1260 Livres Des Métiers records the rules of the "Saracen" weaver. Tapestry: Craft & Art
| | ''2018'' - |
| 1260 Seventh Crusade Tapestry: Craft & Art
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| 1290 Parisian law forbade pregnant women to work on horizontal looms (p70) The Lost Tapestries
| | Design and execute the ducal cloak for Duke Savric |
| | [https://drive.google.com/file/d/11icixdnSOpiks2q0iM2FjOytkgHAJBn1/view?usp=sharing Embroidered Trim Around Hem] |
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| 1300's Arras weavers start to use silk, metal threads and finer wool, the fine wool becomes
| | [https://drive.google.com/file/d/11c5HS5f3g397j9Hq7AE1rcD4jnvH-IFq/view?usp=sharing Embroidered Front] |
| known as Arras thread The Art of Tapestry
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| 1313 The text refers to Arras as high warp work World Tapestry
| | Print and embroider border of Celtic beast from the Chapel at Cashel, hand sew the tunic |
| Wrought in Gold & Silk
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| 1352 Arras weavers settle in Tournai
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| 1371 Jean de Bondolf (Henequin of Bruges), a Flemish artist, working for France and Flanders,
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| painter and Valet de Chamber for the King is commissioned to create the Apocalypse of
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| Angers Tapestry: Craft & Art
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| 1375 Richard II King of England
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| 1377 only 15 colours of yarn were used (WT)
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| 1379 Jehanne Aghehe de Londres worked in Arras in 1379 (p70),
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| Adoration of the Magi, convent woven, tiny nun weaving placed in border The Lost Tapestries
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| 1337/80 Charles VI, King of France Art of Tapestry
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| 1342-1404 Phillip the Bold, Burgundy, a major purchaser of tapestry Wrought in Gold & Silk
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| 1387 The Battle of Roosebecke was so huge it had to be cut into 3 pieces World Tapestry
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| 1398 Tournai Weavers rules established Tapestry: Craft & Art
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| 1402 Life of Saint Piat, for Tournai Cathedral, contained an unidentified synthetic dye Wrought in Gold & Silk
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| 1408 Low warp tapestry, used thick threads, and a grassy green background Art of Tapestry
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| 1408/27 Netherlandish weavers in Venice, Niccolò de Pietro, The Crucifixion and the Lamentation Tapestry in the
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| Renaissance
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| 1412 Paris weaves move to Lille World Tapestry
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| 1415 French defeat at Agincourt
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| 1418 Parisian Weavers dispersed mostly due to the 100 years war
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| 1396-1467 Phillip the Good, Burgundy, most powerful of the 15th century rulers The Art of Tapestry
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| 1419 Paris weaves move to Mantua World Tapestry
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| 1420 Noble Couple, Arras, uses the same cartoon as used in a previous tapestry,
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| but reversed and some figures deleted Masterpieces of
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| Tapestry
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| 1423/67 Arras listed 59 tapestry weavers, 2 were women (p 70) The Lost Tapestries
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| 1422 Paris Guilds decimated (100 years war and English conquest of Paris.) World Tapestry
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| 1423/67 59 master tapestry weavers registered as living in Arras.
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| Arras decline is caused by customs regulations and political events (war) World Tapestry
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| 1425/50 Jehan Walois, came from Hardwich, Devonshire Hunting Tapestries (4 pieces) The Tapestry Collection
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| 1435/40 Lady Holding a Falcon, same cartoon as 51 &52 clothing styles later date Masterpieces of
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| Tapestry
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| 1449 Philip le Bon, Duke of Burgundy, influenced the style in Arras which was different
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| from the French styles.
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| The painters Guillaume au Vaissel & Baudoin de Balleul (Arras style) The art of Tapestry
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| 1450/93 Pasquier Grenier, from artisan, to middleman, to merchant World Tapestry
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| 1450s Wild Men with Animals, Swiss The Tapestry Collection
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| 1452 Statues of the Brussels weavers, end of 100 years war, Leonardo born Tapestry: Craft & Art
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| 1455 Paris weavers move to Rome World Tapestry
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| 1459/75 Pasquer Grenier, Tournai, his workshop is very busy, The Story of Alexander
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| The Knight of the Swan, The Story of Esther, The Destruction of Troy, Confirmation
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| (from the 7 Sacraments) World Tapestry +
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| The Art of Tapestry
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| 1467/77 Charles the Bold of Burgundy, son of Phillip the Good Wrought in Gold & Silk
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| 1469 Charles the Bold of Burgundy has a complete inventory taken of his tapestries World Tapestry
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| 1460/75 Conrad & Henrie Vulcop, designers of the Trojan War, many copies woven,
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| pieces in a number of museums Masterpieces of
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| Tapestry
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| 1470 White linen thread, embroidered in places, Basle Swiss Medieval
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| Tapestries
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| 1476 Brussels painters complain that weavers are using cartoons not designed by painters, Tapestry: Craft & Art
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| the weavers reply that they have always done so. An agreement follows,
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| first step towards to control of tapestry by painters.
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| 1477/82 Mary of Burgundy, an influential buyer Wrought in Gold & Silk
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| 1483 Raphael born, Charles VII King of France, Richard III King of England
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| Wrought in Gold & Silk
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| 1477 Tournai no longer weaves for the Burgundian court, but still weaving. World Tapestry
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| 1477 Louis XI (France) lays siege to Arras but the looms stay active until 1528
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| 1480/1530 Margaret of Austria, rules the low countries Wrought in Gold & Silk
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| 1490s There is a lot of info as to history of ownership in met book of the Lady with the Unicorn Masterpieces of
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| Tapestry
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| 1483 Birth of Raphael, Richard III King of England, Charles VIII King of France
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| 1485 The Virgin in Glory, an example of a tapestry directly inspired by a painting Tapestry: Craft & Art
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| 1480/90 Netherlands, The Hunt of the Unicorn Masterpieces of
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| Tapestry
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| 1492 Medici at Florence
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| 1490(?) Nobleman presenting a Heron to a Lady, a rare pink background, mille fleur Masterpieces of
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| Tapestry
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| 1490 The Search After Truth, cotton was used for the embroidered faces, German The Tapestry Collection
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| 1500 Francois I King of France, Charles V Emperor, Durier, Holbein Cranach
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| 1500 by the end of the fifteenth Century, Arras fading and Bruges, Middleburg, Lille and
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| Tournai(p52) more info p 50. The fulfillment of the Prophesies at the Birth of Christ The Lost Tapestries
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| 1500s Arnold Poissonier, one of the greatest tapestry weavers, Gypsies at a Chateau Gate, Tournai Masterpieces of
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| Tapestry
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| 1505/58 Mary of Austria, daughter of Phillip the Handsome, & Joanna of Castile, governed the
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| Low Countries, from 1526 after the death of her husband Juan II of Hungary dies.
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| Flanders period of greatest artistic splendor. Wrought in Gold & Silk
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| 1508/1515 Tapestry with Arms of Louise of Savoy-Angouleme shows the introduction of
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| renaissance style into France. Masterpieces of
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| Tapestry
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| 1507/30 Margaret of Austria, rules the low countries Wrought in Gold & Silk
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| 1515 The use of dyer's greenweed, logwood, purpurin, this book has a lot of information on dyes Wrought in Gold & Silk
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| 1520 old fustic, logwood, tannin, Mexican cochineal, Wrought in Gold & Silk
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| 1526 Brussels becomes the weaving center of the best and highest quality tapestries in
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| the Southern Low countries. Wrought in Gold & Silk
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| 1528 Brussels magistrate makes tapestry marks compulsory, Luther preaches reform. Tapestry: Craft & Art
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| 1535/81 Willem de Pannemaker, son of Pieter de Pannemaker, a weaver of the court of Mauguerite
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| of Austria, was seen to embody the quality of Brussels tapestry weaving at it's peak. Wrought in Gold & Silk
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| 1544 Edict which makes all workshops to adopt a mark of the city and workshop,
| | ''Multiple Years'' - |
| to avoid frauds and to guarantee quality Wrought in Gold & Silk
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| 1547 Edict regulating the commerce and production Bruges Wrought in Gold & Silk
| | Card-weaving |
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| 1551 Foundation of the Atelier de la Trinite in Paris by Henry II, Paris Tapestry: Craft & Art
| | [https://drive.google.com/file/d/1217Hzs00caWZ1X03U7fGmeOjBBzwcWlx/view?usp=sharing Sample Card Weaving ] |
| 1588 Sheldon Looms, English established The Tapestry Collection
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| 1619 Foundation of the Mortlake factory in England, James I Tapestry: Craft & Art
| | [[Category:People]] |