The man's mother, a tiny 93-year-old woman, sat slumped amid a chaos of bedcovers.
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I read under my bedcovers with a flashlight until the morning warbling of the forest birds sounded.
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Like the clay balls, each bottari, which was made from traditional bedcovers and contained household objects, became a single unit of cohesiveness and stability.
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The bedcovers that once upon a time every girl made for her future life are today too valuable, and too labor intensive, to have a commercial market.
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Fleabag has a flashback to sitting in bed, watching President Barack Obama give a speech, and putting her hand underneath the bedcovers so she can pleasure herself.
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He floated up the walkway and in through the front door, and finding Dorothy upstairs, shaking out the bedcovers, he hugged her from behind and made her topple over.
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Her sewing skills have also come in handy: In the museum's upstairs bedrooms, she made new bedcovers, hangings and drapes, researching historically accurate fabrics before taking measurements, making the patterns and sewing them.
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And that's why aged 210 and 214, they stole back their own passports, hid their abayas under the bedcovers, snuck out of their holiday home and boarded a flight from Colombo to Melbourne, via Hong Kong.
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And on this loom, Susanna made everything the family needed, from bedcovers, blankets and towels to the wool textiles laid atop wood chests and the saddlebags slung over the backs of donkeys or men to transport things.
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When he entered Columbia College on a full scholarship, a neighbor, Frieda Urey, the wife of the Nobel Prize-winning Columbia chemist Harold Urey, was kind enough to make him a matching set of curtains and bedcovers to take along.
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The moment the temperature rises to a level where I can sleep on top of the bedcovers and drink a pint outside without spilling half of it on the road due to shivering like a dog on the bus, my listening habits take a turn down an even more divisive road than usual.
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Here, a long shelf holds boxes of textile fragments arranged for their use in classes taught at Philadelphia College of Textiles and Science (now Philadelphia University); 26 wool and linen bedcovers and bed cases from the late 18th and early 19th centuries adorn an entire wall; numerous metal display cases, designed by the artist to look like canopy beds, are filled with commonplace books (collections of literary quotations or occasional thoughts), fabric swatch books, lace samplers, thread catalogues, dolls, needles, and weaving shuttles; and two shelves are lined with pages of quotes sourced by the artist through a Tumblr page.
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She hand sewed and knitted clothing and accessories for her family, embroidered linen and bedcovers, and created at least thirteen quilts during her lifetime.
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When Zanfino gets home, she is fooled into thinking Mickey under the bedcovers is her son, but Mickey gives himself away by automatically answering her "good night".
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19th-century quilters continued this tradition adding their own twists, following patterns printed in ladies' magazines, copied from a friend, or designed on their own. Occasionally women also stenciled, painted and embroidered fabrics to imitate elaborate quilt or coverlet patterns. Other bedcovers were knitted or crocheted in elegant patterns.
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Embroidered bed-rugs and blankets, coverlets, and quilts were a critical necessity in poorly heated early American homes. The making of bedcovers provided women with an important creative outlet and often served as the primary source of decoration in sparsely furnished 17th- and 18th-century homes. As America's economy grew in the 19th century, the increase in leisure time and the availability of inexpensive factory-woven cloth encouraged thousands of women to embroider, sew, and quilt bedcovers for their families and friends. Shelburne Museum was one of the first institutions to collect and exhibit American textiles which possess bold graphic patterns, clarity of line, intense colors, and the imaginative combinations of human figures, animals and vegetation which is often whimsical and out of scale.
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The "Arras works" were probably patterned bedcovers rather than tapestries. At the West Port the king was met by 32 burgesses of Edinburgh, whose names are recorded,Documents relative to the reception at Edinburgh of the Kings and Queens of Scotland: 1561–1650 (Edinburgh, 1822), p. 20. who carried a canopy made of purple velvet.
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The inventories of the Guicciardini family do not include a definitive reference to the quilts, but do mention "three quilted bedcovers". The V&A; quilt, according to its museum number (1391-1904), was acquired in 1904. The Bargello acquired their quilt in July 1927 from Count Paolo Guicciardini, to whose family it is believed the quilt had always belonged.
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When Emma finds a box of money under a bed, a bony old man pops up from the bedcovers and attacks her. The girls stab and bludgeon the old man multiple times before he finally dies. Intending to keep the loot to herself and seeing Emma as a liability for revealing their plan to her sister, Sophie kills Emma and runs home. There, the re-animated bodies of Emma and the old man appear and stab Sophie to death.
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The quilting tradition in Gee's Bend goes back beyond the 19th century perhaps influenced in part by patterned Native American textiles and African textiles. African-American women pieced together strips of cloth to make bedcovers. Throughout the post-bellum years and into the 20th century, Gee's Bend women made quilts to keep themselves and their children warm in unheated shacks that lacked running water, telephones and electricity. Along the way they developed a distinctive style, noted for its lively improvisations and geometric simplicity.
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It's usually found in combination with other types of stitches like cross stitch, buttonhole stitch and satin stitch, nowadays not only by hand but also by machine. Mirrorwork is very popular for cushion covers and bedcovers, purses and decorative hangings as well as in decorative borders in women's salwar-kameez and sari. Thousands of women from kutch (Gujarat) and sikar, churu (Rajasthan) are engaged in doing hand embroidery work like tie, mirror work, beads on fabric. There are various types of Chikan work: Taipchi, Bakhia, Phunda, Murri, Jaali, Hathkati, Pechni, Ghas Patti, and Chaana Patti.
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Weaving is used to make items such as serapes, bedcovers and overcoats, while knitting techniques are used to make sweaters, caps, gloves, stockings and more. The most traditional of these textiles are made from local wool, dyed, carded and spun by the craftsperson. However, this craft is dying out as the region becomes more industrialized and younger people go elsewhere to find work as the textile production pays too little. In the Otomi town of Temoaya, the making of oriental style knotted rugs was introduced in 1969 as an initiative of the Bank of Mexico.
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Now quite rare, these thick, heavy bedcovers were embroidered with handspun and dyed yarns on wool fabric to create a dense pile surface similar to that of an Oriental rug. Hand-woven blankets, treasured for their warmth and durability, often were embroidered with colorful handspun wool yarns. Women embroidered swirling vine, floral and shell patterns on plain blankets and filled squares of window-pane-checked blankets with stars and flowers. Single and double coverlets, hand-woven in bold, geometric patterns from the mid-eighteenth to mid-19th centuries, were considered more decorative than plain or plaid blankets.
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Pibiones fabric Sardinian craftswoman The pibiones or grain weaving technique is most commonly found in the central and eastern areas of Sardinia, Italy. This is a particular type of stitched relief, where the pattern is formed from the countless grains incorporated into the cloth during weaving. These are made by twisting the weft yarn around a needle which is arranged in a horizontal position on the loom; after the thread is beat into place, the needle is then pulled away, leaving behind a raised effect (grains). Pibiones are used to decorate traditional Sardinian linen bedcovers, historically woven by young Sardinian girls to be included in their dowry (corredo).
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Other notable buildings include Social Hall, once owned by relatives of Colonel Moseby, who practiced law there for a few years and met his wife, who was part of the Howardsville community at the time. During the 1760s, the landing became the site of a store established by the Scottish tobacco barons of Glasgow, who set up these trading posts all along the rivers of Virginia. The store sold goods to the planters in exchange for their tobacco crops and there was a large, secure warehouse built to house its valuable goods. Batteaux would work up and down the river bringing everything from iron pots to fine fabrics that the planters’ homes turned into dresses, bedcovers and curtains.
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The still-growing collection at the museum is remarkable in its size and quality. Over seven hundred quilts, coverlets, blankets, and bed-rugs from the 18th and 19th century illustrate the different types of bedcovers, the diversity of designs and fabrics, and the many methods of manufacture used by creative men and women. Although the collection predominantly represents New England and the northern states, it also includes examples from the southern and mid- western regions, as well as from such distinctive groups as the Amish, Pennsylvania Dutch, and native Hawaiians. Bed-rugs, a traditional northern European bedcover, were brought to America from northern England and widely used until the early 19th century.
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The cooperative today have fifty nine members representing fifty nine families, which totals about 160 people, only forty of which are men. This cooperative exists to avoid middlemen, selling more directly to the market for higher prices as well as promote efforts to preserve traditional designs and techniques using natural fibers and dyes. The group weaves elaborate huipils, blouses, skirts, rebozos, bedcovers, tablecloths and napkins, and works together to commercialize them. However, the most important item remains the huipil both for use by the Amuzgo women and by collectors. The Amuzgo have taken steps to have their weavings received a “denomination of origin” so that this style of weaving is only authentically produced in Amuzgo territory, similar to the denomination of origin afforded to Talavera pottery.
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