In the early 1980s, the American artist Judy Chicago teamed with more than 53 needleworkers to depict a subject matter that could not be more universal: childbirth.
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Painters, poets, needleworkers, and sculptors account for 10 of the 12 women featured (Georgiana Burne-Jones, Fanny Cornforth, Annie Miller, Evelyn de Morgan, Fanny Eaton, Effie Gray Millais, Jane Morris, Christina Rossetti, Elizabeth Siddal, Marie Spartali Stillman, Joanna Wells, and Maria Zambaco), but they are presented here as models and wives first.
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Jensen, Joan M. and Sue Davidson, eds. A Needle, A Bobbin, A Strike: Women Needleworkers in America. Philadelphia: Temple University Press, 1984: page 63. In 1856 Stewart decided to expand his merchandise to include furs, "the best and most natural skins", as customers were told.
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In 1909, at the age of fifteen, she organized the Baltimore buttonhole makers into Local 170 of the United Garment Workers of America.Jensen, Joan M. and Sue Davidson, eds. A Needle, A Bobbin, A Strike: Women Needleworkers in America. Philadelphia: Temple University Press, 1984: page 197.
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Items typically include cushions and Christmas decorations. Following a grant from the National Lottery, Fine Cell Work set up a training workshop in London to help ex- offenders develop skills and further qualifications on release from prison. Needleworkers are given an apprenticeship in all aspects of textile production and distribution and work closely with experienced mentors. The programme is known as Open the Gate and takes place at the charity's hub in south London.
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Lavan Chitward is the child of Nelda and Archer Chitward, both prominent members of the Needleworkers' and Cloth Merchants' Guilds (respectively). As a result of their skills, they are invited to move from their rural home in Alderscroft to the capital of Haven, in Valdemar. Samael, Lavan's older brother, is already apprenticed to one of their father's colleagues. Macy and Feodor, Lavan's younger siblings, are also looking to apprentice into their parents' guild.
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In August 1932 the needleworkers went on strike, to request higher salaries for their work. Police, who were called to protect employer properties, killed and wounded some strikers who stoned the workshop of Arcelay."Home to work: motherhood and the politics of industrial homework in the ..."; By Eileen Boris; page 233; Publisher: Cambridge University Press; Puerto Rican musician Mon Rivera wrote a song titled Alo, Quien Llama? (Hello, Who's Calling?), sometimes also referred to as Que Será.
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Women may also have used designs from printed fabric for their crewel work. From surviving Colonial crewelwork and written references such as letters, it is known that most projects were embroidered on linen. However, the preferred background fabrics were fustian (a twill fabric that generally had a linen warp with a cotton weft, though may have been all cotton) or dimity (which has fine vertical ribs and resembles fine corduroy). The range of wool colors that needleworkers in colonial New England could call upon were rather limited.
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Published 9 May 2006.Wilson, David M.: The Bayeux Tapestry, Thames and Hudson, 1985, pp. 201–27 Howard B. Clarke has proposed that the designer of the tapestry was Scolland, the abbot of St Augustine's Abbey in Canterbury, because of his previous position as head of the scriptorium at Mont Saint-Michel (famed for its illumination), his travels to Trajan's Column, and his connections to Wadard and Vital, two individuals identified in the tapestry. The actual physical work of stitching was most likely undertaken by female needleworkers.
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Around 1912, as a curate in a parish in Laeken, on the outskirts of Brussels, Joseph Cardijn, who dedicated his ministry to aid the working class, founded for the young seamstresses a branch of the Needleworkers' Trade Union."Canon Joseph Cardijn", Catholic Authors In 1919 he started the "Young Trade Unionists". In 1924, the name of the organization was changed to "Jeunesse Ouvrière Chrétienne", the Young Christian Workers. JOC grew rapidly throughout the world; its members were often known as "Jocists" (the movement was often called "Jocism").
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Also portrayed are the Grand Prince of Moscow, Vasily Dimitrievich and his wife Sophia Vitovtovna (labeled in Russian), as well as the future emperor John VIII Palaeologus and his wife Anna Vasilyevna (named in Greek). Beside John is Photius, Metropolitan of Kiev and all Rus'. The sakkos also contains the earliest known depiction of Ss. Anthony, John, and Eustathius, the Three Martyrs of Vilnius. Needleworkers most likely embroidered the sakkos between the time of John's marriage in 1416 and Anna Vasilyevna's death in 1418.
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This period of time is when pot-holders blossomed into the useful, diverse art form that is recognized by needleworkers today. Common types of pot-holder making at home include quilting, knitting, and crocheting. These techniques use different mediums such as yarn or scraps of fabric in order to create pot-holders of all different colors and patterns. Many "DIY" tutorials teach how to make a simple square pot-holder, but there are also many that teach a variety of shapes, sizes, and designs, including little houses or flowers.
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The seven panels of this wall hanging, in alternating crimson and emerald velvet, were sewn not by women, as was typical of Moroccan embroidery, but by professional male needleworkers. That is because this haiti represents the most prestigious and complicated form of textile. The men were under close supervision by the leatherworkers' guild, since the work was so complex it required custom-made leather templates. They stitched around the templates with a special technique known as underside couching that kept the precious gold thread from being wasted on the unseen underside.
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Librarian Gilbert Witte has catalogued LaCroix's Old and New Designs craft series, which was published by the St. Louis Fancy Work Co. in the early decades of the 20th century. First edition copies are now part of the collection of the Tennyson Library of Crochet & Related Arts, part of the University of Illinois Rare Books & Manuscripts Library. Quilt historian Barbara Brackman writes that LaCroix's 1915 book of quilt patterns Martha Washington Patchwork Quilt Book 'captured the cultural confusion American needleworkers faced' and was one of the few that 'attempted a new recipe for the American melting pot'. While LaCroix's name is credited on the book's cover, the Quilt Index, a joint project of partners including the Library of Congress American Folklife Center, attribute the quilt designs to Ann Conway, also of St. Louis, with LaCroix as editor.
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