[h-cost] somewhat OT fabric question
Hello the list: I'm directing a production of Conor McPherson's The Seafarer, and one of the characters claims to be wearing a Versace jacket made of dogskin. He clarifies that it's a kind of fabric, and another character feels the sleeve and remarks on its softness. I'm sure McPherson doesn't mean houndstooth, although I did find a picture of a Versace tuxedo-style jacket supposedly in houndstooth but looking distinctly solid-black to me. Certainly the Broadway production, which McPherson directed, didn't have a character in a houndstooth-check jacket. Can't find an answer on the Internet. Does anyone know of a fabric with this name? Thank you for any help! --Ruth Anne Baumgartner scholar gypsy and amateur costumer ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
[h-cost] SFGate: 'Masters of Venice: Renaissance Painters': review
I saw this and thought that members in No. Calif. might be interested. -- This article was sent to you by someone who found it on SFGate. The original article can be found on SFGate.com here: http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2011/10/29/DDND1LN5N9.DTL - Saturday, October 29, 2011 (SF Chronicle) 'Masters of Venice: Renaissance Painters': review a class=email fn href=mailto:sw...@sfchronicle.com;Steven Winn, Special to The Chronicle/a In its early galleries, Masters of Venice, which opens today at the M.H. de Young Memorial Museum, lays down some deep, somber chords from the Italian Renaissance. Surrounded first by five portraits of imposing male figures dressed in black, the viewer steps into an alcove to find a small masterpiece by Mantegna. The chiseled martyr St. Sebastian, posed against a classical colonnade, suffers his multiple arrow piercings with a fixed, far-off gaze that seems to peer back toward some classical ideal of sacred content and form. Then, in the rooms of Giorgiones, Titians, Tintorettos and other 16th century Venetian painters that follow, light, color, sensuality and a sense of full-body immersion in the natural world break through like a sunrise, illuminating the landscape as if for the first time. What we call painting was invented by the Venetians, said Paul Cezanne. In its artful and instructive deployment of 50 paintings on loan from Vienna's Kunsthistorisches Museum, Masters of Venice makes the case for a consciousness-altering moment in art history that's every bit as dramatic as the one documented in the de Young's pair of Impressionist-era shows. Like those two exhibitions, as well as the recent Picasso retrospective, Masters of Venice came about because a European museum was undergoing renovations that made parts of its collection available for touring. The de Young has perfected the nimble art of turning someone else's temporary dilemma into a stream of high-profile and mutually rewarding shows here. Everybody wins, local art lovers most of all. Masters of Venice is not on the scale of the de Young's other blockbusters. Its 50 works (plus a clutch of prints from the Fine Arts Museum's own collection) compare with 100 and 127 in the two Impressionist shows and 150 Picassos. The Venetian paintings have plenty of room to breathe in their San Francisco installation. But no one's about to complain of being undernourished by this absorbing procession of masterly oil paintings. The Giorgiones alone would merit an excursion. In The Three Philosophers, the seated figure (possibly Pythagoras) sends his contemplating gaze swimming into a deep, velvety shadow that falls across the landscape. A fretwork of bare tree limbs and trunks renders palpable the mysterious calculations of his two companions. Two nearby portraits are as lovely and haunting as anything in the show. The meltingly warm eyes, becalmed self-possession and tender affect of Giorgione's Youth With Arrow collapse the centuries between subject and viewer. He's in the room with us. Portrait of a Young Woman (Laura) is more of an enticing mystery, with the sitter's rather stony expression set off by a sweep of translucent drapery across one bared breast and a flare of leaves standing at alert attention around her. Titian could do anything, it seemed, including painting like the German precisionist Lucas Cranach if he wanted to. Portrait of Johann Friedrich, Elector of Saxony proves it. But the prolific Titian may have answered his greatest calling as a visual storyteller, whether he was catching an assassin in the act (The Bravo); zeroing in on the suicidal, dagger-wielding Lucretia just as her husband comes darting in over her shoulder; or capturing the vanity and furtive compulsion of a collector in Portrait of Jacopo Strada. The three large Titians that feature female nudes are sure to get plenty of attention, as well they should. The wonder of these canvases, with their mythical subjects and expanses of flesh, is how different and powerful the artist's use of the female form could be. You can almost feel the ruddy flush of his Venus as she turns into an open-mouthed kiss with Mars. In Danaë, the figure glows with marble-like perfection. The ambivalent heroine of Nymph and Shepherd seems half enchanted by her rustic suitor and half by the murky and menacing landscape beyond. A section on the lesser-known artists of Veneto serves a bland breather before the dynamic Tintorettos take over. Several of his portraits reward close attention, but nothing rivals the erotic tension of Susanna and the Elders, where two voyeurs spy on the sublimely innocent bather who has one leg plunged in the water while her sweet face dreams away into a mirror. Masters of Venice reaches its climax in the complex chords of Veronese's The Anointing of David,
Re: [h-cost] help on a c. 1900 rural woman's dress
What my grandmother told me when I was a girl but a little background. she was born in Virginia in 1882. Her Father was an Anglo-Irish earl, who had relinquished his title to become an American citizen, and he became a circuit riding preacher after taking his family to West Virginia and farming there. My Grandmother, in her teens, went to work for another farm family, until she was nearly twenty. She earned fifty-cents a week, which would buy three yards of dress goods to make a work dress. The farmer's wife,from France, who became her MIL, was the area dress maker by default. the work dress fell loosely from the shoulders to slightly below the waist line. The dress skirt was attached there and there was a buttoned placket opening in the front from the neckline. I don't remember if she said it, the placket, fell to the hem, which was just above the ankles. The placket opening could button either to the left or right depending on the needs of the woman for whom it was made fo! r convenience when nursing. The sleeves were loose and long, buttoned, and often rolled, when working, to be kept clean. When working the fields it could be, that is was, often worn over mans loose work pants and and shirt. In the field, with only family present, it might be removed, but kept nearby in case another person appeared. A woman in engaged in field work would ride astride but kept the dress on. Her shoes, similar to brogans, ankle height lace-ups, cost her three weeks wages. In house she wore the dress with a straight cotton or wool slip and an apron either wrap around or pinned bib. Her stockings were heavy lisle fastened at the knee. Her drawers were crotch opened for ease of elimination and she wore no bra. Does this help. Please respond. in the high boonies of Central Texas PeoplePC Online A better way to Internet http://www.peoplepc.com ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] help on a c. 1900 rural woman's dress
Mine was born in Kansas in 1887. Yes on all accounts except for the trousers grin; they were a really conservative family. Her wedding dress had been used to make my dad's first suit (I have the pattern, but not the suit). And her trousseau underwear featured a combination undergarment with wide legs and only a front placket. No open drawers for her, and bras were not yet common. But Grandma, how did you -- I asked, thinking how difficult my one- piece coulottes dress was to remove to use the necessary. Oh, she laughed, we just pulled one of the legs aside! == Marjorie Wilser =:=:=:Three Toad Press:=:=:= Learn to laugh at yourself and you will never lack for amusement. --MW http://3toad.blogspot.com/ On Oct 30, 2011, at 12:23 PM, AVCHASE wrote: bib. Her stockings were heavy lisle fastened at the knee. Her drawers were crotch opened for ease of elimination and she wore no bra. Does this help. Please respond. ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] somewhat OT fabric question
I do remember something in the 5!*s n 60 called sharkskin.. -Original Message- Date: Sunday, October 30, 2011 11:37:11 am To: Historical Costume h-cost...@indra.com From: Ruth Anne Baumgartner ruthan...@mindspring.com Subject: [h-cost] somewhat OT fabric question Hello the list: I'm directing a production of Conor McPherson's The Seafarer, and one of the characters claims to be wearing a Versace jacket made of dogskin. He clarifies that it's a kind of fabric, and another character feels the sleeve and remarks on its softness. I'm sure McPherson doesn't mean houndstooth, although I did find a picture of a Versace tuxedo-style jacket supposedly in houndstooth but looking distinctly solid-black to me. Certainly the Broadway production, which McPherson directed, didn't have a character in a houndstooth-check jacket. Can't find an answer on the Internet. Does anyone know of a fabric with this name? Thank you for any help! --Ruth Anne Baumgartner scholar gypsy and amateur costumer ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] somewhat OT fabric question
I remember that too On Oct 30, 2011, at 4:09 PM, Bambi TBNL wrote: I do remember something in the 5!*s n 60 called sharkskin.. -Original Message- Date: Sunday, October 30, 2011 11:37:11 am To: Historical Costume h-cost...@indra.com From: Ruth Anne Baumgartner ruthan...@mindspring.com Subject: [h-cost] somewhat OT fabric question Hello the list: I'm directing a production of Conor McPherson's The Seafarer, and one of the characters claims to be wearing a Versace jacket made of dogskin. He clarifies that it's a kind of fabric, and another character feels the sleeve and remarks on its softness. I'm sure McPherson doesn't mean houndstooth, although I did find a picture of a Versace tuxedo-style jacket supposedly in houndstooth but looking distinctly solid-black to me. Certainly the Broadway production, which McPherson directed, didn't have a character in a houndstooth-check jacket. Can't find an answer on the Internet. Does anyone know of a fabric with this name? Thank you for any help! --Ruth Anne Baumgartner scholar gypsy and amateur costumer ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] somewhat OT fabric question
I've seen references in Regency novels to dogskin gloves, which I always assumed was leather made from the hide of a dog, like kidskin. If it turns out that it was a fabric, I'll feel much better! Emily On 10/30/2011 10:24 AM, Ruth Anne Baumgartner wrote: Hello the list: I'm directing a production of Conor McPherson's The Seafarer, and one of the characters claims to be wearing a Versace jacket made of dogskin. He clarifies that it's a kind of fabric, and another character feels the sleeve and remarks on its softness. I'm sure McPherson doesn't mean houndstooth, although I did find a picture of a Versace tuxedo-style jacket supposedly in houndstooth but looking distinctly solid-black to me. Certainly the Broadway production, which McPherson directed, didn't have a character in a houndstooth-check jacket. Can't find an answer on the Internet. Does anyone know of a fabric with this name? Thank you for any help! --Ruth Anne Baumgartner scholar gypsy and amateur costumer ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] somewhat OT fabric question
Google says it's kinda like a velvet: http://books.google.com/books?id=LVEhMAAJpg=PA54lpg=PA54dq=%22dogskin%22+fabricsource=blots=mV8mI5GYs1sig=AcqZpxQYd5XpfXCfX5ZVXDC4Ovwhl=enei=4sCtTrHFMafq0gG1yozGDwsa=Xoi=book_resultct=resultresnum=4ved=0CFUQ6AEwAw#v=onepageq=%22dogskin%22%20fabricf=false BTW, I'm bookmarking that book now, it seems like a great reference! On Sun, Oct 30, 2011 at 11:24 AM, Ruth Anne Baumgartner ruthan...@mindspring.com wrote: Hello the list: I'm directing a production of Conor McPherson's The Seafarer, and one of the characters claims to be wearing a Versace jacket made of dogskin. He clarifies that it's a kind of fabric, and another character feels the sleeve and remarks on its softness. I'm sure McPherson doesn't mean houndstooth, although I did find a picture of a Versace tuxedo-style jacket supposedly in houndstooth but looking distinctly solid-black to me. Certainly the Broadway production, which McPherson directed, didn't have a character in a houndstooth-check jacket. Can't find an answer on the Internet. Does anyone know of a fabric with this name? Thank you for any help! --Ruth Anne Baumgartner scholar gypsy and amateur costumer __**_ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/**listinfo/h-costumehttp://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Salt Source
Yep, dyeing. I've got a batch of stuff I want to overdye black. Mary ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Salt Source
If you are asking where to buy uniodized salt, I just get it at the local supermarket. Fran Lavolta Press Books on making historic clothing www.lavoltapress.com On 10/30/2011 4:21 PM, Mary + Doug Piero Carey wrote: Yep, dyeing. I've got a batch of stuff I want to overdye black. Mary ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] somewhat OT fabric question
Aurora-- or anyone? See the next page (Drap de Milord) where it talks about fabric having 12 leaves and 6-12 picks per repeat? Or, Drap de Prince with 8 leaves and 3 picks. Are those weaving terms? If so, what do they mean? Totally agree-- a most interesting and useful compliation! == Marjorie Wilser =:=:=:Three Toad Press:=:=:= Learn to laugh at yourself and you will never lack for amusement. --MW http://3toad.blogspot.com/ On Oct 30, 2011, at 2:27 PM, Aurora Celeste wrote: Google says it's kinda like a velvet: http://books.google.com/books?id=LVEhMAAJpg=PA54lpg=PA54dq=%22dogskin%22+fabricsource=blots=mV8mI5GYs1sig=AcqZpxQYd5XpfXCfX5ZVXDC4Ovwhl=enei=4sCtTrHFMafq0gG1yozGDwsa=Xoi=book_resultct=resultresnum=4ved=0CFUQ6AEwAw#v =onepageq=%22dogskin%22%20fabricf=false BTW, I'm bookmarking that book now, it seems like a great reference! ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] somewhat OT fabric question
At 05:19 PM 10/30/2011, you wrote: Aurora-- or anyone? See the next page (Drap de Milord) where it talks about fabric having 12 leaves and 6-12 picks per repeat? Or, Drap de Prince with 8 leaves and 3 picks. Are those weaving terms? If so, what do they mean? Totally agree-- a most interesting and useful compliation! == Marjorie Wilser Yes, the leaves are what we Americans today call harnesses; each leaf or harness holds a set of heddles for pattern weaving. Picks are what we also call a shots of weft. Joan Jurancich joa...@surewest.net ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] somewhat OT fabric question
Aha. Thank you! So, in the example (trying to visualize those 12 leaves/6 picks). . . ? Would that be like a satin weave? == Marjorie Wilser =:=:=:Three Toad Press:=:=:= Learn to laugh at yourself and you will never lack for amusement. --MW http://3toad.blogspot.com/ On Oct 30, 2011, at 5:43 PM, Joan Jurancich wrote: At 05:19 PM 10/30/2011, you wrote: Aurora-- or anyone? See the next page (Drap de Milord) where it talks about fabric having 12 leaves and 6-12 picks per repeat? Or, Drap de Prince with 8 leaves and 3 picks. Are those weaving terms? If so, what do they mean? Totally agree-- a most interesting and useful compliation! == Marjorie Wilser Yes, the leaves are what we Americans today call harnesses; each leaf or harness holds a set of heddles for pattern weaving. Picks are what we also call a shots of weft. ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] help on a c. 1900 rural woman's dress
She earned fifty-cents a week, which would buy three yards of ress goods to make a work dress. Given that the fabric was probably no wider than 36 inches, I don't see how three yards would make a dress as described. Ann Wass -Original Message- From: AVCHASE achasedes...@peoplepc.com To: Historical Costume h-cost...@indra.com Sent: Sun, Oct 30, 2011 3:26 pm Subject: Re: [h-cost] help on a c. 1900 rural woman's dress What my grandmother told me when I was a girl but a little background. she was orn in Virginia in 1882. Her Father was an Anglo-Irish earl, who had elinquished his title to become an American citizen, and he became a circuit iding preacher after taking his family to West Virginia and farming there. My randmother, in her teens, went to work for another farm family, until she was early twenty. She earned fifty-cents a week, which would buy three yards of ress goods to make a work dress. The farmer's wife,from France, who became her IL, was the area dress maker by default. the work dress fell loosely from the houlders to slightly below the waist line. The dress skirt was attached there nd there was a buttoned placket opening in the front from the neckline. I don't emember if she said it, the placket, fell to the hem, which was just above the nkles. The placket opening could button either to the left or right depending n the needs of the woman for whom it was made fo! r convenience when nursing. The sleeves were loose and long, buttoned, and ften rolled, when working, to be kept clean. When working the fields it could e, that is was, often worn over mans loose work pants and and shirt. In the ield, with only family present, it might be removed, but kept nearby in case nother person appeared. A woman in engaged in field work would ride astride but ept the dress on. Her shoes, similar to brogans, ankle height lace-ups, cost er three weeks wages. In house she wore the dress with a straight cotton or ool slip and an apron either wrap around or pinned bib. Her stockings were eavy lisle fastened at the knee. Her drawers were crotch opened for ease of limination and she wore no bra. Does this help. Please respond. in the high boonies of Central Texas eoplePC Online better way to Internet ttp://www.peoplepc.com ___ -costume mailing list -cost...@mail.indra.com ttp://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] somewhat OT fabric question
This looks great! Thank you so much! I agree, a very interesting book altogether. --Ruth Anne On Oct 30, 2011, at 5:27 PM, Aurora Celeste wrote: Google says it's kinda like a velvet: http://books.google.com/books?id=LVEhMAAJpg=PA54lpg=PA54dq=%22dogskin%22+fabricsource=blots=mV8mI5GYs1sig=AcqZpxQYd5XpfXCfX5ZVXDC4Ovwhl=enei=4sCtTrHFMafq0gG1yozGDwsa=Xoi=book_resultct=resultresnum=4ved=0CFUQ6AEwAw#v =onepageq=%22dogskin%22%20fabricf=false BTW, I'm bookmarking that book now, it seems like a great reference! On Sun, Oct 30, 2011 at 11:24 AM, Ruth Anne Baumgartner ruthan...@mindspring.com wrote: Hello the list: I'm directing a production of Conor McPherson's The Seafarer, and one of the characters claims to be wearing a Versace jacket made of dogskin. He clarifies that it's a kind of fabric, and another character feels the sleeve and remarks on its softness. I'm sure McPherson doesn't mean houndstooth, although I did find a picture of a Versace tuxedo-style jacket supposedly in houndstooth but looking distinctly solid-black to me. Certainly the Broadway production, which McPherson directed, didn't have a character in a houndstooth-check jacket. Can't find an answer on the Internet. Does anyone know of a fabric with this name? Thank you for any help! --Ruth Anne Baumgartner scholar gypsy and amateur costumer __**_ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/**listinfo/h-costumehttp://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Steampunk shoes, anyone?
I have 2 pr of Oxfords very similar to the Jade referenced one-- only less ornate. I purchased them at a Clark's shoe store a couple years ago. They have a 2 inch heel I think. Kathy Gillies ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
