I am starting to paint furniture again. It is difficult to feature it here on the Island because my shop is so tiny. I have been painting small pieces. And I painted the floor in the kitchen nook last year that was inspired by an Anthropologie photo shoot in Sweden. I have been collecting more inspiration on my pinterest board, "Painted Furniture" I will be sending off information to decorators on and off the Island. I found this image HERE. I hope to focus on Children's rooms which include murals and reproduced paintings as well as furniture. I love this Josef Frank design. I am working on some nifty Valentine's Day things for the online shop. Stay tuned! (Beautiful painted heart door found HERE.
Design Crush: Black Artists I have discovered in my reading, learning and exploring. Their work is captivating and beautiful.
These 4 rolls are circa 1920-1940 likely more towards the 1920’s. Featuring stunning vibrant green foliate/foliage leaves. Roll #1 - 190”+ on the roll, the end was tattered and shortened Roll #2 - 190”+ on the roll, the end was tattered and shortened Roll #3 - 190”+ on the roll, the end was tattered and shortened Roll #4 - 190”+ on the roll, the roll is nearly full however, it does have a rip spanning roughly 10”-15”. Several scrap pieces will also be included. Each roll is signed appropriately and measure 29.5” w with a useable 28.5” inside margins. These are acquired from a 19th century upstate New York estate which still has 20+ rolls hanging in a substantial guest bedroom. Paul Dumas was a Parisian designer and manufacturer of wallpapers and textiles active between 1906 and 1978. Dumas had a studio at 24-26 Rue Notre Dame des Victoires in Paris, and a printing factory in Montreuil-sur-bois, to the east of Paris.Dumas purchased a disused printing factory in Montreuil-sur-bois in 1906, and then built a larger factory on its land in 1913.The factory burned down in 1913, and Dumas had a new one built the same year. Dumas was a designer of scenery and draperies for the fancy-dress balls held by Paul Poiret.[1] The Montreuil-sur-bois factory produced wallpapers for Poiret’s Atelier Martine, Paul Follot, Lina de Andrada, and Lucie Renudaut, among others. Textiles produced by Paul Dumas are included in the collection of the Cooper Hewitt Design Museum.Wallpapers produced by Dumas in included in the collections of the Musée des arts décoratifs de Paris and the Victoria and Albert Museum, London and the Metropolitan Museum of Art. Dumas had a studio at 24-26 Rue Notre Dame des Victoires in Paris, and a printing factory in Montreuil-sur-bois, to the east of Paris. Dumas purchased a disused printing factory in Montreuil-sur-bois in 1906, and then built a larger factory on its land in 1913.The factory burned down in 1913, and Dumas had a new one built the same year. Dumas was a designer of scenery and draperies for the fancy-dress balls held by Paul Poiret. The Montreuil-sur-bois factory produced wallpapers for Poiret’s Atelier Martine, Paul Follot, Lina de Andrada, and Lucie Renudaut, among others. Textiles produced by Paul Dumas are included in the collection of the Cooper Hewitt Design Museum.Wallpapers produced by Dumas in included in the collections of the Musée des arts décoratifs de Paris,and the Victoria and Albert Museum, London and the Metropolitan Museum of Art.
ave you ever dreamed of creating your own woodworking masterpiece? Whether it’s a birdhouse, a coffee table, a shed, or a rocking chair, you know how satisfying it is to turn a piece of wood into…
a caelo usque ad centrum - from the sky into the center. A collection of pictures: Colors - threads, yarns, fibers, quilts, fabrics, denim/indigo, and fashion. Patina - leather, wood, satin. The visual - detail, white kitchens, pearls in paintings, pears, skies, sunflowers, lonely roads and...
Diszitőelemek, Nagykunság "A színritmus a bihari szűrőkön kevéssé fejlett, ami annál feltűnőbb, mert a közeli Nagykúnság cifraszűrein jut legtökéletesebben kifejezésre." cifraszűr a rátéttel, hímzéssel díszített → szűrnek a 19. sz.-ban kialakult elnevezése. Úgy látszik, hogy a múlt században kivirágzott szűrhímzésnek a 18. sz. végétől kezdve – anyagi okokból – tilalmazott, akkor már bizonyos fokú kedveltségnek örvendett, piros vagy kék szegéssel, → cigulával díszített szűrök az előzményei. A szűrruháknak ennél korábbi, az általunk ismert, a 19. sz.-ban kialakult cifraszűrrel nem egyező díszítettségét azonban jelzik halvány nyomok. Így 17–18. sz.-i limitációk posztózott ujjú és posztózott gallérú szűröket, darócokat sorolnak fel, s e posztózás más színű posztószegést, de mintás rátétcsíkokat is jelenthetett. Mintázott szegélyű szűrről van is bakonyi (18. sz.-i) adat, s az általunk ismert 19. sz.-i bakonyi szűrök mintás szegélyei igen régies jellegűek. E rátét megelőzni látszik a 19. sz.-i cifraszűrt. Ugyancsak a szűr 19. sz.-inál korábbi – varrással való – díszítettségére utal a Magy. Nyelvtörténeti Szótár egy 18. sz.-i erdélyi – sajnos, idő- és helymegjelölés nélküli – adata, amely „varrott szűr”-t említ. – Különös, hogy a szűrszabók nem a szűrruhák általános divatjakor – tehát a 17–18. sz.-ban, sőt korábbi századokban – szerveződtek céhbe, hanem csak a múlt század dereka, második fele körül, amikor a szűrruhák száma erősen fogyott, de e fogyást a cifraszűrök kivirágzása ellensúlyozta. A színes szegéssel, majd színes posztócsipkével, végül hímzéssel díszített szűröket először a Dunántúlon tiltották, tehát itt virágozhattak ki legkorábban. Veszprémben 1825–30 körül volt a cifraszűr fénykora, míg Debrecenben 1825-ben még csak a szegett szűrt tilalmazták, a hímzett szűrök tilalma ennél jóval későbben, még 1870-ben is érvényes volt Debrecenben. – A szűrhímzés eredetét Györffy István a szűcshímzésben látta. Mint ez, úgy a szűrhímzés is férfimunka volt. Bár néhol, pl. Debrecenben a múlt század második felében a rendeléseket nem győző szűrszabók betanított nőkkel hímeztettek. A cifraszűr – területenként nem mindig azonos időre eső – fénykorában a szűrnek a következő darabjait díszítették, hímezték: a színes szegések mentét, a gallért, a szűr elejét, az ujjak betoldása alatti oldal-aszaj-pálha-részt és a feleresztésnek nevezett felhasítások körét. Ezeken kívül a cifraszűrhöz még a következő díszítőelemek tartoztak: a → vóc, a belőle alakult posztó csipke, a csipkéket lefogó sodrás és a csipkék és feleresztések végén levő bojt, majd a bojt divatjának múltával a színes gyapjúhulladékból horgolt → galambkosarak vagy a vastag pamutzsinórból gombkötő kötötte komlórózsák. A szűr elöl nem ért össze. Díszes, szíjgyártó készítette csatos szíjjal – amely néha sallangos is volt – vagy gombkötő díszítette összeakasztóval fogták elöl össze. Ez utóbbihoz átvetőnek vagy → hátravetőnek hívott, cifra és több ágú zsinór tartozott. A szűrgallér két alsó sarkának a →csücskő nevű kis korong volt a dísze. – A díszítés-hímzés alapján a következő vidékek szerint különülnek el a cifraszűrök: → alföldi vagy kun cifraszűr; a →dunántúli cifraszűr – és ezen belül a → bakonyi cifraszűr, → somogyi cifraszűr, → bihari cifraszűr, → debreceni vagy → hajdúsági cifraszűr, → erdélyi cifraszűr, felföldi cifraszűr – ezen belül az egri, → matyó cifraszűr. Ezeken kívül átmeneti formák: a csökölyi szűr (→ csökölyi viselet), a dunántúli cifraszűr, a → felföldi szűr. Elej és gallérvirágok, Nagyszalonta = Blumen vom Vorderteil und von Kragen, Nagyszalonta "Ha a mai hímzéselemek ősiségét kétségbe vonjuk is, de a felfogás, fogalmazás és előadás módját a magyar etnikum ősi örökségének tartjuk. A kun és a palóc hímzéseken megnyilatkozó forma- és szinrithmus például minden valószínűség szerint keleti örökség, épp úgy, mint a nagy üres felületeknek aprólékosan kidolgozott tömör színes foltokkal való díszítése." Applikált disz és csücskök, Nagyszalonta = Applizierte Verzierungen und Zipfel, Nagyszalonta Aszajok, Bihar, Arad m. = Flankenfelder, Kom. Bihar, Arad Cifraszűr. Sarkad, Bihar m. Eredetije gróf Almássy Dénes birtokában. Bagossy Sándor műhelyéből "A mult század vége felé legkiválóbb mesterek Bagossy Sándor és Nagy József voltak. ... Ugyancsak Bagossy készített 1896-ban öt darab szép cifraszűrt gróf Almássy Dénes sarkadi uradalma számára, mely szűrök egyrésze az uradalomban ma is meg van és a pásztorok csak ünnepélyes alkalomkor használják." Fenekes ujjú palóc csuha. 1/2o-ad nagyság. Mátra vidék "... a palóc csuha, mely szabásában az alföldivel egyezik, de gallérja nagyobb mint az alföldi, ellenben kisebb, mint a dunántúli kanász-szűré. Hosszúsága, bősége is a kettő között áll. Ujja gyakran befenekelt. Szabásában, formájában majdnem teljesen megegyezik a Somogy megyében Csököly-Nagyatád-Csurgó vidékén használatos szűrrel. A palócság Heves-Gömör-Nógrád megyékben a szűrt csuhának nevezi. ... ezek átmenetnek tekinthetők az alföldi és dunántúli szűrök között. Ujjai gyakran fenekesek. Gallérja meglehetősen nagy." Nagykún férfiak, Kisujszállás, Kumanische Männer "A körülkoszorús szűrt Kisujszálláson, Túrkevén, Kenderesen, Tiszaszentimrén, Tiszaszőllősön, Nádudvaron, Tiszafüreden, Poroszlón, Tiszadobon továbbá Szemere, Szentistván felé viselték, egyszóval a Középtisza mentén Rátét diszitményű, újabb divatú cifraszűr. Szarvas, Krsnyák Sámuel műhelyéből. Róth B. felvétele. A szarvasi tótság is felkapta a cifraszűrt és viselte, sőt elvéivé még ma is hordja.
The Saint Thomas guild is a Dutch medieval re-enactment group. It represents the woodworking guild in Nimweghen around 1370. This blog will present their woodworking projects, medieval joinery and furniture as well as other crafts.
Interior designer Lonika Chande has created a charming pied-à-terre full of bold textiles and colours for a returning client
You can see the depth of color the ink provides on the paper, especially in the dots. I recently decided to be more historic by using a dip pen to draw my frakturs. Dip pens are inconvenient, messy and difficult to use. So why would I torture myself, you ask? Well, I actually enjoy it. More importantly, the look this medium creates is beautiful. The depth of color achieved by letting the ink seep into the page gives a more permanent look. The lines look etched into the page, not simply drawn on. The ink runs a little as it soaks into the paper, and the final product looks so much older than I could have anticipated. The old tools and the new, looking down on a work in progress. I would love to say I cut my own nibs (pen tips) from a feather and dip it into a nice old well full of ink I made by crushing berries and other various and sundry items. The historian in me desires historical accuracy in all things historic. My sanity, on the other hand, desires other things. And so, in an effort not to send my already overworked brain over the edge, I have conceded to use a modern plastic handle, metal nibs, and store-bought ink. Though I have made these concessions, the process is hardly less adventurous. After working with a dip pen and ink I begin to look less than beautiful. Like I described with the paper, the ink runs down the pen and soaks into skin. It also stays on the surface, allowing me more opportunities to smudge it with my hands and arms. Sometimes the pen gets a life of its own, and drops ink wherever it would like on the page. This is usually remedied by adding polka dots to the rest of the fraktur to disguise the accidental spot. Finished piece using a dip pen to outline To me, the unpredictability of the ink is what makes the piece unique and a bit more folky. Why let a mistake get to you? Making it work in the design is half the fun, adding an extra challenge to my task. My lines might not be exactly straight, and I may have smudged this leaf over there. But that's what folk art is about: making the most of the materials and talent you have, and aiming toward something lovely, not necessarily perfect. And so, charming mistakes and all, my frakturs come to life. The color runs deep and adds a touch of the past to the present day. "Ring the bell that still can ring, Forget your perfect offering There is a crack in everything That's how the light gets in." ~Leonard Cohen
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Great panel this, Fulham period, 1888-1898, originally installed in a house in Holland Park, London. Eight inch tiles. There is an Islamic panel a bit like this in the Fitzwilliam Museum, Cambridge - a few hundred years older, may have inspired the design but this is remodelled and not a direct copy. If you are interested in this sort of thing, perhaps the Tiles & Architectural Ceramics Society is up your street - take a look at tilesoc.org.uk/tacs/
What can I say about avant garde artist Paul Klee except he really knocks my socks off! I’d forgotten how much he has influenced me until a recent visit to the Making Visible Exhibition at Tate Modern (on London’s South Bank). Katie Harrison (‘honorary daughter’) made me go with her boyfriend Hugo Manual (my youngest son aka Chad Valley) because as a creative herself she’s very keen on the idea that you need to ‘feed yourself’ as an artist; and she’s absolutely right! But I need to be told this as otherwise I just keep my head down and work. So seeing the Klee show spurred to me to produce new pieces AND to think about the nature of colour. What’s the key to Klee? To my mind Klee (1879-1940) was a great colourist and colour has always made a huge impact on me. He was a very measured artist, very very thorough – though when you first see his work you think he is (oddly) lyrical and light, and quite slight. In fact when he gets into something he’ll do it again and again and again really understanding it. He’s actually quite a mathematical artist, which I really appreciate as I love the mix of art and science. Klee was exploring a whole system: take a look below at Fish Magic (1925, 77 x 98.3 cm oil and watercolour on canvas). It’s his exploration of colour using squares and rectangles on other background colours that knocks me out as below with Lowlands (1932, 30 x 48 cm, watercolour on paper) ... Learning from a master of colour The watercolour that impacted the most for me was Polyphony (1932, 66.5 x 106 cm) and on seeing it I knew I had to get home and work something up from this. In this work, he creates layers and layers of colour using a pattern of squares overlaid with different coloured dots. It’s all about how colours are affected by the colours underneath them… how colour works and I’m tremendously interested in that. This piece made me think I want to do something like that, so I went to work when I got back to the studio. Klee-coloured chest of drawers The first thing I did was find a fairly modern chest of drawers that I could work with. 1. I painted the whole thing using Chalk Paint® in Paris Grey first for a good neutral background. 2. I then ripped off various flaps from cardboard boxes and painted onto them. I used a limited number of colours from the Chalk Paint® range to keep the effect similar in tone (but not so similar that you couldn’t differentiate i.e. nothing very contrasty). 3. Next I printed (i.e. pressed) the cardboard squares onto the cabinet which gave a slightly uneven effect. The flaps of the cardboard boxes were a good size to cover fairly large areas (if the cardboard bits are too small it gets boring trying to cover a large area – so be bold use big!). 4. Then when that was all printed (and using the same colours) I roughly applied paint onto some bubble wrap. 5. Finally I pressed the ‘tips’ of the bubble wrap onto the surface of the chest of drawers to create the dot effects. Be bold, be experimental So basically you have two layers and yes it’s very messy, your hands are covered with paint and there are bits of used-up plastic and cardboards all over. I want to do more because now I’ve finished it I realise it was like a rough first draft and that’s fine because it’s interesting and unique and I am very pleased with it. But having done one experiment I can see other ways of doing it – just as Klee would have seen it – you don’t have to be perfect and precise and that’s what makes it so beautiful. So I’m going to try another one, perhaps this time with a more neutral finish all in greys, beiges and white. Watch out for more Paul Klee-inspired pieces! Yours, Annie
Head off on a nature hunt with the kids today, and create self-portraits with all the goodies you collect! Great art activity for toddlers and preschoolers.
Did you know we offer our imagery and creative consultancy to brands, organisations and individuals who share our values and resonate with our philosophy? If you're working on a meaningful project that centres nature connection, planetary or personal sustainability and you would benefit from our...
Soon its time to move back to Australia, I cant help but daydreaming and planning what are home is going to look like (even though I don't know where we are going to live at the moment). I am sure our beautiful wooden tables and our Eames replica chairs will be happy to see us again. Here are some inspirational pictures, I love the white walls and floors combined with all the colorful details, and of course the plants. I'm sure our home will look something like this ;) Pics from: Trendland, Born to be wild
Wondering what to do with old jeans, towels or even pillowcases that keep stacking up in your recycling? Here are 37 cool ways to repurpose fabric as well as some unexpected uses for recycled jeans, towels and pillowcases. You're going to be blown away with these tutorials that include placemats, a banner, purses, dresses, cover ups, curtains, ottoman, rug, purse, booties and a wall organizer. {squeal} They're cheap, durable, and adorable! How to Repurpose Fabric Tip Junkie has 183 sewing patterns including over 1000 Homemade Gift Ideas all with pictured tutorials to learn or how to make. You can always search there if you're looking for
I wanted to share just some of the photos I took during our visit to Charleston House at the start of August. I took so many and didn’t want them to just disappear deep into the cloud! Charleston House was the home of artists Vanessa Bell & Duncan Grant, aka The Bloomsbury Group. They liv
Keep yourself busy during the winter and make your own fabulous home accessories. You don't have to be adept at any particular skill; there's plenty of inspirational ideas for all skill levels, from beginners to advanced. Kaite Eats Cake 1. If you love knitting this Aran pattern chair cover will keep you busy through t
Cressida Bell's life in pictures. Vanessa Bell's granddaughter and Virginia Woolf's great-niece, Cressida Bell shares her family photos via HOUSE by House & Garden
A simple tutorials on how to make handmade mitered corners napkins from fat quarters as an easy DIY project for home or homemade gift idea.
Ten sketches of floral motifs, four inked in. One of twenty working drawings and designs for wallpapers, slipper tops, etc.
