The Other Side - Dean Cornwell 1918
Reflection in Blue (1887). Eva Bonnier (Swedish, 1857-1909). Oil on canvas. Nationalmuseum, Stockholm. Eva Bonnier’s depictions of terminal illness give a pared-down everyday perspective, with the...
Lovers in the Grass - Alois Kalvoda
The London-based sculptor’s new show at Kunstverein München delves into the queasy malleability of bodies
“At no point do I wish to be in conflict with any man or masculine thought. ...
Concise illustrated history of 1940s fashion and style for women, from 1940 to 1949. The trends, designers, dresses, shoes, hairstyles, makeup and stories
The moment I saw Tu Es Mon Tresor’s pearl embellished boyfriend jeans, I knew they were a do-it-yourself must. Three dimensional polka dots?! And precious pearls paired with rugged denim?! Opposites definitely attract in this match made…
Der lästige Kavalier, or, The Irritating Gentleman, done in 1874 by the German artist Berthold Woltze (1829-1896). I experience this feeling almost every time someone tries to talk to me on the Met…
This unique Eva's Doodlings wall hanging was delicately hand woven and crocheted with organic cotton yarns and cotton cords, acrylic yarns, silk & wool. It was made in a smoke free home but pet friendly. It makes a beautiful gift for a housewarming or a birthday. A perfect present for a Christmas. It measures 24 inches width x 35 inches long approximately (60x90 cm) . Warning! Every piece is a handmade piece. Colors may vary due to your monitor settings. Each product is a unique handwoven piece and can differ in color due to different lots of yarn and wool. I can make a custom listing with any colorways. Please contact me with any questions. If you want to pay with your credit card, please, inform me. I’ll make an invoice for you. *PLEASE NOTE* My wall hangings are rolled up for shipping and packed tight. Re-adjust the fiber once you receive it and even out all the strings. Please do so with care. I do my best to wrap them securely, but cannot control the box from being bounced around on its journey to you. We love working with eco-friendly manufacturers as much as possible and spreading our love for nature and handmade products around the world with our tiny business so be patient if you get the parcel with a reused box or cardboard. We trying to minimise our using new packages and plastic. Thank you! If you have some special color ways in your mind, please, send me a message to discuss all the details. We have lots of other cords, fiber, yarns and wool in different colors. Like my Facebook page to be apart of my process, secret sales and occasionally free giveaways! www.facebook.com/EvasDoodlings/ Follow my Instagram www.instagram.com/evasdoodlings Also check up another shop of mine with macrame tapestries and chandeliers www.etsy.com/shop/AwesomeKnotsShop
Portrait of the dancer Eva Marie Veigel, later Mrs. David Garrick by Edward Haytley (fl. 1746-1761)
Dieser Butterkuchen vom Blech ist in nur 35 Minuten vorbereitet und gebacken. Das Rezept ist ein Klassiker in unserer Familie, den gibt es seit Jahrzehnten mindestens einmal im Jahr.
enchantedsleeper: Venus and Tannhauser, Laurence Koe
"THE NAMES UPON THE HARP", written by Marie Heaney and illustrated by P. J. Lynch I had planned to write a post about this book while it was still March, so that I could include it in my "All Things Celtic" theme. However, I only received the book today. I'm going to write about it anyway, so just pretend it's still March (we have plenty of snow piles to make it seem so). I learned about the book while I was writing my previous post about Niamh and Oisin. I discovered it only after I had found several wonderful illustrations for it from the gallery of P. J. (Patrick James) Lynch, a famous Irish artist. According to the book, since childhood Lynch "has had images of Finn, the son of Cumhaill, and leader of the Fianna; Conor MacNessa, the King of Ulster; and Cuchulainn, the great hero, in his head. But only in collaboration with a story teller as respected as Marie Heaney did he feel ready to commit his images to paper." Aiofe puts a spell on her stepchildren, turning them into swans in "The Children of Lir" Heaney, by the way, is the wife of famous Irish poet Seamus Heaney and a well respected writer and preserver of Irish folklore in her own right. So far I have only had time to peruse the fabulous illustrations, but I will get around to reading the tales soon. There are eight of them (plus one poem): "Moytura", "The Children of Lir", "The Birth of Cuchulainn", "Bricriu's Feast", "Deirdre of the Sorrows", "Finn and the Salmon of Knowledge", "The Enchanted Deer" and "Oisin in the Land of Youth." Of the many characters in these stories, I had only heard of Cuchulainn, Deirdre, Oisin and Lugh of the Long Arm (from "Moytura"), so I have a lot of information to absorb! The beautiful Eithlinn, held captive in a tower, from "Moytura" Heaney divides her book into three categories: "The Mythological Cycle", "The Ulster Cycle" and "The Finn Cycle". She gives a brief description of each of these cycles before relating the tales from them. I found this very useful, as I have run into these titles many times without really grasping what they meant. From "Oisin in the Land of Youth" "Fiercely fought battles, tender romances, spells and curses, loyalty and betrayal: the stuff of great drama, and unforgettable storytelling." That's what the publishers promise. I can't wait to immerse myself in these stories. Of them, Heaney says "What ensures their place in world literature is their agelessness, their value as expressions of the perennial art of the storyteller." Through the millenia, these legends would have been lost forever if not for raconteurs and scribes like her. Fomorian leader Balor of the Evil Eye, from "Moytura" Although I found most of the illustrations to be stunningly beautiful, there are some ugly ones too (like Balor, above, who could slay 100 men with one glance), and even gruesome (a severed head), so you may want to check out the book before giving it to a child. Supposedly, this book is for children about the age of 8 or 9. But I certainly found it to be enjoyable at the adult level. In fact, Heaney tells these great Irish legends far better than any version I have yet seen! I especially appreciated the pronunciation guide, as I have a tendency to pronounce them as they're spelled, e.g. oy-zin instead of ush-een (Oisin), loog instead of loo (Lugh) and ay-oi-fuh instead of eef-eh (Aoife). The book retails at $19.95 but I was able to find a perfect used copy for $8.00 on amazon.com. I will also be looking for Heaney's other book, "Over Nine Waves: A Book of Irish Legend." ~~~~~~~~~~~~~~~~~~~~~~~ "You and I leave names upon the harp" Cuchulainn to Conor, from "Baile's Strand" by W. B. Yeats
Since baron Måns and I think it's cool with matching outifts and I have been fond of 13th century gowns with wide borders for a quite long ...
Every designer likes to think of themselves as original in some way, but I also like to consider my influences, who my predecessors are, and which of my contemporaries work in a similar vein. I like to do this with other trends and design themes, in order to get a better understanding of wh
Since I have been making clothing from this period for over fifteen years now I have of course learnt a lot, discarded some ideas and tried new ones regarding the fillets, coffee filter hats or whatever you want to call them. So I thought that I should share three different fillets that I have made, and the inspiration for them. More generally I have written about headwear options for women in this period in this, rather image-heavy post. It is important to note that these are in period texts considered as part of the veils, chin band etc, what in German would have been called gebende, a word related to ribbon, at this period, and one that I like a lot, because it includes all parts of the (mostly) linen headwear. They were therefore also of the same material and colour as the veil, chin band or wimple etc. In fact, it is clear to see from 13th centry images that they originally were a strip of linen would around the head. These two are from a French manuscript from the 1220s - and you can even see the pin holding it together. This lady, from the Worcester cathedral, from the 1240s, has a pleated band wound around her head as a crown, but we can see where it overlaps. This 13th century lady from Dryburg Abbey appears ot have wound her pleated strip twice around her head. I haven't worn this variant yet, but since I have five metres of hemmed linen strip to wind around my head this is probably just a matter of time. And of boiling starch. Later one they appear to have become a separate piece, worn over the chin strap and sometimes also over a coif, but always under the veil, if worn with a veil (see the post linked above). A lot of these were plain, and I have one of those too, bust since it's only a piece of linen, cut at an angle at the edges, folded over, sewn together and starched slightly I didn't bother to take a photo of it. Plain fillets, from Reims cathedral, 13th century, and the Holkham Bible 1325-1330. But, there are also more decorated ones, in one way or the other, and that's what I am going to show you three examples of. 1. This is a fillet with a "wavy" edge. These are rather common in art, but whether the many examples of fillets with this kind of edge is the artists' way of showing pleating or actually shows a wavy upper edge is under debate. I however think that it is unlikely that so many artists, who have no problems showing pleats on for example sleeveheads on gardecorps should be unable to draw them on women's headwear. I think that there were several different ways to decorate a fillet, pleated, with a wavy or scalloped edge, edged with a braid etc. This fillet is based on St. Anna on this early 14th century altar frontal from Odda in Norway, seen below. Both her fillet and and her "chin strap" has rows of decorations which I have interpreted as braid, but could also be embroidery for instance. Another example showing a fillet with an edge of something thicker, maybe a braid, or a rolled piece of fabric is this s seal from c. 1300 (picture showing the imprint) My fillet has a silk cord sewn to it, but a more period solution would be a hand made braid or cord. The fillet is made from linen in a diamond twill, to add some interest to the simple white colour, and it is stiffened with heavy fusible interfacing. This was my first fillet, and today I would have either chosen vellum, which I'm told was used to stiffen some 13th century Spanish hats, or starch. To make the top wider than the bottom the pieces are cut at an angle where they are sewn together. A few more wavy fillets with some kind of edge decoration at the top: Roman del la Poire, 13th century And the ever popular Grosse Heidelberger Liederhandschrift. 2. This fillet instead has a scalloped edge. There are quite a few images of these too. My first inspiration, the violent woman in blue in the Trinity Apocalypse. This one, from teh Maciejowski Bible also appears scalloped. But it is also slightly shaped, since the edges stand out. To achive this there is a wire sewn along all the scallops bty hand, before, again by hand, sewing the outer and inner layers together. Here you see that the strip is angled at the back. 3. Finally we have a pleated fillet, which is new, I made it this autumn. This is not my first try at a pleated fillet, but the less said about that other one, the better. I sewed wire to the edge of many metres of linen and knife pleated the whole thing. It was not a success. This one is also made from a long strip of linen, but instead of knife pleating it all I sewed tucks on the strip, levaing the top 1,5- 2 cm. After hemming it all of course. To give it some stability I sewed a strip of linen to the bottom edge. I contemplated sewign teh pleats to teh top edge of this strip too, but as you can see on the photo of me above, it keeps its shape pretty well anyway, with the help of spray starch. This, absolutely fabulous photo of Countess Margareta von Brabant, married to count Gerald von Gerle, taken by the German re-enactment group Amicorum Gratia shows a pleated fillet from above, and you see that it is double, though the inner layer also appears to be pleated. This may be next on my list. Again, this my be a strip of linen wound twice around the head. I'm not sure about this cosntruction with the tucks, but it does give a good Maciejowski bible look. This Italian manuscript from 1241 shows either a pleated, or a scalloped fillet which has decoration in yellow on it. I'm guessing pleating. This german one appears to have pleats both at the top and the bottom, and not much of an angle. My guess is that this is still a strip of linen just wound around the head. This one, from, the Rutland Psalter (ca 1260) is probably pleated in some way, but much less so than the one I have made. Anyway, there are a million medieval images showing this type of headwear, and showing these was not the point of this post, but to show different variants that I have made. And, hopefully, point out that these are three interpretations, and that there are many more to make. And therefore I end here.
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Eva Notty 2024 Estatura (altura): 175 cm, Peso: 66 kg, Medidas: 115-70-110 cm, Fecha de nacimiento, Color de pelo, Color de los ojos, Nacionalidad
