![]() Leaves From the Past (Philadelphia: Press of J.B.John Smith, U.S.A., by Eugene Field (Gutenberg text).Bluestone: Lyrics (New York: Macmillan, 1920), by Marguerite Wilkinson.by John Chipman Farrar (multiple formats at ) The Bookman Anthology of Verse (1922), ed.Shadeland (Columbus, OH: Ohio State University Press, c2008), by Andrew Grace (PDF at Ohio State).Empire Burlesque (Columbus, OH: Ohio State University Press, c2008), by Mark Svenvold (PDF at Ohio State).by Margaret Sprague Carhart (Gutenberg text) Selections from American Poetry, With Special Reference to Poe, Longfellow, Lowell, and Whittier (Adelaide: University of Adelaide Press, c2012), ed.Items below (if any) are from related and broader terms. (New York : Pagan & Ross, 1889), by John Dawson Ross (page images at HathiTrust) Scottish poets in America : with biographical and critical notices / by John D.American literature - Scottish American authorsįiled under: American poetry - Scottish American authors.See also what's at your library, or elsewhere. You can also browse an alphabetical list from this subject or from: American poetry - Scottish American authors The covers were prepared in the same way, but using a blanket stitch.Browse subject: American poetry - Scottish American authors | The Online Books Page The Online Books Pageīrowsing subject area: American poetry - Scottish American authors ( Exclude extended shelves) Then, using cream-colored thread, I stitched each set of pages together. Beads and rubber stamp letters on right.Īfter the pages were all ready, I pinned together each two, noting where the ribbon tabs would be placed. On these pages I used stencils and rubber stamps On left, a stenciled image. Once a page was completed, I put the eyelets in. I completed each page before moving on – a system that worked well. I used bird rubber stamps to convey the messages “She has courage” and “She hath wings” because I thought they described Fidelia. I embellished pages with glass beads and embroidery. The images on the speckled linen required a thin coat of white glue to get them to adhere to the cotton page. I transferred a few of Fidelia’s paintings to muslin, then fused the muslin images to the pages with fusible interfacing. Pages embellished with beads and embroidery This allowed sewing knots to be hidden between the two pages. It helped to keep reviewing, especially because each page was a separate piece of fabric and would be sewn back to back to the preceding one. I used sticky notes on each page to help me keep track of what was going where. ![]() To begin, I planned each page, noting which side would need the eyelets. I loved the feel and look of the natural-color needled cotton that I found and I had the beige felt (cover) from another project. The sepia-toned photograph of Fidelia Bridges inspired me and set the tone for the project, with simple pages and colors. Title page from this week’s fabric art book projectįor this week’s art, I challenged myself to try something new – making a fabric book. She spent much time in Connecticut, as I do, and I will be seeing some of her paintings there this summer at the Wadsworth Atheneum Museum of Art in Hartford and the New Britain Museum of Art. When I first came across her story and photo, I knew I wanted my next project to include her. I am so pleased to have discovered Fidelia in my research. In the cover photograph, I see a lonely young woman embarking on an artistic journey – one that ended in a small Connecticut town, though her paintings continued to travel on to other destinations, including the Smithsonian Institution. The original Bridges’ home in Salem, Massachusetts, is now the Fidelia Bridges Guest House. Her life was quiet and unostentatious, her friends unmarried ladies of refinement and of literary and artistic task who she joined for woodland picnics and afternoon teas.įidelia Bridges died in 1923, in Canaan, where, to honor her, the community created a bird sanctuary in the cemetery where she is buried. She soon became a familiar village figure, tall, elegant, beautiful even in her sixties, her hair swept back, her attire always formal, even when sketching in the fields or riding her bicycle through town. She later lived in Canaan, Connecticut, where this entry from Notable American Women, 1607-1950 finds her: During this time, Fidelia also spent time in the Twain household in Hartford, Connecticut, as governess to Twain’s three children. Fidelia limited her own notoriety, as she was not particularly interested in exhibiting her work in public, but preferred selling to a small circle of admirers, including Mark Twain. She designed Christmas cards for Prang from 1881 to 1899. Louis Prang, a Boston printer and early promoter of Christmas cards in the United States, helped expand Fidelia’s reputation, publishing her paintings in a book of hours in 1876.
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