A three-page portfolio accompanying Shuttle Craft Guild Monograph Sixteen, Color and Dyeing by Harriet Tidball (1965). It consists of a cover, a diagram titled 'The Dyer's Color Wheel' showing yellow, red and blue primaries with dyed wool tufts, and a photograph of hand-dyed and handspun yarn samples. It has no weaving drafts.

Cover and sample pages from the Portfolio Edition of Mary Meigs Atwater's Shuttle Craft Monograph Three, 'Design and the Handweaver' (1961). The scan has a title page and two pages of mounted handwoven fabric samples in assorted colors and textures. It has no running text or weaving drafts.

Portfolio supplement to Harriet Tidball's Shuttle Craft Monograph One, The Double Weave: Plain and Patterned (1960). It consists of a cover page, two pages of photographed woven swatches pinned to mounting sheets, and a text page describing each sample, including yarns, sett and tie-ups. The sample notes cover a polychrome sampler, a Pringle of Inverness wool blanket sample, and seven worsted study swatches (two-block double weave, 1/3 twill variations, fringe and quilting). The last page also gives Shuttle Craft Guild subscription plans, prices and ordering addresses.

A portfolio of mounted fabric samples that accompanies Mary Meigs Atwater's Shuttle Craft Guild Monograph 15, Guatemala Visited (1965). Four pages of photographs show the swatches, and a final page lists and describes each sample. The samples include ikat skirt cloths, a man's trouser, huipiles, a stiff belt (faja), an apron, a tapestry head-band, a terminal selvage, palm braid and a draw-loom fabric. The notes give dimensions, looms (counter-balanced treadle, back-strap, draw-loom), regions and cross-references to pages in the monograph.

A promotional booklet from the Shuttle-Craft Company in which Mary Meigs Atwater presents hand weaving as a revived American craft, a source of income, and a teaching and occupational-therapy field. It describes household textiles, rugs, coverlets and dress fabrics made on the loom, and gives advice on choosing floor looms and table looms. It outlines the Shuttle-Craft correspondence courses, which cover overshot, draft writing, Summer and Winter and double weaves. It also includes Atwater's autobiographical account of becoming a weaver, a list of Shuttle-Craft special drafts for Colonial coverlet patterns, and a few sample drafts.

A 1941 instruction pamphlet by Mary Meigs Atwater of the Shuttle-Craft Guild on weaving narrow bands on the inkle loom. It describes the Old English and the table-model New American looms, how to warp them, and how to open the two sheds. It then covers plain-weave warp-faced patterns, pick-up patterns by the Scandinavian/European threading, and the native American system (Navajo, Mexican, Bolivian, Philippine). Six numbered diagrams give color-order drafts, threadings and pattern figures, with photographs of sample bands.

A five-page portfolio of mounted textile sample photographs accompanying Harriet Tidball's Shuttle Craft Monograph Six, "Mexican Motifs" (1962). It consists of a cover with the title and pages of photographed woven samples, including striped, black-and-white geometric, openwork and plaited examples. There are no weaving drafts and almost no printed text.

A portfolio of mounted textile samples from Peru, issued as an accompaniment to Shuttle Craft Guild Monograph Twenty-Five by Harriet Tidball. It consists of a cover and photographs of swatches on colored cards, including ancient Chancay cotton fragments, modern Andean wool and alpaca weavings, edging tapes, and a strip of feathers. A caption page describes each sample's structure, fibers, origin and maker, including weft-face point-twill, floating-weft patterns and warp-stripe designs.

Portfolio edition accompanying Harriet Tidball's Shuttle Craft Monograph Two, 'Surface Interest: Textiles of Today' (1961). The three pages consist of a cover and two sheets of pinned woven fabric swatches, with a key of numerals that appears to refer to sections and sample numbers in the monograph. The swatches include tweeds, textured wools and plain grey and cream fabrics.

A portfolio of mounted fabric swatches accompanying Harriet Tidball's Shuttle Craft Guild Monograph Thirteen on Thomas Jackson, a 17th and 18th century weaver. Captions give the monograph page for each sample, along with the fibers, dyes, warp sett and weaver. The samples include linsey-woolsey stripes, a linen ticking stripe, a coverlet or bedcover sample, linen damask and diaper weaves, and a happing weave in fours and fives.

A sample portfolio accompanying Harriet Tidball's Shuttle Craft Monograph Five, The Weaver's Book of Scottish Tartans. It contains twelve mounted swatches cut from tartan yardages, with a text key describing each sample: the tartan name and number, yarn, sett in ends per inch, and weaver or mill. The notes discuss traditional, ancient (faded), hunting, pre-proscription unnamed and substitute ("bastard") colorings, and the suitability of each fabric for suits, scarves, children's jackets, kilts and dress fabric.

Portfolio edition accompanying Harriet Tidball's Shuttle Craft Monograph Four, Woolens and Tweeds (1961). It consists of a cover page and two pages of mounted wool and tweed fabric swatches on orange-red card, including houndstooth checks, plaids and speckled tweeds. There is no printed text or weaving drafts beyond the cover.