A single picture postcard with a color photograph of a courtyard with a tiered stone fountain in a tiled pool. Many striped woven rugs or blankets in red, blue, black, cream and light blue are displayed in the foreground. The postcard has no readable text, so the place and publisher cannot be determined from the scan.

Basic Project lesson No. 8 from Terrace Textures giving instructions for two four-harness afghans ("Autumn" and "Cloisonne") and two stoles ("Fantasy Plaid" and "Peridot" with four variations). Each project lists yarns, yardage, sett, color arrangements, threading, treadling and finishing notes such as fringes and a flat-fell seam for joining two loom-width sections. Pages include photographs of the finished pieces and drawdown simulations for Peridot Variations A to D.

A three-page portfolio insert accompanying the July 1953 Shuttle-Craft Bulletin. It has a decorative cover, a pen-and-ink illustration of a sleeping baby with a caption, and a photograph of two mounted yellow and white wool samples for a baby blanket fabric. The caption says the larger sample is Draft (3) woven as drawn in for the center. The smaller is either Draft (3) woven in shadow twill fashion or a shadow twill threading woven in Draft (3) order, and both give the same border pattern. Full directions are in the Bulletin itself, and no drafts appear here.

A short encyclopedia entry defining a blanket as a bed coverlet, usually of white wool woven in a loom and crossed like serges. It describes finishing by fulling and napping with a fuller's thistle, notes blankets made from animal hair, and gives British duties on French blankets and French import duties.

A short encyclopedia entry on blankets as a commercial product, taken from Rees's Cyclopedia. It describes blankets as light, loosely woven woolen bedding and says their manufacture centered on Witney in Oxfordshire. It gives two explanations for the quality of Witney blankets: the river Windrush water used for scouring, or a local loose spinning method. It also lists the wool grades used for blankets of different widths, measured in quarters.

A short illustrated piece from China Pictorial about the first blanket made by a woollen textile mill run by the Eighth Route Army. It describes the economic blockade of the Shensi-Kansu-Ningsia Border Region during the War of Resistance Against Japanese Aggression and the production drive in which soldiers and civilians learned to spin and weave. A photograph shows the folded woolen blanket with horizontal bands of woven pattern.

A short extract from G. T. Vigne's Travels in Kashmir, reprinted in the Penny Magazine, describing how Kashmir shawls are made and finished. It covers thread preparation and rice-water stiffening, the terms for shawl cloth and other Kashmiri products, the taxation of shawls, and the washing, bleaching and sulphur-fume colouring of finished shawls. It also describes the shawl brokers (mokym) and their dealings with merchants, and the origin of the cypress-shaped shawl motif.

Rose Baldwin describes how she analyzed and reproduced a Norwegian ski scarf woven in warp-face weave. She gives the yarn colors and numbers (Weaving Special), sett (30 ends per inch, 15-dent reed, four ends per dent), finished length (34 inches with a short fringe) and weft notes (cream white filler, 10 to 12 shots per inch). A color-coded threading draft with tie-up and treadling for Structo and treadle looms accompanies the text.

An article by Elmer Wallace Hickman on weaving large, openwork shawls from heavy woolen yarns as a source of income. It explains the openwork "windows" pattern borrowed from a Danish curtain draft, with advice on yarn and color choice, light beating, shuttles, selvages and joining weft ends. It closes with a draft explanation and warp, weft and reed details for three sample shawls, plus finishing notes.

A lesson from the Terrace Textures series (Basic Project No. 2) on weaving baby blankets on a 4-harness loom. It gives general guidance on yarns, warp setts, colors, fringes, size allowances and warp yardage, then instructions for three blankets ("Lullabye," "Pompon," "Bunny Hug") with threading and treadling. It also includes four texture variations (A-D) with treadlings, and illustrated steps for binding blankets with mitred corners.

An issue of Practical Weaving Suggestions by Virginia M. West giving instructions for three handwoven ponchos using Lily Mills yarns. Poncho No. 1 is a warm 40-inch square in plain weave with twill-threaded borders and tassels; Poncho No. 2 is a mohair and wool evening wrap woven as two 16-inch strips joined with the Ball Stitch; Poncho No. 3 is a cotton novelty-yarn beach poncho in warp-patterned Rosepath. Each project lists warp, reed, weft, threading, weaving and finishing directions. Variations include a bed jacket, a matching pillow, and a striped poncho on the same warp.

An article from the first issue of The Weaver giving instructions for ten handwoven wool and silk neck scarves. It suggests dimensions, sett and yarns (Lady Helene wool, Sennah, spun silk floss), then gives warp colors, threading and treadling for each scarf, including block, plaid, goose-eye twill, shepherd's check and Ms and Os designs. It closes with finishing and washing advice and an announcement of a Questions and Answers department to be conducted by Mary M. Atwater.

February 1969 issue of the monthly Warp & Weft, edited by Russell Groff of Robin & Russ Handweavers in McMinnville, Oregon. It includes the editor's news column, a note on a cover photograph of an open-rib drapery fabric woven with silk weft, and a review of Marguerite Ickis's beginners' book Weaving as a Hobby. The main feature is a four-harness mohair afghan project, with threading and tie-up drafts for counterbalanced and jack looms, an eight-shot treadling sequence, weaving tips and a cost breakdown. The issue ends with classified ads for yarns, books and looms and a page of advertisements.

October 1969 issue of Warp & Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It includes an editor's column on a Pacific Northwest Handweavers Conference and a planned 1970 weaving tour of Switzerland and Ireland. A feature describes Sanger and Company, a Swiss hand-weaving shop making aprons, damask linen tablecloths, ticking and drapes, with some weaving done by families at home. The issue also gives a four-harness baby blanket project, "Bye Bye Baby Bunting", with threading, two tie-ups, a sleying plan, treadling, and a cost breakdown for wool worsted and pompadour yarns, followed by classified ads and marketplace ads for yarns, looms, and books.

A page from the New International Encyclopedia on blankets. It covers the Navajo blanket (reservation, sheep, spinning on a spindle, upright loom, colors, geometric patterns, value by weight) and the history of blanket manufacture in the United States from the War of 1812 through the Civil War. It also notes cotton-warp and woolen-filling blankets, finishing to a fleecy surface, and fine Mysore blankets.

A short 1908 article from The Modern Review on the pashmina (shawl-wool) trade of Amritsar in the Panjab. It covers the origins of the industry under Ranjit Singh, the import of pashm from Tibet via Rampur and Kashmir, the Kashmiri weavers, loom-woven (Kannikar) versus needle-embroidered (Amlikar) shawls, growth in shops and looms, and comparison of Amritsar and Kashmir quality, dyes and adulteration. It also notes cotton-wool mixtures (Garba), German imitations, brokers' sales practices, and a table of present prices against 1899-1900.

A 1966 weaving folio by Elmer Wallace Hickman with instruction sheets for 20 hand-woven fabrics for stoles, scarves, throws, winter bonnets, jackets and quesquemitls. Each project gives the warp and weft yarns, reed and sleying, threading draft and treadling, mostly for 4-harness looms using new mohair, Orlon, acrylic and knitting yarns. It also includes a cover letter, a list of swatches, a 'Tabby Talk' section with weaving tips and yarn suppliers, and sketches and notes for making the garments.

November 1959 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers of Santa Barbara, California. It includes the editor's shop news, a profile of the Northeast Iowa Weavers Guild, and the main project, a Silver-Glo stole woven on a 4-shaft threading with Bernat weaving afghan warp and a silver metallic weft, with threading, tie-up, treadling, a sample photograph and cost breakdown. It also has a review of the Swedish rug book Nya Mattor, a fire-proofing formula for draperies, a classified ad section for shop supplies, and loom advertisements.

January 1952 issue of Warp & Weft, a monthly American handweaving periodical that came with a fabric sample. The issue's main project is a spun nylon stole with striped metallic borders, based on an Italian muff-sleeve. It gives a plain twill threading draft, tie-up, treadling and weft details for three stripe patterns, plus color suggestions and instructions for tying diamond-pattern fringes. It also has an article on nylon fibers, news of weavers and a new California guild, a question on nylon summer dresses, a book review of The Colonial Craftsman, short anecdotes, and supplier advertisements.

October 1953 issue of the American handweaving newsletter Warp & Weft. The main project is the Cinnamon Stick Stole, a 4-shaft sample by Robin & Russ Handweavers of Santa Barbara. It uses red and pink Egyptian cotton, metallic threads and loop wool, with a threading draft, tie-up, warp and sleying sequence, treadling blocks, materials list and hints for weaving with metallics. Other items are a letter on the Island Industries weaving project on Madeline Island, Wisconsin, an article on commercial cotton finishing (Everglaze), a book review of Early American Design Motifs, guild news, a Silas Marner column, a reader question on what makes a master weaver, and advertisements.

A Lily Mills pamphlet by Colonel John Fishback giving directions for weaving four lightweight wool stoles and a quexquemetl on plain twill threadings. Each project lists warp width, sett, yarn amounts, sleying plans and weaving directions with treadling, open spaces, pick-up lace and metallic accents. A closing section covers general weaving notes, hemstitching on the loom and finishing worsted pieces.

A mid-19th-century magazine article, reprinted in Living Age from Household Words, on the shawl trade and its manufacture. It opens with Bokhara camel-hair shawls, the Eastern shawl tradition, and the universal demand for shawls, then describes the three kinds made at Paisley: woven Asiatic-pattern shawls, tartan shawls and printed shawls. It covers pattern design and painting on point paper, Jacquard and 'lashing' weaving, the 'flowers' of harness cords, cutting, singeing, darning and fringing, the fringe-twisting machine, and block-printing and steaming of printed shawls.

July 1955 issue of the Shuttle Craft Guild Handweaver's Bulletin (Portfolio Edition) by Harriet Tidball. The main article describes twelve stole designs on plain-weave and spaced warps using Pent French-spun worsted, metallic threads, silk, mohair and boucle, with warp plans, sleying, wefts and fringe finishes. Other items include a note on Pent Yarns, a review of Mary Kirby's Designing on the Loom (with an explanation of converting peg plans to treadle tie-ups), advice on starting a small weaving business, a report on Dr Edyth Ludowyk's tapestries, Q&A on painting heddle bars and on man-made fibers, an announcement of a textile magnifying glass, and a Threadbenders newsletter.

November 1956 issue of Warp and Weft, a monthly handweaving newsletter published by Robin & Russ Handweavers of Santa Barbara, California. It gives full instructions for a "Popcorn" baby blanket fabric (threading, tie-up, special reed sleying, treadling, yarns, and costs), along with a profile of Mrs. Garnett January of the Loomcraft Studio, a proposed Mary Meigs Atwater memorial collection, and reviews of Heather Thorpe's A Handweaver's Workbook and Ulla Cyrus's Manual of Swedish Handweaving. It closes with classified ads and loom and yarn advertisements.

Issue of The Handicrafter (Vol. I, No. 6, August/September 1929), a crafts magazine published by Emile Bernat & Sons Co. It includes articles on the weaving revival at Gatlinburg, Tennessee, making handmade Christmas cards by the blueprint method, an experimental dancer-weaver's notes on warping and napped wool, New England caps, tooled leather purses and bags, and costume jewelry. Mary M. Atwater's "Pink or Blue!" gives baby blanket instructions with threading drafts for striped, check, overshot and double-weave blankets, and Edith Huntington Snow writes on modern tapestry and embroidery weaves with a beginner's sampler. Editorials, book notices and many weaving-supply and craft advertisements fill the rest.

April 1953 issue of the Shuttle Craft Guild Handweaver's Bulletin, edited by Harriet Tidball. The main article gives instructions for nine handwoven stoles for different occasions (shopping, suit, afternoon, at-home, evening), with warp and weft materials, sett, widths, lengths, fringes and finishing, including Flossa knot fringes, bead-decorated weft, Atwater lace and a leno-woven triangular stole. Also included are a report on a California trip (a five-day seminar in Los Angeles, visits to weaving studios and guilds) and a survey of Guild membership and of handweaving periodicals of the time.

A 1929 article by Mary Meigs Atwater with instructions for weaving baby blankets on a handloom. It covers fifteen blanket designs, from light plain-tabby Afghan-yarn blankets with colored borders to heavier Saxony and Germantown wool blankets. The heavier ones use linen-weave threadings, overshot, basket weave, an eight-harness pattern and quilted (double) weaving. It gives warp counts, sley rates, color arrangements, treadlings and finishing advice, and closes with notes on handling wool warps. A threading-draft sheet with tie-ups (a)-(g) and several photographed or drawn illustrations accompany the text.

A short 19th-century magazine item on the Thibet (Cashmere) goat and the shawls made from its wool. It reports the introduction of the goat into the United States by Dr. J. B. Davis of South Carolina, and its spread to Tennessee. It also covers shawl prices, the debate over whether genuine Indian shawls are woven in pieces and sewn together, French and Paisley imitations, and wool yields per animal.

A single engraved fashion plate from Godey's Lady's Book and Magazine, December 1844, showing four women in mid-19th-century dress. Two on the left wear dark outerwear, including a mantle with a lace shawl or veil draped over one arm and a bonnet. The page has no text, so the costume details come from the image alone.

Five pages of fashion plates with short descriptive captions from the October 1860 issue of Godey's Lady's Book. They show the Medicis or shawl mantle, the Zouave morning robe, the Jeddo (a gray silk dress for morning calls) and the Saragossa cloak, plus a hand-colored plate of four women in mid-19th-century dress. The captions describe fabrics, colors and trimmings such as pinked silk frills, box-pleated flounces and passementerie.

A single page from Harper's New Monthly Magazine bearing a wood engraving titled "Weaving a Blanket." It shows two Native American women working at an upright loom on a blanket with geometric patterning (diamonds, zigzags, crosses), while a standing man with feathers in his hair looks on. There is no text beyond the caption and running head.

US design patent D81,868, granted 26 August 1930 to Lawrence Dinkelspiel of West New York, New Jersey, for the ornamental design of a lace scarf or similar article. The drawing shows one half of a rectangular scarf with a border of stylized grape clusters, leaves, scrolls and beaded edging; the other half repeats it in reverse. The text is a brief specification with a single claim for the design as shown.

A short article by Gertrude Whiting recounting what she observed of silk production in Italy: raising silkworms on mulberry leaves, cocoon spinning, buying and weighing cocoons, killing the pupae, and reeling filaments from hot-water-softened cocoons. It also mentions Tussah silk from Manchuria, silkworm breeding experiments at Nanking, and cottage weaving of silk Roman blankets that were brushed to a shaggy surface. A photograph shows a cart loaded with baskets of cocoons, and the last page carries a 1554 dedicatory sonnet by Matthio Pagan from a Venetian pattern book as a filler.

A short 1872 household-advice item giving a recipe for scouring tartan shawls, suggested as safe for Paisley plaids. It describes making a soap jelly with turpentine and hartshorn, washing, rinsing in cold water and then salt water to prevent colours running, and mangling and ironing with a cool iron.

A short encyclopedia entry defining the hyke, a blanket-like garment used in Barbary (North Africa). It says the women weave hykes without a shuttle, passing each weft thread by hand. It describes the size, use as daytime dress and night bedding, and cites Dr. Shaw's comparison to the ancient peplus or toga.

A one-page fashion plate article from December 1850 describing two engraved figures in winter dress. Fig. I is a promenade costume with a striped brown silk robe, a dark green satin mantle with a double skirt, and a brown velvet drawn bonnet. Fig. II is a back view of a claret broché silk gown with a black satin cloak trimmed with chenille fringe and passementerie, and a green velvet bonnet. The text details fabrics, trimmings and cuts of mid-19th-century women's outerwear.

A single handwritten sheet giving a weaving draft for a Norwegian-style ski scarf woven in warp-face weave, credited to Rose Baldwin. It includes a graph-paper color and threading chart, shed combinations, a treadling sequence, a shading column of colored warp stripes, and a key to color abbreviations (reds, blues, greens, yellow, cream, sand, turquoise and others).

A one-page article from Master Weaver giving two practical satin projects that follow a theoretical discussion in the previous issue. The first is a black mercerized cotton scarf in sateen with a colored rayon weft border, given with warp, sett, threading, two alternative tie-ups and treadling. The second is an experimental 3D fabric on an 8-shaft satin threading, using a fine cotton warp and alternating fine and heavy nubby wefts in an irregular order.

Project article by Linda Hendrickson giving instructions for four tablet-woven gauze scarves, all made with 60 tablets threaded alike and sett at 6 tablets per inch using a reed. The scarves differ in yarn choice, color and value, and in how often the weft is placed in the 4 forward, 4 backward turning sequence. It lists equipment, setup, weaving, finishing and the materials for each scarf, including ribbon, turquoise and purple, and black and white versions.

A short article by Doris McMullen proposing woven baby crib coverlets as a quick, inexpensive item for weavers to make and sell. She recommends Bernat yarns (Umbrian for warp, Glendown, Weaving Special and Fabri for weft), describes a coverlet with a picked-up peach border and one with partial pattern pick-up in deep blue, and suggests a four-block diamond border used with the Rebecca Garrison coverlet draft. She also explains weaving the child's name into the hem using the French embroidery method. Two photographs illustrate the coverlets; no drafts are printed.

German imperial patent no. 164095 by Hermann Gebauer of Bischofswerda for a woven blanket with selvages on all four sides, made from a warp consisting of a single continuous thread laid in loops. The loops are raised and lowered by the heddles for shedding like ordinary warp threads, and the blanket ends are secured by a few plain-weave picks crossing each loop thread individually with a needle. The text describes the loom arrangement (warp beam, cloth beam, cords with snap hooks, heddle shafts, reed) and an auxiliary frame for laying the loops at equal length; three pages of drawings follow.

A two-page February 1944 issue of Handweaving News by Nellie Sargent Johnson, devoted to projects for the Hearthside loom, a small heddle-based loom sold through Sears & Roebuck. It gives instructions for wool scarves and belts for servicemen, notes the switch from a plastic to a metal heddle, and explains how to beat the weft close. It also includes a warping order for a striped rug woven with looped stockings and directions for a draw string bag.

Two pages from the October 1947 issue of Handweaving News by Nellie Sargent Johnson. The first gives threading drafts, a tie-up, reed sleying, warp and weft materials, and treadling orders for two drapery or curtain fabrics woven in plain weave with novelty wefts, from her class at Wayne University. The second gives suggestions for weaving a baby blanket or carriage robe on the Hearthside Portable Loom, covering yarns, warping order, weaving and beating, and brocading the year 1947 into the corner.

Article by Agnes K. Neilson on weaving double-width cloth and seamless tubing on a four-harness twill threading, with extra notes on eight- and six-harness variations. It gives sleying, treadling and tie-up directions for two pillows, a saddlebag, a zipper bag and a knitting bag. It also covers three checkered afghans (one in log-cabin style), with color sequences, thread counts, sett and finished sizes. Alternate treadling for Structo-Looms is included.

A short article from the Minnesota Weaver swatch page describing how to weave a 40-inch triangular shawl on the loom in Bronson lace and plain weave. It gives the threading and jack-loom tie-up, materials (single-ply British tweed at 12 epi), and the method of breaking each warp thread in turn to use as the weft so the shawl takes shape. It also covers problems such as even beating, finishing and fringes, and ends with a reference list.

Joy Rosner describes how to weave a 40" x 40" triangular shawl on the loom using Bronson lace and plain weave in single-ply blue British tweed. The article covers the threading and tie-up, materials, a 12 epi sett, and a method in which each warp end is broken at the back and used as the weft. It also covers problems in weaving, finishing and washing, and ends with a reference list. Two photos show a detail and the full shawl, and a weaving plan page gives the threading, tie-up and warp layout.

A dictionary entry on cashmere as a fabric, describing the Kashmir shawl made from the downy wool of the Thibet goat and how it was woven, with figures added by shuttle or by needle. It also covers European imitations woven on the Jacquard loom in Paris, Lyons and Nismes, a French loom that makes both sides alike, and the Hindoo shawl. A final sense defines cashmere as a woolen and cotton figured dress goods.

A one-page encyclopedia entry on the Cashmere goat, a long-haired variety of the common goat whose fine hair, mostly from Tibet, is made into Cashmere shawls. It describes the fleece length and yield, the spinning and dyeing of the hair by women, and the weaving of plain and patterned shawls (the patterned ones worked with wooden needles, one per colour). It also covers shawl prices, French imitations, and attempts to introduce the goat into Sweden and Britain. Includes an engraved illustration of the goat.

A two-page newsletter article from Nellie Sargent Johnson offering practical Christmas gift weaving ideas, mostly for the Hearthside loom: striped curtains, corn-shuck and Spanish-weave place mats, plaid mats, drawstring and Vogue-pattern bags, wool scarves, vests, caps and afghans. It gives colors, materials and row-by-row directions for several items, plus a four-harness diamond threading draft for a striped-warp bag.

A short magazine article describing the handwoven and tufted handicrafts of Murray Bay (Pointe-a-Pic) on the St. Lawrence River in Quebec. It covers the wool blankets spun, dyed and woven by local French-Canadian and Indian women, and the linen bedspreads and coverlets with tufted or darned designs of pine trees, houses, papooses and animals. It also describes the setting, the village shops and the tourist market. One photograph shows a craftswoman at a loom with finished goods, and another shows a patterned spread.