Jane Nicholas is one of the world's leading embroiderers, specializing in stumpwork. Her exquisite embroideries in goldwork and stumpwork are inspired by Japanese family crests, a subject that has fascinated her for many years. In this book, Jane has selected 12 designs and interpreted them in a variety of ways using combinations of goldwork, and raised and surface stitching. The projects feature a charming array of motifs including butterflies and other insects, Japanese plants and flowers. Measuring just 10cm (4in) square, each is worked on an assortment of silk Japanese kimono fabrics, and is accompanied by detailed instructions, a stitch diagram and the outline for the design. At the start of the book there is a fascinating history of Japanese family crests, followed by a stitch directory and a techniques section covering how to prepare your background fabric, how to transfer the design and how to work with wire. Illustrated throughout with sumptuous photography and informative diagrams, this is a treasure trove of ideas and inspiration for embroiderers and lovers of Japanese culture alike.

In 1973, a five year old girl known as Pookie was exhibited as "The Monkey Girl" at the Canadian National Exhibition. Pookie was the last of a number of children exhibited as 'freaks' in twentieth-century Canada. Jane Nicholas takes us on a search for answers about how and why the freak show persisted into the 1970s. In Canadian Carnival Freaks and the Extraordinary Body, 1900-1970s, Nicholas offers a sophisticated analysis of the place of the freak show in twentieth-century culture. Freak shows survived and thrived because of their flexible business model, government support, and by mobilizing cultural and medical ideas of the body and normalcy. This book is the first full length study of the freak show in Canada and is a significant contribution to our understanding of the history of Canadian popular culture, attitudes toward children, and the social construction of able-bodiness. Based on an impressive research foundation, the book will be of particular interest to anyone interested in the history of disability, the history of childhood, and the history of consumer culture.

The embroideries in this beautifully illustrated work were inspired in particular by the decorative panels and borders in the illuminated Book of Hours created by Jean Bourdichon for Anne of Brittany, early in the sixteenth century. Jane has chosen eight flowers from myriad possibilities and interprepted them here in stumpwork embroidery. Five are worked as botanical specimens, their Latin names stitched below them. The other three, equally botanically correct, are presented as illuminated panels with richly coloured borders embellished with gold thread and beads. Each piece includes a 'surprise' in the form of an insect (or two), faithfully interpreted in fabric, wire, beads and thread. The requirements and instructions for each project are given in detail, along with a tracing patterns and explanatory diagrams.

The research and embroidery involved in creating the designs for this book has been a joy for Jane Nicholas. She has revelled in the opportunity to indulge a passion of hers since childhood - combining jewel-like colours, gold metallic threads and glittering beads. Sixteen projects are presented in this book, varying both in size and complexity. Each has been inspired by an example of Islamic art - pottery, textiles, manuscripts or jewellery - from Turkey, Syria, Persia, Arabia or India.

Collecting insects, and displaying them, has long been the delight of natural history enthusiasts. In the 19th century, collecting butterflies and moths as serried rows in specimen boxes, or as decorative patterns in framed pictures, was a popular pursuit. Faithful to the tradition of these collectors, the Moth and Butterfly Specimen Box in this book is the third in Jane's series of stumpwork insect boxes, preceded by those in Stumpwork Dragonflies (2000), and The Stumpwork, Goldwork and Surface Embroidery Beetle Collection (2004). Lavishly illustrated in colour, with detailed step-by-step instructions accompanied by explanatory diagrams, this book will be a valued addition to the bookshelf of anyone interested in textured and dimensional embroidery.

In 1598, Lady Anne Clifford wrote a letter to her father that featured a beautifully painted border. Inspired by that Shakespearian-era design, Jane Nicholas has created her own embroidery, stitched on ivory silk satin in stumpwork. It showcases 14 assorted flowers and fruits popular at the time, from the Apothecary rose, borage, heartsease, and periwinkle to redcurrants, barberries, plums, and strawberries. Use the border to surround a mirror or enclose a special photograph, monogram, or treasured memento.

In 1973, a five year old girl known as Pookie was exhibited as "The Monkey Girl" at the Canadian National Exhibition. Pookie was the last of a number of children exhibited as 'freaks' in twentieth-century Canada. Jane Nicholas takes us on a search for answers about how and why the freak show persisted into the 1970s. In Canadian Carnival Freaks and the Extraordinary Body, 1900-1970s, Nicholas offers a sophisticated analysis of the place of the freak show in twentieth-century culture. Freak shows survived and thrived because of their flexible business model, government support, and by mobilizing cultural and medical ideas of the body and normalcy. This book is the first full length study of the freak show in Canada and is a significant contribution to our understanding of the history of Canadian popular culture, attitudes toward children, and the social construction of able-bodiness. Based on an impressive research foundation, the book will be of particular interest to anyone interested in the history of disability, the history of childhood, and the history of consumer culture.

With her short skirt, bobbed hair, and penchant for smoking, drinking, dancing, and jazz, the "Modern Girl" was a fixture of 1920s Canadian consumer culture. She appeared in art, film, fashion, and advertising, as well as on the streets of towns from coast to coast. In The Modern Girl, Jane Nicholas argues that this feminine image was central to the creation of what it meant to be modern and female in Canada.

Using a wide range of visual and textual evidence, Nicholas illuminates both the frequent public debates about female appearance and the realities of feminine self-presentation. She argues that women played an active and thoughtful role in their embrace of modern consumer culture, even when it was at the risk of serious social, economic, and cultural penalties. The first book to fully examine the "Modern Girl"'s place in Canadian culture, The Modern Girl will be essential reading for all those interested in the history of gender, sexuality, and the body in the modern world.

From fur coats to nude paintings, and from sports to beauty contests, the body has been central to the literal and figurative fashioning of ourselves as individuals and as a nation. In this first collection on the history of the body in Canada, an interdisciplinary group of scholars explores the multiple ways the body has served as a site of contestation in Canadian history in the nineteenth and twentieth centuries. Showcasing a variety of methodological approaches, Contesting Bodies and Nation in Canadian History includes essays on many themes that engage with the larger historical relationship between the body and nation: medicine and health, fashion and consumer culture, citizenship and work, and more. The contributors reflect on the intersections of bodies with the concept of nationhood, as well as how understandings of the body are historically contingent. The volume is capped off with a critical introductory chapter by the editors on the history of bodies and the development of the body as a category of analysis.