![]() GEAR HIGHLIGHTS: Definitely my Leatherman knife. Since I’m using a gravel bike, I chose components to absorb as much vibration as possible, including a Redshift Suspension Stem and an incredible Fizik Argo adaptive saddle.īAGS: As usual, I have bags from Miss Grape, a full-frame for electronics, documents, parts, plus some food, a rear bag for clothes, and a front bag for sleeping gear. ![]() I’m using an ENVE seatpost and ENVE gravel handlebar. The bike runs with a 1×12 AXS drivetrain, a pair of 3T 27.5″ wheels with Ultradynamico Rosé tires, and a SON 28 dynamo hub that provides energy for my Garmin 1030 plus, MTB ultra V2 light set from kLite, and a power bank for the other electronic devices. Andrea Galanti Age 39 / Bologna (Italy)īIKE: For my first Tour Divide, I have the great chance to race with an UP by Open Cycle. And when the event kicks off, you’ll be able to follow along live over on our 2022 Tour Divide Tracker. ![]() Browse all the rigs below, featuring bag and gear highlights for each. This time around, we’re highlighting more than 60 drop-bar rigs that will be lined up for the grand depart tomorrow morning in Banff, Alberta, Canada. As such, we couldn’t be more excited to present our Rigs of the 2022 Tour Divide-one of the most popular rig roundups we publish each year.Ĭontinuing on from yesterday’s post, in which we shared more than 50 loaded flat-bar bikes, we’re excited to present the second part of our extensive roundup. 1966.After a canceled 2020 event, followed by an adjusted version in 2021 due to border closures, the annual Tour Divide grand depart is finally back to normal this year. Worked by Mary King, Philadelphia, Pennsylvania 1754. Plain & Fancy: American Women and Their Needlework, 1650–1850. Winterthur, Del.: Henry Francis du Pont Winterthur Museum, 1976. A Winterthur Guide to American Needlework. Textiles in America, 1650–1870: A dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. Printed Textiles: English and American Cottons and Linens, 1700–1850. Quilts in a Material World: Selections from the Winterthur Collection. Books about Winterthur Textiles and NeedleworkĮaton, Linda. Others are exceptional examples of traditional interior design from the early 20th century, many of which were made by the influential firm of Ernest Lo Nano.įor more on Winterthur’s collection of textiles and needlework, please see the quilts database and the virtual catalogue for the past exhibition Who’s Your Daddy? Families in Early American Needlework. Some are significant for the historic fabrics from which they are made, including outstanding English, French, and Indian printed cottons as well as French silks, such as the magnificent curtains made from a silk designed in the 1760s by Philippe de Lasalle (1723–1804), one of the most successful silk designers of the 18th century. The furnishing textiles used in Winterthur’s rooms have been a source of inspiration to interior designers since the 1930s. Also featured are numerous examples of indigo-resist printed cottons, which were fashionable in the mid-18th century and remain so today, and a set of bed hangings plate-printed with portraits of both George Washington and Benjamin Franklin in the 1780s. Among its rare objects is one of only three counterpanes printed by John Hewson, a Philadelphia printer active in the late 18th and early 19th centuries. Winterthur’s collection of printed cottons and linens is among the best in the world. Highlights include Mary Foot’s 1778 embroidered bed rug from southeastern Connecticut and Sophia Myers Pearce’s chintz appliqué quilt, made in Baltimore about 1840. Quilts and other bedcovers are another strength of the textiles collection and feature counterpanes, embroidered blankets, and both Jacquard and float-weave coverlets. Winterthur’s extensive collection of American samplers and needlework pictures, many of which are on display in the house and the Galleries, includes one of the earliest samplers known to have been worked in America, Sarah Stone’s band sampler, dated 1678 a beautiful Philadelphia silkwork picture worked by Mary King in 1754 and a unique Berlin woolwork picture embroidered by Olevia Rebecca Parker in 1852 at the Lombard Street School, a public school in Philadelphia that educated children from the African-American community. Since his death in 1969, the collection has continued to grow, and now includes about 20,000 objects. From quilts to gowns, samplers to bed hangings, Winterthur’s collection includes some of the finest textiles made or used in America. Henry Francis du Pont loved textiles for their colors, patterns, and textures.
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