Drawn Thread Work

English embroidery

Medieval period

Anglo-Saxon

Detail of stitching on the Bayeux Tapestry.

Little physical evidence survives to reconstruct the early development of English embroidery before the Norman Conquest of 1066. Stitches reinforcing the seams of a garment in the Sutton Hoo ship burial may have been intended as decoration, and so be classed as embroidery, and fragments of a scrolling border worked in stem stitch were recovered from a grave in Kempston, Bedfordshire. Some embroidered pieces of about 850 preserved in Maaseik, Belgium, are generally assumed to be Anglo-Saxon work based on their similarity to contemporary manuscript illustrations and sculptures of animals and interlace.

The documentary evidence is rather richer than the physical remains. Part of the reason for both these facts is the taste among the late Anglo-Saxon elite for embroidering using lavish amounts of precious metal thread, especially gold, which both gave items a magnificence and expense worth recording, and meant that they were well worth burning to recover the bullion. Three old vestments, almost certainly Anglo-Saxon, recycled in this way at Canterbury Cathedral in the 1370s, produced over 250 of gold – a huge amount. Richly embroidered hangings were used in both churches and the houses of the rich, but vestments were the most richly embellished of all, of a “particularly English” richness. Most of these were sent back to Normandy or burnt for their metal after the Norman conquest. An image of part of a huge gold acanthus flower on the back of a gold-bordered chasuble, almost certainly depicting a specific real vestment, can be seen in the Benedictional of St. thelwold (fol. 118v).

Scholars agree that three embroidered items from the coffin of St Cuthbert in Durham are Anglo-Saxon work, based on an inscription describing their commission by Queen lffld between 909 and 916. These include a stole and maniple ornamented with figures of prophets outlined in stem stitch and filled with split stitch, with halos in gold thread worked with underside couching. The quality of this silk embroidery on a gold background is “unparalleled in Europe at this time.”

Scholarly consensus favours an Anglo-Saxon, probably Kentish origin for the Bayeux tapestry. This famous narrative of the Conquest is not a true woven tapestry but an embroidered hanging worked in wool yarn on a tabby-woven linen ground using outline or stem stitch for lettering and the outlines of figures, and couching or laid work for filling in figures.

Opus Anglicanum

Main article: Opus Anglicanum

The Butler-Bowden Cope, 13301350, V&A Museum no. T.36-1955.

The Anglo-Saxon embroidery style combining split stitch and couching with silk and goldwork in gold or silver-gilt thread of the Durham examples flowered from the 12th to the 14th centuries into a style known to contemporaries as Opus Anglicanum or “English work”. Opus Anglicanum was made for both ecclesiastical and secular use on clothing, hangings, and other textiles. It was usually worked on linen or dark silks, or later, worked as individual motifs on linen and applied to velvet.

Throughout this period, the designs of embroidery paralleled fashions in manuscript illumination and architecture. Work of this period often featured continuous light scrolls and spirals with or without foliations, in addition to figures of kings and saints in geometrical frames or Gothic arches.

Opus Anglicanum was famous throughout Europe. A “Gregory of London” was working in Rome as a gold-embroiderer to Pope Alexander IV in 1263, and the Vatican inventory in Rome of 1295 records well over 100 pieces of English work. Notable surviving examples of Opus Anglicanum include Syon Cope and the Butler-Bowden Cope of 133050 in the Victoria and Albert Museum, embroidered with silver and silver-gilt thread and coloured silks on silk velvet, which was disassembled and later reassembled into a cope in the 19th century.

Professional embroiderers

By the 13th century, most English goldwork was made in London workshops, which produced ecclesiastical work, clothing and furnishings for royalty and the nobility, heraldic banners and horse-trappings, and the ceremonial regalia for the great Livery Companies of the City of London and for the court.

The founding of the embroiderer’s guild in London is attributed to the 14th century or earlier, but its early documents were lost in the Great Fire of London in the 17th century. An indenture of 23 March 1515 records the establishment of Broderers’ Hall in Cutter Lane in that year,, and the guild was officially incorporated (or reincorporated) by Royal Charter under Elizabeth I in 1561 as the Worshipful Company of Broderers. Professional embroiders were also attached to the great households of England, but it is unlikely that those working far from London were members of the Company.

From the middle of the 14th century, money that had previously been spent on luxury goods like lavish embroidery was redirected to military expenditure, and imported Italian figured silks competed with native embroidery traditions. Varieties of design in textiles succeeded each other very rapidly, and they were more readily available than the more leisurely produced needlework. The work produced by the London workshops was simplified to meet the demands of this deteriorating market. The new techniques required less work and smaller quantities of expensive materials. Surface couching replaced underside couching, and allover embroidery was replaced by individual motifs worked on linen and then applied to figured silks or silk velvets. Increasingly, designs for embroidery were derived directly from woven patterns, “thus losing not only their former individuality and richness, but also their former … story-telling interest.”

Renaissance to Restoration

Elizabeth I wears a blackwork chemise and partlet and a gown embroidered with gold thread and studded with pearls. The Phoenix Portrait by Nicholas Hilliard, c. 157576

The second great flowering of English embroidery, after Opus Anglicanum, took place in the reign of Elizabeth I.

Although the majority of surviving English embroidery from the medieval period was intended for church use, this demand decreased radically with the Protestant Reformation. In contrast, the bulk of the surving embroidery of the Tudor, Elizabethan, and Jacobean eras is for domestic use, whether for clothing or household decoration. The stable society that existed between the accession of Elizabeth in 1558 and the English Civil War encouraged the building and furnishing of new houses, in which rich textiles played a part. Some embroidery was imported in this period, including the canvas work bed valances once thought to be English but now attributed to France, but the majority of work was made in Englandnd increasingly, by skilled amateurs, mostly women, working domestically, to designs by professional men and women, and later to published pattern books.

Tudor and Jacobean styles

A general taste for abundant surface ornamentation is reflected in both household furnishings and in fashionable court clothing from the mid-16th century through the reign of James I. A 1547 account of the wardobe of Henry VIII shows that just over half of the 224 items were ornamented with embroidery of some kind, and embroidered shirts and accessories were popular New Year’s gift to the Tudor monarchs. Fine linen shirts, chemises, ruffs, collars, coifs and caps were embroidered in monochrome silks and edged in lace. The monochrome works are classified as blackwork embroidery even when worked in other colours; red, crimson, blue, green, and pink were also popular.

Outer clothing and furnishings of woven silk brocades and velvets were ornamented with gold and silver embroidery in linear or scrolling patterns, applied bobbin lace and passementerie, and small jewels.

Margaret Laton’s embroidered jacket is typical of the early 17th century style. This jacket has survived and is in the Victoria and Albert Museum.

Appliqu work was popular in the Tudor era, especially for large-scale works such as wall hangings. In Medieval England, rich clothing had been bequeathed to the church to be remade into vestments; following the dissolution of the monasteries at the Reformation, the rich silks and velvets of the great monastic houses were cut up and repurposed to make hangings and cushions for private homes. Shapes cut from opulent fabrics and small motifs or slips worked on fine linen canvas were applied a background fabric of figured silk, velvet, or plain wool and embellished with embroidery, in a style deriving from the later, simpler forms of Medieval work.

Canvaswork in which the linen ground was covered entirely by tent, gobelin, or cross stitches in wool or silk thread was often used for cushion covers and small bags. Notable examples like the Bradford carpet, a pictorial table cover, were likley the work of professionals in the Broderers’ Company.

Polychrome (multicoloured) silk embroidery became fashionable in the reign of Elizabeth, and from c. 1590 to 1620 a uniquely English fashion arose for embroidered linen jackets worn informally or as part of masquing costume. These jackets usually featured scrolling floral patterns worked in a multiplicity of stitches. Similar patterns worked in 2-ply worsted wool called crewel on heavy linen for furnishings are characteristic of Jacobean embroidery.

Pattern sources

Blackwork embroidery of the 1530s (left) and 1590s (right).

Pattern books for geometric embroidery and needlelace were published in Germany as early as the 1520s. These featured the stepped, angular patterns characteristic of early blackwork, ultimately deriving from medieval Islamic Egypt. These patterns, seen in the portraits of Hans Holbein the Younger, were worked over counted threads in a double running stitch (later called Holbein stitch by English embroiderers).

The first pattern book for embroidery published in England was Moryssche & Damaschin renewed & encreased very popular for Goldsmiths & Embroiderers by Thomas Geminus (1545).Moryssche refers to Moorish or arabesque designs of spirals, scrolls, and zigzags. Scrolling patterns of flowers and leaves filled with geometric filling stitches are characteristic of blackwork from the 1540s through 1590s, and similar patterns worked in coloured silks appear from the 1560s, outlined in backstitch and filled with detached buttonhole stitch.

Additional pattern books for embroiderers appeared late in the century, followed by Richard Shorleyker’s A Schole-house for the Needle published in London in 1624. Other sources for embroidery designs were the popular herbals and emblem books. Both domestic and professional embroiderers probably relied on skilled draughtsmen or pattern-drawers to interpret these design sources and draw them out on linen ready to be stitched.

Early samplers

English blackwork cushion cover, late 16th century, made from a woman’s dress. Linen embroidered with silk and metallic thread, using buttonhole, chain, double running, overcast, plaited braid, and square open work stitches. Art Institute of Chicago textile collection.

Main article: Sampler (needlework)

Printed patterns books were not easily obtainable, and a sampler or embroidered record of stitches and patterns was the most common form of reference. 16th century English samplers were stitched on a narrow band of fabric and totally covered with stitches. These band samplers were highly valued, often being mentioned in wills and passed down through the generations. These samplers were stitched using a variety of needlework styles, threads, and ornament.

The earliest dated surviving sampler, housed in the Victoria and Albert Museum, was made by Jane Bostocke who included her name and the date 1598 in the inscription, but the earliest documentary reference to sampler making goes back another hundred years, to the 1502 household expense accounts of Elizabeth of York, which record the purchase of an ell of linen to make a sampler for the queen.

From the early 17th century, samplers became a more formal and stylized part of a girl’s education, even as the motifs and patterns on the samplers faded from fashion.

Pictorial embroidery and stumpwork

Main article: Stumpwork

Mirror frame with stumpwork figures of Charles I and Henrietta Maria, 1630s

Following the death of James I and the accession of Charles I, elaborately embroidered clothing faded from popularity under the dual influences of rising Puritanism and the new court’s taste for French fashion with its lighter silks in solid colours accessorised with masses of linen and lace. In this new climate, needlework was praised by moralists as an appropriate occupation for girls and women in the home, and domestic embroidery for household use flourished. Embroidered pictures, mirror frames, workboxes, and other domestic objects of this era often depicted Biblical stories featuring characters dressed in the fashion of Charles and his queen Henrietta Maria, or after the Restoration, Charles II and Catherine of Braganza.

These stories were executed in canvaswork or in coloured silks in a uniquely English style called raised work, usually known by its modern name stumpwork. Raised work arose from the detached buttonhole stitch fillings and braided scrolls of late Elizabethan embroidery. Areas of the embroidery were worked on white or ivory silk grounds in a variety of stitches and prominent features were padded with horsehair or lambswool, or worked around wooden shapes or wire frames. Ribbons, spangles, beads, small pieces of lace, canvaswork slips, and other objects were added to increase the dimensionality of the finished work.

Crewel

Main articles: Crewel Work and Jacobean embroidery

Fanciful crewel leaf motif

Sets of bed hangings embroidered in crewel wools were another characteristic product of the Stuart era. These were worked on a new fabric, a natural twill weave from Bruges with a linen warp and cotton weft. Crewel wools of the 17th century were firmly twisted unlike the soft wools sold under that name today, and were dyed in deep rich shades of green, blue, red, yellow, and brown. Motifs of flowers and trees, with birds, insects, and animals, were worked at large scale in a variety of stitches. The origins of this work are in the polychrome embroidery on scrolling stems of the Elizabethan era, later blended with the Tree of Life and other motifs of Indian palampores, introduced by the trade of the East India Company.

After the Restoration, the patterns became ever more fanciful and exuberant. “It is an almost impossible task to describe the large leaves, since they bear no resemblance to anything natural, they are, however, rarely angular in outline, rejoicing rather in sweeping curves, and drooping points, curled over to display the under side of the leaf, a device that gave opening for much ingenuity in the arrangement of the stitches.”

Although usually called “Jacobean embroidery” by modern stitchers, crewel has its origins in the reign of James I but remained popular through the reign of Queen Anne and into the early 18th century, when a return to the simpler forms of the earliest work became fashionable.

Glorious Revolution to the Great War

Later Stuart

The accession of William III and Mary II following the Glorious Revolution of 1688 triggered another change in needlework fashions. Associations of stumpwork with the reign of the deposed Stuarts combined with Mary’s Dutch taste ushered in new styles influenced by Indian chintzes. From the 1690s, household furnishings such as chair covers and firescreens were the focus of embroidery in the home.

Georgian

Stoke Edith Wall Hanging, linen canvas embroidered with silk and wool, with some details in appliqu, 1710-1720 V&A Museum no. T.568-1996.

In the Georgian era, canvaswork was popular for chair coverings, footstools, screens and card tables. Embroidered pictures and upholstery both reflected the popular pastoral theme of men and women in the sheep-cropped English countryside. Other recurring themes include exotic Tree of Life patterns influenced by earlier crewelwork and chinoiserie with its fanciful imagery of an imaginary China, asymmetry in format and whimsical contrasts of scale. In contrast, needlepainting in silks and wools produced naturalistic portraits and domestic scenes.

Embroidery was once again an important element of fashion in the early 18th century. Aprons, stomachers, hanging pockets, shoes, gowns, and men’s coats and waistcoats were all decorated with embroidery.

Later samplers

Cross-stitch alphabet sampler worked by Elizabeth Laidman, 1760.

By the 18th century, sampler making had become an important part of girls’ education in boarding and institutional schools. A commonplace component was now an alphabet with numerals, possibly accompanied by various crowns and coronets, all used in marking household linens. Traditional embroidered motifs were now rearranged into decorative borders framing lengthy inscriptions or verses of an “improving” nature and small pictorial scenes. These new samplers were more useful as a record of accomplishment to be hung on the wall than as a practical stitch guide.

Tambourwork

Tambourwork was a new chainstitch embroidery fad of the 1780s influenced by Indian embroidered muslins. Stitched originally with a needle and later with a small hook, tambour takes its name from the round embroidery frame in which it was worked. Tambour was suited to the light, flowing ornament appropriate to the new muslin dresses of this period, and patterns were readily available in periodicals like the Lady’s Magazine which debuted in 1770.

Tambourwork was copied by machine early in the Industrial Revolution. As early as 1810, a “worked muslin cap … done in tambour stitch by a steam-engine” was on the market, and machine-made netting was in general use as a background by the 1820s.

Smocking

Main articles: smocking and smock-frock

The linen smock-frocks worn by rural workers, especially shepherds and waggoners, in parts of England and Wales from the early eighteenth century featured fullness across the back, breast, and sleeves folded into “tubes” (narrow unpressed pleats) held in place and decorated by smocking, a type of surface embroidery in a honeycomb pattern across the pleats that controls the fullness while allowing a degree of stretch.

Embroidery styles for smock-frocks varied by region, and a number of motifs became traditional for various occupations: wheel-shapes for carters and wagoners, sheep and crooks for shepherds, and so on. Most of this embroidery was done in heavy linen thread, often in the same color as the smock.

By the mid-nineteenth century, wearing of traditional smock-frocks by country laborers was dying out, and a romantic nostalgia for England’s rural past led to a fashion for women’s and children’s clothing loosely styled after smock-frocks. These garments are generally of very fine linen or cotton and feature delicate smocking embroidery done in cotton floss in contrasting colors; smocked garments with pastel-colored embroidery remain popular for babies.

Berlin work

Berlin work pattern

Main article: Berlin wool work

In the early 19th century, canvaswork in tent or petit point stitch again became popular. The new fashion, using printed patterns and coloured tapestry wools imported from Berlin, was called Berlin wool work. Patterns and wool for Berlin work appeared in London in 1831. Berlin work was stitched to hand-coloured or charted patterns, leaving little room for individual expression, and was so popular that “Berlin work” became synonymous with “canvaswork”. Its chief characteristic was intricate three-dimensional looks created by careful shading. By mid-century, Berlin work was executed in bright colours made possible by the new synthetic dyes. Berlin work was very durable and was made into furniture covers, cushions, bags, and slippers as well as for embroidered “copies” of popular paintings. The craze for Berlin work peaked around 1850 and died out in the 1870s, under the influence of a competing aesthetic that would become known as art needlework.

Art needlework

Artichoke art needlework panel, wool on linen, Morris & Co..

Main article: Art needlework

In 1848, the influential Gothic Revival architect G. E. Street co-wrote a book called Ecclesiastical Embroidery. He was a staunch advocate of abandoning faddish Berlin work in favour of more expressive embroidery techniques based on Opus Anglicanum. Street’s one-time apprentice, the Pre-Raphaelite poet, artist, and textile designer William Morris, embraced this aesthetic, resurrecting the techniques of freehand surface embroidery which had been popular from the Middle Ages to the 18th century. The new style, called art needlework, emphasized flat patterns with delicate shading in satin stitch accompanied by a number of novelty stitches. It was worked in silk or wool thread dyed with natural dyes on wool, silk, or linen grounds.

By the 1870s, Morris’s decorative arts firm Morris & Co. was offering both designs for embroideries and finished works in the art needlwork style. Morris became active in the growing movement to return originality and mastery of technique to embroidery. Morris and his daughter May were early supporters of the Royal School of Art Needlework, founded in 1872, whose aim was to “restore Ornamental Needlework for secular purposes to the high place it once held among decorative arts.”

Textiles worked in art needlework styles were featured at the various Arts and Crafts exhibitions from the 1890s to the Great War.

Modern period

Organizations whose origins date back as far as the Middle Ages remain active in supporting embroidery in Britain today.

The Worshipful Company of Broderers is now a charitable organiztion supporting excellence in embroidery.

The Royal School of Needlework is based at Hampton Court Palace and is engaged in textile restoration and conservation, as well as training professional embroiderers through a new 2-year Foundation Degree programme (in conjunction with the University for the Creative Arts) with a top-up to full BA(Hons) being available for the first time in the 2011/12 academic year. Previously, apprentices were trained by an intensive 3-year in-house programme. It is a registered charity and receives commissions from public bodies and individuals, including the Hastings embroidery of 1965 commemorating the 900th anniversary of the Battle of Hastings the following year, and the Overlord embroidery of 1968 commemorating the D-Day invasion of France during World War II, now in the D-Day museum in Southsea, Portsmouth.

The Embroiderers’ Guild, also based at Hampton Court, was founded in 1906 by sixteen former students of the Royal School of Art Needlework to represent the interests of embroidery. It is active in education and exhibition.

Notes

^ Beck 1992, pp. 4444

^ a b c d e f Levey and King 1993, p. 12

^ a b c Embroiderers’ Guild 1984, p. 81

^ a b c d Fitwzwilliam and Hand 1912, “Introduction”

^ a b Embroiderers’ Guild 1984, p. 54

^ Coatsworth, Elizabeth: “Stitches in Time: Establishing a History of Anglo-Saxon Embroidery”, in Netherton and Owen-Crocker 2005, pp. 67

^ a b Levey and King 1993, p. 11

^ The Maaseik Embroideries, details and photos from Historical needlework resources.

^ Dodwell, p. 181

^ Dodwell, p. 182

^ Dodwell, pp. 129-145, 174-187, and Plate D.

^ Maniple and Stole of St Cuthbert details and photos from Historical needlework resources.

^ Coatsworth 2005, p. 16

^ Coatsworth 2005, pp. 2223

^ Wilson 1985, pp.201227

^ a b Jourdain 1912, pp. 68

^ Lemon, 2004

^ Jourdain 1912, pp. 1315

^ a b c Levey and King 1993, p. 17

^ Norris p. 225

^ Jourdain 1912, p. 56

^ Jourdain 1912, p. 15

^ a b Digby 1964, p. 21

^ Levey and King 1993, pp. 13 and 15

^ a b Hayward 2007, p. 360361

^ a b Arnold 2008, p. 9

^ a b c d Levey 1993, pp.1617

^ Arnold 1985, pp. PAGES

^ Arnold 2008, p. 6

^ a b c North, Susan. “‘An Instrument of profit, pleasure, and of ornament’: Embroidered Tudor and Jacobean Dress Accessories.” In Morrall and Watt 2008, p. 4347

^ Digby 1984, pp. 5152

^ Fawdry and Brown, p. 16

^ a b Gueter, Ruth. “Embroidered Biblical Narratives and Their Social Context.” In Morrall and Watt 2008, p. 4347

^ Hughes, p.22

^ Beck 1995, pp. 5458

^ Geuter, p. 73

^ a b Beck 1995, pp. 6383

^ Hughes, p. 37

^ Beck 1995, p. 70

^ Beck 1995, pp. 8687

^ Hughes, pp. 41, 80

^ Hughes, p.80

^ Marshall 1980, pp. 17-19

^ a b Berman 2000

^ Parry 1983, pp. 1011.

^ Quoted in Parry 1983, pp. 1819.

^ Parry, Linda. “Textiles”. In Lochnan, Schoenherr, and Silver 1996, p. 156

^ “Worshipful Company of Broderers official site”. http://www.broderers.co.uk/. Retrieved 2009-01-25. 

^ “Royal School of Needlework official site”. http://www.royal-needlework.co.uk/. Retrieved 2009-01-25. 

^ “Embroiderers’ Guild official site”. http://www.embroiderersguild.com/. Retrieved 2009-01-25. 

References

Arnold, Janet (1988). Queen Elizabeth’s Wardrobe Unlock’d. W S Maney and Son Ltd , Leeds. ISBN 090128620. 

Arnold, Janet (November 2008). Patterns of Fashion 4: The Cut and Construction of Linen Shirts, Smocks, Neckwear, Headwear and Accessories for Men and Women C. 1540-1660. Macmillan. ISBN 978033357-821. 

Beck, Thomasina (1992). The Embroiderer’s Flowers. David and Charles. ISBN 0715399012. 

Beck, Thomasina (1995). The Embroiderer’s Story. David and Charles. ISBN 0715302388. 

Berman, Pat (2000). “Berlin Work”. American Needlepoint Guild. http://www.needlepoint.org/Archives/01-01/berlinwork.php. Retrieved 2009-01-24. 

Digby, George Wingfield (1964). Elizabethan Embroidery. Thomas Yoseloff. 

Dodwell, C.R. (1982). Anglo-Saxon Art, A New Perspective. Manchester UP (US edn. Cornell, 1985). ISBN 071900926X. 

Embroiderers’ Guild Practical Study Group (1984). Needlework School. QED Publishers. ISBN 0890097852. 

Fawdry, Marguerite, and Deborah Brown (1980). The Book of Samplers. St. Martin’s Press. ISBN 0312090064. 

Fitzwilliam,Ada Wentworth, and A. F. Morris Hands (1912). Jacobean Embroidery. Kegan Paul. http://www.gutenberg.org/files/18971/18971-h/18971-h.htm. 

Gostelow, Mary (1976). Blackwork. Batsford; Dover reprint 1998. ISBN 0-486-40178-2. 

Hughes, Therle (No date). English Domestic Needlework 16601860. Abbey Fine Arts Press, London. 

Jourdain, Margaret (1912). “English Secular Embroidery from Saxon to Tudor Times”. The History of English Secular Embroidery. Dutton and Co.. http://books.google.com/books?id=W4BAAAAAIAAJ. Retrieved 2008-01-19. 

Lemon, Jane (2004). Metal Thread Embroidery. Sterling. ISBN 071348926X. 

Levey, S. M. and D. King (1993). The Victoria and Albert Museum’s Textile Collection Vol. 3: Embroidery in Britain from 1200 to 1750. Victoria and Albert Museum. ISBN 1851771263. 

Lochnan, Katharine A., Douglas E. Schoenherr, and Carole Silver (eds.) (1996). The Earthly Paradise: Arts and Crafts by William Morris and His Circle from Canadian Collections. Key Porter Books. ISBN 1-55013-450-7. 

Marshall, Beverly (1980). Smocks and Smocking. Van Nostrand Rheinhold. ISBN 0442282699. 

Netherton, Robin, and Gale R. Owen-Crocker, editors, (2005). Medieval Clothing and Textiles, Volume 1. Boydell Press. ISBN 1843831236. 

Netherton, Robin, and Gale R. Owen-Crocker, editors, (2006). Medieval Clothing and Textiles, Volume 2. Boydell Press. ISBN 1843832038. 

Norris, Herbert (1938 (reprinted 1997)). Tudor Costume and Fashion. J. M. Dent; Dover Publications (reprint). ISBN 0486298450. 

Parry, Linda (1983). William Morris Textiles. Viking Press. ISBN 0670770744. 

Todd, Pamela (2001). Pre-Raphaelites at Home. Watson-Guptill Publications. ISBN 0-8230-4285-5. 

Watt, Melinda and Andrew Morrall (2008). English Embroidery in the Metropolitan Museum 1575-1700: ‘Twixt Art and Nature. Metropolitan Museum of Art with the Bard Graduate Centre for Studies in the Decorative Arts, Design and Culture. ISBN 030012967X. 

Wilson, David M. (1985). The Bayeux Tapestry. Thames and Hudson. ISBN 0500251223. 

v  d  e

Embroidery

Styles

Assisi  Bargello  Berlin work  Blackwork  Broderie Anglaise  Broderie perse  Candlewicking  Canvas work  Counted-thread  Crewel  Cross-stitch  Cutwork  Darning  Drawn thread work  Free embroidery  Goldwork  Hardanger  Machine  Needlepoint  Quillwork  Smocking  Sprang  Stumpwork  Surface  Suzani  Trianglepoint  Whitework

Stitches

Backstitch  Blanket  Brick  Buttonhole  Chain stitch  Couching and laid work  Cross stitches  Embroidery stitch  Featherstitch  Holbein  Parisian  Peyote  Running  Satin stitch  Sashiko  Shisha  Straight stitch  Tent stitch

Tools

and materials

Aida cloth  Embroidery hoop  Embroidery thread  Evenweave  Perforated paper  Plainweave  Plastic canvas  Sampler  Slip  Yarn

Regional

and historical

Art needlework  Bunka shishu  Brazilian  Chikan  Chinese  English   Indian  Jacobean  Kaitag   Kantha  Kasuti   Korean  Mountmellick  Persian  Opus Anglicanum  Suzhou  Ukrainian   Vietnamese  Zardozi

Embroideries

Apocalypse Tapestry  Bayeux Tapestry  Bradford carpet  Hastings Embroidery  Hestia tapestry  Margaret Laton’s jacket  New World Tapestry  Overlord embroidery  Quaker Tapestry

Designers

and embroiderers

Leon Conrad  Kaffe Fassett  Juanita Growing Thunder Fogarty   Marilyn Leavitt-Imblum  Ann Macbeth  May Morris  Charles Germain de Saint Aubin  Mary Elizabeth Turner   Teresa Wentzler  Erica Wilson  Lily Yeats

Organizations

and museums

Embroiderers’ Guild (UK)  Embroiderer’s Guild of America   Embroidery Software Protection Coalition  Royal School of Needlework   Chung Young Yang Embroidery Museum   Han Sang Soo Embroidery Museum

Related

Applique  Crochet  Knitting  Lace  Needlework  Quilting

Categories: English embroidery
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By a Thread $5.45 When killing people is your job, there’s no such thing as a vacation. Then again, how often does an assassin live long enough to enjoy her retirement? In this line of work, you either get lucky or you get dead. And since I destroyed my nemesis Mab Monroe a few weeks ago, all of Ashland’s lowlifes are gunning to make a name for themselves by taking out the lethal Spider—me, Gin Blanco. So I’m leaving behind my beloved barbecue joint and heading south with my baby sister, Bria, to cool my heels in a swanky beach town. Call it a weekend of fun in the sun. But when a powerful vampire with deadly elemental magic threatens an old friend of Bria’s, it looks like I’ll have to dig my silverstone knives out of my suitcase after all. Complicating matters further is the reappearance of Detective Donovan Caine, my old lover. But Donovan is the least of my problems. Because this time, the danger is hot on my trail, and not even my elemental Ice and Stone magic may be enough to save me from getting buried in the sand—permanently.

Drawn in By Rothman, Julia $28.26 This book shares large fullcolor images and profiles each of the highprofile, amazingly talented artists that discuss their sketchbooks and how they use them. People are fascinated by artists sketchbooks. They offer a glimpse into private pages where artists brainstorm, doodle, develop and work on ideas, and keep track of their musings. Artists use these journals to document their daily lives, produce their initial ideas for bigger projects, and practice their skills. Using a variety of media from paint to pencil to collage, these pages can become works of art themselves. They often feel fresh and alive because they are first thoughts and often not reworked. These pages capture the artists personalities along with glimpses of their process of working and inspirations Author: Rothman, Julia/ Davis, Vanessa (FRW) Subtitle: A Peek into the Inspiring Sketchbooks of 44 Fine Artists, Illustrators, Graphic Designers, and Cartoonists Publication Date: 2011/06/01 Number of Pages: 192 Binding Type: Paperback Language: English Depth: 0.75 Width: 8.50 Height: 9.00

Drawn $4.99 For everything you do, there’s a song that hits the spot. MOG brings them all to you: a world of music on demand, unlimited mobile downloads and ways to discover music free from the limitations of Pandora. The music you love, with you everywhere you go.

Drawn Into the Mystery of Jesus Through the Gospel of John $19.95 “Jean Vanier celebrates the gospel of John in his highly anticipated latest work, DRAWN INTO THE MYSTERY OF JESUS THROUGHOUT THE GOSPEL OF JOHN. Thoroughly personal and inspiring, DRAWN INTO THE MYSTERY challenges all Christians to encounter the fullness of life lived in close communion with God. Vanier writes: “These insights that I share in this book come from the life of Jesus in me….They also flow from my life with people who are weak and who have taught me to welcome Jesus from the place of the poverty in me.” Jean Vanier was a friend and influential mentor to the late Henri Nouwen. Toward the end of his life, Nouwen left Harvard to live and work at one of Jean Vanier’s L’Arche communities. This was perhaps the most profound experience of Christianity Nouwen experienced. The thought and spiritual direction/discipleship of Jean Vanier is available to all in DRAWN INTO THE MYSTERY OF JESUS THROUGH THE GOSPEL OF JOHN.”

Silk Tempest Silk Thread Assortment to Work With The Violet Storm Silk Collection $36 Silk Tempest Silk Thread Assortment to Work With The Violet Storm Silk CollectionSilk Tempest Silk Thread Assortment to Work With The Violet Storm Silk Collection

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Drawn And Quartered $11.49 Drawn And Quartered

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THQ Drawn To Life: Spongebob Squarepants Edition $16.99 36179 Create your own character and populate the world with your creativity. Draw, customize and furnish your own Bikini Bottom home. Play against your friends in an exciting two-player VS. mode. Battle, erase and redraw enemies as you work your way through the game. Over 20 levels, each with their own specific objectives. Players: 2 Rating Descriptor: Comic Mischief SpongeBob and Patrick stumble upon a magical pencil that brings whatever it draws to life. Unfortunately, the evil SpongeBob drawing ‘DoodleBob’ gets a magic pencil of his own which he uses to cause havoc all over Bikini Bottom. Players will draw their own unique hero that has the power to defeat DoodleBob’s rogue drawings and rescue SpongeBob and his friends. Cartridge Drawn To Life: Spongebob Squarepants Drawn To Life: Spongebob Squarepants Edition E (Everyone) Game Nintendo DS Not Applicable Software Strategy Game THQ THQ, Inc www.thq.com

Drawn to Buck Creek by Brewer, Betty [Paperback] $19.49 DRAWN TO BUCK CREEKAnswering The CallBetty BrewerDrawn To Buck Creek released a portrait that produced a true story of seven siblings who were overcomers during childhood and young adult years. Our mother was like the eagle in Deuteronomy 32:11, teaching us to fly and soar toward the task set before us.When a child I thought, spoke and understood as a child, but today, I know His word says, I will work in your days, Habakkuk 1:5. Today I understand He was working then and continues His work with a mighty hand and with an outstretched arm were told in Deuteronomy 26:8.He was allowing (Treasures of Darkness Isaiah 45:3) when we couldnt find our way, but at His appointed time we learned to discern the Treasures of Darkness had taught me (us) to trust Him to lead our way. His leading revealed Treasures that provided benefits to walk with and serve Him in future years.Reading Drawn To Buck Creek, it is my sincere hope that you will be refreshed when brought to your remembrance that God is always at work in circumstances faced daily.Betty Brewer enjoys writing and has authored the book In The Midst Of The Raging Storm, a true story, sharing her privilege of being her husbands caregiver through Alzheimers disease. She also enjoys putting her thoughts on paper through writing poetry. Betty has written and recorded an album of gospel songs. She has worked as Administrative Assistant to ministers within the church. Currently, she is serving the Lord through the teaching ministry of her church.Betty and her husband, Art, were married fortyfour years. Together they raised a daughter, and a son, who have blessed Betty with four beautiful granddaughters. Author: Brewer, Betty Binding Type: Paperback Number of Pages: 140 Publication Date: 2010/08/31 Language: English Dimensions: 5.98 x 9.00 x 0.33 inches

A Life’s Work: A Catalogue of Maps, Books, and Papers Drawn, Comp., of Written, 1853-1908 $8.95 No Synopsis Available

The Melodramatic Thread $19.95 In France, both political culture and theatrical performances have drawn upon melodrama. This “melodramatic thread” helped weave the country’s political life as it moved from monarchy to democracy. By examining the relationship between public ceremonies and theatrical performance, James R. Lehning sheds light on democratization in modern France. He explores the extent to which the dramatic forms were present in the public performance of political power. By concentrating on the Republic and the Revolution and on theatrical performance, Lehning affirms the importance of examining the performative aspects of French political culture for understanding the political differences that have marked France in the years since 1789.

Drawn from Life by Kosowski, Mary [Paperback] $53.5 Mary Kosowskis first book is a collection of some of her best watercolor work. Author: Kosowski, Mary Binding Type: Paperback Number of Pages: 100 Publication Date: 2008/09/01 Language: English Dimensions: 11.00 x 8.50 x 0.26 inches

Hand Drawn™ $29 Download the Hand Drawn™ font for Mac or Windows in OpenType, TrueType or PostScript format.

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The Crimson Thread $5.99 “Once upon a Time” Is Timeless The year is 1880, and Bertie, having just arrived in New York with her family, is grateful to be given work as a seamstress in the home of textile tycoon J. P. Wellington. When the Wellington family fortune is threatened, Bertie’s father boasts that Bertie will save the business, that she is so skillful she can “practically spin straw into gold.” Amazingly, in the course of one night, Bertie creates exquisite evening gowns — with the help of Ray Stalls, a man from her tenement who uses an old spinning wheel to create dresses that are woven with crimson thread and look as though they are spun with real gold. Indebted to Ray, Bertie asks how she can repay him. When Ray asks for her firstborn child, Bertie agrees, never dreaming that he is serious….

Loctite – Thread Treatment Sticks $6.9 Conveniently compact thread treatment stick. Loctite – QuickStix™ THREAD TREATMENT STICKS. Pocket friendly and convenient sealing products. No spills, drips or leaks. Work benches, tool boxes and hands kept clean. Quick and easy application. Ideal for overhead use due to solid formulation. Can be used for a wide array of tasks.

Drawn Eiffel Tower $10 Drawn Eiffel Tower

Drawn to Life Collection DS $29.99 Drawn to Life Collection DS

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Drawn to Life: 20 Golden Years of Disney Master Classes $29.95 Discover the lessons that helped bring about a new golden age of Disney animation! Published for the first time ever, Drawn to Life is a two volume collection of the legendary lectures from long-time Disney animator Walt Stanchfield. For over twenty years, Walt helped breathe life into the new golden age of animation with these teachings at the Walt Disney Animation Studios and influenced such talented artists as Tim Burton, Brad Bird, Glen Keane, and John Lasseter. These writings represent the quintessential refresher for fine artists and film professionals, and it is a vital tutorial for students who are now poised to be part of another new generation in the art form. Written by Walt Stanchfield (1919-2000), who began work for the Walt Disney Studios in the 1950s. His work can be seen in films like Sleeping Beauty, The Jungle Book, 101 Dalmatians, and Peter Pan. Edited by Academy Award?-nominated producer Don Hahn, who has prduced such classic Disney films as Beauty and the Beast and The Lion King. * Legendary lessons from a master Disney animator – collected for the first time ever * Packed full of illustrations from some of the top animators in the world including Brad Bird * Two volumes and 750 pages of pure gold – offering in-depth advice and instruction

Drawn to Life $95.59 Drawn to Life is an actionadventure/platform game for the Nintendo DS developed by 5TH Cell and published by THQ. In the game, players create their own playable characters, level objects and accessories by drawing them using the DSs stylus and touch screen. Drawn to Life requires the player to create a hero in order to free a cursed village from an encroaching darkness. It features numerous platforming levels, a top down central village and other elements such as vehicles, weapons and platforms, which are drawn or colored by the player using the stylus. Two sequels have been announced, both under the title Drawn to Life: The Next Chapter, for release on the Wii and DS. A spinoff title, Drawn to Life: SpongeBob SquarePants Edition (based on the SpongeBob SquarePants episode Frankendoodle ), was developed by Altron for the DS. Author: Miller, Frederic P./ Vandome, Agnes F./ McBrewster, John Binding Type: Paperback Number of Pages: 142 Publication Date: 2010/04/19 Language: English Dimensions: 5.98 x 9.01 x 0.33 inches

Muse Drawn in Men’s T-shirt $20.99 DRAWN IN – MEN’S T-SHIRT

Drawn To Golf $19.95 In 1995, Golfweek magazine asked veteran editorial cartoonist Roger Schillerstrom to turn his creative eye toward the game of golf with cartoons to complement its weekly ?commentary? pages. The pairing was an immediate success. Drawn To Golf is a carefully selected collection of the best of Roger?s Golfweek cartoons. From the stunning emergence of Tiger Woods to the tragic loss of fan-favorite Payne Stewart; from Jean Van de Velde?s collapse at Carnoustie to David Duval?s breakthrough at the British Open; and from hot balls heading down the fairway to hot temps on the green, few, if any, of golf?s most controversial, comical or sad moments have been overlooked. As a reward for your latest good round, or as a gift for the golfer in your life, you can?t make a better choice than Drawn To Golf.

Sexualities, Work and Organizations $170 Innovative and well-written, Sexualities, Work and Organizations brings together and relates stories of minority sexual identity from six organizations drawn from three different industry sectors.

Drawn Into Darkness $7.99 Serving a five-hundred-year sentence as a Soul Gathererone who battles demons for the souls of the deadLachlan MacGregor keeps his distance from humans. That is, until the lovely Rachel Lewis knocks on his door, begging for help. As they struggle to rescue her daughter from the clutches of a powerful demon, Lachlan finds himself increasingly drawn to the artistic single mother. But when Death assigns him an unbearable task, he’s left wondering who will provide more for his soul.

Silver Thread $9.95 “In a remote canyon in northern New Mexico the early morning stillness is broken by voices chanting praises to the Lord. And thus begins the daily cycle in the Godcentered life and search of the Benedictine monks at the Monastery of Christ in the Desert.Seeking God is a monastic tapestry. The daily life of the monks is interwoven with the seasonal changes and celebrations and the candid words of the monks as they speak of their life their hopes and doubts their hardships fears and joys their prayer. Weaving this tapestry together are the hauntingly beautiful chants songs of praise and reverence that echo through the darkness before dawn throughout the day through the solemnity of Vespers in the evening and Compline at night. The majestic beauty of the environment captured in every season reflects a peace and tranquility that becomes an integral part of this monastic tapestry. The high red rock walls of the canyon where eagles fly cradle the valley whose stillness is broken only by the flowing waters of the Chama River and the winds that occasionally funnel through. Seeking God presents the ongoing process of the monastic way through the words and activities of these Benedictine monks as they move through the day and through the seasons in their search for God through prayer work study and song.”

Drawn and Dangerous $40 Exploring an overlooked era of Italian history roiled by domestic terrorism, political assassination, and student protests, Drawn and Dangerous: Italian Comics of the 1970s and 1980s shines a new light on what was a dark decade, but an unexpectedly prolific and innovative period among artists of comics intended for adults.Blurring the lines between high art and popular consumption, artists of the Italian comics scene went beyond passively documenting history and began actively shaping it through the creation of fictional worlds where history, cultural data, and pop-realism interacted freely. Featuring brutal Stalinist supermen, gay space travelers, suburban juvenile delinquents, and student activists turned tech-savvy saboteurs, these comics ultimately revealed a volatile era more precisely than any mainstream press.Italian comics developed a journalistic, ideology-free, and sardonic approach in representing the key events of their times. Drawn and Dangerous makes a case for the importance of the adult comics of the '70s and '80s. During those years comic production reached its peak in maturity, complexity, and wealth of cultural references. The comic artists' analyses of the political and religious landscape reveal fresh perspectives on a transformative period in Italian history.

300 Thread Count Sheet Set – Whimsy $104.07 300 Thread Count Cotton SateenEmbroidered Hem A trellis of flowers in tan and cream dance across a pale tan background. Neutral colors that will work in many bedrooms. Printed on a 270 thread count soft Egyptian cotton sateen.

The Elder and His Work $11 “A thoroughly biblical and pervasively practical introduction to principles drawn from the New Testament. This classic conveys the gravity and importance of the elder’s calling.”

About A Boy (Badly Drawn Boy) $4.49 About A Boy (Badly Drawn Boy)