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(Created January 30, 2000 and Updated January 9, 2004)
This project may always remain in its infancy. It is difficult to keep track of everything. However, it has helped me to resolve a few problems over time. If you know of an important addition, please let me know.
Identifies the newest additions. |
Identifies updates to each entry. |
Sir Christopher Hatton, unknown artist. Blackwork pomegranate and flower pattern.
B/W Bust. Blackwork Embroidery by Geddes and McNeill, page 31. This one is bigger than Gostelow's.
B/W Bust. Blackwork by Gostelow, page 57.
'Disobedient Prophet.' Blackwork panel from Burrell Collection.
B/W. Blackwork by Gostelow, page 30.
Color. Embroidery at the Burrell Collection 1600 - 1700 by Liz Arthur, page 28.
Jane Seymour, Holbein portrait 1536. Blackwork.
B/W Bust. Blackwork by Gostelow, page 49.
B/W Detai. Chemise sleeves in Blackwork Embroidery by Geddes and McNeill, page 16
Mary Cornwallis, portrait 1590. Blackwork.
B/W. Blackwork Embroidery by Geddes and McNeill, beside title page. See Lady Kitson.
B/W. Blackwork by Gostelow, page 60 Gauze oversleeves. This picture is bigger than Geddes.
Pillow Cover, late 16th century, grape pattern. Blackwork.
B/W. Blackwork by Gostelow, page 96.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 53.
B/W. Erica Wilson's Embroidery Book, page 215.
Shepheard Buss, 1600. Blackwork.
B/W. Blackwork Embroidery by Geddes and McNeill, page 42. Siren detail, 43.
B/W. Blackwork by Gostelow, page 27.
B/W. English Needlework by Kendrick, Page 76.
Bradford Table Carpet.London, early 17th century.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 48.
'Disobedient Prophet'. Polychrome embroidery. Refer to the 'Disobedient Prophet' entry in the Blackwork section. They are two different embroideries but obviously patterned on the same source.
B/W. Blackwork by Gostelow, page 31.
Europa and the Bull, Canvaswork long cushion
B/W. Art of Embroidery by Mary Gostelow, page 78.
Color. Elizabethan Treasures: The Hardwick Hall Textiles, page 51. Includes a detail of the original woodcut by Bernard Soloman and published in Virgilio Solis's Latin version of Metamorphoses Ovidi, 1563.
B/W. The Needlework of Mary Queen of Scots by Margaret Swain. Page 26. Also includes picture of the page from the woodcut by Bernard Soloman.
Fancie of a Fowler, Long cushion of slips applied to black velvet.
B/W. Art of Embroidery by Mary Gostelow, page 78.
Color. Elizabethan Treasures: The Hardwick Hall Textiles, page 62.
Mary Hutton's Long cushion cover with the Royal arms of James I. First quarter 17th century.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 51.
B/W. The Embroiderer's Flowers by Thomasina Beck, page 37.
Cushion with Aesop's Fable Motify by Mary Queen of Scots
B/W. Art of Embroidery by Mary Gostelow, pg 66.
Color. Elizabethan Treasures: The Hardwick Hall Textiles by Santina Levey, pg 58.
B/W. Needlework by Mary Queen of Scots by Margaret Swain. Pg. 84 and page 97.
Sandys / Windsor Long cushion cover, the arms of Sandys impaling Windsor. Middle or late 16th century.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 50.
Warneford / Yates Cushion Cover, Long Cushion The arms of Warneford impaling Yates. Middle 16th century.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 50.
B/W. English Needlework by Kendrick, Page 81 .
Tobias and the Angel, Tent Stitch Bed Valance
B/W. Embroidered Gardents by Thomasina Beck. Pg. 8
B/W. Needlepoint - The Art of Canvas Embroidery by Mary Rhodes. Pg 8-9. Detail included.
The Oxburgh Series: A sub-section of the Canvas Work style. The Oxburgh Series is composed of the Oxburgh, the Cavendish, and the Marion Hangings. These were partially embroidery by Mary Queen of Scots during the late 16th century. The book with the most information that I have found about this series is by Margaret Swain, Needlework of Mary Queen of Scots. There is an entire chapter on the Oxburgh Hangings. Swain includes a color picture of the hangings displayed in the King's Room of Oxburgh Hall in Norfolk on page 98. From the picture, it looks like the Cavendish Hanging is hung on the bed and the Marion Hanging is above the mantle. Pages 9
The Cavendish Hanging: The central panel displays the initials of Countess Elizabeth Shrewsburry and symbols for the mourning of her dead husband, Sir William Cavendish. Central Panel: Swain 76, B/W. Hanging: Swain 104, B/W.
B/W. Mary Gostelow's Embroidery Book, page 17. Exact source unknown. Need to re-reference.
B/W. Needlepoint - The Art of Canvas Embroidery by Mary Rhodes. Page 12. Full Hanging.
The Marian Hanging: The central panel's themes is'Virescit Vulnere Virtus' or 'Virtue flourisheth by wounding.' The motif is a hand pruning a fruit tree. Mary's arms and the royal arms of Scotland are also pictured. It is also known as the Norfolk Panel. Central Panel: Swain 77, B/W. Hanging: Swain 105, B/W.
The Shrewsburry Hanging: The central panel's theme is 'Ingenii Largitor' or 'Bestower of Witt.' It uses Reindeer and Milkmain motifs and bears the MR monogram. Central Panel: Swain 64, B/W. Hanging: Swain 105, B/W.
B/W. Art of Embroidery by Mary Gostelow. Full view of the hanging. Similar to Swain 105.
B/W. Erica Wilson's Embroidery Book, page 119. Similar to Swain 105. Also some of the small panel motifs on page 118.
Miscellaneous Panels from the Series: Pictures of the smaller panels present in the series. Their originating hangings may not be identified.
Four color panels from the Oxburgh Hangings. Motifs: Marigold, Chery Tree, Camel from the Cavendish, and Capon from the Marion. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 47.
Two B/W panels. Motifs: Elephant and Flowering Plant from the Cavendish Hanging.
'Las Pennas Passan y Queda La Speranza.' Canvas Work panel by Mary Queen of Scots, 1557. This was once part of the Oxburgh Hangings. I would like more information as to why Swain referred to this panel as once belonging to the series. Central Panel: Swain 88, B/W.
B/W. Guide to English Embroidery by Patricia Wardle, Plate 28c. Central Panel.
Cushion cover. London, 1600. Red satin cushion worked in metal threads and satin stitch in colored silks.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 52.
B/W. The Embroiderer's Flowers by Thomasina Beck, page 64.
Genesis Pillow cover. Late 16th or Early 17th.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 53.
B/W. Guide to English Embroidery by Patricia Wardle.
Westphalia Cushion.
B/W. Medieval Craftsmen: Embroiderers by Kay Staniland, page 37
A Stitch Out of Time : A web page by Master Wymarc containing pictures of Medieval Embroidery.
Gloves, circa 1600 - 30, Leather with silk and metal thread embroidery
Color. Embroidery at the Burrell Collection 1600 - 1700 by Liz Arthur, page 24.
Cap, Man's., Early 17th Century, Polychrome
Color. Embroidery at the Burrell Collection 1600 - 1700 by Liz Arthur, page 53.
Coif, circa 1600 - 30, Blackwork
Color. Embroidery at the Burrell Collection 1600 - 1700 by Liz Arthur, page 50.
B/W. Elizabethan Practical Companion Webpage
B/W. 16th and 17th Century Coifs Webpage
Coif with Forehead Cloth, Early 17th Century, Polychrome
Color. Embroidery at the Burrell Collection 1600 - 1700 by Liz Arthur, page 49.
Color. 16th and 17th Century Coifs Webpage
Coif, Early 17th Century, Polychrome
Color. Embroidery at the Burrell Collection 1600 - 1700 by Liz Arthur, page 48.
Color. 16th and 17th Century Coifs Webpage
Coif, Detail., circa 1600 - 40, Linen with Cut-work
Color. Embroidery at the Burrell Collection 1600 - 1700 by Liz Arthur, page 55.
Color. 16th and 17th Century Coifs Webpage
Sampler, Early 17th Century, Embroidered Strawberries, Pansies, and Roses in Silks and Gold with detached buttonhole stitch.
Color. Embroidery at the Burrell Collection 1600 - 1700 by Liz Arthur, page 26 and page 115.
Color. The Embroiderer's Flowers by Thomasina Beck, page 113.
Bookcover, Queen Elizabeth's Bible. Eglantine and Tudor Roses intertwine on red velvet.
Color. The Embroiderer's Flowers by Thomasina Beck, page 141.
Bookcover, covers a New Testament and a Dutch Psalter. Commissioned for the marriage of Ernest Casimir to Sophia Hedwig. Shows Elizabethan influence.
B/W. A World of Embroidery by Gostelow, page 184.
Bookcover with the arms of Queen Katharine Parr. Venetia. 1544.
B/W. English Needlework by Kendrick, Page 68.
Bookcover, "How we ought to know God", worked by Princess Elizabeth in 1545.
B/W. The Embroiderer's Story: Needlework from the Renaissance to the Present Day by Beck, page 14.
Bookcover, Reliquae Sacre Carolinae, 17th Century England.
B/W. Needlepoint for Everyone by Picken and White, Page 190.
Altar fragment from Fulda. Blackwork.
B/W. Blackwork by Gostelow, page 17.
B/W. Pictorial History of Embroidery by Schuette, page .
Butler-Bowden Cope. London, circa 1330-50.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 41.
B/W Detail. Medieval Craftsmen: Embroiderer's by Kay Staniland, page 67.
Christ Enthroned, Detail of the John of Thanet Panel. London, circa 1300-20.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 36.
B/W. Very small picture. Medieval Craftsmen: Embroiderer's by Kay Staniland, page 58.
Clare Chasuble. London, 1272-94.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 34.
B/W. A World of Embroidery by Gostelow , page 65.
Henry and Thomas Smyth and their wives, fragment of an altar frontal. Circa 1470-1500.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 44.
B/W. English Needlework by Kendrick, Page 49.
Syon Cope. London, circa 1300-20.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 37.
B/W. A World of Embroidery by Gostelow , page 66. Detail analysis, page 67.
Seal Bag, constructed from a fragment of embroidery, circa 1160-90.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 33.
Three Leopards of England, Heraldic Embroidery, Horse Trappings of John Etham1330-40.
Color. Medieval Craftsmen: Embroiderers by Kay Staniland, page 29.
B/W. English Needlework by Kendrick, Title page.
Badge of Order of the Dragon. Order founded by King Sigismund of Hungary, 1414-37.
Color. Medieval Craftsmen: Embroiderers by Kay Staniland, page 31.
Parisian Purse, 1340.
Color. Medieval Craftsmen: Embroiderers by Kay Staniland, page 43.
B/W. Jan Messent's World of Embroidery, page 80.
Pouch from the Hawking Accoutrements, Early 17th Century and Detail of Hawking Pouch, leather embroidered wtih silver wire and silk.
Color. Embroidery at the Burrell Collection 1600 - 1700 by Liz Arthur, page 12 and page 17.
I know that I've seen this one somewhere else but I can't find out where.
Sweet Bag, Silk and metal threads with silver tassels, Detached buttonhole stitch
Color. Embroidery at the Burrell Collection 1600 - 1700 by Liz Arthur, page 26, circa 1600 - 30
Color. Embroiderer's Flowers by Thomasina Beck, page 17, circa 1600.
NOTE: While these pieces are nearly identical, I don't quite think that they are the same item. However I included them together because of the high similarity.
Bayeux 'Tapestry'. 11th Century. While the other entries are all the same picture, the listings here are not necessarily the same picture.
B/W. A World of Embroidery by Gostelow, page 330.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain From 1200 to 1750.
Color. Medieval Craftsmen: Embroiderers by Kay Staniland, page 58.
Hoyland Tapestry, 13th - 14th century. Norway. Story of Magi going to Bethlehem.
B/W. A World of Embroidery by Gostelow, page 194.
Jane Bostocke sampler. Dated 1598.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 57.
B/W. The Embroiderer's Story: Needlework from the Renaissance to the Present Day by Beck, page 19.
Dress border, detail. Late 16th or early 17th.
Color. The Victoria & Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750 , page 69.
Color. The Embroiderer's Flowers by Thomasina Beck, page 112.
(Copyright 1999-2004, Katherine Estep Stephenson)