Purchased by Guild 17/7/1960Fine linen with woven border. Embroidered decoration of small rosebuds in satin stitch and tiny satin stitch spots. Fine scalloped edge.Initials H.G.embroidery, handkerchief, whitework, mid 19th century

Purchased by Guild 17/7/1960Fine linen with broad hem stitched border the only decoration. Initials worked in white embroidery stitches.Initials embroidered LMC. Marking ink - L.M. Cochraneembroidery, whitework, late 19th century

Donor's mother brought this from the west of Ireland in 1950. Said to have been embroidered by her grandmother and her ladies in 1780-1800. (This may be a later rather than actual date). Knotting was a genteel pastime for leisured ladies requiring little concentration, so conversation could be carried out. Favoured at Court and practised in England in the late 17th C in William and Mary's reign and Queen Anne's reign in the early 18th C.Knotting was a genteel pastime for leisured ladies requiring little concentration, so conversation could be carried out. Favoured at Court and practised in England in the late 17th C in William and Mary's reign and Queen Anne's reign in the early 18th C. A knotting shuttle, larger than a tatting shuttle, made knots at every quarter inch or 6 mm intervals in string, linen, silk or wool. Mrs Mary Delaney enjoyed knotting and preferred linen thread which was stronger. The Ulster Museum in Belfast holds an embroidered bedcover by Delany, one of the few complete pieces of embroidery made by her. The threads between the knots was dependent on the thickness of the thread. This fashionable occupation was often mocked by men, Sir Charles Sedley, a wit and libertine wrote a verse mocking Queen Mary, the dull Protestant wife of William 111: "Blest we, who from such queens are freed/ Who, buy vain superstition led,/ Are always telling beads;/But here's a queen now, thanks to God/ Who, when she rides in Coach abroad/ Is always knotting threads. In the Spectator of 1712 it was suggested that men might take up knotting. Dr Johnson attempted to learn the skill but told Boswell "I once tried knotting: Dempster's sister undertook to teach me, but I could not learn it." Knotted linen thread couched onto white linen bed cover. embroidery, whitework, bedcover, 18th century, ireland

Worked by a student of Miss K. Whyte at the Glasgow School of Art, ScotlandGreen and yellow square of linen. Nine squares woven in shades of green and yellow. Each square featuring a circle embroidered with variety of stitches and designs and blue, yellow and green threads.embroidery, sampler, 1940-60, scotland, surface stitchery

Bought for Guild by Lady Amies, and worked by her on her trip 1965-66.Hand woven linen, design of a circle with a lady inside, plus trees and plants. Lady embroidered in colours - pink, red, blue, gold and brown. Face stitched in circular stem stitch. Fringed border and rod through top.embroidery, surface stitchery, norway, 1960-80, flowers, lady, figure

Gifted by the Embroiderers Guild London in 1964. Designed and worked by Miss O Hardiman, Surrey UKBlackwork sampler. Cream even weave linen with a number of patterns in borders and squares. Border of a diamond design.Reverse: Please do not remove from Guild roomsembroidery, blackwork, 1940-60, england

Donated by the Embroiderers Guild of London, 1964. Designed and worked by Miss O. Hardiman, Surrey, U.K.Cream even weave linen with rows and groups of blackwork designs. The lower groups of stitches are highlighted with gold.embroidery, blackwork, 1940-60, england, sampler

Sixty mats were made as a 25th wedding anniversary gift to Queen Ingrid of Denmark from the Danish Housewives Associations in 1960. The Queen's mats had her cypher embroidered in the centre. This replica was brought to the C.W.A. conference in Melbourne in 1962 by Mrs Jaessen, and purchased by the donor at the conference. Bobbin lace edge designed by Johanne Wilder, Copenhagen.Cream linen square (15cm) with a 6.5 cm border of braid lace. bobbin lace, mats, denmark

Assisi embroidery originated in Assisi, Umbria region in Italy, during the Renaissance. The techniques involved in Assisi embroiderywere practiced for many centuries; however, the modern form of Assisi embroidery as it is recognized today took its shape and form in Assisi in the 18th century. Early examples of Assisi embroidery often feature religious themes, pointing to its ecclesiastical beginnings. Convent nuns stitched church altar cloths, chasubles, vestments, and other religious items and materials with Assisi embroidery motifs. St. Clare of Assisi, an Italian nun who started the order of St. Clare, later became the patron saint of embroiderers. She was known for stitching altar cloths for churches in Assisi. Assisi embroidery went through several evolutionary stages, reflected in its changing motifs. In the 13th and 14th centuries, motifs included stylized birds and animals, scrollwork, and geometric designs. In the 15th and 16th centuries, Assisi work reflected Biblical and Renaissance-inspired motifs, with demons, angels, and mythological creatures.Assisi work - natural evenweave linen with double running in black round the design then filled in with blue cross stitch, leaving the design 'voided'.embroidery, assisi, 1940-60, italy, sachet, lions

Writing case made of fine fawn linen with silk embroidered design of flowers, leaves and grapes. Back is green/gold velvet.embroidery, silk embroidery, late 19th century, italy, european

An 18th-century fichu was a lightweight, typically white triangular or square neckerchief made of muslin, linen, or cotton, worn by women to cover the chest and neck. Popular from the early-to-late 18th century, these versatile garments were often folded, draped, or pinned over low-cut bodices, acting both as a modest covering and a fashionable accessory.  Muslin with embroidered frill - fichu has design of wheat scrolling above the frill and in the corner. Flowers in drawn thread.embroidery, whitework, drawn thread, fischu, early 19th century, france

Embroidered by person unknown for the L.C.C. Examination for embroidery.On a coarse woven textured linen, the cross and chalice are worked in red, silver and brown with some gold threads.embroidery, ecclesiastical, 1940-60, england, creative

Purchased in Florence in 1964Fine linen with a rolled edge, one corner has a farming scene with two figures embroidered in coloured surface stitchery for the Italian month of Ottobre.Ottobreembroidery, handkerchief, 1940-60, italy, surface stitchery

Natural coloured linen hand woven. Embroidered at one end only with a vase of flowers in ecru, pink and gold thread. Vases separated by pulled thread rows. Along lower edge alternate blocks of satin stitched and drawn thread.embroidery, towels, late 19th century, turkey, counted thread, drawn thread

Designed and embroidered by Mrs Wark.Natural coloured even weave linen with decorative edge and large central motif. A number of drawn fabric stitches in lines of varying lengths, also eyelets in different sizes.embroidery, mats, australia, drawn fabric, 1960-80

Embroidered by Sister Mary St Gregory Slattery RSC. Sisters of Charity. St. Vincent's Convent, Potts Point, Sydney, NSW.Exceptional example of embroidery.Cream linen with self coloured embroidery in a copy of Aemilia-ars Italian work. Many open work designs and satin stitch surrounds and deep peaked edge."1911" stitched near a cornerembroidery, mats, aemilia-ars, 1900-20, australia

A burse is a flat, square, fabric-covered case in which a folded corporal cloth is carried to and from an altar in church. Made of yellow furnishing linen using pattern on fabric as basis for the design with couched cord, bronze beads and pearls.Edna Wark 1975embroidery, australia, creative, ecclesiastical, 1960-80

Photograph in "Design in Embroidery" by Kathleen Whyte. Given to Jessie Dunne in 1987.Simple line stitches worked on linen scrim - cotton, linen, silk, sisal, wool etc. threads. Mounted on brown suede cloth.embroidery, surface embroidery, samplers, scotland, creative, 1960-80, panels

Donated by maker, Miss Nancy Guscott along with several other pieces.Dark fawn linen. Semco transferred design of man and lady in period costumes (18th century) worked heavily in solid stem stitch mainly in dark blue and mauve. Edges of this full length apron are crocheted. Small pocket. Unused.embroidery, aprons, 1920-40, australia, surface stitchery

Olive green linen envelope lined with green silk. Flap is decorated with embroidery and ribbonwork in a design of ribbons and flowers - shades of yellow, blue and green."Folded in this dainty case are filmy veils for thy Fair Face"embroidery, ribbon work, sachet, 1900-20

1950'sAlternating squares of red and navy linen. Each square is embroidered with an identical motif in red, white and blue machine chain stitches. Squares are joined with rows of double feather stitch, by hand.embroidery, patchwork, cushions

Dr. Julian Smith was a well known Melbourne surgeon and photographer.Black thread on cream linen, in narrow black frame, cream mount.Dr. Julian Smith. E.M. Richardson.embroidery, picture, creative embroidery, australia, 1920-40

An abstract design in felted silks and surface stitchery in perspex box. Picture has a beige mount, colours are blues, greens, terra cotta, pinks and mauves on a tan linen background.embroidery, creative embroidery, picture, 1980-2000, australia, creative

The picture depicts 2 dancing brolgas in a bush landscape. The piece is freely embroidered in a variety of threads pulled from other fabrics and the birds are done in shredded chiffon. The background fabrics are linens grading from light brown into the foreground to blue for the sky. embroidery, picture, 1960-80, australia, creative embroidery

Also included, original label "Flaxen 837 Art Needlework Design" instruction card. Designed by Mr McHenry, probably embroidered by his wife.Art Deco Table Mat - rectangular, cream linen brightly with coloured green,orange and brown art deco design.embroidery, surface stitchery, mats, 1920-40, australia

Probably embroidered by Mrs McHenry.Rectangular linen mat, spoke stitch edge, bird and flower design.embroidery, surface stitchery, mats, 1920-40, australia

Miss M. Black (member)Drawn fabric work, even weave linen with self coloured geometric design covering the central area and decorative drawn fabric hem. Eight different stitches have been included. Designed and embroidered by the maker. embroidery, mats, 1960-80, australia, drawn fabric

Embroidered by Miss J.S. Dunn (member) for the 1972 Guild Fair and purchased by the Guild for the collection.Classical Danish embroidery in coloured cross stitch on a fine even weave linen. A fine narrow piping in green cotton edges the cosy and some padding used insideembroidery, small articles, 1960-80, australia, cross stitch

This sachet may be French in origin. A Guild member has a similar one purchased in France about the same period.Envelope style sachet, white embroidery of spreading floral spray in satin stitch. Edge is a shaped band of applied linen, secured with pin stitch.embroidery, sachet, whitework, 1900-20, france, flower, floral

Printed linen tea towel, over-embroidered, of 5 ancient Britons. Surface stitchery using braids, beads, buttons and metal threads. Boats appliqued in leather and fur fabrics. Framed in narrow brown frame. embroidery, creative, panels, 1960-80, australia