Made by members of the English Embroiderers Guild. Designed for a children's chapel - one of a group of entries which won the Guild (English) affiliated group challenge cup in 1965. Exhibited at Georges exhibition in 1966 and bought by Guild members.Panel with green silk background with gold thread embroidery (used in a modern way) depicting the heads of three kings in natural wood frame.embroidery, goldwork, metal thread

Designed and worked by Edna Wark.Large goldwork bird with outstretched wings on a brown silk backing ground.Adapted from an EMS EW1974goldwork, metal thread, bird

Combined exhibition with Johnston Collection - Diamond and Pearl Exhibition 2020.Christmas Decorations made for EGV 60th Jubilee year combined with Diamond and Pearl Exhibition. Red diamond (3D) silk and goldwork, beaded, couched with chipping and gold metal tail.embroidery, goldwork, bead work

Copies of some pages titled Birthplaces of the People. Tables are divided into each shire under the heading of Bendigo. Birthplaces are divided into British Possessions including Victoria and Foreign Countries including France and French Colonies and Other Fountries, At Sea and Unspecified. Bendigo is divided into Sandhurst City - -?- Ward and Sutton Ward, Eaglehawk Borough and Raywood Borough. Marong Shire is divided into North-West Riding which consists of Newbridge Township, Goldworkings and Outside Township and Goldworkings, Bridgewater Township and Myerstown Township. North-East Riding consists of Kangaroo Flat -?- Goldworkings, Eaglehawk Gully Goldworkings, Eaglehawk Flat Goldworkings, Butcher'sHill Goldworkings, Deadhorse Flat Goldworkings,Myers' Flat Goldworkings and -?- Flat Goldworkings. Maiden Gully Goldworkings, Kangaroo Flar Goldworkings, Epsom Township, Neilborough Township, Whipstick Goldworkings, -?- Goldworkings, Sebastian Goldworkings, Sydney Flat Goldworkings, other Goldworkings, Outside Townships and Goldworkings. South Riding of the Marong Shire consists of Ravenswood Township, Big Hill Township, Grusoe Gully Township, -?- and Lockwood Township. Strathfieldsaye Shire consists of the East Riding and the West Riding which consists of Milkmaid Flat Goldworkings, Diamond Hill Goldworkings, -?-, Sheepwash Gully Goldworkings, Spring Gully Goldworkings, Tin-pot Gully Goldworkings, Golden Gully Goldworkings, Kangaroo Flat and Gully Goldworkings and Outside Goldworkings. Huntly Shire consists of the Huntly Township, Huntly Goldworkings, Ascot Township, -?-, and Outside Townships. Each table lists the number of Persons, Males and Females and the places mentioned earlier where they were born. Black marks on paper make some of it unreadable.bendigo, history, long gully history group, the long gully history group - birthplaces of the people - marong, huntly & strathfieldsaye

One of a number of samplers (see 1205, 1207 and 1208) embroidered by the donors aunt, Miss Elizabeth Lewis while studying at the Royal School of Needlework. She taught and judged embroidery throughout England.Goldwork sampler. Typical Royal School of Needlework metal thread sampler showing different techniques of metal thread and laid silk work on natural linen.goldwork, embroidery, silk embroidery, england, 1920-40

Sampler was stitched at R.S.N. and is a design used in the training school between 1900 and 1935. Letter from RSN Principal Mrs Elizabeth Elvin, dated 7/2/1994 is attached to back of frame. Bought in London at an Antique Fair.Royal School of Needlework sampler of goldwork techniques, including couching, or nue, padded work, silk embroidery and cordwork. Some work is incomplete so padding and design can be seen. 9 motifs include fleur de lys flower, colour in greeens, cream, gold on natural linen ground. Dark wooden frame.Letter on the reverse embroidery, goldwork, couching, or nue, silk, royal school, sampler

Altar frontal with three cartouches - painted faces and hands. Goldwork embroidery and applique with small sections of foliage in surface embroidery.ecclesiastical, gold work

The maker Larissa Borodich was a guest tutor in the Guild in 2017 and left a picture as a sample of her work.Raised embroidery flower, embroidered with fresh water pearls, metal beads, blue stones and goldwork. Details are stitched in salmon silk . beading, embroidery

This book of Sampler Stitches was gifted to the Guild at the beginning of our Inauguration.Collection of 14 samples of stitched chicken and hen designs using an assortment of techniques, stitches and threads. Goldwork and metal thread on red silk.books, embroidery

Stole in two pieces, design with white lilies. Goldwork, green satin stitch leaves, wrapped silk fringe. Old gold brocade background.embroidery, stole, ecclesiastical, silk embroidery, metal thread

Victorian-era Ottoman Turkish capes from the 19th century are characterized by their luxurious materials, such as felted wool, velvet, or silk, and intensive hand-embroidered gold bullion thread (known as "Dival" or couched embroidery). These capes, which were often worn by urban elites, frequently feature high collars, short lengths designed to cover the arms, and intricate floral or paisley patterns. Key Characteristics & Design (19th Century): Fabric & Color: Deep black, red, cream, green, or blue "doeskin" wool or silk satin is common, often lined with bright silk. Goldwork: The defining feature is the lavish use of gold metallic couching stitches and gold bullion thread. Structure: Often high-collared, short-length shoulder capes, sometimes closed with a single ball and loop fastening at the neck. Origin: These were typically high-fashion items worn in large urban centres like Istanbul and İzmir during the late 19th century, influencing and being influenced by Western fashion trends. Black wool cape with stand-up collar. Interfaced, but lining missing. Heavily embroidered with gold metal thread. 0.8 mm gold metal braid round all edges and over neck seam. Gold metal thread embroidery in curvi-linear foliage style design on collar, centre back, front edges, lower side and small running design along bottom edge.goldwork, capes, capes, embroidery, gold work, wool, austrian

Given to the donor by the husband of a cousin. They were refugees, fleeing from the Khmer Rouge. He went to live in Hong Kong, as it was not safe staying at the refugee camp in Thailand. Donor sponsored family to Australia in 1978. Husband acquired these pieces from Hong Kong, possibly came from China. Given to donor as a token of gratitude.Black silk panel with intricate design in goldwork leaving black silk as negative space. Highlighted with coloured silk flowers all embroidered in long and short stitch.

Navy blue wool shoes, hand felted and embroidered with freshwater pearls, goldwork, French knots (wool and perle) and glass beads. The upper has a scallop shape.shoes

Donor comments: "The part of the shroud was transferred from Tretiakov Gallery by textile conservator Svetlana Korolkova. The shroud was made in Ural (Chelyabinsk) for the church purposes in the 19 th century (some firming newspaper pieces on the back side include the dates, so we may presume the closest period). After the Revolution a lot of 'invaluable' ecclesiastical goods were cut and recycled. However, there are several survived shrouds in the Museum collection. This style of shroud is specific for the period. Before the 18 th century all the faces and bodies were embroidered. In 19 th century shrouds imitated the icons, and the faces were repainted several times, that's why fine ornamental work of embroidery workshops was combined with a pretty crude art". Deep purple fragment, heavily embroidered in goldwork, flowers and large stars. Metal threads and tiny gold sequins. Russian newspaper, very torn, on the back of the fragment.embroidery, shroud, russian

Given to the donor by the husband of a cousin. They were refugees, fleeing from the Khmer Rouge. He went to live in Hong Kong, as it was not safe staying at the refugee camp in Thailand. Donor sponsored family to Australia in 1978. Husband acquired these pieces from Hong Kong, possibly came from China. Given to donor as a token of gratitude.Black silk panel with intricate design in goldwork leaving black silk as negative space. Highlighted with coloured silk flowers and central bird all embroidered in long and short stitch.

Donation of the estate of Kenneth Lay Antique Dealer High St ArmadaleThree Priests under a Canopy with Jesus Christ on altar, surface embroidery in silk. Couched goldwork highlights, painted body of Christ ? cochineal. Priest/Bishop faces painted - under garment painted outline in now dark brown ink. In old wooden frame. 18th century, silk embroidery, gold work, renaissance, religious, jesus christ

Combined exhibition 60th Anniversary EGV with Johnston Collection - Diamond and Pearl Exhibition 2020.Christmas Decorations made for EGV 60th Jubilee year combined with Diamond and pearl exhibition Gold heart, white beads lace and sequins.embroidery, goldwork, bead work

Black velvet maniple, lined with blue. Metal thread embroidery, sequins, round and leaf shaped, 4 blue and 3 red glass embellishments set in metal frames. One end has a twisted metal shaped fringeembroidery, goldwork, sequins, ecclesiastical

Oriental head embroidered in genuine Jap gold thread with hair of black felt, and beard of couched threads (plastic?) Background is brown silk or synthetic, mounted on a lighter brown padded board."Thread Mask" EW 1985embroidery, metal thread, oriental, goldwork, picture

Panel of red satin cotton with a border of couched gold metal thread enclosing scrolls. Central design of leaves and a flower, couched in red with a tiny shisha mirror for the flower centregoldwork, sequins, shisha mirrors, leaves, flower

Miss Bostock, Foundation member of the EGV, travelled to England and met with The Hon. Rachel Kay-Shuttleworth of Gawthorpe Hall. Rachel "cut" off many pieces from her extensive lace collection which were gifted to the EGV.Strip of embossed velvet in a soft dull gold colour. The pattern of the velvet is outlined in a gold thread. This fragment may be part of an orphrey for an altar frontal. Hand couched threadOn reverse: 'English Church Embroidery c. 1890'embroidery, ecclesiastical, late 19th century, england, goldwork

This is also an 18th century technique of using gold thread and is mentioned by Beryl Dean. Modern gold work - embroidered by Mrs Wark from a design by Con. Bolton. Taken from a figure of Justicia, the original is hanging in the Senior Common Rooms of Trinity College, Melbourne.Face entirely worked in Japanese gold thread using the Chinese technique which has no gold ends taken to the back. Padded felt is used for the head-dress. Framed in gold with back exposed for study.embroidery, panel, 1960-80, australia, goldwork

Morna Sturrock believed this was the first time Underside Couching, the hallmark of Opus Anglicanum, had been attempted in Australia.An example of 13th century Opus Anglicanum. The figure of St. Stephen is worked in silks. Halo and background in gold couching. Gold velvet mount and gold and black frame.embroidery, goldwork, picture, 1960-80, australia

Known as Karchob it is divided into 2 types of gold embroidery: 1. Key Aspects of Zardozi Embroidery: Origin and Meaning: The term "Zardozi" comes from the Persian words "zar" (gold) and "dozi" (embroidery), literally meaning "sewing with gold". Materials Used: Traditionally, threads were made of pure gold or silver, but modern zardozi typically uses copper wires with a gold or silver polish, often blended with silk threads, sequins, and crystals. The Process: Adda: The fabric is stretched tightly over a wooden frame, known as an adda, to facilitate precise, delicate work. Aari Needle: Artisans often use a hook-ended needle, similar to a crochet needle, called an aari, to make intricate stitches. Techniques: Specialized techniques include Dabka (coiled wire) and Kasab (twisted wire) to create raised, three-dimensional motifs. Common Motifs: Designs often feature intricate floral patterns, leaves, paisley, and geometric shapes inspired by nature and architecture. 2. Key details about Kamdani embroidery: Technique: It is often called a "lighter version" of Zardozi. It involves using a needle to insert flat metallic wires (badla) through the fabric, making tiny stitches that sparkle, often creating dots, paisleys, or floral patterns. Origin: The craft originated in the Indian subcontinent, specifically developing in Lucknow, India. Materials: Originally done with pure gold or silver threads, modern Kamdani often uses synthetic metallic threads or beads for affordability. Application: It is commonly featured on luxurious textiles, including georgette, chiffon, and cotton, frequently worn as formal wedding wear (sarees, dupattas, and kurtas). Types of Work: It is often referred to by related terms such as Mukaish, Badla, or Fardi work.Gold embroidery all over bag except under flap. Intricate design on flowers in very typical of the variety of metal threads. Velvet handles with black silk lining with press-studs in both corners of the flap. Decorative beaded tassel at base. Intricate design of flowers in typical design known as Karchob.embroidery, bags, 1900-20, india, goldwork

The Donor states- " The small travel icon is a work of ecclesiastical embroidery tutor Alyona Petrova (2018 Crimea). She is a former Head of Embroidery workshop in the Trinity Iona Monastery. Techniques used include 'diaper' goldwork and 'facework' in split stitch with hand dyed raw silk. Travel icons are logical descendants of the huge travel iconostasis, which was taken by Russian nobility during wartime campaigns in the 16-017th centuries. It was impossible to bring heavy wooden icons, and they were changed to the embroidered ones. Nowadays small travel icons - both wooden, metal and textile - are popular to use in private cars for the 'safe trip'.Brown leather pouch, buttonholed around outer edge, and couched with gold purl. Dark blue background, metal thread, gold couching halo and gown, brown hair.W O N around halo. IC left top corner, XC right top corner.embroidery

Embroidered by Edna Wark in 1980.One of two samplers showing Burden stitch. The embroidery is in a leaf shape with gold thread couched (Burden stitch) with a different shade of purple. Mounted on purple velvet.goldwork, embroidery, samplers, 1960-80, australia, metal thread

Exhibited at the 1966 Georges Exhibition and purchased by the Victorian Guild. Designed and worked by Mrs E.M. John, Doncaster School of Art, U.K.Cream satin, great variety of stitch techniques in coloured threads, gold and silver. Some applied with gold kid. Mounted in a black and gold frame.embroidery, goldwork, 1960-80, england, creative, panel

Embroidered by Edna Wark in 1980.One of two samplers showing Burden stitch. The embroidery is in a leaf shape with gold thread couched (Burden stitch) with a different shade of purple. Mounted on purple velvet.goldwork, embroidery, samplers, 1960-80, australia, metal thread

Designed and worked by Mrs Ethel Oates.Made for the George's (Melbourne) 1972 exhibition.Cross mounted on gold silk. Gold embroidery using gold purl. Jap gold and gold kid. Framed in silver metal frame.embroidery, ecclesiastical, panels, 1960-80, australia, goldwork

Bought by donor in 1978 in Pakistan.Cap (man's) in gold laid work, hand stitched on heavy cream cotton, couching stitched in white and dark brown. Assembled by machine.goldwork, hats, cap, embroidery, hat, pakistan, metal thread