Found in antique shop in Brighton, Mounted on an old screen and very dirty.Very open weave linen, covered in silk embroidery using blue, green, brown and beige silk. Framed in gold and mounted on bright blue raw silk.embroidery, panels, italy, 17th century, silk embroidery, european

A charming example of 18th century Georgian silk embroidery. All the sprigs have a small piece of parchment behind them, onto which they are embroidered. Lining has been replaced, and a viewing area left for study purposes. In 1930 this piece was used as a christening shawl.18th Century cream satin with coloured silk floral sprays placed regularly all over the cloth, with a floral border. Some metal threads are also used.embroidery, silk embroidery, table cloth, 18th century, england

Estate of Kenneth Lay Antique Dealer High St Armadale - no provenancePainted Rural Scene of woodcutter and daughter with cottage in background Hand embellished silk surface embroidery with metal thread highlights 18th century, woodcutter, rural idyll, georgian silk embroidery

Ecru textured cotton, design basket of flowers and sprays of flowers. Basket and leaves in silk embroidery and flowers in silk ribbon work. The mat's edge is marked in a scalloped shape. (no threads with kits).embroidery, silk embroidery, silk ribbon embroidery

Pale green moiré silk with a stamped design of stylized flowers. One corner has been embroidered in silk in soft shades of pink and green with a touch of Jap gold (no threads with kit).Label: Antoine Design, Trade Mark PENELOPEembroidery, silk embroidery, kits

Design is on fine light brown canvas and depicts a bird sitting on a branch. Part of the bird and foliage is embroidered in brightly coloured silks. The bird has an unusual bead as an eye. (No threads with kit.) Probably meant for fire screen.embroidery, silk embroidery, kits

Dark ecru linen with a design of pomegranates partly embroidered in the lower right corner. There is an oval marked in top left corner, which is meant to be cut out for a photograph to be inserted when the piece is mounted (no threads with kit).embroidery, silk embroidery, kits

Silk picture on silk background over linen, telling the story of Moses in the Bullrushes.embroidery, picture, silk embroidery, moses

Cream silk embroidered length with sprays of flowers in satin stitch in cream silk - in style of Cantonese embroidery.embroidery, garments, silk embroidery, oriental, china

Long narrow sachet of cream coloured satin. The front shows a design of a basket, ribbons and flowers worked in ribbons and silk embroidery. It is edged with a thick cream silk cord. The lining is Jap silk quilted by machine.embroidery, ribbon work

Artwork. A square of silk fabric, finished on the four sides with a .8 cm fringe of the fabric. A border of blue stitchery 2 cm from inside the fringe surrounds a floral design of three variegated pink flowers, one variegated blue flower, and soft green leaves. In one corner is a butterfly with soft pink wings, dark body, and long antennae. Burgandy satin stitch buds, and centres in two of the flowers add depth.artwork, doyley

Made by Viola, sister of the Baroness Felicitas Weidersperger of Tazovitz.Fine brown cotton fabric covered with dark brown and gold silk tambour embroidery. The edge is fringed. Design is of a rose surrounded by a scrolled border.czechoslovakia, embroidery, tambour work, mid european, 1900-20, floral, flower

Fine red wool with surface stitchery in cream floss silk thread.embroidery, india, surface stitchery, fragment

Cream satin with a design in embroidery and ribbon work, of a basket of flowers suspended by a ribbon and bow. Inside and pockets are quilted in diamond design, and edge has a cord.embroidery, ribbon work, late 19th century

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This scarf is part of a 30-piece collection of women’s clothing owned by Edith Mary Weir (nee Betteridge), who was born in Clare, South Australia in 1867 and who died in Kew at the age of 81 in 1948. The items of clothing in the collection date from the 1880s to the 1940s and constitute outstanding examples of dressmaker’s skills from each of these decades. The collection includes day dresses, evening dresses, evening coats, capes, shoes and undergarments. As the wife of a mining engineer, and later mine manager, Edith Weir’s clothing has historic significance as examples of clothing worn by upper middle class Australian women in domestic circumstances and at social and civic events. The costumes in the collection represent the periods when Edith Weir lived in Broken Hill, New South Wales, and in Kew, Melbourne. A number of the costumes from the 1920s to the 1940s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by the granddaughter of Edith Weir in 2017Very long, doubled chiffon evening scarf with a silk tassle at one end and multicoloured hand embroidered flowers at the other. The scarf was owned by Edith Mary Weir.edith mary (betteridge) weir, 84 princess street -kew, australian fashion, scarfs

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Black crepe jacket with heavy cream embroidery. The jacket is believed to have been purchased by an aunt of the donor in the 1930s on a trip to the ‘Orient’mcintyre collection, women's clothing, international fashion - 1930s, evening wear, eveing jackets

Miniature picture of a young girl in a straw sunhat, located centrally in an embroidered mounting. The mounting is silk fabric, with an octagonal metal thread outline, decorated inside this with spangles, pink and white embroidered ribbon, and leaves made from green and yellow ribbon. Framed.Frame : gallery of Art, T.S.Clasier & Co Pty Ltd Union House 286 Lit Collins St Melbourne.18th century, 19th century, picture, ribbon work

Mary Gossage - married 1832 and became Mrs Singer migrated to AustraliaPicture of Christ printed or painted on silk backed with cream linen shading effects achieved by using seeding stitches in various sizes in black thread.embroidery, surface stitchery, pictures, early 19th century, england

Royal blue outer with floral border and central panel worked in a variety of coloured silks in Peking stitch, each motif outlined in gold coloured metal thread with red couching stitches. Embroidered on front and back of cover. Cream silk interior and red piping.

Late 19th century cloud shaped collar, A Yunjian (云肩), or "cloud collar," is a traditional Chinese detachable cape-like or shawl-like accessory worn over the shoulders. Shape & Design: Typically structured with four or eight lobed panels that drape over the shoulders like floating clouds, symbolizing the vault of heaven and the connection between man and nature. Historically hand-embroidered with silk and metallic threads, often featuring auspicious motifs such as peonies, lotuses, butterflies, phoenixes, and lucky clouds, and edged with beads or tassels. Traced back centuries through Dunhuang cave murals and Tang/Yuan official wear, it became an elaborate element of women's fashion and traditional bridal attire during the Ming and Qing dynasties.Yunjian cloud collar. Four lobed collar in red, green and cream silk embroidered in fine gold metal thread. Floral and bat motifs. Secured by anornate brass button.floral, bat, china, collar

Piece of Chinese embroidery, Length of cream silk with panel of cream silk embroidery depicting butterflies. embroidery, silk embroidery, oriental, garments

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire.Yellow silk satin, silk embroidery depicting birds and flowers in bright blues, greens, mauve, orange and pinks.embroidery, garments, silk embroidery, china, late 19th century, flowers, garden, bird

Used in theatricals of the period, and originally part of a blouse. "Doc" Rowe and his wife "Mora" were Australian entertainers who performed worldwide, including the Far East, during 1910-1930. The embroidered costumes were purchased in China and used in their performances in Australia and overseas.Red silk with white twisted silk embroidery of a garden and pagodas and 2 men with swords and pitchfork, and a floral border at base. embroidery, garments, silk embroidery, china, 1920-40, oriental

Chinese embroidered panel/hanging, couched gold and silk embroidery in two shades of purple silk. Not in Location: C7 BM10embroidery, china, oriental, silk embroidery, furnishings

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire.Cream satin, silk embroidery in Pekin knot stitch. Fine couched cord. Rural setting with figures, trees and pagoda.embroidery, garments, silk embroidery, china, garden, figures, lanscape

Bought for the Guild, found in an antique shop by Mrs Beryl Warne (member) March 1974.Silk background with a peach brocade edging natural colours of silk embroidery in long and short stitch for the design of two deers with fir tree branch.embroidery, panel, late 19th century, japan, silk embroidery - oriental

Bought by donor in Hong Kong in 1983Cream silk mat with blue silk embroidery in a traditional Chinese design with peonies, bats and plum blossoms. The border is made of two rows of woven braid.embroidery, silk embroidery, oriental, mats, 1960-80, china

Postcards from France with silk embroidery pictures sent home from the front in Europe during WW1.White Postcards with silk embroidery made in France, 1. Picture of a cottage surrounded by flowers with "Home Sweet Home" at bottom and ornate border. 2. Picture of flowers on front in silk embroidery and "Far from you but thinking of you". 3. Picture in silk of various Allied flags and flowers and words "1914 Right and Liberty 1917".1. Embroidered "Home Sweet Home" On front and letter to "Linda" on back. 2. Embroidered "Far from Home but Thinking of You" on front and letter dated 3/9/17 - To Linda on back. 3. Embroidered "1914 Right & Liberty 1917"and letter to Linda on back.passchendaele barracks trust, postcards, ww1

In Chinese embroidery, the crane (He, 鹤) is a powerful symbol of longevity, wisdom, immortality, and good fortune, often depicted with other auspicious motifs like peaches, pine, or bamboo to enhance these meanings, and historically used on civil officials' rank badges (buzi) to denote high rank and virtue, reflecting aspirations for a long, prosperous, and wise life, linked to Daoist immortals and heavenly ascent. Black satin with rich silk embroidery around the hem, which means it may have been made for a lady of high rank. Circular motifs of cranes and storks. Probably made for a pregnancy. Bright blue lining.embroidery, silk embroidery, garments, china, oriental

Limerick Museum item: DESCRIPTION: Limerick lace. Blonde work. Designed and made by Eileen O’Donohue of the Limerick Lace School. PATTERN: Eastern style pattern with diamond zigzag border followed by flower and leaf border at the two ends. The centre has a scattering of single flowers with leaves. Crochet edges and fringed at both ends. STITCHES AND TECHNIQUES: Limerick Lace & crocheted fringe. FIBRE: Raw Silk threads, possibly silk net. SIZE: Height 284 cm cm x Width 58 cm. DATE: 1900 – 1915.Limerick lace – By the Poor For the Rich: Lace in Context Blonde Limerick lace refers to a specific style of Limerick lace—an Irish embroidered net—that adopts the aesthetic of 18th/19th-century French "blonde" lace, often featuring fine silk or cream-colored thread on a net base. It is a mixed lace, combining tambour or needle-run embroidery on a machine-made net. Characteristics and Context: Definition: Limerick lace is a "mixed" lace created by decorating machine-made net with hand embroidery, specifically tambour work (using a hook) or needle-run work. "Blonde" Aspect: Traditionally, blonde lace was a French silk lace known for its natural cream/pale gold color. When applied to Limerick lace, this refers to the use of fine cream or écru threads to create intricate patterns. Types of Limerick Lace: Tambour: A hook is used to create chain stitches. Needle-run: Embroidery is applied using a needle. Design and History: Patterns often feature floral, foliate, and nature-inspired motifs, such as shamrocks, ferns, or butterflies. While the industry began in 1829, styles evolved to include varied fillings. Production: The Limerick Lace School has produced modern interpretations, including stoles and veils featuring this technique.Cream net with an all over design in cream floss silk embroidery in a bold floral design. 5 cm silk fringe. Similar piece is in the Limerick Museum Ireland - described as Limerick Lace and crochet edges.embroidery, silk embroidery, shawls, early 20th century, india