Black material mounted on cardboard depicting soldiers, aircraft, villages & villagers in motion. Middle depicting people swimming in river. Bottom is peaceful scene with figures in black with colourful dress. All embroided.Hand made panel.embroidered panel

Purchased by donor north of Sapa near Mount Fansipan, Vietnam. Small embroidered panel worn as part of everyday wear on back of jacket/top.Example of Hill Tribes embroiderySmall embroidered panel, faded indigo with counted thread embroidery.

Made in UK by Eglantine Gill as a wedding gift for donor's parents in 1936. Eglantine was a member of the UK Embroiderers GuildEmbroidered panel from a screen. Depicts a Jacobean style tree of life design in crewel embroidery. Worked in silk (or rayon) thread.tree of life, crewel, jacobean

Part of Bette Jones collectionHand embroidered panel, cream coloured with brown cotton band machined onto lower edge. Blue and gold embroidery on brown band.handcrafts, embroidery

From Yangzhou area in China. Purchased in 1998.Embroidered panel with two pink and three green squares separated by green silk ribbon. Ornate design in white with pink and blue highlights. Black silk fabric backing.china, chinese embroidery

From Yangzhou area in China. Purchased in 1998.Embroidered panel with four pink squares separated by red velvet strips and yellow and red silk ribbon. Ornate design in white with green highlights. Small spangles attached. Floral cotton fabric backing.china, chinese embroidery

Synonymous with Uzbek tradition, often used as decorative wall tapestries, table runners or bed hangings.Silk embroidered panel of floral design in royal blue, cream, grey and black silk on cream silk background, attached to paper backing. Bold floral motifs, large central flower and scrolling design common in Uzbekistan. Outlined by fine, tarnished metal thread.

Purchased by donor from hill tribes in Sapa region of Northern Vietnam, part of traditonal clothing - apron/skirt panelEmbroidered panel, part of apron/skirt.

A suzani is a large, hand-embroidered textile panel; the word comes from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries, suzanis have become highly collectable and valued for their beautiful decoration and fine craftsmanship. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Suzanis are made from cotton, sometimes silk. The pattern is first drawn onto the cotton, before being embroidered on narrow portable looms. They are usually produced in two or more pieces, meaning that they can be worked on by more than one person, before being stitched together. Just four stitches — tambour, basma, chain and kanda-khayol Panel of embroidered Suzani on green polyester fabric with maroon velvet border. Embroidered with stylized floral circular designs and foliage. Designs are embroidered in white, yellow, orange, bronze, pink, brown and black thread in tambour stitch. Backing is red cotton fabric. Border strips are embellished with machine patterned stitching.

A suzani is a large, hand-embroidered textile panel; the word comes from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries, suzanis have become highly collectable and valued for their beautiful decoration and fine craftsmanship. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Suzanis are made from cotton, sometimes silk. The pattern is first drawn onto the cotton, before being embroidered on narrow portable looms. They are usually produced in two or more pieces, meaning that they can be worked on by more than one person, before being stitched together. Just four stitches — tambour, basma, chain and kanda-khayol Part of a piece of embroidered Suzani in red cotton with corner embroidered with circular designs and framed corner panel. Designs are embroidered in white, cream, blue and black thread in tambour stitch. Backing is a floral yellow fabric. Green tassels on two sides with spangles attached.

Designed by the Danish needlework designer Gerda Bengtsson in the 1960'sPanel of voided cross stitch depicting a vase of flowers in a technique resembling Assisi work (with back ground embroidered and pattern voided) . The piece is on even weave fabric embroidered with two strands of stranded cotton - 1 brown, 1 orange. Danish Design.embroidery, assisi, cross stitch

Red felt (handmade), canvas work, gold and metal threads, beading, and machine embroidery.embroidery, canvas work, felt, australia, 2000-2020, panels

Contemporary Ahir style embroidery purchased by the donor from the embroiderer, Mrs Sofia Natemitha Mutna of Dhordo Village near Bhuj in Gujarat, India in January 2012.Contemporary Ahir style embroidery. A circular design in silk thread in red, blue, green, orange, yellow, pink and white on a black synthetic ground. Stitches are chain, running stitch, feather stitch and shisha work. Feather stitch is in a variegated thread. india, embroidery, india, shisha

Embroidered by Lesley Uren for an exhibition at The Meat Market Craft Centre in 1998The Princess Theatre was built in 1854 and rebuilt in 1886 to a design by noted Melbourne architect William Pitt. The Princess Theatre is the oldest surviving entertainment venue on mainland Australia. The theatre is built in an elaborate Second Empire style, reflecting the opulence of the "Marvellous Melbourne" boom period. Lesley Uren is an important exponent of metal thread embroidery (Goldwork) and a founding member of the Embroiderers Guild Victoria and was awarded an OAM in 2013. Lesley is a prolific embroiderer with many of her works hanging in exhibitions, museums, schools and churches across Australia.Embroidered picture of the front of The Princess Theatre, Melbourne: worked in gold metal threads on grey silk fabricPrincess Theatrearchitecture, building, melbourne

From the estate of Jenny Lang, Pearcedale Road, NunawadingBeige linen cloth has, across the centre, a spray of embroidered stylised flowers in pinks,oranges,mauves and yellows and is surrounded by stylised leaves and dots in browns and greens. The style is needle painting in short and long stitchhandcrafts, embroidery

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

Jenny Rowe says: This piece was inspired by some hand dyed threads, interesting fabrics and a piece called Soleil Rouge by Celcile Meraglia which I saw on Pinterest. I began by ironing various size circles and ovals on to the silk dupion backing. I then drew the lines that surround them and divided the spaces. These were worked by couching various threads and tapes, loads o chain stitch (my favourite) whipped, laced, over worked with running stitch in a contrasting colour or with buttonhole stitch worked into the side. Stitches used for the circles and filling include - fly , lazy daisy, Chinese and French knots, raised chain bands, up and down buttonhole, spider web, herringbone, feather, Palestrina, Roumanian and seed stitches. I used these as the whim took me and I kept going back and forth adding layers until I just had to say STOP! Finally I added a few cogs in a nod to steam punk, one of my favourite styles. It was a wonderful piece to use many different stitches and all those lovely threads in your stash. I had tremendous fun stitching this. Example of contemporary creative surface stitcherySilk dupion panel designed and embroidered with surface embroidery using many different stitches and threads. Embellished with metal cogs in a nod to steam punk style. floral, freeform, steam punk

Christine Beehag, designer and embroiderer.This panel which is an original design in free motion machine embroidery, depicts two wattle birds in a bush setting with native flowers.embroidery, machine embroidery

Purchased by donor from Melanie HillContemporary embroidered and beaded panelMelanie Hill 2006 on mount board at bottom RHS

The panel was embroidered by the donor's father's cousin, Florence Lishman (1884-1956) of Northumberland, England in the late 1930's or early 1940's.Rectangular panel (possibly a fire screen). Natural linen with central motif of plant and fruit growing out of a mound. The embroidery is in silk in shades of green, orange and blue using a variety of stitches.embroidery, panels, 1920-40, england, surface stitchery

The textile is part of a large and significant collection of items donated by Rosemary Vaughan-Smith, past member and office-bearer of the Kew Historical Society. between 2005-12. The collection includes costumes, scrapbooks, autograph books, artworks and objects.Multi-coloured silk embroidery on a deep pink silk backing fabric of vines, flowers and leaves, featuring a central embroidered medallion of pheasants amongst wisteria blossoms. textiles - embroideries, vaughan-smith collection, embroidery -- china

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.

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.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in progress in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

This is one of eight embroidered panels, completed during the 1988 Australian Bi-Centennial, and carried out under the auspices of City of Kew Council and the Kew Historical Society. Nearly 600 residents, including many children, participated in their production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart / Co-ordinator: Dorothy Benyei.1. Turinville. A framed embroidery created by adults and children of the City of Kew as a Bicentennial project, based on a design by the artist Joy Stewart. Five of the six completed embroideries created in the project are/were displayed in the Kew Library. [The five embroidered panels have now been temporarily removed for conservation reasons].Inscription: "TURINVILLE / Early country residence overlooking the Yarra River. Recreational activities of the period included picnics" Embroidered signature of the artist: "(c) JStewart, 1988"bicentennial project (kew), joy stewart, charles grimes expedition, australian bicentennial

This is one of eight embroidered panels, completed during the 1988 Australian Bi-Centennial, and carried out under the auspices of City of Kew Council and the Kew Historical Society. Nearly 600 residents, including many children, participated in their production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart / Co-ordinator: Dorothy Benyei.1. Survey Team. A framed embroidery created by adults and children of the City of Kew as a Bicentennial project, based on a design by the artist Joy Stewart. Five of the six completed embroideries created in the project are/were displayed in the Kew Library. [The five embroidered panels have now been temporarily removed for conservation reasons].Inscription: "SURVEY TEAM 8th February 1803 / Grimes, Flemming, Robbins and McCallum explored the river (Yarra) to the falls (Dights), sighting several friendly Aborigines, and were the first Europeans to set foot in the area now known as Kew." Embroidered signature of the artist: "(c) JStewart, 1988"bicentennial project (kew), joy stewart, charles grimes expedition, australian bicentennial