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 embroidered in gold work (or nue) and embellished with beads. "Mistress Mary" is dressed in medieval dress of brown silk on a dull green background.embroidery, metal thread, picture, 1960-80, australia

Made by founding member of The Embroiderers Guild Victoria, Edna Wark in 1982Metal thread embroidery with aluminium passing thread couched over laid string with a small amount of silk embroidery. Mounted behind soft, green velvet fabric frame.

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

Embroidered Chinese dragon roundel (buzi) from the Qing dynasty (1644-1911). Front facing five clawed dragon in gold thread surrounded by swirling clouds and a flaming pearl. The Dragon grasps a flaming pearl, symbolizing wisdom. power, and spiritual energy. Imperial Dragon with pearl. Embroidered in two halves of a circle for mounting on either side of the front opening of a garment. Dark blue silk back ground, worked in silk floss in blues, gold and reds. Dragon embroidered in gold metal threads. The dragon is surrounded by clouds and bats. metal thread, garments, china, dragon, bat

Exhibited and purchased from the 2010 "Jubilation" exhibition at The Embroiderers Guild Victoria, celebrating 50th Anniversary of the Guild.An abstract metal thread embroidery depicting a landscape, on a striped background in a white frame.picture, embroidery, metal thread, australia

Often referred to as Assiut shawls, where they were made.Cream-coloured cotton bobbinet ground, hand-embroidered with flattened metal strips.shawl, metal embroidery, egyptomania, 1920s fashion, assuit shawl

Purchased in Singapore circa 1920 and believed to be old then. Never been worn. 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.A pair of sleeve bands. Embroidered in gold metallic thread on blue silk fabric in a pattern of peonies, bats and other auspicious symbols.embroidery, metal thread, embroidery, garments, japan

A brimless short rounded cap worn by men in Africa, Middle East and South Asia. Although associated with many Islamic cultures, in the United States it is also worn with people of West African heritage, whether Christian, Islamic or a traditional African religion.Brimless cap hand embroidered with couched gold coloured metal thread.caps, metal thread embroidery

A brimless short rounded cap worn by men in Africa, Middle East and South Asia. Although associated with many Islamic cultures, in the United States it is also worn with people of West African heritage, whether Christian, Islamic or a traditional African religion.Brimless cap hand embroidered with couched gold coloured metal thread with pink and maroon coloured highlights.caps, metal thread embroidery

A brimless short rounded cap worn by men in Africa, Middle East and South Asia. Although associated with many Islamic cultures, in the United States it is also worn with people of West African heritage, whether Christian, Islamic or a traditional African religion.Brimless maroon velvet cap hand embellished with cream and bronze coloured beads, floral and round shaped paillettes creating four motifs. Gold-coloured floral trim around brim edge.caps, metal thread embroidery

White satin cloak with grey satin border and pale green lining. It is embroidered in grey and ivory silk threads and silver metallic thread in a trailing floral design.surface stitchery, china, metal thread embroidery

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, along with this embroidery which were gifted to the EGV.Dark blue silk bound with paler blue. Chinese embroidery floral design with couched gold and a silk bird at the top. metal thread embroidery, embroidery, furnishings, silk embroidery, china, bird, phoenix, flowers

The cope is one of the most striking vestments in the Church. An ecclesiastical hood is a liturgical or monastic head covering, often part of a cope or habit, used for warmth, distinction, or decoration. Originating from medieval cloaks, it has evolved into a symbolic accessory (like a cope hood) or functional gear (like a monk’s capuce) for various religious orders.Semi circular hood of gold organza with silver metal thread and aqua silk embroidery. Dark red short full silk fringe on curved edge, and 5 loops on straight edge to attach to garment. Has been backed with apricot satin, Front of 4 flowers (5 petalled), leaves and initials.IHSembroidery, metal thread, silk, ecclesiastical, hood, hat

a. RAAF Drum Major's insignia (1954 to present 1995) on winter ceremonial band uniform stitched onto lower left and right sleeves.R.A.A.F. Drum Major's Insignia. Metal thread.embroidery, metal thread, badges, late 20th century, australia

b. RAAF signallers brevet (insignia) used 1954-1980, worn on service dress tunic above left breast pocket.R.A.A.F. badge -signallers brevet (insignia) used 1954-1980, worn on service dress tunic above left breast pocket. Metal thread.embroidery, metal thread, badges, late 20th century, australia

RAAF crewman (technical) insignia badge known as a 'brevet' used 1968-c. 1985, miniature worn on summer and winter mess jackets on lower left lapel.R.A.A.F. badge -RAAF crewman (technical) insignia badge known as a 'brevet' used 1968-c. 1985, miniature worn on summer and winter mess jackets on lower left lapel. . Metal thread.embroidery, metal thread, badges, late 20th century, australia

Two blue silk panels with mirror image designs of phoenix and chrysanthemums. Metal thread, gold couched in orange, red, cream and turquoise silk. Selvedge and hemmed edges.embroidery, china, metal thread, silk embroidery, oriental, panels, phoenix, crysanthemum

The EGV Crest is used to publicize the Guild at exhibitions and demonstrations. A circle covered in green fabric with the crest of the Victorian Guild (scissors, thimble and needle) executed in metal thread work. On permanent display in the EGV gallery.embroidery, metal thread, 1980-2000, australia

Made into a belt. Cream satin, entirely covered in a scrolling gilt and silver chain or tambour stitch. Designs are people, palms, boats, deer, geese, mosques etc. in a variety of stitches, highlighted with coloured silks. Possibly Indian.embroidery, metal thread, india

Stiff round hat with front section decorated with silver braids, back section purple quilted with red thread. Round top is green and purple sections, quilted. Central circle of silver with silver bands separating coloured sections. Lining is a red floral, which has been glued.embroidery, metal thread, hats, afghanistan

Information in 1980 - Possibly Indian village workDeep blue satin with fringed edge. The design is of an Indian temple and large birds embroidered in gold and silver threads with some brightly coloured floss silks. It is edged with matching blue fringe.embroidery, panels, india, metal thread, silk embroidery, oriental

Possibly part of an elephant Howdah. In 1980 further information received that this piece may be of Moghul embroidery c 1600 from a wealthy or Royal household or palace.Heavily decorated in Zardozi bullion work of silver and gilt threads. Tree of life design with buds and flowers and an elephant at the base. Worked on a background of silk. There is a looped edge on 3 sides.embroidery, metal thread, hanging, india

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.Pair of rich blue silk (figured) bands, 66 cm of which is heavily embroidered in couched gold metal threads in a swirling pattern, with coloured silk birds (18). There is a gold spray (floral) at the base of each band.embroidery, garments, silk embroidery, metal thread, chinese

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

Two pieces of a stole on pale gold brocade - possibly silk cotton mix, silk and gold in the form of a cross with the leaves. Silk satin stitch, couched gold out lining, silk and gold soft coloured fringe.embroidery, metal thread, ecclesiastical, stole, silk embroidery

Pale grey felt outside, white satin lining embroidered with silver metal thread embellished with turquoise beads.embroidery, metal thread, turkey, garments, 1900-20

White satin with a wide decorative band of silver metal thread work, sequins and pale floss silks. Matching silver fringe.embroidery, mats, india, oriental, metal thread, silk embroidery

Small Octavo book with silk and gold metal embroidered covers and binding with all edges gilt.fictionSmall book of the poetry of Tennyson with hand embroidered covers.fine binding, embroidery, silk, poetry