The Clare Chasuble, 1272-1294. Museum no. 673-1864

The Clare Chasuble China, London and England 1272-1294 Silk, satin weave, embroidered with silver-gilt, silver and coloured silk thread Width 81.5cm x height 120.5cm Museum no. 673-1864

The chasuble is the principal vestment worn by the priest when celebrating Mass. This example has been drastically cut down from its original voluminous shape to suit changing fashions in church ritual. It is made of luxurious materials, with a silk satin ground and rich embroidery, and is known to have belonged to an illustrious family. The embroidery is carried worked in underside couching, split stitch and laid and couched work.

It was made at some time during the marriage of Margaret de Clare and Edmund Plantaganet, Duke of Cornwall. Before being cut down, it is said to have included the coats of arms of Clare, Cornwall, Lacy and England. These stand for Margaret de Clare who married Edmund, Earl of Plantaganet in 1272. They were divorced in 1294.

Stylistically the embroidered motifs can be seen as a mixture of Romanesque and Gothic. The scroll work and figures of griffins look back to the earlier style, while the quatrefoils enclosing Christian scenes belong to a decorative scheme with repeating geometric motifs which were standard in English medieval embroidery (known as opus anglicanum, the Latin for English work) from the mid 13th to the early 14th century.

Apparels of an alb, 1320-1340. Museum no. 8128 to B-1863

Apparels of an alb England and Italy 1320-1340 Silk velvet, embroidered with silver-gilt, silver and silk thread Width 50cm x height 26cm Width 32.5cm x height 26.2cm Width 83.5cm x height 27cm Museum no. 8128 to B-1863

These embroideries consist of one complete and two incomplete apparels. Apparels are rectangular decorative panels that were placed at the hems, necks and on the sleeves of two types of ecclesiastical vestment: the alb, an ankle-length linen tunic worn by priests and others, usually beneath other vestments; and the dalmatic, a sleeved vestment worn by deacons when assisting at the Mass. It is thought that these apparels may be from an alb. They show scenes from the life of the Virgin and her parents, set under Gothic arches. The scenes include the annunciation to St Anne (the Virgin's mother), the birth of the Virgin, the annunciation to the Virgin, the nativity of Christ and the journey of the Magi (wise men). A number of scenes that usually form part of the life cycle of the Virgin and her parents are missing and from this we can deduce that there must originally have been a fourth apparel.

The embroideries demonstrate beautifully the lively narrative style that was a notable feature of 'opus anglicanum' (Latin for 'English work') in the late 13th and 14th centuries. Velvet grounds were first used in opus anglicanum in the late 13th century and act as a perfect foil for the rich silk and gold embroidery. An early reference to the use of velvet occurs in the inventory of St Paul's Cathedral, London, from the year 1295.

Only some of the shields of arms can be identified and they do not give any clear evidence of the identity of the original owner or donor of these apparels. However, the very fine quality of the work and design indicates that the family or church from which they originated must have had considerable wealth and standing.

The embroidery is worked in underside couching, split stitch, laid and couched work, with a little raised work.

The Clare Chasuble

The Clare Chasuble China, London and England 1272-1294 Silk, satin weave, embroidered with silver-gilt, silver and coloured silk thread Width 81.5cm x height 120.5cm 673-1864

The chasuble is the principal vestment worn by the priest when celebrating Mass. This example has been drastically cut down from its original voluminous shape to suit changing fashions in church ritual. It is made of luxurious materials, with a silk satin ground and rich embroidery, and is known to have belonged to an illustrious family. The embroidery is carried worked in underside couching, split stitch and laid and couched work.

It was made at some time during the marriage of Margaret de Clare and Edmund Plantaganet, Duke of Cornwall. Before being cut down, it is said to have included the coats of arms of Clare, Cornwall, Lacy and England. These stand for Margaret de Clare who married Edmund, Earl of Plantaganet in 1272. They were divorced in 1294.

Stylistically the embroidered motifs can be seen as a mixture of Romanesque and Gothic. The scroll work and figures of griffins look back to the earlier style, while the quatrefoils enclosing Christian scenes belong to a decorative scheme with repeating geometric motifs which were standard in English medieval embroidery (known as opus anglicanum, the Latin for English work) from the mid 13th to the early 14th century.

The Syon Cope

The Syon Cope England 1300-1320 Linen, embroidered with silk, silver-gilt and silver thread Length 295cm x depth 147.5cm 83-1864

This cope, a cape-like vestment worn at Christian church ceremonies, was originally part of a voluminous chasuble, the principal vestment worn by the priest for the celebration of Mass. It is now known as the Syon Cope and takes its name from the Bridgettine convent of Syon in Middlesex, which was founded by King Henry V in 1414-15. It is probable that the nuns took the cope with them when they went into exile during the reign of Elizabeth I and that it was returned when the Order was re-established in England in about 1810.

On the original vestment there would have been four rows (on the reconstituted cope there are three) of interlaced quatrefoil shaped compartments with scenes from the Life of the Virgin and the Life of Christ and the Apostles; the latter, seen in the fourth dismembered row, are not identifiable. Between the compartments are six winged seraphs and along the upper edge are the remains of angels holding crowns and the figures of two kneeling clerics, possibly representing the priest for whom the vestment was made. They hold scrolls with undecipherable Latin inscriptions.

Unique among surviving examples of opus anglicanum (the Latin term for English work, which was the high quality English embroidery known to have been bought by princes and popes), the ground is entirely covered in red (now faded to brown) and green silk thread. The orphrey bands (decorative strips) with heraldic shields around the circumference and along the top edge of the cope are made from pieces of contemporary vestments. These may be purely decorative.

The embroidery is worked in silver-gilt and silver thread in underside couching, split, cross and plait stitches and laid and couched work.

Apparels of an alb

Apparels of an alb England and Italy 1320-1340 Silk velvet, embroidered with silver-gilt, silver and silk thread Width 50cm x height 26cm<br/><br/> Width 32.5cm x height 26.2cm<br/><br/> Width 83.5cm x height 27cm 8128 to B-1863

These embroideries consist of one complete and two incomplete apparels. Apparels are rectangular decorative panels that were placed at the hems, necks and on the sleeves of two types of ecclesiastical vestment: the alb, an ankle-length linen tunic worn by priests and others, usually beneath other vestments; and the dalmatic, a sleeved vestment worn by deacons when assisting at the Mass. It is thought that these apparels may be from an alb. They show scenes from the life of the Virgin and her parents, set under Gothic arches. The scenes include the annunciation to St Anne (the Virgin's mother), the birth of the Virgin, the annunciation to the Virgin, the nativity of Christ and the journey of the Magi (wise men). A number of scenes that usually form part of the life cycle of the Virgin and her parents are missing and from this we can deduce that there must originally have been a fourth apparel.

The embroideries demonstrate beautifully the lively narrative style that was a notable feature of 'opus anglicanum' (Latin for 'English work') in the late 13th and 14th centuries. Velvet grounds were first used in opus anglicanum in the late 13th century and act as a perfect foil for the rich silk and gold embroidery. An early reference to the use of velvet occurs in the inventory of St Paul's Cathedral, London, from the year 1295.

Only some of the shields of arms can be identified and they do not give any clear evidence of the identity of the original owner or donor of these apparels. However, the very fine quality of the work and design indicates that the family or church from which they originated must have had considerable wealth and standing.

The embroidery is worked in underside couching, split stitch, laid and couched work, with a little raised work.

Orphrey panel

Orphrey panel England 1380-1410 Linen, embroidered in silver, silver-gilt and silk thread T.5A-1988

This embroidered panel is an example of opus anglicanum (the Latin for 'English work'). It is not, though, the finest in quality. It was made between about 1380 and 1410, when the quality of English embroidery and design was starting to decline. The best work was done from about 1250 to 1350, and had been sought after throughout Europe.

An orphrey is a decorative band applied to a church vestment (a ceremonial garment worn for services). This embroidered panel shows the murder of the Archbishop of Canterbury, St Thomas Becket, in Canterbury Cathedral in 1170. A second panel shows an earlier scene, that of Thomas appearing before the pope at Sens in France, which suggests that the two once formed part of a series of panels depicting well-known episodes from Becket's life.

The composition of the panel is rather confused. The fourth of the knights involved in Thomas's murder is difficult to make out. The altar before which the fallen figure prostrates himself, dedicated to the Virgin Mary, is crudely drawn.

It is possible that the orphreys were embroidered at a time when the cult of St Thomas Becket was being revived. For example, the year 1370, the 200th anniversary of his death, was notable for the offerings made in his memory. The year 1376 was also notable, when the funeral of the Black Prince, son and heir of King Edward III (ruled 1327-77), took place in Canterbury Cathedral. Since it is not possible to pin down precisely when this embroidery was done, these suggestions are only speculative.

The embroidery is worked in underside couching, split stitch and there is a little raised work.

Purse

Purse England About 1540 Linen, embroidered with silk in tent stitch Width 10.2cm x height 15cm x depth 15cm T.246-1927

Object Type

This formal, heraldic purse associated with marriage has more significance than a purse used simply for money, or a 'swete-bag' used for carrying perfumed herbs to sweeten the atmosphere. Both men and women carried or wore pouches or purses. The long strings of this example suggest that it was intended to hang from the waist, but it is uncertain whether it was ever actually used as a container. English purses of this date are extremely rare and the survival of this one may be due to its formal role, which meant that it was rarely used and thought worth looking after.

Makers & Making

The workmanship of this purse is extremely fine with 1,250 silk stitches per square inch (194 per square centimetre). Most surviving canvas work is much coarser. Whether this suggests that a professional hand was involved or that the woman who made this was particularly skilled is not known.

Ownership & Use

Heraldic devices were displayed in many different ways, and their use on even small personal belongings such as this little purse indicates the important role that they had in proclaiming ownership and lineage. The heraldry on this purse reflects four marriages (that is, four family alliances), culminating in that of Sir Henry Parker and Elizabeth Calthorpe. This shows the significance attached to the family 'pedigree' by the parties involved.

Panel

Panel England 1470-1500 Silk velvet, with linen applied and embroidered in silver-gilt and silk threads Width 68.5cm x height 70cm T.194-1911

Rich frontals were used to add colour and grandeur to the front of the altar. Occasionally, as in this example, their motifs included the figures of the donors.The figures can be identified by their names embroidered in the scrolls above them, but unfortunately nothing more is known about these individuals. They must have been fairly wealthy to be able to afford this costly embroidery. The dates of the figures are indicated by their clothing, the ones above being in dress of a slightly earlier period than the younger couple seen below. Henry Smyth, the husband in the upper pair, has the characteristic 'bowl crop' haircut that went out of fashion around 1460, though the style still appears occasionally after that date. His shoes are high around the ankle and cut with a deep 'V', in a fashion of the second half of the 15th century. Johanna or Joan, his wife wears a loose-fitting gown with a long train, a style that dates from around 1450-1470. The man below, Thomas Smyth, has a 'pageboy' haircut. His wife, who has the same name as the woman above, Johanna or Joan, wears a gown of a style that suggests a date close to 1500. Other interesting details include the two tasselled cushions on which the upper couple are kneeling and the large pouch or purse worn at the waist of Thomas Smyth. The cuffs and skirts of all the figures have scalloped borders in gold. Although still bright and fairly fresh looking, the colours have faded. The gowns of the two lower figures were originally red but are now a dull cream. The yellows and greens were brighter as well, and the blue velvet background had a much deeper hue. Together with the details in gold, the figures and flower motifs would have stood out even more vividly than they do now.

The embroidery is worked with silver-gilt and silk threads in couched work and split stitch.

The Oxburgh Hangings

The Oxburgh Hangings England About 1585 Linen canvas, embroidered with gold, silver and silk threads in tent stitch Width 192.5cm x height 168.6cm T.33-1955

Object Type
Making up large decorative hangings from a number of smaller panels which were then applied to a sympathetic background material, was a popular pastime of well-to-do ladies in the 16th century. This allowed a group of women to embroider individual panels at the same time. If required, the hanging could be dismantled at a later stage and the panels re-used.

Historical Associations
Surviving embroideries can rarely be identified as having been owned or worked by royalty. Unfortunately for the doomed Mary, Queen of Scots, she had plenty of time while imprisoned to work on numerous embroideries, some of which include her initials or cipher. This activity must have both filled her time and occupied her mind as many of the emblems or mottoes used have more significance than is immediately apparent.

Subjects Depicted
Mary's personal cipher is not included but her identity would have been clear to the recipient. Her emblem of the marigold turning towards the sun and a dog, symbolising a faithful friend are seen with the royal arms of Scotland surrounded by the Order of the Thistle.

A 1586 Inventory of Mary's belongings lists: ' a square of petit point, with a single emblem in the middle and others around (it) with the arms of France, Scotland, Spain and England ', which may well be this panel.

Sampler

Sampler England 1598 Linen, embroidered with silk and metal thread Width 42.6cm x length 36.2cm T.190-1960

This is the earliest dated British sampler to have survived, and its inscription commemorates the birth of a child, Alice Lee, two years earlier. Its maker, Jane Bostocke, who is known to have been a distant cousin of Alice's and was buried in the village where she lived, may have lived in the Lee family household. The motifs at the top of the sampler relate to their family crests. The sampler is from a period of transition in the practical use of such items - between the 16th century and earlier, when they served as a reference piece for a more or less experienced embroiderer, and what gradually became their nature in the 17th century: a method of measuring and recording the maker's skill.

The embroidery is worked in cross stitch and back stitch but there are examples of work in more complicated stitches showing that the back stitch was intended to be a grounding for further elaboration. Other stitches include satin, chain, ladder, buttonhole and detached buttonhole filling, couching in patterns, coral, speckling, two-side Italian cross, bullion and French knots and beadwork.

Cushion cover

Cushion cover London 1550-1600 Woven silk satin ground, with applied work in silk, velvet and cloth of silver Width 109.2cm x height 54cm T.22-1947

Object Type
This cushion cover with its up-to-date design and rich materials would have provided a sumptuous and colourful cover for a chair or bench.

Ownership & Use
Although nothing is known about the family who owned this cushion cover, it is possible that they had travelled to Italy and were thus aware of the excavated ancient wall-paintings in Rome that inspired this type of design. It is equally likely that they used a designer who was keeping up with with current international taste.

Design & Designing
Although arabesques, strapwork and other elements of Renaissance ornament were known to English designers, they were seldom used in their pure form. Usually they were combined with specifically English motifs or modified to suit the current English taste for more naturalistic design.

Materials & Making
This style of embroidery belongs to a group in which rich woven fabrics were applied to one another and embellished with minor details in silk and sometimes metal thread and sequins.

Purse

Purse England 1600-25 Silk, embroidered with coloured silks, silver-gilt and silver thread Width 5.5cm x height 8cm x depth 3cm T.172-1921

Object Type
In the 17th century, decorative purses such as this one were rarely used to carry money, as their wealthy owners engaged in few commercial exchanges requiring cash. In addition to serving as 'sweet bags' or 'gift wrapping', purses sometimes contained mirrors for grooming. Others functioned as sewing kits that held needles, thread and tiny scissors.

Designs & Designing
The Jacobeans loved imitating natural forms in their decorative arts and this purse has been made in the shape of a bunch of grapes. Each grape was worked in the colours of blue, purple, green or brown. Originally each had a pearl in the centre, but only two of these remain. A vine leaf has been worked at the top in three shades of green and silver purl.

Materials & Making
The three-dimensional nature of the embroidery is achieved through the use of deep padding under detached buttonhole stitch. The threads over each grape are worked independently of the fabric below and attached only around the edges. The purse is hinged at the bottom and opens to reveal an inner lining of red silk and silver brocade.

Table carpet

Table carpet London 1600-15 Linen canvas, embroidered with silk thread in tent stitch Width 422cm x height 179.5cm x depth 1cm T.134-1928

Object Type
This embroidery is described as a carpet, but it was intended for laying on a table as a costly and highly decorative cover, rather than on the floor. Its pictorial border would hang down vertically from the table's edge. The carpet would be covered up or removed if the table was used. 'Foot carpets' occasionally appear in contemporary paintings, in which case they are intended to indicate the high social standing of the sitter who can afford to have such an object underfoot.

Makers & Making
This carpet was produced in a professional workshop, and the absence of heraldry suggests that it was made for sale on the open market rather than for a specific commission. The embroidery is exceptionally fine, with approximately 62 stitches to the square centimetre. The tension of the embroidery stitches has pulled the canvas from a rectangular into a parallelogram shape.

Design & Designing
The design of the carpet has sometimes been described as depicting humankind's progression from the wild state to civilisation. It can also be seen more simply as a celebration of country pursuits. There are scenes of hunting, fishing and shooting, as well as the rural occupations of shepherd, milkmaid and miller, with watermill and windmill. Rural scenes were very popular in embroidered furnishings in the later 16th and early 17th century.

Handkerchief

Handkerchief Italy About 1600 Linen, with cutwork, needle lace and embroidery Width 45.5 cm x length 45.5 cm 288-1906

Handkerchiefs made of plain linen served the same function in the sixteenth century as they do today. However, if they were decorated they could also be carried purely as fashionable accessories and given as gifts.This example has whitework embroidery, worked in detached buttonhole and satin stitches, needle lace and cutwork decoration. Cutwork is the earliest form of needle lace. It is based on a woven ground, from which areas have been cut away. Elaborate cutwork was an important decoration on fashionable dress for both men and women from about 1570 to 1620.

Jacket

Jacket England 1620s Linen embroidered with silk Length 45cm T.4-1935

The black silk embroidery on this on this linen jacket from the 1620s creates an extraordinary tonal effect. In the 16th century, blackwork embroidery typically used a variety of geometric patterns within the space defined by the outline of a flower, leaf, insect or bird. A new style of design developed at the turn of the century with the use of speckling stitch. This was a series of tiny seed stitches, longer and worked more densely at the edge of an outline, decreasing in frequency and length towards the centre of the motif, giving a subtle shaded effect. It is thought that the embroiderers were copying the linear visual qualities of the woodblock-printed emblem books, from which they drew so much inspiration for their motifs and figures.Other stitches used are stem, braid and back stitches.

Embroidered casket

Embroidered casket England 1671 Panels of satin, embroidered with silks and metal thread Width 31cm x height 24.5cm x depth 29cm T.432-1990

Object Type
Caskets like this were used by girls from well-off families in the 17th century for storing small personal possessions. The caskets were fitted inside with a variety of compartments, suitable for keeping jewellery, cosmetics, writing equipment and letters, needlework tools, tiny toys or keepsakes. They often had mirrors set into their lids, for dressing, and sometimes had secret drawers, in which to keep particularly precious possessions. The cost of the materials and the involvement of a cabinet-maker in making up such a box means tha it could only be made within a household which could afford such outlay.

People
Martha Edlin (1660-1725) worked a series of embroideries during her childhood, including this jewellery case, which were cherished by her descendants and passed down through the female line in her family for over 300 years. We know little about her life, except that she married a man called Richard Richmond and appears to have been a prosperous widow living in Pinner in Greater London at the time she drew up her will, with daughters and grandchildren.

Materials & Making
Following the usual development of needlework skills in a young educated girl in the mid-17th century, Martha Edlin embroidered a sampler in coloured silks at the age of eight, and a more complicated piece in whitework and cutwork at nine. By 1671, her eleventh year, she had embroidered the panels of an elaborate casket, and two years later this beadwork jewellery case. Following the usual development of needlework skills in a young educated girl in the mid-17th century, Martha Edlin embroidered a sampler in coloured silks at the age of eight, and a more complicated piece in whitework and cutwork at nine. By 1671, her eleventh year, she had embroidered the panels of an elaborate casket, and two years later this beadwork jewellery case. The needlework skills she demonstrated in these pieces would be important attributes in her adulthood, in the management of her household and the making, mending and decoration of her own and her family's clothes. The embroidery is worked with silks metal thread and pearls, in raised work, laid floss silks, satin, back, rococo and tent stitch.

Pin cushion

Pin cushion England? 1670-1680 Embroidered with silk in flame stitch Width 6.3cm x length 7.5cm T.446-1990

Object Type
This pin cushion was among the contents of an embroidered casket used by a young girl, Martha Edlin, to store her small personal possessions. She would have embroidered it herself. It does not appear to have been used. It is worked in flame stitch, a technique also sometimes known as Irish stitch, Hungarian stitch, florentine stitch and bargello stitch, the variety of names indicating the uncertainty of its origins.

People
Martha Edlin (1660-1725) worked a series of embroideries during her childhood, including this jewellery case, which were cherished by her descendants and passed down through the female line in her family for over 300 years. We know little about her life, except that she married a man called Richard Richmond and appears to have been a prosperous widow living in Pinner in Greater London at the time she drew up her will, with daughters and grandchildren.

Materials & Making
Following the usual development of needlework skills in a young educated girl in the mid-17th century, Martha Edlin embroidered a sampler in coloured silks at the age of eight, and a more complicated piece in whitework and cutwork at nine. By 1671, her eleventh year, she had embroidered the panels of an elaborate casket, and two years later this beadwork jewellery case. The needlework skills she demonstrated in these pieces would be important attributes in her adulthood, in the management of her household and the making, mending and decoration of her own and her family's clothes.

Sampler

Sampler England 1661 Linen, embroidered with silk, linen and metal thread Width 20.3cm x height 62.2cm T.131-1961

During the 17th century in England, samplers developed from personal reference works for embroiderers, containing trials of patterns and stitches, to methods of instruction and practice for girls learning needlework. While many of the girls who embroidered these samplers would not have expected to have to work for their living, the needlework skills they were learning would be important skills in the future management of their households and the personal adornment of their families and themselves. The embroidery is is worked with silk, linen and metal thread in back, cross, two-sided Italian cross, satin, plaited braid and detached buttonhole stitch, with cutwork.

Pair of mittens

Pair of mittens England About 1600 Crimson velvet and white satin, embroidered with silver and silver-gilt thread, coloured silks, beads and spangles (sequins) Width 20cm x height 40cm 1507.A-1882

Object Type
This mitten had a decorative rather than practical function. Like many of the embroidered gloves made during this period, its purpose was to show off the wearer's wealth and status.

Materials & Making
The crimson silk velvet mitten has a richly embroidered white satin gauntlet. The embroidery features silver and silver-gilt thread and purl, with couched work and coloured silks and is worked in long and short and satin stitches.

Subjects Depicted
Familiar flowers such as borage, pinks and lilies, as well as insects and fruits, scattered amongst the foliage, adorn the gauntlet. In the centre of each cuff and repeated back and front, is a pillar entwined with a sprouting vine. It may have been inspired by similar motifs in Geffrey Whitney's book, 'A Choice of Emblemes', (1586). Full of 'devices' or emblems (images associated with moral or allegorical tales), Whitney's 'Choice' was the first English emblem book and a great influence on design of the decorative arts during the Elizabethan and Jacobean periods. Although the precise meanings of many devices are lost today, they would have communicated from the wearer to observers in the way that badges and logos do today.

Pair of mittens

Pair of mittens England About 1600 Crimson velvet and white satin, embroidered with silver and silver-gilt thread, coloured silks, beads and spangles (sequins) Width 20cm x height 40cm 1507.A-1882

Object Type
This mitten had a decorative rather than practical function. Like many of the embroidered gloves made during this period, its purpose was to show off the wearer's wealth and status.

Materials & Making
The crimson silk velvet mitten has a richly embroidered white satin gauntlet. The embroidery features silver and silver-gilt thread and purl, with couched work and coloured silks and is worked in long and short and satin stitches.

Subjects Depicted
Familiar flowers such as borage, pinks and lilies, as well as insects and fruits, scattered amongst the foliage, adorn the gauntlet. In the centre of each cuff and repeated back and front, is a pillar entwined with a sprouting vine. It may have been inspired by similar motifs in Geffrey Whitney's book, 'A Choice of Emblemes', (1586). Full of 'devices' or emblems (images associated with moral or allegorical tales), Whitney's 'Choice' was the first English emblem book and a great influence on design of the decorative arts during the Elizabethan and Jacobean periods. Although the precise meanings of many devices are lost today, they would have communicated from the wearer to observers in the way that badges and logos do today.

Curtain

Curtain England Mid 17th century Linen and cotton twill, embroidered with crewel wool CIRC.401-1930

This curtain is from a set of bed hangings which, when pulled closed around a bed, provided warmth and privacy. They were usually the most important part of the bed, generally referred to as the 'furniture', and were often valued more highly than the wooden bed frames they decorated.

The curtain is embroidered in a technique known as crewel work, from the crewel or worsted wool used. Crewel work was popular through much of the second half of the 17th century, and was used extensively for bed hangings. It was usually carried out on a strong ground fabric of linen and cotton twill. The embroidery is worked in stem, satin, coral, herringbone and link stitches.

Needlework was a skill taught from early girlhood in 17th-century Britain. Adult women might earn their living from it, or use it in the upkeep and decoration of their households.

Jacket

Jacket England About 1610; 1620 (alteration) Linen, embroidered with coloured silks, silver and silver-gilt thread Width 60cm x length 51cm x circumference 79.5cm T.288-1994

Object Type
This fine early 17th-century woman's jacket is particularly significant because it is shown being worn in the Portrait of Margaret Laton (museum no. E.214-1994), attributed to Marcus Gheeraerts the Younger (1561-1636) and displayed alongside it.

Ownership & Use
In the portrait, Margaret Laton wears the jacket with an Italian needlelace collar and cuffs, a black velvet gown, a red silk petticoat and a whitework apron. As with many women of this period, we know very little about her life, other than her recorded connections to her father and husband.

Materials & Making
The jacket has long, tight sleeves, narrow shoulder wings, semi-circular cuffs and a small curved collar at the back neck, dating it to about 1610. Made of linen, it is hand sewn and lined with coral silk taffeta. Originally the jacket was fastened with pink silk ribbons. In the 1620s, an edging of spangled silver-gilt bobbin lace was added. The ribbons were removed and probably replaced with hooks and eyes, which have not survived. The jacket is embroidered in plain and fancy detached buttonhole, stem, plaited braid, chain, long and short and Roumanian stitches, with spider knots and speckling, partially padded, and with spangles.

Time
Although the jacket was made about 1610, the portrait was painted more than 10 years later. By this time, waistlines had risen. Margaret Laton adapted to the new style by raising her petticoat and covering the lower half of the jacket.

Coverlet

Coverlet England About 1715 Linen, embroidered with silk and metal thread T.48-1967

English embroidery was influenced during the early 18th century by the design of woven silks, particularly professional embroidery which was used as an alternative to woven fabrics. The influence can be seen in this piece, part of an elaborate bed set, comprising coverlet, bolster cover, four pillow covers and three valances. It came from the Vyvyan family of Cornwall, and by family tradition was worked by Mary Vyvyan when her husband Sir Richard Vyvyan was imprisoned in the Tower of London in 1715. However, the quality of the work and extensive use of metal thread suggest that it was professionally made. It is worked in long and short, satin, stem and back stitches.

Pocket

Pocket England 1700-25 Linen, hand-sewn with linen thread and hand embroidered with silk thread, bound with silk ribbon CIRC.86-1938

In the 18th century, women's pockets were not sewn into their gowns. Instead they were attached to a tape and tied around the waist as separate garments. Worn under the hoops and petticoats, they were accessed through openings in the gown and petticoat seams.

This single surviving pocket is decorated with a yellow vermicelli ground and small floral motifs. The floral motifs show the influence of Indian printed textiles, while the squiggly background pattern known as vermicelli (Italian for 'little worms') comes from Indian embroidery. Similar patterns appear on British furnishing fabrics, usually larger and more complex in scale.

The top of the pocket is angled, suggesting that it might help orient the pocket along the waist. This would depend on which side it was worn on and whether the ties fastened at the front or back of the waist.

Bodice

Bodice England 1700-29 Linen, corded and embroidered with silk thread 494-1902

This is the front of a woman's informal bodice of the early 18th century, intended for wearing under a loose robe open at the front. The back of the bodice, which has not survived, would probably have been made of plain linen. An embroidered pattern of exotic birds with large blossoms and leaves covers the front. It combines stylistic elements of chinoiserie design in the birds and aspects of late 17th century English embroidery in the flowers and leaves. The background is cord quilted, a quilting technique where instead of padding, thin cords are inserted between parallel lines of stitching.

Sampler

Sampler England 1725-50 Linen, embroidered with silk Width 20.3cm x height 20.3cm T.22-1944

In England and elsewhere in Europe in the 17th century, samplers had developed from personal reference works for embroiderers into a method of instruction and practice for girls learning needlework. The central area of this sampler was worked in a needle lace stitch called hollie point, most examples of which date from the second quarter of the 18th century. Hollie point was a practical stitch to learn, used particularly for decorative insertions into baby clothes and occasionally adult garments, and exact counterparts of the patterns worked in hollie-point samplers can be found in surviving clothing.

The embroidery is worked with silk in back, cross, satin and rococo stitch, with cutwork and hollie stitch, and with knots.

Court mantua

Court mantua England 1740-45;1920s (alteration) Scarlet ribbed silk with silver thread embroidery, couched and worked in satin stitch<br>Ribbed silk and linen with silk and linen thread, decorated with fourteen types of silver thread, purl, bullion, frize, and cord<br>Ribbed silk and silk taffeta with Length 88.5cm x circumference 31cm x circumference 29cm x width 68cm x length 41.75cm x circumference 149cm x width 74.5cm T.227.A-1970

This is a magnificent example of English court dress of the mid-18th century. It would have been worn by a woman of aristocratic birth for court events involving the royal family. The style of this mantua was perfectly suited for maximum display of wealth and art; this example contains almost 10lb weight of silver thread worked in an elaborate 'Tree of Life' Design. The train is signed 'Rec'd of Mdme Leconte by me Magd. Giles'. The name Leconte has been associated with Huguenot embroideresses working in London between 1710 and 1746. The Huguenots were French Protestants who, following the repressive measures against them that the Catholic monarch Louis XIV of France restarted in 1685, emigrated to Britain and elsewhere.

Pair of shoes

Pair of shoes Great Britain 1730s-40s Linen canvas, embroidered with wool Width 8.5cm x length 23cm T.117.A-1933

This pair of women's shoes have linen canvas uppers. They are embroidered with flowers in coloured wools in cross stitch and tent stitch. This was a period when fashionable shoes often echoed the pattern of the dress with which they were worn. The shoes have pointed toes and a short, waisted heel that is made of wood and covered with leather. The latchets (straps that fastened across the instep) were originally fastened with buckles. Buckles were separate items and owners often transferred them from one pair of shoes to another. This is why so many pairs of shoes have survived without buckles, as in this case.

Panel

Panel England 1725-50 Linen canvas, embroidered with wool and silk in tent stitch Height 28cm x width 37cm x height 39.3cm x width 48.6cm x depth 4.5cm x weight 2kg T.122-1938

Naturalistic flowers played a prominent role in many 18th-century embroideries and although the regularity of the counted thread stitch used in this panel has stylised the drawing, it is compensated for by the abundance, variety and and colour of the blossoms with their accompanying beetle and butterfly.

Picture

Picture 1782-1800 Embroidered and painted silk, worked in feather stitch Width 39.5cm x height 44.5cm 39-1874

Object Type
This embroidered picture was copied from a print published in 1782, which was based on a drawing by the Swiss portrait painter and decorative artist Angelica Kauffmann (1741-1807), who worked in London from the later 1760s to 1781. As the print was published in black and white, the embroiderer was free to choose her colours and stitches, and so demonstrate both her taste and skill. The picture may have been part of a decorative scheme (perhaps including other designs by Kauffmann) on walls, furniture or porcelain. Her designs had more widespread and diverse uses than those of any other decorative painter of the period.

Materials and Making
This style of embroidered picture was almost always worked in coloured silks on a white satin ground, with the design, taken from an engraving, sketched onto the background. The finer details of the figures, particularly the faces and hands, were painted directly onto the satin.

Subjects Depicted
The subject of the picture was intended both as tribute to Shakespeare's literary fame and as a fashionable expression of romantic sorrow. It was the first of various memorial subjects for embroideries in Britain, another popular one being the scene of Charlotte mourning over the grave of Werther, from the German poet Goethe's The Trials of Young Werther (first published in 1774). It may have been the original inspiration behind the memorial embroideries which became enormously popular in the USA, particularly after the death of George Washington in 1799.

Waistcoat

Waistcoat England About 1770 Embroidered satin Width 44cm x length 71cm 652A-1898

Beatrix Potter found some of the inspiration for her book The Tailor of Gloucester at the South Kensington Museum (now the V&A). She told her editor, Norman Warne, 'I have been delighted to find I may draw some most beautiful 18th century clothes at S. Kensington museum'. This waistcoat, which the Museum acquired in 1898, is one piece she copied for her illustrations, and it appears several times in the book.

The waistcoat would have been part of a dress suit worn by men at formal occasions. The embroidery was worked in a professional workshop, with coloured silk in stem, satin stitches. The front edges are laid with cotton net and edged with couched chenille thread.

Dress

Dress Gujarat; England About 1740-60 Cotton, embroidered with silk thread T.391-1970

The floral pattern on this dress fabric is so finely embroidered that at first sight it could be mistaken for a printed design. It is typical of the superb chain-stitch embroidery done in Gujarat, in western India, by professional craftsmen of the Mochi community, using both a tambour hook (ari) and a needle. The fabric would have been imported as piece-goods (lengths of cloth) and made up in England.

The style of the dress dates it to around 1780, while the embroidered fabric appears to date from somewhat earlier in the 18th century. The dress has elbow-length sleeves, with a tight bodice section opening down the front. The full skirt is open at the front, revealing a section of the petticoat worn underneath.

Panel

Panel England About 1890 Cotton ground, with ink tracing, partially worked with silks Width 49.5cm x height 31.1cm x width 66cm x height 62.2cm CIRC.301-1960

This unfinished embroidery was bought as a kit from Morris & Co in the late nineteenth century. The firm sold embroideries in various levels of completion, as finished work, as kits complete with marked ground and silk and, more popularly, in this form with a small corner of the ground completed so that the recommended technique could be seen and followed at home. The stitches used include long and short, stem, outline and satin stitches.

This example was designed by William Morris's daughter May Morris, who managed the embroidery section of Morris & Co from 1885 until about 1896.

Sampler

Sampler England Mid 19th century Cotton, embroidered with wool and silk in cross stitch Width 21.5cm x height 133.4cm T.240-1967

The earliest samplers were reference works for embroiderers. They showed 'samples' of patterns and stitches and recorded how to achieve particular effects. In Europe in the 17th century samplers provided instruction and practice for girls learning needlework. Making a sampler was part of a girl's school education throughout the 18th century and into the early 1800s. After about 1850 samplers were mostly used to educate only girls who wanted to become professional embroiderers. This sampler is an exercise in Berlin wool work. The needleworker has used counted thread stitches on a double canvas. It may be professional piece, intended as a model for amateurs to follow.

Picture; Embroidery

Picture; Embroidery Great Britain About 1870 embroiderery; paint Width 154.3cm x height 110cm T.8-1927

The earliest samplers were reference works for embroiderers. They showed 'samples' of patterns and stitches and recorded how to achieve particular effects. In Europe in the 17th century samplers provided instruction and practice for girls learning needlework. Making a sampler was part of a girl's school education throughout the 18th century and into the early 1800s. After about 1850 samplers were mostly used to educate only girls who wanted to become professional embroiderers. This sampler is an exercise in Berlin wool work. The needleworker has used counted thread stitches on a double canvas. It may be professional piece, intended as a model for amateurs to follow.

Trimming

Trimming Manchester 1853 Machine-embroidered silks on a silk-satin ground Width 26.7cm x length 365.7cm 796-1854

Object Type
This band of trimming would have been suitable for upholstery but was actually made specifically to demonstrate the brilliance of the embroidery machine.

Materials & Making
The machine that created this embroidery was worked by three, four or five girls, depending on the complication of the design. The needles were threaded with 42 inch lengths of silk to ensure no wastage of silk. Shaded (or ombré) effects were obtained by dyeing the silks with graded colour. The benefits of the machine over hand embroidery were the speed, accuracy, and excellence of the work, particularly for repeating patterns. The two sides of the embroidery was also identical, making it suitable for window curtains, table covers and trimmings for upholstery and dress.

People
In 1829 Henry Houldsworth, a Manchester silk spinner, purchased his first industrial embroidery machine, together with British patent rights, from Mulhouse in France, where it had been invented a year earlier. By 1834 improvements had been achieved by Houldsworth and Louis Schwabe, a fellow manufacturer. Schwabe's first successful use of the machines concentrated on costume embroidery, especially men's waistcoats. On Schwabe's death in 1845 Houldsworth took over his business. From this time it was known as James Houldsworth & Co. and became the leading manufacturer of machine embroidery in Britain. Houldsworth exhibited his work at the Manchester Exhibition of 1848, the Great Exhibition of 1851 and the Dublin Exhibition of 1853, from where this example was purchased. In 1880 the firm was taken over by Todd & Co.

Cope hood

Cope hood London; Birmingham 1848-1850 Silk velvet, with velvet appliqu&#233;; surface embroidered in silks and silver gilt wire, thread and purl Width 66cm (with fringe) x height 55cm (with fringe) T.287-1989

Object Type
This is a church hood designed to be attached to a back of a cope (the top garment worn by a priest for church services). The hood is seen clearly by the congregation when the priest faces the altar.

Design & Designing
By designing ecclesiastical hoods as highly decorative items in their own right, Pugin returned to an established medieval practice which had died out in Europe in the 16th century. This hood depicts Saint Thomas of Canterbury as bishop and is appropriate for the Kent church for which it was designed. The head is seen full-face, as in the manner of church brasses, a form advocated by Pugin.

Materials & Making
The embroidery is worked in the manner of opus anglicanum (English medieval work). This was much admired and aspired to in the mid-19th century by amateurs and an increasing number of professional church embroiderers. The embroidery is raised, padded and couched work. The highly professional padded techniques of silver and silver-gilt work show the skills of professional accoutrement makers such as Lonsdale & Tyler, whereas Mrs Powell may well have supplied the central, figurative roundel.

Wall hanging

Wall hanging England Designed about 1895; from 1898 Silk damask, embroidered with silk in satin, stem and darning stitches Width 161cm (approx.) x height 189 (approx.) T.369A-1982

Bought from Morris & Co. as a kit, this panel was a very ambitious project. The finely worked result shows the high standard of amateur needlework among middle-class women at the time. Mrs Battye was a good client of Morris & Co.. A panel incorporating the arms of the Battye family, drawn in the Morris Workshops and worked by her, is now in the William Morris Gallery, Walthamstow.

Panel

Panel England About 1892 Embroidered silk Width 78.8cm x height 78.8cm T.38-1953

Object type
A panel of Leek Embroidery in silk worked by Frances Mary Templeton in 1892.

People
The Leek Embroidery Society was founded by Elizabeth Wardle (1834-1902) the wife of Thomas Wardle the silk dyer and printer of Leek in Staffordshire. The style was formed to take advantage of the skills of local embroiderers and was adopted throughout Britain. This example was said to have been embroidered by Frances Mary Templeton from Helensburgh in Scotland whose brother-in-law owned the firm of Anderson & Robertson. This firm produced the silk used by Thomas Wardle for his printed silks and for the ground of Leek embroidery.

Materials & Making
Leek embroidery (as it became known) involved embroidering over the top of printed textiles produced in the Wardle factory. The style demanded a high standard of workmanship and a clever interpretation of the complex designs. The style is characterised by the use of toning pastel silks highlighted with Japanese gold threads.This example is worked in satin and stem stitches, with laid and couched thread.

Design & Designing
The pattern of this embroidery shows the influence of early 18th-century printed chintzes of the type made in South India on the Coromandel coast. It is also similar to embroideries worked in India during the second half of the 19th century for the western market. These became very popular in England and were sold through fashionable shops such as Liberty's.

Firescreen panel

Firescreen panel England 1850s Berlin woolwork, worked in cross stitch and plush stitch Width 81cm x length 91cm T.95-1970

Berlin woolwork, called this because the first printed patterns and dyed wools came from Berlin (1804 onwards), was the most popular embroidery technique used in Britain between 1830 and the 1870s. Patterns were sold individually or as kits with the required wools. It has been estimated that 14,000 different designs were available in 1847.

In this example, the sense of realism has been heightened by the use of plush stitch for the plumage of the sulphur-crested cockatoo, a bird from Australia. The background remains unworked.

Panel

Panel England About 1875 Linen, embroidered with wools in outline, chain, stem, satin stitches and French knots Width 140.3cm x height 107.4cm T.121-1953

The Royal School of Needlework was founded in 1872 with the aims of 'restoring Ornamental Needlework for secular purposes, to the high place it once held amongst decorative arts, and to supply suitable employment for poor gentlewomen'. The school commissioned designs from the leading architects and designers of the day.

This panel combines Burne-Jones' figures and Morris's decorative details, and was completed in the 'Artistic' department of the Royal School of Needlework. It was also available as a kit, worked in monochrome wools in outline, and in a complex multicoloured silk version. The school produced embroidered versions of other works, including a vast copy of Burne-Jones's painting The Mill, and the Morris & Co tapestry Pomona.

Screen panel

Screen panel Great Britain 1896 Silk applique on a cotton and hemp ground Width 68cm x height 158cm T.121-1953

Mackay Hugh Baillie Scott (1865-1945) was one of the most highly regarded and original architects of the years around 1900. He also designed furniture and textiles, and was very influential abroad. His work at Darmstadt, Germany for the Duke of Hesse, performed around 1900, is one of the major architectural and design projects of the period. He used embroidery, particularly appliqué, to decorate the textiles in his interiors.

The three panels of this screen, each with a pair of birds sitting in a stylised tree, were designed by Baillie Scott and embroidered by his wife, with silks in stem and satin stitches. Each tree has a stem of plaited silver braid, and a gold cord edges the appliqué. It was exhibited in the Arts & Crafts exhibition of 1896.

Day gown

Day gown England, France 1903-5 Woollen face cloth, trimmed with velvet, handmade lace and cut work embroidery CIRC.175-1961

This refined day gown probably formed part of a springtime wardrobe. Its light colour and delicate style reflect summer fashions while the warm wool would protect against chilly weather. Woollen cloth was a fashionable material during this period, especially when combined with ornate trimmings such as hand-made lace, crocheted decoration and luxurious velvet. This example is decorated at the bodice, sleeves, and lower skirt with closely spaced cutwork edged with a fine silk cord.

Collar

Collar Glasgow About 1900 Silk-embroidered linen, with beads and appliqu&#233; Width 59.7 cm x length 20cm T.65-1953

This embroidered collar is the work of Jessie Newbery. In 1894 she established a Department of Embroidery at the Glasgow School of Art. The teaching there took a revolutionary new form. Newbery wanted embroiderers to develop their originality and skills more intuitively by using simple images, materials and techniques. She became one of the most influential members of the group of artists known as the Glasgow School. Her work shows many of the characteristics of their style. They used a more linear rather than curving version of Art Nouveau. Their designs now enjoy worldwide acclaim.

The collar is embroidered with a geometrical design and moths in mauve, green and brown silks, with green beads, linen appliqué, French knots, chain stitch, braid stitch, Cretan feather stitch, and laid and couched work. There are four buttonholes to attach it to the neckline of a blouse or dress.

Ensemble

Ensemble Great Britain Early 1996 Silk chiffon and organza T.127.1-4-1996

Cathryn Avison's ethereal, layered silk ensemble with cutwork and embroidery is dyed in cochineal to create delicate shades of rose pink. Avinson trained at Cumbria College of Art and Design and then at the Royal College of Art in London. She established her own business with a Crafts Council grant in 1995-6 and became known for her delicate, embroidered and cutwork clothes in hand-dyed silk. As this delicate dress of chiffon and silk illustrates, Avinson carries forward the British tradition of ingénue evening wear.

Evening ensemble

Evening ensemble France 1938 Silk velvet, embroidered with rhinestones, sequins and silver-gilt threads; fastened with metal buttons T.398.A-1974

Elsa Schiaparelli often used classic tailored jackets as a perfect foil for her gloriously adventurous embroideries. Her clothes were smart, sophisticated and often wildly eccentric, and she had a huge following. Her ideas, coupled with designs she commissioned from famous artists, were carried out with considerable skill. Salvador Dalí, Christian Bérard and Jean Cocteau, for example, designed fabrics and accessories. Jean Schlumberger produced costume jewellery and buttons. Art movements such as Cubism and Surrealism influenced her designs. She used tweed to make evening wear and hessian for dresses. She dyed furs, put padlocks on suits and popularised Tyrolean peasant costume.

This jacket shows how Schiaparelli used historical and traditional embroideries, including magnificent ecclesiastical vestments, as sources of inspiration. The fronds and leaves are worked in bronze and gold coloured fine metallic threads and bright metal strips. Blue and pink oval glass rhinestones form stylised flower heads. In addition, tiny blue and gold sequins are scattered over the jacket to create interesting visual and textural effects. Three embossed metal buttons resembling star-like flowers fasten the garment. The deep hue of the silk velvet sets off the rich golds of the baroque design perfectly.

Lady Trevor Roper wore this ensemble, which forms part of the Cecil Beaton Collection. Sir Cecil Beaton was a society photographer. With great energy and determination Beaton contacted the well-dressed élite of Europe and North America to help create this monument to the art of dress. The Collection was exhibited in 1971, accompanied by a catalogue that detailed its enormous range.

Evening overdress

Evening overdress France 1926 Tulle, embroidered with bugle beads, gelatine sequins and seed pearls T.239-1982

Daisy Kennedy, a famous violinist, wore this delicate garment over a sleeveless satin dress. During recitals light would catch the beadwork and capture the audience's attention. Daisy was extremely beautiful. A contemporary portrait of her wearing this dress shows that it was fastened with an ornate circular brooch at hip level.

The semi-naturalistic design of the embroidery shows the influence of oriental art, which was fashionable during this period. The brightly coloured songbird clinging to a flower stem is delicately worked in beads and sequins. Minute blue and turquoise bugle beads form the bird's body, while its beak and claws are picked out in gold beads. Iridescent gelatine sequins highlight the raised wing, tail and breast. Its eye is a bright ruby red bead. The bird is set amid swaying undergrowth and flowering plants embroidered with glistening beads and seed pearls.

Mini-dress

Mini-dress Paris 1967 Nylon organza and cotton, with perspex discs and machine embroidery T.348-1975

This photographic detail shows the fabric of a summer mini-dress designed by French fashion designer André Courrèges. Machine embroidered daisies are repeated in a neat, precise pattern over the whole of the dress. The bold, padded flowers feature scalloped petals worked in satin with pink organza overlays. The flower centres are glimmering discs of iridescent perspex. This A-line mini-dress is representative of Courrèges' youthful styles. In this example, the designer combined nylon, plastic, and innovative Swiss embroidery to produce a celebration of all that was considered modern in 1967.

Panel

Panel England 1914 Linen embroidered with coloured silks Width 172cm x length 52.5 CIRC.466-1953

Mrs Christie was an embroideress, teacher and author and was the first teacher of embroidery at the Royal College of Art. She encouraged the study of historical examples and in her own work she continued the English traditions of accurately reflecting nature and of technical virtuosity. One of the most striking characteristics of her work is the use of contrasting textures.

This example is worked on a figured linen ground with coloured silks in a variety of stitches including satin, stem, long and short, bullion, French knots, open work and couching. The design is based on a diamond-shaped lattice enclosing birds, plants, flowers, berries and butterflies.

Panel

Panel Great Britain 1936-7 Natural scrim over silver-gilt fabric, machine embroidered with cotton and rayon Width 43cm x length 56cm CIRC.217-1948

Rebecca Crompton gained a reputation as a teacher of dress design and embroidery in the Croydon School of Art and was remembered for her highly coloured wool embroidered cloths and experimental embroidery technique. Influenced by the work of the Wiener Werkstatte Modern School of Austria, whose highly advanced examples of embroidery design were displayed in the first public exhibition of the Embroiderers' Guild in November 1923, Crompton was also keen on monchromatic schemes and worked some of her most successful embroideries in whites, greys and blacks, using transparent fabrics. She had been fascinated by the possibilities of machine stitching since she had seen some of the remarkable pictures produced at the end of the 19th century on the Singer domestic sewing machine and by the 1930s was combining machine and hand embroidery to produce her highly individual designs. A pioneer of mixed techniques and fabrics, Crompton utilised raw edges as part of the design process, as seen in this piece from about 1936. Although criticised by traditional embroiderers for her experimentation, Crompton revolutionised many of the previous thoughts on embroidery and dress in the schools of art stating 'extreme neatness in design is not necessarily a good thing artistically...'

Picture

Picture Great Britain 1990 Linen embroidered in satin stitch with mercerised cotton T.162-1990

Jane Poulton is well known for her small embroidered pictures of figurative subjects, often featuring animals and birds. She also works as an illustrator, and her paintings, like her embroideries, are on an intimate scale, and convey a subtle humour.

'It's Only Me' is worked in satin stitch on linen with mercerised cotton threads.

State evening dress

State evening dress England 1957 Duchesse satin, pearls, beads, brilliants, and gold thread T.264-1974

Lavish gold and white beadwork encrusts this ivory evening dress worn by Queen Elizabeth II on a state visit to Paris in 1957. The dazzling, jewel-like details of the embroidered design include miniature bees, grasses, wheat and wild flowers. These motifs are worked in relief in faceted glass, gold beads, brilliants and variously shaped pearls, mother-of-pearl and gold petals. It also features an extravagant back bow. The design of this single-occasion gown diplomatically refers to French motifs, including the flowers of France and large gold bees, the emblem of Napoleon. It was intended to both compliment the French nation and draw attention to the Queen.

Hanging

Hanging Gujarat, India About 1700 Cotton, embroidered with silk yarn in chain stitch Width 164cm x length 190.5cm IS.155-1953

Fine chain stitch embroidery of this type was made by professional male embroiderers of the Mochi community in Gujarat in western India. It was worked with both a hook, called an ari, and a needle. Originally developed for embroidering on leather, for items such as belts, floor-coverings and shoes, the ari-work was adapted for use on cloth, and soon attracted the attention of western travellers to Gujarat. The East India Company exported these embroideries from the port of Cambay (modern Khambat), and they were known as 'Cambay embroideries'.

This piece is an early example of the type, and was used at Ashburnham House in Sussex, along with chintz hangings of very similar design. The deep blue is produced by indigo dyeing, and the pink of the flowers by the use of lac, a dye secreted by the insect Kerria lacca kerr.

Hunting coat

Hunting coat India About 1620-30 Satin, embroidered with silk Height 97cm IS.18-1947

This splendid coat was made for a man at the Mughal court in the first half of the 17th century. It is embroidered in fine chain stitch on a white satin ground, with images of flowers, trees, peacocks, lions and deer. The area around the neck is left free of embroidery, as a separate collar or tippet, probably of fur, would have been attached. Chain-stitch embroidery of this type is associated with professional, male embroiderers of the Gujarati Mochi community, and they were employed to embroider fine hangings and garments for the Mughal court, as well as for export to the West.

Chikan embroidery

Chikan embroidery Lucknow, India Late 19th century Cotton, embroidered with cotton and muga silk thread Width 33cm x height 40.1cm IS.58-1968

White cotton embroidery on white cotton fabric, known as 'chikan' embroidery, is particularly associated with Lucknow in Uttar Pradesh, India. although it probably originated in Calcutta and Dhaka. Instead of coloured yarns, it uses a variety of textured stitches to provide interest, often combined with pulled-thread or 'jali' work to make open-work patterns. Lucknow chikan work also sometimes adds muga silk, in its natural pale brown colour, to add variety to the design, as in this example.
This sample of embroidery is in the form of two exquisitiely worked borders or cuffs, which would be cut and stitched on to a garment. Chikan work is still very popular for lightweight shirts (kurtas) and was also widely used in the 19th century as western dress material.

Dress fabric

Dress fabric Hyderabad, India About 1855 Cotton net with embroidery, gold-wrapped thread or gold wire, with applied strips of metal and pieces of beetle-wing Width 136.5cm x length 78cm 4411(IS)

Dress fabrics embroidered with pieces of beetles' wing-cases, often cut into leaf shapes, were popular with Western women (those based in India and in Europe) from the mid-19th to early 20th century. The iridescent pieces of beetle-wing gave a lustre and sparkle to evening dresses that emulated applied gemstones. The pieces of beetle-wing were attached by piercing them with a needle and sewing them directly onto the ground fabric, in this case black net, but often fine cotton muslin. Because of their extreme fragility, they were usually used only around the edges of garments (hems, necks and sleeves) to minimise crushing.

Dress

Dress Kutch, India Mid 19th century Silk satin, embroidered with silk thread and mirrors Width 99cm x length 110cm 4559(IS)

This dress, called an aba or abo, was made and worn by a Muslim woman in Banni, a remote part of the Kutch district of Gujarat state in western India. The dress has an embroidered pattern over the front, done in incredibly fine chain-stitch and button-hole stitch, with tiny pieces of mirror-glass interspersed regularly throughout the design. The sleeves also use an intricate interlacing stitch called 'bavaliya' or 'hurmitch' in Kutch and Sindh, where it is used in local domestic embroideries. The back of the dress is left plain; when the dress wears out, the embroidered area can be cut off and re-applied to a new dress.

The dress would be worn with matching loose trousers, often with similarly decorated cuffs.

Skirt cloth

Skirt cloth Sindh, Pakistan (possibly); Kutch, India (possibly) Early 20th century to mid 20th century Cotton, tie-dyed and embroidered with silk, decorated with mirrors Width 273cm x height 75cm IS.6-1981

This substantial skirt cloth would have had an additional band of fabric sewn to the top and a waistband added. A drawstring would be inserted into the waistband to pull it tight to form a full, gathered skirt with an elaborately emboidered hem.

This type of dense embroidery from Sindh in Pakistan is called 'pakko' or 'permanent' embroidery as it is so hard-wearing. Its main component is a type of buttonhole stitch which creates a distinctive ridge around the elements worked in it (in this case, the leaves and petals of the flower forms). The more geometric elements of the design are worked in small and densely packed cross-stitch, and circles of mirror-glass are added at intervals.

Embroidery of this type is mostly associated with the Thar desert areas of Sindh, but also occurr across the border in Kutch in Gujarat.

Textile Kantha

Textile Kantha Bangladesh, Asia Early 20th century Cotton, quilted and embroidered with cotton thread Width 69cm x length 71cm IS.61-1981

This type of embroidery from West Bengal and Bangladesh is generically called 'kantha' embroidery, and is traditionally made of recycled cotton saris and dhotis that have worn out. Coloured threads were extracted from the borders of the old saris to provide coloured areas, although in recent times specially purchased coloured threads are used. Kanthas are made up of several layers of cotton cloth, stitched together by designs in simple running stitch, and designs are added using pattern-darning stitch, satin-stitch and button-hole stitch.

Kanthas are used for a multitude of household functions: the small size and square format of this one suggests that it was either an all-purpose wrapper ('bostani') or a seating mat ('ashon').

Headcover

Headcover Panjab, Afghanistan (eastern) Mid 20th century Cotton embroidered with floss silk Width 144cm x length 228cm IS.34-1970

The floss silk embroidery of the Panjab is known generically as 'phulkari' or 'flower work'. While some of the simpler designs do indeed have floral motifs, the better known varieties have either dense surface darning stitch which covers the entire surface of the cloth (as in the two outer panels of this piece) or depict human and animal figures and household objects, as in the centre panel.

Large shawls or head-covers like this one were made by the female members of a family for the trousseau of the girls of the household. They are traditionally done on hand-spun cotton (khadar) which is dyed a rust-red, or sometimes indigo-blue. When the dense satin-stich designs cover the surface of the cloth, they are known as 'bagh' ('garden'). The panelled type with figures is associated with the eastern part of the Panjab and Haryana, and they are known as 'darshan-dwar' or 'divine door'.