Cotton sampler, embroidered with silk; Danish; dated 1758.
An amazing sampler Ottoman period Turkish embroidery square dolies dating from the early 1900's. Homespun hand loomed silk with hand embroidering work, tiniest, tiniest counted cross stitching and gold metallic threads done in couching needlework design. The back is as neat as the front. This sampler would look good framed or added to a collection of fine Turkish textile art. Condition perfect. Gold thread bright. Colours shades of cream, deep mauve and gold. Size: 5.5 inches square plus two inch pulled edging Packed with care Wrapped in tissue and tied with ribbon
THIS LISTING IS FOR A PRINTED BOOKLET THAT WILL BE MAILED UPON PURCHASE. Lucy Calcutt 1826 Sampler chart booklet with full color chart. Miss Lucy Calcutt stitched this beautiful sampler at the age of 9 - an amazing achievement! This beautiful reproduction sampler compliments Lucy's earlier sampler done in 1825 with nearly the same color palette. In this sampler, Lucy went big and bold with her floral motifs and a red house that is quite the manor! Florals abound with deer and birds, an elegant and happy sampler sure to bring many hours of happy stitching. The stitch count is 281 wide by 380 high and is stitched entirely in cross stitch. Suggested materials needed: The model shown is stitched on 36 count Light Examplar Lakeside Linen with DMC threads; silk conversion provided. Please see the list of threads below, noted with additional skein quantities needed if stitched with 2 threads on 36 count linen. Threads: DMC 347 x 3 / 371 x 2 / 414 / 437 / 739 / 760 / 779 / 832 / 844 / 922 / 935 x 2 / 3011 x 2 / 3012 x 2 / 3013 / 3046 / 3688 / 3712 / 3726 / 3727 / 3731 / 3743 / 3750 / 3752 / 3756 / 3803 / 3861 / 3862 / 3865 x 2 or Au Ver a Soie d'Alger silk 2916 x 3 / 3833 x 2 / 3443 / 4522 / F5 / 2932 / 4144 / 524 / 3846 / 2623 / 3726 x 2 / 3734 x 2 / 3733 x 2 / 3732 / 2242 / 3032 / 2914 / 4635 / 4633 / 3013 / 3321 / 1716 / 1734 / 4140 / 3026 / 3413 / 3433 / Blanc x 2 For your personal use only.
By the 1700s, samplers were being worked by young women to learn basic needlework skills. Samplers are important representations of early American female education and this group features 50 of the 137 American samplers in the Textile Collection.
Blog of Susan Elliott where she shares her life through her needlework and photography.
When I think of “household embroideries,” I think of framed cross stitch samplers on the wall, or some pillowcases with daisy-stitched flowers with French knot centers. But last week I…
Previously, I researched whether or not beeswax was potentially used in blackwork embroidery on historic clothing items. As I was hard-pressed to find any concrete evidence to determine whether or not this practice was done, I decided to do a small experiment. I wanted to test whether or not beeswax would be beneficial or not when embroidering. Plus, I also wanted to compare different types of black silk thread. Here is what I found: I decided to divide these sections into groups of three. The first section of three has no beeswax at all on the thread. The second section of three has beeswax only on the end tips of the thread, only visible from the backside of the sampler. The third section of three has beeswax continuously all over the silk thread. The first thread of each section is Gutermann's silk thread, bought at JoAnn Fabrics. The second thread of each section is Hedgehog Handworks' untwisted Soie Ovale silk thread. The third thread of each section is Hedgehog Handworks' twisted Soie Perlee silk thread. Pictured above is the top portion without any beeswax at all. The Gutermann works very nicely, as it does not fray and the thread thickness stays consistent throughout both journeys (see earlier post of blog to explain what a journey is). However, this thread is thin and appears to be better used for stitching clothing items together, not for embroidery purposes. The Soie Ovale is very pretty and shiny. However, the thickness of thread tends to thin out on the return journey, leaving the embroidery to look funny with a thick thin thick thin pattern on what should look to be a continuous solid line. Also, without any beeswax, the Soie Ovale will fray badly on the backside of the fabric (see example below). The Soie Perlee has not shown signs of fraying, the thickness of the thread stays consistent through both journeys, and has an appeasing appearance of being bold and noticeable from a distance. Pictured above is the underside of my partlet to display the fraying of the Soie Ovale without any beeswax. Pictured above is the middle section of the sampler, with only beeswax on the end tips of the thread. Same findings as before with the threads in regards to appearance and thickness. However, I found that I liked having the beeswax on the ends to help prevent fraying of the threads. Pictured above is the bottom section of the sampler, with beeswax consistently throughout the silk strand. Same findings as before with the threads in regards to appearance and thickness. This is very obvious with the Soie Ovale (the middle thread), as the thread becomes thinner on the return journey and displays an uneven thick thin thick pattern on what should be a solid line. The beeswax made very little to no difference with the Gutermann thread. The beeswax made the Soie Ovale slightly temperamental, but overall was still usable. The beeswax made the Soie Perlee somewhat stiff and sticky, making it slightly difficult to get knots out (usually quite easy to get knots out on silk thread). The beeswax did not appear to effect the threads any once embroidered on the fabric. The beeswax did seem to be helping to prevent fraying of the ends on the backside of the fabric. Pictured above is the backside of the fabric. After doing this experiment, I found that I preferred the Soie Perlee with beeswax on the end tips only the best. The beeswax could help prevent any potential fraying of the thread later on, but with it being on the ends only it does not hinder how easily pliable this thread is to embroider with. The Soie Perlee has the desired thickness and maintains its thickness throughout both journeys. I am looking forward to embroidering more projects with this thread!
Metallic thread embroidery in Parma technique done on silk velvet ground cloth. Velvet has some wear on it. Bokhca is a kind of wrapping cloth used to pack away bridal goods.
Hello, hello, hello, to everyone on this fine Friday in November...just realized it's Friday the 13th! ♦ As many of you know, I'm very passionate about collecting antique sewing notions, so the idea popped into my head to start a weekly Friday segment featuring all the different goodies that would have been found in an early workbasket... "The Early Workbasket" Please join me every Friday, to learn the history, terms, techniques, and lots of examples of the featured topic of the week. Today's topic is ~ Thread Winders... Winders were made for winding thread around before reels were invented. They came in a great variety of designs and materials, in flat shapes with points to wind the thread around. Snowflake shapes in mother~of~pearl are often found in old sewing sets and boxes. Three matching primitive early wooden handmade winders by J. Henley dated 1902. Rare, intricately worked bone winder on a handle, 19th century. Beautiful Sterling Silver with floral viney design. Another Sterling Silver winder, from a French sewing box, circa 1910. Here is a good example of how the thread was wound around a snowflake shaped winder. Or, the thread could be wound in a simple fashion. Delicate mother~of~pearl silk winders from a Palais Royal Box. Circa 1800 Mother~of~pearl winders for silk thread. These examples show some of the enormous variety of patterns and designs available for collecting. Shapes include a Maltese cross, four leaf clover and star. These are of Chinese origin and are engraved with figures and scenes. Early 19th century. These winders are also for silk thread and are made from a variety of materials. circa 19th century. Vegetable ivory box with vegetable ivory thread winders. Ivory fretwork winders are exquisite works of art. One has been made with initials "LD"worked into the pattern. Late 18th/early 19th century. Hope you enjoyed today's topic! ♦ I love the short drive to our neighboring state of Minnesota, because I get to drive past a farm the raises ducks and geese... The water has to be pretty cold this time of year, but they don't seem to mind! The rippling reflection on the water made it hard to get a clear picture. They look so relaxed and happy in their own little world! I love the unique floating nesting boxes that this farmer build for his special flock of friends. ♦ Weekend Soul Food... "Abide in me, and I in you. As the branch cannot bear fruit of itself, except it abide in the vine; no more can ye, except ye abide in me." John 15:4...KJV ♦ Enjoy a wonderful weekend! Kindly, Tammy
Pulled thread workshop In May ten of us were treated to a day workshop on pulled thread embroidery by Dorothy Hodgson. Dorothy started by explaining that in pulled thread work the holes were created by pulling the threads of the fabric together rather than by withdrawing threads in ,eg, hardanger. She then showed us the sampler which we were going to attempt. This drew gasps of amazement at Dorothy’s beautiful work and sharp intakes of breath at the thought of what was going to be required of us!! Dorothy's sampler Dorothy was as ever a patient and inspiring teacher. We learnt, to name but a few, satin stitch, four-sided stitch, honeycomb stitch, reed border, step stitch, wave stitch and three-sided stitch!! Although there was a fair amount of chatter, most of the day passed in deep concentration punctuated only by whispered counting of threads and anguished cries when the ends of the rows weren't level!! But despite the challenges everyone was very happy with what they produced, and gladly took their sampler home, along with Dorothy's excellent intructions, to finish it! Many thanks to Dorothy for an excellent workshop!
Linen sampler embroidered with silk and linen, England, mid 17th century.
Item: NE033 Type: Cross Stitch Patterns Designer: Northern Expressions This geometric sampler is done in mirror image, stitching the motifs in both positive and negative space. Model is stitched on 36 count Antiqued linen using Silk Mill threads; Soie D' Alger, NPI, and DMC options listed. Stitch count is 205 x 293. Silk Mill threads needed: Vintage Port, Mulberry Wine, Campari Soda, Rosemary Jelly, Pink Gin, Salmon Mousse.
Die gefaltete Erbslochkante habe ich schon an vielen verschiedenen Stickereien gesehen. Da ich sie reizvoll fand, versuchte ich sie nachzuarbeiten Mit dem ersten Ergebnis war ich sehr unzufrieden. Nach mehreren Versuchen gelang mir ein besseres Ergebnis, und dies ist, was ich herausfand: Die Löcher des Hohlsaumes müssen größer sein – Bohnen (anstatt Erbsen) sollten zwischen die beiden Reihen von Kästchenstichen passen. Das Zusammenbinden der beiden Bündel sollte nicht mit einer Schlinge oder einem Knoten geschehen, weil dies das Erscheinungsbild beeinträchtigen würde. Außerdem ist ein Knoten hier nicht nötig, denn die Bündel bekommen später zusätzlichen Halt durch nochmaliges Umwickeln. Der Fadenauszug gestaltet sich folgendermaßen: 1 Faden ausziehen 4 Fäden stehen lassen 1 Faden ausziehen 8 Fäden stehen lassen 1 Faden ausziehen 4 Fäden stehen lassen 1 Faden ausziehen Von der Rückseite der Arbeit aus werden Kästchenstiche in gewohnter Weise gestickt. Dann werden gewickelte Erbslöcher gearbeitet. Das erste Bündel eines Erbsloches wird 8 mal von unten nach oben umwickelt. Es ist darauf zu achten, dass die Wicklungen parallel liegen und sich nicht überkreuzen. Das zweite Bündel des Erbsloches wird 3 mal von oben zur Mitte umwickelt. Beide Bündel werden in der Mitte durch 2 Umwicklungen verbunden. Nach der zweiten Wicklung wird der Faden sehr fest angezogen. Je dichter die Bündel zusammen liegen, desto spitzer erscheint das gefaltete Erbsloch später. Das zweite Bündel wird dann noch dreimal nach unten hin umwickelt. Nach Fertigstellung der Reihe werden die Rückseiten der beiden Kästchenstichreihen übereinander gelegt. Kleine Dreiecke erscheinen am Rand. Von der rechten Seite der Arbeit aus und von rechts nach links arbeitend, sticht man in einem Loch zwischen zwei Kästchenstichen aus, das zwischen zwei Dreiecken liegt. Man führt die Nadel gerade nach oben und umwickelt die rechte Seite des Dreiecks einmal, indem man die Nadel von hinten nach vorn durch die Mitte des Dreiecks führt. Um das Einstechen in die Mitte zu vereinfachen, kann man den Erbslochhohlsaum ein wenig auseinander falten. Man umwickelt die rechte Seite des Dreiecks so oft wie nötig, um oberes und unteres Bündel zu vereinen (2 – 3 mal). Man führt den Arbeitsfaden um den Fuß des Bündels nach hinten und kommt mit der Nadel zwischen den Kästchenstichen unterhalb der Mitte des Dreiecks wieder heraus. Man führt die Nadel gerade nach oben, sticht von vorn nach hinten durch die Mitte des Dreiecks und umwickelt die linke Seite des Dreiecks so oft wie nötig, um oberes und unteres Bündel zu vereinen (2 – 3 mal). Man führt den Arbeitsfaden um den Fuß des Bündels nach hinten und kommt mit der Nadel im nächsten Loch zwischen den Kästchenstichen wieder heraus. Man setzt die Arbeit in dieser Weise fort. Falls nötig, kann man die Dreiecke mit Hilfe der Nadel noch etwas in die Länge ziehen. Die Rückseite sieht so aus: Ein hübsche, kleine Kantenverzierung ist entstanden. Hier wurde sie auf 13,5fädigen Leinen mit Vierfachstickgarn Nr. 30 gearbeitet.
A blog about structural weaving and art concepts.
Thirteen years ago I started an embroidery course at a college of education where two very worshipped and influential creative embroiderers held sway. I gave up after five weeks of not threading a needle and being told off for bringing...
I finally finished up the Sweetheart Tree Stitcher’s Favorite Biscornu last night! I modified the back, as I normally do if the back is a repeat of the front. I also usually like to do a bead…
One year ago my friend Lou Anne Sybenga and I started a project called #1yearofstitches or #onestitchaday. This challenge was begun by Hannah Claire Somerville. When I saw this project on Instagram…
An amazing sampler Ottoman period Turkish embroidery square dolies dating from the early 1900's. Homespun hand loomed silk with hand embroidering work, tiniest, tiniest counted cross stitching and gold metallic threads done in couching needlework design. The back is as neat as the front. This sampler would look good framed or added to a collection of fine Turkish textile art. Condition perfect. Gold thread bright. Colours shades of cream, deep mauve and gold. Size: 5.5 inches square plus two inch pulled edging Packed with care Wrapped in tissue and tied with ribbon
Week 4 Cretan whipped with gold thread over Edmar Lola. Second row I stitched with Lizbeth 80 tatting thread.
❤ PRODUCT DETAILS ❤ Pack 3x Silk Thread Bella "Cream/White" by Kreinik - Silk for Small Stitches This 3-ply finely twisted filament silk shines in any stitch made with SILK BELLA. This thin, strong silk is ideal for fine stitches. Couching: thicker threads or real metals Detailed sampler stitches Stitching over-one (linen) and on silk gauze Pulled work, drawn thread and openweave embroidery like Woven Bars This set includes Bella Silk colors: 7082 - Lightest Straw 8000 - Soft White 7124 - Cream 20m each spool Made from 100% Italian Silk Brand: Kreinik ❤ WANT TO SEE MORE SAMPLERS ? ❤ We sell other colors in our store here: https://www.etsy.com/ca/shop/MillionOfStitches?ref=seller-platform-mcnav§ion_id=31027395 ❤ WHAT OUR CUSTOMERS SAY ❤ Check out our customer reviews in our page: https://www.etsy.com/ca/shop/MillionOfStitches?ref=seller-platform-mcnav#reviews ❤ FIND ME ❤ Instagram: @millionofstitches Follow us for exclusive discounts. We would love to see your finished project! Tag us on Instagram 😀
cross stitch, needlework, samplers, folk art, embroidery, applique, punch needle, primitive, notforgotten farm, lori brechlin, rug hooking
