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drawnwork képek

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Panel, 19th century, 26 x 26 in. (66.04 x 66 cm), Linen, silk; drawnwork; lace, Philippines, 19th century-stock-foto
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Embroidered whitework coverlet 1810–15 Ann (Nancy) Elliott Grigg This whitework coverlet is made of three panels of woven cotton fabric that have been seamed together. It is embroidered with heavy white cotton thread in a variety of stitches and includes areas of drawnwork. The piece is decorated with a central basket with a flowering tree and birds, which is surrounded by a ribbon border and a wide outer border of vines and flowers. The fringe is a recent reproduction of the original.. Embroidered whitework coverlet 13629-stock-foto
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Towel border 1800–1850 Russian. Towel border. Russian. 1800–1850. Drawnwork, embroidery, crochet, linen and silk. Textiles-Laces-stock-foto
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Embroidered whitework sampler 17th century British Whitework samplers typically consist of a variety of stitches and lace-making techniques, all stitched in white thread. It is thought that samplers containing whitework, cutwork, drawnwork, and lace designs were stitched only after multi-colored band samplers were finished, as whitework techniques are more difficult. However, this theory is based on a the very small number of documented seventeenth-century embroiderers who made multiple samplers. This sampler includes bands of acorns and stylized flowers, in addition to four bands of cutwork a-stock-foto
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Embroidered whitework sampler 17th century British Whitework samplers typically consist of a variety of stitches and lace-making techniques, all stitched in white thread. Based on the small number of documented seventeenth-century embroiderers who made multiple samplers, it is thought that samplers containing whitework, cutwork, drawnwork, and lace designs were stitched only after multi-colored band samplers were finished, as whitework techniques are more difficult. While many surviving English samplers include lace, cutwork, and drawnwork, few examples of seventeenth-century lace have been at-stock-foto
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Blouse fourth quarter 19th century Romanian The disposition of embroidery on this blouse is distinctly Romanian. Dense bands of geometric motifs over the shoulders and vertical bands below alternating with drawnwork bands are quintessentially Romanian. Henri Matisse's friendship with painter Teodor Pallady sparked his interest in Romanian folk costume. This type of blouse was a recurring theme in Matisse's work.This object was collected by Stewart Culin (1858-1929) during a collection expedition in 1921. Culin was the Brooklyn Museum's first Curator of Ethnology, serving from 1903 to 1929. Pos-stock-foto
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Embroidered whitework coverlet 1815–18 Mary Walker Stith Jones Made of three lengths of cotton seamed together, this whitework coverlet is embroidered with heavy cotton thread in many different stitches. Some areas are decorated with drawnwork. The central design is a basket of flowers within a diamond-shaped medallion. The remaining ground is decorated with meandering floral vines. There is a woven fringe on three sides.. Embroidered whitework coverlet. American. 1815–18. Cotton embroidered with cotton thread. Possibly made in Hardin County, Kentucky, United States; Possibly made in Breckinri-stock-foto
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Altar cloth 1610 Greek. Altar cloth. Greek. 1610. Drawnwork, bobbin lace, linen. Textiles-Laces-stock-foto
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Blouse fourth quarter 19th century Romanian The disposition of embroidery on this blouse is distinctly Romanian. Dense bands of geometric motifs over the shoulders and vertical bands below alternating with drawnwork bands are quintessentially Romanian. Henri Matisse's friendship with painter Teodor Pallady sparked his interest in Romanian folk costume. This type of blouse was a recurring theme in Matisse's work.This object was collected by Stewart Culin (1858-1929) during a collection expedition in 1920. Culin was the Brooklyn Museum's first Curator of Ethnology, serving from 1903 to 1929. Pos-stock-foto
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Booklet of embroidery and drawnwork early 17th century probably Portuguese At some point fairly early in its history, the many small pieces of fabric included in this booklet were seamed together and loosely bound, to create a kind of glossary of colored and monochrome openwork patterns. Scraps of silk, glove leather and writing paper with Portuguese text were employed to stabilize the pages. The recycling of materials and the compact nature of the booklet all suggest that this was a purely practical reference work for a professional seamstress, and was not meant for display. Some of the patte-stock-foto
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Hanging 17th century Spanish. Hanging. Spanish. 17th century. Drawnwork, bobbin lace, cutwork, embroidery. Textiles-Laces-stock-foto
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Embroidered sampler ca. 1600 Italian This sampler features both colored silk embroidery and white cutwork, in addition to a bobbin lace edging (probably a later addition). Unfinished acorn and oak leaf, flower pot, and geometric motifs are stitched in a light brown thread on the top half of the sampler, while cutwork and drawnwork geometric patterns are present on the work’s bottom half and top left corner. Cutwork, from which needle lace developed, is a technique in which portions of the ground fabric are cut away and reinforced with embroidery stitches and filled in with needle lace. While m-stock-foto
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Cover 1707 or modern Swiss. Cover. Swiss. 1707 or modern. Drawnwork. Textiles-Laces-stock-foto
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Handkerchief ca. 1820 Catherine Hubert An accomplished young woman of the early 19th century was expected to master many types of needlework. This handerchief, made by Miss Catherine Hubert (1799-1898) when she was about 20 years old, presents intricate embroidery, drawn work and cut work as well as handmade lace. A handsome piece, it is remarkable not only for its workmanship but as a document of women's work of that period in general and of one individual in particular.. Handkerchief 155857-stock-foto
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Needlepoint (Drawnwork) Lace Border, 19th century. Spain, 19th century. Lace, needlepoint: linen; overall: 12.2 x 15 cm (4 13/16 x 5 7/8 in.).-stock-foto
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End of Needlepoint (Drawnwork) Lace Towel, late 18th-early 19th century. Italy, Sicily, late 18th-early 19th century. Lace, needlepoint and embroidery: linen; average: 16.6 x 74.9 cm (6 9/16 x 29 1/2 in.).-stock-foto
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Needlepoint (Drawnwork) Lace and Embroidery Band, late 18th-early 19th century. Italy, Sicily, late 18th- early 19th century. Lace, needlepoint: linen; average: 16.5 x 74.4 cm (6 1/2 x 29 5/16 in.).-stock-foto
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Needlepoint (Drawnwork) Lace Fragment, 17th century. Spain, 17th century. Lace, needlepoint: linen; average: 10.8 x 13.4 cm (4 1/4 x 5 1/4 in.).-stock-foto
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Needlepoint (Drawnwork) Lace Band, 18th-early 19th century. Spain, 18th-early 19th century. Lace, needlepoint: linen; average: 20.4 x 19.1 cm (8 1/16 x 7 1/2 in.).-stock-foto
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Portion of Needlepoint (Drawnwork) Lace Collar (?), 17th century. Spain, 17th century (?). Lace, needlepoint: linen; average: 14 x 22.6 cm (5 1/2 x 8 7/8 in.).-stock-foto
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Apron, Medium: linen, cotton Technique: withdrawn element with embroidery, White linen apron with drawnwork and embroidery in colored cotton., Russia, 19th century, costume & accessories, Apron-stock-foto
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Sampler, Medium: cotton embroidery on linen foundation Technique: embroidered with drawnwork on plain weave, Rectangle of fine linen divided by chain stitch into thirty-five small squares, inside each of which a variety of drawnwork and darning methods are worked in white cotton., Europe, late 18th–early 19th century, embroidery & stitching, Sampler-stock-foto
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Sampler, A.M., Los Angeles, California, founded 1952, Medium: cotton Technique: satin, overcast, buttonhole, eyelet and drawnwork stitches on plain weave, Initials 'A.M.' and the word 'Le Temps' with a representation of time surrounded by a floral border with cornucopia and musical instruments at corners. Edges unfinished., Europe, early 19th century, embroidery & stitching, Sampler-stock-foto
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Sampler, Ann Mack, Medium: cotton and silk embroidery, cotton foundation Technique: running and drawnwork stitches on plain weave, Eight people holding sprays arranged in the form of a wreath around 'Ann Mack 1800.' Lion, man on horseback, a burrow, headless animal and a building labeled 'Melville Castle.', England, 1800, embroidery & stitching, Sampler-stock-foto
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Fragment, Medium: silk or linen on linen Technique: embroidery and drawnwork, Corner of a cover in a geometric design in dark orange on natural ground., Spain, 18th century, embroidery & stitching, Fragment-stock-foto
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Textile, Medium: cotton Technique: button, chain, over-casting and drawnwork stitches, Basket with flowers., Mexico, 18th century, embroidery & stitching, Textile-stock-foto
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Fragment, Medium: silk on cotton Technique: embroidered, Fragment showing a diamond lattice containing geometric flowers in multicolored silk on a drawnwork ground., Near East, 19th century, embroidery & stitching, Fragment-stock-foto
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Textile, Medium: linen embroidery on cotton foundation Technique: embroidered with drawnwork and chain stiches on plain weave, Wide border embroidered with naturalistig flowering vine tied with bow knots, in soft shades of blue, green, tan, and red. Below, a border of Greek keys, scrolls and sprigs of flowers. Areas of drawnwork, chain and buttonhole stitches., France, early 18th–early 19th century, embroidery & stitching, Textile-stock-foto
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Table cover, Medium: linen, silk Technique: plain weave embroidered in satin, running, and wrapped double-running stiches; drawnwork with wrapping and interweaving, bobbin braid, hem-stitching at each end of fabric., Rectangular linen cover dominated by a complex border of four panels combining drawn work and embroidery. The inner section is made up of alternating squares of embroidery and drawn work with geometric floral vine guard stripes. The border is completed on the inside and outside by continuous narrow bands of drawn work in alternating light blue and orange-stock-foto
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Textile, Medium: silk on cotton Technique: drawnwork and knot stitch embroidery on twill weave; bobbin lace, White on white. Large panel of twill-weave cotton, embroidered in white silk thread along border, edged by bobbin lace, showing drawnwork and knot stitches. Pattern shows flowers and scrolls., England, late 17th century–early 18th century, embroidery & stitching, Textile-stock-foto
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Panel, Medium: cotton, silk Technique: embroidered, Oblong panel of heavy muslin, probably the end of a curtain, embroidered in red and blue silk with touches of yellow. Drawnwork band worked over in cream silk. Design shows stylized trees above and below a horizontal band of embroidery and drawnwork. White cotton knotted fringe attached., 19th century, embroidery & stitching, Panel-stock-foto
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Towel cover, Medium: cotton on linen Technique: withdrawn element with darned motifs, Towel cover ornamented with two cross borders in zigzag lines with stars. One border topped with a row of conventialized trees worked in cross stitch. Two open seams with embroidery. Band of drawnwork showing people, birds in a tee. Flowers and stars in darning stitch. Remains of fringe at top and bottom., Pennsylvania, USA, 1826, lace, Towel cover-stock-foto
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Bed sheet, Medium: linen Technique: bobbin lace insertion sewn between pieces of linen to form a sheet, withdrawn element work around the outer edges, Two off-white panels with a piece of bobbin sewn between. Drawnwork details around the edges of the panels., 16th century, lace, Bed sheet-stock-foto
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Towel cover, Medium: cotton on linen Technique: withdrawn element with darned motifs, Towel cover with cross borders in geometric and floral designs, peacocks and plants worked in cross stitch. At the bottom a band of drawnwork showing a lozenge shape with plants on either side embroidered in darning and overcasting stitches. The towel is ornamented with four applied bands with warp fringes. Warp fringe at bottom., Pennsylvania, USA, 1813, lace, Towel cover-stock-foto
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Hanging, Medium: cotton, silk Technique: embroidered, Long panel, probably a curtain, embroidered across end, up sides and joinings, in red and blue silk, with touches of yellow; drawnwork band worked over in cream silk. Ends fringed from cotton. Design of stylized trees above and below horizontal band of embroidery and drawnwork., Morocco, 19th century, embroidery & stitching, Hanging-stock-foto
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Border, Medium: cotton Technique: deflected element work, Border of fine muslin with an elaborate design in drawnwork and embroidery in imitation of lace. Also known as 'dentelles de Saxe.', Saxony, Germany, 1800–1830, embroidery & stitching, Border-stock-foto
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Towel cover, Medium: cotton on linen Technique: withdrawn element with darned motifs, Towel cover embroidered in design of crossing diagonal lines enclosing flowers is above cross borders with initials 'B.S.' The date, flowers, paired birds and animals worked in cross stitch. At the bottom is a band of drawnwork ornamented with flowers in darned and overcasting stitches. Edged with cotton fringe., Pennsylvania, USA, 1826, lace, Towel cover-stock-foto
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Border, Medium: muslin Technique: deflected element work (drawnwork and embroidery), Scalloped muslin border showing intertwining floral garland and ribbon in an asymmetric pattern., Tønder, Denmark, late 17th–early 18th century, embroidery & stitching, Border-stock-foto
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Towel end, Medium: cotton, silk Technique: embroidery and drawnwork on plain weave, Piece of white cotton with five vertical embroidered stripes separated by lines of drawnwork. The stripes are alternately of red flowers, blue leaves, yellow buds and blue flowers, red leaves and orange buds. Ornamental hem of red cross stitch., Turkey, 19th century, embroidery & stitching, Towel end-stock-foto
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Towel, Medium: cotton, silk, metal thread Technique: embroidery, drawnwork, Cotton towel with ends embroidered in silks and metal thread. Design appears to be house with groups of towers at side. Worked entirely in drawnwork, embroidered over in colors; parts outlined in flat metal and metal thread., Near East, late 19th century, embroidery & stitching, Towel-stock-foto
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