English. Fine white corded silk waistcoat with floral border incorporating the rose, thistle and shamrock. Pockets have embroidered flaps. Part of the spotted background has been unpicked. Shows influence of Chinese embroideries. This item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Textile conservation was completed in 2019.
British. Floral border design continues round high collar and pocket flaps. Remainder of waistcoat has all-over sprig design. Buttons are embroidered. Fine satin stitch embroidery shows Chinese influence. Used to be framed.
British. Three interpretations of a steeple design in different types of metal threads used in differing techniques. Designed by Geraldine White, worked by Beryl Dean, London.
German. White lawn worked with white cotton shadow work and French knots. The quotation reads 'Dann sol ches ist ge schehen auf dass die schrifterfuellet wuerde' (then it came to pass, so that the word would be fulfilled). This work was inspired by the Hungertuch Lenten hangings which were a popular source at the Schule fur Handwerk and Kunstegewerbe. At a time when imagery was constrained such religious depictions were at odds with the political regime and that they are being used as oblique references to the artists' and students' political and social concerns.
Norwegian. Linen runner with border decorated with traditional design in drawn-thread work and satin stitch. Geometric design. Double row of buttonholed scalloped picots.
Danish. Traditional work on natural linen incorporating drawn thread work and embroidery in satin-stitch. Relies for its effect on the changes of texture of the embroidery . Design based on stylised flower and plant forms.
Chinese. Yellow silk robe, richly embroidered with coloured silks and gold thread. The symbolic decoration includes representations of the sun, moon, and stars only worn by Emperors. Also Imperial dragons, earth, sea, sky and sacred mountains.
British. Applique curtain in shades of yellow shading to dark brown at the bottom. Art Deco design with pink and silver stripes. Patched together from irregular jigsaw shaped pieces.
Hungarian. Traditional peasant work, linen with drawn thread work on sleeves within borders of black cross-stitch embroidery and sequins. A few of the sequins applied to the sleeves still remain. Acquired from the Isabella home industry, Budapest.
Scottish. Crewel work on natural linen. Art Noveau influence in curving stems of flowers. Predominantly green and pink. Has label of G.S.A. Needlework Exhibition of 1916. Designed by Mrs. Newbery (Jessie Newbery) and worked by Mrs. Rowat, Glasgow (her mother).
British. Showing 'Midhurst - the town in the midst of the woods', with roads, buildings and figures. Very fine stitchery on natural cotton. Framed but unglazed.
British. Of white linen with central circular motif in black and orange embroidery in a wide variety of stitches, so mat could have been made as a sampler. Framed.
British. Even-weave blue linen mat with black work border design worked with one strand of cotton, and adapted to make central motif. By Jean Lawrie, Alness.
Cypriot. A type of needlemade lace worked in varieties of buttonhole stitch which has been made since the Venetian occupation of Cyprus in the 15th and 16th centuries. This rather stiff lace, produced mainly for tourists, was derived from Italian reticella lace. Design of figures dancing to Pan's pipes.
British. Rose coloured satin cover with figure of a saint, richly embroidered in coloured silks in split stitch and conching. By Joan Nicholson, Bromley.
British. Stuart linen sampler with seven panels of needlepoint lace motifs showing Italian influence. Geometric 'reticella' motifs and 'punto in aria' figures possibly from Venetian pattern-books. Very good condition.
German. Worked in pattern darning on white net depicting figure of saint surrounded by animals, birds, fish and flowers. By Kate Louise Rosenstock, Leipzig, Framed.
British. Pale blue linen cloth, embroidered with 'Grace before meals' in a border, also featuring figures between the words. In white and lime green in a wide variety of textured stitches. By Pat Miller, Glasgow School of Art.
British. Worked in machine embroidery in soft colours on natural linen. Design of waves with ships and weather house. A label reads 'Embroidered entirely on an ordinary domestic sewing machine 1947'. Designed by Frances Beal. Work by Dorothy Benson.
British. Small round mat with machine embroidery and art work with hand embroidered fillings. Double layers of organdie used in places. By Lilian Willey, Bromley.
Italian. Worked on fine corded cream silk in metal threads and floss silk in graduations of tones of green and pink. Shows influence of Oriental design. Some areas have been unpicked and the background has shredded in places.
British. Large panel depicting daytime carnival scene and nightime bacchanal. Worked in bright coloured wool in solid stitchery. Framed. By Molly Booker, London.
Austrian. Satin with satin appliqué, embroidered with silks and metal threads in cross, four-sided, lazy daisy, stem, satin stitches, couching with gold work and beads. Inscription "Unsereliebefrau" at base. By Emmy Zweybruck-Proshashka. Vienna.
German. Applique and simple stitchery on soft orange silk, showing apostles and dove. Designed at Schule fur Handwerk und Kunstgewerbe. Munster. Framed.
Cretan. Traditional design of scrolling pattern of animals, figures, birds and flowers. Dark blue silk embroidery on natural linen background, mostly in Cretan stitch.
Indian. Type of work known as 'Bagh'. Rust hand-woven cotton ground almost entirely covered with formal geometirc shapes. Worked with darning stitch. Rich border of gold silk embroidery at each end. Note purple stripe to spoil symmetry to avoid insulting God by attempting to produce perfect work. From Punjab.
British. Brighly coloured wool embroidery on tapestry woven background which is striped at the base to form part of the design. Flowering urn design with birds. From an early 18th century tripod walnut pole screen destroyed in London during the war.
