British formal flower motif outlined in chain-stitched metal thread, on linen. Blackwork fillings in silk in several patterns have become worn in places. The motif has been cut out of background and mounted on modern linen. About half the metal thread embroidery is modern restoration. Shows influence of formal Sanish design. Much of the outline is restoration and has been remounted. This work may have been carried out in J&P Coats studio. Another identical and two related motifs, donated to the NDS by John Jacoby are in the Embroiderers' Guild Collection (EG 206). Originally they may have been part of a cover for a long cushion.
British. Scallop-edged cream taffeta apron. Silk and metal threads. Symmetrical floral design incorporating metal thread areas padded with cord. Extensive use of pearl and sequins. Framed.
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.
Cretan. Traditional design of scrolling pattern of animals, figures, birds and flowers. Dark blue silk embroidery on natural linen background, mostly in Cretan stitch.
Portuguese. Part of peasant costume. Closely woven in red wool on white warp. Geometric design in bright colours in loom embroidery - extra weft pulled up in loops on the surface Yellow braid waistband, and pink braid edges.
British. Pierced 'broderie anglaise' design of circles and flowers on lower half of sleeve and cuff. This item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Textile conservation was completed in 2019.
White linen and embroidery possibly made by Daisy McGlashan. The design and technique show the influence of Jessie Newbery's teaching. The table runner has the number "1911" printed on one edge in ink which could refer to the year it was made. This item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Textile conservation was completed in 2019.
This padded and lined tea cosy was made by a Miss Robertson and features an intricate butterfly and leaf design with embroidery, applique and beadwork.
Square cushion cover with simple wreath, trellis, Glasgow style roses and leaves, in shades of pale green, cream and pink. Includes chain, satin and cretan stiching, French knots and couching.
Banner design drawn on linen with pencil before stitching. It is attached to a calico lining which is stitched to the top of the hanging. It was designed by Walter Crane and worked by his wife Mary Frances Crane. The motto on banner reads: "Qui corvus pascit pascere potest grues" (He who feeds the raven will be able to feed the crane). The design of the panel is possibly that of Thomas Crane, Walter Crane's father.
Rectangular yellow armchair cover. Thought to be by Ann Macbeth. This item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Textile conservation was completed in 2019.
Embroidered bedspread of linen with applique. The technique, lettering and choice of inscription are typical of Jessie Newbery's work. From the wear on the stitching of the inscription it is obvious that the bedspread has been in regular use. The heart shaped applique motifs are unfaded round the edges and there is evidence that the blue silk Inscribed: "God knows and/what he knows/is well and best/ the darkness/hideth not from/him but glows/clear as the/morning or the/evening rose/of east or west".
Blue and white linen with applique. Stitched inscription: "A McG". Possibly a student of Ann Macbeth. This item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Textile conservation was completed in 2019.
Similar panels appear in Mackintosh's drawings of the east wall of the principal bedroom at The Hill House although it is not certain when they were installed there as early photographs taken in 1904 do not show them. The panels appear to be duplicates of those shown at the Vienna Secession exhibition in 1900 and bought by Emil Blumenfelt; at least one of these (listed as a 'bed curtain') was lent by Blumenfelt to the Turin exhibition in 1902 - although it lacks the lower section of black silk seen on The Hill House panels.
Similar panels appear in Mackintosh's drawings of the east wall of the principal bedroom at The Hill House although it is not certain when they were installed there as early photographs taken in 1904 do not show them. The panels appear to be duplicates of those shown at the Vienna Secession exhibition in 1900 and bought by Emil Blumenfelt; at least one of these (listed as a 'bed curtain') was lent by Blumenfelt to the Turin exhibition in 1902 - although it lacks the lower section of black silk seen on The Hill House panels.
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.
Yugoslavian. Sleeveless dress with side seams and hem decorated with red, blue and black embroidery. Tasselled braid belt. From Bosnia. This item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Textile conservation was completed in 2019.
Embroidered dark fawn silk and velvet collar. There are several reasons for the attribution to Jessie Newbery: the very fine quality of the fabrics used; the method of construction; the quality of the stitching; the colours used; the simplicity of the design which complements the shape of the collar so effectively and the use of silver metal clasps.
