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    Blackwork Embroidery
    Blackwork Embroidery
    Blackwork Embroidery
    Ebook190 pages1 hour

    Blackwork Embroidery

    By Elizabeth Geddes and Moyra McNeill

    4/5

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    About this ebook

    Blackwork embroidery was very popular in Tudor times, and it is now enjoying a tremendous revival. A form of counted-thread work, blackwork emphasizes shading contrasts that are possible working with a single color of thread.
    This book is one of the best modern works on blackwork. After covering the intriguing history of blackwork in a lively text and beautiful selection of illustrations, the authors present every aspect of the modern techniques and uses of the craft.There is a discussion of contemporary techniques of transferring a design, stitches, needles, and more; information on how to make a design, including numerous illustrations of examples such as birds, animals, fruit, architectural forms, an angel, a crusader, and more; over 200 illustrations of embroidery patterns, including simple, filling, and border patterns; and coverage of materials and threads with full charts. A new Publisher's Note gives a listing of current American suppliers.
    Done in black silk on white linen, blackwork was originally used to decorate clothes and household articles. Today, you can still produce effective decorations in black-and-white, but many projects will look even better done in color. You can use blackwork on towels, tablecloths, sheets, and clothes, and you can make very attractive blackwork designs for wall hangings and pillows.
    LanguageEnglish
    PublisherDover Publications
    Release dateJan 31, 2013
    ISBN9780486176208
    Blackwork Embroidery

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    4/5

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    • 4/5
      Nice collection of patterns and examples. Dover reprint is good.

    Book preview

    Blackwork Embroidery - Elizabeth Geddes

    DOVER BOOKS ON NEEDLEWORK

    DANISH FLORAL CHARTED DESIGNS, Gerda Bengtsson. (0-486-23957-8)

    RUSSIAN PUNCHNEEDLE EMBROIDERY, Gail Bird. (0-486-40262-2)

    DECORATIVE ALPHABETS CHARTED DESIGNS, Barbara Christopher. (0-486-25631-6)

    BLACKWORK EMBROIDERY, Elizabeth Geddes and Moyra McNeill. (0-486-23245-X)

    VICTORIAN ALPHABETS, MONOGRAMS AND NAMES FOR NEEDLEWORKERS FROM GODEY’S LADY’S BOOK, Rita Weiss. (0-486-23072-4)

    101 NEEDLEPOINT STITCHES AND HOW TO USE THEM: FULLY ILLUSTRATED WITH PHOTOGRAPHS AND DIAGRAMS, Hope Hanley. (0-486-25031-8)

    DECORATIVE CHARTED DESIGNS: 114 MOTIFS, Julie Hasler. (0-486-27691-0)

    TREASURY OF SMOCKING DESIGNS, Allyne S. Holland. (0-486-24991-3)

    WHITE WORK: TECHNIQUES AND 188 DESIGNS, Edited by Carter Houck. (0-486-23695-1)

    VICTORIAN FANCY STITCHERY: TECHNIQUES AND DESIGNS, Edited by Flora Klickmann. (0-486-43271-8)

    CELTIC ANIMALS CHARTED DESIGNS, Ina Kliffen. (0-486-29125-1)

    BUTTERFLY CHARTED DESIGNS, Lindberg Press. (0-486-25639-1)

    HEARTS AND FLOWERS CHARTED DESIGNS, Lindberg Press (ed.). (0-486-25111-X)

    PULLED THREAD EMBROIDERY, Moyra McNeill. (0-486-27857-3)

    SHADOW WORK EMBROIDERY: WITH 108 IRON-ON TRANSFER PATTERNS, J. Marsha Michler. (0-486-40289-4)

    BRAZILIAN THREE-DIMENSIONAL EMBROIDERY: INSTRUCTIONS AND 50 TRANSFER PATTERNS, Rosie Montague. (0-486-24384-2)

    ENCYCLOPEDIA OF EMBROIDERY STITCHES, INCLUDING CREWEL, Marion Nichols. (0-486-22929-7)

    WILD ANIMALS CHARTED DESIGNS, Celeste Plowden. (0-486-25991-9)

    CELTIC CHARTED DESIGNS, Co Spinhoven. (0-486-25411-9)

    MOTHER Goose CHARTED DESIGNS, Kathleen Thorne-Thomsen. (0-486-25483-6)

    EARLY AMERICAN EMBROIDERY DESIGNS: AN 1815 MANUSCRIPT ALBUM WITH OVER 190 PATTERNS, Elizabeth M. Townshend. (0-486-24946-8)

    CHARTED MONOGRAMS FOR NEEDLEPOINT AND CROSS-STITCH, Edited by Rita Weiss. (0-486-23555-6)

    See every Dover book in print at www.doverpublications.com

    A portrait of Mary Cornwallis ascribed to George Gower, and probably painted circa 1590. She is seen wearing a cartwheel ruff, blackwork-embroidered sleeves with gauze oversleeves, and a forepart, or decorative panel filling in the open front of her gown, embroidered in a strapwork pattern.

    (Courtesy of the City Art Gallery, Manchester)

    Copyright © 1976 by Dover Publications, Inc. Copyright © 1965 by E. Geddes and M. McNeill. All rights reserved.

    This Dover edition, first published in 1976, is an unabridged republication of the work first published in 1965. It is reprinted by special arrangement with the original publisher, Mills & Boon, Ltd., 17-19 Foley Street, London, W1A, IDR, England. A new Publisher’s Note has been prepared especially for the present edition.

    Library of Congress Catalog Card Number: 75-31285

    International Standard Book Number

    9780486176208

    Manufactured in the United States by Courier Corporation

    23245X14

    www.doverpublications.com

    Table of Contents

    DOVER BOOKS ON NEEDLEWORK

    Title Page

    Copyright Page

    Publisher’s Note

    Acknowledgments

    Introduction

    One - HISTORICAL SURVEY

    Two - TECHNIQUES TODAY

    Three - DESIGN

    Four - PATTERNS

    Five - MATERIALS AND THREADS

    A CATALOG OF SELECTED DOVER BOOKS IN ALL FIELDS OF INTEREST

    Publisher’s Note

    MANY of the materials listed in section five are no longer available, and some of the suppliers are no longer in business. Readers are urged first to contact their local art needlework shop or department. Many shops now stock even-weave fabrics and special threads and needles. If you have trouble locating materials, the following wholesale suppliers will be glad to refer you to specific retail outlets.

    American Crewel and Canvas Studio

    164 Canal Street

    Canastota, New York 13032

    Brunswick Worsted Mills, Inc

    230 Fifth Avenue

    New York, New York 10001

    The DMC Corporation

    107 Trumbull Street

    Elizabeth, New Jersey 07206

    Kreinik Mfg. Company

    P.O. Box 1966

    Parkersburg, West Virginia 26102

    Joan Toggitt, Ltd.

    150 Meadowlands Parkway

    Secaucus, New Jersey 07094

    Bernhard Ulmann

    35 Fairfield Place

    West Caldwell, New Jersey 07006

    United Stamped Linen

    319 Grand Street

    New York, New York 10002

    Acknowledgments

    THANKS are due to the National Portrait Gallery, London, for permission to reproduce the portraits of Sir Christopher Hatton and Catherine Howard, and to the Kunsthistorisches Museum, Vienna, for supplying a photograph of the portrait of Jane Seymour from which the sleeve detail has been reproduced. Also to The City Art Gallery, Manchester, for permission to reproduce the painting of Mary Cornwallis. The Victoria and Albert Museum and Library, and the British Museum Library, for much invaluable reference material. Messrs. Chapman & Hall, Ltd for permission to quote in the Introduction an extract from The Craftsman’s Plant Book by Richard Hatton. Messrs. Bernard Quaritch, Ltd and University College, London, for permitting the use of various figures from Decorative Patterns from the Ancient World by Sir Flinders Petrie on pages 21 to 23. Messrs. Penguin Books, Ltd for permission to quote some lines from the Penguin Canterbury Tales translated by Nevill Coghill.

    Thanks also to the following for kindly allowing the reproduction of their privately owned works. Group-Captain Loel Guinness, O.B.E., for permission to reproduce the portrait of Captain Thomas Lee on loan to the Tate Gallery (who kindly provided the print). The Governors of St Olave’s Grammar School, S.E.1, for permission to reproduce the Portrait of an Unknown Lady. The Head of School, Gray’s School of Art, Aberdeen, for permitting the inclusion of a photograph of the Dorothy Haegar panel from the school’s permanent collection.

    Grateful acknowledgments, too, to the various individuals and firms who have generously supplied information, or practical help, or both. They include Ambassador magazine; Mr E. A. Entwisle of Wall Paper Manufacturers, Ltd; Dr Strong of the National Portrait Gallery; Mr R. C. Carrington, Headmaster of St Olave’s Grammar School; Mr P. du Sautoy and Messrs. Faber & Faber, Ltd; Mr John Pinder-Wilson; The Embroiderers’ Guild; Mr H. Phelps of the Wray Park .Studio, Reigate; Mr Brian McNeill; Mr J. R. Pilcher; and embroidery students at Hammersmith College of Art and Building.

    Finally, but not least in importance, we must thank our Editor and Publishers for their monumental patience during the preparation of this book.

    Introduction

    RECENTLY there has been a revival of interest in blackwork and its possibilities in modern embroidery. Unlike so many of our traditional methods, this type of black on white needlework, if approached in a twentieth-century manner, can be given a most satisfyingly crisp and up-to-date look. Historically, blackwork was first and foremost associated with dress, and its study is necessarily linked with the study of sixteenth- and early seventeenth-century costume styles, where alterations in fashion played an important part in influencing its development, although this, of course, was also affected by the trend in Elizabethan domestic embroidery which occurred within the same period.

    It is really only possible to appreciate blackwork properly in conjunction with the social and domestic scene in which it flourished. Consequently, the first part of this book consists of a brief

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