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Elizabeth Geddes - Blackwork Embroidery

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Elizabeth Geddes Blackwork Embroidery

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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 Publishers 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.

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Table of Contents Acknowledgments THANKS are due to the National Portrait - photo 1
Table of Contents

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 Craftsmans 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 Olaves Grammar School, S.E.1, for permission to reproduce the Portrait of an Unknown Lady. The Head of School, Grays School of Art, Aberdeen, for permitting the inclusion of a photograph of the Dorothy Haegar panel from the schools 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 Olaves 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.

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