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The adventure of learning Goldwork and in other words- I really did not need another hobby.
The adventure of learning Goldwork and in other words- I really did not need another hobby.
Early in the year of our Lord I was able to acquire a lovely kit from Ann-Juliette Genevieve for gold work on a small tudor bag. I ordered the kit and low and behold in late June and July I was able to sit down and do the Gold Work Embroidery. I honestly enjoyed the process of couching the Gold Threads and Purl. It became a "thing of beauty" and I was hooked on the Embroidery technique immediately. Dang It!
Early in the year of our Lord I was able to acquire a lovely kit from Ann-Juliette Genevieve for gold work on a small tudor bag. I ordered the kit and low and behold in late June and July I was able to sit down and do the Gold Work Embroidery. I honestly enjoyed the process of couching the Gold Threads and Purl. It became a "thing of beauty" and I was hooked on the Embroidery technique immediately. Dang It!
I decided to use this piece as a Tudor Bag for the Persona Competition and used silk and Velvet as the foundation materials. It handled very well with the silk. I had remembered that Carrie Hulsing had recommended using a lovely gilt thread which could be incorporated in regular embroidery for a little extra special glint in standard and silk embroidery. I had purchased two spools and it worked flawlessly with regular waxing. One piece was missing in the kit, the mounted tear drop in red. Instead of four there was only three, so I developed a use for red drop beads for the bottom section of this piece. The only problem with this which I did not realize until I sewed the pouch together (by hand) was the Cardinal points on the design did not lay appropriately to sew into the red velvet pouch material.
I decided to use this piece as a Tudor Bag for the Persona Competition and used silk and Velvet as the foundation materials. It handled very well with the silk. I had remembered that Carrie Hulsing had recommended using a lovely gilt thread which could be incorporated in regular embroidery for a little extra special glint in standard and silk embroidery. I had purchased two spools and it worked flawlessly with regular waxing. One piece was missing in the kit, the mounted tear drop in red. Instead of four there was only three, so I developed a use for red drop beads for the bottom section of this piece. The only problem with this which I did not realize until I sewed the pouch together (by hand) was the Cardinal points on the design did not lay appropriately to sew into the red velvet pouch material.
Solution: I would be cutting the silk (circular) and I will be appliqueing it to the velvet back round fabric and then use two more strands of gold .75 with couching to add a little more brilliance to the bag.
Solution: I would be cutting the silk (circular) and I will be appliqueing it to the velvet back round fabric and then use two more strands of gold .75 with couching to add a little more brilliance to the bag.
The History of Gold Work from the Goldwork Guild of England
The History of Gold Work from the Goldwork Guild of England
A brief history of Goldwork
Whilst the history of Goldwork goes way back, its origins are long since lost, with one of the earliest known historical references being found in the Bible (Exodus 28 & 39).
Whilst the history of Goldwork goes way back, its origins are long since lost, with one of the earliest known historical references being found in the Bible (Exodus 28 & 39).
It is widely believed that goldwork embroidery originated in China, with the craft itself spreading across the continents with the silk caravans, to Asia, Persia, India, the Middle East, as well as the ancient civilisations of Assyria, Babylonia and Egypt. It also reached North Africa, Spain, Italy, Western Europe, Great Britain, Scandinavia and latterly North America.
It is widely believed that goldwork embroidery originated in China, with the craft itself spreading across the continents with the silk caravans, to Asia, Persia, India, the Middle East, as well as the ancient civilisations of Assyria, Babylonia and Egypt. It also reached North Africa, Spain, Italy, Western Europe, Great Britain, Scandinavia and latterly North America.
One of the oldest and finest surviving examples of goldwork, are the fragments of stole and maniple of Saint Cuthburt (Durham Cathedral), which were found in his coffin. Stitched between 909 and 916, it shows surface couching of pure gold thread wrapped around a silk core.
One of the oldest and finest surviving examples of goldwork, are the fragments of stole and maniple of Saint Cuthburt (Durham Cathedral), which were found in his coffin. Stitched between 909 and 916, it shows surface couching of pure gold thread wrapped around a silk core.
Goldwork
Goldwork
Gold has always been the symbol of wealth, affluence and status, no matter where one is living in the world. It has captured human attention since time immemorial, and being the noblest of metals, gold has been utilized in many applications.
Gold has always been the symbol of wealth, affluence and status, no matter where one is living in the world. It has captured human attention since time immemorial, and being the noblest of metals, gold has been utilized in many applications.
Throughout history, goldwork has been used in a variety of ways in fabric decoration. It can be used in embroidery and appliqué, weaving variegated patterns made luxurious in gold thread. Shimmering patterns can be embroidered using gold and silver thread that may be interspersed with silk threads and precious stones. These materials convey opulence, distinction and power.
Throughout history, goldwork has been used in a variety of ways in fabric decoration. It can be used in embroidery and appliqué, weaving variegated patterns made luxurious in gold thread. Shimmering patterns can be embroidered using gold and silver thread that may be interspersed with silk threads and precious stones. These materials convey opulence, distinction and power.
Dating back almost 2000 years, only royals, nobility, and those of great wealth could afford such magnificence in garments, robes, domestic furnishings and religious embroidery. Whilst the history of metal thread embroidery goes back so far into the past that its origins are lost, it’s widely believed that goldwork embroidery originated in China. The craft then spread to Asia, Persia, India, Middle East, and the ancient civilizations of Assyria, Babylonia, and Egypt. It also reached North Africa, Spain, Italy and then came to Western Europe, Great Britain, Scandinavia and North America.
Dating back almost 2000 years, only royals, nobility, and those of great wealth could afford such magnificence in garments, robes, domestic furnishings and religious embroidery. Whilst the history of metal thread embroidery goes back so far into the past that its origins are lost, it’s widely believed that goldwork embroidery originated in China. The craft then spread to Asia, Persia, India, Middle East, and the ancient civilizations of Assyria, Babylonia, and Egypt. It also reached North Africa, Spain, Italy and then came to Western Europe, Great Britain, Scandinavia and North America.
Goldwork is one of the oldest embroidery techniques using metal threads to create articles of great beauty and sumptuousness. The earliest examples employed pure gold and silver. The metals were flattened and wound around strands of animal and human hair. However, the gold and silver were both very brittle. Later, they were wound around silk, paper, animal gut and parchment. This process was originally done by hand, which required patience and great skill and the cost for such threads was extremely high. However, goldwork embroidery is no longer the privilege of religious institutions or the wealthy, as there are now affordable substitutes, even though real gold is still used and this mostly comes from Japan the specialism encompasses many techniques and materials. As well as pure gold and silver, the embroiderer now has a choice of relatively inexpensive imitation gold, silver and copper threads to work with, along with a myriad array of colored metal threads, all in many different sizes. This art form is particularly prized for the way the light plays on it, which is influenced not just by the richness of the metal thread used, but also by the variety of metal threads available and the techniques used.
Goldwork is one of the oldest embroidery techniques using metal threads to create articles of great beauty and sumptuousness. The earliest examples employed pure gold and silver. The metals were flattened and wound around strands of animal and human hair. However, the gold and silver were both very brittle. Later, they were wound around silk, paper, animal gut and parchment. This process was originally done by hand, which required patience and great skill and the cost for such threads was extremely high. However, goldwork embroidery is no longer the privilege of religious institutions or the wealthy, as there are now affordable substitutes, even though real gold is still used and this mostly comes from Japan the specialism encompasses many techniques and materials. As well as pure gold and silver, the embroiderer now has a choice of relatively inexpensive imitation gold, silver and copper threads to work with, along with a myriad array of colored metal threads, all in many different sizes. This art form is particularly prized for the way the light plays on it, which is influenced not just by the richness of the metal thread used, but also by the variety of metal threads available and the techniques used.
One of the oldest and finest surviving examples of goldwork, are the fragments of stole and maniple of Saint Cuthburt (Durham Cathedral), which were found in his coffin. Stitched between 909 and 916, it shows surface couching of pure gold thread wrapped around a silk core.
One of the oldest and finest surviving examples of goldwork, are the fragments of stole and maniple of Saint Cuthburt (Durham Cathedral), which were found in his coffin. Stitched between 909 and 916, it shows surface couching of pure gold thread wrapped around a silk core.
Opus Anglicanum (or English work)
Opus Anglicanum (or English work)
stretched from 1050 to 1380 and was at its height between 1250 to 1350 (The Great Period). It was a time where English Embroidery excelled and its reputation extended far beyond England. In Italy and Spain (especially) many fine vestments bear unmistakable evidence of an English origin. Some articles may have originally been offerings to Rome, and redistributed to churches elsewhere. In 1246, Pope Innocent IV reportedly had admired the gold-embroidered vestments suggesting to the abbots of the Cistercian order (in England) his desire to have some gold embroideries sent to him. This indicates that English work was becoming better known on the continent.
stretched from 1050 to 1380 and was at its height between 1250 to 1350 (The Great Period). It was a time where English Embroidery excelled and its reputation extended far beyond England. In Italy and Spain (especially) many fine vestments bear unmistakable evidence of an English origin. Some articles may have originally been offerings to Rome, and redistributed to churches elsewhere. In 1246, Pope Innocent IV reportedly had admired the gold-embroidered vestments suggesting to the abbots of the Cistercian order (in England) his desire to have some gold embroideries sent to him. This indicates that English work was becoming better known on the continent.
In 1295 the Vatican Inventory listed more examples of Opus Anglicanum than any other type of embroidery. Most of the embroidery was carried out in London workshops by master embroiderers, and were costly. Completed pieces had considerable value thanks to the gold, silver and silver gilt* threads, seed pearls and semi-precious stones that adorned them. Its subsequent decline has been linked to the Black Death, where many professional embroiderers lost their lives to the disease. The disease (ironically) is said to have travelled from central Asia along the silk route, finally reaching England in around 1348. The Syon (1300-1320) and Butler Bowden copes are some of the finest examples of this period. The Syon cope (taking its name from the monastery of Syon) during the dissolution, was taken by nuns who had wandered through France, Spain and Portugal, before returning the cope to Great Britain in 1830, when the nuns returned from Lisbon. The cope shows a goldwork technique known as “underside couching” which creates a ‘hinge’ that gave the work flexibility.
In 1295 the Vatican Inventory listed more examples of Opus Anglicanum than any other type of embroidery. Most of the embroidery was carried out in London workshops by master embroiderers, and were costly. Completed pieces had considerable value thanks to the gold, silver and silver gilt* threads, seed pearls and semi-precious stones that adorned them. Its subsequent decline has been linked to the Black Death, where many professional embroiderers lost their lives to the disease. The disease (ironically) is said to have travelled from central Asia along the silk route, finally reaching England in around 1348. The Syon (1300-1320) and Butler Bowden copes are some of the finest examples of this period. The Syon cope (taking its name from the monastery of Syon) during the dissolution, was taken by nuns who had wandered through France, Spain and Portugal, before returning the cope to Great Britain in 1830, when the nuns returned from Lisbon. The cope shows a goldwork technique known as “underside couching” which creates a ‘hinge’ that gave the work flexibility.
It was not unusual for worn out articles to be burned to recover the gold. An example was Archbishop Lanfranc’s worn out chausables and copes that were reduced to ashes in 1371-73 “for the sake of the gold in the embroidery”.
It was not unusual for worn out articles to be burned to recover the gold. An example was Archbishop Lanfranc’s worn out chausables and copes that were reduced to ashes in 1371-73 “for the sake of the gold in the embroidery”.
Medieval goldwork (12th – 15th century)
Medieval goldwork (12th – 15th century)
A period of decline which some texts refer to as “Decline and Revival 1330-1530” followed. It was felt that designs and skills were of lesser quality, including ecclesiastical embroidery. Having developed a marked style, differing considerably from earlier periods, figures become shorter and clumsy looking. Twisted columns were being replaced with square pillars. Devices such as Fleur-de-Lys, Tudor roses and others of floral character, were used, with arrangements of radiating lines, dotted with spangles, this added considerably to the lightness and contrast between the gold embroidery and the darker ground fabrics. During the 15th century the practice of embroidering motifs separately, to be then cut out and applied to silk or velvet ground, were then further enhanced by couching gold and silver threads to the ground material, around the motifs.
A period of decline which some texts refer to as “Decline and Revival 1330-1530” followed. It was felt that designs and skills were of lesser quality, including ecclesiastical embroidery. Having developed a marked style, differing considerably from earlier periods, figures become shorter and clumsy looking. Twisted columns were being replaced with square pillars. Devices such as Fleur-de-Lys, Tudor roses and others of floral character, were used, with arrangements of radiating lines, dotted with spangles, this added considerably to the lightness and contrast between the gold embroidery and the darker ground fabrics. During the 15th century the practice of embroidering motifs separately, to be then cut out and applied to silk or velvet ground, were then further enhanced by couching gold and silver threads to the ground material, around the motifs.
Or Nue
Or Nue
Early in the 15th Century Or Nue (also referred to as Italian shading or shaded gold) soon surpassed other goldwork techniques. This form of Goldwork embroidery, where pairs of gold thread are couched in place with different coloured silk threads to form patterns or create pictures. The technique itself is one of the most time-consuming of techniques, but it allowed embroiderers the opportunity to imitate painted pictures. Even Raphael was commissioned to create embroidery designs. Often depicting figures or narrative scenes, these were deliberately stitched so that the metal shows through. The density and placement of the silk over-stitching makes the design. The entire design, background and foreground, is stitched, using small upright stitches.
Early in the 15th Century Or Nue (also referred to as Italian shading or shaded gold) soon surpassed other goldwork techniques. This form of Goldwork embroidery, where pairs of gold thread are couched in place with different coloured silk threads to form patterns or create pictures. The technique itself is one of the most time-consuming of techniques, but it allowed embroiderers the opportunity to imitate painted pictures. Even Raphael was commissioned to create embroidery designs. Often depicting figures or narrative scenes, these were deliberately stitched so that the metal shows through. The density and placement of the silk over-stitching makes the design. The entire design, background and foreground, is stitched, using small upright stitches.
Tudor, Elizabethan and Stuart goldwork (16th – 17th century)
Tudor, Elizabethan and Stuart goldwork (16th – 17th century)
This period, famous for the reformation, witnessed a notable decline in the demand for ecclesiastical work but also sadly saw the destruction of many pieces. Many of the pieces were either destroyed to recover the gold or recycled for other uses, such as cushions (a must have accessory of the day) and interior decoration. Fortunately, some examples still exist for us to see today, thanks to those who risked their lives smuggling the same to the continent.
This period, famous for the reformation, witnessed a notable decline in the demand for ecclesiastical work but also sadly saw the destruction of many pieces. Many of the pieces were either destroyed to recover the gold or recycled for other uses, such as cushions (a must have accessory of the day) and interior decoration. Fortunately, some examples still exist for us to see today, thanks to those who risked their lives smuggling the same to the continent.
With that said, however, the then industry evolving around personal adornment, interior decoration and costume, saw Goldwork embroidery remain in favour, with the technique lavishly used as a means of displaying wealth. Much of the elaborate work was executed by professional houses with emphasis put on the skill of the professional male embroiderer, who would have had to have served upwards of an 8 year apprenticeship, before being allowed to work on such valuable pieces. Some of the larger private houses may also have had their own team of embroiderers. One historical article detailed over 400 ounces of gold having been removed from one of Henry VIIIs robes, alone. This period also saw ladies and their aides working embroidery for their own occupation.
With that said, however, the then industry evolving around personal adornment, interior decoration and costume, saw Goldwork embroidery remain in favour, with the technique lavishly used as a means of displaying wealth. Much of the elaborate work was executed by professional houses with emphasis put on the skill of the professional male embroiderer, who would have had to have served upwards of an 8 year apprenticeship, before being allowed to work on such valuable pieces. Some of the larger private houses may also have had their own team of embroiderers. One historical article detailed over 400 ounces of gold having been removed from one of Henry VIIIs robes, alone. This period also saw ladies and their aides working embroidery for their own occupation.
Bess of Hardwick and Mary Queen of Scots were both accomplished needlewomen, and completed several pieces of goldwork – these survive today and can be seen at both Hardwick Hall and the Victoria & Albert Museum (UK). The Hardwick embroideries consisted of two shades of gold (silver-gilt*) wound around cores of orange or pale yellow, and silver wound around a core of white. There is also mention of file and pearl, as well as metal ornaments such as domed spangles (ranging from 4mm to 1cm in size), figure of eight and pear shaped spangles and tiny- ring like metal beads. Amateur and domestic embroidery also gave rise to new techniques, having been adapted for execution by the non-professional. Supplies were sold by travelling salesmen, as well as materials imported from Europe.
Bess of Hardwick and Mary Queen of Scots were both accomplished needlewomen, and completed several pieces of goldwork – these survive today and can be seen at both Hardwick Hall and the Victoria & Albert Museum (UK). The Hardwick embroideries consisted of two shades of gold (silver-gilt*) wound around cores of orange or pale yellow, and silver wound around a core of white. There is also mention of file and pearl, as well as metal ornaments such as domed spangles (ranging from 4mm to 1cm in size), figure of eight and pear shaped spangles and tiny- ring like metal beads. Amateur and domestic embroidery also gave rise to new techniques, having been adapted for execution by the non-professional. Supplies were sold by travelling salesmen, as well as materials imported from Europe.
This period also saw the introduction of printed pattern books. Processes for producing metal thread had also advanced, resulting in finer threads being made which also saw lace being made with gold thread, as well as sweetbags, bookbindings and caskets. The latter end of this period saw a fashion for unpicking the metal threads from costumes and uniforms. A phrase coined as “drizzling” was the occupation of the wealthier lady to raise a little pin money, with tales of uniformed gentleman losing their gold adornments whilst watching performances, where ladies would carry a small workbag containing scissors and a drizzling tool (it had a sharp triangular blade) to quickly snip away at the stitches that held the gold to the garment. Social gatherings were reportedly arranged for just this purpose.
This period also saw the introduction of printed pattern books. Processes for producing metal thread had also advanced, resulting in finer threads being made which also saw lace being made with gold thread, as well as sweetbags, bookbindings and caskets. The latter end of this period saw a fashion for unpicking the metal threads from costumes and uniforms. A phrase coined as “drizzling” was the occupation of the wealthier lady to raise a little pin money, with tales of uniformed gentleman losing their gold adornments whilst watching performances, where ladies would carry a small workbag containing scissors and a drizzling tool (it had a sharp triangular blade) to quickly snip away at the stitches that held the gold to the garment. Social gatherings were reportedly arranged for just this purpose.
Portrait of Margaret Layton, attributed to Marcus Gheeraert, (the Younger) c 1620. Housed in the Victoria and Albert Museum, London, England
Portrait of Margaret Layton, attributed to Marcus Gheeraert, (the Younger) c 1620. Housed in the Victoria and Albert Museum, London, England
Accession #: E-214-1994 Currentlly not on display
https://collections.vam.ac.uk/item/O69443/margaret-layton-formerly-laton-oil-painting-gheeraerts-marcus-the/
Lucas Cranach the Elder, Portrait of Anna Putsch, 1502
Observe the Gold work in the Headware (wulsthaube) and embroidered bust panel
Observe the Gold work in the Headware (wulsthaube) and embroidered bust panel
https://dl.acm.org/doi/fullHtml/10.1145/3527927.3532809 Other areas to research for Goldwork
http://Cottesimple.com
http://Cottesimple.com
Stardate 6/16/23- Goldwork is becoming its own animal in my Needlework book. This may start encompassing several pages.
Stardate 6/16/23- Goldwork is becoming its own animal in my Needlework book. This may start encompassing several pages.
8/17/23 - I have been supporting Ann-Juliette Genevieve on her Patreon site while studying the aspects and construction of Goldwork and the best way to approach design. I did acquire two additional kits from Ann-Juliette which one was named Lady Jane Grey (Tudor) and I loved the geometric design of the piece. In conversing with Ann-Juliet I asked about the exemplar that she used for reference and she referenced a photograph which of course had me going down a new rabbit hole.
8/17/23 - I have been supporting Ann-Juliette Genevieve on her Patreon site while studying the aspects and construction of Goldwork and the best way to approach design. I did acquire two additional kits from Ann-Juliette which one was named Lady Jane Grey (Tudor) and I loved the geometric design of the piece. In conversing with Ann-Juliet I asked about the exemplar that she used for reference and she referenced a photograph which of course had me going down a new rabbit hole.
Shall I sing you a song of Silver and Gold?
Shall I sing you a song of Silver and Gold?
Again, I have added additional aspects to the pattern. This shall be a wall piece and I will have it stretched. Shall I gift or not?
Again, I have added additional aspects to the pattern. This shall be a wall piece and I will have it stretched. Shall I gift or not?
Goldwork Centerpiece that ever expanded.
Goldwork Centerpiece that ever expanded.
As many know - This one kit has really started something amazing. Ann-Juliet Genevieve presented a kit and I took it further.
As many know - This one kit has really started something amazing. Ann-Juliet Genevieve presented a kit and I took it further.
3/2/24 - A visual view from Kingdom of Atlantia - KASF.
3/2/24 - A visual view from Kingdom of Atlantia - KASF.
Exemplar for Gold Work Embroidery
Exemplar for Gold Work Embroidery
Closeup of Exemplar- Elizabethan cording and supported goldwork in overlay. Wow!
Closeup of Exemplar- Elizabethan cording and supported goldwork in overlay. Wow!
Spring Coronation 2024 - April
Spring Coronation 2024 - April
Arts and Science Competition and Display - " Best use of the White Rose of York".
Arts and Science Competition and Display - " Best use of the White Rose of York".
I have elected to make a Silk purse.
I have elected to make a Silk purse.
It begins - I elected to do a White Rose of York as I do decend from my paternal line from Plantangenets and Neville's. The Tudor Rose pattern I acquired from Mary Corbets Needle & Thread website. The gold purl-purl is being laid over the sketch of the design. The entire purse will be 2 layers of silk with white linen (7.5 oz) in the center. The interior silk with be green
It begins - I elected to do a White Rose of York as I do decend from my paternal line from Plantangenets and Neville's. The Tudor Rose pattern I acquired from Mary Corbets Needle & Thread website. The gold purl-purl is being laid over the sketch of the design. The entire purse will be 2 layers of silk with white linen (7.5 oz) in the center. The interior silk with be green
After the .2m Purl-Purl is layed and the pearling and Bead Embroidery begins.
After the .2m Purl-Purl is layed and the pearling and Bead Embroidery begins.
Completed White Rose of York Now the tassels will begin
Completed White Rose of York Now the tassels will begin
For the Coronation of Adelhait and Christoph - I submitted this in the Best Use. The Belt Strap was not completed and I still had a bit of sewing on the lining. She was not done by this time.
For the Coronation of Adelhait and Christoph - I submitted this in the Best Use. The Belt Strap was not completed and I still had a bit of sewing on the lining. She was not done by this time.
I did recieve some well dones in regards to the research and documented processes by many.
I did recieve some well dones in regards to the research and documented processes by many.
I am not to happy with the silk tassels and I believe they need to be MORE to lay correctly
I am not to happy with the silk tassels and I believe they need to be MORE to lay correctly
For Tempore Atlantia - I entered a combination of Goldwork. The commentary was amazing on Facebook and I kept the Judging sheets as I felt them very useful. I need to revise my Goldwork Research to include the historical portraits showing the belt straps which are elegant and easy to construct.
For Tempore Atlantia - I entered a combination of Goldwork. The commentary was amazing on Facebook and I kept the Judging sheets as I felt them very useful. I need to revise my Goldwork Research to include the historical portraits showing the belt straps which are elegant and easy to construct.
My adventures in Goldwork continue: The gown referenced below of Her Majesty Katherine Parr - consort of King Henry VIII was used as a design basis by Ann-Juliette Genevieve and she printed on my blue silk by Silk Baron. The gown will be built around this panel. My brother used her pattern to make my Slate Frame for a skirt panel and I have acquired all materials to begin.
My adventures in Goldwork continue: The gown referenced below of Her Majesty Katherine Parr - consort of King Henry VIII was used as a design basis by Ann-Juliette Genevieve and she printed on my blue silk by Silk Baron. The gown will be built around this panel. My brother used her pattern to make my Slate Frame for a skirt panel and I have acquired all materials to begin.
As these are Ann-Juliette designs on the frame and design - I will photograph the progress of the construction. To inquire about the frame construction methods please reach out to Ann-Juliette at www.patreon.com/Ajshiningthreads or on Facebook - Shining Threads: Historic and Renaissance Faire Costume and Hand embroidery.
As these are Ann-Juliette designs on the frame and design - I will photograph the progress of the construction. To inquire about the frame construction methods please reach out to Ann-Juliette at www.patreon.com/Ajshiningthreads or on Facebook - Shining Threads: Historic and Renaissance Faire Costume and Hand embroidery.
For questions on historical accuracy - please refer to the following links provided by Ann-Juliette:
For questions on historical accuracy - please refer to the following links provided by Ann-Juliette:
First stop https://youtu.be/PnxARVtn6m0?si=qhKEBB_bv-amv5tP
Ruth Goodman talks about how the gold threads are made far better than I ever could.
https://youtu.be/YLwQbLUf974?si=-G_hWHstw7HPBtRh
For history of goldwork in England you can also check out the Royal School of Needlework
All my designs are replicas taken from Tudor and Elizabethan portraits with one notable exception
Katherine Parr portrait - review center panel
Katherine Parr portrait - review center panel
Katherine Parr Portrait close up of center panel in goldwork
Katherine Parr Portrait close up of center panel in goldwork
My purl-purl twist arrived and I used it on the top of the box.
I elected to make a York Rose pin to wear with scarves as well. Now to decide while teaching myself to sew - what will I add the roses to next.
I elected to make a York Rose pin to wear with scarves as well. Now to decide while teaching myself to sew - what will I add the roses to next.
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