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519:, founded the Deerfield Society of Blue and White Needlework. This society was inspired by the crewel work of 18th-century women who had lived in and near Deerfield. Members of the Blue and White Society initially used the patterns and stitches from these earlier works that they had found in the town museum. Because these new embroideries were not meant to replicate the earlier works, society artisans soon deviated from the earlier versions with new patterns and stitches, and even the use of linen, rather than wool, thread. Miller and Whiting used vegetable dyes in order to create the colors of the wool threads, and handwoven linen fabric was bought for use as the background. Members of this society continued their stitching until 1926.
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309:) and the women of her court were known for the very fine needlework they produced. Using satin stitch with worsted wool, they created hangings and other objects showing images of fruits, birds, and beasts. Their example spurred interest in crewel embroidery. Bed hangings and other furnishings were created, often using bluish greens supplemented by brighter greens and browns. Occasionally, "a dull pinkish red" would be the main color.
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clothes, and bed linens, and ornamental, such as wall hangings. In the early colonial period, the master bed was often located in the parlor, and thus on public display. Crewel bed-hangings provided both decoration and comfort, while serving as a status symbol. Women would also create smaller items decorated with crewel work, such as the detached
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Patterns for crewel designs were obtained in a number of ways. Patterns in both
England and New England were often derived from elements taken from engravings of English and French artists. These elements, often figures or groups of figures, would be taken from various works and combined in different
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Early fabrics made in the
Colonies tended to be plain in both weave and in color. Fabric was made from white and black wool, and indigo dye was used. With the use of these materials, the fabric was gray, brown, or blue. Needlework was a way to enliven this fabric. and the earliest forms of needlework
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While early
American crewelwork, and embroidery more generally, followed in the tradition of their English counterparts regarding fabric, designs, and yarn, there were some differences. Early American works tend to display a smaller range of individual stitches, smaller and less complicated designs,
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The outlines of the design to be worked are often screen printed onto the fabric or can be transferred to plain fabric using modern transfer pens containing water-soluble ink or air-soluble ink, using a lightbox and a permanent pen, or iron-on designs applied using transfer sheets. The old-fashioned
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Many of the embroidery patterns they worked from included common motifs: trees, birds, flowers, groups of figures or animals. This indicates that these patterns may have been variations of a small number of originals. Landscape patterns with figures were more realistic in the 18th century than they
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Young women in New
England in the 1700s were expected to become adept at needlework. Day and boarding schools that taught different types of needlework existed, as evidenced by advertisements in colonial Boston newspapers. They would embroider items both utilitarian, such as bed-hangings, curtains,
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or frame on which the material is stretched taut and secured prior to stitching. This ensures an even amount of tension in the stitches, so that designs do not become distorted. Depending on the size of the finished piece, crewelwork is generally executed with a small portable hoop up to large free
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Crewel embroidery was a pastime primarily in New
England. There are some surviving examples from the mid Atlantic region, primarily New York and Pennsylvania, but these designs differed. Indeed, there were also stylistic differences within New England, with one region being the Massachusetts coast
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Motifs frequently used in crewel embroidery of the period included coiling stems, branches, and detached flower designs. Some embroideries from the
Elizabethan period used garden motifs for their design, as gardens themselves were enjoying a heyday. These embroideries were worked in silk or wool
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Embroidery for household furnishings during the
Elizabethan era was often worked using silk and wool on canvas or linen canvas. Garment embroidery more often used silk or silk and silver threads. Many different stitches were used for the embroidery, including "back, basket, braid, pleated braid,
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Designs in the latter part of the 1600s fell primarily into three categories. One was individual sprays of flowers scattered over the fabric; the second, to be found on narrow panels, involved flowering stems running the length of the panel with a floral motif between them; and the third was a
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Wool from
Worstead in Norfolk was manufactured for weaving purposes, but also started to be used for embroidering small designs using a limited number of stitches, such as stem and seeding. These were initially often executed in a single color. However, the color and design range expanded, and
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Crewel embroidery is not identified with particular styles of designs, but rather is embroidery with the use of this wool thread. Modern crewel wool is a fine, two-ply or one-ply yarn available in many different colours. Crewel embroidery is often associated with
England in the 17th and 18th
447:) that were obtained from England. Design books of other types, such as gardens and furniture, were also used. Custom stamped fabric could be found in larger cities at times, as could custom-drawn sketches. Women may also have used designs from printed fabric for their crewel work.
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and the designs cover less of the background fabric. A study of New
England crewel embroidery found that the primary colors, blue, red, and yellow, were the most used. The stitches used most often were outline, seed, and economy, and the designs most frequently used showed plants.
294:(crewel), and were used in the home to brighten the surroundings. Embroidered wall hangings, table carpets, and various forms of bed-hangings might all sport embroidered images. The length of valences made them ideal for embroidery that told a story of a number of episodes.
363:, Chinese motifs began to appear in crewel embroideries, such as pagodas, long-tailed birds, and Chinese people. Just as Indian cottons may have influenced designs with trees and exaggerated leaves, these Chinese elements may have been inspired by Persian silks and
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Many different embroidery stitches are used in crewelwork to create a textured and colourful effect. Unlike silk or cotton embroidery threads, crewel wool is thicker and creates a raised, dimensional feel to the work. Some of the techniques and stitches include:
120:"pinprick and chalk" or "prick and pounce" methods also work well. The prick and pounce method involves transferring the design outlines – printed on paper – by pricking the outline with a needle to produce perforations along the lines. Powdered
89:. Crewelwork had its heyday in Britain in the 17th century, but has come in and out of fashion several times since then. Traditionally, crewel embroidery is done on tightly woven linen twill, though more recently, other fabrics like
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Rich embroidery had been used extensively in ecclesiastical vestments and altar drapings, but after the Protestant Reformation, the emphasis moved to embroidery, including crewel work, for use in homes and other secular settings.
382:(reigned 1702–1707). Patterns from the mid-1600s were copied, either exactly or with some alterations. While the tree motif is common to all, there is evidence of gradual change in the designs that link them together.
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centuries, and from England was carried to the American colonies. It was particularly popular in New England. The stitches and designs used in America were simpler and more economical with the scarce crewel wool. The
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brick, buttonhole, chain, coral, cross, long-armed cross, French knot, herringbone, link, long and short, running, double running, satin, seed, split, stem, tent as well as laid work and couching."
337:. However, other experts stress the importance of multiple influences from different parts of the world brought back by English travelers, and evolving designs from earlier forms of embroidery.
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were in the 17th century, and seldom involved scenes from the Bible, as had earlier patterns. Many of the New England embroidery designs in the 1700s included rounded and curving elements.
256:, from the 11th -12th centuries that show people, animals, and other natural and human-built items. As of 2019, the primary theory is that these works depict the downfall of the world, the
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From surviving Colonial crewelwork and written references such as letters, it is known that most projects were embroidered on linen. However, the preferred background fabrics were
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and curtains. Now it is most often used to decorate cushions, curtains, clothing and wall hangings. Recently several other items, such as lamp shades and handbags have been added.
166:, where one thread is laid on the surface of the fabric and another thread is used to tie it down. Couching is often used to create a trellis effect within an area of the design.
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220:, a wool yarn with twist, and thus crewel embroidery was not identified with particular styles of designs, but rather was embroidery with the use of this wool thread.
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352:. Influence of exploration and trade are seen in plants in Jacobean that have recently become known to the English: the potato flower and the strawberry.
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from the first quarter of the 17th century is known for this third category. Some experts believe that these patterns were derived from cotton
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material is then forced through the holes onto the fabric using a felt pad or stipple brush in order to replicate the design on the material.
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The range of wool colors that needleworkers in colonial New England could call upon were rather limited. Many New England households grew
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was embroidered on linen fabric with worsted wool. The creators of the Bayeux Tapestry used laid stitches for the people and the scenery,
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that were worn tied around one's waist and envelope bags carried by men and women that were popular in the second half of the 1700s.
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is unknown but is thought to come from an ancient word describing the curl in the staple, the single hair of the wool. The word
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252:. There are few other early crewel embroideries known. The Jamtlands Lans Museum in Sweden has three related items, the
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Designs range from the traditional to more contemporary patterns. Traditional design styles are often referred to as
325:. The tree sits on a mound, and there might be other small motifs of individuals or flora and fauna near the mound.
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American needlework: The history of decorative stitchery and embroidery from the late 16th to the 20th century
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are used to follow a design outline applied to the fabric. The technique is at least a thousand years old.
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The Royal School of Needlework book of embroidery: a guide to essential stitches, techniques and projects
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embroidery using this crewel wool began to be used in larger projects and designs, such as bed hangings.
1964:
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Townsend, Gertrude (1941). "An Introduction to the Study of Eighteenth Century New England Embroidery".
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have been used. A firm fabric is required to support the weight of the stitching, which is done with
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764:"Ă–verhogdal Tapestry: Amazingly Well-Preserved Ancient Textiles With Norse And Christian Motifs"
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Crewel embroidery on bed curtain panel, British, early 18th century (Metropolitan Museum of Art)
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to execute the stitches as a needle with a wide body, large eye and a sharp point is required.
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ways. In colonial New England, women used pattern books or sketches in magazines (such as
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for detail and lettering. The worsted wool used for the embroidery may have come from the
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Rowe, Ann Pollard (1973). "Crewel Embroidered Bed Hangings in Old and New England".
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featuring highly stylized floral and animal designs with flowing vines and leaves.
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Jacobean embroidery designs enjoyed a resurgence in interest during the reign of
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Detail of linen valence ca. 1760-1770 embroidered with crewel wool, American
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650:"Hello, Crewel World! Tips to Help You Nail This Revived Embroidery Style"
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1174:. Time-Life Books. Alexandria, Va.: Time-Life Books. 1990. p. 104.
53:(1896–1926) revived interest in crewel embroidery in the United States.
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Crewel Design of Colonial New England and the Environmental Influences
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Jacobean embroidery : its forms and fillings including late Tudor
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Embroidered cushion cover, 1601, British (Metropolitan Museum of Art)
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Fishing Lady crewelwork, 18th century, Boston (Cleveland Art Museum)
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Hanoverian period (c. 1740) crewelwork detail highlighting carnation
886:. Hands, A. F. Morris. (1st pbk. ed.). London: B.T. Batsford.
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In the past, crewel embroidery was used on elaborate and expensive
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are commonly used in floral and fruit motifs for additional texture
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Labors of love : America's textiles and needlework, 1650-1930
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Plain & fancy: American women and their needlework, 1700-1850
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Terrace, Lisa Cook (1964). "English and New England Embroidery".
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Jourdain, M. (1909). "Crewel-Work Hangings and Bed Furniture".
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The Needle arts : a social history of American needlework
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Flora and fauna found in the tree of life designs include the
19:"Crewel" redirects here. For the novel by Gennifer Albin, see
1230:
232:, which is not actually a tapestry at all. This story of the
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Unlike canvas work, crewel embroidery requires the use of an
172:, applied randomly in an area to give a lightly shaded effect
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948:. Henry Francis du Pont Winterthur Museum. New York: Crown.
458:(which has fine vertical ribs and resembles fine corduroy).
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There was a resurgence of interest in crewel embroidery in
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Royal School of Needlework (London, England) (2018).
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734:. Tunbridge Wells, Kent: Search Press. p. 32.
489:(yellow); onion skins (lemon and gold yellow); and
473:shells (spring green); hemlock bark (reddish tan);
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416:area centered on Boston, and another Connecticut.
1084:. New York: Holt, Rinehart, and Winston. p.
228:The earliest surviving example of crewelwork is
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477:(purple brown, blue black, deep black purple);
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503:Deerfield Society of Blue and White Needlework
497:Deerfield Society of Blue and White Needlework
51:Deerfield Society of Blue and White Needlework
1878:Fragments of a Cope with the Seven Sacraments
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160:to create flat, filled areas within a design
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1818:Great Tapestry of Scotland: People's Panel
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104:velvet, silk organza, net fabric and also
944:A Winterthur guide to American needlework
926:(M.A. Thesis). Michigan State University.
617:The encyclopedia of embroidery techniques
321:branching tree with stylized leaves, the
60:Fanciful leaf in crewelwork, detail of a
2011:Embroidery Software Protection Coalition
1047:. Lavitt, Wendy. New York: Wings Books.
860:The Burlington Magazine for Connoisseurs
200:standing frames (also known as slates).
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1016:Bulletin of the Museum of Fine Arts
984:Bulletin of the Museum of Fine Arts
700:"The History of Crewel Embroidery"
14:
1041:Weissman, Judith Reiter. (1994).
619:. New York: Viking Studio Books.
511:, Massachusetts, when two women,
866:(78): 366–368 – via JSTOR.
675:"Basic Crewel Stitch Vocabulary"
1915:Juanita Growing Thunder Fogarty
1135:Howe, Margery Burnham. (1976).
2036:Han Sang Soo Embroidery Museum
2006:Embroiderers' Guild of America
1960:Charles Germain de Saint Aubin
77:The crewel technique is not a
41:. A wide variety of different
1:
2016:Needlework Development Scheme
920:Richards, Mary Lynne (1975).
469:, used to dye wool included:
184:Long and short "soft shading"
16:Type of embroidery using wool
1905:Shahin Ebrahimzadeh-Pezeshki
1076:Swan, Susan Burrows (1977).
940:Swan, Susan Burrows (1976).
793:The art of crewel embroidery
73:Description of the technique
2026:Wemyss School of Needlework
1836:Magna Carta (An Embroidery)
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1117:Harbeson, Georgiana Brown.
648:Corbet, Mary (2019-01-25).
143:Outlining stitches such as
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2021:Royal School of Needlework
1872:Scottish Diaspora Tapestry
1813:Great Tapestry of Scotland
1220:Crewel work in TRC Needles
1121:. New York: Bonanza Books.
822:. New York: Viking Press.
791:Davis, Mildred J. (1962).
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66:Victoria and Albert Museum
18:
1970:Dimitri Vlachos - Castano
1888:Designersand embroiderers
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814:Beck, Thomasina. (1979).
493:(purple, deep wine red).
240:to provide outlines, and
79:counted-thread embroidery
2001:Embroiderers' Guild (UK)
1994:Organizationsand museums
1842:Margaret Layton's jacket
615:Brown, Pauline. (1994).
591:Textile Research Centre
208:The origin of the word
33:, is a type of surface
1925:Marilyn Leavitt-Imblum
1582:Regionaland historical
1457:Couching and laid work
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1202:: CS1 maint: others (
1139:. New York: Scribner.
569:Boston Museum Bulletin
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1862:Prestonpans Tapestry
1137:Deerfield embroidery
704:www.suembroidery.com
64:, English, c. 1696.
1852:Overlord Embroidery
1825:Hastings Embroidery
1521:Tools and materials
818:Embroidered gardens
587:"Crewel Embroidery"
575:(365–366): 101–163.
529:Jacobean embroidery
513:Margaret C. Whiting
355:During the time of
327:Jacobean embroidery
230:The Bayeux Tapestry
216:in the 1700s meant
133:Jacobean embroidery
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1980:Erica Wilson
1876:
1834:
1791:Embroideries
1767:Sewed muslin
1720:Mountmellick
1688:Bunka shishu
1604:Bunka shishu
1492:Satin stitch
1452:Chain stitch
1321:Cross-stitch
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772:. Retrieved
770:. 2019-04-26
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657:. Retrieved
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595:. Retrieved
593:. TRC Leiden
590:
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539:Mary Linwood
517:Ellen Miller
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190:bed hangings
187:
176:French knots
153:split stitch
149:chain stitch
137:
130:
118:
76:
47:
30:
26:
25:
1935:Ann Macbeth
1900:Leon Conrad
1895:Emilie Bach
1677:Kogin-zashi
1512:Tent stitch
1361:Needlepoint
1286:Berlin work
679:Talliaferro
479:broom sedge
350:caterpillar
335:Masulipatam
248:village of
242:stem stitch
145:stem stitch
110:crewel wool
83:canvas work
68:T.166-1961.
2098:Embroidery
2072:Needlework
1985:Lily Yeats
1940:May Morris
1782:Vyshyvanka
1777:Vietnamese
1715:Macedonian
1553:Plainweave
1528:Aida cloth
1447:Buttonhole
1432:Backstitch
1262:Embroidery
1225:How Crewel
955:0517521776
774:2019-11-27
750:1044858813
709:2019-04-23
659:2019-04-23
550:References
487:golden rod
398:turkeywork
396:used were
380:Queen Anne
307:William II
35:embroidery
31:crewelwork
1772:Ukrainian
1624:Cantonese
1599:Brazilian
1543:Evenweave
1391:Whitework
1376:Stumpwork
1366:Quillwork
1346:Hardanger
1291:Blackwork
1198:cite book
534:Stumpwork
509:Deerfield
491:cochineal
471:butternut
346:carnation
331:palampore
204:Etymology
96:, cotton
2092:Category
2077:Quilting
2062:Knitting
2052:Appliqué
1661:Jacobean
1482:Parisian
1425:Stitches
1371:Smocking
1341:Goldwork
1281:Bargello
1190:21482166
1063:29315818
902:27188169
654:Bluprint
635:30858977
523:See also
467:mordants
367:fabric.
348:and the
258:Ragnarok
250:Worstead
2057:Crochet
2045:Related
1762:Rushnyk
1750:Zardozi
1730:Persian
1668:Sashiko
1656:Islamic
1646:English
1629:Sichuan
1619:Chinese
1609:Burmese
1594:Balochi
1563:Sampler
1497:Sashiko
1487:Running
1477:Holbein
1437:Blanket
1381:Surface
1356:Machine
1331:Darning
1326:Cutwork
1155:1341513
1104:2818511
1028:4170793
996:4171406
964:2151073
838:4947170
801:5805445
475:logwood
452:fustian
422:pockets
357:William
264:England
246:Norfolk
218:worsted
62:curtain
1745:Sistan
1740:Sermeh
1710:Korean
1705:Kasuti
1700:Kantha
1695:Kaitag
1651:Indian
1634:Suzhou
1614:Chikan
1502:Shisha
1386:Suzani
1351:Hedebo
1316:Crewel
1276:Assisi
1269:Styles
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485:, and
463:indigo
456:dimity
365:calico
214:crewel
210:crewel
126:pounce
98:velvet
81:(like
37:using
1735:Rasht
1639:Xiang
1024:JSTOR
992:JSTOR
684:3 May
597:3 May
483:sumac
333:from
122:chalk
102:rayon
91:Matka
29:, or
2067:Lace
1573:Yarn
1568:Slip
1204:link
1186:OCLC
1176:ISBN
1151:OCLC
1141:ISBN
1100:OCLC
1090:ISBN
1059:OCLC
1049:ISBN
960:OCLC
950:ISBN
898:OCLC
888:ISBN
834:OCLC
824:ISBN
797:OCLC
795:. .
746:OCLC
736:ISBN
686:2019
631:OCLC
621:ISBN
599:2019
515:and
442:The
361:Mary
359:and
342:rose
151:and
106:jute
94:silk
39:wool
1442:Box
1086:105
124:or
2094::
1200:}}
1196:{{
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23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
