*1905 A.F. KENDRICK , ENGLISH EMBROIDERY , London, G. Newnes, limited ; New York, Charles Scribner's sons

Having this book as companion for the past years has enabled me to sometimes cross reference doubts I have regarding the origins of certain works in Britain and the influence local works had in the world.

Just today I referred to this book in my bookshelf to clear a doubt regarding the introduction and permanency of lace in the production of British garments. 

Below is a picture of the passage I found of interest regarding the disappearance of the open work lace in patterns mid 18th century .

The book is a history book with high academic standards that until today is an academic authority  featured in the main embroidery schools curriculum.

The author very astutely and securely debates and clarifies with historical evidence the English origin of some important stitches attributed to other countries, while at the same time writing a book that is undisputedly an accurate chronology of the History of English Embroidery with several accounts of particular relevance on who made it, the women social condition , e.g. if she was on a monastery, working commissioned or from home, working in medieval work group or workshop. 

This seems a minimal detail but considering the author is a man, an academic, Art historian, that could have done like others before him and simply refer the name of the illustrious men who wore the costumes, this is a huge detail because it confirms that when he wrote the book  in 1904, he was already aware of the need to include women in their full capacity and that women history was more than about domesticity but also about featuring the maker, giving her value .

In page 102-3 "PORTION OF A COVERLET, embroidered with worsteds. Early XVIII century."

Plate  between page 102-103 " COVERLET, linen, quilted with white thread, and embroidered with coloured silks, Dated 1703."

Page 106-7: "GENTLEMAN'S COAT AND WAISTECOAT, embroidered with floss silks of several colours, Latter half of XVIII century. "

The author intersects and identifies origins of designs according to the countries of origin or the English localities of origin, describes the materials used per period , when they ceased to be used or fell out of fashion, why and what lead to this and to the introduction of new materials.

For example regarding the design ,

"Towards the end of the seventeenth century, the great development of our intercourse with the Far East, and the large number of Chinese works of art brought by traders to Europe, had introduced a strong Chinese element into Western design. " in page 101

And regarding the materials change ,

" Worsted work for large coverlet and hanging survives the seventeenth century, but the designs are of a different character(...) // The use of silk for embroidery gradually replaced that of worsteds, in the eighteenth century, for these large pieces. There still exist a great number worked in the former material, sometimes on a linen ground, and at other times on silk." in page 102

From the Vikings to the 18th century the history of the English Embroidery is richly described with the use of traditional sources, archival records, plates and garments that illustrate transitions in historical periods .

I could not recommend this classical work more than I do.

Best wishes,

Ariane