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Supplemental data for this article can be accessed at https://doi.org/10.1080/14434318.2022.2075617.
Notes
1 The embroidery was bought in 1957 and is part of the NGV’s important collection of European handwork. The cloth support measures 43.3 x 54.3 cm and has been mounted on board. For an overview of the embroidery collections, see Exquisite Threads: English Embroidery 1600s–1900s (Melbourne: National Gallery of Victoria, 2015) (5 and 32–33 for this panel). See in general Andrew Morrall and Melinda Watt, eds, English Embroidery from The Metropolitan Museum of Art, 1580–1700: ’Twixt Art and Nature (New York: Bard Graduate Center, Metropolitan Museum of Art, 2008).
2 There are other surviving needleworks where the identification of Charles and Henrietta Maria is more certain, showing the couple with the same gesture, probably derived from a 1634 engraving by Robert van Voerst, itself reproducing Anthony van Dyck’s 1632 painting now in Olomouc. See Andrew Morrall, ‘The Royal Image’, in English Embroidery, ed. Morrall and Watt, 109 and 114–23.
3 Exquisite Threads, 5.
4 Ruth Geuter, ‘Embroidered Biblical Narratives and Their Social Context’, in English Embroidery, ed. Morrall and Watt, 56–77. Geuter suggests such imagery would have served a commemorative function after the Restoration, and notes that it seems to have disappeared quickly once the status of monarchy was no longer in doubt.
5 For images, see Erin Griffey, On Display: Henrietta Maria and the Materials of Magnificence at the Stuart Court (London and New Haven, Conn.: Yale University Press, 2015), 51–61, 83–93, 132–52, 172–77, 196–97, 247; Rufus Bird and Martin Clayton, eds, Charles II: Art and Power (London: Royal Collection Trust, 2017); and Maria Hayward, ‘“The Best of Queens, the Most Obedient Wife”: Fashioning a Place for Catherine of Braganza as Consort to Charles II’, in Sartorial Politics in Early Modern Europe: Fashioning Women, ed. Erin Griffey (Amsterdam: Amsterdam University Press, 2019), 227–52. For a panel dated 1670 with Charles II and Catherine, recently sold at auction, see Cheffins, https://www.cheffins.co.uk/fine-art/lot-view,a-rare-17th-century-stumpwork-picture-of-charles-ii-and-catherine-of-bragan_43387.htm.
6 English Embroidery, ed. Morrall and Watt, 247–48, cat. 68.
7 Ibid., 232–33, cat. 61.
8 Lisa M. Klein, ‘Early Modern English Embroideries: Contexts and Techniques’, Bulletin of the Detroit Institute of Arts 75, no. 2 (2001): 38–41.
9 Rozsika Parker, The Subversive Stitch: Embroidery and the Making of the Feminine (London: The Women’s Press, 1986 [1984]).
10 Alla Myzelev, ‘Creating Digital Materiality: Third-Wave Feminism, Public Art, and Yarn Bombing’, Material Culture 47, no. 1 (2015): 58–78; and Kirsty Robertson, ‘Rebellious Doilies and Subversive Stitches: Writing a Craftivist History’, in Extra/Ordinary: Craft and Contemporary Art, ed. Maria Elena Buszek (Durham, NC and London: Duke University Press, 2011), 184–203.
11 See for instance Ann Rosalind Jones and Peter Stallybrass, ‘The Needle and the Pen: Needlework and the Appropriation of Printed Texts’, in Jones and Stallybrass, Renaissance Clothing and the Materials of Memory (Cambridge: Cambridge University Press, 2000), 134–71 and notes; Tara Hamling and Catherine Richardson, A Day at Home in Early Modern England: Material Culture and Domestic Life, 1500–1700 (New Haven, Conn. and London: Yale University Press, 2017); the special issue Considering Textiles in Historic Interiors, ed. Tara Hamling and Catherine Richardson, Textile History 47, no. 1 (2016); and Leora Auslander, ‘Deploying Material Culture to Write the History of Gender and Sexuality: The Example of Clothing and Textiles’, Clio: Women, Gender, History 40 (2014): 157–78.
12 Klein, ‘Early Modern English Embroideries’, 38–41.
13 For other mid-seventeenth-century examples of unfinished panels where the underdrawing is visible, see English Embroidery, cat. 65, 240–42, and cat. 68, 247–48.
14 The play, The Fair Maid of the Exchange, was printed in 1607 and is sometimes given to the writer Thomas Heywood; for this passage and an example of an unfinished embroidery which reveals such a stock drawing, see Cooper Hewitt, New York, https://collection.cooperhewitt.org/objects/18135995.
15 J.L. Nevinson, ‘The Embroidery Patterns of Thomas Trevelyon’, The Volume of the Walpole Society 41 (1966–1968): 1–38.
16 Susan Frye, Pens and Needles: Women’s Textualities in Early Modern England (Philadelphia: University of Pennsylvania Press, 2010), 128. For examples of figure patterns in the extremely popular book The Needles Excellency: A New Booke Wherein are Divers Admirable Workes Wrought with the Needle by John Taylor, first printed in 1631 (plates LXXXI and unnumbered), see http://www.shipbrook.net/jeff/bookshelf/details.html?bookid=25.
17 For sources and uses, see J.L. Nevinson, ‘English Domestic Embroidery Patterns of the Sixteenth and Seventeenth Centuries’, The Volume of the Walpole Society 28 (1939–40): 1–13 and plates.
18 Kate Douglas, ‘The Wonderful World of the Charles I and Henrietta Maria Raised Embroidery’, NGV Blog posting, 8 May 2015, https://www.ngv.vic.gov.au/the-wonderful-world-of-the-charles-i-and-henrietta-maria-raised-embroidery/.
19 Cristina Balloffet Carr, ‘Materials and Techniques of Secular Embroideries’, in English Embroidery, ed. Morrall and Watt, 98–106. For stitch glossaries, see Exquisite Threads, 86–87 and English Embroidery, ed. Morrall and Watt,291–93. The site of the Textile Research Centre, Leiden, is also useful: https://trc-leiden.nl/trc-needles/.
20 For an overview, see Frye, Pens and Needles. George Wingfield Digby, Elizabethan Embroidery (London: Faber and Faber, 1963) analyses the many types of objects produced.
21 Parker, Subversive Stitch, 73–74.
22 For instance, Lady Anne Halkett (1622–1699) recorded that her mother ‘kept a gentlewoman to teach us all kinds of needleworke’. Quoted in Kathleen Staples, ‘Embroidered Furnishings: Questions of Production and Usage’, in English Embroidery, ed. Morrall and Watt, 25.
23 Staples, ‘Embroidered Furnishings’, 26; and Victoria and Albert Museum, London, https://collections.vam.ac.uk/item/O11096/embroidered-casket-edlin-martha/.
24 Jennifer Harris, ‘Hannah Smith’s Embroidered Casket’, Antique Collector (July 1988): 49–55.
25 As with the Melbourne panel, Hannah Smith’s images have been linked by some writers to the Royalist cause and seen as containing cryptic references to hopes for the Restoration. See Parker, Subversive Stitch, 95; also Whitworth Art Gallery, University of Manchester, http://gallerysearch.ds.man.ac.uk/Detail/18930.
26 Isabella Rosner, ‘“A Cunning Skill Did Lurk”: Susanna Perwich and the Mysteries of a Seventeenth-Century Needlework Cabinet’, Textile History 49, no. 2 (2018): 140–63.
27 The early records of the Broderers Guild were lost in the 1666 Fire of London, making its membership unclear, but a proclamation of Henry IV (ruled 1399–1413) mentions both sexes. See Parker, Subversive Stitch, 67.
28 Patricia Wardle, ‘The King’s Embroiderer: Edmund Harrison (1590–1667) I. The Man and His Milieu’, Textile History 25, no. 1 (1994): 29–59; and ‘The King’s Embroiderer: Edmund Harrison (1590–1667) II. His Work’, Textile History 26, no. 2 (1995): 139–84.
29 Caroline Hibbard, ‘“By Our Direction and for Our Use”: The Queen’s Patronage of Artists and Artisans Seen Through her Household Accounts’, in Henrietta Maria: Piety, Politics and Patronage, ed. Erin Griffey (Aldershot, UK, and Burlington Vt.: Ashgate, 2008), 125 and 130.
30 Parker, Subversive Stitch, 68–70; and Klein, ‘Early Modern English Embroideries’, 38.
31 Klein, ‘Early Modern English Embroideries’, 38.
32 Lisa M. Klein, ‘Your Humble Handmaid: Elizabethan Gifts of Needlework’, Renaissance Quarterly 59, no. 2 (1997): 459–93; and Susan Frye, ‘Sewing Connections: Elizabeth Tudor, Mary Stuart, Elizabeth Talbot, and Seventeenth-Century Anonymous Needleworkers’, in Maids and Mistresses, Cousins and Queens: Women’s Alliances in Early Modern England, ed. Susan Frye and Karen Robertson (Oxford: Oxford University Press, 1996), 165–82.
33 Margaret Swain, The Needlework of Mary Queen of Scots (New York: Van Nostrand Reinhold, 1973); Margaret Ellis, ‘The Hardwick Wall Hangings: An Unusual Collaboration in Sixteenth-century Embroidery’, Renaissance Studies 10, no. 2 (1996): 280–300; and ‘The Prison Embroideries of Mary, Queen of Scots’, Victoria and Albert Museum, London, https://www.vam.ac.uk/articles/prison-embroideries-mary-queen-of-scots.
34 Ellis, ‘The Hardwick Wall Hangings’, 293.
35 Mary M. Brooks, ‘“Mouldering Chairs and Faded Tapestry … Unworthy of the Observation of a Common Person”: Considering Textiles in Historic Interiors’, Textile History 47, no. 1 (2016): 62.
36 Jones and Stallybrass, Renaissance Clothing, 170.
37 The letter is transcribed and discussed in Digby, Elizabethan Embroidery, 48–50.
38 For the text, see Digital Library, University of Pennsylvania, http://digital.library.upenn.edu/women/fiennes/saddle/saddle.html; for the advice book, see Staples, ‘Embroidered Furnishings’, 32–33.
40 Michael Baxandall, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition 1350–1450 (Oxford: Clarendon Press, 1971).
41 http://digital.library.upenn.edu/women/fiennes/saddle/saddle.html. Maria Hayward also suggests that men and women did not look at textiles in the same way, although her focus is on iconography rather than technique. Maria Hayward, ‘In the Eye of the Beholder: “Seeing” Textiles in the Early Modern Interior’, Textile History 47, no. 1 (2016): 38.
42 Andrew Morrall, ‘Regaining Eden: Representations of Nature in Seventeenth-Century English Embroidery’, in English Embroidery, ed. Morrall and Watt, 78–97.
43 Ibid.
44 Lisa M. Klein, ‘The “Fantastical Motion” of Female Imagination: The Rocky Pool Motif in Seventeenth-Century Raised-Work Embroideries’, Bulletin of the Detroit Institute of Arts 75, no. 2 (2001): 42–56.
45 Frye, Pens and Needles, 119–20; for the poem and book (‘Amanda, A Sacrifice to an Unknown Goddess or a Free Offering …’), see Early English Books Online, University of Michigan Library, https://quod.lib.umich.edu/e/eebo/A44366.0001.001/1:15.8?rgn=div2;view=fulltext.
46 Mary M. Brooks, ‘Performing Curiosity: Re-viewing Women’s Domestic Embroidery in Seventeenth-century England’, The Seventeenth Century 32, no. 1 (2017): 1–29.
47 Quoted in Frye, Pens and Needles, 125.
48 Klein, ‘“Fantastical Motion”’, 51.