We have compiled a selection of embroidered flower pieces from our Permanent Collection, exhibits and more that are all about the beauty and colors of Spring. Take a look at the pieces and statements by the artists, be inspired and share this post with other lovers of embroidery.
A Winner, depicting a horse head painted on muslin by Emily Murray with floral embroidered wreath around its neck embroidered in a variety of surface embroidery techniques including bullion, chain, satin, needleweaving, etc, completed by Dorothy Goldstick. The piece was placed in a frame located in the lobby of the Hyatt during Seminar ’88 in Louisville, KY, where all in attendance were invited to stop by and stitch on it. 1988-1989. Take a closer look in our Permanent Collection Gallery.
Potpourri Stumpwork by Ita Aber is part of our Permanent Collection. Description: 1974. A raised work picture using pantyhose faces over Dr. Scholl’s wool. A mica window is in the house. Lady’s hat and dress are silk and the man’s jacket is velvet. The bird and beehive are counted thread canvas work. Take a closer look in our Collection gallery.
Ink Spots Series: #4 Blossoms by Sally Olsen, a member of our Cedar Valley Chapter. The artist says: “In a bobbin lace design class in 2020, a circular format was suggested for the exercises. It reminded me of freezer paper that I used as a drop cloth when I stained canvas with ink. Ink Spot Series #1, #2, #3 are bobbin lace. Covid-19 became the theme of 2020. For #4, I thought of the ink spots as an image of a petri dish. I wanted something positive to blossom from the petri dish.”
English Garden by Julia Pietruszewski, a member of our Cardinal Chapter, is a silk ribbon embroidery based on a picture she took in the countryside in Manchester, England. The artist used Photoshop and an inkjet printer to create the image on canvas and then embellished it with silk threads and ribbons. See more pieces from our National Exhibit.
Zinnia by Lois Kershner, member of our Santa Clara Valley Chapter. The artist says: “I have fond memories of zinnias that grew in my Mother’s garden each fall. Once attracted to the bold zinnia flowers, now I am intrigued to interpret the color contrast and intricacy of the flower center in embroidery — orange petals unfurling outside a circular rim of tiny pale yellow flowers and the unexpected contrast of aubergine and chartreuse buds in the very center. See a closer look in our Fiber Forum Gallery.
Memories 2 by Yvonne Line. On this piece, the artist used her fabric collection, laces, ribbons, buttons, beads and thread and the memories they evoke from years of sewing, dance, sports, costumes, weddings and family. See the complete piece in our National Exhibit Gallery.
Hope by Marilu Morency, a member from our Mountain View Chapter in Santa Ana, California, began as a drawing rendered to portray figures bowing in grief with the message of hope represented by central flowers. This stitched piece then began with the creation of a ring of felted ‘paper dolls,’ applied to underside of sheer fabric. This variation of shadow appliqué provided the base for further embellishment using couching for the figures and hair. Bead and ribbon embroidery, woven wheels, and velvet stitch are among stitches used for flowers. This work was completed in 2016. See a close-up of this piece in our Fiber Forum Gallery.
Rue and Peony Leaves by Karen Schueler, a member of our Brandywine Chapter. The artist employed intricately shaped appliqués with machine drawing, hand-dyed fabric, and paper to convey the fall colors and shapes of ‘Rue and Peony Leaves’. Through embroidery, the artist was able to create shapes out of the void, to enliven shadows, and to send vapors of color into the air using facets of filling stitches. Machine satin stitch provided some geometric structure plus hints of other plants and shapes in the garden. This work was completed in September 2015. See the complete piece in our Fiber Forum Gallery.
Strip Tease by Florance Kochenberger, a member of our Constellation Chapter. The artist says: “Exercises dealing with positive and negative space, and element connections, in a workshop with Jean Draper inspired the development of this bell pull. Repetition of color, line and materials is used to unify the different segments. Challenges to pleasingly lead the viewer’s eye through the numerous different treatments also call for fiber weight and stitch choices to be made in consideration of the scale and proportion of those used in surrounding areas.” See the complete piece in our Fiber Forum gallery here.
Welcome Spring Tulips in Darning Patterns designed by Marylyn H. Doyle, member of our Dayton Chapter, and stitched by former EGA Vice President Marnie Graley, member of our Tri-Area Needle Arts Chapter. This design is currently available for EGA members as a Petite Project. Petite Projects is a collection of over 60 beautiful projects in a wide-range of techniques made available as a benefit to EGA members. Get access to Petite Projects by becoming an EGA member today. Join here!
This post was originally published on April 29, 2020 and was updated on March 23, 2022 with some new selections showcasing flowers.