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Embroidered Stock Photos and Images

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Embroidered Stock Photos and Images

Embroidered Bag or Purse 1620 A.D. Stock Photo
RMDYEFHP–Embroidered Bag or Purse 1620 A.D.
Embroidered Bag or Purse 1620 A.D. Stock Photo
RMDYEFHR–Embroidered Bag or Purse 1620 A.D.
Embroidered Cushion 17th Century A.D. Stock Photo
RMDYEFH8–Embroidered Cushion 17th Century A.D.
Blue Embroidered Cushion 16th Century A.D. Stock Photo
RMDYEFH7–Blue Embroidered Cushion 16th Century A.D.
Lady's Kimono of embroidered white satin. Edo period. Stock Photo
RMD98BP9–Lady's Kimono of embroidered white satin. Edo period.
18th century footstool with embroidered fire cover or decorative screen, English Stock Photo
RMF7PPCD–18th century footstool with embroidered fire cover or decorative screen, English
Persian style embroidered cloth from Chinese Turkestan. Dated 1907 Stock Photo
RMF7NF2F–Persian style embroidered cloth from Chinese Turkestan. Dated 1907
Yoruba embroidered and decorated priest's bag. Hand-woven, Nigerian. Circa 1970 Stock Photo
RM2JYY493–Yoruba embroidered and decorated priest's bag. Hand-woven, Nigerian. Circa 1970
Embroidered tapestry representing Summer. 1685, French period of King Louis XIV Stock Photo
RM2A25RAP–Embroidered tapestry representing Summer. 1685, French period of King Louis XIV
Embroidered Apron from the Joseon dynasty. Dated 19th Century Stock Photo
RMH3WND2–Embroidered Apron from the Joseon dynasty. Dated 19th Century
Embroidered Apron from the Joseon dynasty. Dated 19th Century Stock Photo
RMH3WND3–Embroidered Apron from the Joseon dynasty. Dated 19th Century
portrait of King Charles I of England, after Hollar. Embroidered silk; English, probably London C.1660 Stock Photo
RMF7P18T–portrait of King Charles I of England, after Hollar. Embroidered silk; English, probably London C.1660
Embroidered white Shabbat (Sabbath) cloth used to cover the ritual bread (Challah) used to celebrate the beginning of the Jewish Sabbath. Stock Photo
RMKCETGH–Embroidered white Shabbat (Sabbath) cloth used to cover the ritual bread (Challah) used to celebrate the beginning of the Jewish Sabbath.
Embroidered hat from Palestine called 'Shatweh', worn by married women in the area of Bethlehem. Dated 20th Century Stock Photo
RMF7PG2F–Embroidered hat from Palestine called 'Shatweh', worn by married women in the area of Bethlehem. Dated 20th Century
1953, Princess Margaret in a dress of pure white satin embroidered with silver diamante and pearls.
 Stock Photo
RMRJRPCD–1953, Princess Margaret in a dress of pure white satin embroidered with silver diamante and pearls.

Photograph of Princess Elizabeth (1926-) with her embroidered gift made by disabled ex-servicemen. Also pictured is Prince Margaret (1930-2002). Dated 20th Century Stock Photo
RMG1DN5N–Photograph of Princess Elizabeth (1926-) with her embroidered gift made by disabled ex-servicemen. Also pictured is Prince Margaret (1930-2002). Dated 20th Century
Embroidered cotton cloth. Berber, Morocco early 20th century. Stock Photo
RM2JYY46M–Embroidered cotton cloth. Berber, Morocco early 20th century.
Hand embroidered cap from Chitral, North Pakistan. Dated 1938 Stock Photo
RMF7NFA4–Hand embroidered cap from Chitral, North Pakistan. Dated 1938
Embroidered prayer cushions in the Chapel Of Christ In Gethsemane, Coventry Cathedral Stock Photo
RMEC84W9–Embroidered prayer cushions in the Chapel Of Christ In Gethsemane, Coventry Cathedral
Embroidered prayer cushions in the Chapel Of Christ In Gethsemane, Coventry Cathedral Stock Photo
RMEC84WA–Embroidered prayer cushions in the Chapel Of Christ In Gethsemane, Coventry Cathedral
Embroidered prayer cushions in the Chapel Of Christ In Gethsemane, Coventry Cathedral Stock Photo
RMEC84W8–Embroidered prayer cushions in the Chapel Of Christ In Gethsemane, Coventry Cathedral
Embroidered prayer cushions in the Chapel Of Christ In Gethsemane, Coventry Cathedral Stock Photo
RMEC84W7–Embroidered prayer cushions in the Chapel Of Christ In Gethsemane, Coventry Cathedral
Chinese embroidered silk jacket or coat for a child. Late 18th century Stock Photo
RMEC80GP–Chinese embroidered silk jacket or coat for a child. Late 18th century
Chinese embroidered silk jacket or coat for a child. Late 18th century Stock Photo
RMEC80GY–Chinese embroidered silk jacket or coat for a child. Late 18th century
Chinese embroidered silk jacket or coat for a child. Late 18th century Stock Photo
RMEC80GX–Chinese embroidered silk jacket or coat for a child. Late 18th century
Chinese embroidered silk jacket or coat for a child. Late 18th century Stock Photo
RMEC80GR–Chinese embroidered silk jacket or coat for a child. Late 18th century
Chinese embroidered silk jacket or coat for a child. Late 18th century Stock Photo
RMEC80H3–Chinese embroidered silk jacket or coat for a child. Late 18th century
Chinese embroidered silk jacket or coat for a child. Late 18th century Stock Photo
RMEC80GT–Chinese embroidered silk jacket or coat for a child. Late 18th century
Boys coat in red silk embroidered with gilt thread and sequins; 1900 Stock Photo
RMEC80H0–Boys coat in red silk embroidered with gilt thread and sequins; 1900
Boys coat in red silk embroidered with gilt thread and sequins; 1900 Stock Photo
RMEC80H1–Boys coat in red silk embroidered with gilt thread and sequins; 1900
Boys coat in red silk embroidered with gilt thread and sequins; 1900 Stock Photo
RMEC80GW–Boys coat in red silk embroidered with gilt thread and sequins; 1900
Mythological scene embroidered and painted by Lina Sand-Dudevant and her mother in law, the writer George Sand. circa 1865 Stock Photo
RM2JYY5BD–Mythological scene embroidered and painted by Lina Sand-Dudevant and her mother in law, the writer George Sand. circa 1865
Pastoral scene embroidered and painted by Lina Sand-Dudevant and her mother in law, the writer George Sand. circa 1865 Stock Photo
RM2JYY5A8–Pastoral scene embroidered and painted by Lina Sand-Dudevant and her mother in law, the writer George Sand. circa 1865
Embroidered 18th Century fire guard at Warwick castle. Fire screens were used to cover the fireplace when nothing was burning inside in order to make it look more decorative. Some types of screens were also used to deflect the heat from the fire away from any occupants of the room. Stock Photo
RMEC80Y5–Embroidered 18th Century fire guard at Warwick castle. Fire screens were used to cover the fireplace when nothing was burning inside in order to make it look more decorative. Some types of screens were also used to deflect the heat from the fire away from any occupants of the room.
Embroidered textiles from The Path of Roses, Rachid Koraichi, Algeria, 2001, Silk, gold thread. It pays homage to the 13th century's Sufi mystic Jalal al-Din al-Rumi who made a physical and spiritual journey across North Africa and the Mediterranean to Qonya, in Turkey. Stock Photo
RMEC7PM6–Embroidered textiles from The Path of Roses, Rachid Koraichi, Algeria, 2001, Silk, gold thread. It pays homage to the 13th century's Sufi mystic Jalal al-Din al-Rumi who made a physical and spiritual journey across North Africa and the Mediterranean to Qonya, in Turkey.
Liturgical vestments, Icelandic embroidered church vestments 14th - 15th century Stock Photo
RMKCEJF5–Liturgical vestments, Icelandic embroidered church vestments 14th - 15th century
Liturgical vestments, Icelandic embroidered church vestments 14th - 15th century Stock Photo
RMKCEJF3–Liturgical vestments, Icelandic embroidered church vestments 14th - 15th century
Liturgical vestments, Icelandic embroidered church vestments 14th - 15th century Stock Photo
RMKCEJF8–Liturgical vestments, Icelandic embroidered church vestments 14th - 15th century
Riding coat and waistcoat, About 1790, England. Coat: wool. Waistcoat: embroidered silk. Dated 18th Century Stock Photo
RMKCEJG8–Riding coat and waistcoat, About 1790, England. Coat: wool. Waistcoat: embroidered silk. Dated 18th Century
Jacob’s dream of a ladder going to Heaven. English work on satin, embroidered in silk and metal thread, about 1660 Stock Photo
RMF7PENH–Jacob’s dream of a ladder going to Heaven. English work on satin, embroidered in silk and metal thread, about 1660
Icelandic, 19th century, traditional, ladies, formal clothing. made of imported fabrics embroidered in gold or silver thread. Knitted cap; part of a wealthy ladies’ bridal dress. Stock Photo
RMKCEJX5–Icelandic, 19th century, traditional, ladies, formal clothing. made of imported fabrics embroidered in gold or silver thread. Knitted cap; part of a wealthy ladies’ bridal dress.
Artemisia Gentileschi (8 July 1593–ca. 1656) was an Italian Early Baroque painter. Portrait of a Lady, Three-Quarter Length Seated, Dressed in a Gold Embroidered Elaborate Costume Stock Photo
RMD98ETK–Artemisia Gentileschi (8 July 1593–ca. 1656) was an Italian Early Baroque painter. Portrait of a Lady, Three-Quarter Length Seated, Dressed in a Gold Embroidered Elaborate Costume
Icelandic, 18th century, traditional, ladies, formal clothing. made of imported fabrics embroidered in gold or silver thread. Collar on an old style women’s costume, ornamented with metal thread embroidery, metal thread bobbin lace and beads. Stock Photo
RMKCEJX0–Icelandic, 18th century, traditional, ladies, formal clothing. made of imported fabrics embroidered in gold or silver thread. Collar on an old style women’s costume, ornamented with metal thread embroidery, metal thread bobbin lace and beads.
Embroidered Parokhet from the Altneushul in Prague, Czech Republic. Patchwork embroidery depicting an Ark of the Law with a Torah curtain. By Solomon Gold, 1592. The parochet (curtain or screen) covers the Aron Kodesh (Torah Ark) containing the Sifrei Torah (Torah scrolls) in a synagogue. Stock Photo
RMRJARBJ–Embroidered Parokhet from the Altneushul in Prague, Czech Republic. Patchwork embroidery depicting an Ark of the Law with a Torah curtain. By Solomon Gold, 1592. The parochet (curtain or screen) covers the Aron Kodesh (Torah Ark) containing the Sifrei Torah (Torah scrolls) in a synagogue.
English countrywoman carrying basket of chickens and wearing apron over plain clothes (right). On left is a lady of the Court with fur-trimmed coat over embroidered dress. Sumptuary laws dictated what each caste of society could wear. Engraving from Braun 'Civitates Orbis Terrarum' 1572 Stock Photo
RMD96CDF–English countrywoman carrying basket of chickens and wearing apron over plain clothes (right). On left is a lady of the Court with fur-trimmed coat over embroidered dress. Sumptuary laws dictated what each caste of society could wear. Engraving from Braun 'Civitates Orbis Terrarum' 1572
scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066 Stock Photo
RMDYEBRA–scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066
scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066 Stock Photo
RMDYEBRC–scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066
scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066 Stock Photo
RMDYEBR8–scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066
scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066 Stock Photo
RMDYEBR9–scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066
scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066 Stock Photo
RMDYEBRE–scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066
scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066 Stock Photo
RMDYEBRD–scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066
scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066 Stock Photo
RMDYEBR7–scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066
scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066 Stock Photo
RMDYEBRB–scene from the Bayeux Tapestry an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings in 1066
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMR2–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMR0–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMR7–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMP9–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMRB–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMRK–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMP7–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMPA–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMR6–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMRM–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMPT–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RMRJRMP8–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RM2A26G09–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans. Stock Photo
RM2A26G06–Episode from the Bayeux Tapestry, an embroidered cloth nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, culminating in the Battle of Hastings, in 1066. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans.
Votive statuettes. The styles of these statuettes are all very different, but it is likely that they were all intended as votive offerings. One shows a bearded man holding a bundle of wigs or barsom, used by Zoroastrian priests for their sacred fire. The two small gold statuettes wear 'Median dress' of a belted tunic and trousers with embroidered overcoats thrown over their shoulders.5th - 4th BC Stock Photo
RMD972G1–Votive statuettes. The styles of these statuettes are all very different, but it is likely that they were all intended as votive offerings. One shows a bearded man holding a bundle of wigs or barsom, used by Zoroastrian priests for their sacred fire. The two small gold statuettes wear 'Median dress' of a belted tunic and trousers with embroidered overcoats thrown over their shoulders.5th - 4th BC
Votive statuettes. The styles of these statuettes are all very different, but it is likely that they were all intended as votive offerings. One shows a bearded man holding a bundle of wigs or barsom, used by Zoroastrian priests for their sacred fire. The two small gold statuettes wear 'Median dress' of a belted tunic and trousers with embroidered overcoats thrown over their shoulders.5th - 4th BC Stock Photo
RMD972G6–Votive statuettes. The styles of these statuettes are all very different, but it is likely that they were all intended as votive offerings. One shows a bearded man holding a bundle of wigs or barsom, used by Zoroastrian priests for their sacred fire. The two small gold statuettes wear 'Median dress' of a belted tunic and trousers with embroidered overcoats thrown over their shoulders.5th - 4th BC
Icelandic, 18th century, traditional, ladies, formal clothing. made of imported fabrics embroidered in gold or silver thread. Collar on an old style women’s costume, ornamented with metal thread embroidery, metal thread bobbin lace and beads. 19th century, Loose pocket, worn by women, with shaded floral embroidery in multi-coloured woollen yarn. Stock Photo
RMKCEJX4–Icelandic, 18th century, traditional, ladies, formal clothing. made of imported fabrics embroidered in gold or silver thread. Collar on an old style women’s costume, ornamented with metal thread embroidery, metal thread bobbin lace and beads. 19th century, Loose pocket, worn by women, with shaded floral embroidery in multi-coloured woollen yarn.
Scene from 'The Scarlet Letter' (1850) novel by the American author Nathaniel Hawthorne (1804-1864). Set in the times of the dour Puritan pioneers of New England the heroine, Hester Prynne, has to wear the scarlet letter A for Adultery embroidered on her bodice. Here she is being led to the public pillory. Illustration by Hugh Thomson (1860-1920) for an edition published in 1820. Halftone. Stock Photo
RMD95NBJ–Scene from 'The Scarlet Letter' (1850) novel by the American author Nathaniel Hawthorne (1804-1864). Set in the times of the dour Puritan pioneers of New England the heroine, Hester Prynne, has to wear the scarlet letter A for Adultery embroidered on her bodice. Here she is being led to the public pillory. Illustration by Hugh Thomson (1860-1920) for an edition published in 1820. Halftone.
A scene from the Bayeux Tapestry depicting King Edward talking with Harold. The Bayeux Tapestry is an embroidered cloth nearly 70 metres (230 ft) long and 50 centimetres (20 in) tall, It depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. It is thought to date to the 11th century Stock Photo
RMRJB0FX–A scene from the Bayeux Tapestry depicting King Edward talking with Harold. The Bayeux Tapestry is an embroidered cloth nearly 70 metres (230 ft) long and 50 centimetres (20 in) tall, It depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. It is thought to date to the 11th century
A scene from the Bayeux Tapestry depicting King Edward talking with Harold. William the conqueror is seen hunting. The Bayeux Tapestry is an embroidered cloth nearly 70 metres (230 ft) long and 50 centimetres (20 in) tall, It depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. It is thought to date to the 11th century Stock Photo
RMMR6MP3–A scene from the Bayeux Tapestry depicting King Edward talking with Harold. William the conqueror is seen hunting. The Bayeux Tapestry is an embroidered cloth nearly 70 metres (230 ft) long and 50 centimetres (20 in) tall, It depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. It is thought to date to the 11th century
Detail from the Bayeux Tapestry depicting the events leading up to the Norman conquest of England. Specifically concerning William the Duke of Normandy and Harold, Earl of Wessex, and King of England. The events all lead up to the famous Battle of Hastings. It is not an actual tapestry, more an embroidered cloth that is almost 70 metres in length. It features fifty scenes with Latin tituli, or captions, and is thought to have been made in England in the 1070's. Stock Photo
RMDYF14K–Detail from the Bayeux Tapestry depicting the events leading up to the Norman conquest of England. Specifically concerning William the Duke of Normandy and Harold, Earl of Wessex, and King of England. The events all lead up to the famous Battle of Hastings. It is not an actual tapestry, more an embroidered cloth that is almost 70 metres in length. It features fifty scenes with Latin tituli, or captions, and is thought to have been made in England in the 1070's.
Portrait of Arnoldus van Rijneveld by Louis Tocque (1696-1772) oil on canvas, c 1738. The painter Louis Tocque was accepted into the French Academie Royale in 1734. His work was highly sought after at that time. He was much admired for his ability to evoke an informal atmosphere, while nevertheless meticulously rendering his sister's sumptuous clothing and accessories. Arnoldus van Rijneveld's fashionable outfit, undoubtedly from Paris is made from embroidered with gold thread. Stock Photo
RMDYEAHJ–Portrait of Arnoldus van Rijneveld by Louis Tocque (1696-1772) oil on canvas, c 1738. The painter Louis Tocque was accepted into the French Academie Royale in 1734. His work was highly sought after at that time. He was much admired for his ability to evoke an informal atmosphere, while nevertheless meticulously rendering his sister's sumptuous clothing and accessories. Arnoldus van Rijneveld's fashionable outfit, undoubtedly from Paris is made from embroidered with gold thread.
Music room in the Austrian Imperial Palace at Hofburg, Innsbruck. Embroidered furniture by Mrsil of Vienna 1898 Stock Photo
RMKJ1PTJ–Music room in the Austrian Imperial Palace at Hofburg, Innsbruck. Embroidered furniture by Mrsil of Vienna 1898
Music room in the Austrian Imperial Palace at Hofburg, Innsbruck. Embroidered furniture by Mrsil of Vienna 1898 Stock Photo
RMKJ1PTH–Music room in the Austrian Imperial Palace at Hofburg, Innsbruck. Embroidered furniture by Mrsil of Vienna 1898
Music room in the Austrian Imperial Palace at Hofburg, Innsbruck. Embroidered furniture by Mrsil of Vienna 1898 Stock Photo
RMKJ1PTN–Music room in the Austrian Imperial Palace at Hofburg, Innsbruck. Embroidered furniture by Mrsil of Vienna 1898
Painting by Lucas Cranach the Elder titled 'Portrait of a Man with a Gold-Embroidered Cap', 1532. Part of the collection of the The Metropolitan Museum of Art, New York. Stock Photo
RM2CWBC72–Painting by Lucas Cranach the Elder titled 'Portrait of a Man with a Gold-Embroidered Cap', 1532. Part of the collection of the The Metropolitan Museum of Art, New York.
'Embroidered Hanging', 1896, Artist: Godfrey Blount. Godfrey Blount set up The Haslemere Peasant Industries in I896 in Surrey. It was an umbrella organisation for a number of small craft workshops employing local skilled labour. Stock Photo
RM2CWBE50–'Embroidered Hanging', 1896, Artist: Godfrey Blount. Godfrey Blount set up The Haslemere Peasant Industries in I896 in Surrey. It was an umbrella organisation for a number of small craft workshops employing local skilled labour.
Dragon and Phoenix Vase, Kangxi reign (1662-1722), Qing dynasty. Phoenixes and dragons represented female and male, yin and yang. They were also symbols for empresses and emperors. A bride at a traditional Chinese wedding might have phoenixes embroidered on her gown to show that she was 'empress for a day'. Stock Photo
RMEC7MHG–Dragon and Phoenix Vase, Kangxi reign (1662-1722), Qing dynasty. Phoenixes and dragons represented female and male, yin and yang. They were also symbols for empresses and emperors. A bride at a traditional Chinese wedding might have phoenixes embroidered on her gown to show that she was 'empress for a day'.
Dragon and Phoenix Vase, Kangxi reign (1662-1722), Qing dynasty. Phoenixes and dragons represented female and male, yin and yang. They were also symbols for empresses and emperors. A bride at a traditional Chinese wedding might have phoenixes embroidered on her gown to show that she was 'empress for a day'. Stock Photo
RMEC7MHH–Dragon and Phoenix Vase, Kangxi reign (1662-1722), Qing dynasty. Phoenixes and dragons represented female and male, yin and yang. They were also symbols for empresses and emperors. A bride at a traditional Chinese wedding might have phoenixes embroidered on her gown to show that she was 'empress for a day'.
Hanging 1896, by Godfrey Blount, (1859 - 1937). Linen, with linen applique and satin stitch edging in linen thread. 'peasant tapestry' embroidered in linen. designed by Godfrey Blount and made at the Haslemere Peasant Industries in 1896. The Haslemere Peasant Industries was a community of artist craftspeople which was set up in Surrey Stock Photo
RM2JYY556–Hanging 1896, by Godfrey Blount, (1859 - 1937). Linen, with linen applique and satin stitch edging in linen thread. 'peasant tapestry' embroidered in linen. designed by Godfrey Blount and made at the Haslemere Peasant Industries in 1896. The Haslemere Peasant Industries was a community of artist craftspeople which was set up in Surrey
Jón Arason's Chasuble, an ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass. Bishop Jón Arason (1484-1550) an Icelandic Roman Catholic bishop and poet. Dated 16th Century Stock Photo
RMKCEKG3–Jón Arason's Chasuble, an ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass. Bishop Jón Arason (1484-1550) an Icelandic Roman Catholic bishop and poet. Dated 16th Century
Jón Arason's Chasuble, an ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass. Bishop Jón Arason (1484-1550) an Icelandic Roman Catholic bishop and poet. Dated 16th Century Stock Photo
RMKCEKG8–Jón Arason's Chasuble, an ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass. Bishop Jón Arason (1484-1550) an Icelandic Roman Catholic bishop and poet. Dated 16th Century
Jón Arason's Chasuble, an ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass. Bishop Jón Arason (1484-1550) an Icelandic Roman Catholic bishop and poet. Dated 16th Century Stock Photo
RMKCEKG9–Jón Arason's Chasuble, an ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass. Bishop Jón Arason (1484-1550) an Icelandic Roman Catholic bishop and poet. Dated 16th Century
Jón Arason's Chasuble, an ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass. Bishop Jón Arason (1484-1550) an Icelandic Roman Catholic bishop and poet. Dated 16th Century Stock Photo
RMKCEKG5–Jón Arason's Chasuble, an ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass. Bishop Jón Arason (1484-1550) an Icelandic Roman Catholic bishop and poet. Dated 16th Century
Jón Arason's Chasuble, an ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass. Bishop Jón Arason (1484-1550) an Icelandic Roman Catholic bishop and poet. Dated 16th Century Stock Photo
RMKCEKG6–Jón Arason's Chasuble, an ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass. Bishop Jón Arason (1484-1550) an Icelandic Roman Catholic bishop and poet. Dated 16th Century
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