Thursday, April 23, 2026

Another Blackwork Embroidery Pattern Found on a Hans Holbein Portrait!?!?

This is the 33rd portrait attributed to Hans Holbein the Younger that I have found thus far with blackwork embroidery in it!

 


This is a portrait of an unknown English lady that is part of the Oskar Reinhart Collection with Museen und Sammlungen des Bundes from circa 1535. This portrait is 32.9 x 25.4 cm in dimension. The museum description of this portrait states, "The young woman in three-quarter profile seems introverted and controlled. The interlocking hands rest on her lap. The expressionless face is turned to the left; her gaze goes into the distance. Although the identity of the portrayed cannot be clarified, her beaded bonnet identifies her as an English noblewoman. In the portrait, detailed elements such as the embroidered cuffs or the brooch on the bonnet alternate with flat sections such as the dark-robed upper body and the petrol-colored background. It was written during Holbein's second stay in England. The Ausburger, whose father had already been a famous Renaissance painter, became a court painter to the English King Henry VIII in 1536." 

 

 

Here is an enhanced picture of the lady's cuffs. Based on what I can see of the blackwork embroidery pattern, I have recreated the pattern to the best of my ability. Please see below.

 

 

I was extremely excited when I saw this portrait, as it's the first time that I have seen this particular portrait. Aside from finding another blackwork embroidery pattern in a Holbein portrait, I am also intrigued by the brooch on her gable hood -- as I have not seen any other ladies in portraits from this time period wearing a brooch on their hoods (French hood or gable hood).  

 

 

 

 

Sunday, April 19, 2026

Patterns in Ink on Linen for Blackwork Embroidery | Pouncing

Around 1540 in England, the counted stitch form of blackwork embroidery (also known as Holbein Stitch) gave way to the swirly, floral type of blackwork embroidery that remained popular well into the 17th century. Prick and pounce, otherwise known as pouncing, was a way to transfer the swirly, floral pattern on to the linen and then the embroidery was placed over top of the inked pattern.

 


In England in the early 17th century, patterns for embroidery were provided by print sellers. Many of these were designs inspired by images of birds, animals, insects and plants found in illustrated natural history and botanical books, which were very popular at the time. This was a commercial provision for the needs of the amateur embroiderer; the print sellers not only provided books and separate sheets of embroidery designs but also patterns printed or drawn directly onto a textile ground as seen here. The use by amateur embroiderers of prepared designs was know from at least the 16th century. Mary Queen of Scots, while imprisoned in Lochleven Castle in 1568, petitioned for 'an imbroderer to drawe forthe such worke as she would be occupied about'. 

From the 16th century the publication of embroidery pattern books published spread new and fashionable designs throughout Europe. These could be transferred onto linen by pricking holes along the outlines, pouncing (dusting with fine black powder), then joining the dots with a fine brush and black ink. Professional embroiderers and artists were sometimes hired to draw new patterns freehand. By the early 17th century, embroidery designs were being printed directly onto linen.

 

          Works Cited: 

- “Coif and Forehead Cloth.” V&A Museum. https://collections.vam.ac.uk/item/O251244/coif-and-forehead-unknown/
- Holbein the Younger, Hans. “Unknown Woman.” National Portrait Gallery. https://www.npg.org.uk/collections/search/portrait/mw01146/Unknown-woman-formerly-known-as-Catherine-Howard
- Holbein d. J., Hans. “Jane Seymour.” Kunst Historisches Museum Wien. https://www.khm.at/en/objectdb/detail/966/
 - “Waistcoat Part #2.” V&A Museum. https://collections.vam.ac.uk/item/O115757/waistcoat-part-unknown/
- “Woman’s Coif.” Art Institute of Chicago. https://www.artic.edu/artworks/62497/woman-s-coif-altered.

 

Friday, April 17, 2026

Mary, Lady Guildford... Was Her Surname Wooten or Wotton?

According to the Saint Louis Art Museum, Mary, Lady Guildford's surname was Wooten. It also lists her year of death as 1535. However, she died in September 1558.

 


However, also according to the Saint Louis Art Museum, her surname was Wotton.

 


And according to The Met, her surname was Wotton. 

 


So far in my research, I have only found the spelling of Wotton, except for the one example of Wooten from the Saint Louis Art Museum. I will be reaching out to the museum to inquire about the spelling of her surname, as well as correcting her year of death. I know that there was no standardized spelling in the 16th century. For example, Boleyn (as in Anne Boleyn, the 2nd wife of King Henry VIII) had her family's surname was documented as Boleyn, Buleyn, Bolen, Bulleyne, Boleyne, Bolleyne, Boyleyn, Bowleyne, Bulloigne, and Bullen. 

 

According to FamilySearch.org, "Mary Wotton was born in 1499, in Boughton Malherbe, Kent, England, her father, Sir. Robert Wotton, was 44 and her mother, Anne Belknap, was 39." According to The Met, her father Robert Wotton was Controller of the Royal Household and a Garter Knight. 

After 26 December, 1523, Mary became the second wife of Sir Henry Guildford. 

In 1527, Hans Holbein the Younger painted portraits of both Sir Henry and his wife, Mary, most likely to celebrate his position as "Master of the Revels" by arranging ceremonies at Greenwich to mark a peace accord between England and France.

According to the Saint Louis Art Museum, "Holding her prayer book and turning to face the viewer, this 27-year-old is the very image of matronly respectability. Hans Holbein added a Renaissance column topped with forms he knew from Italy. The artist also incorporated green grape vines and leaves (symbols of wealth) and his favorite blue to create a background of considerable beauty. The preparatory drawing for this painting shows a captivating young woman who glances off to the side. In the finished painting, Holbein changed Mary’s gaze to suggest a more serious wife. This alteration was probably the request of Mary’s husband, Henry Guildford, who held the important post of comptroller to King Henry VIII." 

The preliminary sketch that Holbein drew of Mary is held at the KunstMuseum Basel.  

 

Sir Henry Guildford died on 28 May, 1532 in Kent, England. He was buried in Blackfriars, London, England. 

By July 1540, Mary had married for a second time, this time to Sir Gawain Carew. In 1543, she was listed as one of the ladies of Queen Kateryn Parr's household. She died childless in September 1558, at the age of 59.

Mary's sister was Margaret Wotton, Marchioness of Dorset, who was the second wife of Thomas Grey, Marquess of Dorset, and the mother of his children, including Henry Grey, Duke of Suffolk (the father of Lady Jane Grey, the 9 Days Queen of England). Two of her brothers held important positions in the government: Edward Wotton (knighted and later appointed sheriff of Kent) was Treasurer of Calais and Nicholas Wotton was a diplomat who served Queen Mary Tudor as Ambassador to France and later arranged the marriage of Henry VIII to his fourth wife, Anne of Cleves, in 1539.

 

According to her burial plaque at St. Mary Churchyard in Devon, England, her surname was indeed Wotton.  

 

 


My interpretation of the inscription above is:

Here beth buried the Lady Mary Guildford daughter … Robert Wotton of Kent knight… wife to … Guildford knight of the garter controller of household to the most nobull (noble) &… of England France & Ireland defender of the faith… the wyffe of Sir Gawyn Carew knight, who ended thys lyffe the XIIII day of September on MCCCCCLVIII.

 

An interesting thing, though, is the monument erected in 1589 for Sir Gawen Carew and his wife, Mary, at Exeter Cathedral in Devon, England. Sir Gawen made his will on 11 October 1582, where he asked to buried in Exeter Cathedral, where the monument was later erected, and appointed Francis Russell, 2nd Earl of Bedford, as the overseer. He later died on 25 March 1584, according to Exeter Cathedral. The interesting thing is that Mary died in 1558 and is buried at St. Mary Churchyard in Devon, England. After Mary's death, he later remarried by 1560, this time to Elizabeth Norwich, a lady in Queen Elizabeth's household. In 1587, Lady Carew was listed as one of the ladies of the bedchamber. 

So, I find it interesting that this monument in Exeter Cathedral is devoted to Sir Gawen and his first wife, whom is not buried with him (they're not even buried in the same church). This means he was married to his first wife for about 18 years and then approximately 24 years to his second wife. However, his second wife is not mentioned at all on the monument. 

 

 

         

 

 

Wednesday, April 15, 2026

Received a Notice from Barnes & Noble Regarding My Latest Embroidery Book

My latest embroidery book, 16th to 18th Century Double-Running Stitch Embroidery Patterns is currently available with Amazon and Barnes & Noble. However, I received a notification from Barnes & Noble stating, "Barnes & Noble Press print books must have a retail price of $14.99 or more. Due to increased shipping and printing fees associated with Print Projects, this change helps ensure that authors can cover the costs and earn royalties on the sales of their books. Starting April 22nd, 2026, our platform will not allow the creation of new listings for less than $14.99. If you have any titles retailing for less than $14.99 on May 14th, 2026, we will begin removing those listings from sale."

As I have always kept my books cost effective for people to purchase, I am unwilling to raise the price of my book from $6.99 to $14.99. Hopefully, the book will continue to be available as an ebook with Barnes & Noble.

My book will continue to be available with Amazon, along with my other 2 embroidery books: Pre-18th Century Embroidery Patterns (1st Edition) and Patterns from 16th Century Pattern Books





Monday, April 13, 2026

Embroidering an Italian Pattern from a Sampler Circa 1600 | Blackwork Embroidery

This particular embroidery pattern is from an Italian sampler, circa 1600, located at the Metropolitan Museum of Art. The sampler features silk embroidery done in a double-running stitch, as well as white cutwork.

 


Blackwork embroidery is also known as double-running stitch or Holbein stitch. Historically, it was typically found as silk thread embroidered on white linen in a reversible stitch. 

For more information on the Italian sampler and other embroidery patterns from this sampler, please visit: https://tudorblackwork.blogspot.com/2020/09/blackwork-patterns-from-italian-sampler.html

 

        Suggested Items for Purchase: 
 
- Patterns from 16th Century Pattern Books: https://amzn.to/3VxcuS3 
- 16th to 18th Century Double-Running Stitch Embroidery Patterns (2nd edition on Amazon): https://amzn.to/42NlF4P 
- Slate Frame (T.F. Woodcraft): https://www.tfwoodcraft.com/shop/slate-frames/ 
- Linen Fabric: https://amzn.to/3MnnccA 
- Craft Stand: https://amzn.to/3pYGlR0 
 
 
 
         Photo credit: 

 

 

 

Friday, April 3, 2026

Same Pattern in 2 Different 17th Century Embroidery Samplers

When looking at Margaret Barber's English embroidery sampler circa 1661-1663 at The Met, a pattern stuck out to me that I had seen it before elsewhere! 

 

 This pattern is found at the very top of Barber's sampler.

  

That's because it's the same pattern found on Mildred Mayow's English embroidery sampler circa 1633 at the V&A Museum. This pattern is also found on page 100 of my latest book: 16th to 18th Century Double-Running Stitch Embroidery Patterns

 

 

On Mayow's sampler, the pattern is near the bottom.