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Sash Borders, linen embroidered with silk double running in steps and in diagonal lines, double running in a line and fishbone stitch (border). There are four elements in this design: a round red blossom with petals separated by thin green leaves, a ragged blue flower, a spray of rose leaves and a rosebud. These have been arranged to give the impression of two offset bands, but the placing is quite haphazard..

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  • 1700 / 1799, Turkey
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  • Sash Borders, linen embroidered with silk double running in steps and in diagonal lines, double running in a line and fishbone stitch (border). There are four elements in this design: a round red blossom with petals separated by thin green leaves, a ragged blue flower, a spray of rose leaves and a rosebud. These have been arranged to give the impression of two offset bands, but the placing is quite haphazard.. (en)
  • Turkish people wore sashes round their waists. They tied them so that the decorative ends hung below knee level. From about the 1720s onwards Ottoman embroidery stopped copying woven designs and became a truly creative art form. Designers introduced new, lifelike floral decorations, many of which were very detailed. They allowed some floral decorations to sway and sweep across the fabric. Some were stylised. All decorations were worked in soft colours often enriched with metal thread. The colours of many 18th century embroideries were originally very bright but they have faded to pleasing pastel shades. (en)
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  • CIRC.151&A-1929
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  • Sash Borders, linen embroidered with silk double running in steps and in diagonal lines, double running in a line and fishbone stitch (border). There are four elements in this design: a round red blossom with petals separated by thin green leaves, a ragged blue flower, a spray of rose leaves and a rosebud. These have been arranged to give the impression of two offset bands, but the placing is quite haphazard.. (en)
  • Turkish people wore sashes round their waists. They tied them so that the decorative ends hung below knee level. From about the 1720s onwards Ottoman embroidery stopped copying woven designs and became a truly creative art form. Designers introduced new, lifelike floral decorations, many of which were very detailed. They allowed some floral decorations to sway and sweep across the fabric. Some were stylised. All decorations were worked in soft colours often enriched with metal thread. The colours of many 18th century embroideries were originally very bright but they have faded to pleasing pastel shades. (en)
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  • 1700 / 1799, Turkey
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