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 llllliillllllllllililllllllillliillllllllllllM

Designs and Instructions for

Hardanger ^^^ Embroidery

Trade Mark

•• UtOISTERtO ^^
T. B. C.
Published hy
X. BUETTNER & CO., I-corvorated

Art Needlework Specialists Importers and Manufacturers

CHICAGO. ILLINOIS. HAMBURG, GERMANY.
PRICE. 25 CENTS
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
mi
 ^ •
^t- 'U
'I
1/

Book No. 8930

T. B. C. Instructions and Designs

for

<!r-f

f s

or

NOP^EGIAN
EMIMIOIDI'IRY
Copyright J 9 15 by

T, Buettner & Co., Inc.

Chicago, III.

Designs by
Nanna T. Boedker

Published by

T. Buettner (^ Co., Inc.

The Art Needlework Specialists, Importers and Manufacturers

HAMBURG, GERMANY CHICAGO, ILLINOIS

Also Publishers of the following:

Book No. 8b28— T. B. C. Instructions and Designs for Crocheting in Connection with Novelty Braids.

Book No. 8629-T. B. C. Instructions and Designs for Crocheting in Connection with Coronation Cords,

Book No. 8630.— T. B. C. Instrictions and Designs for Crocheting Edges,Insertions, Medallions, Yokes,ctc.

Book No. 2808-T. B. C. Instructions and Designs for Hedebo Embroidery.

Book No. 2809— T. B. C. Instructions and Designs for Hardanger Embroidery.
Book No. 5257— T. B. C. Instructions and Designs for Irish Crochet Lace.
Book No. 8631- T. B. C. Instructions and Designs for Tatting.

WHOLESALE ONLY
 .itirMnlioTi^ for VV'<

Hardanger embroidery must be made on a material of which the warp and woof threads
are the same thickness and evenly spaced in weaving.
All Hardanger work is done by counting threads of the cloth.
The solid embroidery or ornamental stitches are always made with a heavy thread for
which size 5 T. B. C. Coton Perle, sizes 2 and 3, NUN'S Eleo Perle Hardanger Twist and
Saxonia Embroidery Thread are especially adapted.
The openwork is made of finer twisted threads such as No. and No. 1 NUN'S Eleo
Perle Hardanger Twist.
Best results are obtained by using a frame or embroidery hoops when making solid or
ornamental stitches.
The cutting of threads and the openwork must be made out of the frame or hoops, for
when the material is stretched tight it is difficult to draw the threads and to weave them
together.
THE SETTING.
Squares of straight stitches are made over as many threads of the material as you cut
away later. These squares of solid embroidery are made all around and serve as a border
to the openwork. This is called a set-
ting.
Make 5 straight stitches covering
4 double threads if 4 double threads of
the material are to be cut and drawn,
or 7 straight stitches if 6 double
threads are drawn. The stitches are al-
ways parallel with the threads that
are to be cut off and drawn.
Fig. 1 shows the setting of a square.
The vertical edges are bordered by
squares of horizontal stitches the hori-
;

zontal edges, by squares of vertical

stitches. Having finished the squares
take work from frame and cut threads
of the material which are to be re-
moved and draw them out. Cut close
to the setting stitches.

liiiiii'^Pli^iiiii
 Fig. 2 shows plain woven bars made of alternated darning stitches. The needle is
brought up between the center threads, down over the left half, up through the center and
over right half, etc. This figure shows the appearance of the square in Fig. 1 after some
of the bars have been woven.
Fig. 2-A shows bars woven in the same way as in Fig. 2, but with threads drawn from
cloth in only one direction.
Fig. 3. Woven bars ornamented with
post picots as shown in Fig. 3 add much to
the appearance of Hardanger Embroidery
and are not more difficult to make than plain
woven bars.
Weave the bars same as in Fig. 2. Hav-
ing made stitch to the right of bar, twist
thread around needle twice with the left
hand, insert point of needle same as when
making left stitch, draw loop thread up so
as to bring picot close to bar, draw needle
through and make right picot in the same
way, or if picots are desired only on one
side of bar, continue the plain weaving.

Fig. 3.

Fig. 3-A shows post picot bars and weav-

ing same as in previous figure but in a more
open design, accomplished by drawing out
more threads.

Fig. 3-A.

ilE^ MilXiiliiil ii

Jiiii:
Fig. 4 shows woven post picot and plain
woven bars. The plain bars are ornamented
with loop stitches. After all bars have been
woven, start in the corner of square of plain
mtttt MiiiMliilWMifciii woven bars and loop a thread to next corner,
twist thread over loop twice and make next
Fig. 4. loop.
 Fig. 5 shows groundwork. Make setting stitches
then fill in groundwork which is made over 3
first,
double threads each way. Begin by bringing needle
point up at upper right corner of first three double
threads. Down at upper left corner, up at lower
right, down at upper right, up at lower left, down
at upper left, up at lower right, down at lower left.
Repeat to end of row. then turn work and begin
second row, needle up at upper right corner of
next three double threads. Down at upper left, up
at lower left, down at upper left, up at lower right,
down at lower left, up at lower left of next square,
down at upper left, up at lower right, and continue
back and forth.

Fig. 5.
W***<>

Fig. 6.
In this fig-
ure setting
s t i t ches
are used
for orna-
mental
purposes
by work-
ing over a
va r y n g i

number of
th r ea ds.
In this /::;
inst a nee
over 4 and Fig- 6.

8 alternately. The open space is formed by

drawing out all but 2 center double threads
each way. Fig. 7.

Fig. 7 shows setting, or-

namental, scallop and open-
work which are explained in
the other motifs.

Fig. 8 shows festoon

stitches which are made by
working two half cross
stitches parallel on the bias
over two threads of the ma-
terial.

Fig. 9 shows ornamental

stitches worked over four, -.t-.i r I'l I 1 '.'

eight and twelve double

threads of the material. The
eyelets are made over two
double threads each way.

Fig. 8. Fig. 9.
For full size illustrations of details see pages 6, 7, 8 and 9.

5
 i
m
::iMmm^^,
:/.:
^1;

iu'.:

Fig. 13. Shows details of Fig. 10 on page 5.

Fig. 14. Shows details of Fig. 10 on page 5.
 Fig. 10. TEA CLOTH on page 5. For details see Figs. 13 and 14.

Made on No. 824 Hardanger canvas. For solid work use No. 3; for weaving and open
work use No. t<,UN'A Eleo Perle Hardanger Twist. Begin with solid embroidery around
the open work parts. Cut and draw threads and make the open work then the ornamental;

figures. The woven bars in this design are ornamented with Post picots, formed by twist-
ing the thread twice around the needle. The edge is finished with a scallop shaped same
as the design of the border.

Fig. 11.

SERVING CLOTH
on page 5.

For details see Fig. 15.

Made on white Har-

danger Canvas No. 824.
For solid work use No.
3 ; for weaving and
open work use No.
PiUp- Eleo Perle Har-
danger Twist. Begin
with solid work around
the open work parts.
Cut and draw threads
and make the open
work then make orna-
;

mental design. The

edge is made with a
scalloped button hole
edge and finished with
loop lace stitches. To
make the la;tter, loop
the thread as shown in
Fig. 15 and fasten with
double buttonhole
stitch.

Fig. 15. Shows details of Fig. 11 on page 5.

Fig. 12. DOILY FOR SANDWICH BASKET on page 5. For details see Fig. 16.
Made on No. 824 Hardanger canvas. Solid embroidery is done with T. B. C. Coton
Perle No. 5. Use ^yi!'* Eleo Perle No.1 for the lace stitches. Begin with solid embroid-
ery around the open work parts. Then cut and draw out the threads of the canvas for the
open work. The eyelets are worked over two threads of the canvas in each direction. The
rows of festoon stitches are made by working two parallel half cross stitches on the bias.
The outer edge or scallop is made in the usual Hardanger weave stitch, except the corners,
which are made with a close buttonhole stitch.

Fig. 17. BUFFET SCARF For details see Fig. 19.

on page
10.
Made on white Hardanger canvas No. For solid work use No. 3 for weaving
824. ;

and open work use No. 1 r<UN'5 Eleo Perle Hardanger Twist. Begin with solid embroidery
around the open work parts. Cut, draw the threads and make the open work; then the
ornamental stitches. In the small square motifs for the lace work, cut eight double threads
in each direction, leaving four double threads on each side for the overcast bars; each bar
is overcast over two threads. In the center of the scarf the bars in the square motifs are
intersected by branches which also are overcast; these separate the center bars. In every
other motif add the loop stitch. The scalloped edge is finished with a single row of weav-
ing with close buttonhole stitches in the corners.
Fig. 16. Shows details of Fig. 12 on page 5.
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For full size illustrations of details see pages 11 and 12.

10
Fig. 19. Shows details of Fig. 17 on page 10.

11
Fig. 20. Shows details of Fig. 18 on page 10.

12
Fi9.21
 Fig. 18. BUFFET SCARF on page 10. For details see Fig. 20.
Made on white Congress canvas No. 1313. For solid embroidery use No. 3. for weav-
ing and open work use No. 1 ^yi^'i Eleo Perle Hardanger Twist. Begin with solid work
around the open work parts, then fill in the solid figures which form the design. Cut and
draw threads of the material for the open work parts. Use the post picot stitch through-
out the open work parts except where the open work cuts through the figure.
The edge is made in the regular weaving stitch except at the corners these are made;

in a close button hole stitch.

The design is very lacy and exceptionally handsome.

Fig. 27. Shows details of Fig. 21 on page 13.

Fig. 21. CENTER PIECE on page 13. For details see Figs. 27 and 28.
Made on Hardanger canvas No. For solid embroidery and scallop use No. 5
824.
T. B. C. Coton Perle; for the open work use No. l<UN'5 Eleo Perle Hardanger Twist.
Begin with the solid embroidery around the open work parts. Cut and draw out the threads
of the material for the open work. Open work parts are made with plain woven bars and
Post Picot Bars. The edge is a plain buttonhole scallop.
Fig. 22. DRESSER SCARF IN GRECIAN on page 13. For details see Fig. 29.
Made on white Hardanger canvas No. 824. For solid embroidery use No. 2; for open
work and weaving use No. I^MH!'* Eleo Perle Hardanger Twist. Begin with solid em-
broidery around the open work parts. Cut and draw out the threads of the material for
the open work. The open work parts are all made of plain woven bars. Finish scarf on
all sides with a plain hem.
14
 Fig. 28. Shows details of Fig. 21 on page 13.

Fig. 23. DRESSER SCARF on page 13. For details see Fig. 30.
Made on mercerized Hardanger canvas No. 8755. For solid embroidery use No. 5 T. B. C.
Coton Perle for the weaving and open work use No. 1 f^WS> Eleo Perle Hardanger
;

Twist. Begin with solid embroidery around the open work parts. The eyelets in the center
figure and border are worked over two threads of the material in each direction, no threads
are cut for these.
Finish the long sides with a narrow hem and the two ends with scallop.

Fig. 24. DOILY on page 13. For details see Fig. 31.
Made on Congress canvas No. 1313. For solid embroidery use No. 3; for weaving and
open work use No. ftyi^'^s Eleo Perle Hardanger Twist. Begin with solid embroidery
around the open work parts, then work the ornamental figures. Make eyelets over two
threads of the material in each direction.
Finish edge with a plain hem adding a little open design four threads inside of the hem
as shown.

Fig. 25. CENTER PIECEon page 13. For details see Fig. 32.
Made on cream Congress canvas No. 826. For solid embroidery use No. 5 White
T. B. C. Coton Perle for weaving and open work use No.
; f^3'^ Eleo Perle Hardanger
Twist. Begin with solid embroidery around the open work parts. Cut and draw out the
threads of the canvas for the open work. The center square is filled with an open work
ground as shown in Fig. 5.
The small motif around the center is very handsome. Eight double threads of the can-
va.s are cut and drawn in each direction, leaving four double threads of the material which
are woven into bars. For the lace stitch work eight loop lace stitches, which, in a second
round are collected in the center and are drawn up to form a ring.
The piece is finished with a small open work hem.
15
Fig. 29. Shows details of Fig. 22 on page 13.

16
Fig. 30. Shows details of Fig. 23 on page 13.

17
 ;

Fig. 31. Shows details of Fig. 24 on page 13.

Fig. 26. DRESSER SCARF IN PYRAMID DESIGN on page 13. For details see Fig. 33.
Made on No. 825 white Hardanger canvas. For solid embroidery use No. 3 for weav- ;

ing and open work use No. 1 P.yN'* Eleo Perle Hardanger Twist. Begin by making the
solid part in the center of the octagon; then the solid embroidery around the open work
parts. In the two large open work motifs cut eight double threads of the canvas between
each four double threads which are left for weaving of the bars. The eyelets are worked
over two threads of the canvas in each direction. The scarf is finished with a hem. edged
with small ornamental stitches.
Fig. 34. SERVING CLOTH on page 21. For details see Fig. 39.
This is made on white mercerized Hardanger canvas No. 6568. For solid embroidery
use No. 5 T. B. C. Coton Perle for weaving and open work use No. 1 P^J^'i
; Eleo Perle
Hardanger Twist. Begin with the solid embroidery around the open work parts. Cut
and draw out the threads of the canvas for the open work; then make the ornamental
stitches. The edge is finished with a narrow open work hem.
This design is also very practical for curtains made on cream Congress canvas No. 826,
Fig. 35. TEA CLOTH on page 21. For
details see Figs. 40 and 41.
Made on mercerized Hardanger canvas No. For solid embroidery use No. 3
6568.
for weaving use No. 1 pUN'i Eleo Perle Hardanger Twist. Begin with solid work around
the open work parts. Cut and draw out the threads of the material.
The ornamental stitches in the border are made alternately with a small group of cross
stitches and an arrow star. After making scallops finish the edge with a fine buttonhole
stitch of Nun's Eleo Perle No. 1.

18
 Fig. 32. Shows details for Fig. 25 on page 13.

Fig. 36. STAND COVER on page 21. For details see Fig. 42.
Made on Hardanger canvas No. 824. For embroidery use No. 3: for weaving use
solid
No. 1 Eleo Perle Hardanger Twist.
iHUN's Begin with solid work around the open work
parts. Cut and draw the threads of the canvas.
The edge is finished with a narrow hem.
Fig. 37. TRAY CLOTH on page 21. For details see Fig. 43.
Made on mercerized Hardanger canvas No. For solid embroidery use No. 3 for
8755. ;

weaving and open work use No. 1 Nun's Eleo Perle Hardanger Twist. Begin with solid
embroidery around the open work for scallops; then make the ornamental stitches and
narrow festoon stitches.
The bars of the open work are made in the Hardanger weaving stitch except the cor-
ners of outer edge which are made with a close buttonhole stitch.

19
Fig. 33. Shows details of Fig. 26 on page 13.

20
 •In

Fig. 34
Rg.35
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For full size illustrations of details see pages 22, 23, 24 and 25.

21
 ;

Fig. 38.
BORDER
on page 21.
For details see
Fig. 44.
Made on
Hardanger can-
vas No. 825 and
can be inserted
in any material
desired. For
solid embroid-
ery us No. 3
forweaving and
open work use
No. Nun's
Eleo Perle
Hardanger
Twist. Begin
with solid em-
broidery around
the open work
parts. Cut and
draw the
threads of the
canvas. In the
alternate motifs
overcast bars
are made ir.

place of the
usual woven
bars. The fes-
to o n stitches
and eyelets are
used for orna-
mentation. The
edge is made in
an open work
design, using
Fig. 39. Shows details of Fig. 34 on page 21. the overcasting
stitch for the
bars.

Fig. 45. TEA CLOTH on page 26. For details see Fig. 51.
Made on Hardanger canvas No. 824. For solid embroidery use No. 3; for weaving
and open work use No. 1 Nun's Eleo Perle Hardanger Twist. Begin with solid embroidery
around the open work parts. The festoon stitches are two parallel rows of half cross
stitches. The scallops are made with ornamental stitches, edged with a fine buttonhole
stitch made of No. Nun's Eleo Perle Hardanger Twist.

Fig. 46. LAMP SHADE on page 26. For details see Fig. 52.
Made on No. 827 linen color Congress canvas. Begin with the solid embroidery around
open work parts. Cut and draw out the threads of the canvas for the open work. Use
Saxonia embroidery floss in the desired colors for ornamental and weaving stitches.

Fig. 47. PLATE DOILY FOR LUNCHEON SET on page 26. For details see Fig. 53.
Made on white Hardanger canvas No. 824. Begin with solid embroidery around the
open work parts: then make a row of buttonhole stitches in white T. B. C. Coton Perle
No. 5, leaving two threads of the canvas between each stitch. Through these stitches draw
a straight line in any color desired. Then make three rows of cross stitches over six threads
of the canvas in white T. B. C. Coton Perle No. 5. crossing each in the center with the
desired color. Finish the edge with a buttonhole stitch, the same as the inner row. Then
fringe the canvas one inch.

22
Fig. 40
shows
details
of
Fig. 35
on
Page 21.

Fig. 41
shows
details
of
Fig. 35
on
Page 21.
Fig. 42. Shows details of Fig. 36 on page 21.

24
Fig. 43. Shows details of Fig. 37 on page 21.

Fig. 44. Shows details of Fig. 38 on page 21.

25
For full size illustrations of details see pages 27, 28, 29, 30 and 31.

26
Fig. 51. Shows details of Fig. 45 on page 26.

27
Fig. 52
shows
details
of
Fig. 46
on
Page 26.

Fig. 53
shows
details
of
Fig. 47
on
Page 26.

28
Fig. 54. Shows details of Fig. 48 on page 26.
Fig. 48. ROUND CENTERPIECE on page 26. For details see Fig. 54.
Begin with the sohd Embroidery around the openwork parts which are embroidered
with white T. B. C. Coton Perle No. 3. Cut and draw out the threads of the canvas for the
open work and weave the bars with P.yN'i; Eleo Perle No. 1.
The wreath is a combination of cross stitch and solid embroidery made in colors desired
with No. 2 rl.UN'5i Boilproof Embroidery Floss.
The edge is a button hole stitch, finished with a loop stitch. This centerpiece can be
made on either Hardanger canvas No. 4498 or white Congress canvas No. 1313.

Fig. 55. Shows details of Fig. 49 on page 25.

Fig. 49. CUSHION on page 26. For details see Fig. 55.
Made on Hardanger canvas No. 825. For solid embroidery use No. 3 for weaving and
;

openwork use No. f.UN'i; Eleo Perle Hardanger Twist. Begin with solid Embroidery
around the openwork parts. Cut and draw out the threads of the material for the openwork.
Weave the four straight bars until the center of the fourth bar is made, then insert a thread
through center of all the bars, forming a circle. Cover the inserted threads with a close but-
tonhole stitch. Then finish weaving the fourth bar. The triangles are made by making first
stitch over two double threads of the canvas and adding one double thread for each stitch
until five stitches are made, then drop a double thread for each stitch until the last stitch is
over two threads of the canvas asrain.

Fig. 50. WORK BAG on page 26. For details see Fig. 56.
Made on linen color Congress canvas No. 827. For solid embroidery use Saxonia em-
broidery thread in colors desired; for weaving use No. 5 Silver Grey T. B. C. Coton Perle.
Finish the top of the bag with woven bars and close buttonhole stitches in the corners. Make
two rows of woven bars to draw cord through.
30
 Fig 56. Shows details of Fig. 50 on page 26.

Figures 57 and 58. TABLE SCARFS on page 32. For details see Figures 59 and 60.
Made on No. 827 linen colored Congress canvas. For solid embroidery use Saxonia em-
broidery thread in colors desired; for weaving use No. 5 Silver Grey T. B. C. Coton Perle.
Begin with the solid embroidery around openwork parts. Cut and draw threads of the can-
vas for the openwork. The openwork parts are made of plain woven bars. Finish edges
with a narrow hem.

Fig. 61. BEDSPREAD mmtmmmmm

t '* '"*
i 4 m 9 f » * ^ *
on page 34. #"•»•»• -"
• • •• «••»-" - - • frm m
-

For d
•.••"'^ '«
-r
details see Figs. ,-_-- -^ » f I

62 and 63. 4 M ' • T|^- .'

Made on fancy cream

Congress canvas No.
827. For solid em-
broidery use No. 3 for ;

weaving use No. 1

Nun's Eleo Perle Har-
danger Twist. Begin
"with the solid embroid- fe -
ery around the open-
work parts, then cut
and draw out the
threads of the canvas
for the open work.
Finish the ends of the
spread in an openwork
hem and the sides with
a scallop.
mmm ,.::&-
:-W-

Pig. 59. Shows details

of Fig. 57 on page 32.
MttfifiBiillib
31
 AAAAjULA^JUAJUJUJU-HJi-X ii ^ J. i «.^ * '.4A

-y^y,yyyiyy y y y y y ;>;^ji; v >' ) > ^» y y y yy y ry

For full size illustrations of details see pages 31 and 33.

32
Fig. 60. Shows details of Fig. 58 on page 32.

33
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Fig. 62. Shows details of Fig. 61 on page 34

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F\s. 63. Shows details of Fig. 61 on page 34.

PD 10.4
36
 T. B. C. COTON PERLE
Highly mercerized soft finish crochet cotton. The best for crocheting
TBCr-) laces for Towels and Bed Spreads, making Slippers and all those attractive
. lO GR. articles which it is desirable to make of a soft lustrous cotton in a variety
of beautiful shades and appropriate sizes.
^^S^^^;^????:::^
—
No. 8. Illustration shows exact size of ball. Made in white, pink, light
blue, delft blue, silver grey, lavender and yellow.

—
No. 5. Made in 7/10 oz., balls as shown at left in the
following colors: white, silver grey, pink, light blue,
delft blue, lavender and yellow. Also made in 1 6/10 oz.,
balls same size as No. 3, illustrated below, in white, ecru,
SNS silver grey, pink, light blue and delft blue.

No. 3. —Illustration shows

exact size. Made in white,
The trade mark T. B. C.
<*,
cream, ecru, silver grey,
stands for the highest K^ pink, light blue, delft blue,

and dark blue, grey and black.

quality, best value
most satisfactory service
in crochet cottons. The
trade maurk ^UH*6 *"«P" 'W!M
resents the same high
standards in embroidery
threads.

T. B. C. CORDONNET SPECIAL
CROCHET COTTON
Mercerized 6 cord crochet thread made of highest
—
grade selected cotton renowned for its perfect twist.
Positively unexcelled for quality, uniformity and beauty
of shades. Regulation large size balls (7/10 oz. each.)
White in »i««, 3, 5, 10, IS, 20, 30, 40, SO, 60, 70, 80 and 100
Ecru " " 3, 5, 10, IS, 30, 50 and 70
Linen color " 3, 5, 10, 20, 30. 50 and 70
Sizes 3, 10, 30, 50 and 70 are also made in 2 shades
of pink, 2 shades of light blue, delft blue and lavender.
Yellow can be had in sizes 30, 50 and 70.

SAXONIA CORDONNET CROCHET COTTON

Six cord. Sizes and their respective yardages are as follows: No. 30,
50 yards in a ball— Nos. 40 and 50, 65 yards each— Nos. 60 and 70, 85 yards
each. All sizes in white, Nos. 30, 50 and 70 also made in pink, light blue,
delft blue, lavender and yellow. The most economical to use for the large
variety of articles that do not require as much crochet cotton as is con-
tained in the regulation large ball. Where a greater amount of cotton is
required it is most economical to buy the largest ball that is made viz., the
T. B. C. Cordonnet.
 .^'

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