Embroidery Museum in Louisville, Kentucky Made in Museums - Travels to Curious Museums

Confession:  I have never even tried embroidery.
I’ve done some crocheting when I was younger.  Took up knitting when I was older, but I have never gotten the hang of working with a needle and thread.  The closest was sewing lessons, but all I made was an apron and I was done.  The pinnacle of my needle and thread work is being able to sew a button on a shirt really, really good (I mean, like, that button is never coming off again). 
I have always loved artisan crafts and admire the skill involved in producing a functional work of art by a master.  A friend introduced me to the John C. Campbell Folk School and I love to flip through their catalog of classes each year, but always figured I just don’t have the skills necessary to master any of these.  Recently though, I’ve become intrigued by Temari balls.  I had no idea of their connection to the art of needlecraft until I visited the Embroidery Museum in Louisville, Kentucky when Gwen shared with me how Temari balls were her gateway into the art of embroidery and needlecraft. 
Sitting down the Gwen Nelson, past president of the Embroiderer’s Guild of America (EGA) and Cynthia Welch, EGA Administrator, opened my eyes to the beautiful world of embroidery and needlecraft.   The EGA operates the Embroidery Museum, which is both a museum and the headquarters of EGA.  The museum is small, and when you enter, you feel like you’re walking into a private art gallery.  And after you listen to this episode, I think you’ll agree that the amazing work and creativity by the embroiderer’s in this collection showcase how what started as a functional craft can be transformed into art. 
Museum Highlights:
Doll House – created by multiple members of EGA, this is the pentultimate doll house.  The “tiniest” details are embroidered into the furnishings – from the EGA logo in the chair cushion to the A-B-C sampler on the wall. 
Harold Gordon Band Sampler – featuring one of the “men of EGA” Harold Gordon’s love of embroidery started in 1944, wounded and lying in a hospital bed.  A Red Cross nurse brought in some embroidery for patients to do (maybe to keep them quiet?).  In his later years, while visiting his wife in the hospital everyday, Harold re-awakened his love of embroidery and created this sampler.  Note his 3-ring binder that were filled with this practice stitches.  Since samplers were considered practice pieces, who knew you had to practice before the practice?
Blackwork – a type of running, open stitch where the back should look the same as the front, blackwork is shown in this band sampler (although this is using blue thread).  There is also red work (red thread on white fabric) and white work (white thread on white fabric).  This is just the beginning of the wide variety of stitches and techniques used throughout the years in embroidery. 
Muriel Baker “Stumpwork” – stumpwork is a raised form of embroidery where stitched figures are raised from the surface resulting in a 3-D raised effect.  This piece shows that effect in both the figures of the man and woman in the design. 
Lucy Chase Canvas – dated to 1834, Lucy was 8-years-old when she completed this embroidery canvas.  Lucy’s granddaugheter donated this piece to the museum.  8 years old -- are you kidding me?  The details and shading in this piece is amazing.  What was I doing at 8 years old?  Probably riding my bike, reading, and just generally goofing off.  Certainly not creating works of art. 
Lucy Chase Canvas – dated to 1834, Lucy was 8-years-old when she completed this embroidery canvas.  Lucy’s granddaugheter donated this piece to the museum.  8 years old -- are you kidding me?  The details and shading in this piece is amazing.  What was I doing at 8 years old?  Probably riding my bike, reading, and just generally goofing off.  Certainly not creating works of art. 
Hunting Scene – this silk thread in this 1820 hunting scene fr