An illustrated article surveying Russian Orthodox church embroidery from the fourteenth to the seventeenth century. It covers icon veils, funeral shrouds, chalice palls, altar frontals and banners, along with the materials and techniques used: split stitch, couched gold and silver thread, silk thread, and pearls and jewels. It also covers the main workshops (Staritzky, Godunov, Stroganov), the painters who supplied designs, and individual dated pieces such as the 1399 veil of Maria of Tver. It has many plates and ends with a bibliography of mostly Russian sources.

A cumulative subject, author, and title index to volumes 27-44 (1943-1960) of the Bulletin of the Needle and Bobbin Club, compiled by Marcia C. Harty and Eugenia Tolmachoff and published in New York in 1962. Entries cite volume and page numbers, with plates and figures, and cover embroidery, lace, tapestry, silk and other textiles, costume, pattern books, and weaving. They also cover places, museums, collectors, and Club lectures and hostesses. It is useful as a finding aid to articles on Russian ecclesiastical embroidery, Formosan, Peruvian, Altai (Pazyryk), Persian and Spanish textiles, Swiss lace patterns, and an 18th-century English weaver's pattern book.

Article surveying the dress of women of the Russian court and upper classes in the 16th and 17th centuries, drawing on foreign travelers' accounts, icons, inventories and portraits. It describes garments (sarafan, letnik, opashen, telogreia, shouba, kortel), headdresses (ubrus, kika, kaptur, koruna), footwear, accessories, cosmetics and czarina ceremonial attire, and notes the Byzantine influence and the imported silks, velvets and brocades used. Illustrated with plates and line drawings, and ending with a source list of mostly Russian-language works.

An English adaptation, with added notes by Eugenia Tolmachoff, of Ludolf Stephani's 1881 study of Greek textiles excavated from tombs around Kerch, the Taman peninsula and the Seven Brothers mounds in South Russia, now in the Hermitage. The textiles are grouped as woven fabrics (hats, a garment, a kerchief, a sarcophagus cover and a silk fabric), painted fabrics (a sarcophagus cover with mythological figures and inscriptions, and a fifth-century B.C. painted wool), and embroidered fabrics (a woman's dress with an Amazon and gold-embroidered wool). It discusses the weave and stitch descriptions (rep, twill, velvet-like, chain and satin stitch), dyes, motifs such as ducks and stags, and Dreger's comments on the batik-like painting. It has numbered plates, a sketch map, a glossary of mythological names and a bibliography.