Article from the Bulletin of the Needle and Bobbin Club on a medieval silk with an elephant medallion design, formerly in a Spanish church and now in the Cooper Union Museum, New York. It describes the weft-twill technique (single warp, three wefts of white, red and yellow), compares the piece with the Aix-la-Chapelle elephant silk and with Aurel Stein's lion silk from Turkistan, and discusses its dating and attribution (East Iran, 10th-11th century). A frontispiece photograph shows the textile; there are no weaving drafts.

An article by Frances Morris on the 1591 London pattern book 'New and Singular Patternes & Workes of Linnen', printed by John Wolfe and Edward White for Adrian Poyntz and regarded as the first English pattern book for lace and cut-work. It reproduces the book's title page and its Epistle to the Reader, which explains how to work the designs on counted squares. The text also covers the book's discovery at a Grolier Club exhibition, the popularity of cut-work and reticello in Elizabethan England, and earlier pattern books. Illustrations include a portrait of Queen Elizabeth I and Flemish lace with the monogram of William III.

A 1917 article from the Bulletin of the Needle and Bobbin Club on decorative textiles from ancient and early Christian Egypt. It covers Coptic loom work from the cemeteries of Akhmim (Panopolis), tapestry-woven tunic ornaments, and two Metropolitan Museum pieces: a third-century Hellenistic tapestry panel with a Dionysiac scene, compared with a Roman terra-cotta bas-relief, and a sixth-to-eighth-century Coptic silk embroidery with Sassanian-style horsemen. Illustrated with two plates and a photograph of the embroidery fragment.

Article by Frances Morris on the exhibition of English domestic embroidery held at the Metropolitan Museum of Art in November, with background on English needlework from the Middle Ages through the 18th century. It covers the Bayeux Tapestry, opus Anglicanum, blackwork, and the needlework of Elizabeth I, Mary Queen of Scots and Bess of Hardwick. Described objects include the Calthorpe Purse, biblical pillow covers, the Edmund Harrison Adoration of the Shepherds, quilts, a mirror, an embroidered Bible binding, a Judgement of Solomon picture and embroidered gloves. Seventeen plates illustrate the pieces, and lists of English and American lenders close the article.

Report on the first exhibition of the Needle and Bobbin Club, held March 28 to April 4 at the Arden Galleries, showing Binche and Valenciennes bobbin laces lent by members and friends. The article describes the display, outlines how the two laces developed from simple Netherlandish pillow lace, and distinguishes them by their grounds (fond de neige in Binche, maille à cinq trous or fond à la vierge in Valenciennes). It discusses eighteenth-century lappets, later round and square mesh Valenciennes, and modern work including a shawl, and lists lenders. Plates show laces, lappets, and edgings with collector credits.

An introductory biographical article by Frances Morris on Georgiana Brown Harbeson, an American embroiderer and trained painter regarded as a leading exponent of modern embroidery in the 1920s-30s. It covers her background, her design process (pictorial cartoon, choice of ground, a 'palette of wools') and her use of stitches like brush strokes. Seven plates show her embroidered panels, portraits, an overmantel and a zodiac wall hanging, with captions giving materials, colors and stitches, plus a panel by Mrs. Theodore Roosevelt, Jr. and a needlepoint monkey screen.

An article on the history of printed cotton (toile de Jouy and Indiennes) in eighteenth-century France. It traces the import bans on East Indian prints, the founding of Oberkampf's factory at Jouy-en-Josas in 1760, and the work of designer J. B. Huet. It covers block and copperplate printing, and prints commemorating balloon ascents and the Revolution, with four illustrated examples. It ends with the neo-classical designs of the Empire period and the decline after 1818.

A review of the 1919 summer loan exhibit of lace at the Metropolitan Museum of Art, written for the Needle and Bobbin Club's Bulletin. The exhibit showed about 112 seventeenth- and eighteenth-century pieces, mostly lent by Club members. The article discusses ecclesiastical pieces such as chalice and benediction veils, figural lace (rose point, point d'Angleterre), lappets, and needlepoint flounces. Most pages are halftone photographs of individual pieces with collector credits.

A short 1918 article by Frances Morris on Umbrian household linens (tovaglie) shown at the Needle and Bobbin Club's annual meeting. It describes the coarse cotton diaper-patterned fabrics with deep blue grotesque bands, their use as towels and altar cloths, and the motifs such as the Perugian griffin, Guelph lion and fonte maggiore. It also discusses the fifteenth-century loom shown in Pinturicchio's 'Return of Ulysses', indigo dye, the modern revival, and lists contributors and references. Illustrated with halftones of a Rocchi Collection weave, Metropolitan Museum towels and the Pinturicchio detail.