Elliott-Middleton Coats of Arms, Crests and Seals

Coats of arms in textile art, gold rings and other commissions of research and art.

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Coats of arms, crests and seals, researched for family and nation homes. Historian research discovers the earliest or most significant grant namesake grant arms before artist preparation in Europe or Silk road routes where the craft is best established

Embroidered crafts, at the heart of the collections, have been for centuries the design icon of sovereignty and the noble, even found upon their tents and fabric enclaves until the post-medieval period, when, perhaps, it reigned by itself as an art par-excellence. A portrait of Henry VIII and family at Whitehall Palace (circa 1945, artist unknown) demonstrates the integrity of stylized art-flora, upon the embroidered velvet and satin garments and cushions of participants, as wall hangings, to the tapestry carpet, and moldings upon the walls and columns. Queen Elizabeth I was another imperial sovereign adorned in rich and flowing embroidered fabrics, and remembered very much for it.

From the early medieval period forth, the highly-ornamented art form included armorial bearings. Indeed, especially here, the use of the metal threads, the gold and silver bullions couched upon red velvets and damask became heavily-laden: from bed-spreads, book covers, trumpet banners, to panels and wall-hangings for both grand gathering spaces and personal chambers, the coat of arms central with crest above, surrounded by plant tendrils, ears of wheat, leaves, monograms and mottoes. Besides being the symbol of eminent individuals, heraldic art was bestowed upon the finest establishments: the king’s regiments, the colleges, the artisans and product makers.

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coat of arms