Marsha Schuld
Bronze, stitchery (embroidery), glass (scroll down this page). Click the link to check out her printmaking, watercolours, and drawing
“I am a fierce proponent of the preservation of hand-craft and hand made. I feel the world is a richer place if we honour skills built over a lifetime by individuals devoted to their preservation.”
Great Blue Heron, 2025, hand embroidery (Colbert style), Perle cotton, wool threads on linen ground, 17.75 x 22.25" (45 x 56.5 cm), $4000 Cdn. ----- Technique: modified Colbert Embroidery - Colbert embroidery is a very rare style of embroidery that was developed in France during the reign of Louis IV. The French were enamoured of fancy lace and the French government wanted to limit imports from other countries and encourage industry within France. Some embroiderers developed a style of stitching that gave the effect of fancy lace without actually making lace. Colbert embroidery is characterized by bold colours and outlines in Perle Cotton surrounding void areas. The background of a Colbert embroidered piece is filled with fine pattern stitching to create texture. This piece includes additional details such as the cattails that are not tradition to Colbert Embroidery. This technique is now so rare that virtually nobody knows how to do it. There are only 2 print references to traditional patterns known worldwide.
Fox And Hare, 2022, hand embroidery (Coronation Stitch), goldwork, raised work, gold, silver and copper metal threads, beetle wings, glass beads, kid leather, silk thread on cotton velvet, 20.5 x 18.5" (52 x 47 cm), $4000 Cdn. ----- Technique: Goldwork - Goldwork is a style of embroidery that utilizes metal threads to create shimmering embroideries. Modern goldwork includes silver, copper and multi-coloured metals in addition to gold. The various threads are cut, bent, and placed carefully over felt padding to create the final effect. Highlights in this piece include silk threads (fox legs, hare’s ear) and real beetle wings (the emerald green bits). Cotton thread wrapped with thin strips of gold (Japan thread) couched down in concentric shapes forms most of the bodies. The acorns are formed from very fine kid leather stitched over felt padding; for the leaves and spots, very fine wire coiled into varying patterns of springs (purls) is cut to length and stitched down individually like tiny beads. Each segment was then outlined with couched (over-stitched) Pearl Purl to finish.
Specimen: Modest Sphinx Moth, 2023, hand embroidery 3D stump work, glass petri dish, 4 inches (10 cm) diameter, $475 Cdn. ----- Technique: Stumpwork - Stumpwork is a form of embroidery that has been made since the Middle Ages in England and elsewhere. It is characterized by being 3-dimensional – elements are raised above the surface to which they are attached. Embroidery can be done over varying supports such as small pieces of wood, wire and various kinds of padding. Generally a wide variety of threads and stitches are used to create different textures and effects. In the case of the Modest Sphinx moth – the body was stitched on the ground fabric over heavy felt padding. The wings were stitched separately onto a fine silk gauze with fine wire supporting the wing edges. Once the stitching is complete it is carefully cut away from the gauze and then mounted with the wires to the body.
Rembrandt Tulip, 2025, hand embroidery, silk shading, silk and cotton thread on silk ground, 6.5 x 16 (16 x 41 cm), $3000 Cdn. ----- Technique: Silk Shading - Silk Shading is highly detailed and colourful surface embroidery that tends to have a naturalistic feel. The highlights and tones of the subject matter are depicted through careful mixing of thread colours and stitch direction. It is generally flat or very low relief but can appear quite three-dimensional. The majority of stitches are made using silk or cotton floss with some additional details using metallic, sewing or other threads. The pieces are worked from “back to front” – elements that appear most distant are stitched first, then middle zone, then the most forward bits are stitched last. This is one of my favourite techniques to stitch as it gives me full artistic freedom to decide on colours and highlights as well as to utilize my extensive collection of amazing silk fabrics as background surface. The Bear At Sunrise uses a modest 15 or so colours of thread while the Rembrandt Tulip is made with nearly 50 different colours. The Belted Kingfisher’s fish was a huge challenge to stitch and took more time than the bird itself.
Bear At Sunrise, 2025, raised hand embroidery, cotton and metal threads, framed in oak hoop, 8 x 8" (20 x 20 cm), $1400 Cdn. ----- Technique: Silk Shading - The Bear At Sunrise uses a modest 15 or so colours of thread.
Fish For Dinner (Belted Kingfisher), 2025, hand embroidery, silk shading on silk brocade, 10 x 10" (25.5 x 25.5 cm), $1750 Cdn. ----- Technique: Silk Shading - The Belted Kingfisher’s fish was a huge challenge to stitch and took more time than the bird itself.
Canadian Floral Emblems (set of 14), hand embroidery, silk ribbons, each c. 2 x 2" (5 x 5 cm), overall 25 x 20 inches (63.5 x 51 cm), $1400 Cdn.
Fantasy Finch, 2019, 3-dimensional hand embroidery, metal work, bead work, silk threads, glass beads, metal threads on silk and silk velvet, 6 x 7 x 4" (15 x 18 x 10 cm), $1200 Cdn.
Embroidered Birdies, 2024, hand embroidered with silk and cotton threads on silk, cotton ground, wool felt, 3 x 5 x 1.75" (8 x 13 x 4.5 cm), $70 Cdn each.
Embroidered Mowzes, 2024, hand embroidered with silk and cotton threads on silk, cotton ground, wool felt, brass bell, 3 x 7.5 x 2.25" (7.5 x 19 x 6 cm), $70 Cdn each.
Marsha Schuld, Sampler
A Gaggle Of Geese, 2018, stained glass, etched glass, copperfoil panel, zinc frame, 16 x 28" (41 x 71cm), $2240 Cdn.
A Bear Went Over the Mountain, 2025, stained glass, fused glass, copper-foil panel, oak frame, 17 x 24" (43 x 61 cm), $2040 Cdn.
A Nag Of Magpies, 2019, stained glass, etched glass, copperfoil panel, zinc frame, 25 x 16" (63.5 x 41 cm), $2000 Cdn.
Lidded Fox Box, hand painted, stained glass box, 2.75 x 8 x 5.25 inches (7 x 20.5 x 13.5 cm), $1500 Cdn.
A Day At The Lake (Lake Louise), 2025, stained glass, fused glass, copperfoil panel, oak frame, 12 x 20" (30 x 51 cm), $1200 Cdn.
Meadowlark Trio, 2023, fused glass, 6 x 6" (15 x 15 cm), mounted and framed, $600 Cdn.
Raven, 2025, free-form copper-foil panel, 15 x 11" 38 x 28 cm), $500 Cdn.
Meadowlark (Spring Song), 2023, fused glass, 3 x 4" (7.75 x 10 cm), mounted and framed, $400 Cdn.
Mr. Badger, 2023, needlefelted pure Merino wool, hinged limbs, glass eyes, 7 x 4 x 3" (18 x 10 x 8 cm), $160 Cdn.
Crow Calls Pendant, 2024, kiln fused glass, hand drawn with powdered glass, 2 x 1" (5 x 2.5 cm), $100 Cdn.
Crow Pendant, 2024, kiln fused glass, hand drawn with powdered glass, 2 x 1" (5 x 2.5 cm), $100 Cdn.
Owl Pendant, 2024, kiln fused glass, hand drawn with powdered glass, 2 x 1" (5 x 2.5 cm), $100 Cdn.
Raven Flies Pendant, 2024, kiln fused glass, hand drawn with powdered glass, 2 x 1" (5 x 2.5 cm), $100 Cdn.
They Keep Flocking In - Stained Glass Chicks, average height 4 inches (10 cm), $35 Cdn each
Edgar And The Pinecones, 2020, ed. 3/3, patinated bronze 16 x 22 x 7" (41 x 56 x 18 cm), $15,500 Cdn
Edgar And The Pinecones...
Bernadette (Grizzly Bear)...
Bernadette (Grizzly Bear), 2025, ed.1/3, patinated bronze, 9.5 x 19 x 8" (24 x 48.5 x 20 cm), $13,900 Cdn.
Bernadette (Grizzly Bear)...
The Sentinel (Cougar), 2025, ed. 1/5, patinated bronze, 8.5 x 10 x 6" (22 x 25.5 x 15 cm), $4100 Cdn.
Pounce (Canadian Lynx), 2025, ed. 1/5, patinated bronze, 5.5 x 7.5 x 4.25" (14 x 19 x 11 cm), $4100 Cdn.
William (Beaver) Carrying Wood, 2024, ed. 1/9, patinated bronze, 3.5 x 7 x 6" (9 x 17.5 x 15 cm), $2050 Cdn.
Beckett The Rolling Bear, 2024, ed. 2/9, patinated bronze, 3.5 x 3.5 x 6 inches (9 x 9 x 15 cm), $1175 Cdn.
Horace The Hare, 2024, ed. 3/20, patinated bronze, 2 x 2 x 4.25 inches (5 x 5 x 11 cm), $525 Cdn.
Flying Finian the Fox, 2024, ed. 2/9, patinated bronze, 4.75 x 2 x 9 inches (12 x 5 x 23 cm), $1525 Cdn.
Fast Asleep Fabian The Fox, 2024, ed. 1/9, patinated bronze, 3 x 5.5 x 5.5 inches (7.5 x 14 x 14 cm), $1525 Cdn.
How Now Brown Cow Bookends (dark brown), bronze, edition 5/5, 6 x 4 x 8 inches (15 x 10 x 20 cm), two pieces, $2480 Cdn.
Red Cow Bookends (ochre), bronze, edition 2/5, 6 x 4 x 8 inches (15 x 10 x 20 cm), two pieces, $2480 Cdn.
A Murder Of Crows, 2016, stained glass, etched glass, copperfoil panel, zinc frame, 23 x 16" (58.5 x 41 cm), sold.
Specimen: Bumble Bee, 2023, hand embroidery 3D stump work, glass petri dish, 4 inches (10 cm) diameter, sold.
Gold Finch, 2024, hand embroidery (silk-shading), silk threads on silk ground, 6 x 4 inches (15 x 10 cm), archivally mounted, hoop frame, sold.
Pilated Woodpecker, 2023, hand embroidery (silk-shading), silk threads on silk ground, 10 x 8 inches (26 x 20 cm), archivally mounted, framed, sold.
Nevermore, hand embroidery (Or Nue, Silk-shading), metal and silk threads on silk ground, synthetic jewel, 10 x 10 inches (25.5 x 25.5 cm), archivally mounted, sold.
Rufous Hummingbird, 2024, hand embroidery (silk-shading), silk threads on silk ground, 6 x 9 inches (15 x 23 cm), archivally mounted, hoop frame, sold.
Solar System (10 pieces), 2023, hand embroidery, the sun is 4.5 inches (10 cm) diameter, sold.
Raven Calls Pendant, 2024, kiln fused glass, hand drawn with powdered glass, 2 x 1" (5 x 2.5 cm), sold.
Queen The Cougar, 2024, unique bronze, patinated, 2.25 x 5.75 x 3 inches (6 x 14.5 x 7.5 cm), sold.
Holly The Hare, 2024, unique bronze, patinated, 4.25 x 2.75 x 1.5 inches (11 x 7 x 4 cm), sold.
Greta The Grizzly With Gabriel, 2023, patinated bronze, 2x4x2 inches (5x10x5 cm) and 2 x 1 x 4 inches (5 x 2.5 x 2.5 cm), sold.
Reuban, 2023, patinated bronze, 3 x 3.5 x 2.5 inches (7.5 x 9 x 6.5 cm), sold.
Ruby, 2023, patinated bronze, 3 x 4 x 4 inches (7.5 x 10 x 10 cm), sold.
Parliament of Owls #2, Edward the Burrowing Owl (unique), 2022, patinated bronze, 4" (10cm), 16.1 oz (454 gm), sold.
Baxter (Black Bear), 2023, unique bronze, patinated, 1.5 x 3 x 2 inches (4 x 7.5 x 5 cm), sold.
Parliament of Owls #5, Barry the Boreal Owl (unique), 2022, unique patinated bronze, 3.25" (8.5 cm), 15.4 oz (432 gm), sold.
Cow Bookend (blue), bronze, edition 1/5, 6 x 4 x 8 inches (15 x 10 x 20 cm), two pieces, sold.
How Now Light Brown Cow Bookends (brown), bronze, edition 4/5, 6 x 4 x 8 inches (15 x 10 x 20 cm), two pieces, sold.
Edgar (Raven), bronze + pyrite, edition 2/3, 17 x 21 x 9 inches (43 x 54 x 23 cm), part of Whyte Museum of the Canadian Rockies June to October 2023 exhibition: FOR THE BIRDS.... sold.
Edgar & The Golden Branch, bronze + gold patina bronze branch, edition 1/3, 17 x 21 x 9 inches (43 x 54 x 23 cm), sold...now part of Banff's Art In Nature Trail June to September.
Each day I go out to my studio and do what I do...
Sculpting, embroidery, and printmaking allows the artist to examine the essence of these animals. The texture of fur or feathers, the way light shines on antlers and horn, the artist presents them in unconventional portraiture and with minimal colour or with a brilliant application of vivid colour to bring across the character and diversity of what she sees.
Marsha Schuld is a multi-media artist working out of her studio in southern Saskatchewan. A lifelong artist, Marsha came to art as a career through all her other jobs and interests.
Largely self-taught, she has studied art formally through the University of Saskatchewan and arts programs at Red Deer College as well as attending numerous courses and workshops over the years in a variety of media. That diverse background is shown in her art practice which ranges across painting to drawing, sculpting, stained glass and needlework.
She received a second to none education from the skilled tutors at the Royal School of Needlework (RSN). The result is a proudly earned Certification with Merit from the people who embroider the Queen's coronation robes. To be included in this elite group of stitchers is a high honour indeed.
Her artwork has been exhibited in solo and group exhibitions and won numerous awards. Her work is in corporate and public collections in Canada, the United Kingdom, and the United States.
“I believe strongly that we are a part of an integrated planet. No one thing exists without affecting all that is Earth. It is not “environmentalism” or “conservation” that drives me, though these things, to me, are the inevitable result of living fully. The environment around me has always evoked within me strong emotion and equally strong devotion. The basis for my work over the past 3 decades has been this which is near, that dictates my daily life and personal vision.
The Alberta and Saskatchewan are a region of habitats that requires patience, time, and attention to detail for their treasures to be revealed. So, I look. Closely. Through my work I wish to make a convincing argument for the importance of wildness. It is not enough to simply tell people that it is important – they must be brought to a new level of understanding. I want my work to prompt questions, to surprise, to charm and to convince the viewer that what they are seeing is worthy of notice, of protection, of honour.”