Stitching History

11/10/2014 by Ann Bernard

Some History of Lace

It is a long time since you have heard from me. Life got in the way.

I would like to introduce you to Janet Sunderani. Reading this Blog brought back her memories of growing up in the Nottingham area of England and the stories she heard from her grandparents and neighbours who worked in the stocking and lace industry. Official history does not record what it was really like to work in the textiles factories that have long ceased to exist. These recollections fill in the gaps between the official records, photos of machines and statistics and it is important that they be recorded.

Making lace by machine required technical innovation, experience and dexterity. The machinery no longer exists and the needed skills no longer exist either. Janet says that it is a lost art that is unlikely to be reborn.

Photo from www.nottshistory.org.uk
The article contains considerable information about the industry and the developers of the machinery.

Another interesting site is http://thelacemakers.co.uk
Here you can watch the trailer of a movie. It shows the lace making machines and the jacquards that control the patterns. The white room where the ladies checked, cut and hemmed the finished lace is included. The jacquards are the cards that control the pattern that is being woven.

Of note is the Battle of Britain Panel. Thirty eight identical panels were produced; each one took a week to weave. They were presented to the RAF and Commonwealth units involved in the Battle of Britain, to important personages and to each of the Commonwealth countries. The panels each measured 14′ 9″ high by 5′ 3″ wide. They are national treasures. The machine used 40,000 jacquard cards all of which were destroyed after the panels had been completed. Below is a portion of the lowest part of the panel. To see more go to Googles Images- Battle of Britain Lace Panel. A search of the relevant sites is a very interesting experience.

Lace making machines were a development of the machines that made stockings. But that is for the next article. Stockings were produced in high volume whereas lace was a limited industry. During World War II, the factories and production were revamped to produce mosquito netting and camouflage nets.

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Janet drives two hours each way to attend our Guild in Guelph. Her reasoning is that we are a teaching Guild and she wanted to learn new techniques. She is an immaculate stitcher and we enjoy her presence among us. She has enriched our Guild as much as we have taught her. And it is totally thanks to her that this article and the one to follow are here for you to enjoy.

To my followers in Canada, Happy Thanksgiving.

03/09/2014 by Ann Bernard

The Art of the Lacemaker: Exhibition at the Guelph Civic Museum

The Ruhland Collection: For the Love of Lace

“Lace is an art form … very precise and delicate. It takes years for a craftsman to perfect … and just as many years to learn and appreciate his work.” Margaret Ruhland, Ottawa Citizen, 1988

An Exhibition of Lace is a rare event. Come to think about it, I have never seen one but this omission in my life has been corrected. Currently, there is an amazing exhibition of lace at the Guelph Civic Museum and it is well worth a visit.

Margaret Ruhland started collecting lace in 1978. My concept of lace is a stained, damaged and torn remnant of a bygone age. This collection is none of these. The lace is crisp and clean and has been carefully selected and stored under conservation standards. The variety and quantity is amazing.

Margaret and occasionally, her friend, Joyce Taylor Dawson, made trips to Europe looking for and acquiring lace of the highest quality they could find. Margaret died last year and this exhibition is in her memory. It has been curated and mounted by Joyce.

Here is an example of what you will see: Gros Point de Venise – ca. 1640 – Italian. This is a noble lace made for a noble person. It is Needle Lace made with gossamer fine flax, unusually high cordonnets and a variety of filling stitches. The picots are unusual for that period. Look at how many of them there are in this small detail and how even they are in size. The collar, despite its age, is in perfect condition as is all the lace in the exhibition.

You will see Needle Lace and pulled thread work. In our Guild, this is one of the favourite classes we offer so we have a number of knowledgable members. It is good for us to see the history of this skill and we are arranging a group visit during October.

Bobbin Lace is a more complex and rare skill, beautiful Bobbin Lace that could have been worn by royalty. It is complicated and time consuming to create and thus has always been expensive. It could only be afforded by people of wealth and was one of the ways in which they displayed their wealth.

Above is a Venetian Point Bobbin Lace Collar, Italian, made in the second half of the 19th century together with a detail of the same.

In the middle of the 19th century, a lace making machine was developed. It was the time of the Industrial Revolution and machines were invented to produce many textile items. Lace became more affordable and the less wealthy were able to purchase collars, cuffs and edgings by the yard. The hand made laces remained affordable by the wealthy only.

This is a piece of Handmachine lace. Point de Venise Fragment – ca 1890. It is just as beautiful as its earlier, handmade counterparts.

Lace tools are on view as well. And, in a special added feature of the exhibition, there are a few pieces of modern lace by contemporary Canadian lace makers, some made with a metal thread.

Magnifying glasses are provided so that you can really see the detail.

This is a large exhibit. There are drawers full of lace, framed pieces on the wall, towers of lace and reproductions of famous paintings of famous people displaying their lace. There is a lot to see.

The photographs, taken by Margaret and Audrey Ruhland are from the catalogue
For the Love of Lace (ISBN 978-0-9918365-0-5) as is the quote at the start of this blog entry.

The catalogue can be purchased at the Guelph Civic Museum or ordered directly from Audrey Ruhland at audreyruhland@gmail.com
I hope that you will be able to visit. The museum is in downtown Guelph at 52 Norfolk Street, adjacent to the Church of Our Lady, a prominent landmark. The museum is open daily from 1 pm to 5 pm but there are occasional variations so check first. The museum phone number is 519-836-1221. Group visits can be arranged. The exhibit closes on November 2, 2014.

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Guelph is one hour west of Toronto, within easy reach of most of southern Ontario and border cities such as Buffalo

You have not heard anything from me lately as my time has been spent working on my book. It is on Hand stitching recognizable Summer Flowers and should be available soon.

13/03/2014 by Ann Bernard

1870s in Britain: a Breakthrough for Education, Textiles and Embroidery

By the 1870s, there had been radical changes in Britain. The Industrial Revolution had been in progress for a century. The sources of power such as water, steam and electricity were developing and being accepted, manufacturing machinery was widely used, transportation systems were growing as were imports and exports, there had been a mass migration from the countryside to urban centres, the birth rate had accelerated and building in the cities had mushroomed. Legislation during the first part of the century had focussed on working conditions and the employment of child labour in the factories and mines. By the Education Act of 1870, education for children between the ages of 5 and 13 years became mandatory. This triggered the establishment of 3000 or more schools in areas where educational facilities were not adequate. The face of Britain had changed. The massive amount of building and the increase and redistribution of the population was a whole new world. And new worlds create challenges, and opportunities, that did not exist before.

One of these challenges was for employment and opportunities for unattached women. The lag in the development of labour saving devices for the home meant there were still many people in service in both large and smaller houses. Mechanization of farming also lagged behind the developments on the industrial front. This would continue until World War One and later. Labour saving devices for the home did not surface widely until after World War 11 when willing labour became scarce.

The result (that is of interest to stitchers) of this huge change in societal conditions was the founding of the School of Art Needlework. (Wow, we finally got there!). The Wemyss School of Firth was founded in 1877. Located in Scotland, its mission was to teach needlework skills to the daughters of miners and farmers so that they could find employment. Still in operation, even now revived, you can read more about this at: www.needlenthread.com (December 3, 2013). Mary Corbet wrote an article about the school including pictures. Well worth a visit. In 1879, the Leek School of Embroidery and the Embroidery Society were founded by Elizabeth Wardle though she had been embroidering for churches in the area since 1864. The school gave her the opportunity to pass her skills on to other women.

Wherever I read about embroidery in the nineteenth century, the subject of dying surfaces. Dyes for colouring fabrics and threads were originally sourced from plants, insects and minerals. Subtle in tone, they were not always colourfast. In the 1850s, aniline (chemical) dyes were discovered by an 18 year old chemistry student trying to create artificial quinine for the prevention of malaria. The number of colours proliferated but the processing was toxic. Even now, instructions on using aniline dyes include the necessity of a face mask and a well ventilated area. In 1878, Sir Thomas Wardle exhibited tussur silk cloth printed with patterns by William Morris. Included were tussur silk yarns dyed with rich but subtle colours. He also developed threads shaded between light and dark especially suited to Art Needlework. And from there on, Art Needlework flourished. The truism is correct. Given suitable fabric and threads, elegant embroidery will happen. We all, even now, owe Sir Thomas Wardle a huge vote of thanks.

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The School of Art Needlework was founded in 1872. The ‘Art’ was to differentiate it from the canvas work stitched with bright coloured wools known as Berlin Work. Berlin Work had been hugely popular for 50 years to the point that stitchers no longer knew how to do anything else. A revival and development of suitable skills was needed. Put together single women needing employment, the availability of fabric and silk threads, the consumerism and fashions of the Victorian era which created a market, some gifted interior designers whose interests were textiles and the Arts and Crafts Movement and the result is Opportunity. And from this, came our ancestor, the School of Art Needlework.

The interval between entries on this blog has lengthened. The history has required much research and encapulating it into a brief summary has not been easy. Also, my time has been focussed on writing a book on stitching Summer Flowers. It would be nice to complete this before warm summer weather arrives when a vacation from writing will be welcome. Our summers are too short to spend in front of a computer.

12/02/2014 by Ann Bernard

Getting Closer to the Founding of the Royal School of Needlework

Life’s events often seem to be the outcome of other events and a grand intermingling of individual and historical influences. Far fetched though it may seem, the founding of the Royal School of Needlework (RSN) was one of the outcomes of the Industrial Revolution.

In Britain, this started in the mid 1700s with the invention of the Spinning Jenny. Until that time, weaving was done on hand operated looms and it took three carders and three spinners to keep one weaver supplied with weft thread. This was essentially a cottage industry and England was famous for its wool and worsted cloth. The East India company started importing cheap cotton fabrics from India, China and Persia often printed with patterns now called chintz. The patterns were an easternized version of crewel work designs. About 1740, fabric brokers began supplying cotton to English weavers who wove it into fustian, a coarse and heavy cotton cloth which was made into clothing for the working man. From there, weaving looms were developed powered by animal or human energy. This form of mechanisation lasted a long time specially in rural and farming communities. One can see treadmills and wooden machinery in museums and historical villages dating back into the 1800s. Britain forbade the export of both machines and their design though enterprising individuals were able to remember the details adequately to reproduce the technology in other countries. An example of this is in Lowell, Massachusetts with its 19th century textile mills. In 1781 James Watt patented a steam engine with a continuous rotative motion. Steam power had been in existance for a long time but the use of it was not practical. The rapid development of powered industry is well known history but I wanted to ‘set the scene’ for the following.

The result of mechanization on the populace was profound. Coal and water provided steam and power, the mines needed labour as did every developing industry. The huge exodus of people from the country to the cities radically changed society. The birth rate soared and population increased. The numbers of working poor increased as did the wealth of the employers. The development of small businesses and tradespeople led to the emergence of the middle classes, something new to the British experience. There were the usual number of wars overseas which reduced the numbers of young men and death in childbirth took a heavy toll among young women. Wealthy ladies had their social lives to occupy them and the poor working classes struggled with injury, diseases, poverty and malnutrition. Mechanization was not available for household chores so service in the households of both the wealthy and the middle classes gave employment to a large number of the working poor. But there was a problem with occupying the excess number of middle class women who now had time on their hands but whose employment opportunities were extremely limited. They could be a companion or a governess. Nursing and office work had not yet been invented nor was education widely available. A need for acceptable employment for the middle class, something both genteel and clean, was evident.

Another factor was that Berlin Work had been the rage for 50 years and, although it is ideal for kneelers in churches, it was not a suitable technique for new vestments, altar frontals or for replacing those pieces that had worn out.

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Add William Morris to this mix. He was a gifted designer with a strong interest in textiles and interior design. He grew tired of Berlin Work and he was also tired of the often shoddy mass production of poorly designed goods. He sought a return to the days of simple items that were attractive and functional. He started the Arts and Crafts Movement. He met and became good friends with Sir Thomas Wardle. You will remember that Sir Thomas imported Tussar silk from India and developed methods of dying and spinning this silk which was cheaper than the fine silk threads available from China. Most importantly, he dyed silk threads that came in different shades of each colour (Leek Embroidery – November 26, 2013). This made Satin Stitch and Long and Short Stitching not only possible but gorgeous.

Some designs attributed to William Morris

I am sure there will be readers who will find this analysis to be inadequate and biased and, of course, they are quite right. There is no mention of transportation, science, slavery or the competition with almost every other country in the world but I wanted to focus on the effect the Industrial Revolution had on the development of textiles. The effect was a profound one.

In searching for designs by William Morris, this coat surfaced. Not made by Morris but inspired by him. I included it as I think that it is gorgeous. A fantasy garment. Hope that you like it too or find it interesting.

18/01/2014 by Ann Bernard

Berlin Wool Work

The course of research does not always flow smoothly in the intended direction but often leads one to other destinations. But as all endeavours, including embroidery, are influenced by other factors, then one needs to take notice of the other players in the field. One major influence was Leek Embroidery. Another one is Berlin Wool Work.

Not surprisingly Berlin Wool Work originated in Germany. It was enormously popular in the first half of the 19th century. Worked on a coarse canvas using a thick wool yarn, it was stitched in tent stitch or cross stitch. Other stitches were used but these predominated. The finished pieces became firescreens, cushions, upholstery, small rugs and pictures and some panels would be joined together to make carpets.

The Industrial Revolution created a larger middle class where more ladies had the leisure time for stitching. The creation of more wealth and more stitchers fostered a demand for canvas, wool and patterns. Public taste for increasing decoration in the home was part of the Victorian lifestyle.

This chart (1825-1850) was hand coloured and is in the collection of the Victoria and Albert Museum in London.

The charts were initially coloured by hand until the printing industry developed the ability to print increasingly large and detailed charts and, eventually, they appeared in colour. The records state that the designers and printers circulated 14,000 different patterns. Although charts were plentiful, there were also hand painted canvases available. The designs were floral but also included animals, pets, children, religious subjects and reproductions of famous paintings.

Another achievement that helped fuel this boom was the invention of analine dyes. This process created wools of vivid colours hitherto unavailable though the range of shades was limited. The wool came from Merino sheep in Saxony, was spun in Gotha, both of which are in southern Germany, and dyed in Berlin. The production of Berlin wools was discontinued in the 1930s. Charts, wools and canvas were exported to Britain and the USA where they also became very popular. In fact, Berlin Wool Work became a craze and basically ousted all other sorts of embroidery in England. Berlin Wool Work was a major interest that kept the stitchers of the western world busy and excluded other styles of embroidery.

As well as tent stitch and/or cross stitch, beading and tufting work could be included. Tufting goes by many names including Turkey Stitch. The loops formed by the stitch are cut and the resulting pile is trimmed to contours and shapes. The sample above contains tent stitch, beading and tufting.

While searching for images to illustrate this style of embroidery I found that many charts still exist but the actual stitched pieces are harder to find. Also, many have become faded and discoloured and are not as visually appealing as are the charts.

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Further information on this subject can be found in books with titles such as Berlin Wool Work and Victorian Canvas Work.

It would appear that this style of embroidery has had a lasting effect on the designs and stitches many enjoy today. I am sure we can all think of examples of types of embroidery influenced by Berlin Wool Work.

25/11/2013 by Ann Bernard

Dyeing and the Silk Industry During the Late 1800s

This article is an introduction to the next one which will be about Leek Embroidery

Thomas Wardle (1831-1909) of Leek in Staffordshire was an English dye chemist and printer who devoted much of his life to development of the textile printing industry employing both locally woven and imported fabrics. He had widespread interests, considerable energy and solved many problems associated with the dyeing of fabrics making many technological breakthroughs and innovations in the process.

Colour played a defining role in his life. He developed consistency between dye lots, colour fastness and also the variations of shades in colour ranges. His company printed small runs of fabrics using both natural and chemical dyes. He used wood printing blocks and, with over printing, created extra colours.

William Morris was a protégé, business partner and friend. Together they experimented with dyeing and printing using natural dyestuffs. Morris would create a design which was cut into woodblocks and which were used for short run printing. Morris and several other lesser known artists designed for the Arts and Crafts movement which was hugely influential in developing public taste as it moved forward from the tastes of the Victorian era. Prior to this time, the fashion had been for Berlin work where the colours are vibrant but there are few shades within a colour range. A look at the William Morris designs gives you an idea of their complexity, richness, balance and subtlety of colour.

Design Indain Poppy By Wardle & Co

A label reads:

Design Indian Poppy, c 1884-89, based on a woven French silk, Tussur silk cloth hand-woven in India. Block-printed by Wardle & Co, the Hencroft Works, Leek, stitched with Indian tussur silk yarn dyed with natural dyes by T & A Wardle, the Churnet Works. Leek Embroidery Society. (SMDC Collection)

The Wardle Company also dyed textiles for bulk orders such as for the Admiralty. And they dyed hanks of wool for the carpet industry as well as threads for sewing, embroidery and braids. He was the major supplier of printed textiles to Liberty’s on Regent Street as well as to Harrods in Kensington. And he had a store under his own name on Bond Street.

Tussur Silk became a huge part of the life of Thomas Wardle. Tussor Silk is the product of a large, wild silk moth native to India. The fibres are long and this length creates the sheen in the fabric and in the embroidery threads. Although it is a durable fibre, it is beige in colour and resistant to being dyed.

He spent many years experimenting with ways of processing the fabric and dyeing it to produce a jewel toned range of colours. This silk fabric became enormously popular and fashionable in England as well as France. The discarded (short) fibres were used to create Sealcloth, another invention. This fabric was water resistant and in high demand to make coats and cloaks.

Late in his life, he travelled to Kashmir (India) where there was a famine and the silk industry was failing. His knowledge and experience brought changes, revitalizing the industry and providing employment for thousands of Indians and lifting them out of poverty for decades to come.

The long silk fibres were made into embroidery threads with a range of shades within a colour. In 1879, Thomas took some of the threads home and gave them to his wife Elizabeth, an embroiderer, challenging her to find a good use for them.

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The accompanying photos are examples of Leek Embroidery. The design woven into the fabric was typical for its time. The embroiderer then used the Wardle dyed silk threads to enhance the woven design. Note the lustre of the silk thread and the good condition of the next piece. It is thanks to Joan Landon who had collected and stored it at her home, Sunnycroft (Blog dated September 15, 2013)

References: ISSUU – Who was Thomas Wardle.
Thomas Wardle and Tussur Silk

Thomas Wardle and Tussur Silk

07/11/2013 by Ann Bernard

Another Beryl Dean Embroidery

Earlier this week, while looking for something else, I found a photo of another of Beryl Dean’s panels. They were commissioned by The Friends of St George’s Chapel. This Chapel is within the grounds of Windsor Castle.

This one, The Annunciation, is the first in a series of five. The finished size is 9′ x 4′ 6″. It would have required a special working framing as she described in her book.

The Annunciation Beryl Dean

I managed this time to get the colours a little nearer to their true colours. The halo area as well as the six flowers or flames are all stitched in a Whitework technique. In this, some of the threads from both the warp and the weft are removed. The remaining threads are used as the foundation for weaving in designs. I have never seen this used with colour and gold threads anywhere else. I think that other examples must exist somewhere and I know that you will tell me where they are.

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The Annunciation Beryl Dean Zoom

The book is Church Embroidery by Beryl Dean 1982. ISBN 0-264-66842-1

04/11/2013 by Ann Bernard

Windsor Castle and St. George’s Chapel

I have been on vacation in England and Europe visiting lifelong friends and family. Yes, I had a wonderful time because it is such a treat to see everyone and to spend time in London and the Channel Islands.

My cousin, who had written ahead and made the arrangements, and I visited Windsor specifically to see the Beryl Dean Embroideries. We were expected and were taken through the rope barriers to the case where the embroideries are now stored. The case was then unlocked by a staff member so that we could see all five of the banners. Everyone was most helpful and it made a huge difference that they were expecting us.

I had forgotten how large the panels are, probably around 10 feet high by 5 feet wide. The size makes them difficult to photograph but the guide book features this one: The Adoration of the Magi. A scan and a screen shot of the page in the book is the best reproduction that I am able to provide for you. This photo does not do the panel justice at all.

Adoration of the Magi Windsor Castle

The background fabric was specially woven and is cream coloured with a silver thread included in the weft. When one has the opportunity to look closely the detail is fascinating and the workmanship incredible. But I would expect no less from such a talented designer and broideress. The closer one looked, the more one saw. All the faces were different in structure and expression and each one had eyes that saw you and returned your gaze. All the different techniques used were astounding.

Interestingly, though there is a lot of detail in the background, it remains in the background leaving the figures to be prominent and draw your attention. I have added an enlargement to give you a little more idea of the intricacy in every square inch of these embroideries. I wish that I could have provided better photos for you but this is the best that I can manage.

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Needless to say, if you should happen to be in Windsor, go to St Georges’s Chapel within the grounds of Windsor Castle. Write beforehand and tell them your schedule and ask to see the Beryl Dean Embroideries. At the moment, the lighting available near their locked case is poor but I have asked the Chapel to consider installing lighting that can be switched on only when visitors such as us make a request to see the panels. The case and the lack of any direct light will preserve these remarkable pieces for posterity and I hope that they will be enjoyed by many future generations.
Write to:

The Archivist
Archives and Chapter Library,
The Vicar’s Hall Undercroft
The Cloisters
Windsor Castle,
Windsor, England
SL4 1NJ

They prefer to receive such requests by mail.

Beryl Dean was such a remarkable and talented lady that I am surprised that no one has yet written her biography. This would be an excellent subject for a University Thesis.

Beryl Dean Windsor Castle

15/09/2013 by Ann Bernard

Royal School of Needlework – Part 5: We Hit the Jackpot!

Every now and again, the internet delivers a wonderful surprise. In early September, Debbie, who lives in Shropshire, England sent me a brief note saying she was able to identify the young lady who was stitching the GoldWork Sampler in the class photo at The Royal School of Needlework. Would I like to know her name?

I felt that I had won the pot of gold at the end of a treasure hunt. My profound thanks to Debbie for the initial information and then looking for more and sending me all that she found.

Stitcher Joan Lander

The young lady stitching that complex piece was Joan Lander. She was older than us teenagers having served as a nurse during World War lI and then started training at the Royal School of Needlework in 1947. At the time of the photograph she would have been in her last year of studies (see Blog entry of July 4, 2013).

Joan Lander’s family home was Sunnycroft. Wikipedia supplied the following history:

Located in the market town of Wellington, Shropshire, England, and owned by the National Trust as one of their more unusual properties.

Suburban villas were almost ‘country estates in miniature’ that attempted to emulate upper class mansions on a middle class budget. Many have either been modernized, renovated or refurbished out of recognition over the last 60 years or so or have been demolished and replaced with later housing, converted into offices or residential care homes, or have been broken up into flats and smaller residences.

Rare Survivor

Sunnycroft remains intact, complete with the original interior fixtures and fittings, many of which are still in place and therefore has a unique character and intimacy that is often lacking from larger properties but very evocative of its time and place.

Sunnycroft was built in 1880, and extended in 1899. Uniquely the house remained in the same family from its completion in 1899, until it was bequeathed to the National Trust in 1997.

The National Trust summarises Sunnycroft as:

A late 19th-century gentleman’s villa – typical creation of Victorian era suburbia
Rare unaltered interior, with an elaborate conservatory
A mini country-estate, with pigsties, stables, kitchen garden and orchards
Colourful borders and summertime flower displays
Superb long avenue of redwood trees and lime trees.

Visitors to the house will get an insight into some of the exquisite embroidery worn at Westminster Abbey and can browse through souvenir newspapers.
The ‘Thread Through History’ exhibition is housed in Miss Lander’s former bedroom and embroidery workshops are planned throughout the year.
Joan Lander travelled far and wide to teach embroidery and traded as Joan Lander Designs. She was awarded a gold medal by the Royal School of Needlework and held lessons around the dining room table at Sunnycroft.

Joan’s travels led her to collect all sorts of textiles and designs that inspired her work – including several pieces of Leek embroidery – providing a link with the likes of William Morris, who designed pieces for the Leek Embroidery School.

“Among the amazing collection we have also recently discovered what we think is the largest collection of Leek embroidery in the country.”

The fabulous colours of the silks and fabrics have been perfectly preserved through years of being hidden away in various pieces of furniture throughout the house.

National Trust curators and conservators have been delving in to cupboards and chests of drawers to create this fascinating new exhibition.

Joan worked on the embroidery of the Queen’s Purple Robe of Velvet at the 1953 coronation.

Leek Embroidery is William Morris Designs stitched with Silk Thread. I had never heard of it until now.

The following piece of embroidery is now owned by the National Trust. Designed and stitched by Joan while a student at RSN, it is probably her sampler of Laid Work. The appearance and the fact that it was stitched with silk threads leads me to that conclusion.

Stitcher Joan Lander Owner By National Trust

Joan Lander, bequeathed the house and estate to the National Trust. Realizing its historical value, she did not alter or modernize the house.

You will find a tour of some of the house, contents and the gardens on the following site:

http://www.flickr.com/groups/sunnycroftnt

There is a picture of the billiard table which she did not use for billiards but rather as a storage area for her embroidery supplies. There is only one photo of her embroidery on this site but her early RSN samplers would have been the same as mine.

I have also read that she also worked on the gown the Queen wore to her Coronation. She was chosen to be part of this team because of her exceptional skills particularly in GoldWork. From the wording, it is not clear if it was the gown or the velvet train she worked on but both were embroidered by the Royal School of Needlework.

Queens Coronation By Royal School of Needlework

Debbie thinks that Joan’s GoldWork sampler may be in a local church and hopes to be able to find it.

To add to this discovery, Debbie found a Pathe News Film dated 1951. It was taken at the Queen’s presentation of Diplomas to graduating students at the Royal School of Needlework. There is no sound track so here is a quick guide. I think that it was taken in the front office of the school’s property at Princes Gate. Everyone bows or curtseys to the Queen and then to the Princess Royal who is seated on the Queen’s right. The gentleman with the Queen is Earl Spencer, father of Princess Diana.

http://www.britishpathe.com/video/queen-elizabeth-at-needlework-exhibition/query/royal+school+of+needlework

The graduating students are, first, Joan Lander. She had won the Gold Medal as an excellent student. There is a bit of repetition and you will see her twice. The second lady, I do not know. The student second to last out of four (at 00:21) is myself!! Continue watching through the gentlemen receiving their honours. They were also graduates of RSN, presumably from the night school program as they were not among the day students. Following this, you will see the Queen touring the display of students’ work. She is accompanied by Joan and is looking at the sampler which I am sure that you will now recognize. I am standing in the doorway at the back. I was wearing a blue wool dress made by my mother from a Vogue pattern. Is not the Queen a truly beautiful woman with a wonderful smile!

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A link to another very short video of this momentous occasion was supplied by Claire Reeves of the National Trust. In this one, you will see more of the stitched samplers.

http://www.itnsource.com/en/shotlist/BHC_RTV/1951/12/24/BGU412150048/?s=Joan Lander

Notwithstanding Pathe’s assertion that the film dates from 1951, I think that it is more likely to be 1952. My recollection is that RSN did not have a presentation in ’51 because there were so few students actually graduating that year so the presentation of their certificates was postponed until ’52. But until I locate my Diploma, I cannot be sure of the date.

I do remember the day and receiving my Diploma from the Queen. I did not get a higher level Certificate as I had only been a student for 18 months and had not completed the three year course. But I worked as hard and as fast as I could and completed about 2 1/2 years worth of work.

Debbie happened to find my blog as she is interested in embroidery and has taken a course on Crewel Embroidery taught by RSN and presented in her neighbourhood. She is eager for there to be another course and hopes to have the time to attend. She sent me a photo of her project which is a real credit to her and I hope that she will be able to continue this interest.

I hope that you have enjoyed this blog entry as much as I have creating it.

17/08/2013 by Ann Bernard

Beryl Dean Panels

One idea or a question from the Blog triggers another Blogwrite.

I found, and would like to share with you, a website devoted to the magnificent panels embroidered by Beryl Dean and now in the care of St. George’s Chapel which is located within the walls of Windsor Castle. I first saw the panels in the ’70s and they were proudly displayed in a side Chapel of the Church. The next time, I was reluctantly allowed to see them after the the caretaker tried to deny their existence. The last time, about 10 years ago, my interest was unwelcome but I got a brief glimpse. The space had become a repository for extra chairs and pieces of furniture. I nearly cried that this had happened to these incredible pieces of ecclesiastical embroidery. On finding the following article on the web, I am relieved to see that they are now properly housed and hung. And treated with the respect they deserve.

The panels are large. A guess would be that they are between 3 and 4 feet wide, and 5 and 6 feet high. The colours are wonderful, and glowing. I think that she used silk threads as well as gold. Photographs do not do these masterpieces justice. I have enlarged the photos in the article but, even so, they only give an indication of their beauty. I do not know if Beryl did all the stitching herself or, if she had help, who else was involved. I wish that I had been one of them. And that says how much I admire them.

If you have a chance to visit Windsor, I heartily recommend that you see the Beryl Dean Panels.

From the College of St. George website:

http://www.stgeorges-windsor.org/about-st-georges/news1/news-archive/2011/beryl-dean-panels.html

2nd August (2011) marks the 100th anniversary of the birth of Beryl Dean. She died in 2001 but her remarkable work lives on at St George’s Chapel and other places in her embroidery and related work.

Between 1969 and 1974 Beryl Dean made five panels to hang in the Rutland chantry, one of the side chapels within St. George’s Chapel. On a background of especially woven linen and lurex she used a variety of techniques such as applique, drawn thread and pulled work. The five panels now hang in a special cabinet in the Ambulatory to protect them from too much light and dust. One panel is always on display and others can be seen on request to the Chapel staff. The work was commissioned by the Friends of St George’s and the Descendants of the Knights of the Garter to mark the Chapel’s quincentenary in 1975.

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The five panels depict the Annunciation, the Visitation, the Adoration of the Magi, the Temptation in the Wilderness, and the Miracle at Cana.