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October 11, 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.

Enjoy a post from the past

  • A parting gift for Diana.
    Diana, the leading light of the Broiderers group of Guelph, is leaving us in the middle of December.  She has …

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.

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September 3, 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.

Enjoy a post from the past

  • Spring has Sprung: Posted on my Front Door.
    Phantasy Flowers. It is Easter weekend and we have April weather.  Chilly rain and wind out there.  It has been an …

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.

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May 7, 2014 by Ann Bernard

Beginners Gold Work Class

First, an apology. I have not forgotten about this blog but have been busy working on my eBook on Summer Flowers. It is progressing well but such a project takes up a huge amount of time. Publication is delayed until the fall as I would like to appreciate the summer weather after our endless winter.

This is an opportunity to catch a breath and to flaunt the achievements of the members of this class. They were true beginners not even knowing the names of the thread let alone how to use them. They listened well and stitched well. We started with learning the techniques on two small designs which between them, introduce most, but not all the techniques. This was not taken at a leisurely pace as I wanted time for them to work on designs of their own choosing. Some members stitched the learning samplers while others continued on a design of their own.

This was one of the designs on which the stitchers learned how to use the materials. The leaves are appliqued organza. The centre of the flower is highly padded and covered with parallel lengths of gilt. The edges of the petals are very fine Pearl Purl which is hard to handle and the main stalk uses the S-ing technique. Notice the smooth curve of the heavier Pearl Purl connecting the leaves. Stitched by Sandra Ackerley.

This small acorn spray was stitched by Renate Georgeff. She placed it between the two learning motifs where I had left space in case someone wanted to add something interesting. Notice the nice smooth curve of the Pearl Purl. The acorns include appliqued leather. The photo is slightly out of focus. I wish that my photography skills were as good as the stitching skills of this class.

Pat Harwood stitched this piece trying out brick stitching Japanese Gold and Or Nué neither of which I had taught as neither was included in the learning pieces. The central stalk is a cord. She used a twisted red and gold thread for continuous couching within the flower petals. This is an effective way to use this twist as it gives a textured effect. The framing enhanced all four of Pat’s pieces perfectly.

Gail Bailey stitched the seed head pictured above. She used appliqued leather, sequins and beads together with appliqued organza for the leaf. I think everyone in the class mastered stitching Pearl Purl in a smooth curve and the leather is well stitched down.

Enjoy a post from the past

  • Needlepoint project that has taken 3 decades to stitch
    In 1991, members at Westminster Presbyterian Church in Portland, Oregon USA, began a project to create unique needlepoint pew cushions …

Marsha Fontes designed and stitched this Art Deco motif. The darkness of the organza contrasts well with the beads in the petals and centre of the flower. The star shaped sequins break the curve of the outer circle most effectively. The slant of this piece when on display at our annual show reflected the overhead lights. The fabric is cut from a Pashmina shawl. It is closely woven, soft and needs more back-basting than is normal for stitching security.

Janet Sunderani stitched the fish to practice combing organza and leather in one piece before using it on a depiction of St. Basil’s in Moscow. Then she added the seaweed and pebbles to create this piece. The sequin waste used in the sea weed and the square beads for the sea floor make this an interesting piece. I am looking forward to seeing St. Basil’s when completed.

The class worked hard over six lessons to accomplish all this stitching. We will have an Advanced Class starting in September when the students will stitch their own designs. I am looking forward to the challenge and the results.

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January 18, 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.

Enjoy a post from the past

  • Royal School of Needlework – Part Two: Let’s Step Inside
    In early September 1950, the rest of my life started. Having just turned 17, and leaving an unhappy school life …

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.

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November 25, 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.

Enjoy a post from the past

  • Through the Eye of the Needle
    The Art of Esther Nisenthal Krinitz Embroideries that Record History Esther used her needle and thread to record her vivid …

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

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August 17, 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.

Enjoy a post from the past

  • Framed!! – and – a special deal for the New Year. 2020
    The New Year, and a new decade.  Happy New Year to everyone! For you and for your stitching friends, here …

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

Annunciation

Annunciation

Visitation

Visitation

Adoration of the Magi

Adoration of the Magi

Temptation in the Wilderness

Temptation in the Wilderness

Miracle at Cana

Miracle at Cana

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