Jacobean Period Stitching

03/05/2013 by Ann Bernard

Creative Use of Stitches: Part 3

After Cross Stitch we moved on to Chain Stitch, another rigid example. I find that stitchers do not like stitching Squared Chain Stitch finding it difficult to manage the sequencing. I was determined to include it so they would have an example of it in their sample books.

Squared Chain Stitch

The next two small samples are of Trellis Work. A favourite in Jacobean stitching, it is fun to stitch and dramatic in its impact. I had designed and drafted the first one but had never tried it out in thread. It was a nuisance but interesting to stitch. The density of the darker threads made it look heavy but the scattering of beads lightened it up. I will certainly use this variation again.

The second Trellis Work was also an experiment. I added a thread of glitter to the framework lines and purposely used Detached Chain Stitch as I had not used it elsewhere. Notice that the diamonds and Chain Stitches become smaller towards the outside of the circle.

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All the stitchers had a work book. I asked them to bring a print of each of their samples for everyone in the class. On the reverse side of the print the relevant information was printed including the featured stitch, fabric, threads and the stitcher’s name and contact information. The simplest way to produce prints is to place the sampler face down on a scanner as you would to copy text. Place a medium heavy book on the wrong side of the fabric. Having obtained one satisfactory image, use it to print as many copies as you wish. In this way, all participants have a rich variety of ideas in their workbooks.

Trellis Work

Detached Chain Stitch

The final blog on this project will be about the stitches that connect and integrate these samplers.

11/11/2012 by Ann Bernard

Queen Anne the fourth quarter. What is special or different about this?

Queen Anne (1702-1714) was the last of the Stuart monarchs. Although in poor health she was pregnant 17 times but only one child lived beyond infancy. Her great friend, Sarah Jennings, with whom she had a stormy relationship, married John Churchill. He had great military skill winning many battles in Europe including the Battle of Blenheim. A grateful nation created him the Duke of Marlborough and built Blenheim Palace for him. Located northwest of London and near Oxford, it is well worth a visit. Winston Churchill was born there.

Queen Anne’s reign was noted for the development of the two party political system, the Union of England, Ireland and Scotland forming Great Britain among other achievements. It was a time of the building of mansions, private houses, lavish interior decoration and beautiful furniture. The furniture was smaller, lighter and more comfortable than previous styles; the cabriole leg (S shaped) is the most recognizably enduring part. This seems to be an appropriate accompaniment to the style of embroidery that we were told was current during Queen Anne’s reign.

What we were told at the Royal School of Needlework was that silk threads from the Far East had become available triggering a whole different style of embroidery. These threads were not suited for portraying the Jacobean Tree of Life with all its fanciful and massive leaves, flowers, birds and beasts. Instead, linear and free form shapes better were better suited to the new style furniture and interior decorating. I do not think that the elements of this design represent anything or are symbolic of anything.

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You will notice that the colours have become muted more like the Elizabethan colour scheme rather than the boldness of the Jacobeans. The parallel lines use negative space between the colours to enhance each one of them. The stitches used are puffy Couching, Long and Short Stitch, some Laid Work, and French Knots. The majority of the lines are worked in Coral Stitch which happens to be one of my very favourite stitches of all time. I have looked for it in books and never seen it anywhere. It does seem to be related to Coral Knot but is worked a little differently. No, it is not difficult. The effect is a light and open decorative line which works well both as a single outline and a spaced filling. I include the closeup so that you will be able to see it better. We stitched some lines in worsted wool such as the blue and green outer lines. The couching and long and short stitch are in Pearsall’s Filoselle Embroidery Silk which is a 6-strand silk floss.

See also:
Sampler of crewel work stitches worked by Dorothea Nield, c.1930 in the Bridgeman Art Library. Creative Needlecraft by Lynette de Denne. Octopus Books Limited 1979 ISBN 1 85052 07. This excellent book is a good investment if you should be lucky enough to see it somewhere. Erica Wilson is bound to have it in her books though I am unable to tell you which one.

Notice the different design features and the different methods of stitching. Your comments are always welcome so please keep them coming. The next entry will be our first RSN sampler and, possibly, the second one also.

08/10/2012 by Ann Bernard

Early Jacobean Embroidery Crewel Work Sampler

Before getting into the Jacobean Embroidery, I thought you would like to see this piece of embroidery. It is labelled as neo-crewel period dated 1910. Courtesy of H.E. Kiewe. English Crewel Designs by Mary Eirwen Jones 1974 1SBN 1-688-00288-9. It makes me curious, more and more curious.

English Crewel Designs by Mary Eirwen Jones

Early Jacobean Embroidery

The Jacobean period refers to the 17th century when the Stuarts, starting with James I and Charles I and II, ruled. They were the Kings immediately after Queen Elizabeth 1. There was a break in the Stuart line for Oliver Cromwell. It was an ornate period with lavish clothing and wonderful architecture. Early Jacobean specifically refers to the reign of James 1 in the first quarter of the century. The East India Company was at that time importing palampores into England which greatly influenced English decorative arts.

Palampores, hand-painted (stencilled) cotton fabrics from India, were influential in developing the traditional crewel work designs such as the Hindu Tree of Life pattern. Favourite embroidery motifs included exotic animals, resplendent birds, large ornate leaves and fantastical flowers. The timeless appeal of the Jacobean designs means that these motifs and layout continue to be used today though many of us now seek to arrange them in non-traditional ways. Embroidery was done on linen or twill fabric using wool yarn in bright colours. Many household items such as large wall hangings and bed curtains as well as cushions and pillows were decorated with Jacobean embroidery. They can be seen in museums and are illustrated in many books.

Block shading crewel sampler

This is the second of the four corners on this Crewel Work sampler. In terms of technique, it is an exercise in Block Shading. This is not difficult to do but it is advisable to know how it is done to reduce unnecessary problems. We started with the green areas and progressed to the large turquoise leaf. The learning process is fairly obvious if you look closely. I love the pink and grey motif in the upper right corner. I also like how the green of the main leaf forms the stem of the turquoise leaf giving the whole design unity. The oddity in the piece is the bright blue in the lower left. It is not a mistake or a repair. We were given this colour to use in that position. I remember questioning it. These being the postwar years and a lack of replacement materials, I think that RSN was running out of the right shades of wool threads though it does add a little zing to the composition.

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The dark brown area is Long and Short Stitch. We were told that Block Shading was a technique that was used before the development of Long and Short Stitch. I have no idea whether this is correct or not. And it bugs me not to know and understand the progression of stitching history except in reference to major shifts and developments. I hope that there is someone who knows the answers as I will be gratefully eager to hear them. Unfortunately, in this corner of the sampler the water damage from steaming is obvious. I greatly regret this as it is otherwise in excellent condition.

Any thoughts or suggestions you have will be greatly appreciated.

The next corner, Late Jacobean shows a progression in technique and a totally different design.

08/09/2012 by Ann Bernard

Conservation of Samplers stitched at the Royal School of Needlework

I am currently renovating the samplers I stitched while a student at the Royal School of Needlework and I am writing a provenance. We have one grandson, I reckon that I am the only person who will undertake this large and arduous task.

It has been obvious for a few years that these samplers needed attention. When I took them apart, I found that they are mounted on Masonite. To be fair and honest, this was long before any knowledge of acid damage to fabric and before the days of Foam Core Board. Masonite was all that was available.

I am asking for your assistance with any information you may have on the origin or details of these designs. I am able to identify the techniques.

This is the third of my samplers and a photo of the first of its four sections. This is the information I have and I would welcome help in creating a provenance. In England, this was not a time when information was given or shared. References to sources of information would also be appreciated.

Crewel work stitching sampler 1951 from Royal School of Needlework.

Worked on Linen Twill fabric in Worsted Wool threads, probably Medici.

This was a most enjoyable sampler to stitch. Lots of variety, always something new to learn and the results please me as much today as they did then. I love the motifs and the colours. It is also undamaged by moths or loosened stitches. But, after removing this piece from the masonite board, I steamed the outer edges to flatten them before remounting. Being annoyed with the kettle steam which kept turning off, I resorted to steaming the edges over a saucepan of boiling water. The water marks you see were caused by the water bubbles. I regret the damage this has done. (2012)

Royal School of Needlework First Corner. Elizabethan.

We were told that these motifs are examples of Elizabethan embroidery but I have always had my doubts. I saw a picture of a crewel work sampler stitched in 1910 with included several of these motifs. They may have been taken from an Elizabethan piece of work but I dubious on the accuracy of this. My researches have told me that Elizabethan embroidery was mostly table carpets stitched in tent stitch of which there are well known examples in the Victoria and Albert Museum. Black work stitching was also current having been introduced to England by Catherine of Aragon, Henry Vlll ‘s first wife.

The ability to achieve shading without mixing the threads or undertaking Long and Short Stitch is demonstrated here. Note the use of darning, particularly the colours used in the strawberries. Also note the circlet of six leaves within the other large leaf. Some Laid work is included. The acorn base includes Trellis work which is a good way to secure Laid Threads.

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The block pattern in the strawberry leaf was technically hard to do and one has to know the understructure to get this to work.

There is some Long and Short stitch in the butterfly wings. I think that the body of the bird is parallel Stem Stitch.

The next photo is an adaptation I made for a teaching sample. It worked well and was within the abilities of all Intermediate level stitchers. Some people were uncomfortable with the emptiness of the two corners but, I liked it then and like it now.

Crewel work teaching stitching sampler from Royal School of Needlework.

While designing the above sample, this adaptation developed. It is too much work for students but I worked it myself. Both of these are stitched in Medici Wool on linen.

Crewel works stitching sampler adaptation from Royal School of Needlework.

If you would like more information about me, you will find it on my website Stitching Idyllic by Ann Bernard or visit the Royal School of Needlework website.

It is also included in the introduction to the book Stitching Idyllic : Spring Flowers.

The next blog post will be about the second corner which is Early Jacobean.