Stitching Idyllic

Stitching by Ann Bernard

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November 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.

Queen Anne the fourth quarter.  @StitchIdyllic

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.

Enjoy a post from the past

  • Creative Use of Stitches: Part 4, completed
    Here is the completed sampler. It is stretched onto a wooden frame and backed with white felt. A pocket for …

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.

Queen Anne coral stitch. @StitchIdyllic

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.

Royal School of Needlework sampler. @StitchIdyllic

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.

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September 8, 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. Conservation of Samplers stitched at the Royal School of Needlework. @StitchIdyllic

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.

Enjoy a post from the past

  • MAGNA CARTA (AN EMBROIDERY) with thanks to information on Wikipedia
    Moving to more recent times, the Magna Carta (an Embroidery) commemorates the 800th Anniversary of the signing of this document …

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. Conservation of Samplers stitched at the Royal School of Needlework. @StitchIdyllic

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. Conservation of Samplers stitched at the Royal School of Needlework. @StitchIdyllic

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.

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