TAPESTRY BOOK: Twenty Inspiring Needlepoint 0713487615, 9780713487619

Citation preview

the

TAPESTRY

Jill Gordon Saint

Foreword by

Kaffe Fassett

‘a

|

teas

7

Paul

Public

‘TAPESTRY BOO K

ant, esta

sin rie ony te SH- edmonsd

ey Twenty Inspiring

Needlepoint Designs dp AP Abs abs ClOrk al

2@eN

Photographs

by

Mae Gel iatie leele GRAS ReERIE. TT

6) B T Batsford - London

ACKNOWLEDGMENTS My first acknowledgments and heartfelt thanks must go to Kaffe Fassett for his unfailing confidence in me, and his

support over many years through thick and thin. He has been my constant friend and inspiration. Through

my association with Kaffe

I met Maria Brannan—my

thanks to her for inspired interpretation and

stitching of some of my designs. And my appreciation for her optimism and cheerfulness, sometimes in the face of almost insuperable odds, not to mention constant interruption from my children. Many thanks also to Hugh Ehrman of Ehrman Kits for his continued support and enthusiasm for my work, and

for producing and marketing some of the designs from this book. I’m very grateful to Juliana Yeo for stepping in and completing some difficult designs at short notice. Also special

thanks to Avril Dodd for stitching whenever she had time and for her enthusiasm in helping me to get things done. Many thanks, too, to Jill Cooper at Paterna Yarns for sending wools off so promptly at short notice and for her cooperation and patience. Indeed I am grateful to Paterna itself for supplying me with all the yarns for the projects

in this book. A special thanks to Judy Spours, freelancing for Merehurst, who has made the whole book possible.

NOTES ‘The needlepoint charts in this book are designed to be photocopied and thus increased to the actual size of the tapestries to be worked. ‘The percentage increase in size needed when photocopying is given with each chart throughout. All the designs in this book have been stitched with Paterna yarns. ‘The designs on pages 21, 39 and 88 may be worked on canvas gauge 8 holes per inch if 7.6 holes per inch is not easily obtainable. This will result in a slight reduction in the measurements of the finished piece. First published in 1995 by Merehurst Limited Reissued in paperback by B.T. Batsford 64 Brewery Road London N7 9NT A member of Chrysalis Books plc Volume © B T Batsford 2002 Text and designs © Jill Gordon

0 7134 87615 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the copyright owner. A catalogue record of this book is available from the British Library. Printed in Singapore by Kyodo

CEOPN= EN Ts

FOREWORD

6by Kaffe

Fassett

DNGIER SO) DAs Gel ON FLOWERS GARDENS ASN.5 GOVE ES WATER PACS TER NS Bib

Ue EO

Bae Ges

PARLE VTE SINS OP ND

a) a We oa ed a

Plies Babe

le IE REITEs

Appendix Suppliers Bagk

List

Conversion

Table

6

Ab

H

E

Ab

Dye

FOR E WOR

D

Dy IS @ jf if @

WwW:

ew & &§ CF

Teirst met [ilRinithe: earthy

decorated flat, and I could hardly concen-

‘seventies, to my knowledge she

trate on her questions because of one

had never painted or done any kind of

particular item of her decor — there on a

art work. She was helping out in a large

sumptuous

house

antique

in the west of England where

I

brocade

embroidered

couch,

amongst

cushions,

was

a

was designing and painting with Lillian

little gem of a needlepoint by Jill Gordon!

Delvoryas.

I felt feverish with pride and appreciation

I could sense

her tangible

for my newly formed artist friend.

interest in our work, and she eventually

expressed

a desire to have a go. Her

first paintings, quiet but strong still

When

lifes, made

exposed to as children, it is a miracle that

me.

a powerful

I have never seen

little

or no

art

impression

someone

education

such beautifully composed

on

with

think

Jill and I were

of what

drawn

we

were

into the world of

needlepoint. Drab and boring beige or

produce studies.

you

I

sage green fields of tent stitch, perhaps

snapped up two of her early works and

with a sad rose in the centre, were com-

helped her sell many more to enthusias-

monplace.

tic buyers. And since we were all work-

covered in brown, beige and dull green

ing on needlepoint, she had to try her

bargello, which appeared to be cut fabric,

hand at stitching.

but in fact entailed countless hours of

Even huge chairs would be

work. Colour seemed to be the least conA year later, when showing my paintings

in New

York, I was interviewed

sideration, as was the case with knitting.

by a

powerful journalist from the New York

In the ’seventies I began to experiment

Post. She spoke to me in her lavishly

with colour in textiles: at first tastefully

R

antique tones, then playfully comple-

Her flowers are anything but sad: their

mentary

strong, bold forms are wonderfully toned.

ones.

I gathered

stitchers around

a group

of

me to complete com-

Her subject matter is unusual, too. She

missions that were coming to my studio.

has

Jill distinguished

favourite, water cascading down

herself at once with

chosen

very personal drawing and a delicious

Pilesmol

sense of colour. Together, we worked

expressed

through

waterfall

wall hangings,

wing-backed

shoals

=stones, an

of fish,

She

had

intention

in needlepoint,

and

my

mossy already

to render

a

but I couldn’t

chairs and bed-heads in needlepoint. In

imagine how she would

between the demands of her family and

amorphous subject read in stitches. Yet

those of my studio projects, she cont-

it does succeed

inued to produce a flow of wonderful

early American naive art.

make

such an

with all the charm

of

still lifes and interior views. ‘Two of her early paintings are amongst

my most

Jill Gordon

1s known

to many stitchers

who shop through Ehrman Kits, and I am

treasured possessions.

sure all her fans will join with me in welWhen I heard that Jill was producing a

coming her to the world of books with

book of her own,

this wonderful

I wondered

how she

would fare. I need not have worried for a moment:

explosion of colour in

stitches.

the result is a blaze of colour to

light up many a house across the land.

September 1994

IroN' TR

O

DPD UC

lt

Ome

line: needlepoints illustrated in this

me. He was right, and a short time later I

book have evolved over the years,

found myself employed as a general fac-

from my first real introduction to the

totum

world of art and design. This came rela-

My work was as a secretary, gardener,

tively late in my life, even though as a

cook, copywriter, childminder, driver and

child I loved drawing and painting. But

whatever else was required - I still had

at school I was given little encourage-

no idea that I wanted to paint and design.

ment

at Weatherall,

in Gloucestershire.

in this field, so that my attempts

during that period were limited to the

Both Lillian and Kaffe took part in set-

usual pony-mad schoolgirl’s drawings of

ting up the workshops at Weatherall. It

horses, all over my exercise books.

was mainly through Kaffe’s unbounded enthusiasm for involving other people in

It was not until a chance meeting in 1971

some form of creative work that the ac-

with two American

tual workshops

artists, Kaffe Fassett

had come

into being.

and Lillian Delevoryas, that I received

Wanting to share his creativity, he set

the advice and support needed for me to

about designing large hangings on which

attempt drawing, painting and design.

everyone there could work.

After almost a year in Israel, working in a

I helped to stitch these tapestries, after

kibbutz,

Kaffe had taught us the basic needlepoint

I was wondering what to do was

techniques. At the same time he encouraged

It was at that

me to start painting, showing me photo-

point that my brother wrote to say he had

graphs of his own work. So too did Lillian,

met a group of people who might interest

who, inspired by the wonderful garden at

next, as the area’s level of violence

beginning to alarm me.

O

D

U

Weatherall, had herself just taken up painting again after a break of some years. £ ~

Set

It was Lillian who bought me my first set

ee Sacetal SO te

xi

of watercolour paints. Neither she nor

= La aS

Kaffe would allow me to become downhearted at my early attempts;

SOR Ra &

& ¢

r

SRS &e ape

*&

instead

they kept me at it until I was painting watercolours that I quite enjoyed. I also stitched some small needlepoints I had designed myself, which were framed and

sold as pictures or used as inserts in cushions. Twenty years later there was an unexpected

sequel to these early en-

deavours. Whilst looking round Camden

Lock a friend of mine from Weatherall days, Richard Womersley, recognised the little butterfly picture illustrated on this page and bought it back for me.

During

the period

Weatherall

when I lived

I spent as much

at

time as I

One of my first

large debt of gratitude to Kaffe for this

needlepoint designs,

discovery, which has opened many doors

made up as part of a Cushion.

for meé;and

has in face changed

the

course of my life completely.

could on painting, plus a little drawing. Kaffe used to run drawing classes for us,

I still find drawing a difficult discipline.

in which his attitude was a revelation to

‘Time and again, when teaching needle-

me. Up until that time I had believed as

point classes, I see people held back by

most people do that you were either born

the same

with the ability to draw, or you were

Invariably my pupils say it’s alright for

absolutely unable to because you lacked

me

the gift. With patience however, and the

that I have only learned through repeated

help of others, this changed. I found that

attempts. I have also found that observa-

given time the majority of us, although

tion is the main key to successful draw-

not finding drawing easy, can represent

ing and painting; with careful perception

any subject accurately enough to enjoy

of their subject, anyone

using it for the purpose of design. I owe a

draw.

limiting beliefs

because

I can draw

I once

had.

- not knowing

can

learn to

B

Pp

As with other skills, your first attempts probably won't look too good, but if you

persist you soon start to achieve results which you can be pleased with.

It was during this time at Weatherall that I

realised painting and design were something I really enjoyed and could actually do, even though this was an area in which

I had no qualifications or background.

I

felt it would be a good idea though to go to art college, to learn some

basic tech-

niques and to give myself a more solid platform from which to work. I applied as a mature student to Cheltenham

of Art and Design and, somewhat

College

to my

surprise, was accepted. Kaffe’s own view on this had been that rather than go to col-

lege it was better to learn through actual

work experience. This may not be true for everyone, but in my case it proved correct,

since the College at that time was more interested in abstract art and expressionism than in traditional techniques of working. The outcome

the Foundation

was that at the end of

Year I left and started

work with Kaffe in London. He had been commissioned

murals,

to paint a number

on which

I helped

of

him; and

though I found the work difficult he was very patient, with the result that I man-

aged to pick up far more

basic painting

techniques than I had learned at college. In between

looking after my family I

spent a lot of ume painting and stitching

IO

O

O

R

O

D

O

wf

x

B

O

O

K

for Kaffe at his studio. I also designed

‘The range of colours in tapestry yarns is

work for Hugh Ehrman, now well known

absolutely wonderful. One of the hard-

for his mail-order needlepoints. At that

est things is limiting them to a reason-

time Hugh was selling work from new

able number - unless you are doing a

designers

fields -

work just for yourself, in which case you

needlepoint being one of his many inter-

can choose as many as you wish. It’s a

ests - at his first shop in the Fulham Road.

good idea to start by deciding on the

in many

different

colours both for your lightest highlights

The most valuable lesson I learned from

and your darkest shadows, so that you

this time of my life was that if you really

can then work between these extremes.

want

It’s a common

to do something,

whatever

it 1s,

mistake, and one fF still

even without formal training you can still

frequently make, to choose colours that

do it. All creative work is valuable, no

don’t have enough tonal difference one

matter how little your first efforts mea-

from another. For example if you wish

sure up to your expectations. Even now I

to use three yellowy greens for a particu-

am my own worst critic, and constantly

lar leaf, it is no good choosing three

have to remind myself that if a needle-

greens of different colours but the same

point doesn’t turn out the way I originally

shade value - you need to select a dark

intended, it 1s still likely to be pleasing in

green,

its own right.

green, otherwise when they are stitched

a medium

green

and a light

the effect will be far too bland. This ‘The whole process of conceiving and cre-

may seem obvious, but it is an easy trap

ating a needlepoint is something I value.

to fall into. If you think of colours as

I find it fun doing the initial drawings;

ranging from one to ten, with white as

likewise scaling them up to the appropri-

number one and black as ten, you would

ate size for the finished work. Looking at

need to choose

these line drawings afterwards I often

mately of the values two, six and nine

think them satisfying in themselves; and

for the difference between them to cre-

they can always be used as the basis of a

ate noticeable light and shadow without

painting. After the drawings have been

contrasting so much

refined

produce a striped effect. All this comes

and scaled

up, the canvas

is

three greens approxi-

that they actually

placed on top and the outlines traced

with practice. Before making a final

onto it. ‘This is a very exciting moment

decision there is no substitute for stitch-

because you can then look at your design

ing colours next to each other to see

references and-start choosing colours.

how they look.

E2

O

D

Painstaking and time-consuming though

inspired by textiles, wallpapers, china or

needlepoint can be, I love the texture of

other decorative art from earlier cen-

the work and the feel of it as you run

turies.

your hands across it. By using canvas

Book’, with reference to many historical

that doesn’t have too fine a gauge, you

associations

can see the work

Many people consider the term tapestry

progressing swiftly

I have called

this, “The ‘Tapestry

and shades

of meaning.

which will give you just the encourage-

should apply only to woven

ment you need. Needlepoint

is quite

earlier times, however, it described any

hard on the eyes, and my first choice

heavy textile used to cover walls or furni-

would always be to work in good natural

ture. It comes

light. On dull days and dark evenings I

tapisser, to carpet, and in my view can be

stitch with a spotlight directed on the

freely applied to any textile covering,

piece. For choosing colours, though, you

whether woven or stitched.

textiles. In

from the Old

French

do need full daylight. That done, you can work quite happily by a good artifi-

I also think the older use of the word

cial light; but the colours will still look

could quite as well describe the pieces in

different.

this book. William Morris, the British arts

and crafts theorist of the nineteenth cenSince those early days at Weatherall in

tury, summed

the 1970s I have worked more as a painter

what I have tried to do here when

and only latterly as a textile designer,

likened tapestry to a mosaic made up of

which has undoubtedly influenced

my

coloured threads. ‘The French architect

I think what is different

Le Corbusier also put it aptly in referring

about these is that they are designed as

to tapestries as nomadic murals, decora-

part of the actual process of stitching - on

tive but movable and interchangeable.

needlepoints.

the canvas,

so to speak. Sometimes

chart or graph has been

made

up more than adequately he

a This flexibility of use is something

later, but

I

only from the finished work. Because my

have tried to reflect in my designs, along

designs develop as they go along, they

with the adaptable nature of my many

have a vitality and freshness which would

references and sources of inspiration. I

be hard to achieve if they were created

hope this book inspires you to look afresh

on graph paper initially.

at the subjects that appeal to you, and

gives you the motivation and confidence Working with freedom and innovation

to stitch these designs and to create ones

does

of your own.

not

mean

that I have

not been

ae!

flowers

hen I started to paint, at approxi-

to work. This taught me

mately the age of twenty-one,

lesson that whatever the end result, it

were' my foremost

inspiration.

can still have worth and give much plea-

My very first painting proper was of a vase of polyanthus

surrounded

the valuable

sure to others.

by an

Indian patterned fabric in acid yellow.

I admit that I have never been satisfied

‘To my surprise it was much admired; |

with my own

had thought it pretty awful considering

drawings, needlepoints or paintings. But

the grand aspirations with which I'd set

I’ve come

At

finished works, whether

to see

this as a bonus

rather

P

than a deterrent,

since it inspires me

each time to see if I can come closer to

A common mistake, which puts off many

my goal. Ever since my first attempts,

people when they first think of stitching

and the discovery that people actually

their own designs, is to feel they must

wanted

to buy them, I’ve been glad of

put in every little detail. It is much more

any chance to attempt the same subject

effective to half close your eyes so that

again, usually coming closer to my origi-

you can see the distinguishing features of

nal intentions and always learning more

what you want to depict - the differences

about painting.

in light and shadow that it is essential to

capture. Observation

- this cannot be

needlepoint

stressed too often in my opinion - is the

is to make sketches

greatest part of any successful creative

and watercolours of the actual flower or

work. We all think we know what a par-

plant you want to work from. I do not

ticular object looks like. But when you

think there is any flower, or anything else

look at it carefully it is interesting to see

in nature, that I do not see as beautiful in

what wrong ideas you may have.

When

planning your own

designs one method

some way. It is difficult to say which are leap

I usually approach a subject by doing

to mind for the creeper-like form of the

some rough sketches, putting in a water-

whole plant, with their wonderful leaves

colour wash

and flowers, closely followed by roses,

colours I am seeing. Whilst working I

orchids, chrysanthemums and hellebores.

always have reference material around

my favourites, though nasturtiums

to remind

myself of the

me, whether a drawing or photograph Other than nature itself a useful design

such as the front of a seed packet or a

reference is the body of extremely beau-

landscape reference, depending on the

tiful and precise botanical paintings from

subject. I also refer constantly to these

the seventeenth,

and early

sources when stitching, seeking to cap-

nineteenth centuries. ‘lo look at the work

ture highlights, areas of shadow, and any-

of artists

such

thing else that really defines the subject.

Thornton,

Georg Ehret and the Bauer

eighteenth

as

Redoute,

Robert

brothers, is to discover that much of the

Then

transcription

has

piece: would it be best as a hanging ora

been done for you. ‘The clarity of detail

large picture, or would I like it to be

and colour is such that you can stitch the

used as a cushion or pillow? This done,

subjects almost.as they are painted.

I measure out the design on a piece of

from flower to wool

16

I decide

on the scale oie

iL,

O

Ww

cartridge paper and do a line drawing to

Delphiniums

scale in pencil from

Heraldic

cushion

sketches. Once all the shapes and sizes

Hollyhock

screen

look right I go over the pencil lines in

large the Heraldic cushion requires little

black ink, heavily enough to be able to

detail, and the screen and hanging are

trace them onto the the piece of canvas

big enough to allow a complex design

when this has been placed on top of the

even on this gauge of canvas.

my

preliminary

hanging (p.

(p.

37),

the

87)

and

the

(p. 19). Though

not

line drawing. Broadly speaking though, the more defi-

Next the canvas should be cut to the size

nition you want, the greater the number

required,

of holes you will need per inch. An ob-

that is allowing at least two

inches of surplus around

vious drawback is that the stitching will

the measure-

ments of the finished work size. This is

take that much

so that afterwards the piece can be pro-

important that you have the satisfaction

perly stretched (see Appendix, pp. 156-7).

of being able to complete the work in a

When

short space of time. The principal rea-

tracing the drawing through onto

for people

longer. I think it very

the canvas it is important to use a good-

son

giving

up

on

their

quality permanent marker. ‘This is impor-

needlepoints and becoming totally dis-

tant so that when you dampen the canvas

enchan-ted

while stretching it, the ink will not run

believe is required to finish them.

through into the wools.

fact with 10 holes per inch you can

is the length of time they

achieve a surprising amount

In

of detail

Fairly large-gauge canvas - no more than

fairly quickly. Once you are proficient in

10 holes per inch - has been used for all

tent stitch, even a cushion measuring

the designs in this book. An even larger

16” by 16” (40 x 40 cm) can be complet-

weave - 7.6 holes per inch (mesh size) -

ed in ten days; using long stitch it can

has

be done in half that time.

been

used

for

the

Irises

and

a8

In| OQ) IL OC K »- CRS Bye Bain

, |Nhe Hollyhock screen is something

further determined by seeing them grow-

ing wild everywhere

that I longed to design for decades,

and some

years ago I spent an entire

summer

painting

flowers.

Hollyhocks

nothing

during the four

years I lived in Yugoslavia.

but these

have always been

Since double varieties have become more

high on my list of favourites and I was

popular it can be difficult to find the lovely, single, old-fashioned hollyhocks. Having failed to grow my own, however, I found ample inspiration from the work

of the Ukrainian

folk artist Katerina

Bilokur (1900-1961). Her writings describe

eloquently the deep longings for expression in art that flowers engender.

‘You

may not like my work as I paint only flowers. But how can I not paint them if they are so beautiful! ... When

spring

comes around and the fields turn green,

and flowers begin to bloom, each prettier than the others ... My God, I forget everything, and again take to painting flowers.’

As references I also used seed packets

and photographs from magazines. You Howard

Rice/GPL

18

R

O

|| | ORES: SE e

iz

will see from my sketches (right; below)

that although I stuck fairly closely to the original shapes of the flowers drawn, as I worked

I did alter the colours, and also

changed the background. When stitching a piece, it is essential to keep pinning it up and looking at it, to see how it looks

from a distance. This also makes work

more

the

fun and carries the creative

process into the stitching.

‘To make your own Hollyhock screen you can, if you prefer, work to a smaller scale.

In any event the principles described

above still apply. Having found good reference material | think it important to spend sufficient time at the drawing stage, so that you avoid the error so easi-

ly made

of being too eager to start

putting wool on canvas before the design

is adequately resolved. Much

time is

saved in the long run by taking extra pains with the drawing and the tracing onto canvas. You can then decide on your

colour range and start stitching. In the

case of my own Hollyhock tapestry it wasn't difficult to find someone willing and able to make a frame for the screen

A

20

-_—

Oe —— 2% a

*

¢

am

that rendered

the finished work quite

PATERNA

stunning and unusual.

YARNS

were used for this

screen, in the following colours:

Sky: Federal Blue 503, 504, 505 Clouds: White!Cream 260, 262,

Materials for the Hollyhock

Dolphin D392, Grape 314, Ice Blue 556

Screen

Purple hills: Basil D117, D127, DI37 Trees: Teal Blue 520, 521, 522

CANVAS:

Greens: Hunter Green 612, 613, 615,

3 sections, gauge size 7.6; each section to

Pine Green 662, 664, Loden Green 690,

measure IS” x 58” (45.5 x 147.50m) plus

691, 692, 693, 694, 695, Old Gold 755,

2” (5cm) all the way round for stretching.

Olive Green 654, Daffodil 763 Pinks: American Beauty 900, 902, 904, 905, Dusty Pink 914, Plum 326

Yellows: Daffodil 760, 762, 763, 764

wi

Peaches: Salmon 840, 843, 844, 845, 846

Oranges: Woodrose 920, Butterscotch 703, een

as Alf > inte seg

hers

ha x

le

IS,

704, Copper S61, Ginger S83, Autumn Yellow 724

Background: Black/Charcoal 221,

Coffee Brown 421, Donkey Brown D115, Pine Green 660, Forest Green 600

Once the pieces have been stitched, they

With auriculae as with hollyhocks I pre-

need to be stretched out to their original

fer the fairly common

size before being placed in the screen.

this case because of the blush of intense

The canvas can then be laced around the

colour around the pale centre. ‘To trans-

screen’s plywood

form the newer

fillers, and backing

material either glued or stitched place.

into

single variety, in

hybrid varieties into

needlepoint would certainly take some working at, since the colours of their

flowers are almost surreal. Auriculae raised

for showing

are traditionally

grown 1n earthenware pots; I like the fact

that, in contrast to plastic containers, the pots themselves become an interesting

colour, from the lichen growing on them. With

the pale auricula,

the Sirius, a

green Victorian-style jardiniere looked more fitting.

‘There is no reason why, as throughout

the book, you shouldn’t alter parts of this chart to suit your own tastes, substituting different fore- and backgrounds

that

appeal to you. It is fun for example to

experiment with different colourways, to see how these affect the look of the plant itself.

Pp

» I Ry Pues A UR GSU ieee C US “Ei somN

1 ee

S irius was a difficult variety of auricula

so different from the original. This is

to portray in wools; nonetheless the

partly due to my interpretation, and part-

shades used come fairly close. The back-

ly through the difference of the medium

ground

into which they are translated. A differ-

was

inspired by one of Kaffe

Fassett’s knitted throws. just copying,

I don’t feel I’m

ence in scale between the reference and the piece inspired by it emphasises this.

in using other people’s

works as inspiration, because the result is

I raised auriculae from seed which were lovely enough to be an inspiration; they then

failed

to serve

as @ Teteremen

because of their short life span. Instead I ae

dae »i

of

used photographs from an excellent book

:

by Brenda Hyatt (see p. 159). As you will

ane

see,

the

between

work

changed

quite

a lot

the sketch and the finished

piece. It makes an attractive companion to the auricula design.

24

cushion

in the next

BEES ws ae

Met: Sel

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Materials for the Strius Cushion

CANVAS: gauge size 10; measuring 20” x 20” (51 x 51cm); which allows 2” (5cm) for stretching.

Actual size of work: 16” x 16” (40.5 x 40.50m).

PATERNA

YARNS:

Bla [Charcoal 271, Blue Spruce DOU.

Teal Blue 520, Ocean Green D516, Loden Green 690, 692, 693,

Lime Green 670, Seafarer D503, Oe

.

> gett me FRI POTDD

att OP

Pine Green 665, Federal Blue 500, 507, ¥

-

t= CP

Plum 320, 321, Fuchsia 354,

AODPEDODD ODDODOP?

2

epeeast co

Antique Rose D281, Flesh 494,

lobacco 743, 745, Daffodil 762, White!Cream 262.

My own

preference with subjects like

this is to work first; then ground

may

and

want

the flowers and leaves

the vase,

leaving the fore-

background

till later as I

to modify them.

stitching is finished,

Once

the

the piece will

need stretching back to its original proportions before

being made

cushion (see pp. 156-7).

26

up into a

he originals for this I grew myself;

in addition I found similar photographs, which showed the variety Alicia. An obscure Japanese stencil design was

the source for the background. ‘This fascinated me because although the stencil repeated, it was not obvious how it did so. The foreground was loosely based on a beautiful piece of textile which probably came from a kimono.

Sunniva

ay,

Harte/GPI

It is interesting to see how the two finished cushions differ, even

though the

subjects themselves are the same.

Shares ro ham)

£ SLi Ten |

Matertals for the Dark

Auricula

Cushion

CANVAS: gauge size 10; measuring 20” x 20” (51 x

51em); which allows a 2” (5cm) surround for

Ry

stretching (pp. 156-7). Actual size of work:

16” x 16” (40.5 x 40.50m).

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Pertwinkle 341, 342, 343, Daffodil 762,

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Navy Blue 571, Black/Charcoal 221,

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he challenge of flowers stitched en

Formal

masse is irresistible to me; so too

eighteenth-century

gardens,

as in the large early hangings now

held at

the remarkable range of styles in which

Montacute House in Somerset, have often

gardens have been portrayed. Whether

been a subject in needlepoint.

stitched as a tapestry or embroidered, the

tapestries, worked in fine tent stitch, com-

depiction of gardens has been popular for

bine an almost modern rendering of plant

centuries, as a subject eclipsing even

life with animals, birds and costumed

individual plants and flowers.

ures that are quintessentially of their own

‘These

fig-

period. ‘The illustration on p. 34 shows the

smaller of the panels comprising the hang-

Garden

ings, in which a wealth of detail extends

library of source

books

make

up much

material;

of my

sometimes,

even to a servant tripping up in the fore-

The Stoke Edith

looking through these, I am struck by a

ground and spilling the contents of his

Tapestry at

photograph which sparks off a theme for

tray. ‘he hangings were housed originally

Montacute, Somerset,

a new work. One such was a picture of

at Stoke

Edith, in Herefordshire,

they were

made;

where

unfortunately Stoke

Edith House was destroyed by fire in

ese

depicting a garden laid out in the formal

the garden at Nymans For some

in West Sussex.

time I had been thinking it

style of the late

would be fun to do a much bigger garden

seventeenth century.

tapestry than I’d tried before. I wanted

National ‘Trust Photographic Library

54

R

D

E

=

Olive sie hols the foreground to be almost a field of dif-

Cabbages and chard

this hanging.

ferent perennials, and in the background,

in the formal potager

the scene in the photograph,

formal gardens, fountains and statues,

at the Chateau de

the secret garden, retains its air of mys-

water gardens and follies. he

Villandry, France.

tery even when stitched in the tapestry.

picture of

It also intrigued me that known

as

Nymans suggested just the right formal

It is in fact a walled garden, but its walls

setting although

are hidden, on one side by clematis and

it didn’t have all the

roses, on the other by shrubs and trees.

ingredients; I contented myself with just the fountain and the formal gardens for

~)

his piece came because

ground in contrast to the more sombre

into being simply

I have always loved these

Topiary and fountain

scene behind, in which you can just see

flowers, both for their intense violet-blue

in the walled garden

the four great topiary yews marking the

colours and for the rich gold of the irises.

at Nymans,

centre of the walled garden. The focus

They

make

West Sussex.

of the garden is an impressive

ie

an

a wonderfully joyous fore-

=

bie

eee

National ‘Trust Photographic Library/lan Shaw

Italian

G

eae

wee

ets

ht; 2 Setter”

rte

i

bre

4

marble fountain, creating the appearance

ly has succeeded

almost of a Renaissance setting.

intended

in this piece, which is

as a glorious celebration

of a

garden in flower.

When I had finished the line drawing of

the irises and delphiniums, I was pleased

Rather than follow the chart, some of you

with how alive and almost dancing the

might want

sketch looked. You always hope this qual-

Have a good look at all the areas of your

ity will carry through

garden, then make a few quick sketches,

into the stitching

to stitch your own

itself, but you can never be quite sure

before you decide which

until the work is completed. I feel it real-

to show.

It is invaluable

garden.

parts you want to take

some

photographs to work from, as inevitably the scene you choose will have changed before you finish stitching.

You may also find it useful, during stitching as well as when creating the design,

to make notes and sketches of any ideas that come to you for other needlepoints. The act of creativity often seems to have

a spin-off effect, so that I find other possibilities keep occurring to me. I try to

keep a diary of these, and sometimes a quick drawing too; it’s surprising otherwise how quickly you forget your own best ideas.

In sketching rearrange

from

life; feeijiteeurn

what you see. You may be

inclined to stitch your rockery, herbaceous border and lily pond as parts of the same

composition

aren’t in the same

even

though they

area of the garden.

Do drawings of each; take photographs; then do a rough sketch arranging them

together as you would like them to be in your needlepoint.

We often limit ourselves by trying to stay

exactly true to life; but with our designs

we have the artist’s ultimate freedom of being able to show things precisely as we

would like them to be. Mistakenly my

children sometimes complain that their own drawings aren’t ‘right’. In answer I

show them ancient Egyptian and Indian

pictures, or European

so-called

naive

paintings, to demonstrate that in art there are no such things as right or wrong, but

only what the artist seeks to create, in

any way that he or she wishes.

ZN

John Glover/GPL

Materials for the Irises and Delphiniums

Hanging

CANVAS:

gauge size 7.0; measuring 40” x 34” (101.5 x 86.5cm) which allows a 2” (5cm) surround for stretching. Actual size ofwork: ts

¥ a P|

36

”

x 307 (91.5 x 16cm):

¥ ie

PATERNA

YARNS:

Whitel!Cream 261, Lavender 330,331, 332,

334, Glacier 564, Pearl Grey 211, Periwinkle 340, 341,

342, Cobalt Blue 540,

Violet 300, Old Blue 511, Blue Spruce 531, Ocean Green D516, Loden Green 691, Hunter Green 612, 613, Pine Green 663, 665,

Lime Green 670, Mustard 712,

Sunny Yellow 770, Marigold 800, Salmon 843,

Old Gold 753, Tobacco 745,

Plum 320.

The

Irises and Delphiniums

worked

in random

hanging is

long stitch, which

one of the simplest and most

is

versatile

stitches. It is a variation on Gobelin stitch

and is worked

vertically over however

many threads you wish - though ideally

not more than four or five, otherwise the piece becomes

loopy and unattractive

and will not be so durable.

With this hanging you can start wherever

you wish. My personal preference is to give in to the temptation of getting in the

irises and delphiniums move

first and then

on to the formal garden

in the

background.

Once the stitching 1s finished, the work

will require stretching. This is much easier however

than with work done in

tent stitch since the canvas will not have been pulled askew by a diagonal stitch.

‘The hanging can then simply be backed, leaving a gap at the top. Through this a

rod can be run from which to suspend it. Alternatively it can be framed in a comple-

mentary

fabric, still with a gap in the

backing material to fit the rod.

a eats i

Sees,"

,

\he View from a Window

which means

pillow is

more stylised than the Irises and Delphiniums how

much

hanging.

Depending

time you want

you can fairly race along

with the work.

on

I had the idea for this needlepoint when

to spend, it

could be done either to the size given

The herb garden at

looking out of the beautiful old stone

here or, even more effectively, on a larger

Cranbourne Manor,

windows of a friend’s house. Her garden

Dorset.

was not as formal as the one I’ve depic-

scale. It too is in random

long stitch

ted but the colour of the stone surrounds

was so soft by comparison,

I liked the

idea of a fairly structured view. I would have liked to find windows lichens and moulds

with actual

growing on them,

but it seems people prefer the insides of their houses

clean

and

mould

free.

Another feature of the work that appeals to me is the three cushions shown on the window

seat. Though

not precisely a

trompe

l’oeil, the idea of stitching

cushion

with the likeness of stitched

a

cushions is a gentle joke.

The details of the view beyond the window were based on a picture of the herb garden, bordered

42

with box hedges, at

A

‘

~

R

\

as. Btamhi

aunty

;} rs

y |= Var

I

i |

} hy

A

ae aaa

Cranbourne Manor in Dorset. In a piece

of this scene from Cranbourne

of this size there isn’t enough canvas

broad vista of rhododendrons

space to do the original view full justice,

that surrounds

but the work itself shows a pleasing mix-

Sheffield Park in Sussex. If you decided

ture of garden and stonework. ‘The range

to do needlepoint pieces of nothing but

as well as the number of old gardens in

these, it would

Britain is marvellous, from the intricacies

exhaust your sources of inspiration,

43

to the

and lake

a grand house such as

still be impossible

to

Y

Materials for the

B

KEY

View from a Window RSRSIRR ANA AINR ROR wRIRRR SR SRR RINK OOR Ral anaen ne nnigannnnR RR WR SR SRR RK 3 o

Paterna

CANVAS:

515

[A

gauge size 10; measuring 28” x 22” ”

D389

(71 x 56cm) which allows a 2” (Sem) sur-

201

round

612

for stretching. Actual size of work:

24-018 (Ol C4507):

PATERNA

660

YARNS:

Old Blue 515, Dolphin D389, Steel Grey 201, Hunter Green 612, Pine Green 660,

662, Ocean Green D516, Blue Spruce 530, Loden Green 690, 691, 692, 693, 694, Olive Green 653, 654, Khaki Green 641, 643, 644, Forest Green 604, Honey Gold

‘diujujulujujajujui ulujujululululalu

733, Chocolate Brown 433, Beige Brown 462, Strawberry 950, American Beauty

904, Bittersweet 833, Spice 855, Mustard 710, Lavender 332, Federal Blue 501, 504, Periwinkle

342, Copper 862. ORRNRRONKR

RRORR ROR RIN

The

order

in which

you

stitch

this

depends on whether or not you like to

start with the easier parts. I prefer to

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Pp

n this century, landscapes

seem

to

have been neglected as a subject for needlepoint.

Enchanting

scenes

have

been portrayed previously, from at least as far back as the sixteenth

century.

Many different styles were used, even

principal subject. It would often be executed nonetheless

with great attention

to detail, as in the cushion cover worked

by Bess of Hardwick

which shows the

death of Actaeon. Here, natural features such

as rocks,

trees

and

water

are

naturalistic,

delightfully stylised, even the bulrushes

others charmingly naive. In the main the

growing beside the water. Similarly pro-

landscape was incidental to some other,

lific in its detail is the embroidered

in the same period; some

front

P

wing chair

be done on a huge scale. But as you gain

from Arniston House, in Lothian. A hay-

in experience and confidence there 1s no

making scene

reason to forgo the pleasure of stitching a

of a mid-eighteenth-century

features

a woman

gather-

large wall hanging.

ing hay, a man scything and another man talking to them

both. On

the horizon

and the

‘The two landscapes in this section were

foreground is exuberant with exquisitely

conceived and worked as a complemen-

rendered meadow plants.

tary pair. Ihe idea was to represent two

stands a horse and hay wagon,

completely

different

types of atmos-

In recent times people have lacked both

phere: a lush English countryside, and

the leisure and the inclination to attempt

the rich, sun-drenched

large hangings;

have

‘Tuscany.

been made for small useful objects like

England

cushions. Of course, as the two following

flowing through

projects shew, not all landscapes have to

background of trees and rolling hills.

most

needlepoints

sO

My own

tones of autumnal

mind’s-eye view of

is pastoral and sees a stream a meadow

against a It

L

A

N

D

stems from memories of childhood and

view of the subject that I found the best

long hot summer days in Somerset when,

among the Dutch painters of the seven-

in my mind

at least, the sun always

teenth century, the atmosphere and defi-

to be shining and the sky was

nition of whose canvases perfectly con-

incredibly blue. By contrast with the

vey the almost iridescent quality of the

greenness of rural England I wanted the

flowers.

seemed

Tuscan landscape to have more vibrant golds and earth tones, with cypress trees, fields of sunflowers and rows of vines.

‘To interpret each of these I first set out to show the look of a particular landscape. It had occurred to me that a pastoral scene on its own wouldn’t quite be

enough as a subject for a needlepoint

piece. So I also wanted

to evoke the

spirit of the country, using a border of

fruits and flowers to offset the actual landscape to best advantage.

For reference I was able to find photographs of landscapes

veyed the atmosphere

that readily con-

I wanted

to re-

create. As for the border details, when

I

think of Mediterranean countries what comes

to me first is the smell of ripe

fruits, and cypresses in baking heat, and the warm taste of grapes plucked straight from the vine. So it seemed just right to

give the ‘Tuscan landscape a surround of grapes,

vine leaves, sunflowers

and a

pumpkin. For the English piece, I wanted a border made up of full, overblown late-

season garden flowers. When

I came to

look for references, it seems strange in

Sue

eae EON Gee Th -€ LA N De sii Aeae

Materials for the English

Landscape CANVAS: gauge size 10; measuring 27” x 21” (68.5 x 53.5cem) which allows a 2” (5cm)

surround for stretching. Actual size of work:

23"

17 (SS. kASCM):

PATERNA

YARNS:

Pine Green 660, Loden Green 690, 691, 692, 693 and 694, Hunter Green 612, 613,

Olive Green 651, 652, 654, Khaki Green 643, 644, Honey Gold 733, Autumn Yellow 725, Butterscotch 703, American Beauty

900, 902, 904, 905, Hot Pink 964, Cobalt Blue 540, Periwinkle 340, 341, 342,

343, Pearl Grey 211, 212, Steel Grey 201, AA Ppa

rh ; Waa

og

Cream|White 262.

I suggest that when working these two pictures you start by stitching the bor-

ders. The whole work is much easier if you first get good sharp outlines for the

shapes within each border, then stitch the landscape colours

and finally work

between

the

the

surrounding

leaves and flowers and the edge of the

landscape.

Once the work is stitched it requires stretching back to its original dimensions. It can then be made

up into a hanging

of

either simply by backing it with a suit-

a)

named "ayad

ase

id

iy

yf

able fabric and leaving a space at the top through which to slide a thin rod from

which it can be hung, or by framing it with another fabric and backing it in

such a way that a rod can be passed through spaces at the topmost corners (see. pi i157):

jF

0

ih hig’,

er tl ~

Th e

TUS L

AN

D

GAN SS?) GC Aga

Materials for the

Tuscan Landscape CANVAS: gauge size 10; measuring 27” x 21” (68.5 x 53.5cm) which allows a 2” (S5cm)

surround for stretching. Actual size of work: 23” x 17” (58.5 x 43cm).

PATERNA

YARNS:

Charcoal 221, Teal Blue 520, 521, Seafarer D501, Loden Green 691, 693, Olive Green 652, Khaki Green 641, Earth Brown 410,

413, Chocolate Brown 432, Autumn Yellow 720, 723, 725, Ginger 883, Old Gold 755, Mustard 710, 712, Hunter Green 613, Pearl Grey 210, Periwinkle 342, 343, 344,

Cobalt Blue 543, 544, 545, Pine Green 662, American Beauty 900, Cranberry 940,

Christmas Red 970.

AS

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Just as for the English Landscape, once the work is stitched it needs stretching,

and making without

up as a hanging,

framing it in another

with or fabric

before backing it and leaving room to put

a thin rod through the top of the piece.

57

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CANVAS:

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gauge size 10; measuring 21” x 15”

colourway it was not until the work was

(53.5 x 38¢m) which allows a 2” (5cm)

well advanced

surround for stretching. Actual size of work:

colours were

that I realised

needed

stronger

and a large part

17” x 11” (43 x 28cm).

would have to be restitched.

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gauge size 10 ; measuring 23” x 23”

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piece:

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sumptuous

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Red Fruit cushion.

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into

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two cushions as a complementary pair, it was necessary to rearrange the fruit and

reduce

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manageable

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both the backgrounds for these cushions; the foregrounds were taken from textile

designs. You will see from the sketch for

the Red Fruit cushion (p. 132) that when I came to do the actual stitching the colour sequence

was altered. Once on canvas, it

was clear that the design would

work

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Once the works have been stitched, they

them up into cushions, use suitably rich

need to be stretched back to their orig-

backing fabrics, to set off the colours of

inal proportions and size. When

the stitching (see p. 157).

making

134

fQ oO

58)

[55 ILI ID oe sy Pe mRe F Ll

FS

rom its earliest history these have

One example is a pair of armchairs dated

been favourite subjects for needle-

1635, from the large suite in the Great

point. In the seventeenth

century they

Chamber

at Hardwick

in Derbyshire

were wrought into many kinds of furnish-

(p. 144). The beauty of using birds and

ing fabrics whose artistry was exceptional.

butterflies on designs like thése is that

137

Pp

James

Hancock

they can be placed anywhere

without

Peacock butterfly.

The idea for this came from the stylised posing of a group of flamingoes

being illogical.

I saw

while taking the children to the zoo. I For this chapter my first idea was a hang-

was amused

ing which would be panoramic enough to

glance you could not tell where the birds’

show a huge flock of birds taking off or a

lowered

swarming

Noting how monochromatic

opened

mass

of butterflies

with

wings. But whatever its attrac-

tiveness such a spectacle would demanded

a huge amount

by the fact that at first

heads and resting legs were.

and mys-

terious they appeared as a group, I took some photographs to use for a reference.

have

of time and

Standing as they were with masses

of

thought; so I settled for the similar but

pampas

grass bending over them, they

less complex Flamingo panel.

had the simplicity of colour and precise

lines that I associate with Japanese art.

138

D

&

B

R

ih ip@

FLAMINGO

|B

ey

the flamingoes proved diffi-

cult for some

reason

- perhaps

because I felt it important for each to be slightly different, as well as spacing them

so that the overall effect was pleasing. With hindsight I can see many things I would have done another way - so I’m all the more glad to have made

notes as I

worked that I can use the next time.

PANEL

B

R

D

&

B

Pcs

ete

T4I

Materials for

the Flamingo Panel CANVAS: gauge size 10; measuring 40” x 28” (101.5 x 71cm) which allows a 2” (5cm) surround for stretching. Actual size

of work: 36” « 24” (91.5 x 61cm).

PATERNA

YARNS:

Coffee Brown 420, White/Cream 260, 261,

Pearl Grey 213, Dolphin D389, Olive Green 654, Khaki Green 644, Mustard 716, Tobacco 744, Forest Green 601, 602, 603,

604, 605, Pine Green 660, Bittersweet 830, S34, 835, Copper 862, Salmon 845, 846, Flesh 493, Terracotta 486, Rust 875.

It surprised me that twenty-three different yarns were needed for something whose colouring looks so simple.

Once the piece is stitched, stretch to its original proportions, and choose a suitable fabric to back the piece, with or

without using a fabric to frame it.

Pp

or a firescreen I thought a traditional

has been traditional for a firescreen, often

arrangement

being used with petit point for details

would

be popular. A

nineteenth-century book illustration was

Embroidery detail on

such as figures and faces. Clockwise from

my starting point but I varied the sub-

a seventeenth-century

the top the butterflies illustrated are:

jects by adding several different butterfly

chair in the High

Large

species from the British Isles.

Great Chamber,

Fritillary,

Hardwick Hall,

Swallowtail,

‘This piece 1s worked in tent stitch, which

Derbyshire.

GEE

National ‘Trust Photographic Library/Andrew Haslam

144

% a’ ~ Shorea nt

Heath,

Duke

of

Camberwell Red

Admiral,

Burgundy Beauty, and Little

Peacock Butterfly. In reality they would

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Once worked the piece needs stretching back

to its original dimensions

and

mounting in the firescreen. It is better to leave the wool exposed, as it tends to

sweat and discolour if put behind glass or perspex.

Materials for the Butterfly Firescreen

CANVAS:

gauge size

10; measuring 23.5” x 19.5”

(59.5 x 49cm) which allows a 2” (5cm)

surround for stretching. Actual size of work: 215 XLS

(54-5 0445) alhe screen

frame itself is supplied in centimetres, so the measurements given here will not be exact.

PATERNA

YARNS:

WPAVTO Doll, Noy?) Noss, BO.

American Beauty 902, Strawberry 950, Copper 862, Tobacco 743, Old Gold 752, Honey Gold 731, Autumn Yellow 720,

Hunter Green 610, 611, 612, 613,

Loden Green 690, 693, 694, Coffee Brown 421, Khaki Brown 451, 452,

Golden Brown 441, White/Cream 261.

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Nhe final work in this section could

the beauty of this lovely little bird which,

up into a

though rarely glimpsed, epitomises the

cushion. What moved me to design it was

English riverside. To catch sight of a

equally well be made

kingfisher is the more wonderful in that its vivid colours evoke a tropical rainforest,

so unexpected in our more temperate climate.

If this work is used as a cushion, a sur-

round will be needed

because

much

of

the picture would otherwise be lost in the curve of the cushion.

Long stitch is used on this piece, to echo

the design’s painterly quality. However, it could equally well be worked using each square of colour as one tent stitch.

I50

O

KE re

Paterna

221 D346 D389 201 660

Sf ae ¥ Ae:

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Materials for the Kingfisher Hanging

or Cushion

691

CANVAS: gauge size 10; measuring 20” x 20” (51 x 51cm) which allows a 2” (5cm)

surround for stretching. Actual size of work: 16” x 16” (41 x 41cm).

PATERNA

YARNS:

Black/ Charcoal 221, Dolphin D346, D389, Steel Grey 201, Pine Green 660, 661,

Teal Blue 520, 521, Ocean

Green D516,

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