This year’s retreat was in Wolfville at Victoria’s Historic Inn. We all arrived late on Tuesday and after gathering in the Inn’s drawing room for refreshments and conversation, we made our way to the Troy Restaurant for a wonderful meal.
The next morning, we got down to business and began work on our selected project. The majority had decided on a pulled thread design, which was a pattern developed and published by the Louise Breton, sister of our guild member, Marie-France. Called Mozaique Vegetale, it is a circular pattern highlighting several whitework stitches. It was fun and challenging, and we can’t wait to see everyone’s finished pieces. Another night out for supper to wrap things up, we headed home the next morning.
It was a fine getaway and the people at Victoria’s Inn treated us royally. We were very pleased. Can’t wait ‘till next year!
Friday, November 24, 2015, was the first day of this year’s annual Nova Scotia Design Crafts Council Christmas Show, and our guild had a table display. Our volunteers demonstrated various needle working techniques throughout the day to an appreciative and interested audience. The response was so positive, it was proposed that we make this the venue for our next Stitch-in-Public Day. Margot, Sharon and Marie-France, thank you for representing us so well!
Today, instead of our usual stitch-in, we visited the Hooked Rug Museum in Hubbards, NS. There is an admission charge, but what is on display inside is truly inspiring. There are several rooms of hooked rugs and the variety of sizes and designs is astonishing. The history of the craft from the earliest settlers to modern interpretations is well represented. And the Noah’s Ark Exhibit is epic! Try and visit if you can; you won’t regret it!
Deanne completed the “One Long Panel” design by Laura J. Perin. Congratulations, it turned out beautifully.
This joint project has been undertaken to mark the 150th anniversary of Confederation and consists of two large embroidered panels – East and West – which, when completed, will be on display in the Governor General’s residence in Ottawa. The East panel has made its way to our guild and many of us are eager to contribute some stitches. We are all looking forward to seeing the completed work.
If any of you have had the privilege of taking a class with Alison Cole, you know she is a very skilled embroiderer and also has a great knowledge of needlework history. Here is a video hosted by Alison where she discusses 17th century embroidery. Thanks go to Margot Walker for sharing this with us!
Submitted by Margot Walker
This redwork box was inspired by an altar cloth from the parish church of Appleby-in-Westmoreland, England, which was embroidered in the 1700’s. The original is now in the collection of the Embroiderers’ Guild (U.K.). These pictures are of a duplicate which was being stitched by four embroiderers in the parish in 2012.
I fell in love with Adam and Eve and the Tree of Knowledge and knew I had to duplicate that motif. If you look closely, you can see that Adam and Eve seem to be tattooed!)
One day, as I was strolling through Dollarama, I spied a wooden box with divisions for storing teabags and a light bulb went off. The box was 8.75″x6″x3.5″, and could be used for storing specialty embroidery threads. I would buy it and cover it with redwork.
The first thing was to design the top. After copying the Adam and Eve design, I realized that more was needed, so I added two trees. For the sides, I scoured the internet and books of 18th century embroidery and copied motifs that appealed to me. After choosing 17 of them, the embroidery started.
The embroidery is really quite simple: outline stitch and seed stitch using one or two strands of DMC floss. When the stitching was done, I saw that I needed a finishing touch of a braid or the like to go around the edges of the box. Since I wanted the colour of the braid to match the red of the embroidery, I made what I needed in bobbin lace, using the same thread.
The box needed sanding and then I painted the inside. To protect the embroidery from the acidity of the wood, I covered the outside surfaces with a coat of glue made from wheat paste (a glue used by book binders). While this was drying, I cut pieces of rag paper to fit all the outside surfaces. Another coat of wheat paste was spread on the outside of the box and on the paper, which was laid on each panel of the box and trimmed to fit when dry.
While the box was drying, I cut more pieces of the rag paper, each a little larger than the embroidered panels. These were pasted to the back of the embroidery. When dry, they and the box got another coat of paste and the embroidery was installed on the box. Once everything was bone dry, the edges were trimmed to size. The last step was to glue on the lace.
And voilà, my redwork box!!