{"id":383,"date":"2015-07-25T19:25:00","date_gmt":"2015-07-25T19:25:00","guid":{"rendered":"http:\/\/cinnamonstudio.com\/blog\/2015\/07\/25\/stumpwork-seventeenth-century-raised-embroidery-2\/"},"modified":"2015-07-25T19:25:00","modified_gmt":"2015-07-25T19:25:00","slug":"stumpwork-seventeenth-century-raised-embroidery-2","status":"publish","type":"post","link":"https:\/\/cinnamonstudio.com\/blog\/2015\/07\/stumpwork-seventeenth-century-raised-embroidery-2.html","title":{"rendered":"Stumpwork – Seventeenth Century Raised Embroidery"},"content":{"rendered":"
\n
\nRaised Embroidery<\/span><\/div>\n
\n
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\n<\/div>\n
\nOften I am asked if I have a favorite textile.  This is like asking a mom which is her
\nfavorite child.  Each is unique, each
\nhas positive (and negative attributes), each brings a different
\naesthetic.  Asked if I have a favorite
\ntextile technique, the answer is immediate. 
\nI have always favored embroidery. 
\nI admit to having tried (with varying degrees of success) sewing clothes
\nand home goods, rug braiding and hooking, quilting, crochet and knitting.  I have even dabbled in paper-making and
\nbasket weaving, which I consider to be cousins of textiles on the textile
\nfamily tree.  But after many, many years
\nof working with all forms of textiles and their production I am still drawn to
\nthe art of embroidery.<\/span><\/div>\n
\n<\/div>\n
\nIt is not that I am particularly adept at embroidery
\ntechniques.  I love the portability,
\nbeing able to take with me small pieces of work when I travel.  But I especially love the  richness 
\nof the finished product, the variety of the stitches, the assortment of
\nfibers, and the ability of the textile artists to create their own unique works
\nof  art.<\/span><\/div>\n
\n<\/div>\n
\nMy textile library is filled with editions of embroidery
\nhistory, technique,  ethnic and
\ncontemporary.  Also, of course, are the
\nmany volumes of examples and instructions waiting for me to stitch.<\/span><\/div>\n
\n
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\n<\/a><\/div>\n
\nThe Embroiderer’s Flowers,<\/span><\/div>\n
\n Thomasina Beck, David and Charles, 1992<\/span><\/div>\n
\n
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\nThe Embroiderer’s Garden, <\/span><\/div>\n
\n Thomasina Beck, David and Charles<\/span><\/div>\n
\n
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\n<\/a><\/div>\n
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\nLike all trends and pastimes, embroidery has seen a roller
\ncoaster history.  While never being
\ncompletely absent, there are periods in which embroidery was considered an
\nimportant textile art form, only to give way to other techniques.  One case in point is the needlework commonly
\ncalled \u201cStump Work\u201d.  I consider this to
\nbe a rather unfortunate title. 
\nOriginally, this type of embroidery was called \u201cRaised Work\u201d or
\n\u201cEmbosted Work\u201d  It was in Victorian
\ntimes that the term stumpwork was used. Perhaps it pertained to the use of
\nwooden stumps or moulds which, when padded offered an element in relief, or it
\ncould have come from the printed designs, stamped on the ground fabric.  The French word \u201cestompe\u201d means embossed,
\nand is a likely contender.<\/span><\/div>\n
\n<\/div>\n
\nWhen speaking of the history of raised work, it is a short
\none.  It reached the height of its
\npopularity between 1640 through 1680. 
\nThere are earlier samples worked by professional embroiderers (Brioders)
\nwith three dimensional design elements. <\/span><\/div>\n
\n<\/div>\n
\n The themes for these
\nworks were often stories from the Old Testament or depictions of court
\nlife.  The main pattern was often the
\nwork of a professional designer.  There
\nwere even kits available.  One of the
\nmost delightful features of these embroideries was the inclusion of various
\nforms of flora and fauna, realistic, as well as fanciful.  These lesser elements were usually not to
\nscale.  Therefore a pea pod might be as
\nlarge as a rabbit.  Patterns were
\navailable in collections printed for embroiderers.  Relief elements, in addition to the wooden forms for bodies and
\nfacial features, were made from wrapped wire, beads and other embellishments.
\nSome motifs were directed embroidered onto the ground fabric in a variety of
\nstitches while other were created separately as \u201cslips\u201d and later added to the
\nscene.<\/span><\/div>\n
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\n<\/a><\/div>\n
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\n<\/a><\/div>\n
\n<\/div>\n
\nA Book of Flowers, Fruits, Beasts, Birds and Flies –<\/span><\/div>\n
\n Seventeenth-Century Patterns for Embroiderers, Curious Works Press, 1995<\/span><\/div>\n
\n
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\n<\/div>\n
\n
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\n<\/a><\/div>\n
\nThe Complete Book of Stumpwork Embroidery, Jane Nicholas,<\/span><\/div>\n
\nSally Milner Pub., <\/span><\/div>\n
\nBoward NSW, Australia, 2005<\/span><\/div>\n
\n
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<\/p>\n

\nRaised Embroidery- a Practical Guide of Decorative Stumpwork,<\/span><\/div>\n
\n Barbara and Roy Hirst, Merchurst LTD, 1993<\/span><\/div>\n
\n
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\nHand Embroidered Country Scenes, Sue Newhouse,<\/span><\/div>\n
\nSearch Press, 1997<\/span><\/div>\n
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\n<\/div>\n
\nMy next project might well be a small stumpwork, perhaps the
\nview of my patio and the grape vines  growing across the portal. 
\nMaybe not.<\/span><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Raised Embroidery Often I am asked if I have a favorite textile.  This is like asking a mom which is her favorite child.  Each is unique, each has positive (and negative attributes), each brings a different aesthetic.  Asked if I have a favorite textile technique, the answer is immediate.  I have always favored embroidery.  I…<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-383","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/posts\/383","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/comments?post=383"}],"version-history":[{"count":0,"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/posts\/383\/revisions"}],"wp:attachment":[{"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/media?parent=383"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/categories?post=383"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/tags?post=383"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}