The RSN Embroidery Studio gets to work on some truly special family pieces, including this lovely embroidered cottage and garden scene.
The piece was worked by the client’s father at the age of 22 when, in 1943, he was blown off a wall while in training, resulting in a broken back and his subsequent admission to the Adela Shaw Orthopaedic Hospital. The hospital was a pioneer in treating spinal injuries and his father was required to lie largely immobile in a wicker cot for almost a year. Fortunately, the client’s father made a full recovery, and was able to use this time to take up embroidery as occupational therapy.
One of his early pieces was a ‘line drawing’ of Durham Cathedral, from his home county. Later, he progressed to embroidered pictures of the front and back of Anne Hathaway’s cottage and garden, the residence of William Shakespeare’s wife. For those embroiderers reading this, who make sure they are sitting comfortably and with good light, can you imagine how difficult it must be to embroider while lying flat, face down or face up, and still produce such a lovely, well-stitched piece? Both embroidered pictures were framed and hung in the parents’ living room throughout their lives.
During this time, the pictures were subject to open coal fires and cigarette smoking prevalent in that generation. After both parents passed away, the client and his sister inherited the embroidered works.
Being on show in these conditions over a long period of time had left the piece with a yellowy tinge and some light damage. For us, it is always exciting to see the difference between the back and front. We photographed the piece on both sides so the client can have an image as once it is mounted, they will not be able to see the back.
The first process we undertook was to carefully remove the embroidery from the piece of cardboard it had been glued to. Then we checked that every thread was colour-fast. Thankfully, they were, which meant we could fully wet-clean the embroidery. Many of the studio team will tell you there is nothing more satisfying than a bowl of dirty water!
Once clean, we placed the embroidery onto a support fabric and secured several splits to prevent them from increasing in size. It also gave us more fabric around the edge to mount the embroidery ready for framing. We mount embroideries onto fabric-covered conservation-grade board, using stitching to hold them taut in place, no glue or the cutting of corners.
Do you have an object you would like made, restored, or conserved?
Why not get in touch with the RSN Embroidery Studio Team or visit the website today for bespoke embroidery commissions, restoration and conservation services.
