Raised Work 2.pub - Gail Harker Center for Creative Arts

GAIL HARKER CREATIVE STUDIES CENTER
Raised Embroidery (Stump Work)
A Tribute to Barbara Hirst
by Gail Harker
My thanks to Barbara and Roy Hirst for permission to show their embroideries.
Historical Raised Embroidery/ Stump
Work - What is It?
It is a dimensional style of embroidery.
Pamela Clabburn refers to stumpwork, embossed work, cut canvas work and embroidery on the stamp. There is always confusion
over the many historical descriptions and
names. It is not possible to disentangle all of
the exact historical facts about Raised Embroidery. There are so many styles.
When was it Popular?
Raised Work was used in Britain mainly for
a few decades in the seventeenth century. It
has made a comeback this past century. The
techniques didn’t just begin in the 17th C.
The methods were used in other European
countries in much earlier times.
Barbara Hirst demonstrating for one of our study
groups. She and Roy did a great deal of research on the
subject.
Where can Historical Pieces be Seen?
Museums around the world have Raised work
pieces in their collections. Start with the Victoria and Albert Museum in London. Many
museums now have very good pictures online
as well. Refer to Barbara Hirst’s books for
places to look.
Historical Stitch Methods
Raised work was made in a variety of ways
in the years that it was popular. Supposedly,
it was first made with wooden moulds. A
wide range of stitches were used. One of the
many popular stitching methods was detached buttonhole stitch (a needle lace stitch)
that was worked on slips (fabric) and then
applied to the surface of the main piece of
fabric. The embroidered slip was often, but
not always, padded.
What is Contemporary Raised Work?
It may include inspiration from the past, dyeing, machining, working on a large scale item
rather than a miniature or include other exciting methods of raising the fabric or stitches.
See some of the next few pages of this article
Historical Embroidered Items
The method was mostly used on caskets
(elaborate boxes,) cushions, panels and mirror frames. Apparently it was one of the
more complex items that young girls made in
Britain in the 17th C.
© Gail Harker 2011
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GAIL HARKER CREATIVE STUDIES CENTER
Raised Embroidery (Stump Work)
A Tribute to Barbara Hirst
Barbara at Windsor and
Maidenhead College
I first met Barbara Hirst in the
seventies when we both attended London City & Guilds
Courses at Windsor and Maidenhead College taught by Jan
Beaney. I should say that I first
met Barbara’s embroidery before I met her. Barbara was a
year or two ahead of me in her
studies and was exhibiting her
work at the college. Her work
was contemporary and awe inspiring.
© Gail Harker 2011
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Gail, Barbara and Roy in
2001 for one of the study
groups at their home.
GAIL HARKER CREATIVE STUDIES CENTER
Raised Embroidery (Stump Work)
A Tribute to Barbara Hirst
Barbara’s Historical Research
After Barbara completed City & Guilds Part 2 (now known as Diploma), she continued
her historical research on Raised Work. Between Barbara and Roy, her husband, they extensively researched the subject. They studied individual pieces of Stump Work, the subjects, stories, materials, techniques and stitches used and what the embroidery was intended
for. She shares a large list of places that Stumpwork may be seen in her book New Designs in Raised Embroidery.
Above: A rare “in process” panel from the V & A. Photograph © Lexa Shaw
Below: A stumpwork sample from the private collection of Ann Mary Johnstone
© Gail Harker 2011
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GAIL HARKER CREATIVE STUDIES CENTER
Raised Embroidery (Stump Work)
A Tribute to Barbara Hirst
Barbara Hirst’s Embroidery
Barbara was a prolific embroiderer. Although her knowledge of the historical subject was immense, she worked her ideas in a contemporary style of her own. The
historical information inspired her as a subject in itself rather than copying directly
from it. Her subject matter changed to gardeners or family members or even farming, depending on what she was interested in at the time.
The Stumpwork bird made by Barbara Hirst is included in her book Raised Embroidery - A Practical Guide to Decorative Stumpwork. From the private collection of Lisa Harkins.
© Gail Harker 2011
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GAIL HARKER CREATIVE STUDIES CENTER
Raised Embroidery (Stump Work)
A Tribute to Barbara Hirst
Roy Hirst’s Involvement
Roy became involved with Raised Work when he retired. He availed himself of
some of Jan Beaney’s classes to learn machine skills and painting techniques. He
worked with Barbara on helping her to create her vision. He began to create backgrounds by painting them and using machine embroidery. Barbara would then work
the many hand stitches needed for the remainder of the picture.
Roy is showing our group all of the little drawers that were made for the Milllenium
Stumpwork Casket that Barbara and he made especially for the millennium in Britain. There are thirty nine individual embroidered pieces that cover parts of the box.
© Gail Harker 2011
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GAIL HARKER CREATIVE STUDIES CENTER
Raised Embroidery (Stump Work)
A Tribute to Barbara Hirst
Our Study Group sees Historical and Contemporary Raised Work
I kept in touch with Roy and Barbara over the years. I have taken a number of my tour
participants to their house to see her many embroideries - first when I was teaching in
Britain and also from the United States. Barbara and Roy demonstrated techniques for
my groups and showed slide presentations. Most of all they shared their passion, love
and innovation for Raised Embroidery. I remember Barbara for all of these things as
well as her generosity, and skill as a needleworker. Her journey within the field of
Raised Embroidery was full of experimentation and excitement which she shared with
others.
Whirlwind Study Group at Barbara and Roy Hirst’s house in 2001. The Millennium casket is in
the middle.
Barbara as a Teacher
Barbara taught very individual techniques and styles from the eighties right
into the twenty first century. She taught thousands of people from Great Britain
and other parts of the world the techniques of Raised Embroidery. Her influence has been pervasive and worldwide. The style of Raised Work really only
lasted for a few decades in the seventeenth century but Barbara has created an
exciting new interest for Stumpwork once again in this century .
© Gail Harker 2011
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GAIL HARKER CREATIVE STUDIES CENTER
Raised Embroidery (Stump Work)
A Tribute to Barbara Hirst
Stumpwork Bird by Barbara Hirst. From the collection of Marjorie Bachert.
A demonstration Stumpwork panel by Barbara Hirst. From New Designs in Raised Embroidery.
From the private collection of Gail Harker.
© Gail Harker 2011
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GAIL HARKER CREATIVE STUDIES CENTER
Raised Embroidery (Stump Work)
A Tribute to Barbara Hirst
Above is a photo of the demonstration panel that Barbara worked for her book: New
Designs in Raised Embroidery. It is in my personal embroidery collection.
Authors - Barbara and Roy Hirst
I had the privilege of introducing Barbara and Roy to my publisher - Merehurst.
Barbara wrote two books that I know of: Raised Embroidery - A Practical Guide to
Decorative Stumpwork 1993 and New Designs in Raised Embroidery 1997. They
are both the product of a vast experience with her own embroidery and teaching.
© Gail Harker 2011
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GAIL HARKER CREATIVE STUDIES CENTER
Raised Embroidery Casket
Historical Example
English, 1668 - 85
Scenes from the Old Testament: The meeting of Eliezer and Rebecca (top), The expulsion of
Hagar and Ishmael with Sarah watching (back); Abraham dispatches Eliezer to search for a
wife for Isaac (left); Eliezer adorning Rebecca with wedding gifts (right). Casket of wood with
embroidered satin panels decorated with split and satin stitch, French knots, buttonhole stitch,
laid and couched work, and darned silk pile.
In the lid, which is decorated with a painted print edged with mirror glass, is a model of a Stuart
Garden consisting of two grass plots with flowerbeds and statuaries.
Photographed at Victoria and Albert Museum -Gail Harker
© Gail Harker 2011
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GAIL HARKER CREATIVE STUDIES CENTER
Raised Embroidery Casket
Historical Example - Details
Photographed at Victoria and
Albert Museum -Gail Harker
Below: closeup of stumpwork
figures
© Gail Harker 2011
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