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NEEDLE-ART SERIES hi>
Needlewotnarr's
guide to
Pearsalls
TAPESTRY DESIGNS
Stencilled and tinted trame canvasses of
all kinds and periods, including the famous
'
Cries of Old London,' for chair seats,
TAPESTRY WOOLS
15 yard skeins in 120 shades.
CREWEL WOOL
No 906 Cottage and Garden
20 yard skeins 70 shades.
Hand-tinted picture. Instructions for working and colours see page 8
EMBROIDERY SILKS
Silk — best for general
Filoselle
EMBROIDERY SILKS
embroidery. 280 colours fast to light and boiling. Tivisted Embroidery Silk — for smocking
EMBROIDERY RAYONS
Kashak Rayon — thick 2-fold threads
for bold effect 60 fast shades.
Pearsalls
James Pearsall & Co Ltd
No 788 Jacobean Chair Seat
Hand-tinted. Instructions for working and colouring see page 4 71-74 Little Britain London ECl.
lAJd.c nejedleu)^^^^ c ^elOy
tations of Victorian taste, there are but few, This book isprimarily intended to be of
I feel, who would disallow the friendly, even practical use: hence you will find helpful
Needlework is often
maybe, familiar appeal of Victorian design diagrams throughout calculated to assist the
at its best, with its old-world flowers, its less-experienced worker. For the days have
used to good eject
warm blending of colours and its cosy little long since passed when a piece of needlework
in pole-screens, today
motifs shot through with sweetness and when completed was reverently laid aside
much sought after Jor sentiment. with lavender and lace in the capacious
their utility as well Then under 'New', from a wide selection mahogany tallboy or oak chest, a possible
as their beauty we have chosen clear-cut, simple designs in heirloom for future generations. To-day it is
decisive colours that will be happy with, and different. We want to enjoy the fruits of our
may be relied upon to add lively interest to, handiwork. We know the subtle charm and
the sirhple plain woods
lines, and restrained the finish that a really lovely piece of needle-
Beautifully Jlowing design in the Jacobean style. For its rich colouring see
inside Jront Cover of this book.
NEEDLEWORK TAPESTRY...
number of age-old pieces still in p>erfect state this book. Notice particularly, the charac-
Restful all-over pattern of preservation. And it does not tire easily, teristic and so attractive
filling patterns in
of semi-conventional nor does one tire of it ... in fact, hard usage the fruit-forms at top. Worked with Pears-
flowers for an oak stool, mellows its gracious beauty and companion- all's Tapestry Wools on their ready-to-use
ijtb century style. ship with it endears. handtinted canvas. With this, and the
Now to the varied styles. First, we have colour plate as guide, you will enjoy greatly
a petit-point picture, "The Flight into Egypt", copying this well-loved style. Gros-point
typifying the early English work that mostly stitch should be used throughout (diagram
was done for ecclesiastical purposes. This page 6), background over a trame thread.
AS this is an essentially practical book we
start here with favourite period styles
panel has been painted" sensitively, with
background by Art Needlework
Wool shades and quantities are on page 30.
from which you can select those most suited fine detail, Passing to the 18th century we have
Industries who can supply to order this can- the lovely Queen Anne styles. Flower
to your own furnishings or any treasured
heirloom piece you may possess. And more vas or any type of work. form had fined down to the dainty pattern-
than this. For each piece we illustrate, Next a quite different subject for an en- ings with which one associates this elegant
materials can be procured easily readj'-to-
tirely different purpose, in the neat, all-over period. We show its perfect application in a
patterning of flower sprays for a stool top panel worked by the Royal School of Needle-
use, or some prepared to special sizes . . .
. . .
17th century in style and well suited to work. In each little spray of the border can
we list in the index, under these page head-
plain oak furniture of that time. A Penelope be recognised well-loved flowers which
ings, where each may
be bought.
design, for gros-point. grew in English gardens those two hundred
Before describing these needleworks in
turn there is one important point we should Now we come to one of the most popular years ago and are still our favourites to-day.
of all styles, the 17th century Stuart Work The pictorial centre panel, so charmingly
like to make. Of all furniture coverings there
or Jacobean, as it is better known. Furniture compartmented, ha.s both scene and figures
is none so kindly as needlework on canvas.
That it wears well is proved by the great of this period is widely used to-day we . . .
beautifully shaded. Preferably a walnut
illustrate the type of oak Jacobean chair frame should mount this treasure.
that is sold singly, or with dining suites. Queen Anne flower patterning also
The strong and virile style of the needlework wanders gracefully over the canvases of the
(to right of chair) goes perfectly with the
next two pieces, for chair seat or rectangular
sturdy wood. In its early stages this type of stool, filling the shape in a way not only
needlework, copied from the lovely crewel delightful to the eye, but practical in use, as
embroideries of the time, was in monotone the design covers the ground well, and the
shades of blues and greens. Then gradually flower colours suit almost any room. These two
more colour was introduced as flower and Langham designs can be bought at most high-
leaf forms became more natural too. The class needlework shops, complete with wools
piece we illustrate is of this later style see . . .
selected specially in the true period colours.
the rich colouring inside the front Cover of The same style of design is available also for
and fire-screen.
fender-stool, foot-stool
The stool has the cabriole leg of the Queen
Dusky pink roses on a beige ground
—
Anne period again a style many of us have
in use to-day or can buy readily in good
divided by gold patterning from the dark
reproduction pieces.
brown surround. Charming for a Also in the 18th century, contemporary
small stool. French styles were fashionable in England,
Wealth of exquisite
detail in a beautiful
Queen Anne fire-screen
panel from the Rojal
School of Needlework.
All work done or pre-
pared by this famous
School is of the high-
est quality and taste.
rt\-f^..
WOOLS
B Very pale Rose Red 559
SILKS
Q Ivory 72
m Pale Pink 64
11 Mid Pink 65
D Pale Blue 33
o Gold 81
HOW TO USE THE CHART. Each square of the chart represents one stitch
to be worked over a double crossing of the threads for Gros-Point, a single
crossing for Petit-Point. The key indicates the colours to use, as described on
facing page. The bunch has 9o stitches in length, 78 in width —
pencil this area
in the centre of the canvas in order to centre the bunch. On double thread
canvas, 10 threads to the inch, the size will be 10 by 8 inches appro.ximately.
J »-eiF»riTWin
ifB«ff •.-tr««f«»«is>(i«i<B<iq|^f
GROS-POINT (horizontal).
« « •« » I« '-an^HI^^QMP^^ • t • • • I
Each stitch covers one double
Petit-point worked diagonally i>i«««te«ffiH9iqHii^M!«(*<*'<«'i« crossing of the canvas threads
»i«lii»t.«»»» again a longer, more slanting
—one row down and one
TOW up alternately. »• •«»ii» » .:>S»# »»» ^*» »»«»»»
«r
«»««»»»»»«"»«» »:«»l^.»»»»»;»f«f«»
m
«»»»«»••«• '5<#**'li"-** *•»»•»•«««
fI
stitch is formed on the back.
36'1
'»!•««»«•»#•»•»»«»•««»
PETIT-POINT (horizontal).
Each stitch covers diagon-
ally a single crossing of the
canvas threads, and a longer
and more slanting stitch
is formed on the back.
VICTORIAN
BUNCH
Our Cover Design
is quite straight again. To press canvas sides to the slats with strong thread. When
embroidery, lay it right side down on a thick part at view has been worked, roll it on to
ironing blanket, cover with a damp cloth and top roller, releasing unworked part from
Just the right size for a little press lightly with the iron. lower roller.
fire-iide stool.
PICTURED in STITCHES
Old-world Cottage in a lovely setting
YOU havebook— seen the lovely colouring of this picture inside the front Cover
of this white-walled cottage warmly thatched, set in its flower-
filled garden, and tucked away in the green folds of the English hills. A
wonderful subject for a needlework picture, as every stitch 'paints' more
colour and tone quality into the sunny summer scene. Wherever you hang
the picture it will be like a window open to the countryside without. Parti-
cularly attractive in a hall, as our illustration here suggests. For best effect
mount it in the type of frame we have used ... in which the frame slants
backwards from the picture, so that the needlework is slightly forward from
the wall to give full prominence to its beauty. A light oak or painted frame
is newest, and nicest with the colouring of this work.
Pearsall's Canvas No. 906 brings you the complete picture handtinted
ready to work, so that you have only to stitch over the colours with the
corresponding shades of wool ... a delightful and absorbing task. Even if
this is your first piece of work it's bound for success, especially as you have
the colour picture inside our Cover to which to refer. The shades used for
this actual piece —
in Pearsall's Tapestry Wools are listed with the quan- —
tities required on page 30. The picture measures 19 by 1414 inches, with a
wide margin of canvas on all sides; mesh is 10 double threads to an inch.
—
Work in half cross-stitch throughout that is make a slanting stitch over
each double crossing of the canvas threads; the diagram on page 24 shows
exactly how the stitch is done. Whether you work in a frame or not
is a matter of personal preference. The advantage of using a frame is
that it keeps the canvas flat and you have a clear view of the picture
as you work. Do the most important parts first, starting with details
that define the shapes (such as windows and beams of cottage) and
working gradually backwards to parts which constitute the background.
For pressing the finished work see our general instructions on page 7.
FOR CHILDREN
Two amusing and
colourful pictures
that even the
tinies can work
all by themselves.
There are ten
other equally gay
designs in this
Pearsall range of
nursery can-
—
vases each five
inches square. De-
tails of this series
are on page 30.
i^^j^r-^^-l'- ^'^"••f* '^\-; - -^'^H, ".?^ -^ a*T-"S*.-;i3
1
a jy
The Horseman
3 o where the
coral outline filled with buttonhole on leg
mounting can be
and Cretan on foot, frill at top buttonhole;
done in this way. Face and Hands, chain-stitch outline, eyes,
brows and mouth chain, cheeks straight-
stitch; Turban, coral outline filled with chain,
feather-stitch, fiy-stitch and satin-stitch
spots. BIRDS—Body, chain outline filled
with trellis crossed at intersections with tiny
Trellis Cretan
10
Embroideries of the
First Great Elizabethan Age
Weldon's Transfer No. 242S3— details for
ordering the transfer will he found on page 30.
00 00
Iron off the transfer to centre of material.
Using three strands, embroider outlines of
leaves and all but two lower grapes of each
bunch in stem-stitch. Rest of stitching is
worked with one strand; fill one leaf of each
spray as in Dia. 1, back-stitch over two
Elizabeth I, 15-5^8-1603. Picture repro- threads to each straight line, thus Start
:
motifs. The charming effect so achieved is Work diagonally, one square over two threads
well suited to modern-day embroideries as each way, squares two threads apart crosses
;
we feature here ... a Tray in the characteris- each two straight stitches over two crossings
tic "Black Work", and a Tabb-Cloth (on of threads. Dia. 4 Work in rows diagonally,
:
5 to 6.
fac ng page) ecru shade. Although so
in each square over two threads each way,
Grape
dramatic in effect, the embroidery is simple meeting in same space at corners; crosses in
Fillings. 'I'li
to do; outlines are the easiest stitches, and in alternate squares of alternate rows. Dia. 5
the fillings a repetition of stitch arrangement Each diamond over one crossing of threads
:
III!
builds up the little patterns. each way, diamonds six threads apart with
ECRU WORK.
4
jmmm^
1. Four-sided Stitch.
2. (Right) Whipped Chair],
'\
11
design in stem-stitch.
Now work the Fillings, using single thread
throughout Large Leaf in each Corner:
:
HEDGEROW FLOWERS"
In white applique and stitches
fillwider stems and leaves. If you are double fly-stitch (diagram 8). With one
unfamiliar with any of the stitches, look at strand work the purses on the two sprays of
the diagrams carefully and practise on an Shepherd's Purse in Rumanian-stitch van-
odd piece of linen before starting to embroider dyked (diagram 7). Work the leaves of the
the designs. It is easiest to work the French Wild Hemlock, or Queen Anne's Lace, and
knots on an embroidery frame if you have the stems of the flower heads in stroke stitch
—
one carefully follow diagram 3, twisting (straight stitches, diagram 9). Here, again,
the cotton twice over the needle, then re\^erse you could use a strand or two of pure silk
the needle and insert it just beside the point thread. Work the flower heads themselves in
where the thread came out. Diagrams 5 to 8 French knots in two strands of cotton. For
show you, step by step, the fly stitches and all the other stems and leaves work in
I^N this original cosy, white flowers and Rumanian-stitch vandyked. Kensington-stitch, using one strand and
driftingshower on soft green linen Iron the transfer for back and front of cosy working several rows where necessary.
create the atmosphere of a country hedgerow on to the linen, making sure to place the Embroider the rain shower and wording in
in summer rain. The embroidered quotation wording straight with the weave and allow- fineKensington-stitch, then whip over the
is from a nature poem by Keats. White ing 2|- inches of linen below the lettering. stitch (diagram 10).
applique and stitches retain the simplicity of —
Make a 1-inch hem on this edge it is well
THE BACK OF THE COSY
hedgerow flowers, darker green being used worth while to withdraw three or four threads
only for the veins, stems and spots of the and make a hem-stitched hem. Work the veins of the Clover leaves in
Arum Lily leaves and veins of clover leaves. It is essential when doing applique Kensington-stitch, using one strand of the
To make the tea-cosy, you require a piece embroidery to have the pieces of applique coloured cotton. With two strands of white,
of linen 16 inches by 27 inches, one skein of lying the same way as the weave of the back- work the small clover leaves in Rumanian-
white stranded cotton, one skein of stranded ground; this enables the two materials to stitch vandyked, then with four strands work
cotton several shades darker than the linen, pull in the same direction and avoids pucker- clover heads in irregular long and short
and a small piece of fine white linen (a hand- ing. If you transfer the applique pieces to stitch (diagram 11). Embroider the grass
kerchief would be s^uitable) for the applique. the white linen as they are laid on the trans- blades in straight-stitch using four strands.
Design from Weldons Transfer No. 24315 (see fer, they will lie in the correct position when Work the leaves of the little floating sprays
page 30). applied. The numbers on the transfer indi- of Shepherd's Needle in lazy-daisy stitch
The majority of the embroidery is done in cate where each piece is placed. (diagram 12) using two strands, the stems in
stem-stitch —
or Kensington-stitch as it is Begin the embroidery by cutting out the Kensington-stitch with one strand and the
called when the thread is kept to the left of white applique pieces along the transfer line flowers in cross-stitch (diagram 13) using
the needle, or above the needle when working and tacking them down carefully on the two strands. Embroider the rain and wording
horizontally; several rows are necessary to main design. Secure these in place with as for the front of the cosy. Press embroidery.
13
MODERN DESIGN
and Colour
CONTEMPORARY design in these embroideries uses clear
pungent colour in background material as well as stitching,
giving that important, decisive colour-note in the modem room.
For the Cushion you will need two 18-inch squares of bright
sulphur-coloured rayon linen and Peri-Lusta Floran Embroidery
(an effective thick thread with lustrous finish) in peacock, greens,
fawns, browns and a to'uch of white and orange. Shades are listed
on page 30. The design is from Weldons Transfer No. 24325,
diagrams of stitches used are on transfer wrapper.
Iron transfer to one square and embroider thus All stems in
:
— —
two rows of stem-stitch one in each colour using fawns, browns
and greens small leaves in lazy-daisy stitch in same colours one
; —
colour on one side of stem using thread double, another on other
side with single thread curved leaves stem outline, couched vein,
;
Round cushion in sulphur-coloured linen, flower blue, wine and white (shades listed on page 30) Weldons ;
Transfer No. 24335 gives design for two mats. Iron transfer to
embroidered in peacock blue, greens and centre of material, then make |-inch hem on wrong side all round,
natural shades. Table-mats in bright chrome- mitreing corners and stitching invisibly with a strand of yellow.
Embroider thus : Single Lines (on outer stripes) —
red chain.
jellow linen with blue, wine and white stitching. Concluded on page 28
;
14
Imperial Order Daughters of the Empire — by shaded, but background as well softly toned by using two shades in
—
both the blue and russet a feature that others can copy successfully.
whose courtesy we reproduce this picture — and When at last the final stitch had been put in, the pieces were re-
turned for professional mounting; so expertly was this done that no
it is now on permanent display in Canada's join is visible. Hessian backing with felt interlining was added.
And the cost of such a work ? Well, the canvases, wools and mount-
National Gallery in Ottawa. ing alone, not counting Anthony Stepney's work and skill, amounted
to little under .£70. The finished carpet might be valued at ten times
this figure, but who, in fact, can put a price on such satisfying beauty?
The chairs m —
these pictures Earlj Dutch
Marquetry — ha\e petn-point seats norked
by Mr. Stepney from a previous number of
Weldons Needle- Art Series.
15
Beautiful
Flowered
Carpet in
Gros- point
The work of
ANTHONY STEPNE\
gold on russet, was designed with much care and artistry to form a neat
and restful frame.
The carpet is the work of two years' leisure-time, and is in gros-point
throughout, gauged ten stitches to the inch; further notes on how it was
made and of the approximate cost are on the facing page —
for those
who may be inspired to embark upon a similar needlework adventure.
16
i ii *«i4«4i|
The fascination of
COUNTED
PATTERNS
On these two pages — an interesting
collection of old repeating patterns
you on canvas by Art Needlework Industries who specialise in counted blue. Delightful with the dark mahogany stool. Shades suggested in
patterns, and they will supply the Appleton's Wools for finishing.
our index copy this original colouring. In gros-point on canvas
Melon Pattern. Bold in form and colouring, this pattern is suitable with 10 pairs of threads to inch, in Patons Beehive Tapestry Wools
for large stool or chair seats. It could be followed from the picture, " Rose-buis and Laces". Inspiration for this delightfully feminine
but probably you will prefer to have a repeat or so started for you pattern came from a brocade of about 1760 the lace motif com-
. . .
on canvas (as for Vandyke Pattern above) and supplied with the bined with roses was favourite patterning of Queen Marie Leszczynska,
Appleton's Wools to complete. wife of Louis XV. It is charming for a dressing-stool seat, as sketched
Fleur-de-Lis. Chart is overleaf. Heraldic dignity of this design is sup- on page 24, where chart is given of one complete repeat. In half
ported by working the Fleur-de-Lis in gold, the linking ribbons in cross-stitch on canvas, 10 pairs of threads to inch; for a large size
two shades of Garter blue, on a royal purple ground. This is a seat allow %
yard of 27-inch canvas and work charted lace and sprays
dignified pattern for book-covers, blotters, boxes, small cushions at centre, then fill in to length and width required put in blue back- ;
or kneelers. Worked with Pearsall's Tapestry Wools. ground last of all. In Patons Beehive Tapestry Wools.
Trellis Pattern. Charted overleaf A neat and compact design for small
. Victorian Motifs. Charming for a pair of small pictures mounted in
fire-side bench, chair pads, foot stools. Cross-stitch is best for this the Victorian manner in oval gilt or black wood frames; hang them
pattern as it accentuates the squareness of the shapes; each cross either side of the fire-place or elsewhere at eye-level stepped one
goes over a double crossing of canvas threads. Original had mid- above the other. Work in petit-point on single thread canvas or,
brown trellis edged with mid-fawn; pattern within diamonds in as in Colour Plate, on double thread, opening the mesh with the needle
three shades green and three shades gold arranged dark to light as and working each stitch over a single crossing background should be ;
-'7/ -- - - z~777^ ::
This Colour Plate provides a - 77- -
72 -77 - 72, : -
77-P
^
7 2 6 ?^ 7
7
--7- 7 7 /
7- 7 /
Sampler of all-over patterns, each 7
/
7 7 7 7
'.
z z 7 7
7 7 7
7 Z /
with part unworked to show the 77
77..^7-72
-
-.-.^^^-^ 7
/, 7 77 • -77
CO •
Z^ 7 -Jtz £• 7 /. 3O0
• 7 • •
m^-,
C VO •
(
mv-AmWiWi Y5-7:
vo / •
Three Interesting
o Designs
o for
'^^pp^^^
NEEDLEWORK ON CANVAS
CLUNY DESIGN. One of the five tradi- MODERN DESIGN.
Blue predominates LOUIS XV DESIGN. If you have a gilt
tional designs illustrating the Five Senses '
'
in this elegant top a par- dressing-stool — or light wood chair probably French . . . . . .
from the famous tapestries in the Clun^' ticularly lovely mid grey-blue shade, with the design above would be suited ideally for
Museum in Paris. In this one 'Sight' is soft pinks, mauves, and golds in the flowers it, the curves arranged to flow into the space
symbolised by the mirror held by the central and decorative ornament. There is plenty of required. The piece illustrated is 16 inches
figure. The design has been adapted for interest here, both in the working and deep by 19^2 inches at its widest part.
gros-point on canvas; face and hands in finished lovely result. For petit-point Colouring is similar to chair seat on page 16,
petit-point over single thread. In the original throughout, on canvas 16 single threads to can have the same change of background
colouring of soft antique shades, background inch, worked throughout with either two from light in centre panel to darker pastel
should be in rust. Suited to chairs of early strands of crewel wool or with stranded without. On double thread canvas, the
style, preferably with 'stuff over' seat as in cottons in flowers an'd graceful supporting needlework is in gros-point with centre
our sketch. Design 18 by 15 inches. Back curves. Over-all size of design 16 by 12 motif in petit-point over a single thread. Or
and arms are supplied to match, if required. inches, or to special measures as needed. the whole design can be worked in gros-point,
Most eflfective on a modern light wood stool.
PAINTED CANVAS the designs for all ASH TRAY. Here a charming, small piece
above are obtainable from B. Francis at of needlework is used for an unusual and very
address on page 30. They are supplied in the useful purpose. The petit-point embroidery
sizes stated or specially prepared to fit any — a little bunch of old-world flowers is —
chair or stool, with Appleton's Wools for work- protected by the glass top of the tray; the
ing if required. When ordering in individual dainty frame in antique gilt effect accords
sizes please send pattern cut to shape of perfectly with the needlework. Mounting is
seat, with indication of area you would like done in a matter of minutes by placing the
design to cover. Plenty of canvas will be work between the top and its gilt back and
allowed all round for mounting. The chair- pressing gently into the frame, where it
seats have 10 pairs of threads to inch; other remains firmly in place. Complete outfit of
meshes could be used if stocks permit the . . . painted canvas, stranded cottons and the
finer meshes are still in rather short supply. ash tray from address in index on page 30.
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—
21
LINEN FLOSS
Supplied in White and colours with a
distinctive Lustre.
Obtainable from
An Needlework Shops
or from us
The Laughing
CavaHer
as illustrated also
OF NEEDLEWORK Boyhood
The Ha^^vain
of Raleigh
ERI USTA
-(ik^icl ''^:mmil '6trikeddm ^ttiml
// any difficulty in obtaining write to: PERI-LUSTA LTD. (AD. DEPT.), LEEK, STAFFS
FURNITURE>f NEEDLEWORK
STOOLS—FIRESCREENS
WORKBOXES
All FURNITURE
CHESTS — TRAYS is made to fit the
Sendjour enquiries to
GIMSON
AND
PARTNERS
Limited
23
FLOWER GAY
Patchwork
Happy with cottage-y
and modern furnishings
SHADED EMBROIDERY
For Dinner Mats and Picture Tray
Illustrated in colour on page IJ
Hem outcredge, press bindmg so that inneredgelies flat and heminner edge. The tray in dark oak, only slightly polished, makes an effective frame.
; '
24
FOR Bag 514 by 9 inches allow l/3rd yard 14-in. Rose-buds and Laces
Glenshee cross-stitch fabric (20 threads to inch)
lining 10 by 12 ins.; bag-frame 654 'ns. at inner edge; (Poges 1 8 and 19)
Dewhurst's 'Sylko' Mouline, skein each in shades
listed below, numbers on page 30. S Very Dark Green
Overcast edges of fabric to prevent fraying, then (x) Dark Green
divide into four sections by running a thread across Pale Green
BH
centre of 14-inch width (for base line of bag), and
another down centre of length. Work large posy
g Very Dark Pink
Dark Pink
from chart below (crosses over two threads each way), 51
starting top leaf 98 threads above base and 8 to left 5j Pale Pink
m
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FLORENTINES
COUNTING
LINENS
1OVERS
J because
of beautiful needlework read
it is a magazine which devotes
Embroiderj
itself
I
-T was our privilege and pleasure to adapt
from a design and execute in colour the tapestry carpet as
featured on pages 14 and 15 of this journal.
The designs illustrated here are from our comprehensive
range of Tapestry and Art Needlework items and can be
supplied handpainted or trammed on canvas ready to
embroider.
The quality of our materials and ex-
cellence of design are well worth seeing.
Enquiries personally at our showroom,
or by post, receive careful attention.
Advice given on all matters relative to
Art Needlework.
TAPESTRIES STRETCHED AND
NEEDLEWORK MOUNTING OF
ALL DESCRIPTIONS ^^^ ^^^^
Customer's own materials traced, or own tapestry canvas designed
and handpainted.
Any special design executed to customer's own requirements.
EMBROIDERY LESSONS GIVEN.
Tapsstry Wools, Crewel Wools and all Art Needlework
Requisites stocked.
Floor Frames, Table Frames and Tambour Frames supplied for
embroidery.
Beautiful and attractive designs for every kind of embroidery.
Post Orders may be placed with confidende.
WOOL
IN 250 SHADES FOR
Period Needlework
Ask for AND ALL EMBROIDERY
USE
/^^ Dewhiirst's
j£./J^^'^^ SYLKO
MOULINE
(Stranded)
Supplied In a beautiful
Recommended hy Needlework Experts range of Fast Colours
•
FOR GENERAL SEWING
Trade enquiries to
WHAT WONDERFUL NEWS— at last Needlewomen wUl be able to buy COUNTING designs, sometimes caUed REPEATING
patterns, through the post, already commenced in such a way tliat it will be quite easy to follow the pattern. Start a collection
of these fascinating designs today. There is no end to the number of things which can be made — ^
chair and stool tops, cushions, firescreens and the same designs on a fine canvas for handbags, and
HOW THESE LOVELY DESIGNS WILL COME TO YOU— A FULL PATTERN will be started
canvas 27 INCHES SQUARE, so that the PATTERN CAN BE REPEATED
in the centre cf a
OVER AND OVER AGAIN UNTIL THE REQUIRED SIZE AND SHAPE HAVE BEEN
WORKED. ALL THE DIFFERENT COLOURED WOOLS NECESSARY WILL BE USED
IN STARTING THE PATTERN SO IT WILL BE EASY TO COUNT OUT THE DESIGN.
WOOLS of
extra thick-
ness in lovely
tapestry
shades by
Appletons.
1[OLEWORK W[SIRIES
160 designs in many styles and
sizes available in complete outfrts.
A special feature is that sufficient
Embroidery and Needlework
tapestry wool is provided to work
the designs and background in
By Gladys Windsor Fry. This well-known book gives easy-
trammed tent stitch— the correct to-follow instructions, amplified by clear photographic
and ideal stitch for appearance
and long wearing quality. plates, and progresses through each stage of the essential
technique. 40/- net.
'TAis excellent book . . . a delightful possession for anyone who
is a keen worker . . , we are most fortunate to find this charming
book once more available.'''' — EMBROIDERY.
Embroidery Designer's
Sketchbook
By E. Kay Kohler. Here is a delightful book of inspiration
for all who forms a collection of
love embroidery work. It
27
THEATRE BAG. White net delicately edges %-inch to face and slip-stitch neatly;
needle-run with white thread, mounted at top turn outer material over lining and
over greysilkmakes this enchanting little bag. slip-stitch inside bag.
Fine tatting edges the top and 'caps' the From the cards cut two hexagons to fit
bobbles of the drawstrings. The bag is 6^4 base of bag, each 3% inches across from
—
inches high, 4 inches across base just large
enough to hold handkerchief, compact, and
point to point; cover one with lining, the
other with net and lining, sticking turnings
so on. A neat size for dancing too. over to wrong side. Place wrong sides to-
All you need to make the bag are hex- gether and oversew round edges. Overcast
agonal mesh net size 16 by 7 inches, lining into lower edge of bag on right side.
16 by 14 inches, two 4-inch squares of stiff Pierce a row of 12 eyelet holes at equal
card for base; Dewhurst's 'Sylko' Mouline intervals %-inch down from top of bag over- ;
2 skeins white shade 738; a few seed pearls; cast edges through both materials. Make
Ardern's Crochet and Tatting Cotton No. 30 two 16-inch cords of the Mouline twisted
and two tatting shuttles. together and thread through holes, one in
Cut a strip of net 6% by 11 14 inches and each direction. Knot ends and cover knot
two strips of lining the same size. Tack the with lining, stuffing a little to make a
net to paper to keep it flat whilst working. bobble. Work tatted lace to edge top thus,
Using crochet cotton, embroider net thus : using two shuttles thread shuttles with
:
Concluded overleaf
:
;;
28
THE HORSEMAN {Contd. from page 9).
stitches. FLOWERS —Bells, Cretan chain and straight-
stitch; Star-Flowers, chain and fly-stitch outline with
chain centres; Petalled Flowers, long and short-stitch
—
with French knot centres. HILL coral, stem-stitch
and herringbone; MOUND
(on right) buttonhole-—
Beautifijllv shaded stitch; Gi?0 C/NZ3— herringbone. FLOWERS
on HILL
rose-sprays shadowed and GROUND — Petalled Flowers, as those on tree, stems
stem-stitch, leaves feather and satin-stitch; Bell Flowers,
with dainty bell fiow-
satin stitch.
ers compose this ejfec- To make up the panel as a hanging, back with crash
ti ve design worked from or even heavier material, inserting a wooden slat at top
Weldons Cross-stitch
between the layers, witii ends extending at each side;
to hang, fasten small ornamental hooks to wall and
Chart No. M'369.
drop ends of slat into these. If required to weight the
hanging stitch about four dressmaker's weights at
intervals inside the lining at lower edge.
skeins grass-green 498, two skeins grass-green 496 and 500, and beige 821, and
stitch in one direction, leaving space for a stitch between
one skein each carnation 466, coral 504, golden brown 569, nigger brown 578, each, then buttonhole back, filUng spaces), three strands
amber-gold 582, cardinal 599 and white. Use three strands throughout. Weldons Scalloped Lines —
white satin-stitch three strands,
Chart No. W.369 (details for ordering on page 30) from which the design is worked edged both sides red chain, two strands. Stars- blue —
indicates exactly where to place each shade. straight-stitch caught down at centre with straight
Halve the material and work design on one piece for cushion front, commencing stitch, six strands; Circles —
white chain, three strands,
border about 2^4 inches in from one edge; work each cross over three threads, as red French knot centre, three strands Motifs first one
; —
diagram above, thus making nine crosses to the inch. Make one cross for each blue satin-stitch centre three strands, red stem-stitch
—
sign-square on chart the unfilled squares each represent three threads of the
lines two strands second one red chain outhne and filling,
;
29
As a picture or firescreen '''Lady in Rose" wish, but in general practice it is best to do the most important parts first, working
brings a lovely colour note to any room. gradually back to the least important ones. When you have finished the gros-
With its many unshaded parts— so very point, stem-stitch in the black dividing lines on sleeves and below hat-brim
material. Stitch on thin cord or attach with rings. Or screw picture flat to wall.
Should you wish to have "Lady in Rose " for a smaller picture than the original,
use finer single thread canvas— the wool will
suit one as fine as 14 threads to the inch.
On this, work in petit-point which is done
in the same way as gros-point but over a
single crossing of the threads. On 14-mesh
canvas the picture will be about I2I/2 by
15 inches. . just a nice size for a bedroom.
.
so
Pinks 744, 746, 747, 830; Bkes 782, 7f5; Golds 887, 704;
as above.
Browns 804, 790; Mauves 811, 891; Greens 726, 728, 824.
Woodland Glade. Penelope Design No. F.4728. Outfit Bag frames from most needlework shops or from B. Francis.
available as above.
Santa Maria. Size 21 by 27 ins. Worked in petit-point PAGE 17
on canvas with 16 threads to the inch. Canvas can be Hand Dinner Mats. Instructions page 23. From Weldons
painted by B. Francis, 481. Fulham Road, London, S.W.6. Transfer No. 24346, price Is. 8!'2d. by post. Six different
price 25s. (postage extra), or by needlework shops specialising flower sprays (size about 5 inches deep)'on the one transfer.
in this work, price on application. Work with Patons Beehive Allow 1|4 yards of 36-inch linen for six mats. Work with
Tapestrv Wools; 2 skeins each shades Blue 1720, 1721, 1723, Peri-Lusta Stranded (using three strands), 1 skein each :
1736, 1738, 1740; Greens 1710, 1754; Greys 1732, 1733, 1734; Convolvulus, Blues 444, 446; White 25a; Lily, Oranges 153,
White 51; Mauves 1898, 1900; Reds 1703, 1704, 1705, 1744, 463, 259; Brown 746. Picotee, Pinks 292, 295. Azalea,
1745; Yellow 1715; Browns 1771, 1782, 1786, 1787, 1838; Pinks 161b, 162. Auricula, Purples 497, 499, Yellow 738;
Black 52. Honeysuckle, Yellow 250; Pink 162; Greens 285, 910, 913,
Children's Pictures. Pearsall's Handtinted Tapestry 914, 236, 168.
Canvas No. 661. Twelve desiens, sold separately, each size Picture-Tray. Instructions page 23. Design size 12 by
5 ins. square. Canvas (14 pairs of threads to inch), and 7'.. ins.Traced ready to embroider on pure Irish Linen in
Pearsall's Trprstry Wools for working matched to canvas, cream shade, size 20 by 14 ins. Price 6s. lid. Clark's"Anchor"
from most needlework shops. Stranded Cottons, 1 skein each shade Terra Cotta 638, 430,
Elegant flower arrangement on dark brown back- :
575, 576, 577, 771, 787, 789, 790, 955, 496, 497, 498; While;
size 18 by 2 2 inches; complete outfit Jrom most Weldons Transfer No. 24275, pric? Is. 8>;d. by post. F,m- Black. Price 10<. 8d. Oval Tray in oak, size 16 by 11 ins. in-
broider with Clark's ".Anchor" Stranded Cotton, 1 skein each
needlework shops. cluding glass, backirg, and inner backirg for mounting em-
shades Reds 468, 679, 831, 837, 839, 840; Pinks 404, 492, 741
broidery, £1 6s. 6d., (carriage Is. 7d. extra) all from B. Francis.
;
517. 518; Terra Cottas 538, 539; Browns 589, 590, 591, 592; Melon Pattern. Origiral worked with Appleton's Wools:
Blues 593, 594, 596; Pinks 567, 568, 569,570. Background Kindly note that Weldons do not stock 5 Blues, 4 Greys and Beige. Work commenced as above.
—
Beige 550 8 skeins required if in gros-point untraramed,
canvases or other needlework materials, Oyster Pattern. Worked from chart on page 19. Tapestry
13 skeins in gros-point trammed. Wools Brown for outlining; for shading, six shades of Red to
:
Stool Seat (lower left-hand corner). " Directoire " Model. Pink and six of Dark Green to Light Green, finishing with
Design size 1414 by 13 ins., background 17 by 16 ins.; canvas READERS' SERVICE Natural in both cases.
(11 pai s of threads to inch) 26 by 20 ins. Hand-painted. Fleur-de-Lis. Worked from chart on page 20. Pearsall's
Special offer, price 50s. Wools for design only 10s. 6d. We are very pleased to advise on Tapestry Wools shades: Gold 501; Blues 572, 574; Purple
Background Wools extra as required. Or hand-painted to .583. .Mlowone skein to every 12 square inches of background.
special sizes. Prices on application. All from Mrs. Eveished, any needlework matter. Write tor- Pine-cone Pattern. Worked from chart on page 20.
71 Chiltern Street, London W.l. Eileen Maxwell, Editor, Needle-Art Series, Patons Beehive Tapestry Wools shades: Brown 1719; Mid-
PAGE 5 brown 1837, Fawn 1810; Background, Gobelin Blue 1740;
at address above, enclosing, please, allow approximately one skein for every 12 square inches.
Oueen Anne Panel. Hand-painted to size required and Trellis Pattern. Worked from chart on page 20. Pears-
supplied with Royal School Wools, by the Royal School of a stamped addressed envelope for reply. all's Tapestry Wools: Brown 548; Mid-fawn 546; Light
Needlework, 25 Princes Gate, London S.W.7. Price on
application to that address.
fawn 588; 3 Greens 534, 535, 536; 3 Golds 502, 503, 504.
Queen Anne Chair Seat. Langham Tapestry Canvas Flesh 503; Blues 460, 506, 511, 870; Greens 405, 406, 461, 463, PAGE :o
No. 4008. Design size 16 ins. across front, 14 ins. across back 497, 498, 499, 523, 524; Orange 669, 545; Yellow 488, 489, Chair and Stool Seats. Canvases and wools from
and 14 ins. deep; canvas (10 double threads to inch) size 512,581; Brown 814; White. Mounting in Screen-Table or B. Francis, 481 Fulham Road, London S.W.6.
27 by 22 ins. Price about 78s. trammed and complete with Firescreen by Gimson and Partners Ltd. Ash Tray. Flower motif (or miniature pictures) to fit ash
Langham Wools to finish. Or hand-painted, price about 30s. tray, hand-painted ready to embroider on single thread
packets of Langham Wools (shades matched by experts) are PAGE 10 canvas with 20 stitches to inch, 9s. lid. stranded; cottons for
available for the hand-painted canvases, price according to Blackwork Tray. Design (size 14 by 10 inches) from working 4s.; gilt ash tray 4 ins. across, 22s. 6d. Carriage 9d.
size. Also in four other sizes for footstool, dressing-stool, Weldons Transfer No. 24283, price Is. 2 >4d. by post. Gold All from B. Francis, address above.
fender stool and firescreen. All from most needlework shops. Passing No. 11 (1 dram required) price 2s. 5d., postage 3d. from
Queen Anne Dressing Stool. Langham Tapestry Canvas Hoyal School of Needlework, 25, Princes Gate, London, S.W. 7. PAGE 27
No. 3369. Design size 18 by 12 ins., canvas (10 diuble Glass Tray. Design (size 11 ins. across) from Weldons
threads to inch) 27 by 18 ins. Prices and details as above. 11 PAGE Transfer No. 24355, price Is. 8'/2d. by post. Details of
Louis XV
Chair Seat. (Details under page 16.) Cloth in Ecru Work. Design from Weldons Transfer materials given on page.
Louis XVI Chair Seat, Hepplewhite " Chardoin " No. 24295, price Is. 8V2d. each by post. (Four copies PAGE 28
Model. Design size 22 ins. across front, 20 ins. across back, required if border is to go all round, price 6s. 2V2d.; two copies
for two large and two small corners only, price 3s. 'Zy^d.)
Cross-stitch design. Weldons Chart No. 369, price W
20 ins. deep. Canvas (10 double threads to inch) size 25 by 23 2s. 6d. by post. Details of materials given on page.
ins. Hand-painted pi-ice, special offer. 60s. \Vools extra as Materials required: 1 Vg yards 40-inch Hardanger Fabric
required. From Mrs. Evershed, 71 Chiltern Street, London W.l. price about 10s. per yard, postage extra (from The Needle- PAGE 29
Rose Wreath. Weldons Chart No. 4, p ire Is. 2d. by post. woman, Regent Street, London, W.l.). 2 dozen skeins Knox's "Lady In Rose" (also illustrated on back Cover). Weldons
Design size 14 by 12 '4 ins. on canvas with 10 double threads Linen Floss No. 3*, shade 600, from most needlework shops. Chart No. W
370, price 2s. 6d. by post. yard of 23-inch %
to inch. Patons Beehive Tapestry Wools: 2 skeins each Rose The Royal School of Needlework, 25, Princes Gate, London Patons Embroidery Canvas No. 5561. Patons Beehive
1727, 1728, 1730; Blues 1720, 1723; 1 skein each Pink 1840; S.W. 7, or from address on page 21. Tapestry Wools 5 skeins Mid-rose 1701, 4 skeins Deep Rose
:
Green 1753, 1754, 1756; Blue 1902; Brown 1813. Background, Coronation Cushion. Design (size 12 by 10 ins.) from 1703, 3 skeins each Dark Green 17.^6, Blue-Green 1739; 2
Weldons Transfer No. 24303, price Is. 2i'2d. by post. skeins each Pale Pink 1726, Rose 1970, Pale Blue 1902, Pale
Beige 1781.
"Lilacs and Roses." Pearsall's Handtinted Canvas Materials required: 1 V, yards 36-inch slipper satin, Clark's Grey 1732, Deep Grey 1734, Black 52, Emerald 1710, Mid-
No. 35. Design size 14 ins. across, canvas (10 double threads "Anchor" Stranded Cotton in royal blue, light gold, mid-gold. Green 1754, 1 skein each White 51, Pale Mauve 1748, Mid-
to inch) 23 ins. across. Pearsall's Tapestry Wools, 1 skein each: Or for Commemoration Sampler, Knox's Linen Floss No. 3*, Mauve 1897, Deep Mauve 1899, Orange 1807, Blue 1905,
Pirks 567, 568, 569, 570; Beige to Golds 543, 187, 188. 189, ecru shades 588, 589, 590 from addresses above. Royal Blue 1972, Yellow-Green 1777, Magenta 1973, Yellow
532 Terra Cotta 537, 538, 539, 540, 541 Lilac 579, 580, 581, 1801. The canvas and wools are obtainable from most
; :
PAGE 12 needlework shops. Canvas hand-painted, if required (to work
583; Yellow-Green 533, 534, 535, 536; Blue-Green 585, 586, " Hedgerow Flowers. Design from Weldons Transfer
'
'
without chart), from Messrs. B. Francis, address above.
587, 51 6 White 564. Background for half cross-stitch allow
; :
No. 24315, price Is. 8y2d. by post.
1 skein for 18 square ins. All from most needlework shops.
Mounting by Gimson and Partners .Ltd. Leicester. ,
PAGES
6 AND
7
PAGE 13
Cover Design. Victorian Bunch. From chart on page 6.
Modem Cushion. Design (size 17 ins. across) from WELDONS NEEDLE-AKT SEniES. Previous numbers
Weldons Transfer No. 24325, price Is. 8y2d. by post. in tbis Series are reprinted from time to time and are
Design measures 10 by 8 ins. if worked on canvas with 10 Work with Peri-Lusta Floran Embroiderv, 1 skein each
double threads to the inch. Pearsall's Tapestry Wools :
Browns 409a, 409c, 409d; Fawns 707, 300, 704^ Greens obtainable from your Newsagent or Needlework shop.
1 skein each, 5 Rose Reds 559 to 563 5 Wine Reds 566 to 570
;
Printed in England by Sun Printers Ltd., London and Wa'ford, and published for the Proprietors, Weldons Ltd. by The Amalgamated Press Ltd., The Fleetway House,
London. E.C.4. Advertisf^ment and Editorial Offices: 30-32 Southampton S reet, London, W.C.2. Sole Agents for Australia and New Zealand: Messrs. Gordon & Gotch Ltd., and
J^ *or South Africa Central News Agency Ltd.
: The Illustrations and letterpress in this magazine are copyright. Publishers reserve all rights of reproduction.
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