Stumpwork Embroidery by Melissa Dunajski, aka MDunajski | ||
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I just recently found out about stumpwork embroidery, or more importantly, about the revival of this style of needlework. There was an article in Piecework (May/June 1996, page 44) by Hollis Greer Minor discussing this technique which was most popular in Europe in the sixteenth and seventeenth centuries. Originally used for ecclesiastical work, many designs were religious in subject matter although designs varied from this—usually incorporated figures as well as animals and plants.
A basic description of stumpwork would be 'sculptural' or 'three dimensional' embroidery—surface embroidery combined with padded or detached elements added onto the piece to create the dimensional look. One charm of the style is that the corresponding elements are not always in scale with each other-for example, a cricket could be larger than an owl or a flower could be larger than a hedgehog. The current 'revival' in my opinion is largely due to a recent book, Stumpwork Embroidery by Jane Nicholas, who has researched and been teaching stumpwork for the last 10 years in Australia. Jane's interpretations and designs are simply wonderful-rich colors in a multitude of fibers, great attention to detail and absolutely superb workmanship! I saw a photo of the project she was teaching at the recent EGA National Seminar in San Francisco and was instantly amazed and curious! The motifs she uses in her designs are floral, fruit, animals and insects in myriads of combinations.
I was fortunate enough to be able to take a 2-day EGA workshop on another piece this past weekend. It was great! Our piece consisted of a rose, leaves, a pomegranate, strawberries, a soldier fly and a bee in a 4-inch circular design. Following is a basic rundown on how this project was put together. The basic outline of the pattern elements was first traced onto the white satin ground fabric, with a piece of muslin underneath for additional thickness. The leaves were done in two ways—one was stitched directly onto the satin while another was created separately and attached: a piece of green covered wire (fine, like cake decorators use) was bent and couched and overcast onto a piece of muslin and then the leaf was filled in completely with a variety of stitches-you then CUT the leaf out of the muslin and insert the wire stem directly into the satin fabric and attach the wire underneath with stitches. Rose petals were also created in a similar way—detached buttonhole stitches were formed around and around inside a bent petal-shaped wire and then the 'needlelace' petals were inserted into the fabric on top of surface embroidered rose petals. Organza ribbon and various gauzes were fused together with ironable fusable web and wires laid in a wing shape and overcast—these were then cut out to create bee's wings! The bee body was done with rows in gold and black of dense tiny turkey knots (loose loops/fringe on surface) which were then brushed and cut so that the body looks like a mound of velvety stripes—beads and metallic threads are used for eyes and legs and the wings were inserted into the fabric. (My favorite part of the design was the bee-so realistic—he looks like he could fly off the fabric!). Strawberries were made by stitching down several layers of red felt for a padded rounded shape and then covering with red buttonhole twist silk in a trellis stitch—realistic texture. A soldier fly was stitched directly onto the fabric using chenille for his body, metallic threads for his legs and on his wings, beads for eyes and organza fused onto the fabric for his wings. The pomegranate is the last element—this is formed by stitching two half circles onto a piece of muslin and embroidering completely with shading and a buttonhole edge in lovely shades of peachy-orange colors. The circles are then cut out of the muslin and stitched onto the satin, turning a small seam allowance under—they are slightly puffed up due to being larger than the circle on the fabric. Beads are then stitched into the opening, completely filling the space so you now have a luscious pomegranate which is split open and spilling seeds everywhere.
I hope this article conveys the sense of what this looks like as well as how it was done—lots of buttonhole stitches, stem, chain, long and short for shading, as well as lots of new techniques learned! I am so enthusiastic about this—everyone who sees Jane's pieces is awestruck—they are amazing! Jane herself is a very lovely and gracious woman as well as an excellent teacher and needleworker-and I thank here for bringing this delicious needleart to us!
"Stumpwork Made Easy" by Shay Pendray. Stitcher's World magazine, March, 2000, page 32. For back issues (approx. $4.00 each plus shipping), write to:
"Stumpwork: What's in a Name?" by Kathy Epstein. Piecework magazine, July/August 1997, pages 50 - 53. For back issues contact:
Dandelion Designs: Damselfly Sampler Class by designer Karen Cohn on the Caron Collection website. Holly & Berries chart by Karen Buell Designs on the Caron Collection website. For an excellent site with lots of Stumpwork charts, please take a look at Jean Fletcher's site, Jean Fletcher's Stumpwork
New in November, 2000!
Written for the purpose of informing and stimulating the creativity in other lovers of counted cross-stitch. Permission is granted to redistribute this article in its entirety for noncommercial use provided that this copyright notice is not removed or altered and that no portion of this work is sold either by itself or as part of a larger work without the express written permission of the author.
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Learning from a Pro
