You may or may not recall that last year I was inspired to work with some Tudor motifs following my visit to the splendid exhibition ‘Wolsey’s Angels‘ held at Christchurch Mansion in Ipswich. I was particularly taken with an oak fire surround with beautifully carved details that included a repeating pheasant motif which I stole and reworked for a scarf design.
Sometimes when I finish a scarf and steam it I am very pleased with the result, but this is not always so. As I’ve mentioned in the past the steaming process intensifies the colour, but it is not entirely predictable. When the scarf is finally washed and pressed I can properly appraise the results. And, I have to say I was very disappointed with this pink one.
The pale background did not deepen as much I thought it was going to during the steaming and consequently the balance between the heavy lines of the motif and the pale background was way off. Fortunately, having a very pale background has allowed plenty of scope to successfully develop a second, richer layer.
I added more darker lines to the central area and generally softened the whole design by adding pale greys and a mouse brown over the pale pink.
After steaming, washing and pressing the scarf was ready for another assessment. A little surprisingly it as turned out much better than I thought, but, rather annoyingly the tonal range has also turned out to be awkward to photograph satisfactorily. You can’t win them all.
And, finally some words about blogging in general.
Last week I posted about my discovery of a beautiful example of Tudor woodwork, the Parham fire surround. I found the detailed carving inspirational and have developed a motif from one of the pheasants lurking in the carved vegetation.
Here is more of the process shown in a few photos as the design is first outlined and then painted with dye, pink, old gold and moss green, on a handkerchief-sized piece of silk.
I was not convinced about the old gold so it was dropped when I expanded and transferred the design to a larger, 90 x 90 cm square silk twill scarf.
As I recently mentioned June is the month of roses and I do love a classic pink rose – I think that’s why I have been working with pink all this month.
And, the pieces are now ready to be rolled in paper and steamed for a couple of hours to fix the dyes.
I have been having a serious clear out of cloth. I am trying to be disciplined about this. I am attempting to organise all my work materials so there is studio space that is conducive to work and not one that is so chaotic it drains me of all my creativity.
During this protracted endeavour I came across some of my old silk work. In the photo above there is a bird hidden within all the colours. The original idea came from a medieval bas-relief bird I photographed on a visit to a cathedral (possibly in Germany, but it could’ve been in France) a couple of decades ago. In my memory it was always Speyer Cathedral on the Rhine. However, I have just Googled Speyer and though the magnificent 11th century Romanesque church is the building I have in mind’s eye, I can’t imagine where I thought this bird was ‘perched’. Strange how our memory plays tricks with us, isn’t it?
Anyway, I can now see that my ‘stork’ and ‘heron’ phases had a long forgotten forerunner lurking somewhere in Europe.
Of course, a freehand one-off motif once designed doesn’t remain fixed for very long.
Over time my bird motifs have lost most of their definition and morphed into little more than blobs with spikes!
Might be time to track down my old photos and revisit the original ideas and try working up a new motif or two from the primary source material. I haven’t unpacked either box marked ‘photos’ yet, but I am hoping that I didn’t bin them all the last time I had one of my ‘once every 10 years’ clear outs.
I use photographs a lot for my work. I am always looking for inspiration from the world around me and use my camera to capture these moments. Recently, when reviewing and rearranging my current online shop collections, I recognised subtle influences from my photography. I had been searching through my various memory sticks of stored images to freshen up my product listings. It was clear from comparing dates on the files that after a few sessions of photographing some summer garden flowers, shades of peach started to appear in the pink scarf I was painting at the time. Although I was not directly using the flowers photos as source material their influence was quite obvious with hindsight – up until then peach was not included in my work.
I also opened my Bury St Edmunds memory stick. There were plenty of photographs of the glorious stained glass in the cathedral, both motifs and colours from the glass I have since featured directly in my silk scarf designs. However, after working in the cooler tones of the glass for a few months I can see I gradually moved to a palette of warm, rich colours. This was not the conscious process as before but I think the beautiful rich red windows had left their mark. Looking at the dates on these files I think the autumn weather was also a factor.
It hasn’t only been colourful images that have unconsciously influenced my work. When you are looking for a good shot you examine your surroundings with more attention and details so often overlooked are literally brought into focus. Shapes I hadn’t thought I had noticed at the time have been added to my stock of motifs such as the details on these sculptures.
In the end though sometimes there is no obvious inspiration for the colours of a scarf. With one of my favourites, this blue and green scarf below (long sold), I worked up the design layer on layer adapting my choice of dyes after each layer was steamed. A less controlled more serendipitous process. . . . . . . but I had been recently photographing seascapes!!!
Living in East Anglia there are many parish churches that still retain both medieval and Victorian church art. Painted rood screens and colourful stained glass provide a wealth of inspiration for my silk scarf designs.
Detail from St Lawrence, part of rood screen paintings. St Helen’s, Ranworth, Norfolk.
Decorative detail from a Victorian stained glass window. St Edmundsbury Cathedral, Bury St Edmunds, Suffolk.
I like to steal ideas for motifs and also re-work various colour combinations. Often I will just use a tiny part of a much larger stained glass window whether its from a Tudor pane or details ornamenting a Victorian light.
Detail from the Susannah Window at St Edmundsbury Cathedral, Bury St Edmunds, Suffolk.
Design drawn out on silk using coloured gutta and resist paint brush daubs.
And, once I have created the whole design and transferred it to the silk I then steal colour combinations from a completely different medium such as the oil on board paintings of local medieval rood screens.
The finished work may not obviously look either Victorian or medieval in style, but if you look closely you may be able to spot a motif or two and recognise the ‘dirty pinks’ from the painting of St Lawrence’s robe.
For anyone seriously interested in exquisite fifteenth-century stained glass then Long Melford in Suffolk is well worth a visit.
Finished in 1484 the Great Church of the Holy Trinity contains a collection of some of the finest medieval glass in the country including a Lily Crucifix image and a rare roundel featuring a three hares motif.
Holy Trinity is one of Suffolk’s so-called ‘Wool churches’ as the erection of these buildings was funded from the profits of the medieval wool-trade. Advantaged Suffolk landowners prospered from the successful export of high quality wool and wool cloth to continental Europe and invested their profits building fine churches in the hope of facilitating a speedy journey for their soul through purgatory to heaven.
The medieval glass we see today filling the large ground floor windows features portraits of donors. These portraits would originally have glazed the upper, smaller, clerestory windows. For about 100 years during the 19th century some of this glass was used to reglaze the east window (1828) with more being installed in the west windows during 1862/3, however today these windows are clear. The present arrangement of the medieval glass, all along the north aisle, was carried out during the late 1940s.
The height of these lofty clerestory windows helped protect the glass from the various destructive onslaughts that occurred during the 16th and 17th centuries. The lost/destroyed stained glass would have consisted of biblical images and religious themes popular in the medieval period and similar to those of the Victorian glass found in the south aisle windows today.
In the medieval period clerestory windows were filled with a variety of images from Old Testament prophets and local church dignitaries to ethereal representations of angels and archangels. Amongst the many surviving medieval donor portraits (to be explored in a separate post) there are two archangels.
Here, at Holy Trinity it is the archangels St Gabriel and St Raphael that have survived. They are both exquisitely painted displaying subtle and detailed work using silver nitrate stain. They have been painted by a craftsman that understood how to use the translucent quality of his materials to achieve an unearthly quality, literally letting the spirit/light shine through.
There is another little gem hidden away in the Clopton Chantry Chapel. One of only five examples in England, the east window of the chapel bears a ‘Lily Crucifix’ dated from 1350. Christ is not on the Cross, but is instead crucified on white lilies. The blue background and the white lily represent the Virgin Mary and the motif symbolises the joint suffering of Mary and Jesus.
Finally, an unusual and rare three hares roundel has been placed above the north door. This motif is believed to have come to Europe from perhaps as far away as China via the Silk Road. If you look carefully you can see that although there are only three ears each of the three hares has two ears!
Window above north aisle door with small ‘Three Hares’ roundel centred beneath the Pietà
The ‘Three Hares’ roundel. Three ears are visible yet each hare has two ears! Painted glass, Holy Trinity, Long Melford.
Just thought I’d share my recent re-working of a design littered with medieval rood screen motifs. This time the new colour combination is – pink!
I had originally painted a pale turquoise, mushroom and sage version (below left) and after a few sketches decided that a mostly pink with a few old gold highlights would make an attractive combination.
This scarf has now been steamed and is listed in my shop – Mildred Pink.
Stained glass is more than just beautiful jewel-like windows flooding interiors with shimmering dappled patches of colour. Many stained glass windows particularly those found in churches are a combination of pieces of coloured glass cut and leaded together to form an image, and parts of the window lights where sections of the glass have been painted. In addition to painting people and animals often vegetal motifs and ornate architectural designs were painted into the backgrounds and borders of the main images.
Part of the ‘Susannah and the Elders’ window, St Edmundsbury Cathedral, Bury St Edmunds, Suffolk.
Part of the ‘Susannah and the Elders’ window showing painted architectural detail.
I noticed an interesting bow motif used by the makers of ‘The Susannah and the Elders’ window in St Edmundsbury Cathedral in Bury St Edmunds. The artisans who painted this window lived during the first half of the sixteenth century and were either Flemish or French.
Portrait of a Man by the Flemish artist Quintin Massys. 1520
In one of the lights you can see the style of dress worn by the Elders and it is typical of the first half of the sixteenth century as compared with oil paintings such as the 1520 painting ‘Portrait of a Man’ by the Flemish artist Quintin Massys. These images immediately made me think of Thomas Cromwell in his legal guise flexing his power and working his charm round Henry VIII’s court. Although, I can’t imagine he wore any flamboyant bows himself!
Bow detail part of the ‘Susannah and the Elders’ window, St Edmundsbury Cathedral
Currently, I’m working the ‘Tudor bow’ motif with a blue palette.
Here, in East Anglia, we’ve had a ‘green’ winter – that is no significant periods of below freezing temperatures and no snow. Early March and both my clematis armandii climbers are blooming almost a month earlier than last year.
Drawing out scarf Mildred blue.
Buds of clematis armandii Snowdrift.
I am currently working on a 90 x 90 cm crepe de chine scarf. I’m combining a floral shape taken from the clematis and motifs that appear on the ornate robe of St Peter as depicted on the 15th-century Ranworth rood screen. At first glance you might assume that the motifs painted on this 15th-century panel were inspired by the surrounding flora and fauna of East Anglia. However, it is more likely they were copied from a pattern book that had been brought over from Northern Europe. It is even possible that these patterns were lifted from silk cloth woven in the northern cities of Italy such as Catanzaro and Lucca. And, some of these woven motifs were designs that had originated in China, migrating along the ‘Silk Road’ embedded in the rich silk cloth traded from the East to the West.
I read that the clematis armandii is native to China, but I don’t think this small flower shown on the St Peter’s robe is an ‘armandii’ motif, however I liked the idea of combining shapes from the 15th-century screen with a flower from my spring garden.