Design Card
Date
1875-1922
Level of description
Item
Extent and medium
Dimensions 153mm X 245mm
Person
Creator
Royal School of Needlework: Created by the Royal School of Art Needlework as miniaturised versions of designs. Original designs were miniaturised and either traced or copied onto 'Design Cards' which were sent out to clients for next day approval. This was part of the work of the 'Painting Room' sometimes referred to as the Paintroom, the department responsible for all design and draftsmanship.
Crane, Walter (Mr): Walter Crane (15 August 1845-14 March 1915) was a prolific illustrator, designer and painter and part of the Arts and Crafts and Aesthetics Movements. Involved in the Holland Park social scene and a close friend of William Morris, Crane joined the Social Democratic Federation in 1884 and the Fabian Society in 1885. A founding member of the Art Workers Guild and the Arts and Crafts Exhibition Society, he was president until 1893, and again from 1896 until 1912, following the death of William Morris. In his autobiography (An Artists Reminiscences, p.164) he writes that as well as being on the advisory committee for the RSN, ‘along with William Morris, George Aitcheson […] and Fairfax Wade’ he contributed many designs 'for screens, panels, and other things, in which I introduced birds (notably peacocks), and other animals, and many of them are still worked I believe.'
Crane, Walter (Mr): Walter Crane (15 August 1845-14 March 1915) was a prolific illustrator, designer and painter and part of the Arts and Crafts and Aesthetics Movements. Involved in the Holland Park social scene and a close friend of William Morris, Crane joined the Social Democratic Federation in 1884 and the Fabian Society in 1885. A founding member of the Art Workers Guild and the Arts and Crafts Exhibition Society, he was president until 1893, and again from 1896 until 1912, following the death of William Morris. In his autobiography (An Artists Reminiscences, p.164) he writes that as well as being on the advisory committee for the RSN, ‘along with William Morris, George Aitcheson […] and Fairfax Wade’ he contributed many designs 'for screens, panels, and other things, in which I introduced birds (notably peacocks), and other animals, and many of them are still worked I believe.'
Scope and content
Design card with pencil tracing glued on, pencil notations 'Screen' and 'W. Crane'. Design records a design for a screen with 4 classical female figures, representing the senses (smell - flowers, fan and garments- touch, hearing- shell to ear, taste - wine and food) taken from an original design by Walter Crane. Walter Crane (15 August 1845-14 March 1915) was a prolific illustrator, designer and painter and part of the Arts and Crafts and Aesthetics Movements. He was probably the most influential children’s book illustrator of his generation. As well as painting and illustrating he produced designs for ceramics (for Wedgewood, and nursery tiles for Maw & Co), wallpapers (Jeffry & Co.) as well as embroidery designs for the RSN. This design of The Senses was produced as part of Walter Crane's submission for the Philadelphia International Centennial Exhibition in 1876 where it was embroidered onto panels for a demi-lune cabinet which is now in the Huntington Library and Art Gallery, object number. 2004.11.
https://emuseum.huntington.org/objects/35762/ebonised-demilune-cabinet-with-embroidered-panels?ctx=092334f4328b24d64cd5758bbaed0323f592b7f5&idx=18
This design also relates to large format designs by Walter Crane in the RSN collection, a female figure with a fan and one with a shell to her ear exist in large format in the design collection of the RSN. The late nineteenth century stamped symbol of the RSN with the crowned 'VR' can be partially seen in the bottom right hand corner.
Walter Crane gave a lecture for the RSN in 1897 which was later published in the International Studio where he describes his principles for designing figures for needlework. He writes 'the chief difficulty in treating figures in needlework lies with the faces and features, where the expression is apt to be distorted by the buckling of the material under the tension of the stitches, and of course the slightest twist of a line or displacement of feature makes all the difference. So that it may sometimes happen that what is intended for an expression of gentle benignance is apt to become a grin. I am afraid that in needlework, as in other things, there is but a step from the sublime to the ridiculous. The only way of avoiding this pitfall is in getting very simple and straightforward drawing to follow, which gives no complexities, and conveys the expression with the utmost economy of line. Large scale faces, owing to greater clearness and openness of drawing, are probably easier for interpretation by means of the needle than small ones, and a profile easier than a full face.' In this design for the RSN he follows his own advice and all the figures faces are shown in profile and expressed with clear simple lines.
'Needlework as a Mode of Artistic Expression.' The International Studio 22 (1898): Part One, 144-48. Second Part, 197-202.
https://emuseum.huntington.org/objects/35762/ebonised-demilune-cabinet-with-embroidered-panels?ctx=092334f4328b24d64cd5758bbaed0323f592b7f5&idx=18
This design also relates to large format designs by Walter Crane in the RSN collection, a female figure with a fan and one with a shell to her ear exist in large format in the design collection of the RSN. The late nineteenth century stamped symbol of the RSN with the crowned 'VR' can be partially seen in the bottom right hand corner.
Walter Crane gave a lecture for the RSN in 1897 which was later published in the International Studio where he describes his principles for designing figures for needlework. He writes 'the chief difficulty in treating figures in needlework lies with the faces and features, where the expression is apt to be distorted by the buckling of the material under the tension of the stitches, and of course the slightest twist of a line or displacement of feature makes all the difference. So that it may sometimes happen that what is intended for an expression of gentle benignance is apt to become a grin. I am afraid that in needlework, as in other things, there is but a step from the sublime to the ridiculous. The only way of avoiding this pitfall is in getting very simple and straightforward drawing to follow, which gives no complexities, and conveys the expression with the utmost economy of line. Large scale faces, owing to greater clearness and openness of drawing, are probably easier for interpretation by means of the needle than small ones, and a profile easier than a full face.' In this design for the RSN he follows his own advice and all the figures faces are shown in profile and expressed with clear simple lines.
'Needlework as a Mode of Artistic Expression.' The International Studio 22 (1898): Part One, 144-48. Second Part, 197-202.
Transcription
Design card printed 'Royal School of Art Needlework Exhibition Road Spent Kensington' on top, 'Kindly return as soon as possible ' on bottom Printed 'Painting Room' Pencil writing 'W Crane' 'Screen'
Reference code
D1/011
© Royal School of Needlework