The Leeds Tapestry - continued

I'm finally getting around to blogging part two of the Leeds Tapestry.  (See previous post if you're not sure what I'm blathering on about.)  First of all, here's the 'Leeds in Bloom' panel, which features stunning embroidery of flowers and leaves.  It seems that when ideas were sought about what themes individual panels ought to cover, the natural world was a popular choice.  The Yorkshire branch of the Embroiderers' Guild were eager to get involved, but progress was slow as funding needed to be raised and sponsors weren't quick to put their hands in their pockets.  Below is the best shot I could get of the full panel.  

The Queen's Hotel is at the centre of it, and could you imagine embroidering all of those windows?  It would've sent me round the bend!  My dodgy photography doesn't capture the way the panel's designed - you have Kirkstall Abbey at the base, shown in springtime.  Queen's Hotel in summer, the Tropical House & Rose Garden in autumn, and at the top Harewood House in winter.  The flowers and foliage throughout the panel take you through the seasons, so you have everything from sunflowers to catkins, ivy leaves, honesty seeds and winter ferns, nasturtiums, holly leaves, dandelions and primroses.  

It can't be overestimated how many hours would've been put into stitching all these tiny individual leaves and petals.  

On the right of the photo above you might be able to make out the catkins, made by a lady called Freda Copley.  One of the joys of the book we were given is that you can identify who sewed what.  

The shiny dragonfly is listed as being made by Anna McL Dabbs.  

Note the bridal couple surrounded by ivy leaves.  Let's hope the marriage has survived as long as the tapestry! 

An owl nestles among acorns and oak leaves, again made by Freda Copley.  This next panel I'll show you is one that'll appeal to anyone who loves to collect vintage needlework supplies.  

This is the appropriately named 'Pins and Needles' panel, and yet again there's a wealth of detail to gaze at.  

The background for the whole panel has lighter fabrics at the top, with their connotations to domesticity and the feminine realm of needlework, then heavier fabrics nearer the bottom.  Their association being with industry and having a more masculine feel to them.  

Can you make out the meticulous display of Maderia Threads by Ann Kirk?  It's noted that this took her 27 hours to sew.  The teasel was made by M.T. Sanders.  

The intricate construction of that lace doily, and all those pretty pearl buttons.  

Anyone else old enough to remember C&A?  The clothes were never that glamorous, were they?  

I did take several more photos, but they weren't that clear, partly the problem of photographing things under glass.  So if your appetite's been whetted by seeing these, I'd suggest googling Leeds Tapestry and finding out more about it, including all of the 16 panels.  

Hope that's been of interest to you, and perhaps your town or city has its own textile art representing it?  Feel free to share!