Sample
1966-1967 (made)
| Artist/Maker | |
| Place of origin |
Tapestry sample woven in wool on cotton warps. White cotton warp of approximately 10 warp threads to the inch. Wool weft in black, white, blue, orange, green, grey, red and yellow, forming two bands of a chequered pattern. Approximately 14 weft threads to the inch. Long and short fringes are formed by cut warp threads.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Tapestry woven in wool on cotton warps |
| Brief description | Tapestry sample woven in wool on cotton warps, designed by Harold Cohen, made by Edinburgh Tapestry Company Ltd., Edinburgh, 1966-1967. |
| Physical description | Tapestry sample woven in wool on cotton warps. White cotton warp of approximately 10 warp threads to the inch. Wool weft in black, white, blue, orange, green, grey, red and yellow, forming two bands of a chequered pattern. Approximately 14 weft threads to the inch. Long and short fringes are formed by cut warp threads. |
| Dimensions |
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| Gallery label | A good sized tapestry takes months of slow concentrated work by several highly-skilled craftsmen it is too costly a process for large works to be undertaken on a purely speculative basis, and in general tapestries can only be acquired through a direct commission. The idea that the Museum should commission a tapestry - ultimately for its permanent collection but with the immediate purpose of creating a loan travelling exhibit - was first mooted in 1963; but it was not until the autumn of 1966 that a commission was awarded to the painter Harold Cohen to design it, and supervise its execution by the Edinburgh Tapestry Company. In 1965 Cohen had designed a very large tapestry (26 feet long, nearly 9 feet high) for the London headquarters offices of British Petroleum. This had in fact been his first experience of the medium. But in the course of twelve months which it took to complete he had established a particularly happy relationship with the weavers of the Edinburgh Company, and was thoroughly versed in the general technical problems of a large tapestry.
He determined, nevertheless, that the new work should be quite different in character from the first, and his starting move was to test out at an experimental scale how certain design ideas could satisfactorily be translated into woven wool. Here are two examples of experiments which the artist did not find satisfactory. The first was concerned with colour transitions within a strictly mechanical weaving pattern, and passages of the final tapestry did in fact develop some use of this idea. The second weave was intended to try out the possibility of a very deep coarse texture of weave gradually changing to smooth texture and flat colour; but was not taken up. |
| Object history | Experimental piece of tapestry woven in preparation for weaving the tapestry 'Over All' (Circ.536-1967). |
| Collection | |
| Accession number | CIRC.538-1967 |
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| Record created | June 24, 2009 |
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