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Design - Anemone


  • Object:


  • Place of origin:

    London (designed)

  • Date:

    1930-1950 (designed)

  • Artist/Maker:

    Johnston, Francis, born 1889 - died 1965 (designer)
    Vicars and Poirson (commissioned by)

  • Materials and Techniques:

    Blue pencil on tracing paper

  • Credit Line:

    Given by Kenneth A. Johnston

  • Museum number:


  • Gallery location:

    Prints & Drawings Study Room, level C, case 1J, shelf T143A

Physical description

Design for needlework pattern for a runner known as 'Anenome'; blue pencil sketch of flowers arranged in a circular format. There are pinholes in the centre bottom and top.

Place of Origin

London (designed)


1930-1950 (designed)


Johnston, Francis, born 1889 - died 1965 (designer)
Vicars and Poirson (commissioned by)

Materials and Techniques

Blue pencil on tracing paper


Height: 42.5 cm, Width: 52.2 cm

Descriptive line

Design for needlework pattern, 'Anemone', blue pencil sketch of flowers, designed by Francis Johnston for Vicars and Poirson, England (London), 1930-1950

Production Note

According to Francis Johnston's son, Kenneth A. Johnston, the artist usually produced designs in the following stages:
1. A rough sketch in charcoal on detail paper.
2. Then a more final design in lead pencil or single coloured pencil (usually blue) on detail paper. This particular design is an example of this type.
3. Then a design in black indian ink on Bristol Board in final detail. These designs were usually coloured in with coloured pencil (sometimes watercolour).
4. The indian ink version was then produced on detail paper (traced through) in lead pencil or coloured pencil and the detail paper version was then perforated using a perforation machine (fine needle). The perforated copy was then placed on the textile and a blue powder was then pounced through and sprayed with methylated spirits to set the powder and thus the design onto the textile. None of the designs in this group, E.1550-1556-2001, are pricked and pounced for transfer. Numerous perforated copies were needed . The process was very labour intensive - the more successful the design the more labour was needed from the designer to produce more perforated versions. Kenneth Johnston stated that 'My father often drew a design dozens of times before he produced a version which satisfied him.'


Blue pencil; Tracing paper






Prints, Drawings & Paintings Collection

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