Spring Life – Mark Hearld & Paul Young


Our 2016 programme of exhibitions is starting with an exuberant flourish of British style and sensibility. ‘Spring Life’ features the work of Mark Hearld and Paul Young.
The exhibition at our Ledbury showroom opens on the 19th March and runs until the 23rd April.
Mark Herald’s fabric designs for St Judes Fabrics are firm favourites at Tinsmiths. For this exhibition Mark has spent some time printing linocuts with Martin at Tilley Printing in Ledbury; whilst he and Martin printed we made a short film of the visit.

We will be showing these prints alongside some of Marks wonderful collages and there will be a brand new fabric design for St Judes on show.
Paul Young like Mark, draws inspiration from European folk art and has an affinity with Staffordshire wares of the eighteenth century. Producing joyful slipware, Paul’s work includes both purely decorative pieces as well as extremely usable domestic ware; all with compelling lively charm.

Paul Young

Paul Young

Mark Hearld

Mark Hearld


Paul Young Slipware Dish

Paul Young Slipware Dish

Paul Young Slipware Dish

Paul Young Slipware Dish

Paul Young Decorative Slipware

Paul Young Decorative Slipware

Mark Hearld Mixed Media

Mark Hearld Mixed Media; print and ink

Mark Hearld Linocut prints. Mark came and spent a couple of days in Ledbury printing with Martin at Tilley Printing; here are some prints drying in the office.

Mark Hearld Linocut prints. Mark came and spent a couple of days in Ledbury printing with Martin at Tilley Printing; here are some prints drying in the office.

Mark Hearld linocut printed in Ledbury for our exhibition.

Mark Hearld linocut printed in Ledbury for our exhibition.

Do visit over Easter; the exhibition opens on the 19th March which is the week before the Easter weekend and goes on until the 23rd April. If you would like to attend the private view on the 18th March do get in touch and we will ensure an invitation gets to you.

Tinsmiths. 8a High Street, Ledbury. HR8 1DS (Tel:01531 632083). Opening hours: Tuesday – Saturday 10am -5pm (most Mondays but telephone to double check first!)

Tinsmiths Desk Calendar 2016 – Hellmuth Weissenborn

This year with our calendar we have gone for a different format; a folding desk or pocket calendar, each month with it’s own exquisite wood engraving. As ever the calendar has been skilfully printed by Martin Clark at the Tilley Printworks here in Ledbury.
The wood engravings were purchased at the local Flea Market in Malvern a few years ago, stacked in cardboard boxes under the traders table it was not immediately obvious just what treasure they were. When I got home and looked through the boxes it was obvious that hand cut print blocks were the works of an accomplished artist. Among many linocut blocks and Perspex cut blocks (I haven’t seen this technique before) were 3 cigar cases each full of exquisite wood engravings, about 30 in each box.

Wood engravingshelmuth close up
When Martin printed some of these wood engravings the mastery that this artist had over this most exacting of techniques was clear; there were no lines that didn’t need to be there, the very deft rendering of tiny features and expressions, the ability to convey an atmosphere to a one colour tiny illustration of a landscape.

Letterpress Calendar
John from the Whittington Press identified this mystery artist as Helmuth Weissenborn. Helmuth had been a professor at Leipzig Academy or Graphic and Book Arts, forced to flee his homeland by the Nazis because of his Jewish wife. On arrival in Britain he was interned in the Isle of Man as a category C prisoner. Once released from internment he worked for the war effort in the Auxiliary Fire Service in London. Before all of this Hellmuth had fought in WW1 from the age of 16-19, serving at Arras and in Serbia.
Throughout his whole life the daily practice of drawing and the desire to record and create was the strongest thread; in WW1 he sent illustrated letters home which became a war diary, his academic career at Leipzig Academy was focussed on graphic art and book art, during his time in the Auxiliary Fire Service he made sketches of bomb sites in London (some now in the Imperial War Museum and here is a link to an interview with the artist).helmuth London

Hellmuth Weissenborn, ‘Thames from monument’ print taken from cut perspex.

After the war Hellmuth and his second wife Lesley ran the Acorn Press. It was good creative partnership publishing finely printed, hand-set and hand-printed books. Helmuth was an extremely versatile artist; he worked as a book illustrator for 30 London publishers as well as the Acorn Press, and from 1941-1970 as a guest lecturer at the Ravensbourne College of Art.Helmuth Anchor

The three cigar boxes that I have were labelled ‘Sonnets’, and last year I was able to track down a copy of ‘The Sonnets’ which the illustrations were commissioned for. Printed by The Rocket Press and published by the Acorn Press with a limited edition of 350, the book of course contains the full set of prints, I do not have the complete set – somewhere out there are another two cigar boxes I hope as treasured as mine!sonnetcoversonnet

The ownership of these beautiful blocks has always made me uncomfortable, although I treasure them they are not my own but of course very much Hellmuth’s. This has made me reluctant to use them, however for this year we have selected 12 to illustrate our calendar. We will have 150 of our calendars for sale with all profits going to the Save the Children Syria Crisis appeal. We feel that this is appropriate, and whilst we cannot know whether Hellmuth would approve, it seems likely that someone whose life was so marked by the turmoil’s of the first half of the 20th Century would have much sympathy for those whose lives are being shattered by the turmoil’s of our own times.


Picture this! 18th century Lyon and a race is on to revolutionise the production of elaborately patterned fabrics.

This race, ultimately, was won by Joseph Marie Jacquard (1752 – 1834) whose name is familiar to anyone with even a passing interest in textiles and to many others with no interest at all. In 1801 Jacquard demonstrated his patterning mechanism, which transformed the production of fabrics such as brocade, matelasse and damask.

English Mantua, circa 1708. Bizarre silk in salmon-pink damask with floral and foliate pattern brocaded with polychrome silk and gold metallic file

Prior to this their production had been extremely labour intensive and relied upon  master weavers working in conjunction with a ‘draw boy’ who would stand on a perch above the loom and manually lift warp threads, thereby dictating whether the weft sat above or below the warp and thereby creating a pattern. Jacquard, working off the backs of earlier weaver/inventors, created a loom whose warp threads, via their bolus hooks, were controlled by cards punched with holes. The existence, or not, of a hole dictated whether the bolus hook would raise or lower the warp thread via the loom’s harness, therefore creating a pattern. Each card would correspond to the warp positions for one row (i.e. weft insertion) of the design. For example a loom with a 400 hook head might have four threads connected to each hook, giving 1’600 warp ends and four horizontal repeats. However, the jacquard loom is able to create non-repeating panels that might have 1’000s of warp ends and therefore bolus hooks, for examples this design commemorating Jacquard, produced in 1839 and requiring an extraordinary 24’000 punched cards!

Left: Portrait of Jacquard woven in silk on a loom requiring 24’000 punched cards 1839, Right: A Jacquard loom
Nowadays jacquard looms (or more accurately jacquard heads on dobby looms) are used to create a wide variety of fabrics woven from any fibre. What sets them apart from other textiles is that they are often relatively expensive due to the fact that, although jacquard heads are now digitally programmed, the warping of these looms remains labour intensive. Indeed, looms are often only threaded once, with subsequent warps being tied onto the ends of existing warps.

We recently attended Decorex and were able to view a variety of contemporary jacquards. We were very impressed by the work of the Gainsborough Silk Weaving Company, established in 1903. We had great fun riffling through their archive books. Every fabric they have ever woven has been documented, not only in terms of yarn and design, but also colour, with samples of one-off dyes kept for posterity. (They recently had to match the blue from the end of a Biro for a wealthy client – someone should have pointed out that it’ll look completely different once the lights are turned on!) At the other end of the spectrum we were inspired by the fleece blankets produced by Ian Mankin. These are woven from yarns that are 75% recycled cotton and 25% polyester from reclaimed materials (read plastic bottles!)

The Gainsborough Silk Weaving Company’s ‘Bed of Ware’, festooned in their silk damasks

Ian Mankin’s new range of fleece throws, made from recycled & reclaimed materials and woven on their jacquard looms

So why else might you have heard of Jacquard? Jacquard’s loom, with its punch card programming, is cited as an important step in the history of computing. The series of punch cards were the programme; change the programme and the machine will produce a drastically different result. Furthermore, instead of the process needing to be overseen by a master weaver it could be attended to by an unskilled labourer, highlighting the fact that in the realm of textile production the jacquard loom was key to the industrial revolution. In conclusion the fact that the term ‘jacquard’ is so ubiquitously used to refer to such a variety of not only woven, but also knitted textiles, is testimony to the extent of the revolution that was finally ushered in with Jaccquard’s 1801 demonstration. Styles of fabric that were once the domain of the wealthy became, with time, available to the masses.

1960s Jacquard knitted geometric fairisle dress


Signs of the Times

Hannah Whaler SignwriterWriting signs by hand might be considered anachronistic but Tinsmiths has had a wall waiting for the right writer for ten or so years. Last week, signwriter Hannah Whaler originally from Malvern, brought her brushes and brilliance to Tinsmiths Alley and enlivened the space. Her canvas, long and thin, stretched down the alleyway to Ledbury High Street providing passersby with a harbinger of what they could expect if they followed Hannah’s sign.

Hannah Whaler SignwriterTo see a short video of the finished sign click here. Tinsmiths Way In Sign.

Three days of painting and a creation – part fairground, almost steampunk but more than anything a celebration of type with convincing 3D drop shadows –  was complete and clients absolutely thrilled with it. Before Hannah (23yrs) departed we asked her a few questions about her career to date.

How did you get interested in hand-painting signs?

I first became interested in hand painted signage when I was at university in Falmouth studying Illustration. We were taught how important it was to be able to understand and work with type, often with illustration your images end up responding to or accompanying text, with book covers and posters especially. Once I started looking into vintage lettering styles (all of which are designed and drawn/carved by hand) my obsession began. I moved from drawing letters to painting them, training myself to use a brush and understanding proportion and layouts.

Hand painted letters by Hannah Whaler

What sustains your interest?

I’m really inspired by all the traditional cultures that surround and stem from sign painting – so the circus/fairground, canal boats, gypsy wagons… the folk art side of it really interests me. I do a lot of reading up on these things, looking at how the whole culture and way of life of these people feeds into the craft. As well, just the old examples of sign painting I see around me on the street, there are so many examples still standing as bold as ever tens of years after being painted, hidden away amongst the peeling vinyl! Nowadays there is more new stuff out there than there has been for a very long time, there’s an incredibly talented new generation of painters that are hitting the high street and bringing sign painting alive again. It’s so encouraging to see.

Daily Bread SignWhat’s the best/worst part of it?

The best part is standing back and seeing something come together from what was just a sketch a day ago. I love how the client can watch that happen too, it’s like magic for them, because you kind of know all along what your plan is and how you want it to turn out, but when they see it form before their eyes it’s exciting stuff. I absolutely love working with small independent businesses, meeting people and creating a piece that will benefit them. The worst part is the cold if you’re working outdoors. You sort of paint with your whole body when working on a large scale, so being relaxed and focused is really important, and thats hard when your frozen stiff from 7 hours painting up a ladder! I also have reynolds desease (poor circulation) so in the cold loose my sensitivity in my hands, making it hard to hold a brush.

Hannah Whaler

What do you see yourself doing in the future?

I’ll painting for a long time to come… But short term future I’d like to be in some kind of apprenticeship. I’m self taught, so I know there is SO much left for me to learn. Skills like gold gilding, more knowledge of materials and processes, they are all more strings to my bow and open up more opportunities and avenues for work. Long term future it would be fantastic to travel with my skills – go abroad and paint for people elsewhere in the world.

Who is your best supporter?

It has to be my old manager, James. He owns the bar that I used to work in (for the last year I have been sign painter by day, waitress by night!) at The Gallimaufry. He was the first person in Bristol to give me a proper sign writing job, then by securing me a waitressing place at The Galli I could afford to move over there and start my new life. Since then he has been my guardian angel, hooking me up with other painters and artists, promoting my work and just being a constant source of support and encouragement. He’s passed on not just contacts and work, but a real spirit of generosity that has formed a big part of my ethos now. And of course my mum and dad, because they are the ones ALWAYS at the end of the telephone whenever they need to be there!

Hannah Whaler will be exhibiting at Tinsmiths in July 2016, if you would like an invitation to the show just e-mail your details to press@tinsmiths.co.uk.




We recently received some wonderful Pashmina shawls so light and so soft that everything else that I had ever encountered that described itself as ‘cashmere’ felt rough in comparison. I quizzed our supplier Sadhu about the softness of these Pashminas and it soon became clear what the difference was.

Pashmina is the fabric woven from the pashm, the soft downy undercoat that grows on the nect and belly of the Himalayan mountain goat, Capra Hirracus. It is only the goats living at above 4500 metres that produce the finest wool as they require the extra insulation to live in the harsh terrain and winter temperatures of -30°.pashmina goat 1 DSC02312 - Copy








The very fine pashm used in Sadhu’s pashminas comes from Changtang in Ladakh where nomadic herders tend flocks on the high plains. They collect the fleece by combing the goats in the late spring before they molt. In summer these are brought or bartered by Ladakhi traders and sent to Leh, where the Kashmiri traders make their purchases.

The Kashmiri artisans have perfected the art of hand-shinning the fine pashmina yarn. The pashmina fibre is extremely fine at 14 microns (a human hair is 200 microns) and long staple and whilst this gives it the softness and lustre when woven, it is much more challenging to spin and weave.

The delicate pashm is firstly painstakingly cleaned and then hand-spun. The very fine hand-spun yarn is then carefully woven by hand, weaving a 2m length takes 3 days.

P1050076DSC07735 - CopySadhu is concerned that the cheap imitations of pashmina with machine –spun and woven cashmere mix yarns are undermining the 2000 year old skills and traditions of the Kashmiri Pashmina artisans.


DSCN5948DSCN5945See more of these wonderful Pashminas in our ‘Scraves and Wraps’ section on our website.


I can think of no other textile so quintessentially ‘English’ and ‘country’ as corduroy – think farmer, cord trousers held up with baling twine or the upper classes off for a day’s shooting.  So I was surprised, after a little investigation, to discover that it is a relatively modern derivation of fustian, a cloth woven during Roman times in Egypt and thought to have originated from the city of Fustat. Fustian, like corduroy, is a plain or twill weave with supplementary weft yarns that form ribs running the length of the fabric. It was originally woven with a linen warp and cotton weft, although other unions, for example cotton and wool, have been popular through the ages. This differs from modern, quality corduroy which is generally 100% cotton. The other distinct difference is that with fustian the weft is not cut, leaving a hard cord, whereas with corduroy part of the finishing process is the cutting of the weft to form the ‘pile’ of the soft cord.
Fustian travelled to Europe from the 12th to the 14th century, accompanied by a number of family members, most notably velvet, and was initially favoured by royalty and the aristocracy. It was also a firm favourite with the clergy and at one time Cistercian monks were allowed to weave no other cloth. Unlike velvet, however, corduroy did not keep its place at the top table. Corduroy’s modern name is thought to come from the French, ‘cord du roi’ or ‘King’s cord’, possibly due to the fact that in 17th and 18th century France royal servants were known to wear it as uniform.
By the 18th century it was the modern, practical, ‘sporty’ choice for outdoor clothing due to its qualities of warmth and durability and its ability to dry (relatively) quickly. By the end of the 18th century though, this was all it was seen as – the prestige and association with wealth had gone. During the 19th century although on the one hand it became popular with gentleman farmers, on the other it became the urban working man’s uniform. Where velvet had retained all its associations with money, royalty, glamour and the night, nothing said a day’s work like corduroy – the English denim.

Image result for English Farmers


A velvet clad toff, in stark contrast with the working farmer!

The 20th century saw a marked improvement in corduroy’s prestige due to the fact that it was picked up by the smart set for sporting and leisurewear during the ‘20s and ‘30s. However, the credentials that had always made it so down-right practical meant that it also saw use as soldiers’ uniforms during WW1, upholstery for Henry Ford’s ‘Model T’ and jodhpurs for the Women’s Land Army – giving their sartorial signature.

Women’s Land Army recruits, dressed in cord and ready for the hard graft ahead of them!

During the 1960s soft, warn corduroy was donned as an anti-establishment symbol. It was the ‘70s, however, that saw the biggest explosion in popularity that corduroy has ever known. During this decade people of all ages, classes and colours swathed themselves in cord of every shade then lounged on their corduroy clad sofas!