The Red Lichties Stitching Group are 

Ann Marie Bray, Patricia Beaton , Rena Freeburn, Janette Nairn, Christine Riley (tutor), Alice Sim, Jessy Smart, Mary Stephen, Linda Walker (group co-ordinator), Margaret Wynne

and the age range is 76 – 93.

The Tapestry gives us a glimpse into the breadth and details of medieval life in Arbroath with: the Benedictine Abbey of Arbroath with Round O, medicinal plants and Abbot Bernard; fishing and sea-faring, fish-wives and Arbroath Smokies; the leper colony at Hospitalfield; Pope John XXII, King Robert the Bruce; the wax seals of the earls and barons to ‘sign’ the declaration; knights in chain-mail and tradesmen.

Our involvement with the stitchers formally began in March 2018 with a meeting between Linda Walker (the group’s co-ordinator), Andrew Crummy (the designer and an old friend of ours) and ourselves.   From that initial meeting we began to think about the tapestry as potentially a triptych to allow it to fold for safe storage and movement. This meant adding two more panels  and dramatically increased the amount stitching to be done! The understanding that one of the few certain things about the Declaration of Arbroath is that it left Arbroath on a boat destined for the Pope in France, led to a design based around a medieval sailing boat.

Angus presented his concept model in May 2018 at Arbroath Abbey This was for a free-standing design – human scale with a sweeping arc representing the prow of a boat – supporting the three sails – the tapestry triptych. We also had our first visit to meet the stitchers and see the tapestry in progress. Andrew then had to create two new designs, before the stitchers could get started on the two new panels. By March 2019 – all three designs were under-way.  After a total of 2806 voluntary stitching hours the panels were completed in December 2019.

In November 2019 it was decided that the tapestry would have a permanent home in the visitor centre at Arbroath Abbey and be taken into the permanent collection of Historic Environment Scotland (HES). The tapestry was formally handed over to HES at an event in the Scottish Parliament at the end of January 2020. It is an astounding testament to the quality of this tapestry that this contemporary craft object has been taken into the care of the public body caring for and promoting Scotland’s historic environment. The intention now is to preserve the tapestry for the next 700 years. A permanent home in the abbey meant that the tapestry no longer needed to be free standing as it probably will not tour and the place designated for the tapestry meant that the design for the cabinet with a dynamic sweeping prow was no longer appropriate. A re-design with a focus on materials began. 

Ross Irving from Historic Environment Scotland brought the tapestry to the workshop (the week before we closed for quarantine) for the final fitting of the case.  The tapestry has now gone into storage with HES and the frame will stay with us until they can be re-united at Arbroath Abbey.

Local historian Norman Atkinson told us about a very old tree, associated with Robert the Bruce, that might be a source of timber. This was the Bruce Oak or Strathleven House Oak photographed and written about by Archie Miles in The British Oak, published by Constable, 2013 and on the cover of Heritage Trees of Scotland by Rodger, Stokes and Ogilvie published by The Tree Council in 2003.  When Archie Miles photographed the tree in 2003 it had a girth of 29 feet, was estimated it to be at least 600 – 800 years old and was considered to be the oldest oak tree in Scotland. It was growing near Strathleven House, north west of Glasgow. This estate had previously been the site of a manor house built by Robert the Bruce for his son David (who became King David II).  As Robert the Bruce was known for tree planting it is conceivable that he knew this tree. Local children playing inside the huge hollow tree in 2004, accidentally set it on fire leading to its collapse. The wood was salvaged by a local group called the Strathleven Artizans and we were delighted when they gifted us a burr from the magnificent tree to incorporate into the Triptych Frame.

This ancient burr oak is a beautiful rich highly figured dark wood and has been carved into a boat like shape for the base of the triptych. It also forms the finials and lock spacers.

The cabinet door knobs are turned apple wood to remember the Oslin apple – an ancient variety still associated with Arbroath, and introduced into the abbey gardens by French monks.

The interior of the cabinet and tapestry triptych is Scottish oak which compliments the tapestry but the exterior of the cabinet (and reverse of the side panels) is made in Scottish sycamore. This modest, plain, pale wood is suggestive of sailcloth and provides a total contrast to the jewel like interior. 

The Declaration of Arbroath was written at an important and turbulent time for Scotland.  It was after a succession crisis and during the Wars of Independence (between Scotland and England). John Balliol had been crowned King but was defeated by the English and expected to pay homage to King Edward I of England. Robert the Bruce then seized the throne (in 1306 after murdering another rival in a church) but was excommunicated by the pope and not recognised by King Edward I and many in Scotland. After years of guerrilla warfare and political campaigning Robert the Bruce had outstanding success at the Battle of Bannockburn (1314) when he defeated a huge English army. (This event is still celebrated today in the unofficial Scottish national anthem – Flower of Scotland.) 

The declaration is a letter dated 6th April 1320 which was sent by the people of Scotland to the Pope asking him to recognise two important things: that Robert the Bruce be recognised as the chosen and legitimate King, and that Scotland be recognised as an independent nation from England.

It is the most famous document in Scottish History, important in the development of a Scottish national identity, and seen by some as the origin of democracy as it was signed by nobles representing the people of Scotland and they were choosing a king based on valour rather than birthright.

The most famous extract from the Declaration is ….

As long as but a hundred of us remain alive, never will we on any conditions be brought under English rule. It is in truth not for glory, nor riches, nor honours, that we are fighting, but for freedom – for that alone, which no honest man gives up but with life itself.’

In 1328 a treaty recognises Scotlands independence and Robert the Bruce as king. In 1329 King Robert dies and his son is too young to rule.  This is followed by the Second Wars of Independence until 1357 when Scotland becomes independent and remains so until The Treaty of the Union in 1707.

To see a film by independent TV director-broadcaster Charlie Stuart featuring Lesley Riddoch, Brian Cox, the Red Lichties and our workshop, explaining the wider significance of the declaration please visit

film on Vimeo

Inspiration

The Sutherland Collection is inspired by place, function and pushing the boundaries of his craft practise.

We love the dramatic landscape and cultural heritage of Sutherland and spent time walking in the North West Scotland Geopark last year.  The landscape is the result of a unique geology that reveals what Robert Macfarlane calls deep-time. The dramatic sandstone island mountains (like Suilven above) have tops of hard weather resistant Cambrian Quartsite which have resisted erosion by glaciers whilst the surrounding sandstone has been eroded away during ice ages. The Torridon sandstone was formed from river sediment one billion years ago when simple life first began. Evidence of that life is found as fossils, in the sandstone.

Other rocks in the area are even older. Lewisian Gneiss rock was formed 3 billion years ago and as the earth was formed 4.5 billion years ago these are amongst the oldest rocks on earth. The Gneiss rock started as molten lava which was later thrust deep into the earth where it melted again and metamorphosed into the hard Gneiss. Incredible forces have moved this rock back to the surface where it has resisted the erosion by glaciers which swept away most of the softer rock.

The study of geology in the area has helped understand the formation of the earth’s physical landscape over billions of years. Super-continents and vast mountain ranges form, drift apart and erode away.  Torridon sandstone started south of the equator became mountains higher than the Himalaya’s, then drifted apart into Norway, North America, Ireland and North-West Scotland to be eroded by ice ages.

Trees, animals and people only appeared in North West Scotland in the last 10,000 years. The Vikings appeared in Sutherland around 1,300 years impacting  language, design and culture in the area. We saw evidence of this when when visiting ‘Am Fasgadh’ last year. We were granted privileged access to this remarkable collection, of over 10,000 items relating to highland life between 1700 to 1950’s.  We visited with our friend and furniture historian David Jones, previously lecturer in Scottish vernacular furniture at St Andrew’s university. Angus liked a chair with a parallel back rail, finely spoke shaved spindles and a shaped seat. David knew that the chair came from North West Scotland and the design could be traced back to the Vikings. Other chairs from Sutherland, were very simply made for croft houses, using collected, naturally bent sticks. Other chairs of interest included Bible Chairs with little built in cupboards and shelves. The collection at Am Fasgadh has all sorts of objects used for preparing food (eg milk churns below right), tools for farming, for making textiles and clothing.

How inspiration effects a design is a nebulous thing, but expect to see a monumental chair which evokes a glaciated landscape with island mountains, but also has a comfortable shaped seat, folding shelves and storage.

Materials

The collection is made in local Scottish wood. Vernacular furniture makers in the past used local materials out of necessity but we use it to be sustainable. Thinning our over-crowded woodland improves the woodland, and by using Scottish hardwoods we help create a demand so that each precious tree can continue to lock in it’s carbon even when felled, as it will be milled and prepared for furniture making rather than firewood.

The Sutherland Drinks Cabinet has a lift off tray in oak and laburnum. The laburnum was an ornamental tree in an Aberfeldy garden which was gifted to the workshop after it had to be felled. After many years of drying we have cross cut the branches into laburnum oysters. The contrasting dark heart wood has a lighter edge and sometimes used to provide an attractive surface pattern in fancy furniture of the 19th C. We have added a contemporary twist by laser cutting the oysters into a tessellated pattern, then selected, matched and patched to produce a swirling pattern on both sides of the tray. The handles are bent oak.

The cabinet itself is made using our signature slats and beads method of constructing elliptical cabinets. The slats are characterful pippy oak and the beads and structure are in darker fumed oak. When oak is exposed to ammonia fumes the tannin reacts and makes the wood darker – this is very different to a surface stain.  The handles are turned laburnum wood. This is very attractive but also a little joke as the whole laburnum tree is poisonous if ingested.  The cabinet opens into an unexpectedly light interior with a skeletal framework, glass shelves, mirrors and lights.

In the 19th C a different species of laburnum was available (Laburnum alpinum) and this very dark wood was used in fine furniture making and for bagpipe drones. It was replaced with imported African Blackwoods and now seems impossible to find. If anyone has some Laburnum alpinum that we can use please let us know!

Old Castle Wood is a beautiful mixed ancient woodland a few miles downstream from our workshop and we are actively involved in sustainably managing the woodland for timber, improved bio-diversity and to control non-native plants.  Very selective felling happens in the winter and supplies us with our unique characterful oak.

You can read more about why we selectively fell these veteran trees, on our blog  here.

Our studio-workshop is in Aberfeldy, Perthshire on the banks of the River Tay in the centre of Scotland.  The workshop will be open 10am – 5pm for a rare chance to talk to our craftsmen/cabinetmakers. Do pop in if you can. There is no need to book to visit the workshop. I understand this is all too far away for many readers, and if so please contact us to arrange a visit at a time to suit you.

Angus Ross Furniture

The wiring and netting took another few sessions followed by an afternoon planting well over a hundred saplings.

The surface was scraped back, hole dug (or spade wedged back and forth to create a slot), sapling popped in, covered with inverted soil and firmed in.

You may wonder why we plant oak in an oak wood? Most of the trees in our wood are the same age and it is good for the overall health and resilience of a woodland to have trees of a wide age-range. This used to be a coppiced wood and the trees have roots of perhaps two hundred years old, with trunks at least a hundred years old. Coppicing oak provided tannin for the leather industry (to tan leather) and this stopped after the introduction of artificial dyes and lack of men to work the land after World War 1.

We have protected naturally regenerating saplings for the last decade but wanted to plant up one of the larger open areas in the wood. Fortunately when we started digging we realised the area had been previously cultivated and was possibly the garden for the substantial medieval building nearby. This is now just a rubble of foundation stones but we think it might be the site of the original Grandtully Castle.

All images below are thanks to Danni Thompson Photography. We were lucky to have Danni working at the woods that day.

We always enjoy our time in the woods; time seems to stand still, there is a sense of peace and work seems easy. Therefore I have been intrigued by recent articles in the press extolling the benefits of  “Forest Bathing”.  These are often based on research by Japanese physician Qing Li who has researched and quantified the physical and mental health benefits of spending time in a forest. For example he found that a two night stay in a forest increases Natural Killer cells (which combat cancer) and reduce adrenalin (a symptom of stress). The effects lasted for more than 30 days.

Trees have been found to give off essential oils which can boost your mood and immune system, reduce heart rate, stress, anxiety and confusion, and improve sleep and creativity

As little as two hours taking time to look, listen, smell, breathe, touch and tune in to your feelings in a forest is beneficial.  To find out more look for Qing Li’s book Shinrin-Yoku: The Art and Science of Forest Bathing.

The Japanese government introduced the concept of shinrin yoku or The Japanese Way of Forest Bathing for Health in 1982. How lovely that the Japanese government will support research into the effects of being in a forest, and promote it as a treatment for ill health and to promote well-being. In Japan, appreciation of nature is deep in the DNA and part of religious and traditional life. Sadly in the UK health research is far more likely to be by drug companies hoping to introduce a new pill.

I am sure the effect of being immersed in a forest can be recreated in a garden or park if you can be there mindfully or meditatively. I would love to see scientific comparisons between the effects of Forest Bathing with the effect of being on a mountain or swimming in a river or sea. Subjectively in my experience being in our wood seems to engender feelings of calm, like walking in mountains rather than the exhilaration of bathing in cold water.

Dr. Mhairi Maxwell, Assistant Curator at V&A Dundee has written a lovely article

Modern Alchemists at Collect 2019

“The makers in the Craft Scotland showcase at Collect 2019 are the alchemists of our time; carving, casting and creating new traditions, ideas of value and material possibilities across all disciplines. This showcase is craft and design at the boundaries and should not be missed!

Drawing on a range of different influences and fusing together very different techniques, all 15 makers represented are working to create striking new forms and materialities which deliberately defy definition, including furniture maker Angus Ross and his super-natural use of folding and steam bending……”

Read the article

Local ash (Fraxinus excelsior) was used for the bench. Angus likes to use ash as it is usually disregarded for fine furniture making – but considered an excellent firewood- hence its name. Ash is considered a plain wood aesthetically but our Scottish wood often includes a deep pinky tone referred to as olive ash. Angus finds ash to be the best wood for steam-bending.

Ash is an important woodland and non-woodland tree with an important ecological niche which is currently threatened by a fungal disease,  “ash die back”, causing the loss of many trees. In a week, when the potential catastrophic loss of insects is being considered, it may be worth a moment to pause and reflect on the complexity of tree habitats.

“Ash has a unique position as it creates a nutrient-rich, rapidly degradable litter …which contributes to the high pH of the soil compared to that typical of other UK tree species. Furthermore, the ash canopy has high light penetration. Such ecological functions create ash-specific assemblages of species, both above- and below-ground, thus contributing to, and enhancing, UK biodiversity.

1,058 species are associated with ash trees: (from smallest to largest numerically): birds, mammals, bryophytes (mosses, liverworts and hornworts), fungi, vascular plants, invertebrates and lichens. These species may utilise the ash trees themselves, and/or the surrounding habitat created by ash trees. Out of the 1,058 species, 44 were ‘obligate’ ash-associated species, in that they have only been found on living or dead ash trees. These obligate species include fungi, invertebrates and lichens. Sixty-two further species were highly associated with ash, and include fungi, lichen, bryophyte and invertebrate species. The dependence of at least 106 species on the ash tree and the habitat these trees create, demonstrates the importance of the ash trees’ contribution to UK biodiversity.”

extracted from

Lawrence, R. & Cheffings, C.M. (Editors) 2014. A summary of the impacts of ash dieback on UK biodiversity, including the potential for long-term monitoring and further research on management scenarios. JNCC Report No.501

What this means is that if we lose all ash trees we will lose 44 species and 62 more will be threatened.  Some trees are proving resistant to disease so we are unlikely to lose all ash however they provide a similar niche to elm which was almost been wiped out.  Therefore it is easy to see how insects and other species can be dramatically reduced – almost without most people noticing.

Research is in progress to understand tree diseases and how to best support small mixed woodlands and large scale forestry.  In general the tree environment is improved by reducing over-crowding – this is what we do in our woodland.

Modern forestry with mixed species and mixed age of trees is more likely to increase resilience than our traditional monoculture forestry in the UK.

As Angus is a great admirer of designer Thomas Heatherwick’s design through model making approach, and we were delighted to see him receive an Honorary Bespoke Guildmark for the ‘Friction Table”.  Angus also met Thomas at No 10 earlier this year!