This month our columnist meets one of her art heroes, Colin Millington, creator of tiny stitched worlds filled with ships, flags, far-off lands and salty sea air
It’s not every day you get to meet your favourite artist. So you can imagine my excitement (and yes, a fair amount of giddiness) when I was invited to visit Colin Millington – retired sailor, master-maker of naïve nautical wool works and a proud resident of the Norfolk coast.
I’ve long admired Colin’s work and am lucky enough to have several of his ‘woolies’ hanging in my studio. They are among my most treasured possessions – tiny stitched worlds filled with ships, flags, far-off lands and salty sea air.
Colin was born in Hull in 1936. His father was a river pilot, and Colin attended Hull Trinity House Nautical College before becoming an apprentice on a tramp steamer aged 16. It was there, sewing canvas hatch-covers to keep out the weather, that he first learned to handle a needle – a skill that would quietly shape the rest of his life.
British sailors practised a number of crafts to pass the time. Among the most charming of maritime pastimes was the creation of wool pictures — affectionately known as woolies. Using scraps of coloured wool stitched onto cotton or linen, sailors would depict ships in a charmingly naïve, side-on ‘broadside’ view. Perspective was of little concern; storytelling was everything. These pieces often commemorated voyages, naval battles, rescues, fleets, or served as tender love tokens for sweethearts waiting at home – complete with hearts, flowers and touching verses.
Colin’s own journey into woolies began about 40 years ago during a visit to an antiques shop in Hunstanton with his wife, Pat. He spotted some old examples of woolies, went home that evening, borrowed leftover knitting wool from Pat’s basket, and had a go at making one. That first experiment sparked a lifelong passion.
He began by studying and copying 19th-century examples, gradually refining his technique and developing a distinctive personal style. His motifs are always nautical – coastlines, compasses, anchors, proud ships and distant ports – inspired by his years in the Royal Navy, the Merchant Navy, and later as a coastguard on the Norfolk coast. His travels took him to Africa, India, Japan, Australia, North and South America, and through the Panama Canal – adventures that still find their way into his stitched narratives.
One of my favourite stories from our conversation was about the moment Colin realised he might be onto something. After completing his first few pieces, he sent a couple to Phillips – the auction house in London. They assumed the works were genuine 19th-century examples and were astonished to learn they were ‘fresh off his hoop’. They sold immediately – and for a handsome sum, even all those years ago.
Since then, his popularity has grown steadily. His wool works hang in several of the Firmdale hotels owned by celebrated interior designer Kit Kemp, who has collected his work for many years. It is easy to see why – his pieces feel both historic and delightfully modern and contemporary.
Traditionally, woolies fall into three broad categories: ship portraits (usually shown broadside with land and figures in the background), commemorative scenes depicting historic naval events, and love tokens stitched for wives and sweethearts left ashore. Colin embraces all three traditions but brings something unmistakably his own to each composition.
Today he works with Appletons crewel wool, which comes in hundreds of shades, though he is not overly concerned with precise colour matching. In fact, he rather enjoys how a bold contrasting hue can completely shift the mood of a piece.
He typically stitches for a few hours each evening, taking around two weeks to complete a picture. In summer, he works from his garden shed – a treasure trove of hand-crafted marvels. Ships in bottles, rope-work, walking sticks covered in carved bone and intricately knotted rope, delicately painted ostrich eggs, intricately knotted sea-chest handles – visiting is like stepping into a maritime Aladdin’s cave. I genuinely felt privileged to be shown inside.
There are subtle echoes of the Cornish naïve painter Alfred Wallis and the Norfolk fisherman-artist John Craske in Colin’s work – particularly in his treatment of shorelines and figures – yet his style is entirely his own. He sketches out his designs but rarely sticks to them rigidly; the stories in his head often lead the needle elsewhere.
My grandchildren are utterly captivated by his pieces. I’ve often found them standing in front of the woolies in our dining room, inventing elaborate tales of brave sea captains, glamorous ladies on distant shores, whales gliding through warm waters and epic voyages across uncharted seas. That, I think, is the true magic of Colin’s work – it sparks imagination across generations.
During our conversation, Colin spoke passionately about the importance of teaching young people traditional handcrafts. So much maritime heritage risks being lost if we don’t pass these skills on. I couldn’t agree more – and would happily visit schools myself to champion Colins beautiful, time-honoured art.
As you may have gathered, I absolutely loved meeting Colin and his lovely wife, Pat, who made us cups of tea while we chatted about stitching and seafaring life. It was one of those afternoons that lingers long after you’ve left.
A huge thank you goes to antique dealer Luke Scott of Paffron & Scott, who represents Colin and organises annual auctions of his work. If you’re tempted to acquire a woolie masterpiece of your own, do keep an eye on their website – there’s a sale coming up soon. For more information contact luke@paffronandscott.co.uk
Trust me – once you’ve seen a Colin Millington woolie, you’ll be hooked..
Jolanda Rocklin is the owner of The Little School of Needlecraft in North Creake, a place where artists and crafters come together to explore and innovate.
If you’d like your art or craft spotlighted in this column, contact her via thelittleschoolofneedlecraft.co.uk
Photo: Jolanda Rocklin
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