“Remember Me”: Six Samplers in the National Archives

Margaret Eiston. Courtesy National Museum Scotland. But as anyone who has studied or collected them knows, not only do they offer insights into the ever popular history of embroidery and of the development of patterns and stitches through time, they also offer rich social histories. At National Museum Scotland they are showing a collection of Scottish needlework from the 18th and 19th century loaned by the American collector Leslie B Durst, an American philanthropist and supporter of the arts who has amassed one of the largest and most comprehensive private collections in the world. The Leslie B Durst sampler collection includes over Scottish samplers, dating from the early 18th to the midth century. Mostly made by young girls as part of their education, samplers were primarily a demonstration of sewing skills, so every sampler is both a study in needlework but, moreover, a window into personal histories and young lives lived centuries ago.

Threads of History

These items are not for sale and the descriptions, images and prices are for reference purposes only. You can reduce the number of items displayed by entering a keyword that must be included in the description of the item. A framed sampler by Mary Birch. Show 7 more like this. A framed sampler by Anne Reading. Show 38 more like this.

In a reference book I am reading, the author mentions a Martha Grant who appears to have started a sampler at the age of ten in This date is enclosed in a.

The 70 samplers in the exhibition are on loan from American collector Leslie B Durst, a philanthropist and passionate supporter of the arts who has assembled a remarkable collection of samplers from Europe and North America. The Leslie B Durst sampler collection is one of the largest and most comprehensive private collections in the world, and includes over Scottish samplers, dating from the early 18th to the midth century.

Leslie intends to bequeath this remarkable collection of Scottish samplers to National Museums Scotland. Mostly made by young girls as part of their education, samplers were primarily a demonstration of sewing skills. Every sampler is both a study in needlework but, moreover, each one is a fascinating piece of social history and it is the stories stitched into the samplers that interest Leslie. This exhibition gives me the opportunity to do so, and makes me very proud.

Using the initials, names and motifs that the children have stitched into their work Leslie has traced girls from all walks of life and from all over Scotland. Made by girls often from fairly modest backgrounds, samplers give us an alternative view of Scottish history, one that does not appear in the history books. Samplers usually include the names of the girls who made them; and Scottish samplers in particular often show the initials of extended family members.

These details have enabled Leslie to identify the girls through church and census records, and to conduct in-depth research into their lives. This makes her collection a unique archive of Scottish social history from the early 18th to the midth century, and a valuable glimpse into the lives of ordinary families. References to towns, buildings and events are common in Scottish samplers, giving a sense of what was important to the young girls stitching these pictures.

ISBN 13: 9780964476448

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ascribed to Perugino and is dated about I The engraving is placed late in The later English samplers, dating from the early nineteenth century, are small.

Friday, 13 May Dating berlin wool work. As the popularity of Berlin Wool Work increased needleworkers began to work reference samplers to keep a record of motifs and patterns. Repeating designs suitable for upholstery were “spotted” around the canvas in no particular order. Long pieces of single weave linen with finished edeges were sold for this purpose. A popular cotton canvas call “German Canvas” had every 10th thread dyed a light yellow to help with counting the patterns.

The reference samplers were kept in workbaskets rolled up and new designs were added when discovered. They were often edged in silk with ribbons to tie the rolled sampler when closed. Whilst the samplers have the names of the stitchers they are undated. The story of the sisters who stitched the samplers is a fascinating and scandalous one that we are saving for another day.

In this post we will focus on dating Berlin Wool Work samplers. Early designs are usually stitched on fine counts of linen or canvas. As the decades of the ‘s passed the canvas used became larger and by the – 70’s Penelope canvas became the norm. Instead of the single thread that makes up mono canvas, Penelope canvas has a double thread mesh two vertical and horizontal threads woven together.

A single stitch can be made over the two threads decreasing the number of stitches necessary to fill in the canvas, but also allowing for greater detail in selected areas by stitching one thread at a time.

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Embroidered spot sampler. These samplers are rarely signed or dated, and often include motifs that are only partially worked, leading to the conclusion that this type of sampler was made as a personal stitch reference for its maker, and not for display, as band samplers were signed by student embroiderers. In addition to geometric designs that are of the type that would have been used to decorate small purses, cushions, and other accessories, the sampler includes slips, motifs that would have been worked in tent stitch and then cut out and appliqued onto larger pieces of work that would have been too large and unwieldy to embroider on their own.

On this sampler, these motifs include flowers, caterpillars, birds, and dogs, as well as a leopard, stag, and squirrel. Lathrop Colgate Harper, New York until d. Lightboxes Cart Account.

Want to Read. Rate. Cancel. Write a review. Sixty-four examples from samplers dating from circa to , with charts and authentic color schemes.

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What is a Sampler?

A large-volume core sampler for sediment—muck substrates is described. The sampler can acquire a discrete sediment core of 10 cm in diameter and up to 1. Such samplers are needed to collect the volume necessary for analysis of sediments for contaminants, bulk density, or radioactive dating. The sampler consists of a 1- to 2-m length of PVC pipe mounted below a threaded metal pipe air exhaust—intake assembly.

Feb 23, – Alphabets from Early Samplers: 64 Examples from Samplers Dating from to With Charts and Authentic Color Schemes Marsha Van​.

Our sampler collection is one of those. Part of what keeps our samplers relevant is their makers. The samplers in our collection, most dating to between and , were created by girls aged 6 to Well-educated young women and girls created samplers to hone their embroidery skills, necessary in their adult life, to practice their letters and numbers and to show off their talents and moral values to potential suitors visiting their home.

We know the women and girls who made samplers were well-educated and likely wealthy because they had the time to not only go to school but also work on embroidery projects. Both their education and embroidery projects, however, were meant to serve them in the domestic sphere. These women and girls needed to know how to read and write numbers and letters to that they could create monogrammed garments and linens and keep track of them.

Antique Needlework

This catalog contains listings for the majority of the samplers with prices produced by FISP. The name of each sampler is a hyperlink that connects to a catalog page which provides a general description of the sampler. Some of the catalog pages contain additional links to sampler instruction manuals and reports.

Up to date pricing and availability of samplers must be obtained from the HIF for U.S. Government Agencies. Depth Integrating Suspended-.

I have always loved needlework samplers, particularly miniature ones. There are extraordinary examples of intricate and beautiful American samplers stitched in the 18th and 19th centuries, many of which are in museums or important private collections. They depict biblical scenes, intricate floral patterns, buildings, family trees, poetry, and moral verses. But these aren’t the ones that attract me.

They’re too nice. I love “marking samplers”. These are the simple ones – the ones that only have alphabets and numbers on them. Usually they are in a plain cross stitch.

Antique and Vintage Samplers

A selection of 10th to 16th century embroideries from the Newberry collection at the Ashmolean by Marianne Ellis published Oxford, In the s Professor Percy Newberry gave the Ashmolean Museum a collection of almost textiles that he and his wife, Essie, had acquired in Egypt. They range in date from the 10th to the 19th century; and among them are more than a thousand Islamic fragments. Most of these are decorated with embroidery, but there are also some woven striped silks, a few painted fabrics and a piece of knitting.

In octacatl, in machiyōtl: samplers of virtue and integrity We also display a piece of fabric dating from the 19th century where the embroiderer added visual.

A sampler created in by Mary Hearn of Nantucket. This arresting statement from a work of early American schoolgirl art is not meant to declare a fascination with the morbid but an acknowledgment of how fleeting life is. The above text appears on one of six fragile needlework samplers made by young girls two hundred years ago that are found among the voluminous records in the National Archives’ Revolutionary War pension files. These works of linen and silk, created as personal family treasures, became federal documents when pension claimants required to show proof of relationship to a Revolutionary War veteran submitted them to the U.

Though the samplers long ago answered the questions asked by pension officials, today we ask different questions: Who made these samplers? What happened to the girls after they finished the last stitch? Because recordkeeping in the late eighteenth and early nineteenth centuries was so inconsistent, tracing sampler makers and their teachers is difficult. Using information from the samplers and the pension files in which they appear, we can learn a little about these artifacts and their makers.

Supplementing any extant birth and marriage data with census schedules and published local histories allows us to sketch out at least a brief outline of these girls’ lives. Seeing their samplers takes the viewer to a time vastly different from our own. Samplers are pieces of fabric worked to practice various embroidery stitches and motifs and to demonstrate mastery of these.

In early America, they were not made for hobby or as a way to pass leisure time.

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