Old Samplers and Tapestry Embroideries
In March 1900, an exhibition called ‘Old Samplers and Tapestry Embroideries’ was held at the Fine Art Society’s rooms, London. The exhibition was curated by Marcus Bourne Huish and a Mrs. Head, who gave details about techniques and stitches.
The exhibition was divided into three sections: examples of embroidery under the general heading of ‘Pictures in imitation of tapestry,’ then over 350 samplers together with items such as book covers, garments, caskets, purses, and so forth, which were embroidered by those who had learnt the art of sampler making or were using samplers as guides for their work. There were samplers from every decade since the mid-seventeenth century. Many of the items on display came from Huish’s own collection.
A small catalogue with the same name accompanied the exhibition. The catalogue was twelve pages long. Soon after, the catalogue was expanded by Huish into an extended study called Samplers and Tapestry Embroideries (1900; London: Longmans, Green and Co.). This book was reprinted in 1913 as an enlarged version that included extra information, especially about American samplers.
This book has become a classic source of information about the history of British, European and North American samplers.
A digital copy of the 2nd edition can be enjoyed HERE
Marcus Huish was born in 1843 in Castle Donington, Leicestershire (England), the son of Marcus Huish (a solicitor) and Margaret Jane Bourne. In 1862, at the age of 18, Marcus Bourne Huish went to Trinity Hall, Cambridge University, where he studied law. Huish was called to the bar in 1867 and became a barrister. He married Catherine Mary Winslow in 1878 and they had one daughter, Margaret Dorothy Huish (born in 1879). Huish was very involved in the art world, especially Japanese art, and published several books on the subject. He became a part-time art dealer.
In the early 1880’s he retired from the law and became the editor of The Art Journal (editor: 1883-1891). He was also Director of the Fine Arts Society and chairman of the Japan Society (London; 1879-1911). His work with Japanese art and culture was recognised by the Japanese government by the awarding of the rank of Chevalier of the Order of the Sacred Treasure. In addition, he was made a Knight of the Order of the Crown of Italy for his part in organising the British section of the International Art Exhibition, in Venice (Italy; later called the Venice Biennale) in 1909.
At some point Huish started to collect samples and samplers and it would appear his large collection included early seventeenth century English examples, as well as Dutch, French, German, Indian, Italian, Scandinavian and other forms.
Huish died in 1921 in Kensington, London.
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It’s not Cosmopolitan !
Magazines have been a part of American culture since American Magazine was first published in colonial America.
Peterson’s and Godey’s dominated the 19th century American women’s magazine industry.
Launched in 1842 Peterson’s included a combination of literature, sewing patterns, craft projects, recipes, domestic advice, fashion plates – both colored and black and white and all sorts of advertising.
Using their European counterparts as inspiration, the American editors sought to present the current fashion trends in a more Americanized manner. Plates from French magazines were often copied and modified to suit the more “modest” American tastes.
We thought for today’s post it would be interesting for you to “read” the June 1883 edition of PETERSONS LADYS NATIONAL MAGAZINE It’s more Good Housekeeping than Cosmopolitan !
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Subscribers to our newsletter will be the first to hear about new chart releases, antique samplers for sale, special offers and freebies.
Subscribing is easy just fill in your email address in the box at the top right hand side of this page. Don’t forget to add us to your contact list so the newsletters go into your inbox rather than spam.
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A new release – Hannah Coates 1848
We are very excited to launch our third release today – Hannah Coates 1848. When we stumbled across this charming English sampler our hearts skipped a beat. We have had so much pleasure reproducing her, we hope that you will enjoy her too.
Just click Hannah’s photograph to find out more about her.
Did Henry VIII Embroider?
Now that is an interesting question and something that we had not given any thought to before watching this VIDEO which looks at the Royal School of Needlework.
We know that many English queens, queen consorts and princesses were enthusiastic embroiderers and that Kings and Queens wore elaborately embroidered and embellished garments. But have you ever heard of a King that embroidered?
In June 1539 the French Ambassadors Marillac to Montmerency wrote:-
“The King, who in some former years has been solitary and pensive, now gives himself up to amusement. He evidently delights now in painting and embroidery”
We know that Henry commissioned many great tapestries and his palaces were lavishly furnished but it is hard to imagine the King sat stitching away with a hoop and needle in those large hands.
A TV programme about samplers
One of the most exquisite band samplers to be seen at Witney Antiques is from the mid 17th century. It was stitched using silks with intense shades of blue, green and red. Previously it belonged to Emma-Henrietta Schiff von Suvero an Austrian Jewess. Following a forced sale by the Nazis it was held in what is now the Museum of Applied Arts in Vienna unseen for seventy years.
The sampler, together with several others, was featured in a talk given by Joy Jarrett for Antiques TV.
For anyone who has an interest in samplers this is a must watch video (probably more than once).
Witney Anitiques is holding an exhibition this summer where their extensive collection can be viewed. Please see a previous POST for details.
In safe hands ?
We all use textiles in one form or another on a daily basis. We are wrapped in them when we are born, they cushion our feet, they provide us with warmth whilst we sleep. They are carefully crafted into garments worn for important rites of passage, such as christenings, bar mitzvahs, and weddings.
Textiles adorn our walls and decorate our homes. A wide range of textiles are passed down through families and institutions, and with it comes the responsibility of caring for them.
The textiles we collect and preserve will generally fall into two categories – those that we display and those that we use in a limited way such items as wedding and christening gowns.
In using and collecting textiles it is important to pass these items onto the next generation in the best possible condition.
Eventually they will become too fragile to use, or may be damaged beyond repair for the damage to be reversed even by the hands of a conservator.
Textiles that are displayed in homes and public buildings are subject to deterioration by many environmental factors such as light, temperature and relative humidity, dust and dirt, insects, and improper storage or display.
The critical factors in maintaining your textile collection are control of environmental conditions, proper display techniques, and proper storage.
Whilst the standards museums strive for are not feasible in the home I still thought, in my naivety, that I was caring for my collection of antique samplers in a responsible way.
One of the greatest threats to textiles is light. The worst damage is caused by ultraviolet (UV) radiation from natural daylight. I knew that it was important to display my samplers out of direct sunlight and for limited periods of time. I had been advised that I should rotate them every four months allowing them to “rest” in proper storage for the remainder of the year.
What I hadn’t realized was that the same level of damage could be caused by fluorescent light bulbs. I am now re-looking at the way I light my home
While the UV rays damage most rapidly, the entire light spectrum causes textile dyes to fade and the fibers to become brittle. This includes plain incandescent interior lighting. There is some protection in keeping window shades pulled down or shutters closed during the sunniest times of the day. UV filtering materials or films can be placed over windows and fluorescent bulbs.
Other important factors to consider are high temperatures and humidity as they accelerate the deterioration of textiles and provide a climate for insects, mould, and mildew.
A climate of 65-70°F and 50-55% relative humidity is best with as little fluctuation as possible.
Air pollution is also an enemy of textiles. Fumes from vehicles and industry affect some dyes. Dirt and dust is a problem as dust particles act like small knives, cutting into fibers as the textiles expand and contract in response to changes in humidity. A regular schedule of inspection and vacuuming is necessary to maintain your collection.
If you add a sampler to your collection before bringing it into your home inspect it carefully including the frame. You do not want insect pests contaminating your other samplers or textiles. If you see clumps of eggs or even an odd egg beware of cross-contamination.
Embroidered samplers can “yellow” as they age, often so much that they appear a dirty brown colour.
This is a combination of the natural degradation of sampler material and the acidic backboards they were mounted on.
This acidity accumulates over the years, not only yellowing, but also adding to the fragility of the samplers and the degradation of their appearance.
Samplers benefit from being cleaned by a trained conservator – the washing treatment will remove acidic products. The reduction of the yellowing will make the sampler look fresher and will make it more stable for the future.
A conservator can stabilise and secure holes and loose threads but the fading of the threads cannot be reversed.
The conservator will be able to re-frame your sampler using conservation grade materials that are acid free and cause no adverse pressure or environmental effects on the sampler.
We are custodians of the needlework of yesteryear and we have a responsibility to ensure that the needlework and textiles in our care are passed onto the next generation in the best possible condition.
A token of affection
The Victorian era, 1837-1901, is characterised as the domestic age par excellence, epitomised by Queen Victoria, who came to represent a kind of femininity which was centred on the family, motherhood and respectability. Accompanied by her beloved husband Albert, and surrounded by her many children in the sumptuous but homely surroundings of Balmoral Castle, Victoria became an icon of late-19th-century middle-class femininity and domesticity.
Indeed, Victoria came to be seen as the very model of marital stability and domestic virtue. Her marriage to Albert represented the ideal of marital harmony. She was described as ‘the mother of the nation’, and she came to embody the idea of home as a cosy, domestic space. When Albert died in 1861 she retreated to her home and family in preference to public political engagements.
Queen Victoria was a supporter and promoter of embroidery and domestic crafts.
There is a very interesting video on Royal baby clothing at the Museum of London that includes a pair of shoes that Queen Victoria embroidered.
Following Victoria’s lead the middle and upper class ladies devoted much of their time to needlework which had evolved from a craft to a feminine accomplishment which signified gentility.
Idleness was considered frivolous and profitable use of a lady’s time was morally important. Fancywork was a display of genteel industry.
In the 19th century the creation and giving of a handmade gift was the ultimate expression of feminine arts and an important ritual.
Embroidered gifts were made for births, marriages and birthdays. They were also given to celebrate the New Year. Fancywork manuals and magazine devoted sections to the production of the homemade gift. Godey’s Lady’s Book in 1847 advised their readers
“Not the most costly present bought with money would be so highly prized as the delicate trifle made by the fair hand that presents it”
Queen Victoria’s childhood diary notes that she gave a pin cushion to her governess and and received a pincushion from her maid. When she became Queen she continued to make needlework gifts. All her daughters handmade gifts for family birthdays and Christmas.
The Lady’s Manual of Fancywork (1859) lists suitable items for presents. A pdf of the BOOK is available to view.
Despite its age it is still an interesting book packed full of information on “Ornamental Embroidery”
Today in the age of commercialism when stores are constantly promoting gifts for one holiday or another it is easy to overlook the importance of the homemade gift.The pleasures of giving and receiving homemade gifts are many. They are a gift of affection, imagination and creativity. Gifts that show time was put into them are the most meaningful.
I had great delight this weekend to open a surprise package that contained a pin cushion that has been exquisitely cross stitched. Much thought and time had gone into creating the cushion and it will be treasured as a token of affection.
Jane Austen’s Sewing Box
Whilst researching the Bronte Samplers yesterday I discovered a book that was published in 2009 – Jane Austen’s Sewing Box – Craft Projects and Stories from Jane Austen’s Novels by Jennifer Forest
All well-bred Regency ladies aspired to be highly accomplished. They painted tables, covered screens, and netted purses as Austen’s character Charles Bingley matter-of-factly describes in Pride and Prejudice (among other talents), all to allure and secure husband.
Women of this era were great at handiwork – sewing, drawing and trimming bonnets. Author Jennifer Forest has researched Regency crafts compiling this lovely volume of projects to turn you into the accomplished woman that even Mr. Darcy might admire. (Publisher’s description) Jane Austen’s Sewing Box opens a window into the lives of Regency women during a beautiful period in arts, crafts and design. Jennifer Forest examines Jane Austen’s novels and letters to reveal a world where women are gripped by crazes for painting on glass and netting purses, economise by trimming an old bonnet, or eagerly turn to their sewing to avoid an uncomfortable conversation. Based on Jane Austen’s novels and with illustrated step-by-step instructions for eighteen craft projects, this beautifully presented book will delight Jane Austen fans, lovers of history and literature and craft enthusiasts alike. Murdoch Books, ISBN: 978-1741963748
Musings from an English Church
If you visit an English Church you are sure to see hand embroidered kneelers a plenty made by the good ladies of the parish.
These kneelers are stitched in wool yarn with a style of embroidery known as Berlin wool work “BWW” – a style of embroidery similar to needlepoint. The two most common stitches found in BWW are cross stitch and tent stitch although Beeton’s book of Needlework (1870) describes 15 different stitches for use in BWW. Coloured beads are sometimes added to accent a design.
An interesting stitch used in BWW is the Surrey stitch which creates a thick three dimensional pile that adds a richness and reality to floral designs. It is a form of turkey work which we occasionally see in the reproduction samplers we love to stitch.
A good tutorial is available from the needlepoint teacher and can be watched HERE
BWW was developed in Germany in the 19th century and was based on hand painted cross stitch charts that were worked with a very soft wool that was spun in the city of Saxe-Gotha. The wool was taken to Berlin, where it was dyed in brilliant, large colour palettes. This was possible due to the discovery of aniline dyes.
Artists in Berlin soon began to develop charts and classic paintings were copied onto canvas in squares of colour together with original designs of flowers and geometric shapes.
“Point” paper (graph paper using 1 square to the inch) was used to show coloured blocks that corresponded to the squares on the canvas. Before this, colours had been shown by codes and patterns that were printed using copper plates. A very expensive process.
Now the embroiderer could follow a coloured graph by counting lines, squares, and stitches on a blank canvas. A new canvas was created that had parallel threads crossing at larger intervals, and that innovation was followed by the inclusion of a blue line placed vertically at intervals of 5 or 10 threads to help the stitcher count.
The wool used for Berlin work was softer than crewel thread, which was wiry and twisty, and strands of woven crewel thread were very difficult to separate. Berlin wool was manufactured for knitting as well as embroidery.
Eventually, Berlin wool was produced in Yorkshire by blending German and English wool. English needleworkers preferred a softer colour palette to the brilliant German colours.
BWW became very popular in Victorian England and soon homes were full of durable and long-lived pieces of embroidery that could be used as furniture covers, fire screens, cushions, bags and clothing. Our churches too with the kneelers for the church pews which started my musing on Berlin wool work.
Now While My Hands Are Thus Employed – Three Centuries of Historic Samplers
A NOTE FOR YOUR DIARY
To coincide with the London season of fine art and antique fairs commencing 24th June – July 7th 2016, WITNEY ANTIQUES have decided to hold an exhibition of historic samplers in their Oxfordshire showrooms and extend to all a warm welcome.
The exhibition will run from:
Sunday June 26th 2-5 pm and Monday June 27th to July 17th 2016 from 10am – 5pm daily.
‘ Now While My Hands Are Thus Employed’
Three Centuries of Historic Samplers
A full colour catalogue illustrating around fifty samplers will be available from June 1st 2016.
Many of these historic pieces are from private collections and all will be for sale.
The exhibition will cut across all levels of society embracing both the affluent and the poor and stands as a testament to the skill and perseverance of the young and their talented teachers. Whether worked with a view to future employment, for pleasure or in order to be the mistress of a large household, they illuminate the lives of girls and young women going back over 300 years.
Their stock of rare 17th Century embroidery will also be on view.
Admission is free. For those of us attending The Feller Tour on July 6th a visit to the exhibition could easily be combined.
Witney Antiques have changed their email address to specialist@witneyantiques.com