Mary Ann Ragg 1826 – a pdf download

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This delightful sampler is brought to you as an instant pdf download and a printed booklet . Details of the printed booklet can be found HERE.

Mary Ann Ragg 1826 from Hands Across the Sea Samplers

 

There are 4 versions of the pdf. You will be able to download any or all of the following versions of the pdf and the graph:

Version 1 ~ A pdf with a sixteen-page colour chart.

Version 2 ~ A pdf with a one-page colour chart (intended to be viewed/used on your tablet, phone, laptop, or computer).

 Version 3 ~ A pdf with a sixteen -page black and white symbol chart.

 Version 4 ~ A pdf with a one-page black and white symbol chart (intended to be viewed/used on your tablet, phone, laptop, or computer).

Antique samplers combine our love of needlework and history. One of the first things we do when spotting a sampler is to check family history records. So many of these girls died young, often in childbirth, but there are a few who through clues left in their sampler tell a fascinating story and take you on a journey through time.

Mary Ann Ragg recorded that she was 12 years old in 1826 when she finished her sampler. However, this is not the only clue to her identity that she left behind. The pastoral scene, red building, mature cedar trees, birds, and cartouche are characteristic to samplers stitched in the city of Sheffield.

Several years ago, Hands Across the Sea Samplers reproduced another sampler that was stitched in Sheffield, Elizabeth Furniss. Whilst researching this sampler, we discovered five girls who stitched very similar samplers. They all lived within 1 square mile of each other; in the ensuing years we found several more.

Many of these girls were baptised in the Cathedral of St Peter and St Paul. We believe that the girls shared the same needlework teacher, and all probably attended Darnall School (assuming that the teacher taught in the same school between 1816 and 1844).

We have found Mary Ann (W)Ragg being baptised on April 25, 1813 in the Cathedral of St Peter and St Paul.

Prior to the early 1900s, it was fairly common for surnames to be recorded with a wide range of spellings. Individuals may have used different versions on a day-to-day basis. Even William Shakespeare spelt his surname in at least six different ways over his lifetime.

We believe that the Mary Ann Wragg we have found is the Mary Ann Ragg who stitched the sampler. We have found Mary Ann’s parents George and Anne in the census returns living at Paradise Square, which is within the immediate area that the girls who stitched the other known samplers lived in.

Both Elizabeth Furniss’ and Mary Ann’s fathers worked as cutters. Cutlery means “that which cuts” and can be anything from pocket knives to scissors, ice skates, and scythes. Most manufacturing was concentrated within a square mile of the city centre where the families lived.

The 1841 census records show that there was an extended Wragg family living in the same street. The males were either cutters or grinders.

We have found a Mary Ann Wragg marrying in 1840 but can find no further trace of her. We wonder what life held for Mary Ann. However, we do know that several generations who came after her cherished and cared for her needlework.

With our grateful thanks to Robert L. Harris Jr. who lovingly stitched the model of Mary Ann’s sampler. At the very core of Hands Across the Sea Samplers there is a team of needleworkers who are passionate about antique samplers and being able to share those samplers with you.

Guest checkout ~ Upon completion of purchase you will instantly receive an email confirming your order and giving you a link to download the .pdf. It is important that you ensure the correct email address is given. If the email is not received into your in-box please check your spam folder. You may find it easier to register as a user on our website as you will then be able to visit your account to download the .pdf directly to your PC.

Thread Legend

Mary Ann’s sampler has been stitched with a palette of seventeen colours from Au Ver à Soie’s range of Soie 100.3. We have provided conversions for Soie d’Alger and DMC. Estimated thread quantities for varying linen counts and the number of strands of thread used have been listed below.

1 strand of Soie 100.3 on 46ct linen ~ Colour Description

048 ~ Hazelnut brown ~ very dark

072 ~ Blue green ~ medium

080 ~ Tan ~ ultra very light

107 ~ Christmas red

209 ~ Blue green ~ very dark

222 ~ Mauve ~ dark

242 ~ Brown ~ very light

274 ~ Olive green ~ very dark

303 ~ Golden olive

329 ~ Golden olive ~ light

344 ~ Salmon

376 ~ Antique mauve ~ medium dark

378 ~ Avocado green ~ very dark

674 ~ Straw

684 ~ Burnt orange ~ red

688 ~ Turquoise ~ dark

773 ~ Pewter grey ~ very dark

1 strand of Soie d’Alger on 36, 40 and 46ct linen ~ Colour Description

F07 ~ Tan ~ ultra very light

134 ~ Turquoise ~ dark

543 ~ Straw

934 ~ Burnt orange ~ red

2146 ~ Olive green ~ very dark

2212 ~ Golden olive ~ light

2243 ~ Golden olive

2645 ~ Christmas red

2942 ~ 3046 ~ Mauve ~ dark

3446 ~ Pewter grey ~ very dark

3735 x 2  ~ Avocado green ~ very dark

4226 ~ Brown ~ very light

4246 ~ Hazelnut brown ~ very dark

4635 ~ Antique mauve ~ medium dark

5025 ~ Blue green ~ very dark

5384 ~ Blue green ~ medium

2 strands of Soie d’Alger on 28ct linen ~ Colour Description

F07 x 2 ~ Tan ~ ultra very light

134 ~ Turquoise ~ dark

543 ~ Straw

934 ~ Burnt orange ~ red

2146 ~ Olive green ~ very dark

2212 ~ Golden olive ~ light

2243 x 2 ~ Golden olive

2645 x 3 ~ Christmas red

2942 ~ Salmon

3046 ~ Mauve ~ dark

3446 x 2 ~ Pewter grey ~ very dark

3735 x 5 ~ Avocado green ~ very dark

4226 ~ Brown ~ very light

4246 ~ Hazelnut brown ~ very dark

4635 ~ Antique mauve ~ medium dark

5025 x 2 ~ Blue green ~ very dark

5384 ~ Blue green ~ medium

1 strand of DMC on 40ct linen ~ Colour Description

315 ~ Antique mauve ~ medium dark

321 ~ Christmas red

435 ~ Brown ~ very light

500 ~ Blue green ~ very dark

503 ~ Blue green ~ medium

606 ~ Burnt orange ~ red

730 ~ Olive green ~ very dark

739 ~ Tan ~ ultra very light

760 ~ Salmon

832 ~ olive

833 ~ Golden olive ~ light

869 ~ Hazelnut brown ~ very dark

936 x 2 ~ Avocado green ~ very dark

3685 ~ Mauve ~ dark

3799 ~ Pewter grey ~ very dark

3810 ~ Turquoise ~ dark

3821 ~ Straw

2 strands of DMC on 36ct linen ~ Colour Description

315 ~ Antique mauve ~ medium dark

321 x 2 ~ Christmas red

435 ~ Brown ~ very light

500 ~ Blue green ~ very dark

503 ~ Blue green ~ medium

606 ~ Burnt orange ~ red

730 ~ Olive green ~ very dark

739 ~ Tan ~ ultra very light

760 ~ Salmon

832 ~ Golden olive

833 ~ Golden olive ~ light

869 ~ Hazelnut brown ~ very dark

936 x 3 ~ Avocado green ~ very dark

3685 ~ Mauve ~ dark

3799 ~ Pewter grey ~ very dark

3810 ~ Turquoise ~ dark

3821 ~ Straw

2 strands of DMC on 28ct linen ~ Colour Description

315 ~ Antique mauve ~ medium dark

321 x 2 ~ Christmas red

435 ~ Brown ~ very light

500 x 2 ~ Blue green ~ very dark

503 ~ Blue green ~ medium

606 ~ Burnt orange ~ red

730 ~ Olive green ~ very dark

739 x 2 ~ Tan ~ ultra very light

760 ~ Salmon

832 ~ Golden olive

833 ~ Golden olive ~ light

869 ~ Hazelnut brown ~ very dark

936 x 4 ~ Avocado green ~ very dark

3685 ~ Mauve ~ dark

3799 ~ Pewter grey ~ very dark

3810 ~ Turquoise ~ dark

3821 ~ Straw

 

Linen Sizes

The design area is 232 stitches (w) x 313 stitches (h). Our calculations have included a 3″ margin for finishing and framing. The model was stitched on Weeks Dyeworks’ 46ct Zweigart-based linen in Cocoa. This colour is available in various counts. You should use a count of linen that you will enjoy working on.

28ct: Design: 16.57″ x 22.36″ Fabric: 22.57″ x 28.36″ 30ct: Design: 15.47″ x 20.87″ Fabric: 21.47″ x 26.87″

32ct: Design: 14.50″ x 19.56″ Fabric: 20.50″ x 25.56″ 36ct: Design: 12.89″ x 17.39″ Fabric: 18.89″ x 23.39″

40ct: Design: 11.60″ x 15.65″ Fabric: 17.60″ x 21.65″ 46ct: Design: 10.09″ x 13.61″ Fabric: 16.09″ x 19.61″

56ct: Design: 8.29″ x 11.18″ Fabric: 14.29″ x 17.18″ 62/52ct: Design: 7.48″ x 12.04″ Fabric: 13.48″ x 18.04″

Stitch Guide

Mary Ann stitched her sampler mainly with cross stitch over two threads of linen. The verse and dedication have been worked with cross stitch over one thread of linen. The sampler has been rated as suitable for all levels of ability.

Cross stitch ~ Is made up of two stitches worked over one or two threads. You should make all your stitches cross in the same direction for a neat and uniform finish.

You have to be careful not to pull the thread through the intersection of the woven linen threads. The warp and weft fibres are not “interlocked” at intersections; they simply pass over and under one another. As a result, when stitching over one thread, some stitches can slip and disappear. Lay your stitches away from the direction you are working. This prevents the thread from slipping through the intersections.

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