I`m off...

This is the last post until June dear readers...i`m off for England! I`ll try to take lots of pics to post when I come back...I have to choose a project to take with me yet..and i`m not packed...gotta go...keep stitching..ttfn mj

Just for Steph....

I posted the detail from this sampler before, and Steph asked me what it was and if it had been reproduced. I found it again in my 'net travels'. It is in the Burrell Collection in Glasgow, Scotland. Called the Francis Cheyney sampler, it was stitched in 1664. It has been reproduced by The Essamplaire.I can`t believe I had forgotten where I had found it or that it had been repro`d by Margriet Hogue. It has been on my 'to do' list for quite some time. It`s a real beauty.

Loara Standish Sampler...

This is the oldest documented sampler in the U.S.A. Stitched by Loara Standish in the late 1630s or early 1640s. Loara was the daughter of Myles and Barbara Standish of Duxburrow Massachusetts. It is a formidable example of sampler making at it`s finest. Stitched so as to be completely reversible, with numerous bands of varied stitches, including Montenegrin cross, long-armed cross, back, outline, eyelet, double running and arrow-head. Also documented was a stitch that required 13 passes of the needle to complete. Named the Standish Stitch by Joann Harvey of the Examplarery, who examined the sampler and researched and reproduced it so we too may enjoy stitching it. The sampler was stitched on 50 count (makes my eyes ache even to think of it) linen, in blues, greens, pink, and a faded red, it measures 7 1/4"x 23 1/2". Motifs include the rose, carnation, oak leaf and an intertwined "S" above the verse which reads:"Loara Standish is my name/Lorde guide my hart that/I may doe thy will also/My hands with such/Convenient skill as may/Conduce to virtue void of/Shame and I will give/The glory to thy name".

I love this sampler. It is available from The Examplarery and I have seen it also at Traditional Stitches (see link to my favorite needlework shop in the sidebar). I would love to stitch it, just not on 50 ct linen! (i`m not sure what count is included in the kit). If anyone has just the pattern for sale or trade, I would be very interested. The kit is out of my price bracket for now. TTFN...have a good stitchy day!.

Fallen World...

I stitched this sampler to commemorate the death of my dad. He died in 1996, on April 26th. It is called Fallen World, in reference to the apple fallen from the tree. I changed the color of the border, and added the initials of my mom, my dad (in charcoal grey), my sister, and my brother.My initials are under the tree...the acorn is for our family surname (it appears on our clan insignia),and the robin is for England (where my parents met and married). I stitsched it on Zwiegart Dirty Linen. The pattern is from Cross Stitch Sampler magazine, Fall 1994. ~R.I.P. dad.~

Great Is Thy Faithfulness...

This is another sampler I stitched on Zweigarts Driftwood linen. Called 'Great Is Thy Faithfulness' and designed by Anna L. Jackson. It was a winner in a contest sponsored by The DMC Corporation and Just CrossStitch magazine. It was published in one of my favorite magazines, SANQ.

It features many different stitches including satin, Bosnia, Montenegrin, four-sided, double-running, Algerian eye, Bargello, queen, Oriental, cross, cross over one, back-stitch, French knots, two-sided Italian cross, long-arm cross, three sided, Hungarian, herringbone, and chequer stitch.

I loved stitching this...the bands were short, and it worked up quickly. I changed a few colors in some of the bands, and added a band of acorns and oak leaves in double-running stitch. I finished it off with hemstitching, intending to make it into a bell pull..as of yet, I haven`t done that. Another of those 'some day' projects, I guess. Enjoy your stitching...

I stitched this sampler as a tribute to my parents.I put their initials on it, and changed the verse. The border thistles were done in a peachy color, so I changed them to the dusty lavender.This was a fun and relatively quick stitch. The border seemed to take the longest, but even that wasn`t bad. I love the green satin stitch grass, and the colors really suit the linen, which is Zwiegart Driftwood...(I went through a phase of stitching everything on this color). The pattern is from The Abecedarian, called The Mary Elizabeth Corbett Sampler.

Mexican Samplers

Mexican samplers, or dechados de Mexico are another of my favorite groups of samplers. I love the color and patterns along with the stitches, most notably the Aztec stitch, which is unique to samplers from this part of the world. There is an excellent article on Mexican samplers in SANQ, volume 45...it inspired this post.

Unlike American and English schoolgirl samplers, which were much more formal, being taught (for the most part) by teachers in schools, these samplers are much more a practical stitch and pattern record, with very little thought given to layout and appearance. Many of them were unfinished, and also mysteriously cut apart and then sewn back together. The consistent thing seems to be color..lots of brilliant color...the silks in vibrant yellows and reds, and beautiful blues, are what catch my eye.

the samplers are varied in form..some being strictly a pattern record, usually unfinished, while others are more of a band sampler in form, with rows of beautifully colored stitches, including satin (usually very prominent) cross, various marking crosses, double running, (showing the Spanish influence), Flame stitch, Assisi work open work and Aztec stitch. Also seen are some wonderful beaded and lace edgings.

Aztec stitch seems to be unique to Mexican samplers. It is more accurately a technique, rather than a stitch, involving the removal of some of the ground threads and wrapping the remaining ones in colored silk following a specific progression to create beautiful patterns. The bookmark, (center photo) is explained in detail by Pat Rozendal here:http://www.interweave.com/needle/projects/Aztec_Bookmark.asp a site by Interweave Press...complete with very good diagrams of the Aztec stitch.

The top and bottom samplers are reproduced by Margriete Hogue of The Essamplaire, and are available to purchase as kits. Top:Soledad Villalobos (circa 1830)...bottom: Thomasa Barrera, 1844.

An American Sampler....

This is a sampler based on an American sampler from the school of Polly Balch, Providence, R.I. as published in Treasures in Needlework. These samplers have become well known as coming from one of the few identifiable schools of needlework in America in the 1700s. The most striking features of this group are the architectural elements. The striped columns, and usually a notable building ,are flanked by pots sprouting vines flowering in an impossible array of flowers and berries w/blossoms. Many varied colors of silks were used, in an impressive array of stitches, including satin, rice, cross, cross-over-one, queen and long and short stitch. In this recreation [not a true reproduction], alternating running stitches shade the sky in pale lavender, and rows of alternating tent stitch fill in the floral borders background in deep green.

I started this a long time ago, and have gotten bogged down in the over-one section (I hate to stitch over-one). The top photo I found somewhere on the net..someone has finished it..I wish it was me! The second and third pics are of my work. It was designed by Sandy Orton for TIN magazine, spring 1993.

Sweet Bags....

I love Elizabethan needlework...the colors of the flowers and insects that typically are seen on this eras embroideries are stunning, to say the least! I especially love sweet bags...They are small enough to be stitched in a reasonable length of time, yet still show the Elizabethan style to maximum effect. Usually 4-5" square they were highly ornamental, being encrusted with silk and metallic threads in a variety of designs, mostly insects, flowers and sometimes landscapes complete with castles.

Sweet bags were produced by the Broderers' Company (est.1561) and offered for sale in the fashion stalls of the Royal Exchange. They were worn suspended from the waist by a long cord...sometimes with a pincushion attached. Their main purpose seems to be to camouflage body odor, being filled with dried flowers or a sweet smelling powder (some were commissioned for Queen Elizabeth I to be stored amongst her wardrobe).

These two sweet bags were designed by Sharon Cohen of The Nostalgic Needle. The top one appears in Just CrossStitch magazine, August 1996. The second one is, as far as I know, available from The Nostalgic Needle. I love Sharons' designs...esp. her use of color. The design of these two are taken from band samplers...probably why I love them so much. Remember the past while you stitch...you are keeping it alive for the future...ttfn...

This is another Scottish sampler...similar in layout to the Elizabeth Brown one below, but done in only two thread colors, red and green. As I mentioned before, the reason for this is speculated to be that they were influenced by samplers from Friesland, a major trading partner with Scotland. The trees here are also very much like the ones on Elizabeths'. There are also pairs of initials, again, likely of her parents and/or siblings. I can identify Algerian eyelet stitch, as well as cross and four-sided from the picture. I don`t remember where I found this, I think it was in one of the museum collections from Scotland. I have patterns of very similar samplers to stitch that I haven`t done yet...I must get back to work on my stitching...it just seems lately I`d rather do sampler research than actual stitching...ttfn..

Elizabeth Brown ~ 1879

I loved this sampler from the moment I lay eyes on it...it is also a Scottish sampler, but very different from the one below. This has a much more subdued color scheme, and the overall appearance is less ornate...it has a more formal feel. Several pairs of initials appear...probably those of her parents and siblings, although one can`t be sure. I loved the shapes of the trees on this, and the beehive at the bottom surrounded by the flying bees is a whimsical touch. The sampler is worked in cross, four-sided, Algerian eye, and horizontal and vertical satin stitches. I did it on Zweigart Driftwood linen. The pattern appears in SANQ volume 7. It was a quick and fun stitch, and remains one of my favorites...ttfn..have fun with your stitching...

Scottish Samplers...

Of all the antique samplers I have seen and studied, Scottish samplers are my favorites...the vibrant colors, unique symbolism and decorative alphabets make them unique in the sampler world.

There are a few ways to distinguish a Scottish sampler from an English or European one of the same era. The most obvious one being the pairs of initials that are a almost always present. A Scottish woman retained her maiden name after she was married...on many of these samplers you will find pairs of initials joined by a heart...those of husband and wife. Also there may be others...of children and other family members.

Some Scottish samplers are done in only two shades of [most often with these] crewel wool...red and green. The reason for this is not known for sure, but may be an influence from Friesland, which was an important trading partner of Scotland.

Another striking feature of Scottish samplers are the decorative alphabets...letters embellished with back-stitched (or double-running stitch) outlines and curly-qs are eye-catching, and one of the things that attract me most to these embroideries. These alphabets are also evidence of the Freisian influence.

Other symbols that may identify a sampler as being of Scottish origins are peacocks, tulips, arcaded bands and Scottish thistles and inscriptions, many including family coats of arms...

The sampler shown above is a reproduction from The Scarlet Letter (late 18th century)...

There are also other styles of Scottish samplers from other eras...all are beautiful...all make me want to stitch them...ttfn enjoy your stitching!

Double Running Stitch...

Both these embroideries are done with mainly one simple stitch....the double running stitch. This stitch, when done in polychrome as is shown top, results in the charming scene of a gentleman and his lady on the Elizabeth Short [1661] sampler from the V&A Museum in London. When done in black silk on white linen, as shown here on a design for a coif, it gives an entirely different feel to the embroidery. The stitch itself is deceptively simple...work the first half of the design in one trip of the needle, skipping every other stitch, and fill in the missing stitches on your return. Complex designs, however, require some planning of the route your stirches take in order not to miss parts of the design.

I love this stitch, whether done in colors or black and white...on a sampler as a band, or as a filling stitch, as in the first example...it is fun to work, although it requires concentration not to make mistakes....