![]() She worked it on Lakeside Linens Light Exemplar Vintage using The Threadgathers’s Nan’s Mulberry which is a favorite of hers.Īll our charts now come with a bonus editable Jane Greenoff Cross Stitch Designer jgg file as standard as there are now so many users of this software. Marjo's Beatrix Potter sampler is in a class of its own. They too had 'kits' for want of a better word, and repertoires of standard motifs already designed and sometimes outlined for them, but each girl was so creative that she put her own mark on her work by her very personal interpretation and execution of the design. I love the way you take sampler charts and create your own wonderful and special versions of them, just like the girls who were stitching band samplers in the mid 1600s. The estimate for this sampler is £100 to £200. Last but not least is lot 119 - a mid Victorian orphanage alphabet sampler by Marie Mymex dated 1864 in rose, with decorative bands and running wave border, in period frame under glass, 47 cm x 45 cm. Framed and mounted under glass, it measures 43 cm x 30 cm and has an estimate of £80 to £120. The house also entertains Adam and Eve squeezed onto the patio. Lot 112 is typically Scottish with its bands of forebear's initials, Holbein stitch embellished alphabet, house in park and distinctive vase of lowers. The sampler features the ships: `Leopard` and `Lady Mary` and further motifs including birds, trees and flowers within a running honeysuckle border, in a period frame under glass it measures 64 cm x 45 cm and comes with an estimate of £300-£400. It has a central Adam and Eve and the Tree of Knowledge flanked by angels and surrounded by motifs of flowers, birds, hearts and figures within a running foliate border, framed and mounted under glass, 38 cm x 28 cm. Estimate is £100 to £150Ībove is lot 127 by Martha Ritsons `finished Nover 2 in the 11th year of her age in the year of our Lord 1839 at Flimby School with B. ![]() The sampler above is lot 120 and is an early Victorian religious sampler by Elizabeth Edwards, aged 9 dated 1830. It is a great pleasure to see samplers and needlework for auction photographed with respect - and the right way up! Here is lot 110 - an early Victorian elegant mansion needlework sampler by Isabella Brown, finished at Mrs Fisher`s school Octr 26th 1847, in cotton and wool with central house motif flanked by prancing deer, alphabet wrapped to the reverse and decorative Algerian eyelet stitch, framed under glass, 26 cm x 40 cm. The lot number is 134 and the estimate is £50-£80 I rather fell in love with this pair of items - a Georgian pincushion reputedly made to celebrate the birth of Frances Elizabeth Reynolds together with an associated miniature sampler, circa 1820s. These items are for auction by H&H Auctions in Carlisle on 28 June. Just look for the giveaway instructions later this week. There will be one each for three winners. This one is a mystery (for now) but it is no secret that it comes from Colonial Williamsburg.Īnd the upcoming giveaway this week is open to all - and we can have three winners! We had a few of these special key rings made up for the launch of the Goodhart Samplers and decided we wouldn't go into production with them, so they are pretty exclusive. I'm loving this and so I have lined up some more special giveaways for the next few weeks so do pop by to find out when they are happening. Congratulations, Elizabeth, your book is in the air to you right now and hopefully will be with you very soon. So the winner of the special DMC book is.tantara-rantara. Bless you, some of you even offered to pay for postage if you won! But all the giveaways will always come with free postage, it is my pleasure. Thank you very much to all of you who sent me lovely emails and entered the draw last week. At no point does it appear that there was any inculcated concern for the conservation of thread and one therefore has to assume that if one was stitching a picture such as this then cost of embroidery silk, expensive though it may have been, was not an issue. From the absence of stitches corresponding to the door behind the seated figure, it seems that the door was designed to open as a flap on the fabric ground. From the back you can see the original colours - particularly for foliage and grass which uses a palette of mid and dark green and chartreuse which has faded to shades of blue and off-white. I have flipped the reverse image so that you can read it in the same direction as the obverse.Īs you can see, like the earlier example we showed you, there is considerable thread congestion on the reverse with opportunistic use of anchors for new threads - though a small number of them do use the hem to bury thread starts and finishes. I am very grateful to Andrew Turner at Peter Wilson Fine Art Auctioneers Ltd for giving us the opportunity to see the reverse of a Stuart picture from the mid 1600s.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |