VOLUME IV
SAMPLINGS: A selected offering of antique samplers and needlework
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M.Finkel S Daughter. Americana Period Furniture • Early Textiles • Folk Art 936 Pine Street Philadelphia Pennsylvania 19107 215•627•7797 FAX 215•627•8199
Cover photograph:
Detail of Phebe Chenery, Watertown, Massachusetts, 1795, page 2.
Photographs by Will Brown Catalogue design by Taxi Graphics, Inc.
DDDDDDDD CopyrightŠ 1993 by M. Finkel & Daughter, Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system now known or to be invented, without permission in writing from M. Finkel & Daughter, Inc., Philadelphia, Pennsylvania.
SAMPLINGS ..... Volume IV With each issue of SAMPLINGS, we learn more about American samplers and needlework, and continue to be pleased with our good fortune in finding samplers which justify inclusion in our catalogues. This, our Fourth Volume, contains 33 pieces, including works from more than one member of two different families and thereby highlights the sense of tradition inherent in collecting samplers and needlework. We continue to be vigilant in our search for pieces of rarity and interest which allow us to delve more deeply into the genealogy and historic research of these examples. The selected bibliography included at the end of the catalogue is regularly updated and we refer to some of the books as they pertain to specific samplers. If any of these books prove to be difficult to procure, let us know and perhaps we can assist in locating them. Our fum was established in 1947, and we have been at the same location for 43 years. We like to think our positive relationship with clients, many of whom are now second generation, is because of our commitment to customer satisfaction. Buying antiques should be based in large measure on trust and confidence, and we try to treat each customer as we ourselves like to be treated. We operate by appointment and we are at the shop five days a week (except when we are exhibiting at an out-of-town antiques show). Please let know of your plans to visit us. Every item in this catalogue is guaranteed to be authentic and original, and you can rely on our expertise in describing each piece as to age and condition. Most of the samplers are described as being "conservation mounted", and where this is noted, the work has been properly done by our own TEXTILE RESTORATION DEPARTMENT. A description of the step-bystep process can be found at the end of this catalogue along with other information about our restoration services. All merchandise is offered subject to prior sale. Should your first choice be unavailable, we urge you to discuss your collecting objectives with either Amy or Morris Finkel or Nancy Shore. Our inventory is extensive, and we have many items not included in our catalogue. Moreover, through our sources, we can often locate the sampler that you are looking for; you will find us knowledgeable and helpful. Payment may be made by check, VISA, Mastercard or American Express, and we ask for payment with your order. Pennsylvania residents should add 7% sales tax. All items are sold with a 5 day return privilege. Expert packing is included; shipping and insurance costs are extra. We prefer to ship via UPS second day air, insured. When you order, we can tell you the cost for shipping and insurance.
Amy Finkel Morris Finkel Nancy Shore
Are you interested in selling? We are constantly purchasing antique samplers and needlework and would like to know what you have for sale. We can purchase outright or act as your agent. Photographs sent to us will receive our prompt attention. Call us at 215-627-7797 for more information.
M.Finkel e!:5 Daughter. Americana Period Furniture • Early Textiles • Folk Art 936 Pine Street Philadelphia Pennsylvania 19107 215·627•7797 FAX 215·627·8199
ALPHABETICAL LISTING OF CONTENTS Catharine Ackerson, 1853 ................................................................................................................... page 25 Martha W. Adams, c. 1815 .................................................................................................................. page 14 Mary S. Adams, Family Register, 1828 .............................................................................................. page 27
Miriam Betton, c. 1810 ........................................................................................................................ page
5
Helen Brown, Torphichen, 1857 ......................................................................................................... page 10 Bullock Silk Embroidery, Balch School, c.1802 ................................................................................. page 23 Ellen Castor, Frankford, Pa., 1848 ...................................................................................................... page 10 Catharine L. Channon, Germantown, Pa., 1826 .................................................................................. page 11 Lydia B. Chenery, Watertown, Mass., 1825 ....................................................................................... page
3
Phebe Chenery, Watertown, Mass., 1795 ............................................................................................ page
2
Lydia Churchel, 1801 ........................................................... ............................................................... page
6
Emiline Clinton, Kensington, Pa., 1828 .............................................................................................. page 20 Mary Cowdin, c. 1800 ......................................................................................................................... page 16 Dutch Darning Sampler, 1759 ............................................................................................................. page 12 Mary Ewing, 1796 ............................................................................................................................... page 14
Sarah Hagany, 1814 ............................................................................................................................. page 17 Rachel Maria Halls, New Jersey, 1835 ............................................................................................... page 15 Ann Haw, 1762 .................................................................................................................................... page 26 Elizabeth Hoover, Leah Bratten School, 1803 .................................................................................... page
7
lsaJessiman, 1834 ............................................................................................................................... page 24 Lydia Kephart, Bucks Co., Pa., 1829 .................................................................................................. page 21 Ann Lancaster, 1838 ........................................................... ................................................................. page 18 Margaret Lancaster, c.1828 ....................................................... .......................................................... page 19 Mary Jane Lear, Portsmouth, N.H., 1833 ............................................................................................ page
8
Ann McKean, Philadelphia, c.I835 ..................................................................................................... page 25 Miniature Friendship Sampler, Peru, 1826 .......................................................................................... page
4
L.P., 1762 pocketbook, Chester Co., Pa .............................................................................................. page
1
Mary Seaman, 1788 ............................................................................................................................. page 13
L.V., Silk Embroidery, early 19th century .......................................................................................... page 22 Westtown School Geometric Medallion, 1804, Chester Co., Pa......................................................... page
4
Mary Wheeler, c. 1800 ........................................................................................................................ page 22 Tacy Wilson, Montgomery Co., Pa., 1826 .......................................................................................... page 26 Lydia Worley, 1830 ............................................................................................................................. page
9
1
L.P., 1762 We are fortunate to be able to offer this exceptionally rare needlework pocketbook from Chester County, Pennsylvania. Pocketbooks of this style were carried by both women and men and were popular from 1740 to 1790, although needleworked pieces were far less common than the leather pocketbooks sold by tradesmen. Our splendid example bears a striking resemblance to an important needlework seat cover initialed and dated L.P., 1763, in the collection of the Chester County Historical Society (illustrated in Historical Needlework of Pennsylvania, color plate V). We would be remiss if we did not attribute this pocketbook to the same needleworker, Lydia Painter of East Bradford township, who was born in 1746 and died in 1829. The pocketbook is fully-worked in crewel wool and silk threads, predominantly in the Irish stitch, with the cartouche worked in cross-stitch. The many rich and subtle shades of wool are well suited to the complicated geometric patterning used throughout Conservation mounted into a walnut shadow-box frame. Size of the pocketbook: 11" X 7" Price: $4,200.
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2 It truly a pleasure to be able to offer these two samplers, produced by two generations of an early Massachusetts family, particularly because we purchased the two pieces separately and were able to reconnect them through genealogical research. The samplers were made by descendants of Lambert Chenery, who came to America with his wife and two sons in 1630, settling in Massachusetts. Phebe Chenery worked the 18th century sampler when she was twelve years old in 1795; in 1812 her niece, Lydia Ball, was born, the daughter of Phebe's older brother, Ebenezer. In 1825 Lydia worked the "apple tree" family register sampler. The families lived in Watertown, Middlesex County, Massachusetts.
Phebe Chenery, 1795 This outstanding sampler was worked by Phebe Chenery, of Watertown, Massachusetts in 1795 when she was twelve years of age. It was densely designed in a style that was distinctive to the Lexington-ConcordWatertown area, as is best illustrated in figure 18, New England Samplers to 1840, a sampler made by Dorcas Steams circa 1792. Both samplers depict a woman and child holding hands, wearing the early style wide skirts, and are signed and dated in the elongated strawberry bordered areas beneath the houses. The double chimney Federal house on our sampler is particularly weii-worked in the tent stitch as are the birds and foliage. In both design and execution this sampler presents a fuiiydeveloped picture of 18th century samplermaking: it is steeply vertical in format and of the finest quality workmanship. The samplermaker was born on January 24, 1784, the last of the nine children born to Phebe Sargent and John Chenery; she married Phineas Sanderson on February 24, 1803. The sampler is in pristine condition, silk on linen, conservation mounted into the fine, early 19th century mahogany frame that preserved it for many years. Sampler size: 21 :y.'' X 17'' Price: $14,500.
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3 Lydia B. Chenery, 1825 This important family register sampler is an extraordinary example of one of the most visually appealing types of American samplers. The genealogical "apple tree" composition has been the subject of scholarly papers and articles (see, e.g., The Dublin Seminar for New England Folklife: Decorated Family Records from Coastal Massachusetts, New Hampshire and Connecticut, by Peter Benes). Examples of this distinct sampler design a shaded, fruit-bearing tree rising from a pair of united hearts- date from 1800 to 1829, and documented pieces are known to have come from six towns within a small area of Middlesex county. The specific teacher has not yet been identified. The needlework is a lovely combination of two predominant stitches that compliment one another; the satin stitch worked with crinkled silk was used for the tree trunk, foliage and flowers, and the tent stitch was tightly worked to fill the insides of the apples, hearts, etc. The apples are color-coded to distinguish male and female children (yellow for the females, beige for the males). A very handsome original reverse painted glass mat with the gold leaf title "Family Register" completes this remarkable piece; while reverse paint mats were commonly used for silk embroideries, it is very unusual to find one surrounding a sampler. Lydia Ball Chenery married John Pond Farmer on June 3, 1834, and they had three sons; Lydia died in 1891. Her sampler is worked in silk onto linen, and is in excellent condition, conservation mounted into its original gilt frame. Size of the needlework: 21W' X 16!1.'' Price: $16,500.
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4 Westtown School Geometric Medallion Sampler, 1804 "Two weeks in six are spent in the sewing school" for young ladies attending the Westtown School in Chester County, Pennsylvania in the first quarter of the 19th century, according to the school's publication Westtown Through the Years. This lovely and rare example of the geometric medallion sampler, one of the five types of sampler made at this Quaker school, includes in its center cartouche the classic Quaker facing birds and stylized bellflower. The sampler most closely resembles the medallion piece dated 1800, illustrated on page 43 of Historical Needlework of Pennsylvania in the collection of Westtown School. Worked predominantly in blue and hunter green silk on unbleached linen, and in excellent condition, conservation mounted into a fine mid 19th century mahogany frame. Sampler size: 9W' X 17"
Price: $5,800.
Miniature Friendship Sampler, 1826 This fascinating little American treasure is quite rare; it was made by an unknown needleworker with the initials L.S., and given to a friend, in the town of Peru (towns of that name existed in Maine, Vermont, Massachusetts and New York) in 1826. The "friend" is identified on the sampler as "L.B.", undoubtedly Lydia Benson, since this tiny cross-stitched sampler survived along with a marking sampler made and signed by Lydia. Schoolgirls often presented each other with token gifts or mementos, that are typically inscribed, "To a friend"; this more serious message, "A Competence is all we can enjoy" clearly spoke to the level of achievement that these young ladies sought. Silk on linen and in excellent condition, conservation mounted into a painted frame. Sampler size: merely 3" x 2W'. Price: $1,800.
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5 Miriam Betton, circa 1810 Our wonderful little memorial sampler was "done by Miriam Betton in the 11 year of her age" circa 1810, and was dedicated to the memory of an unnamed child, most likely a family member. The samplermaker may have been the daughter of Samuel Betton, a physician living in Philadelphia in the early 19th century. This lustrous tribute retains much of the original black silk ribbon that so clearly defines it as a very fashionable type of sampler in the neo-classical period. According to Mourning Becomes America, "Mourning art ...... was a way of showing that one had good taste and proper manners". While the young Miss Betton completed her drooping willows and crossstitched urns with great proficiency, she seems to have had some difficulty fitting the last letters onto each line of her melancholic verse, as is evident along the right edge of the sampler. Silk on linen, and in excellent condition with one minor area of loss to upper right comer of the linen. Conservation mounted with an additional edging of later black ribbon to stabilize the original ribbon, in a fine 19th century gilt frame. Sampler size:
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Price: $4,200.
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6 Lucy Churchel, 1801 The influence of the 18th century band sampler design is much in evidence in this charming and colorful example made by Lucy Churchel, aged 9 in 1801; this sampler is certainly American, and was most probably made in New England. Young Lucy exhorted us to "Fear God And Keep His Commandments" but otherwise managed a fanciful setting of sheep, flowers, 24 tiny birds (one upside down) and three lovely eyelet-stitched baskets. Made of silk on linen and in excellent condition, conservation mounted into a period style walnut shadow-box frame. Sampler size: 16W' X 9W' Price: $2,900.
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7 Elizabeth Hoover, Leah Bratten School, Harrisburg, 1803 This rare and important sampler is an early example from the well-documented school of Leah Bratten Galligher Meguier of Lancaster and Harrisburg, Pennsylvania. Under the tutelage of this talented schoolmistress, a body of remarkable pictorial samplers was created, distinguished by their ambitious pictorial composition and flawless execution. This Hoover sampler is a fascinating discovery; it is the earliest known example from this school after the schoolmistress' first marriage was "dissolved" and she relocated from Lancaster to Harrisburg in 1802. As this sampler documents, Leah Bratten abandoned her married surname (Galligher) shortly after her move to Harrisburg, and taught under the name "Mrs. Leah Bratten" prior to her marriage to Issac Meguier (before or in 1806). According to Samplers and Samplermakers "the period of greatest achievement would seem to span the years after her move to Harrisburg, beginning in 1802 through 1812". This sampler is certainly a splendid example, worked early in this period. Both the center panel of the sampler, filled with a decorative composition, and the highly pictorial bottom border were new to sampler design in 1802-1803. Elizabeth Hoover, clearly an accomplished needleworker, chose a delightful subject for her center panel - a young lady holding a single long stem rose. The vine-wrapped tree trunk is an unusual element and echoes the undulating inner border of the scene. The compartmented border contains many classic embellishments, characteristic of the work from this school. The meticulous inscriptions on the sampler reveal the following information: "Elizabeth Hoover made this sampler in Harrisburgh in Mrs. Leah Bratten school in the year of our Lord 1803". She was "born in Northampton County Obermilford Township September 18, 1785". Along with silk and crinkled silk floss, Elizabeth Hoover worked with metallic coiled thread, hair and paint onto extremely sheer linen. In very good conditon, with some loss to the paint and black silk floss. Conservation mounted into a fine walnut shadowbox frame. Sampler size: 16v.'' X 15Y." Price: $17,000.
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Mary Jane Lear, 1833 Our outstanding Portsmouth, N.H. Iinsey-woolsey sampler shares its charming and distinctive characteristics with a group of samplers made in that flourishing seaport between 1810 and 1840. The scene at the bottom of this piece combines the identifying birdhouse, picket fence and Federal house with the less-often seen pyramidical basket of fruit. Mary Jane's sampler also functions as a touching memorial to her younger brothers, Hiram and Nathaniel, who had died in 1831 and 1832 respectively. She worked this sampler in 1833, when she was 12 years of age. Silk on green Iinsey-woolsey and in excellent condition with some minor areas of loss to the background. Conservation mounted into a fine 19th century gilt frame. Sampler size: 21" X 12W' Price: $6,200.
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9 Lydia Worley, 1830 This large and important American sampler was worked by Lydia Worley, daughter of John and Elizabeth Worley, at age 17 in 1830 in either eastern Pennsylvania or in New Jersey. The needleworker's exuberance is well expressed in her choices of color and motif; the sparkling blue house, butterflies, grape bunches, and many Quaker designs are contained by an unusual pear-bearing border. A geometric cartouche, worked in continuous cross-stitch and upheld by ephemeral angels, contains the classic Quaker dictum: "Unity, Love and Concord". Young Miss Worley's sampler is an outstanding example of the fine workmanship demanded by teachers working within the Quaker tradition in the early 19th century. Silk on linen, in excellent condition with one very minor hole. Conservation mounted into a period maple veneered frame. Sampler size: 22\12'' X 22" Price: $8,500.
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Helen Brown, 1857 Our Scottish band sampler, made in the ancient village of Torphichen, was worked by nine year old Helen Brown at the Free Church School in 1857. Young Miss Brown worked several alphabets, 13 sets of initials and a wonderful depiction of a church, which could be part of the 12th century church that still stands in Torphichen. This charming sampler is an excellent example of the sort of work that continued into the middle of the 19th century. Wool on linen, excellent condition, conservation mounted into a molded walnut frame. Sampler size: 17W' X 7W' Price: $1,450.
Ellen Castor, 1848 Ellen Castor, a ten year old girl working in the Quaker tradition, produced this charming marking sampler in the township of Frankford, just north of Philadelphia, in 1848. Ellen was the daughter of Hiram and Eveline Castor (she included her parents' initials on her sampler); Hiram Castor was a superintendent for the Philadelphia City Railroad Company. Ellen married Henry Garsed, a cotton manufacturer also from Frankford in 1863. The sampler, which displays classic Quaker block lettering, is worked in merino wool onto blue-lined linen, is in very good condition with two small holes. Conservation mounted into a period walnut frame. Sampler size: 8W' X 12" Price: $1,100.
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Catharine L. Channon, Germantown, Pennsylvania, 1826 This exceptional Philadelphia area sampler was worked in 1826 by twelve year old Catharine Channon of Germantown. Utilizing many miniaturized Quaker sampler designs, our young needleworker produced a beautifully balanced and unusually rich visual picture while exhibiting her proficiency with a wide variety of stitches (tent, queens stitch, satin, cross stitch). Another Germantown sampler, made by Amanda Hortter in 1829, shares some of the same specific motifs and it appears on page 71 of A Gallery of American Samplers. Catherine Channon was born in 1814, the daughter of Joseph Channon, a manufacturer of lamp black in Germantown. Catharine did not marry and left a will when she died in 1867, unusual for a woman at that time. The sampler was worked in lustrous silk on linen and is in pristine condition, conservation mounted into its fine original mahogany frame. Sampler size: 17''x18" Price: $8,000.
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12 Dutch Darning Sampler, 1759 This is a particularly lovely example of one of our favorite types of sampler: the Dutch darning sampler or "stop-lap". This form of needlework taught the young maker the various darning techniques that would enable her to recreate the patterned twills and fancy weaves that she would be expected to repair later in her life. This tightly worked example presents 32 different patterns, six of which were darned over cut and discarded squares. Worked in the Netherlands in 1759, the sampler displays two sets of initial, "MS" and "HDL", which most likely represent those of the maker and her teacher. Silk on fine cotton, pristine condition, conservation mounted into a reproduction frame. Sampler size: 15W' X 15W' Price: $2,750.
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13 Mary Seaman, 1788 There is an enduring appeal to this sampler completed by Mary Seaman in July, 1788 when she was aged 11 years and 10 months. Her layered bands of cross-stitched alphabets, numerical progressions and biblical verse are a contrast to the richly worked queens stitch strawberries that float at the bottom; the silk floss threads, which are bottle green and bittersweet in color, combine and alternate with a handsome effect. Either American or English, this piece was worked in silk on linen, is in excellent condition and is conservation mounted into a 19th century gilt frame. Sampler size:
12X" X lOW' Price: $1,800.
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14 Mary Ewing, 1796 This handsome 18th century Scottish sampler, a wonderful combination of alphabet, biblical verse and pictorial motif, is inscribed, "Mary Ewing sewed this sampler in the year 1796". The names of her parents, Peter Ewing and Mary Barbour, figure prominently on either side of the verse. A combination of colorful crewel wool and silk worked onto unbleached linen is particularly appealing; this piece is conservation mounted into a lovely period walnut frame. Sampler size: 17" X 1212'' Price: $2,900.
Martha W. Adams, circa 1815 Samplers worked onto green Iinsey-woolsey are much sought-after and we were pleased to find this simple but endearing piece "Wrought by Martha W. Adams aged 10" from New England circa 1815. She worked in crewel wool and silk onto this richly colored fabric and included the queens stitch, a long horizontal line of the star stitch, and of course, crossstitch. Excellent condition with a few lost stitches, conservation mounted into a reproduction gold frame. Sampler size: 6Yl" X 16W' Price: $1,650.
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15 Rachel Maria Halls, New Jersey, 1835 Our delightful New Jersey sampler was worked by "Rachel Maria Halls at age 14 years Sep. 25th 1835" in Centreville, a town in either Camden or Hunterdon County; we are always grateful to the young needleworkers who included place names on their pieces. This same vigorous strawberry border has been found on samplers from Salem, Camden and Cape May Counties and the black cross-stitched swan is a quintessential Quaker motif that turns up most frequently on pieces from New Jersey. The samplermaker paid homage to her instructress by including her initials in a lovely blue cartouche. Perhaps further research will document the identity of the this particular teacher, who was so clearly working in the Quaker tradition and in an area that produced so many fine samplers. Worked in silk on linen, in excellent condition and conservation mounted into a walnut comer-block frame. Sampler size: 16W' X 16W' Price: $5,400.
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16 Mary Cowdin, circa 1800 Our delightful band sampler was worked by Mary Cowdin in New England and leaves no doubt that it was made at the end of the 18th century. The sawtooth border encompasses alphabets, numerical progressions and a charming scene of satin-stitched flowers on a hillock with tightly cross-stitched birds above. The scene shares its design motifs with samplers from the Canterbury, New Hampshire area and may very well have been made in that region. Worked in silk on tan-colored, unbleached linen, the sampler is in excellent condition and has been conservation mounted into a 19th century mahogany frame in the original finish. Sampler size: 14W' x 11" Price: $1,800.
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17 Sarah Hagany, 1814 This engaging American sampler was made by Sarah Hagany in 1814; it bears much in common with pieces made in the Philadelphia area in the 18th century; the compartmentalized design, sawtooth borders, crewel work tent-stitch basket, and Quaker block lettering. Sarah inscribed the names of her parents, John and Ann Hagany and those of her siblings, Joseph, Mary, Martha, Ann, John, Benjamin and George in the upper left of her sampler. It is signed and dated in beige floss on the right side, underneath the verse worked in black floss. Silk and wool on linen, in very good condition with minor loss. Conservation mounted into a walnut molded frame. Sampler size: 16" X 12" Price: $2,350.
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18 Ann Lancaster, 1838 This large decorative American sampler was made by Ann Lancaster in 1838. Ann included an unusual and very charming vignette at the bottom of her sampler, which she entitled "Ann and Thomas Lancaster going to school". The 1850 Pennsylvania census reports a Lancaster family living in the North Penn district of Philadelphia and consisting of a mother named Margaret, who was a dry goods dealer, and five children including Ann, Thomas and Margaret. In 1860, this same Ann Lancaster is listed as a seamstress in Philadelphia, a logical occupation for a woman who evidenced such talent at a young age. Young Ann included an interesting array of pictorial motifs and stitches on her sampler; the extravagant, two-handled checkered urn positively explodes with lustrous, stuffed satin-stitched flowers. The cross-stitched butterfly directly above the house is identical to the butterfly that appears on the sampler made by Ann's older sister, which is pictured on the next page. Silk on linen, in excellent condition, conservation mounted into a beautiful curly maple frame. Sampler size: 16Y." X 21W'
Price: $9,500.
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19 Margaret Lancaster, circa 1825 We are pleased to offer another Lancaster family sampler; it was made by the older sister of the samplermaker whose work is offered on the prior page. Margaret (she seems to have misspelled her name slightly) Lancaster may have worked her sampler in England, as the family seems to have come from Nottingham some time in the early 19th century. The very tight, fine work suggests English influence, and is an interesting contrast to the looser work and more exuberant design of the obviously American sampler made by Ann Lancaster. This sampler presents a beautifully worked Adam and Eve, a handsome red brick house and a stylish young man with his dog. The butterfly that appears after the inscription at the top of the sampler is the mate to the butterfly that appears on Ann's sampler, and it is curious to note this on two samplers that are otherwise so different. Silk on linen, excellent condition, conservation mounted into a maple and cherry frame. Sampler size: 17'' X 16" Price: $8,500.
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20 Emeline Clinton, Kensington School, 1828 This wonderfully stylish sampler is an unusual variant of a well-known group of samplers that is generally referred to as "presentation samplers". The long, blue plinth-like formation that encloses the inscription is identical to the same motif which appears on a number of these important pieces that date from the early 19th century and were made in Philadelphia and Kensington (now a part of the city). The portrait of a mastiff, with the unlikely name of "Beauty", represents an interesting variation from the more commonly depicted basket on these presentation pieces and may have its origins in a print of the period. This particular breed of dog, which came over from England in the 17th and 18th centuries, was very popular in America in the 1820's. While our research has not yet identified the specific identity of Emeline Clinton, we have confirmed three Clinton families living in Kensington in 1830. Worked entirely in cross-stitch, which is well suited to the sophisticated shadings of this piece, it is of silk on linen, in excellent condition, and conservation mounted into a fine reproduction gold leaf frame. Sampler size: 18"x17'' Price: $2,850.
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21 Lydia Kephart, 1829 This large splendid Pennsylvania sampler was worked by Lydia Kephart in 1829; she was born in 1815, the daughter of Magdalena and I acob Kephart of Doylestown, Bucks County, members of the Doylestown Mennonite Congregation. Lydia later married George Geil, also of Doylestown. The sampler is the product of a highly accomplished needleworker. It is a balanced design, beautifully contained within its handsome borders, with many engaging details. The trees are highly textured, the lawn well-worked in lustrous, uncouched satin-stitch, and the plump satin-stitched birds seem suspended on the linen. The verse inscribed is one of the lovelier ones; it speaks to the process of samplermaking, the "labour of my youthfull hands" and the fact that "perseverance brought me through". The sampler retains its original color and is in excellent condition with minor loss to one flower. Silk on linen, and conservation mounted into a figured maple frame. Sampler size: 21"x21" Price: $9,000.
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22 Mary Wheeler, circa 1800 This delicate and finely wrought American silk embroidered needlework picture was made, according to the family history which accompanied the piece, by Mary Wheeler of Boston circa 1800. The daughter of Captain Joseph Wheeler, this young lady combined stylish Federal elements with her own sense of proportion and humor. Hence the fragile-seeming lattice basket supports flamboyant blossoms and an exotic bird which, it seems, is about to make a meal of a fat bug. Silk onto silk-satin ground, in excellent condition with a reverse paint glass mat and the original gilt frame. Size of the needlework: 8W' X 7W' Price: $1,750.
Silk Embroidery, L. V., European, early 19th century This is an excellent example of the finely detailed silk embroidery that was practiced in Europe in the late 18th and early 19th centuries. A professional embroiderer may have been responsible for this piece as evidenced in the very careful composition, elaborate borders and sophisticated shadings to the draped clothing. The exotic setting of this scene is carried out in the chenille palm trees with tropical birds and the minaret-topped building in the background. The costumes of the figures are replete with Moorish details: turbans, slippers, pantaloons, tasseled cape and dagger and sash. All of this is consistent with the late 18th century fascination with things from foreign cultures. This piece was purchased in Paris circa 1900 by the daughter of the department store magnate, John Wanamaker of Philadelphia, and remained in the family's collection for many years. The silk embroidery is in excellent condition with one small area of discoloration in the lower left border. Worked in silk, chenille, metallic threads, beads and paint onto moire silk, with a black mat and a later gold frame. Size of the needlework: 14W' X 18~" Price: $1,650.
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23 Bullock Family Balch School Silk Embroidery, circa 1802 We are very pleased to offer this outstanding silk embroidery from the well-known Balch School in Providence, R.I., one of the earliest examples from this school to have come onto the market This Bullock family memorial includes the impeccable black lettering, handsome marbleized monument and richly worked chenille hillock and trees that best characterize the flawless work that was produced in that school. Consistent with the other early examples from this school that date from the first years of the 19th century, this double urn memorial does not include any human figures nor does it feature painted areas of the silk. The closest published example is the embroidery worked by Mary Weeden in 1800, shown on page 169 of Let Virtue Be a Guide To Thee. Our Bullock piece shares with the Weeden piece some of Mrs. Balch design hallmarks: the flame top urns wreathed with laurel, the graceful willows and the embroidered angels. This silk embroidery was worked in the memory of Mary Richmond Bullock and her son William Bullock. Mary Richmond (1740-1801) was descended from a colonist who came over on the Mayflower; she married Jabez Bullock of Warren, R.I. in 1763. Her son, William, "followed the seas" and was lost in the Gulf Stream on Nov. 20, 1793. It is most likely that this memorial was worked by his youngest sister, Elizabeth Bullock (born Oct. 10, 1783) who later married Issac Bowen, a sea captain. The silk embroidery descended in the Bowen family. Silk on silk, in overall good condition with some minor splits, discoloration and loss. The reverse painted glass mat and gilt frame are replacements. Size of the needlework: 16\t.'' X 22~" Price: $3,450.
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24 Isa Jessiman, 1834 A charming sampler, most likely Pennsylvania German, was made by Isa Jessiman, aged 9, in 1834. The two-handled baskets of upright flowers, multi-colored peacocks, 1830's date and the use of crewel wool onto linen all suggest a Pennsylvania German origin. Young lsa Jessiman choose a delightful strawberry border design which included hearts in the corner blocks. She also worked thirteen different sets of initials onto her sampler, many of them obviously those of family members. Excellent condition with one minor hole, conservation mounted into a cherry corner-block frame. Sampler size: 16W' X 11"
Price: $1,450.
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25 Catherine Ackerson, 1853 This delightful polychromed sampler was made by Catherine Ackerson aged 14 in 1853, and is probably American. The wonderfully balanced composition centers on a large salmon house with a blue door, teal windows and double red chimneys. Worked in merino wool onto linen, in very good condition and conservation mounted into a later frame. Sampler size: 15W' X 15!1.'' Price: $975.
Ann McKean, circa 1835 This sampler is a fascinating genealogical document of the McKean family. Ann McKean, the samplermaker, was born in Philadelphia in 1823; ten siblings followed, and the sampler shows that the family moved from Philadelphia to Frankford (a township northeast of the city at that time), back to Philadelphia, to Port Carbon (a coal-mining town in Schuykill County) and then back to Philadelphia. The wonderful Irish-stitched bower at the top of the sampler and the birds and flowers provide a stylish balance to the crossstitched information and verse. Silk on linen, in good condition with one hole and minor weakness. Conservation mounted into a cherry frame. Sampler size: 16"x17'' Price: $3,100.
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26 Tacy Wilson, 1826 This charming Quaker sampler was made by Tacy Wilson of Montgomery County, Pennsylvania in 1826, at age 11. The combination of this classic verse, the fine variety of stitches (tent, queens, satin, cross) and the large number of Quaker needlework designs makes this sampler a particular delight. Tacy Wilson was a member of the Abington Friends Meeting and, when she died in 1896, was buried at the Upper Dublin Friends Meeting burial grounds. The sampler is worked in silk on linen, is in excellent condition and is conservation mounted into a later painted frame. Sampler size: 1512'' X 16/'S'' Price: $2,200.
Ann Haw, 1762 This splendid miniature sampler, an early English piece, was made by Ann Haw and completed on September the 14th, 1762. Ann was probably 12 years old at the time; she most likely later pulled out the threads that informed us of her exact age, for reasons of vanity, no doubt The cautionary text sits above a basket with two birds and all is surrounded by a charming floral and vine border. Worked in chain and cross-stitched silk onto unbleached linen, it is in very good condition with one small hole. Conservation mounted into a reproduction frame. Sampler size: 8/'S'' X 6/S" Price: $1,500.
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Mary S. Adams, 1828 By the end of the frrst quarter of the 19th century, the enthusiasm for creating decorative family register samplers was firmly entrenched in New England. Our lustrous, vigorously designed sampler was made by MaryS. Adams at age 10 in 1828. She was the daughter of James Adams and Mary Sibley, who were married on June 17, 1812; the sampler was most likely worked in the Holliston, Massachusetts area, outside Boston. It includes examples of satin, seed, whip and cross-stitch. Silk on linen and in excellent condition. Conservation mounted into its wonderful original frame. Sampler size: 17'h" X 17'h" Price: $2,900.
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SELECTED NEEDLEWORK BIBLIOGRAPHY Allen, Gloria Seaman. Family Record Genealogical Watercolors and Needlework. Washington, DC: DAR Museum, 1989. Bolton, Ethel Stanwood, and Coe, Eva Johnston. American Samplers. Boston: The Massachusetts Society of the Colonial Dames of America, 1921. Colby, Averil. Samplers. London: B.T. Batsford, 1964. Edmonds, Mary Jaene. Samplers and Samplermakers, An American Schoolgirl Art 1700-1850. New York: Rizzoli, 1991. Epstein, Kathy. An Anonymous Woman Her Work Wrought In The 17th Century. Curious Works Press, 1992 Garrett, Elisabeth Donaghy. The Arts of Independence. Washington, National Society DAR, 1985. Hersh, Tandy and Charles. Samplers of the Pennsylvania Germans. Birdsboro, Pa: German Society, 1991. Krueger, Glee F. A Gallery of American Samplers: The Theodore H Kapnek Collection. New York: E.P. Dutton, 1978. New England Samplers to 1840. Sturbridge, Mass.: Old Sturbridge Village, 1978. Ring, Betty. American Needlework Treasures. New York: E.P.Dutton, 1987. Girlhood Embroidery: American Samplers & Pictorial Needlework, 1650- 1850. Knopf, 1993. Let Virtue Be a Guide to Thee: Needlework in the Education of Rhode Island Women, 1730-1820. Providence: The Rhode Island Historical Society, 1983. Schiffer, Margaret B. Historical Needlework of Pennsylvania. New York: Charles Scribner's Sons, 1968. Schorsch, Anita. Mourning Becomes America: Mourning Art in the New Nation. Clinton, New Jersey: The Main Street Press, 1976. Studebaker, Sue. Ohio Samplers, School Girl Embroideries 1803-1850. Warren County Historical Society, 1988. Swan, Susan B. A Winterthur Guide to American Needlework. New York: Crown Publishers, 1976. Plain and Fancy: American Women and Their Needlework, 1700-1850. New York: Holt, Rinehart and Winston, 1977. Walton, Karin M. Samplers in the City of Bristol Museum & Art Gallery. City of Bristol Museum, 1983.
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ANTIQUE TEXTILE RESTORATION SERVICE Our Textile Restoration Department is well qualified to handle your needs for proper conservation and restoration of your valuable antique textiles. We use only the best archival and acid-free materials, and employ museum-approved techniques. Our goal is to safely conserve your antique pieces, keeping in mind the needs of both the collector and the collection.
SAMPLERS AND NEEDLEWORK In the past five years we have handled approximately 600 samplers and silk embroideries in our restoration department. Below is a description of the step-by-step process that we employ in our "Conservation mounting":
0 Carefully clean the piece using our special vacuum process. 0 Mount it by means of hand-sewing onto acid-free museum board that has been slip-cased with fabric appropriate to the piece itself, and at the same time stabilize any holes or weak areas.
0 Refit the item back into its original frame, or custom-make a reproduction of an 18th or early 19th century frame using one of our exclusive pauerns.
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Supply a reverse painted black glass mat, if appropriate, done in the correct antique manner.
0 When necessary, we can install True VueÂŽ Conservation Clear glass which blocks 97% of the harmful Ultra-violet light.
0 In the framing process, the needlework is properly spaced away from the glass, the wooden frame is sealed, and the dust cover is attached with special archival tape.
QUILTS, COVERLETS, HOOKED RUGS AND TABLE RUGS While we do not provide cleaning services for these large textiles, we arc expert in the area of mounting for hanging, and if need be, preparation for framing. This may be as simple as applying velcro and supplying hanging strips, or it may necessitate an appropriate stretcher arrangement. Minor repairs can skillfully be made using our supply of period fabrics. Hooked rugs which can no longer withstand abuse underfoot can be successfully mounted as wall hangings. We are adept at minor repairs to hooked and table rugs, including backing and binding when necessary.
All repair and refitting is done by trained experts, and each job receives prompt attention and our personal supervision. Work is accepted from collectors as well as from dealers and institutions, and items may be brought in or shipped to us. Upon receipt, we will examine your items and phone you to discuss your needs, make our recommendations, and give you an estimate of the cost. We make every effort to complete jobs entrusted to us in a timely fashion, and we know you will be pleased with the quality of our work. References from our clients can be furnished upon request.
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