VOLUME VII
SAMPLINGS: A selected offering of antique samplers and needlework
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M. Finkel e:J Daughter.
Americana Period Furniture · Early Textiles · Folk Art 936 Pine Street Philadelphia Pennsylvania 19107 215 · 627 · 7797
FAX 215 · 627 · 8199
Cover Illustration:
Detail of Sally Harrington, 1808, page l photography by Will Brown
_jCCDCDCC Copyright Š 1995 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 permi ssion in writing from M. Finkel & Daughter, Inc .. Philadelphia. Pennsylvania.
SAMPLINGS .... Volume VII We are pleased to present our seventh volume of SAMPLINGS and proud of the fact that we continue to find excellent and interesting samplers and needlework that we consider worthy of inclusion. With this issue, we have changed our production technique; we now use color xerography instead of individual photographs to present our samplers. We are extremely pleased with the results that this improved technology provides and we have been able to include more detail illustrations and larger representations of our 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 difficult to procure, let us know and perhaps we can assist in locating them. Our firm was established in 1947, and we have been at the same location for 43 years. We like to think that 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 us 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-by-step 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 6% sales tax. All items are sold with a five day return privilege. Expert packing is included; shipping and insurance costs are extra. We prefer to ship via UPS second day air or Federal Express, 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 wi II receive our prompt attention. Call us at 215-62 7-7797 for more information.
M. Finkel e9 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 Ada Auger, England, 1889 ............................ ... .................. page 12 Hannah Bennett, Hubbardston, Massachusetts, circa 1812 ................... .... . . page
5
Eliza Ann Bishop, Pennsylvania, circa 1830 ................... . ....... .... ..... page 25 Silvinia P. Chandler, Augusta, Maine, 1852 .......... . ......................... page 12 Crewel worked pocketbook, New England, circa 1750 ............................ page
6
Miss S. Cunningham at Mrs. Baker's Seminary, Washington, Pa., circa 1815 ........... page 10 Catharine A. Danebower, Delaware Valley, 1834 . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . page 22 Margaret Caldwell Davidson, Carlisle, Pennsylvania, circa 1798 .................... page 17 Elizabeth Eckfeldt, Philadelphia, 1798 ........ ..... .......... .. . . ....... . ..... page 15 Hannah Eells, Stonington, Connecticut, 1773 ... . ...... .... ..... .. .... .... ...... page 28 Ruhamah Fife, New England, 1834 ..... . . ............... ... ... .. .... . ....... page 14 Gordon Fraser, Scotland. circa 1800 .......................................... page 26 Mariah L. Fuller. Cape Vincent, New York, 1829 ....... .. ...... .... ..... .. ...... page 24 C.E.G., Amsterdam, Holland, 1774 .......................................... page 19 Mary Gerrish, Boscawen, New Hampshire, 1798 .................. . ....... . .. ... page
9
Sally Harrington, New England, 1808 ...... . .......... .. ..................... page Mary Holt, England, 1836 ....................................... .. ........ page 20 Margaret Howard Bolton, Connecticut, 1755 ................................... page 16 Margaret Knight, Boscawen, New Hampshire, 1805 .............................. page
8
Mary Penny, tent stitch canvaswork picture, England or Boston, 1756 ............... . page 29 Mary McCloud, Philadelphia, 1795 .......................................... page 22 Miniature marking and house sampler, American, circa 1800 ..... ..... ............. page 27 Elizabeth Norton, England. 181 1 ............................................ page 18 SeriaL. Olney, Balch School, Providence, Rhode Island, 1816 ... ... . .. .. . ....... .. . page 11 Anna Pancoast, Westtown SchooL Chester County, Pennsylvania, 1806 .. ... .......... page
2
Queen 's stitch sewing pocketbook. American. circa 1800 .......................... page 21 Roxana Seward, Cheshire County, New Hampshire, 1831 .. . ...... ............. .. . page 23 Hannah Shannon, Roxbury, Massachusetts, 1816 .. .. . .. ............. . ... . ....... page 13 Solomon's Temple, Lucy Spilsbury, England, circa 1825 .. .. ... ..... . ...... .. ... .. page 21 Susan Springer, Maytown. Lancaster County, Pennsylvania, 1831 .................. . page
4
Hannah Stonehouse. England 1808 ... . ... ...... ......... .. . . ......... . ...... page
3
Ann Taylor, New Jersey, 1810 ...... .. ................ ..... ..... ........ .. .. page
7
Prudence Elizabeth Thornburgh, Middletown, Virginia, 1828 ............ ... . .. . .. .. page 24 Elizabeth Tomkinson. England, 1817 . ... ... . .. ..... ....... .... . .... ........ . . page 26 Emma Watts, England 1782 . ... ............................... ... ...... . .. page 14
1 Sally Harrington, New England, 1808 This large and particularly delightful sampler, worked by Sally Harrington in 1808, is an excellent illustration of the highest quality needlework produced by young ladies in New England during the first decade of the 19th century. As is evidenced by the outstanding design, our very appealing sampler owes as much to the talent of the teacher as to the skill of the needleworker. Sally Harrington worked in a variety of stitches: the interlocking blue and green lawns and the leaves of the vine and berry border were satin stitched, the berries and the house were tightly worked in the tent stitch, and the alphabet and verse were cross-stitched. The needleworker inscribed her name inside a bow-knotted cartouche which is flanked by two miniature young ladies and then two oversized baskets of flowers; Sally nestled two large birds into the branches of the trees with checkered trunks. The sampler has unusually deep borders which are further outlined with sawtooth edging. The sampler was most probably worked in Middlesex County, Massachusetts; the name Harrington is a prominent one in and around Weston, Massachusetts. Worked in silk on linen and in excellent condition, the sampler is conservation mounted into a 19th century gold frame, using clear conservation glass. Sampler size: 25" X 19W' Price: $12,500.
M. Finkel e9 Daughter.
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Anna Pancoast, Westtown School, Chester County, Pennsylvania, 1806 This fine and rare sampler was worked at the Westtown Friends Boarding School, an important Quaker institution in Chester Cmmty, Pennsylvania. The best of Quaker needlework has long been admired for the strength and simplicity of its design and the faultless rendering of its execution. Anna Pancoast's sampler would be considered a quintessential example in both regards. Betty Ring's Girlhood E mbr oidery, Volume II, pages 388-395, provides us with a great deal of information regarding the Westtown School, and figure 429 illustrates a vine and leaf border Extract sampler made by Ann Haines in 1806, which is almost identical to this Anna Pancoast piece. Genealogical research revealed that Anna was born to Abigail Ogden and Seth P. Pancoast, Jr., of Springfield, Pennsylvania on March 24, 1790. In 1840, she was appointed an elder of the Darby Quaker Monthly Meeting, and became Osborn Levis' second wife five years later. She died in 1884. The sampler was worked in cross, whip, and satin stitch, silk on linen, and is in excellent condition. It has been conservation mounted into its fine original frame, which is walnut with line inlay. Sampler size: lOW' X 13" Price: $4,200.
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3 Hannah Stonehouse, England, 1808 This exceedingly unusual sampler, worked by Hannah Stonehouse in 1808, is dominated by a richly worked battle scene. The English Man, with a tasseled military helmet, sits astride a galloping horse and has shot The French Man, also in military attire, who is reeling off his thick-necked Belgian steed. The year 1808 marks the beginning of the Peninsular War, when the Duke of Wellington battled Napoleon's armies in Portugal. It is quite unusual for a schoolgirl to have included a military subject, or a current event of any sort, in her needlework. Hannah Stonehouse achieved an almost impastolike effect with her cross, whip, satin and eyelet stitches. The border continues this work and the overall design is dramatic. While acknowledging the needleworker's skill, we must also take note that she seems to have misjudged the space needed to complete her name where it appears in capital letters and wedged the last two letters into too small a space! It is worked in silk onto extremely fine linen and is in excellent condition in its original frame . Sampler size:
16"
X
13 W'
Price: $5,800.
M. Finkel
es Daughter.
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4 Susan Springer, Maytown, Lancaster County, Pennsylvania, 1831 This delightful little sampler is a miniaturized member of a fascinating group of samplers made in Maytown, a modest village in East Donegal Township, Lancaster County, in the early 1830 's. For closely related examples refer to Edmonds ' Samplers and Samplermakers (page 110) and our Samplings, Volume V (page 17). All three of these samplermakers included this specific pattern of an oversized fashionably dressed lady with her little dog, brick house, unusual version of a willow tree and low basket stuffed with lustrous flowers . Our example contains the same verse and exact phrasing of the legend as appears on one of these related samplers. Our research revealed that Susan Springer was the daughter of Abraham and Elizabeth Springer, both of whom were born in Germany. Abraham is listed in the 1830 and 1850 census indexes as a brewer living in Maytown. Susan 's sampler is in excellent condition, worked in silk on linen, conservation mounted into a period grain-painted frame. Sampler size: 12" X 7W' Price: $4,300.
M. Finkel e9 Daughter. DDDDDDDD
5 Hannah Bennett, Hubbardston, Massachusetts, circa 1812 Hannah Bennett, youngest daughter of David and Martha (Smith) Bennett of Hubbardston, a small town in central Massachusetts, was born July 27, 1800. She states this on her sampler; as we assume that a young lady worked a sampler of this sort between ten and twelve years of age, we therefore would estimate the date of this sampler to be circa 1812. Hannah did not marry and was known for her missionary work among the Choctaw, according to History of the Town of Hubbardston, published in 1881. This endearing and folky sampler includes two charming pictorial compartments, one of which features an unusual tilted body of water with three boats. The border along the bottom is also quite unconventional, both graphically and technically: it is made up of twenty-one pattern darning rectangles, in both twill and basket weave. The overall effect of Hannah Bennett's sampler is quite winning, combining a lovely palette and unusual stitches, with the much sought after inclusion of the town name. Worked in silk on linen, in excellent condition, conservation mounted into a molded frame. Sampler size: 12W' X 17" Price: $6,400.
M. Finkel ~ Daughter.
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6 Crewel Worked Pocketbook, New England, circa 1750 We are pleased to offer this stunning solidly stitched crewel worked pocketbook, an excellent and early example of this rare form of needlework; it was worked in New England between 1740 and 1760. The needleworker clearly drew her inspiration from the tree of life design, a design which appeared on textiles from India as early as the late 17th century and became popular in Europe, England and the colonies. The richly colored crewel yarn was worked predominately in the flat stitch with french knots, bullion stitch and stem stitch, and the pocketbook retains its original twill woven tape binding. Excellent condition, conservation mounted into a fine 18th century frame, using clear conservation glass. Size of the needlework:
11 W' X 8" Price: $5,800.
M. Finkel es Daughter.
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7 Ann Taylor, New Jersey, 1810 This particularly delightful little sampler is inscribed "Ann Taylor's work wroug/ht in the year of our Lord 181 0" and descended in Middletown, Monmouth County, New Jersey. Worked in a vertical format, the sampler depicts a house and garden scene with much attention to detail. The tall Federal house presents itself with the second floor shutters closed, a common occurrence, but not one typically represented in samplers. The door knocker on the front door and the fan window above the door are other realistic depictions . The lawn was fully worked in the cross stitch, and the animals and flowers were worked on top of this cross stitch; close inspection of most samplers would reveal motifs to be worked in one layer and without overlap. The queen's stitch border is of a strawberry pattern and was worked with both red and beige silk. The sampler is in very good condition, worked in silk on linen and conservation mounted into its original frame. Sampler size:
16W' X lOW' Price: $6,500.
M. Finkel e;, Daughter.
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8 These two samplers are newly discovered additions to the body of work from the Canterbury, New Hampshire area, considered the most important group of samplers from that state. Distinctive samplers were produced in these small towns along the Merrimack River in the late 18th and early 19th centuries, a type well documented by the 1990 exhibition at the Hood Museum ofArt of Dartmouth College entitled "Lessons Stitched in Silk" and devoted solely to the Canterbury area samplers.
Margaret Knight, Boscawen, New Hampshire, 1805 Rarely do we find as appealing a marking sampler as this endearing example made by Margaret Knight. She was one of five daughters of lawyer Caleb Knight and Sarah Coffin, both from Newburyport, Massachusetts, but by 1790 relocated to Boscawen, a town across the river from Canterbury. Margaret was born on January 2, 1795 in Boscawen, and worked this sampler when she was ten years old. She later married Enoch Pillsbury of the same town and bore ten children. Margaret died in 1845. Her sampler includes ten lines of various alphabets and numerical progressions; the first line of lettering is of notably large proportion. The bottom line, on which the inscription appears, shows Margaret's use of the archaic long "s" as well as her spelling her own name as "Margret," contrary to the spelling of her name in genealogical references. It is clear to us that surnames and given names were often spelled phonetically in that period, with little regard for precision. Bordered by satin stitches edged with cross stitch, the sampler is in excellent condition, silk on linen, conservation mounted into a fine tiger maple frame, using clear conservation glass. Sampler size: 15" X 12" Price: $2,800.
M. Finkel ~ Daughter.
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9 Mary Gerrish, Boscawen, New Hampshire, 1798 The maker of this splendid little sampler came from an illustrious family. Mary's father, Colonel Joseph Gerrish, was a prominent man in the town of Boscawen and in the New Hampshire militia; he was a first cousin of the Revolutionary War hero Nathan Hale. Colonel Gerrish married Mary Bartlett of Newburyport, and their daughter Mary Gerrish was born in Boscawen on October 17, 1784. She worked this sampler in 1798 at age fourteen, and in 1805 married the Reverend William Patrick, who had been ordained as the pastor of the Congregational Church of Canterbury and remained at that post for forty years. The couple resided in Canterbury and had seven children; Mary died in 1825. Mary included a tightly worked flower and hillock scene at the bottom of her sampler, the design and execution of which are specifically representative of this long-lasting school of needlework. The stitches include satin, tent, eyelet and cross and demonstrate Mary's talent as a young needleworker. Her colors were carefully chosen and remain quite true. The sampler is edged with a narrow drawn border worked in red silk, and is in excellent condition, silk on linen, conservation mounted into a fine figured maple frame, using clear conservation glass. Sampler size: 12" X ll 11 Price: $4,800.
M. Finkel (S Daughter.
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10 Miss S. Cunningham at Mrs. Baker's Seminary, Washington, Pennsylvania, circa 1815 This rare miniature silk embroidery is, to our knowledge, the only existing example of a highly unusual form; it is actually a reward of merit. According to Betty Ring in American Needlework Treasures, "Teachers recognized proficiency with rewards of merit. Usually these were inscribed, painted or printed on paper... ." Miss S. Cunningham seems to have been directed by her teacher, Mrs. Baker, to work this silk embroidery, which served as the subject of the reward and the reward itself. The depiction is that of Wisdom Instructing Youth, and features the classical figure in her plumed helmet, robe and sandals, guiding the youth toward the domed temple at the top of the mountain. A tiny representation of Fame stands outside the temple; it was painted onto the silk, as was the banner which extends across the top and is inscribed: "Premium obtained at Mrs. Baker's Seminary Washington Pa. by Miss S. Cunningham Novr 181_". The youth is holding a banner which reads, "By merit we ascend to fame", and points toward the miniature figure. The banner unfurling from Wisdom's staff most likely reads "First Prize", but the second word is difficult to discern. The Washington, Pa. named on the banner may refer to the town of Washington (located near Pittsburgh), or may be any one of the twenty-one townships of that name throughout the state. In fact, a family named Cunningham and one named Baker lived within walking distance of each other in Washington Township, Franklin County, Pennsylvania, according to our research. Chenille threads account for most of the needlework, while the inscriptions, sky, heads, faces, arms and legs are painted. A small amount of the paint has flaked off, otherwise it is in excellent condition, in its original frame. Size of the needlework: 7" X 9W' Price: $6,200.
M. Finkel e9 Da~ghter.
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SeriaL. Olney, Balch School, Providence, Rhode Island, 1816 This visually appealing and important sampler was worked at the school of Mary Balch of Providence, Rhode Island. The Balch school produced an impressive number of samplers and needlework recognizable by their distinctive designs and techniques as well as the extraordinary quality of their needlework. This successful and prominent school, patronized by the elite families of Providence, existed for over forty-five years and has become celebrated for the superb samplers and silk embroideries worked under the guidance of this talented and demanding
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(Detail)
Our family register sampler, a recent discovery and addition to the body of work produced at this school , is an outstanding example which features the neoclassical archway which Mary Balch initiated as a design element in samplers at the end of the 18th century. The pair of lustrous and richly shaded blue columns surmounted by spheres and the finely worked cornucopia are also design elements that are associated with her school. Seria L. Olney worked this sampler when she was thirteen years old; she used the distinct phrasing established at Mary Balch's school to inscribe the order of family births: "Their first Son Dexter B. Olney" and also to indicate her authorship : "Their first daughter Seria L. Olney (The person now recording)." This same unusual and specific wording is used on a Balch school sampler made by Bethiah Gorham, dated 1800, which appears as figure 64 in Let Virtue Be a Guide to Thee by Betty Ring. Our research revealed that Seria Olney was a descendant ofThomas Olney, who arrived in Salem Massachusetts in 1635 and shortly after became one of the original thirteen proprietors of Providence, Rhode Island (which was named by these thirteen men in grateful remembrance of their deliverance from their enemies.) Seria's parents lived in nearby Scituate, R.I., and William Olney was a painter and glazer. Seria, who was born on March 20, 1803, married W B. Darling in 1823 and they had five children: William, Samuel, Welcome, Anna and Sarah. Seria died on February 9, 1883. Silk on linen, excellent condition, conservation mounted using clear conservation glass into the 19th century frame which encased it for many years. Sampler size: 21 W' x 17W' Price: $9,200
M. Finkel e:) Daughter. DDDDDDDD
12 Ada Auger, England, 1889 Most of the samplers worked in the second half of the 19th century lack visual interest; quite the opposite is true in this solidly stitched example made by Ada Auger, age 12 years, in 1889. The alphabets at the top and aphori sm ("God is Mine Helper") at the bottom frame a balanced yet folky array of Victorian motifs . The sampler was worked in wool onto linen, is in excellent condition, and has been conservation mounted into a period oak frame . Sampler size: ll W' x II ~ " Price: $1 , I 00.
Silvinia P. Chandler, Augusta, Maine, 1852 The maker of this endearing little sampler, Silvinia Parris Chandler, was born May 17, 1839 in Augusta, the eldest daughter of Silvinia Parris Briggs, originally from Boston, and Benjamin F. Chandler, a prominent naval engineer of Augusta and later Kittery, Maine. This marking sampler may have been her first effort at needlework, and her lack of experience may account for the fact that the "d" in "Chandler" was not properly formed . Maine samplers are relatively rare and this is a well documented example. It was worked in silk onto linen that was woven with blue warp threads, typical of the period. Excellent condition, conservation mounted into a fine period frame with original grain paint decoration. Sampler size: lOW X 7W' Price: $1 ,500.
M. Finkel ~ Daughter.
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13 Hannah Shannon, Roxbury, Massachusetts, 1816 "The death ofWashington on December 14, 1799, set into motion the first display of national mourning in the history of the young republic ... .(and) gave impetus to the development of mourning art in America," according to Mourni ng Becomes America by Anita Schorsch. Seventeen years later, young Hannah Shannon of Roxbury, Massachusetts expressed her patriotism by working a double-urned memorial to George Washington on her sampler. Hannah was born in May of 1804; she indicated place and date of her sampler with the uppermost line "ROXBURY Septr 16 AD 1816." She is most likely the Hannah Shannon who married William Evans on 9 March 1823, as recorded in the Roxbury vital records . The needleworker demonstrates her proficiency most specifically through her inclusion of the two exquisitely worked bullion stitched trees flanking the center basket along the bottom of the sampler. The stylized geometric border is also quite appealing. Worked in silk on linen, it is in excellent condition in a period gilt frame . Sampler size: 17W' X 16" Price: $4,200.
(Detail)
M. Finkel
es Daughter.
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14 Emma Watts, England, 1782 This charming miniature sampler was worked by Emma Watts in 1782 and clearly demonstrates her proficiency in the needle arts . The sampler was tightly worked in chain or tambour and irish stitch, with a delicate buttonhole stitch border at the top. Silk floss onto fine linen gauze, excellent condition, in its original rosewood veneer frame. Sampler size:
5"
X
4W'
Price: $1 ,500.
Ruhamah Fife, New England, 1834 Ruhamah Fife 's sampler, which descended in a Maine family, is charmingly unsophisticated almost naive when compared to the majority of samplers we have seen. The pictorial scene includes many elements: trees, birds, a young lady, a flower pot, and butterflies, but it is the two structures that are most interesting. The relatively sophisticated double-chimney house sports a front door with a dom¡knocker and a fan light above, and the domed outbuilding nearby would seem to be a bake house or ice house. The tomb at lower right memorialized Nathan F., who died December 19 (probably at age 37), and was most likely her father. A line of cross stitch worked in beige silk reads, "Ruhamah Fife aged fourteen Born March 6 1820." The sampler is worked in silk onto home spun linen and is in excellent condition, conservation mounted into a 19th century gilt frame . Sampler size: 12 " X 17W' Price: $2,600.
M. Finkel ~ Daughter.
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15 Elizabeth Eckfeldt, Philadelphia, 1798 This large and impressive sampler is an excellent example from a group documented as having been made in Philadelphia between 1796 and 1830; all of the samplers share this unusual building and the overall stepped-terrace lawn. Our piece is quite similar to one made by Catharine Lapp ofPhiladelphia in 1796, and published as figure 390 in Girlhood Embroidery by Betty Ring. Mrs. Ring has described this group and recorded the designs of those samplers to include "the castle like building .... central figures with plumed hats .... awkward rabbits .... and the same borders." Our young samplermaker, who inscribed her work "Elizabeth Eckfeldts Work Done In the 1Oth Year of her Age April 13th 1798," also incorporated a gentleman holding a musket, another presenting a spray of flowers, and a lady with a bird perched on her hand - these elements have been noted on samplers included in this group, but are less commonly found. The tent stitch was used to great advantage on the faces of the six figures, as was the whip stitch used to form the butterflies. The sawtooth inner border, often used on these Philadelphia samplers, was worked in the satin stitch. Our research revealed that Elizabeth Eckfeldt was the sixth of seven children of Jacob and Elizabeth Eckfeldt. Jacob was a blacksmith living at 30 North Fifth Street in Philadelphia in 1796. In 1805, the samplermaker married Jolm Anderson; he was most likely the spectacle-frame maker living at Juniper and Vine Streets in Philadelphia. The sampler was worked in silk on linen, is in very good condition, and has been conservation motmted into a cabinet-made walnut frame. Sampler size: 17W' X 21W' Price: $7,400 .
M. Finkel t;:j Daughter.
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16 Margaret Howard, Bolton, Connecticut, 1755 Documented American needlework from the middle of the 18th cenh1ry is quite rare, and we are forhmate to be able to offer this handsome and interesting example. Margaret Howard was born March 23 , 1745 to Phoebe Darte and Benjamin Howard of Bolton, Co1mecticut, which is 17 miles east of Hartford. She worked this sampler when she was ten years old. In 1766, at the age of twenty-one, she married Aaron Strong in the town of Bolton, where they had five children. Her sampler is worked in the band format onto home spun linen, which is typical of this period and the rural origin of this sampler. The following is a h¡anscription of the sampler exclusive of the alphabet appearing on the top tlu¡ee lines: "Never marry/without con/sent on both/sides Margret Howard fini /shed this samp/ler on the 4th/ of October in/ the year of ou/r Lord 1755." It was worked in silk and is in excellent condition, conservation mounted into a 19th cenh1ry painted frame with sponge decoration. Sampler size: 13 W' X 6" Price:$3,600.
M. Finkel ~ Daughter.
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17 Margaret Caldwell Davidson, Carlisle, Pennsylvania, circa 1798 We are delighted to offer this beautifully composed needlework picture of a lattice basket filled with pineapples, plums and berries; it was clearly worked by a very accomplished needleworker. Documentation on the reverse of the piece identifies the maker as Margaret Caldwell Davidson of Carlisle, Pennsylvania, and notes that she worked this piece circa 1798. Miss Davidson's talent with the needle is apparent in the use of exceptionally fine chain or tambour stitch throughout the needlework picture, exclusive of the satin stitched lawn. This sophisticated example attests to the high quality of needlework that young ladies were practising, even in this small city west of Harrisburg. Margaret Caldwell Davidson appears to be the daughter of Mary and John Davidson of Carlisle and is mentioned in the 1802 will of her grandfather, Robert Chambers, also of Carlisle. She later married Thomas McDowell and this sampler descended for at least four generations in that family. Worked in silk onto silk, it is in excellent condition and has been conservation mounted into a molded walnut frame of a later period. Size of the needlework: 13 W' X 16 ~ " Price: $8,200.
M. Finkel ~ Daughter. DDDDDDDD
18 Elizabeth Norton, England, 1811 This colorful and meticulous sampler includes some of the smallest motifs we have ever seen on a sampler. Note the miniature dog in the center of the date and the pair of dogs above the cartouche, other pairs of dogs and ostriches, and the wonderful pair of polychromed parrots on pine trees. Also notable is the row of crowns and coronets above the classic honeysuckle border towards the top of the sampler. The verses are most appealing Sweetness of temper in a child to favour recommends The Pliant affable and Mild are sure of gaining Friends If happiness be your Pursuit Plant Virtue and content's the fruit. - and were faultlessly rendered in extremely fine black silk. Worked in silk on wool, the sampler is in excellent condition, conservation mounted into a later Hogarth style frame. Sampler size: 14" X 12" Price: $2,700.
(Detail)
M. Finkel e:) Daughter.
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C.E.G., Amsterdam, Holland, 177 4 A recent trip to the
~~m~p~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ opportunity to purchase this outstanding Dutch pictorial motif sampler, made in the city of Amsterdam. It features the crest of the city, still used on many signposts, above a tall red brick house, typical of buildings indigenous to Amsterdam. The figure of the spies of Canaan (Joshua and Caleb holding a large bunch of grapes) and the parrot in a cage on this sampler are typical Dutch motifs often found on 18th century samplers. Worked in silk on linen, it is in excellent condition and has been conservation mounted into a modern burl frame . Sampler size : 17 ~" X 14" Price: $3,200.
M. Finkel e:J Daughter.
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Mary Holt, England, 1836 This large and handsome sampler was made in 1836 by Mary Holt; she must have enjoyed working this oversized and stately red house with its blue roofs and crenellated chimneys at the center of her full, well-balanced sampler. Many classic needlework motifs are represented in this piece: heralding angels, baskets, urns and pots of flowers, birds and fruit bearing trees. The lawn is fully worked with trees, deer and birds, surrounded by a lovely blue fence and red gate. While Mary's verse may indicate that she mourned for her mother, we must also keep in mind the stylish and social nature of memorials at that time in both England and the United States. Worked in wool and silk on linen, in excellent condition, conservation mounted in a figured maple frame with gold liner. Sampler size: 23" X 23W' Price: $3,900.
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Solomon's Temple, Lucy Spilsbury, England, circa 1825 This is certainly the finest example that we have come to know of a Solomon's Temple sampler, a form that was popular in the beginning of the 19th century. Lucy Spilsbury's sampler, worked at age 15, is solidly stitched and brilliantly colored, with a wonderful sense of scale to the building which fills the frame . The geometric motifs floating in the sky and the naturalistic motifs which clutter the lawn add a sense of whimsy to an already attractive sampler. Worked in silk on linen, it is in excellent condition, conservation mounted into its original black painted frame. Sampler size: 16W Price: $1 ,800. 20~ " X
Queen's stitch sewing pocketbook, American, circa 1800 "The Queen 's stitch is one of the most difficult of the needlework stitches, a fact that undoubtedly accounts for its virtual extinction for the past century and a half. Even at the height of its popularity, from about 1780 to 1810, it was used only for very small items," according to Susan B. Swan in A Winterthur Guide to American Needlework. Our little pocketbook is positively a gem; it was most likely made for a lady for use as a repository for small sewing tools. Worked in silk onto linen, lined and edged with plaid silk, in excellent condition, and conservation mounted into a rosewood veneer frame , using clear conservation glass. Size of needlework:
7W' X 3" Price: $1,800.
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22 Mary McCloud, Philadelphia, 1795 This unusual and appealing sampler features two spectacular solidly stitched bands of queen's stitch, one of the most demanding stitches that a young needleworker was required to master. Mary McCloud was baptized December 22, 1785 at St. Joseph's Church in Philadelphia, and was just ten years old when she worked this piece in 1795. She was the daughter of Norman and Johanna McCloud of 811 Second Street in Philadelphia, and no doubt attended one of the many fashionable schools that flourished in the city at the end of the 18th century. While working her sampler with its alphabets and decorative bands, Mary also included examples of the star, rice, eyelet and cross stitches. Silk on linen, excellent condition, conservation mounted in a mid-19th century walnut frame with a gold liner. Sampler size: 13" X lOW' Price: $3,800.
Catharine A. Danebower, Delaware Valley, 1834 This pleasant and carefully rendered sampler, made by Catharine A. Danebower and dated 1834, depicts a very stylish basket of flowers beneath a large leaf and vine cartouche. The cartouche and richly worked border with its queen's stitched strawberries share strong regional characteristics with many fine Philadelphia area samplers. Catharine's verse reads: "The Lord Who Truly Knows I The Heart of Every Saint I Invites Us By His Holy Word I To Pray And Never Faint". The sampler is in very good condition and was worked in silk on linen; it has been conservation mounted into its fine original corner block and molded mahogany frame. Sampler size: 17W'x 18" Price: $2,800.
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23 Roxana Seward, Cheshire County, New Hampshire, 1831 We are always pleased when we can offer a sampler with as much to recommend it as this outstanding example "wrought by Roxana Seward Aged 10" in 1831 in Cheshire County, New Hampshire. Roxana was born on the 22nd of May, 1821 to Abijah and Roxana Seward, the oldest of their six children. The sampler shares regional characteristics with many samplers made in the southwestern corner of New Hampshire. The long stitches worked along the bottom in crinkled silk, showy lustrous flowers that form the border, and the low two-handled basket are a few of the elements that appear on other pieces from this geographic area that produced such exceptional samplers. Roxana's verse, "While I this canvass do adorn I With flowers and letters fair as morn I May grace my cruder heart prepare I And print my saviours image there," is a classic verse chosen by many young ladies for their sampler work in the early 19th century. Roxana's liberal use of teal, blue and green silk is also appealing. The sampler is in excellent condition, worked in silk on linen with some raised work in the border, conservation mounted into a 19th century gold frame . Sampler size: 16Yz" X 16Yz" Price: $6,200.
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Mariah L. Fuller, Cape Vincent, New York, 1829 Our large and lustrous sampler is well marked as to its town of origin, Cape Vincent, which was a rural village at the mouth of the St. Lawrence River on Lake Ontario. Despite the remote location, this sampler evidences the existence of a fashionable school of needlework in Cape Vincent teaching its young charges in the classic fashion . Mariah Fuller (spelled Mariar in the sampler) worked this at age eight; she is no doubt the Mariah Fuller born March 2, 1821 to Elizabeth (Westcott) and Levi Fuller in Schenectady, NY. It is not clear if the Fullers were living in Cape Vincent (there were a number of Fullers listed in that county's census), or if, as is certainly possible, young Mariah was visiting a relative and attended school for a period of time. Her sampler demonstrates her proficiency in marking as well as working a decorative satin and cross stitched basket. Excellent condition, silk on linen, conservation mounted into a fine mahogany frame with maple bead. Sampler size: 16" x 16W' Price: $2,700.
Prudence Elizabeth Thornburgh, Middletown, Virginia, 1828 "Samplers and pictorial embroideries survive from the South in far lower numbers than from the North," according to Betty Ring in American Needlework Treasures . And so "Prudence Elizabeth Thornburghs Sampler Worked I by her in 1828 in Middletown Berkeley City Va aged 1 I" is certainly considered a rare example. Middletown, located in the Shenandoah Valley, was originally in Berkeley County. When the state of West Virginia was created in 1863, Middletown remained in Virginia, becoming part of Frederick County. The samplermaker Prudence Elizabeth was born circa 1817, and would seem to be the daughter of Thomas Thornburgh of Middletown, the only Thornburgh listed in the 1820 and 1830 Virginia census indexes. The sampler is worked in chain, cross and eyelet stitch, and the verse reads: "My thoughts before they are my own I Are to my God distinctly known I He knows the words i mean to speak I Ere from my opning lips they break." Worked in silk on linen, in excellent condition, conservation mounted into a 19th century walnut molded frame with a gilt liner. Sampler size: 17W' x 17'12" Price: $3,900.
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25 Eliza Ann Bishop, Pennsylvania, circa 1835 Our splendid, faultlessly rendered sampler was worked by Eliza Ann Bishop circa 1835, in Pennsylvania. It depicts an elegant and imposing building that must have been an institution, with fourtiered gold spires at the center and two narrow spires at either end, projecting into the delicate and wispy willows. The satin-stitched lawn was worked in a lovely shade of deep green,with the pathway leading to the front door angled to imply depth. The border is highly unusual, in that it was not designed in the typical repeat fashion of most sampler borders. This ornate, naturalistic border is quite sophisticated in its variety and was exquisitely worked. The large tightly stitched red queen's stitch flowers and the clusters of yellow, mauve and white blossoms, worked in a variation of the queen's stitch, contrast with the tight cross and satin stitch also used to work this stylish border. roetail) Another sampler; which was called to our attention by Betty Ring, helps us to know more about our Bishop piece. In 1834, Mary Ann Russel worked a very similar sampler featuring the same format and building, with an identical border, and named her teacher, "Hannah Livengood tutores". It is clear that our Bishop sampler was worked under the same accomplished teacher, and it is assumed they were working in Pennsylvania, possibly Westmoreland County, where all three of these surnames (Livengood, Bishop, and Russel) appear in the 1830 census. Upon completion, the sampler was sewn to flat green silk ribbon, a treatment found on other large and richly worked samplers from southeastern Pennsylvania. The sampler is in excellent condition and has been conservation mounted in the 19th century frame that encased it for over a century. Sampler size: 21W' X 23W' Price: $7,200.
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26 Gordon Fraser, Scotland, c. 1800 Samplers made by males are quite uncommon and so our classic Scottish band sampler signed by Gordon Fraser was a fine discovery. He worked in vividly contrasting reds and greens, a color theme often found on Scottish samplers from the end of the 18th century, and included a simple and effective scene at the bottom. Silk on linen, in very good condition with slight loss, conservation mounted into a reproduction frame. Sampler size: 16W' X 9" Price: $1,400.
Elizabeth Tomkinson, England, 1817 We rarely find a sampler that was worked by a six year old; Elizabeth Tomkinson made this endearing little sampler in 1817, and chose an appropriate yerse which honors her parents as well as her own skills with a needle. Interesting to note is the arrangement of letters and numbers into compartments. Worked in wool and silk onto wool, the sampler is encircled by a classic strawberry and vine border, is in excellent condition, and has been conservation mounted into a 19th century molded walnut frame with a gold liner. Sampler size: 11" X 11W' Price: $1,400.
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27 Miniature marking and house sampler, American, c. 1800 This diminutive sampler descended in a Salem County, New Jersey family and may have been worked by a very young girl, perhaps attending what was then known as a "dame's school." These small schools existed for the instruction of the very young (up to six years of age) and "offered elementary lessons in small, simple cross-stitched marking or alphabet samplers" according to M. J. Edmonds in Samplers and Samplermakers. The simplicity of design, the specific working of some of the stitches, and the fact that the sampler is not signed or dated would support this theory. It is also interesting to note that the building seems to have a trade sign nearby, rarely seen on samplers of any type. Worked in silk on linen, in excellent condition, conservation mounted into a 19th century pine frame . Sampler size: 9W' X 6" Price: $1,200.
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28 Hannah Eells, Stonington, Connecticut, 1773 This exceptional sampler was made prior to the Revolutionary War in Stonington, Connecticut in the classic band format with unusually deep and graphic borders. Hannah Eells was the daughter of Mary Darrell and the Reverend Nathaniel Eells, who graduated from Harvard College in 1728 and preached in Stonington for fifty-three years. Hannah was born on September 14, 1760 and married Samuel Palmer, also of Stonington, on November 9, 1780. Samuel Palmer was a direct descendant of John Alden, who crossed on the Mayflower, and both Samuel and the Reverend Eells served in the Revolutionary War. Hannah and Samuel Palmer lived in Stonington and were the parents of eleven children. She worked her sampler .with naturalistic motifs at the bottom including birds and cartouche-encased flowers, with her initials "H.E." along the bottom edge. The unusual phrasing of her legend reads "Hannah Eells ended/her sampler at the/age of twelve 1773". This sampler is in excellent condition, silk on linen, and conservation mounted into a mid-19th century mahogany veneer frame. Sampler size: l5 W' X 10" Price: $2,900.
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29 Mary Penny, tent stitch canvaswork picture, England or Boston, 1756 This outstanding example with impeccable provenance is a canvaswork picture, fully worked in the tent stitch. It would seem to be either a double portrait of Mary and Penny, or a needlework picture signed by a young lady named Mary Petmy. It is dated 17 56 and the costumes are consistent with the early 18th century period. This piece came from the Bertram K. and Nina Fletcher Little Collection, which is often referred to as the most remarkable and distinguished collection of Americana that has ever existed. Their knowledge of early decorative arts, specifically from New England, was unparalleled. This canvaswork picture was in the Little Collection for at least thirty years; it was found in Boston and, in fact, was thought by Mrs. Little to be attributable to a Boston school of needlework. This is very difficult to document; it is just as likely that the piece is English in origin. Nonetheless, the Little provenance is important, as the collectors were known for their connoisseurship. Worked in silk and crewel wool onto linen, it is in excellent condition and conservation mounted into its original Hogarth frame, using clear conservation glass. Sampler size:
8!1" X 67;1'' Price: $4,200.
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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 six years we have handled approximately 800 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 patterns.
0 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 are 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 entntsted 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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SELECTED NEEDLEWORK BIBLIOGRAPHY Allen, Gloria Seaman. Family Record: Genealogical Watercolors and Needlework. Washington, DC: DAR Museum, 1989. Benes, Peter. Old-Town and The Waterside. The Historical Society of Old Newbury, Newburyport, 1986. Bolton, Ethel Stanwood, and Coe, Eva Johnston. American Samplers. Boston: The Massachusetts Society of the Colonial Dames of America, 1921. 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 Hersh, Tandy and Charles. Samplers of the Pennsylvania Germans. Birdsboro, Pa: Pennsylvania 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. Arts and Crafts of Chester County, Pennsylvania. Exton, Pa., 1980 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: Schoolgirl 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. Curious Works Press, Austin, 1995.
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