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| Mary Hurst -The Scarlet Letter |
The fifth section is now complete and the files have been update. Only two more sections to go !!!
The fifth section is now complete and the files have been update. Only two more sections to go !!!
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Mastering Mary
The fifth section is now complete and the files have been update. Only two more sections to go !!!
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A Birthday Giveaway
We have a VERY special giveaway for FIVE (!!!!) $20 gift certificates for the Scarlet Letter which have been donated by a stitcher who is celebrating a milestone birthday this month.
Our generous patron wishes to remain anonymous but we can still offer our heartfelt birthday wishes.
Celebrate well and thank you from the group.
For details of the giveaway which takes the form of a photo quiz please click on the link.
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A Finish a New Start and a Tale to Tell
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| An Adaptation of Mary Gail - The Red Shoes The Red Shoes, my take on Mary Gail has been finished and is at the framers as I type. I enjoyed every stitch of this bright and cheery sampler. I used AVAS and stitched it over 2 on 40ct Havana. The colour of the linen is much more gingery, the camera flash has bleached the colour out. |
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| Martha Allis - The Scarlet Letter |
The moment I saw Martha I had to have her for my collection but I learnt the hard way and just missed out on her at auction as I had left a commission bid. Luckily I traced her to Witney Antiques after the sale and managed to secure her.
On the 16th of June 1755 Martha Allis daughter of Quakers - John and Anna Allis was born in Shadd Thames in the Parish of Saint John’s in Southwark.
George II sat on the English throne and Samuel Johnson’s first dictionary had just been published.
Martha was descended through her maternal line from Merchants who had escaped religious persecution in Europe in the beginning of the 18th Century and settled in London.
By the time that Martha was born Quakers had been able to practice their religion in England openly for sixty odd years and during this time had begun to be recognized for their integrity in social and economic matters. Many Quakers went into manufacturing or commerce as previously they had not been allowed to earn academic degrees.
At the same time Quakers were also becoming more concerned about social issues and becoming more active in society at large. One such issue was slavery, another issue that became a concern of Quakers was the treatment of the mentally ill.
They also believed in the spiritual equality of women, who were allowed to take a far more active role than had ordinarily existed.
We can expect Martha’s family to have be hard working, affluent, religious and charitable. Martha and her mother would have been equals with her father and brother. Martha would have received an education.
In the 21st century Shad Thames is a historic riverside street with Tower Bridge (built 1886) at its west end and running along the south side of the River Thames in London. At the time of Martha’s birth it was described as:-
Shad Thames – exhibits an uninterrupted series of wharves, warehouses, mills and factories, on both sides of the narrow and crowded roadway. The buildings on the northern side are contiguous to the river, and in the gateways and openings in these we witness the busy scenes and the mazes of the shipping which pertain to such a spot. “
It was a major area for brewing beer which could be transported easily across the river to the City.
Martha’s father John Allis and Hagger Allis were brewers at Horslydown Old Stairs and were listed in “The New Complete Guide to All Persons Who Have Any Trade or Concern City of London” issued in 1770 the year that Martha stitched her sampler.
It is interesting to note that the famous English brewing company Courage was founded by John Courage in 1787 following his purchase of John and Hagger’s brewery for the sum of £616.13.11d paid by cheque on December 20th1787.
On April 18th 1780 at the late age of 25 Martha married Nathaniel Hartland at the Friends Meeting House at Horslydown London.
The Hartland and Allis families were closely interconnected with numerous marriages between cousins in generations before and after Martha and Nathaniel union and we can presume that they grew up knowing each other.
Nathaniel and Martha Hartland lived in Church Street Tewkesbury which overlooked the Abbey (see plan of area by Nathaniel in 1807)
They had eight children - John Allis, Reeve, Anna, Nathaniel, (No Given Name), Nathaniel, Sarah and William.
Their last child William was born on September 15th 1797 in Church Street Tewkesbury.
Martha died the same day as giving birth to William at the age of only 42 and her baby William 3 months later.
The Friends Meeting House in Tewkesbury
In 1803 Nathaniel married his second wife, Rebecca Wilkins, in a Quaker ceremony in Cheltenham. Nathaniel went on to found a bank in 1809
Nathaniel died in 1830, and in the following year his eldest son John Allis, a banker like his father, was married at Tewkesbury Abbey. His bride was his first cousin, Anna Maria Allis, daughter of Martha’s brother Jacob Allis.
Martha’s sampler probably passed on Nathaniel senior’s death to his son Nathaniel junior who also followed his father into banking. He was married twice, first (in 1816) to Ann Summers Harford, daughter of Ebbw Vale Iron master Richard Summers Harford. Nathaniel and Ann had a son, Alfred Harford Hartland, born in Worcestershire in 1817. Ann must have died in childbirth, or shortly afterwards: she was buried at Evesham in 1818, aged 24.
Nathaniel junior married his second wife Eliza Dixon, daughter of physician Thomas Dixon and his wife Sarah, in Evesham, in July 1825. Nathaniel and Eliza had five children: Theresa Gales, born in 1827; Frederick Dixon, 1830; Emily Rosa, 1834; Anna Louisa, 1842; and Ernest, 1843. The first three of these were born in Evesham, the last two in Charlton Kings, near Cheltenham, where the Hartland family can be found living – at ‘Oaklands’, together with half a dozen servants – in 1841, 1851 and 1861.
Sir Frederick Dixon-Hartland, M.P.
Nathaniel Hartland died in 1866 at the age of 75. His son Frederick Dixon-Hartland (1832 – 1902) would become an antiquary, banker and Conservative Member of Parliament for Evesham and baronet.
It is recorded on the reverse of Martha’s sampler that it passed in June 1920 to Anna Louisa Coulson nee Hartland, Sir Fredrick Dixon-Hartland’s sister and her Granddaughter.
Anna had married Walter John Coulson an eminent Harley Street surgeon in 1862 but they had no children.
In 1921 at the time of writing her will it is recorded that Anna was staying at Ridgebourne on the Hergest Estate in Kington. Hergest was the home of her sister Emily Rosa Banks nee Hartland.
Anna’s will and subsequent codicials left many bequests but the bulk of a considerable fortune including furniture and personal effects went to two spinster nieces – Maude Ethel and Mary Constance Coulson.
They in turn left their estates to the same nieces and great nieces and it is believed that the sampler passed into the ownership of Margaret (Peggy) Balliol Scott who became a Beagley upon marriage.
Peggy Beagley died in 1996 in Mersham Kent.
The sampler reappears when it is sold at Auction in 2015 by Dreweatts in Newbury and was purchased by Joy Jarrett of Whitney Antiques.
I hope you have enjoyed finding out more about Martha and her sampler's journey down the generations.
I hope Martha Allis will now stay with me at Trewoon for many decades to come where it will be love and admired every day.
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Mastering Mary
I have just updated the files for the start of Section 7. Band 1 is completed and Band 2 has been started. Lots of detached buttonhole to keep us on our toes. ENJOY !!!
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Mastering Mary
The notes have been updated to this point.
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Beyond the Little X – An interview with Cyndi Foore
For our interview this month we sit and chat with Cyndi Foore. As we all do, she has a true love of needlework and is wonderfully talented in many types of embroidery. It is a real treat to see her detailed work in many different mediums!
Cyndi, how old were you when you first picked up a needle and who taught you to stitch?
I never remember a time that I didn't love needlework, especially embroidery.
I begged my mother to buy me a stamped embroidery kit for some napkins at the age of 7. My mom was a Home Economics teacher before she married my dad and didn't really like embroidery but I'm certain she showed me the beginnings and from then I was on my own.
What was the first sampler that you stitched?
My very first sampler was 'Amaranth' by Shepherd's Bush. It was one of the little ones they had on cards in the early 90's. I bought the cards then the linen and was so afraid to cut it since it was $54 a yard, much more expensive than the fabric in my wedding dress! I took a class since this was my first time to stitch on linen and have been in love ever since.
What is your favorite time of day to stitch?
I prefer to stitch samplers in the morning or afternoon. If I stitch them in the evening I tend to make more mistakes and end up taking out what I did.
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| Bee Skep Pincushion |
Do you sit in a set place and what tools do you like to have on hand?
I sit in the chair I use at my table for making my strawberries, everything I need is there, my embroidery scissors, Mary Arden size 26 petites, my thimble and of course a strawberry emery.
(Cyndi creates one-of-a-kind strawberry emeries... don't they look scrumptious?!)
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Do you use the stick and stab technique, or a sewing stitch?
I use a sewing technique, for me, it is faster.
Do you prefer to stitch in hand, or with a hoop or frame?
When I took my first class years ago, I had my linen in a hoop stretched so tight you could bounce quarters off of it. I was shocked to learn that this was to be stitched in hand. I still stitch in hand when working samplers. I use hoops for other types of embroidery ie: crazy quilting, silk ribbon etc.
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| Ring bearer's pillow |
I am also hand-piecing this fan quilt. Currently on block 51 of 66.
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| Grandmother's fan block |
What is your favorite linen and thread?
Oh my favorite linen is Northern Cross, then Danish and Wichelt. I love working with silk thread and have a lot of Kreinik and Waterlilies but have also been trying some of the new overdyed threads available.
Have you tried specialty stitches and do you have a favorite?
I love specialty stitches, I think they add so much interest to the work. My favorite stitch is the Queen stitch, so lacey, followed closely by Bargello and Petit Point.
This is a pin ball made from a class taken by Margret Hogue in a bargello pattern I created...
When did you discover the Scarlet Letter?
I discovered the Scarlet Letter not long after taking that first class on linen and going to sampler seminars. I have the very first leaflet that was sent to me. I admire, like many others, the great work Marsha has done for us.
What was the first Scarlet Letter sampler you stitched?
I love the samplers at the Scarlet Letter and have to admit that I'm a great starter but struggle to finish. I'll have to check my stash to see which the first one was.
What is your favourite period of sampler-making and why? Which designs appeal to you the most?
I fell in love with 17th century needlework because of the variety of stitches and the gorgeous band designs. I have come to love the Quaker geometric for their balanced patterns, Norfolk with the sweet little trees and stags, and the stepped patterns on them and the beautiful Biedermeier samplers with their lovely floral motifs, birds and musical instruments. I do have a thing for samplers with birds on them. I designed a chipmunk to replace the sinister looking squirrel on my Mary Wigham sampler...
Has working with reproduction samplers given you any new insight into the lives of the girls and women in the 17-18-19th centuries that you did not realize before?
When I work the reproduction samplers, I feel like I know these little girls and learn right along beside them. To think of where they lived and the conditions in some of the schools they attended is amazing. The story of Jane Eyre is one of them, without the sampler. The conditions in these schools went through a great change for the better as you can read in the Ackworth book by Carol Humphrey.
How do you display your stitched samplers? Do you frame them? Hang them singularly or in groupings?
I like hemstitching my pieces and framing them with UV glass in a conservation method I learned in Williamsburg. I cover an acid free board with muslin, and attach the sampler to the muslin. This is the least stressful way of mounting my work. I don't pin or lace.
Do you collect antique samplers? Or have any other collections special to you?
I do collect samplers and price does play a part in my decision but so does the quality and origin and color. I recently bought a lovely little sampler that is believed to be from Western Pennsylvania. I plan to chart her and perhaps others from my small collection.
What other types of hand work do you enjoy?
I love crazy quilting and, even more so, tatting. I am teaching a class at the Finger Lakes Tatting Seminar this spring.
Here is a basket I made for my tatting threads...
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| A tatted hanky edging |
As I was an art major in HS, I enjoy drawing as well. Here is a drawing that I did a few years ago, I love trees, and of Marilyn.
Any guilty secrets to confess?
I do usually have something to drink near me when I stitch, but always in a safe location or with a cap.
What has been your worst needlework disaster?
My worst disaster is putting a sampler away to start another one and going back to it and finding I left a needle in it and it has rusted.
If you can pick just one, which is your favorite sampler that you stitched? And why?
I do love those little Shepherd's Bush samplers I spoke of earlier and Darlene O'Steen is my absolute favorite teacher. I love her designs, especially the English Sampler, but perhaps my favorite of what I've finished is the Bands of Pearls by Eileen Bennett. I finished it in 4 months. She is tone on tone but quite captivating. My favorite Scarlet Letter sampler that isn't finished is Dorcas Haynes which I was privileged to see in person in the company of Carol Humphrey at the Fitzwilliam Museum.
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| An emery I stitched designed by Barbara Jackson |
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What sampler are you currently working on now? What do you most enjoy about it?
I started a new SAL this year working 'A Sampler for My Mother' by Aury TM. It is designed after the geometric Quaker samplers and is a memorial to our moms. There is a lot of interaction with the group and also the freedom of planning what colors to use and who else we can memorialize on this piece, it is very personal.
What other hobbies or interests do you enjoy?
My world is stitching and as you know I have a business in needlework but I also enjoy tatting as I stated before.
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| Tatted cross bookmark |
I am an amateur Mountain Dulcimer player. I do enjoy music, especially the old hymns but also classical, folk and some rock too. I love the band Apocolyptica. I have always been an avid reader, I used to read Stephen King but now I mostly read historical and Christian literature along with Bible study. I also love to cook. Here is a pear and berry salad with balsamic vinegar reduction.
I enjoy attending needlework seminars when I can and give lectures here locally on needlework, especially samplers. I have demonstrated tatting for historical societies and other venues here in Warren Ohio and PA.
Thank you so much, Cyndi, for sharing your story and embroidery skills with us all! You have an amazing talent with needle and thread and have opened our eyes to different techniques. We look forward to seeing your updates on your Scarlet Letter samplers and your new one-of-a-kind embroidered creations. To keep up on Cyndi’s future endeavors please visit her facebook group, Strawberry Fields Needlework
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Mastering Mary
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| Mary Hurst - The Scarlet Letter |
Section7 - Band 2 and 3 are now complete and the notes have been updated.
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My Progress on Elizabeth Shephard during June
stitched on 30 count linen
This month I completed the border around the rose motif and stitched all the fiddly bits around the outside of it then started the bottom cartouche.
Next month I am planning to go back to the top of the design and work my way to the left hand corner and then down.
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Mary Hurst
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A finish - Mary Hurst
A finish - Mary Hurst by The Scarlet Letter. 6.75" x 32.5" on 36ct with AVAS threads. Stitches - satin, detached buttonhole, rice, Queen, Croatian flat, double running, eyelet, French knots, seeding, Montenegrin, cross.
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Back from the framers
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| Mary Hurst The Scarlet Letter |
Mary is back from the framers. The frame wasn't an easy one to pick but I am pleased with how it has turned out. If you are interested in stitching Mary you can find my detailed stitching notes here.
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| Mary Hurst The Scarlet Letter |
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| Mary Hurst The Scarlet Letter |
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| Mary Hurst The Scarlet Letter |
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Beyond the Little X – An Interview with Sabine Taterra-Gundacker!
For our July interview we travel to Berlin, Germany and sit and chat with Sabine Taterra-Gundacker! Sabine is sharing with us her journey in stitches and we hear how she began charting reproduction samplers. There is much inspiration to be found in her beautiful samplers, which also includes some Scarlet Letter samplers! Enjoy!!
How old were you when you first picked up a needle and who taught you to stitch?
Oh, that was a long time ago. At that time, my mother wanted me to stitch her an Easter tablecloth: printed bunnies, daffodils, decorated Easter eggs – always along the lines! I think I was 12 or 13 years old. She must have kept it for more than 50 years and often used it.
What was the first sampler that you stitched?
In 1981, there was a modern version of a sampler to be reproduced in the German women’s magazine Brigette, with typical elements – alphabet, house, tree, flowerpot, flowers, figures. And I enthusiastically stitched my first sampler! In addition, I heard about the meaning and the function of samplers and I saw small pictures of historical samplers. In my working life I was stitching plenty of little somethings like flowers, wreaths, Santas, Easter bunnies, birth pictures, needle cases with heart and soul and for recreation. The first complete sampler?! I was hooked!
What is your favorite time of day to stitch?
My favorite time to stitch is the hour after breakfast: The table is cleared and my husband reads to me out of the newspaper and I stitch without paying much attention – calm and relaxing.
Do you sit in a set place and what tools do you like to have on hand?
I sit at our small kitchen table – a pane of glass on top of an old iron sewing machine stand. The natural light is very good, even in bad weather or in winter. Two or three little scissors and my needle magnet lie on the window ledge. I take my notebook to this place and feed new charts into the computer.
I look at a typical Berlin back yard of an apartment building and into my tidied kitchen. As of late, I need a magnifier tightened at the pane of glass in order to see the fine stitches of the originals.
Do you prefer to stitch in hand, or with a hoop or frame?
To stitch in hand is the most practical method to me: I am able to move to another place in our home, e. g. while cooking, and I can uncomplicatedly take my needlework on a bicycle tour or on vacation.
What is your favorite linen and thread?
In the past, I used to make large crosses. Over the years, they have “become”smaller – but always on white linen. I do not like artifically aged fabric and I do without antique yarn, too. I prefer Zweigart linen in 36 ct or 40 ct. The white background and the plain framing should form a “point of rest” for my very different “stitching loves”.
My yarn came from MEZ/Anchor, from a department store or from a needlework shop. I received the full palette of DMC step by step as a colorful bouquet for birthday or wedding anniversary by my husband, as a souvenir from journeys or by my best friends. Now, I do have all colors by both companies. My basis!
If I have the chance to lay colors at the original piece in a museum, I take with me the cut color charts. At an earlier time, I had my yarn cases with all colors on me.
When did you start charting reproduction samplers? What was the first sampler you charted?
Some antique samplers were hanging in the apartment of my friend Marina. She loaned one to me in 1990. I was allowed to take it to my home: I “laid” and chose colors, drew symbols on graph paper and worked my first reproduction – “DS 1842”. I was really proud.... Two magazines published it! I even got money for my pleasure and for my work.
Can you tell us about your creative process of reproducing samplers?
The important part of the creative process is the decision: Why exactly this sampler? It is a very individual and emotional decision since I do not know what sampler lovers would like to stitch.
Pretty much the same is wonderful but also trying work to choose the colors: Why this shade and not the other one? What do I do with the light damages?
Sometimes a shade of color is missing and then I use floss colors by both companies.
When did you discover the Scarlet Letter? What was the first Scarlet Letter sampler you stitched?
After my first sampler I was in search, I was hooked as you know, for providers of reproductions. Permin of Copenhagen, The Scarlet Letter and The Essamplaire were offering reproduction samplers, too. I was collecting catalogues, ordering charts and purchasing needlework kits. I worked lots of reproductions like a maniac and with great pleasure! My first Scarlet Letter sampler I was working in 1995 – “Sibmacher 1763”.
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| Sibmacher 1763 |
The second one, “Continental” in 1998.
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| Continental |
What is your favourite period of sampler-making and why?
I cannot say which century or which European region I prefer. I am a stitcher in the main: When I am fretful I cannot stitch samplers from the Biedermeier period – too many color changes so my glance goes to graphically clear samplers or monochrome pieces – school samplers, darning samplers, samplers from the 17th and 18th century. When I am balanced and well, I am not shy of 30 to 35 colors. It makes no difference to me whether in colorful Vierlanden samplers or Biedermeier samplers, in samplers from the Netherlands or Scotland.
Which designs appeal to you the most?
I am fascinated by the creativity of young girls/women who got the task or who made it their business to turn an empty piece of fabric into a sampler no matter if she had a private teacher or if she attended a convent school, if she was well-off or poor, if she was living in an orphanage or attended a public school.
How do you display your stitched samplers? Do you frame them? Hang them singularly or in groupings?
Each of my finished samplers is being framed and gets its place. In the beginning, my first samplers were scattered on the wall together with photos, bead bags, and souvenirs. Now, I hang them in groupings: my Biedermeier room, our 17th century/18th century living room, the Vierlanden-Ackworth-wall, and the red-blue walls.
Do you collect antique samplers? Or have any other collections special to you?
My husband would say: “What do you not collect? It is simpler to itemise.” I have a small collection of whitework samplers – I cannot stitch them.
I own a variety of needlework scissors and my antique patterns. I finished collecting and processing ancient fabrics, they do not “grow again”and have become very expensive. In the past, I produced patchwork blankets, cushions, and patchwork kits.
I offer the last beautiful pieces at the Textile Art Berlin because women love to see and touch the textiles.
What other types of hand work do you enjoy?
I like to patch in front of the TV in the evening – watching newscast, detective stories – or as a passenger in the front seat of our car on long journeys.
Any guilty secrets to confess?
Sometimes, I miscount while stitching or I have made a wrong selection of colors and I realize the fault much later. I rant and rave about my mistake! My husband always advises me to cheat. But I show photos on my website and on Facebook.
What has been your worst needlework disaster?
Mistakes and frustration apparently do belong to needlework, undoing and proceeding, too. None of my samplers deserves to become a skeleton in the closet when I am no longer in the mood for it. I was told in a Berlin museum that plenty of their samplers in the archives met this fate.
If you can pick just one, which is your favorite sampler that you stitched? And why?
“BW 1880” and “BKRM 1779”currently are my favorite samplers.
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| BW 1880 |
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| BKRM 1779 |
Both of them impress with a harmonious composition without repetition in the motifs. One can see on these samplers that the stitchers had a lot of fun creating them in those days. And it also was a pleasure for me to count, chart and stitch them.
But there can be a change at any time: “MAMAN 1880-1890” and “Mary Gunter 1811”are pushing their way to the front.
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| MAMAN 1880-1890 |
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| Mary Gunter 1811 |
Thank you so very much, Sabine, for sharing your story! Your samplers are a feast for the eyes! It is wonderful to hear about your process to charting samplers and your love of needlework. To learn more about Sabine, her samplers, and her future endeavors please visit her website European Reproduction Samplers – click here!
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Chimneypiece
Last week I was asked how I stitched the red and pink flowers at the opposite ends of the row in photo one. I promised when I stitched the next one I would demonstrate. The following photos show the stages. I am self taught and my way may be incorrect.
You can use a pencil to mark out the stitch direction or as I have done your thread. Note that the stitch I started with at the bottom was going in the wrong direction when I finished laying out the guide lines. I just laid another stitch over it as it will not show.
I have not taken the stitches all the way into the centre. I am leaving room for the next passes..
Gradually I am filling the flower moving around as I stitch so that there are no clumps of stitches.
The centre is now filled in but I am parking my thread for now in case I need to add some more stitches after the outer part has been stitched.
I fill in the stamens.
Next I repeat the process on the outer part.
You can use your thread to gauge your stitch direction.
First pass complete.
Start to close up the gaps.
Note that the outer stitches in the bottom left hand corner has caused the inner stitches to gap. Pick up your parked pink thread and fill in the gap.
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Dorothy Walpole
This lady needs no introduction, she is one of the all time greats. This is a heads up that the original will be auctioned by Garths on September 11th.
I wonder who is going to be the lucky new owner.
Dorothy Walpole and her daughters Lot 1057
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Chimneypiece
A little more progress. This is not a quick project but extremely rewarding.
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Beyond the Little X - An Interview with Sigrid!
For our August interview we meet Sigrid! She is a member of our group from Germany and she shares with us her stitching story and embroidery skills. You can see Sigrid’s enjoyment of needlework in her words and works.
How old were you when you first picked up a needle and who taught you to stitch?
I was 19 years old. My oldest sister embroidered small cross stitch things from the book "Liebenswerte Stickereien". I liked the little Lavender bag. I bought material and embroidered away. I was so excited about my work that I borrowed from all literature and bought and just began to read and to rework. Step by step I've taught myself.
What was the first sampler that you stitched?
My first sampler was a yellow ABC cloth only in cross stitch. It was a challenge in the beginning, the counting and reading the chart.
What is your favorite time of day to stitch?
I stitch whenever I find the time to do this, spread over the day, but every day!
Do you sit in a set place and what tools do you like to have on hand?
I have a bright place next to the window. There I sit in an old Daddy Downing chair. My really big magnifying glass and various hoop should not be missing!
Do you use the stick and stab technique, or a sewing stitch?
I use the sewing stitch if I work free embroidery most in a loose-stretched frame.
Do you prefer to stitch in hand, or with a hoop or frame?
I use only wooden embroidery frame and have them in all sizes. Some kinds of stitches are better free to stitch, so I free stitch in my hand.
What is your favorite linen and thread?
I have no favorite. I'm trying to adjust linen and thread that it appears most faithfully true.
Do you like specialty stitches and have a favorite?
Special stitches are most fascinating in embroidery and I love them. Generally, the special stitches are my favorites.
When did you discover the Scarlet Letter?
It was a love recommendation by Dorothee Kandzi of "Historische Stickmustertücher" in Germany. I asked her for sources of possible high-fidelity reproductions because it was not available in Germany. She gave me the tip with the Scarlet Letter. I was so happy!
What was the first Scarlet Letter sampler you stitched?
It was Lydia Hart.
What is your favourite period of sampler-making and why? Which designs appeal to you the most?
Each period has its appeal. I have no favorite, I enjoy them all. I love all different samplers. I love the band samplers of the 16th century.
Has working with reproduction samplers given you any new insight into the lives of the girls and women in the 17-18-19th centuries that you did not realize before?
On each case. I have four kids of all ages. When I consider what these very young girls have created in this age of works, I might just be jealous. If I stitch a sampler, I think of the particular person and work after this with a certain AWE.
How do you display your stitched samplers? Do you frame them? Hang them singularly or in groupings?
I bring a finished sampler directly to the framer. The pictures hanging distributed individually or in groups in the House. I have no procedure. My husband and I are looking for a beautiful place.
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| Lydia Hart Sampler (far left) and Mary Hurst Sampler (far right) |
Do you collect antique samplers? Or have any other collections special to you?
I have two old sampler, which I purchased by random. Two small ABC are embroidered towels around 1900.
What other types of hand work do you enjoy?
I love all about wool, the processing from the raw fleece, spinning at the spinning wheel and knit. I weave on my loom and love tablet weaving.
A great favourite of mine is still our traditional Schwalm whitework embroidery. It is a nice change from counted embroidery.
Any guilty secrets to confess?
Oh Yes... I have to admit that I'm drinking lots of coffee and tea when embroidering. The cup is always far enough from me so that spills can´t happen.
What has been your worst needlework disaster?
Oh my... I had in fact on my double Dutch sampler. I worked more than half of the left border as I noticed that something must be wrong. The border was shifted to a number. I wanted to cheat. The image would have been no longer symmetrical. My husband said I should stitch back to correct. It was fine coloured silk. I cursed. It lasted days until I reached the error. I want to check more often!
I had my second disaster on I.C. Rubbens. There was weaving to be done and I wanted to work with the silk. The silk locked up and I threw it in the corner and refused further to embroider it! My husband scolded me and said can you make a finish of it. There I met Thread Heaven (in Germany unknown) and behold, it went wonderfully.
What Scarlet Letter sampler are you currently working on now? What do you most enjoy about it?
At the moment, I am stitching the Scarlet Letter Dorcas Haynes sampler…
What other hobbies or interests do you enjoy?
I love to ride my Moto Guzzi motorcycle. I love to hike. A big dream is to explore England, Scotland, and Ireland together with my husband, and to cope with the way of St. James. I listen to the music of Rammstein when I stitch, I love it. In the evening I like to read literature of my Hobbies.
Thank you, Sigrid, for sharing your story with us! Your embroidery and stitching is gorgeous. You have an amazing talent for stitching specialty stitches, they look perfect! We look forward to seeing updates on your Dorcas Haynes sampler. She will be another beauty to grace your walls!
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Nearly finished on Manifesto
Just a few more rows of background to be completed.
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Beyond the Little X - An Interview with Marjan!
For our interview this month we get to know Marjan and hear about her journey in stitching! She shares with us her ideas and beautiful stitching and samplers. I am sure you will find inspiration as you read along…
Marjan, how old were you when you first picked up a needle and who taught you to stitch?
This is a picture of me stitching at 3 and half years old – with wool on those cardboard pictures that you had. I know that the wool would be unpicked and stitched repeatedly. My grandmother, Oma Stien, mainly taught me to stitch. My mother did as well, but mainly my grandmother. My grandmother was never without something to do in her hand. Mainly knitting. By my early teens I was stitching regularly, and then I had a gap where I discovered boys. By my early twenties I was stitching daily again.
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| First picture of Marjan stitching (one the right) at 3-1/2 yo! |
What was the first sampler that you stitched?
It is a family tree sampler that I stitched in my early teens. I don’t know who it was by anymore. It is probably a Dutch or Danish design. I think my uncle bought the chart for me.
What is your favorite time of day to stitch?
I feel guilty if I stitch any time other than in the evening when all the chores are done. I work full time in a demanding job that regularly has long days and up until recently I was a single mother (I still am, but he is now 19 and at university so I have more time to myself). If we have a guild day, I will stitch during the day and that feels like an enormous luxury. If I am working at home and have a long call, I normally have a piece of stitching on my desk that I will pick up. It stops me trying to do e-mails at the same time as listening to and/or contributing to the call, and therefore allows me to concentrate better on the call. This is the view from my stitching station in my office. I use a sit on frame with a dive weight to counter balance it so the frame is at the end of my nose where I want it!
Do you sit in a set place and what tools do you like to have on hand?
I mostly stitch in the evening on my sofa. I am blind as a bat, but have a sweet spot about two inches from the end of my nose where I can see perfectly – over the top of my glasses. I need good light and I love little needles. Bohin size 28’s which are just a bit thinner and shorter than other size 28s.
Other than that, the only other tool I need is my scissors and an old music stand that holds my chart.
I also always have a piece of stitching or beading on the go in my office.
Do you use the stick and stab technique, or a sewing stitch?
A bit of both. I stitch in hand so sew most of the time, but there are times when if you sew, you are going to have to bring a stitch back through the thread of a previous stitch, so at that point I will stab to avoid doing that.
Do you prefer to stitch in hand, or with a hoop or frame?
In hand – not that you’d know it by the number of frames and stands I have! I’ve been trying to challenge myself recently, both by stitching bigger samplers (Blue Ribbon, And They Sinned, Corsica River sampler) and by taking myself out of my comfort zone and away from counted thread techniques (deep calming breath....) I’ve taken the casket of curiosities class and that has moved me into a completely new zone. I signed up for Thistle Thread’s gentleman’s nightcap on line course. I bought a slate frame from the RSN (Royal School of Needlework). I traced the pattern onto my linen. I ironed the edges over so I could lace them to the edges of the slate frame........ and then stitched the whole thing in hand! I think because no one ever taught me to use a frame in the early days, so I got used to not using one. I keep thinking I ought to for some of the stitching I am getting into, but I’m not sure I’ve got the patience to relearn stitching using a frame. I’ve been thinking over the past few days of buying a millennium frame but am holding myself back thinking about how much it will cost and will I ever use it......
What is your favorite linen and thread?
I have a complete blind spot about linen. Don’t know why. Ideally I stitch on 40 count, but I try higher counts sometimes. I want to stitch the Women of the Mayflower on a high count thread with Tudor silks. I often have to ask my stitching friends what linen I am stitching on when people ask me.
As to thread – it seems to be whatever I am stitching with. I love stitching with silk, but then I have to be careful when stitching in hand to make sure I start from the right of the piece so I don’t crumple anything that has already been stitched and make the silk go bobbly.
And then I’ll pick up some DMC with a piece and once you get in the rhythm, you can’t remember why you stopped using DMC. I must be quite flighty when it comes to thread.
This is a special sampler. I think it was 55 count (I have a blind spot on linens) but it is all my stitching friends at the time.
Do you like specialty stitches and have a favorite?
Mmmm. I call queen stitch bitch stitch (I learnt that from Susan Albury) so that isn’t a favourite!
Because I have been stitching so long I like to challenge myself and sometimes it is the specialty stitches that create the challenge. I came across a wonderful new designer (well new to me) recently – Nicole from Northern Expressions Needlework. She uses a lot of specialty stitches. I hate stitching them because they are so slow, but I love how they look when they are done. I also keep taking myself out of my comfort zone with gold work and with stumpwork. I think I have to do this so that cross stitch feels like coming home and is comfortable, but not boring because you have just been challenged. Does that make sense?
Here is a stumpwork mirror frame I made - that I haven't been brave enough to frame up yet. A Sharon Cohen design.
If I had to pick a favourite it is probably double running stitch. There was an awful lot of it in the Egyptian Sampler so I got very used to the stitch and as a scientist, I love the mathematical exercise of working out one route going out and then finding my way back again to complete the stitch.
Recent modern sampler from Northern expressions needlework. The learning sampler in silk mill silks.
When did you discover the Scarlet Letter?
Very shortly after the internet changed the world of stitching. Isn’t it amazing how two things that don’t sound like they should go together – stitching and computers – allow us to buy materials from all corners of the world, communicate with stitchers around the world, take on line classes without leaving our homes and see what pretties other stitchers have created to keep our own enthusiasm going.
What is your favourite period of sampler-making and why?
No question – 17th century. Why? that’s difficult. I’ve never really thought about it. I think it is the transition from simple lettering to wherever the design takes the stitcher, the schools that can be found in researching samplers i.e. Juda Hayle. I love band samplers and the best band samplers seem to come from this period. I also love that we talk about women like Mary Hurst, who if it wasn’t for her sampler would not be remembered now. Because she stitched a sampler and because this is available to us as a chart/kit, she lives on in all of us who admire her stitching and seek to emulate that. For a period of time when most women were the property of their father or husband I think that is a very good thing.
Which designs appeal to you the most?
Band samplers.
And If I get a choice of colours – jewel colours – ruby and sapphire and emerald green. Deep, bold colours.
These are some early samplers. I joined a sampler guild in the UK and every year 12 members would design a panel in a particular theme and this would then be stitched by whoever wanted to. They all turned out so different. I wish I had a photo of more than one from a particular year together.
How do you display your stitched samplers? Do you frame them? Hang them singularly or in groupings?
I did not frame my samplers in the past, but it was the Blue Ribbon sampler that got me started. It was lying around and people kept saying I should display it so I finally took the plunge and got it framed. Since then I frame most of my samplers and I find somewhere in the house to hang them. My early stitching is still wrapped around rolls, or in boxes somewhere. I like having my stitching around me. It takes me back to what was happening in my life when I was stitching them.
I stitch lots of 3D things as well and keep these in cupboards. Here's a few recent stitches. Mainly Amy Mitten, but some others too.
My blue ribbon sampler in my bedroom. I changed the centre bands. I hate green (very bad school uniform when I was younger), so my satin stitch is in a mauve, and the central panel has all the places that I stitched on this sampler. It reminds me of the end of one relationship, lots of fun with my stitching friends and the start of my relationship with my fiancé.
Some of my favourites in my dining room. Corsica River Sampler by Barbara Hutson of Queenstown samplers, and they sinned and a darning sampler, M.P. Joppe from European reproduction samplers. I've added a memorial to my dog at the end of and they sinned as she died as I was getting towards the end of the stitching.
Some more samplers marching up the stairs…
Do you collect antique samplers? Or have any other collections special to you?
I used to collect antique samplers – before my son’s education got so expensive! I also used to collect antique needlework tools. I still have them but haven’t added to the collection for a while.
For someone who's first love is band samplers it is odd that my two favourite antique samplers aren't really band samplers (this one kind of is but....) I love this one because of HMS Victory at the bottom. I've sailed on tall ships since I was 18 and love nothing more than climbing the rigging and being high.
This is my other favourite antique. It is Dutch and so am I! I also love the fact that this has original glass in it, so it is all bobbled and wavy.
What other types of handwork do you enjoy?
I used to go to Alexandra Place every year and try a new craft to see if there was anything else I really liked. The only other one that has really caught my fancy is beadwork. It must be all that mathematics again!
Any guilty secrets to confess?
In many environments stitching in hand is a guilty secret. Also, when I stitched Thistle Threads gentleman’s nightcap, it got a bit grubby, so I got a piece of linen, took a couple of stitches with each colour of silk and left it to soak in soapy water for 24 hours – nothing ran (gilt twist silks) so I washed the whole piece and it brightened up nicely again. Don’t tell anyone.......
What has been your worst needlework disaster?
And They Sinned – I finished the stitching including all that green at the end, and I’d added a dedication to my dog at the end of the sampler as she died while I was stitching it. I ironed the sampler in preparation to taking it to the framer and the steam was on and the colours on all the letters in the middle ran. After I stopped swearing I realised that it made it look a bit antique, so I’ve lived with it and learnt to check whether the steam is on more carefully!
If you can pick just one, which is your favorite sampler that you stitched? And why?
The Egyptian Sampler by Alison Snepp. It is huge – 52” long on 40 count linen. It is a band sampler – lots of techniques, and it is based on mamluk fragments from the Ashmolean museum in Oxford (the fragments are also in Marianne Ellis – Embroideries and Samplers from Islamic Egypt). The motif at the top of the sampler comes from a linen towel fragment that was found, the last band – drawn thread embroidery from a scarf. I love how old these fragments are and that they have survived and feel honoured to be able to reproduce them.
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| Egyptian Sampler |
What other hobbies or interests do you enjoy?
Until last year I coached a junior squad at rugby and I love rugby so am looking forward to the world cup starting. I can be found on the sofa with embroidery in hand – unless it gets too exciting and then the embroidering stops. I SCUBA dive and have always sailed tall ships (although I may be getting a bit old for that now. It is getting harder to get into the rigging.) I can never find enough time to read and normally fall asleep with a book on my face. I also love to travel, and frequently go abroad with my fiancé. Flying is a great time for catching up on stitching.
Thank you so much, Marjan! It has been wonderful hearing your stitching story about your own journey in needlework. I can hear your love and enthusiasm for the craft in both your words and beautiful stitchings!! I agree wholeheartedly with you that the internet has opened the world of our craft to create wonderful communities to share our love and continue its tradition!
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Chimneypiece
After my annual quilting hiatus I am stitching again and Chimneypiece has not lost its appeal.
I have changed the house here and there but I like making a project my own and have allowed my needle to go its own way.
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Chimneypiece
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