Details

Object type

sampler; band sampler

Place Associated

England (place of manufacture)

Date

circa 1640-1670

Materials

linen, silk, hand-stitched

Dimensions

overall: 927 mm x 184 mm

Description

Sampler or band sampler in linen (21-22 threads per cm), selvedge at upper and lower edges, side edges turned under and hem stitched, embroidered with blue, cream, green and red silk threads worked predominately in double running stitch with cross, Italian cross, Montenegrin, Cretan, eyelet, stem and trellis stitch with thirty-three bands of border patterns, including an alphabet in lower and upper case letters, various arcades with flowers, fleurs-de-lis, roses and carnations, Renaissance S, acorns single boxers, pineapples and oak leaves.

The long, narrow shape of this sampler is typical of the 1600s and is called a ‘band sampler’. The linen was often cut horizontally from the end of a long length of material, leaving the selvage visible at both ends. It was then embroidered with rows of floral and geometric border patterns in brightly coloured silk threads or in cut and withdrawn work with needle lace fillings. After completing her sampler, a young girl would progress to making small needlework panels, often illustrating biblical or classical scenes. Some of these she may have sent to a local cabinetmaker to be made up into an embroidered box or casket. Inside would be stored sewing equipment, including the band sampler carefully rolled up, and treasured keepsakes, sometimes hidden in secret compartments.

Several band samplers exist that have patterns appearing upside down. Jacqueline Holdsworth argues that: '… based on contemporary illustrations, it is from the wider edges that the stitcher, seated with her linen stretched on a frame that rested on two trestles placed at either side of her lap, worked her sampler. So, in this sense, what we perceive as an up and down direction, is to the stitcher, sider to side, with vertical and not horizontal bands extending before her, some completed, intentionally or mistakenly, facing left or right. The stitcher may have worked from both long edges in order to have the area she was stitching within easy reach. There are also illustrations of two stitchers sitting side by side at the same long edge of an embroidery working the piece together as described in William Shakespeare (bapt 1564–1616), A Midsummer Night’s Dream, 1605, 'We, Hermia, like two artificial gods, Have with our needles created both one flower, Both on one sampler, sitting on one cushion.'

Provenance: William Burrell.

Credit Line/Donor

Gifted by Sir William and Lady Burrell to the City of Glasgow, 1944

Collection

Burrell Collection: Needlework Samplers

ID Number

31.9

Location

In storage