This past lovely Fall Friday afternoon I found my way over to the Haddonfield Historical Society in Haddonfield, NJ in order to take a look at their collection of needlework samplers. The
Haddonfield Historical Society plays a rather significant role in my personal artistic development as it was after a preschool field trip there that my teacher asked us all to draw something we remembered from our visit, and I drew (in high detail and accuracy for a 4-year-old) a row of dolls upon a mantelpiece from their doll collection. The teacher remarked to my mother after seeing my drawing that I just may have some artistic talent, and my mother thereafter always allowed me artistic opportunities and access to supplies. In addition to an artistic connection to the HHS, their collection includes a number of artifacts owned or created by several of my ancestors (albeit branches of the family, not direct lines), as I have ancestors living in the Camden County area back to the 1600's.
So back to the samplers! The HHS has a truly rich variety of needlework, with samplers spanning from 1700 to 1896. It represents an accurate chronology of style and purpose consistent with embroidery artifacts throughout the original states. As I'm preparing for an art history presentation on the subject, I hope you'll bear with me as I survey this collection.
The
Mary Hudson sampler of 1700 above represents typical early samplers following the long band format that came over from England. It includes a variety of stitches such as cross-, back-, satin, rice, and eyelets, and explores a variety of motifs including "Indian Pink" zigzag vine, an alphabet, and text that reads in continuous lines without care for the beginning and ends of words. Mary Hudson created it at age 9. Diane Snodgrass, the collections manager at HHS told me that the Camden County Hist. Soc. owns a similar band sampler, a bit longer and rolled, that shows obviously how the mother or instructor stitched a row as an example and then the young embroiderer stitched a copy row. This example is not so obvious, but perhaps one motif in the row was made and then followed by young Mary. Although I wonder whether the missing satin stitches in the daisy below are a result of wear and tear and age or a variance in craftsmanship.
The
Letitia Matlack sampler of 1736, created at age 13, shows the beginning of the development of a more American style. It is worked entirely in cross-stitch (not as ambitious perhaps technique-wise, but certainly more so in terms of composition). The typical strawberry vine has shifted to become a border instead of strictly a band, the format has become more rectangular, text other than an alphabet is included, a short family tree is listed, and the placement of motifs is more random. The text reads, "Favour is deceitful and beauty is vain, but a woman that feareth the Lord, she shall be praised. Give her of the fruits of her hand and let her own works praise her in the Gates." Among the tree-of-life motifs is placed additional text reading "Learning is an Ornament". This shift in style and montage of motif is the focus of my research, as I'd like to think of samplers as the "pop art" of their day absorbing multiple cultural influences.
Forgive the awful photo, but below is the sampler of
Mary Troth (my ancestor!!!) dated 1826. I'm including it more for sentimental value than artistic, but you can see how the strawberry vine has recurred but been abstracted. The fact that this sampler is purely alphabetical makes me think that was probably created as her very first needlework, probably in a school setting at a young age (I've got to look up her birth year to know how old she was when this was made). I believe she was sent to study at the
Westtown School in SE Pennsylvania and also created one of the embroidered globes they are known for.
The work below is of
A.R. Clinton in 1831 (at age 9) and shows the more pictorial development of American samplers. It is much larger than the previous examples, and more square in format. It contains a Greek Key border, a fancy strawberry border, Quaker square motifs, text, and a lush rose bouquet and vase. The text reads "This work perhaps my friends may view When I have bid this world adieu. And whilst these blooming flowers they se (sic) Then will remembrance picture me". The greek key pattern would have been popular during the Georgian and Federal periods, and so it's interesting to see this architectural motif in a sampler- further evidence of embroidery's absorption of popular culture of its time.
The quaker square motif in the Clinton sampler is evidence that the girl was likely enrolled in a Quaker school, of which there were many in the area and where many of our young embroidering 19th century ancestors learned to ply the needle.
The same motif shows up in the very late
Caroline Pearce sampler of 1895 detailed below. This sampler is the same size as the Clinton sampler, and contains an extremely similar strawberry vine as well as the quaker square. However the Pearce sampler has only the "signature" text, no phrases, and is a compendium of motifs "clip-art" style. With no research on it yet, one wonders whether at such a late date if Pearce created it in a school still or based it on other inspiring samplers.
The Haddonfield Historical Society has not only samplers in their collection, but also 2 silk embroidered paintings. Here you can see the
mourning embroidery c.1800, maker unknown. The painted text on the monument reads "Sacred to the memory of the illustrious Washington". While many mourning embroideries are in honor of the stitcher's late family members, a great many honor the legendary President Washington (emerging pop culture/cult of personality!). Most include a painted background and faces, a monument, a weeping willow tree and one or more figures in dramatic mournful poses. This example is in its original oval frame with gold and india ink on glass. The india ink has flaked off a great deal and stained the picture, requiring some conservation.
I thank Ms. Snodgrass and the Haddonfield Historical Society for allowing me to photograph the work for my research, as well as for her help in examining the works. Anyone interested in researching objects like these should really look into local Historical Societies- they are very cooperative and excited to have people interested in their collections. And if you're interested in seeing an excellent range of American samplers, take a trip to Haddonfield!
Betsy Wetsy has a new hat. I'm really pleased that my daughter has started to crochet. She has a natural sculptural sense, and it's interesting to see how she has applied that to crochet. The only thing I helped her with on this is the join between two pieces. I also think it's pretty cool that this doll has provided so much pleasure to 3 generations now. Actually- Betsy is wearing the cap made by my daughter, a dress made by my mother, and a sweater made by my grandmother. 
This past lovely Fall Friday afternoon I found my way over to the Haddonfield Historical Society in Haddonfield, NJ in order to take a look at their collection of needlework samplers. The Haddonfield Historical Society plays a rather significant role in my personal artistic development as it was after a preschool field trip there that my teacher asked us all to draw something we remembered from our visit, and I drew (in high detail and accuracy for a 4-year-old) a row of dolls upon a mantelpiece from their doll collection. The teacher remarked to my mother after seeing my drawing that I just may have some artistic talent, and my mother thereafter always allowed me artistic opportunities and access to supplies. In addition to an artistic connection to the HHS, their collection includes a number of artifacts owned or created by several of my ancestors (albeit branches of the family, not direct lines), as I have ancestors living in the Camden County area back to the 1600's.
The Letitia Matlack sampler of 1736, created at age 13, shows the beginning of the development of a more American style. It is worked entirely in cross-stitch (not as ambitious perhaps technique-wise, but certainly more so in terms of composition). The typical strawberry vine has shifted to become a border instead of strictly a band, the format has become more rectangular, text other than an alphabet is included, a short family tree is listed, and the placement of motifs is more random. The text reads, "Favour is deceitful and beauty is vain, but a woman that feareth the Lord, she shall be praised. Give her of the fruits of her hand and let her own works praise her in the Gates." Among the tree-of-life motifs is placed additional text reading "Learning is an Ornament". This shift in style and montage of motif is the focus of my research, as I'd like to think of samplers as the "pop art" of their day absorbing multiple cultural influences.
The Haddonfield Historical Society has not only samplers in their collection, but also 2 silk embroidered paintings. Here you can see the mourning embroidery c.1800, maker unknown. The painted text on the monument reads "Sacred to the memory of the illustrious Washington". While many mourning embroideries are in honor of the stitcher's late family members, a great many honor the legendary President Washington (emerging pop culture/cult of personality!). Most include a painted background and faces, a monument, a weeping willow tree and one or more figures in dramatic mournful poses. This example is in its original oval frame with gold and india ink on glass. The india ink has flaked off a great deal and stained the picture, requiring some conservation.
I thank Ms. Snodgrass and the Haddonfield Historical Society for allowing me to photograph the work for my research, as well as for her help in examining the works. Anyone interested in researching objects like these should really look into local Historical Societies- they are very cooperative and excited to have people interested in their collections. And if you're interested in seeing an excellent range of American samplers, take a trip to Haddonfield!
Today I wanted to share the work of Frances Schatz with you. Frances is currently in her second session of Stitch and Surface with me at Fleisher, and I'm enjoying the chance to see a student's work grow and be sustained over time. Frances has a fine arts background and is enjoying her retirement to finally have time to invest in her creative life. She is also recovering from a stroke and sees her work in embroidery as a part of her physical therapy. I truly admire her passion for art and life and commitment to not allowing physical challenges be a roadblock to her creative expression!
Her lazy-daisy flowers above reminded me of Fleisher's new logo. During class today we talked a bit about how artists need to connect to their child-like impulses, find the curious explorer within, trust those instincts, take risks, be spontaneous, be open to the happy accidents of a process, and allow the work to develop without preconceptions.
I think I need some yellow caution tape around my work table in the studio! It's littered with glass and wire at the moment. I worked on the middle section of the constellation piece today. Here's the work in progress:
I've got one more week to finish this up before my next critique. Hopefully I'll get there!
This morning, this wallhanging greeted Tyler folk. It's about 20 feet long and hanging against one of the 2-story columns in the Tyler entryway (why green?why?). Massive fiberworks like these are always impressive because we know anything with fiber is neccesarily time-consuming. 
From up close it doesn't read- it just seems like a mish-mash of fiber waste. The texture and color contrasts are curious, but it was not until I posted the photograph above that I understood the imagery involved- a sort of woodland view. So the piece becomes life-size- a window back to Tyler's Elkins Park days perhaps?
Okay, back to our regularly scheduled program... today was a productive studio day. I spent a lot of time on my way to and from school gathering more glass and bits and pieces off the streets, with a few stops along the way to do some texture rubbings on black paper with copper caran d'ache. I'm not really sure about them yet. Just have to do more and see what happens.
I pinned up the rust-dyed prints on the studio wall- here's what the assemblage looks like so far. I'd like to do a whole wall-full, but need more paper.
One of the art history grads subbed for my professor yesterday- and something he said in his lecture stuck with me-- that the objects an artist choose say something about the artist, separate perhaps from what the artist is trying to say. It made me wonder what all these things I've been using say about me...
Rust Dyeing paper in my basement.
Thinking about grids and maps and art made from things found in a particular place. All the rusty objects were gathered within a 4 block radius of my house.
I've laid out the objects, sprayed them with vinegar water and covered with plastic so the moisture doesn't evaporate too fast.
Here's the latest constellation of street find slow cloths. All the glass and mirror shards were found within a 2 block radius of Tyler School of art. I like how both the stitch-resist and the rust dyeing create a sort of glowing image on the surface. I think it's the strong light-dark contrast and the soft bleeding edges that make it happen.
It's been a good art day!
What, were you expecting cupcakes? 
The higher the pile, the more visible the pattern, and medium to dark-colored velvet seemed to yield better results. Cotton velvet was okay, but Silk velvet was stunning.
I got my wooden stamps at Eyes Gallery on South Street (check the front room on the second floor). They're beautiful stamps and have the most exotic smell...
I have one student in love with the grid..
These two red pieces are by Francis Elling. He had a great collection of butterfly stamps he shared. He's been interested in making pillow tops, so he played with a more formal design, above, and a more random pattern, below. He discovered that by changing the pressure and time under the iron, he could create a contrast in "focus" with the embossing. The longer and firmer, the crisper the image, but the shorter, softer, and with some movement in iron application a "ghosting" appeared.
Francis also brought in his first completed embroidery project today, below. He purchased a silk pillow top and created his own design based on a microscopic view of a sea creature (sponge? coral?). By playing with the photocopy machine, enlarging and reversing the image, he was able to create a repeat pattern to transfer across the pillow. I applaud his ambition and ingenuity in making something so beautiful and unique for his home. Can you believe he's a first-time embroiderer?
Stitch and Surface will be offered in the Winter Session at Fleisher as well, and we always explore new topics in embroidery and surface design every semester.
Been working steadily lately- not much excitement, but lots of concentration. Yesterday (oh where did you go beautiful weather?) I went out into the neighborhood near school, took a walk around the block to collect more glass and mirror bits. The city is a veritable treasure trove! Above you can see how I'm playing with the placement. All the pieces on the right hand embroidery are all stitched down now. I'm trying to use the bits as a mark-making element in the compositions and have the roundish mirror and glass pieces echo the shibori circles in the piece. Once I get some more finished I'm hoping to photograph everything and perhaps submit work for an alumni show at Moore. (See, if I say that here, it holds me accountable and I'm more likely to do it.)
This is an image of the same rubbing I have I found on the internet- the text says "When Oxford gave thee two degrees in art, And love possessed thee ruler of my heart, Thy college fellowship thou lefst for mine, And nought but death could....(illegible), Thirty five years we lived in wedlocke blessed, Conjoined in our hearts as well as hands, But death the love of best friends destroys, And ..." I can't read the rest off this image. Maybe I'll update this when I can get home and read it off the original. I've always loved how it shows the love in a marriage, between seemingly equals, even back in 1620.
