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Captions transcribed by Pat Grappe.
1: EGA Legacy Logo
2: EGA Presents
3: The late Mrs. Daryl Parshall, one of the founders of EGA, purchased this sampler about 1960. She paid,a upstate New York antique dealer $200.00 for it. Mrs. Parshall was very generous allowing its use and study by the Guild and individuals.
4: A closer view of the upper section. The fabric is hand-woven linen canvas with 22 threads. It might been created as a reference a professional embroiderer or as a sampler collected canvas work patterns complied by an avid amateur. It is impossible to date the piece exactly even though the date, June 14, 1800, appears at the bottom with the name Elizabeth Kaplan. It is not known what this date signifies; maybe it was her birthday. Most of the work was done with naturally dyed wools, which were available in 1800, but this type of sampler was more common after that date. Museums date similar samplers in their collections at about 1840. The lower area contains some motifs worked with aniline dyed wools. The development of these dyes occurred in the mid 1800’s.
5: Floral wreaths are seen at the left and right. Mid-right is an eight-pointed star. The colors are very vibrant considering their age and there is very little deterioration of the sampler.
6: This slide shows about seven inches of the upper portion.
A Berlin publisher, named Phillipson, introduced hand painted charted design for canvas embroidery in 1804. The earliest patterns were delicate floral designs intended to be worked with an extensive range of colored wools on fine canvas. These patterns were gorously promoted by L.V-l. Wittich, a Berlin book and print seller and were immediately popular. The sale of Berlin patterns gradually spread outside Germany and began to increase as more Romantic styles developed in the late 1810’s and 1820’s. By the 1830’s, patterns and wools were manufactured in England, France, and other countries, although the original name remained. The original floral patterns were joined by pictorial designs of varying quality, some of which were exceedingly ambitious. At 1851 Exhibition, for example, six versions of Leonard da Vinci’s ” The Last Supper” were shown, as well as copies of paintings by Landseer an other 19th century artists.
7: At the upper left you see flowers worked in tent stitch in the center of the yellow Florentine triangles. In the center is a Florentine pattern of very dark purple, purple, red orange, golden yellow, pale yellow, and very pale yellow (or cream).
Berlin patterns did not reach the United States until later, but by 1840 they were readily available here. Since there is no location recorded on the sampler and no information was available at the time of purchase, we have no way of knowing where it was produced. If we knew this it might help us in dating the piece.
8: In the upper right comer, horizontal stitches have been placed across the bottom of the groups of seven stitches that lie side-by-side. This was the stitcher’s solution to the problem so often encountered in Florentine patterns when several stitches end on the same line and leave a gap where the canvas shows. In the lower left comer the stitches used for the brown and white stripes cover six threads horizontally and a shorter vertical center pulls them upward.
9: A view of the top center of the sampler. Dark red, white, and blue eyelets fonn the pattern at the lower center. The blue and white scallops are a Florentine pattern. The rows are not identical as the length of the stitches vary. A rose and gray Florentine Motif is in the upper center.
10: In the upper left is a Florentine pattern in green, orange, and purple. Canvas diamonds have been left unstitched in the centers of the motifs. A flat pattern or a tent stitch motif fills this area. On the right is one of the flower wreaths. The petals are straight stitches and the centers are horizontal straight stitches with one vertical stitch on each side.
11: This is another detail of the flowers. At the bottom center of the slide there is a pattern in values of blue. Straight and slanted stitches alternate and the rows nest.
12: This is a close up of the double four-pointed star. The straight stitches are in white, yellow, brown, and three values _of blue. The slanted stitches are in two values of red. Note that the placement of the long blue stitches where red and dark blue meet serves to emphasize the blue and to hide the canvas.
13: Next section of the sampler. Several types of canvas were available. Silk or gauze canvas, called Berlin canvas in England and Mosaic canvas in America, was the most expensive. Cotton canvas was more popular because of its moderate cost, and was used in.creasingly in the third quarter of the 19th century, but it was not all of good quality. German canvas was the cheapest and it was distinguished by everf tenth tread being yellow as an aid in counting. French canvas was of superior quality and was pleasant to work with. Mono canvas was available, but Penelope was preferred as fine details could be worked by separating the double threads and working over a single pair for the more delicate parts of the pattern.
14: A close up of a four-way directional pattern. Notice the lovely shading from deep red to the palest pink. There are long stitches between the bands of color and the direction of the stitches changes at the diagonals. Below the star is a pattern of eyelets in green and orange.
15: At the top center is a pattern composed of white diagonal stitches and blue and white tweeded eyelets. More Florentine patterns fill the lower area. Again note the use of the iong straight stitches in the red pattern where groups of stitches end on the same level. There is no need for these horizontal stitches in the pattern just above because each stitch changes a level.
16: At the bottom left are diagonal ribbons. The motif just above this is a geometrical pattern with long straight stitches surrounding diamonds of small upright straight stitches.
· When Berlin work patterns were first introduced they were worked exclusively in silk on silk canvas, but this did not remain so for long. The Gothe and Saxony regions of Gennany developed a beautiful zephyr merino wool yarn that was taken to Berlin for dying. The brilliance of the colors in tl:1is new yam was completely new and at least a thousand different shades were available. It was produced in a four ply and an eight ply yam, that were commonly called single and double Berlin wool.
17: The next section has a band of leaves worked in tent stitch. Notice the tassels near the top center. We will get a closer look at them in another slide. The black and gold border on the upper right turns a comer and looks striking.
18: A closer view of the upper portion of the sampler.
19: The quality of design in the Berlin ‘Nork patterns has always come under criticism. In the year 1842 the Countess of Wilton made the observation that “Of the fourteen thousand Berlin patterns which have been published scarcely one half are moderately good… Contemplating the improvement that will probably ere long take place in these patterns, needlework may be said to be yet in it’s fancy”. She felt that improvement must not be confined to the Berlin pattern designers, but that the taste of the consumer must also advance before needlework could assume an approximation to art, which she felt desirable.
20: Two lovely Florentine medallions.
Critics of the Paris Exhibition of 1867 felt that the technical and artistic ain1s of the pieces exhibited were failures. This is not to say that some of the charts were not charming and they certainly reflected the taste of a large portion of the population. Nearly all its critics were from the upper classes, and possibly resented the “new rich” and their pursuits.
21: Here are the tassels we saw earlier, the “tape” from which they hang. Next to them are pale pink flowers, in slanted stitches over three threads. They are on a brown tent stitch background. of pink continental stitch fill the center of the flowers.
22: A filling pattern with some of the threads missing. On the whole the sampler is in very good shape considering its age.
23: At the top is a closer view of the grape leaves on a curving line. At the lower left is a band of vertical stripes in rose, white, and black Parisian stitch. On the right just above the center of the slide are interlocking diamonds with center motifs.
24: Observe the use of color in this Florentine pattern. Light blue, dark purple, pale yellow, cream, rose, dark rose, cream, gold, two shades of blue-green, pale yellow, cream, and back to light blue.
25: Slanted stitches form the overlapping squares. In the pattern at lower left center, the contrast of color helps to unify the pattern.
26: This is a closer view of the overlapping squares.
27: On the left is a motif formed of multicolored diamonds. Although all the diamonds are the same size some appear smaller because of the way the color was ed. In some diamonds the dark shades blend into the black framework.
28: This slide shows the area to the left of the previous slides. The flowers are in the center of diamonds formed by tent stitches.
29: At the bottom is a closer view of another leaf motif worked in tent stitch. At the upper right is an intricate inter-locking pattern. Yam is missing through part of the center. The colors in this pattern change in an irregular fashion. Pastel V’s float over a dark background.
30: On the upper left·area there is an unusual cross-stitch pattern in which there is a single bottom stitch crossed with two top stitches.
31: The white diamonds are the background, made up of diagonals stitches, The flowers have yellow cross-stitch centers and petals with slanted stitches.
32: More of the same white diamonds. Note the upper and lower tips are not points. This time long stitches of yellow, orange, red, and dark red separate the diamonds. In the center of the white diamonds are pale green upright crosses.
33: A group of filling patterns. Notice the pattern just to the right of the center bottom; it is very interesting and it does not appear again.
34: Another Florentine pattern. Notice the shading is in different sequences.
35: A diamond pattern built up of two vertical stitches over four threads with one horizontal stitch at center over two threads. The colors are pastel, with a bright yellow center.
36: An over all view of the next section of the sampler. At the lower left is a Florentine pattern in gold, green, and rose. Notice the pink diamond in dark squares at the lower right and the variety of leaves. All the leaves were done in tent stitch.
37: A closer view of the previous slide. These are mainly filling patterns.
38: A brown star pattern outlined with a darker value. The background, of a light blue, is of long stitches tied down with short stitches over one thread.
39: Black bands separate Florentine scallops of blue and red value ranges.
40: A group of filling patterns. At lower center of slide is a red square worked in an interesting four-way pattern.
41: A close up of the red square. Notice the diagonal rows of arrows; they all point to the center. The shading from the dark red in the center to the lighter red on the edges is very effective. The cross-stitch centers are bright red.
42: A diagonal repeat pattern in red, white, and blue.
43: Diagonal stripes of Milanese stitch.
44: This is the lower half of the sampler.
By 1840 Berlin Work was by far the most popular type of embroidery. Its allure lasted late into Edwardian days, in spite of the stricture of the critics. It provided a way of asserting individually in the face of mechanization and it carried a whiff of nostalgia when industrial progress was the predominate force.
45: A Hungarian Point motif Hungaria11 Point is characterized by one or more rows over 6 or 7 threads, followed by 2,3,4, or 5 even rows over 2 threads. This produces a subsidiary zigzag pattern independent of the color.
Can you determine what stitch is in the red pattern in the lower right?
46: This is a geometric floral pattem
47: Here is a diaper pattern worked in tent stitch. A diaper pattern is a small geometric pattern, which gives and overall effects of diagonal lines. Some of the color squares fade into the white. Was this on purpose or did the dyes fade?
48: A close up of a Florentine design. The stitches are all vertical but the pattern repeats to form a radiating motif. Notice the way that the red and blue change positions.
49: Another view of the lower section.
Upon reflection it becomes obvious that there is a great deal of similarity between the popularity of Berlin Work in the 19th century and counted cross-stitch in this century. They both have the same appeals and are both open to the same criticism about design.
50: There are four different fillings used in the diagonal band pattern. (Fillings are groups of stitches used either singularly or together to fill a space.) The one that looks like leaves shows how they repeat. The circle near the upper right appears to be turkey work Look
‘ at the pattern at the lower right the same basic outline has tow different fillings. The lower one appears to be a stylized flower.
51: A variety of filling patterns. In the central group of red flowers, there are 5 flower centers with shared petals.
52: A closer look at the red flowers. Look at the petal shading, halfwmedium and half-dark.
This allows the petals to remain separated. If they were all one color, the petals would centers are upright stitches with a horizontal stitch at the top and bottom.
53: A twisted Florentine band with small filling stitches.
54: The last portion of the sampler.
55: A close up of the top of the last slide.
56: Here you see a Florentine pattern. Notice the “dip” in the lower row. It seems to be a partial extra row. There are horizontal stitches as noted previously. This may a pattern for house slippers.
57: Here is another Hungarian point motif. Both of t..”‘1.e Hun.garian Point patterns appear on their sides. Was the canvas turned during stitching?
58: A group of typical Berlin Work patterns fonn the last section. Observe the difference in the colors used here and those used in the upper portion of the sampler. In 1856 aniline or chemical dyes were discovered and patented by William Perkin. They had harsh brilliance that is not nearly as pleasing to our eyes as were the earlier natural dyes:, and many of them turned an ugly muddy color with time. But they were new and soon became the predominate colors used in Berlin.Work
59: A crosses, a violin, and a chalice. These are typical of t11e designs sold as “Berlin Work Patterns
60: The top of a band of roses, a vase of flowers, and a cross on a floral background. Notice the tent stitch roses at the left with the lovely shading.
Tent stitch is one of the most popular canvas stitches. It can be dated from the 16th . century and probably was used much earlier. Any stitch that is taken diagonally over one thread is a tent stitch. Basketweave, continental stitch, and half cross-stitch are the most well known tent stitches.
61: Close up of a tropical Berlin Work floral motif, worked in tent stitch. Compare the tent stitches with the brown stitches at the left, they are slanted in different directions.
62: Elizabeth Kaplan’s name and the date, June 14, 1800 appear, along with a serpent of dragon breathing puffs of smoke. Notice the scene with the tree, building, and mountain.
This very interesting piece of embroidery asks more questions than it answers. What was the place of origin? Could it be the work of more than one stitcher?
This would account for the difference in stitching techniques. to work on it be the one who “signed and dated” it, perhaps in memory of Elizabeth Kaplan? Could the AM. be the initials of the person who signed it?
63: End
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