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Absolutely agree with you. I personally feel that the stitchers of old samplers put some of their personalities in their work, and I think that is one of the reasons that they appeal so much. Currently I am working on a sampler that commemorates the year 2000. I use old motifs and my own designs, and want it to reflect some of the things that are important in my life. So far I have done a very old border motif 1500 or so?, a tree of life with deer. I intend to add forget-me-nots, some stellar motifs, a yin-yang symbol, some orchids (my parents ran a nursery), fireworks… Hmm, better start working on it again… Caroline As stitchers, I think it might be important for us to design our own personal samplers which might tell a story about us (if our samplers live that long <g). I’ve been giving it some thought and intend to stitch a "personal" sampler, probably with some family names and personal info–possibly where I’ve lived (I’ve moved around.) I am thinking of including stitching some of the "small things" of everyday life. I am not a designer, nor artist, but I find the more I do samplers, the more I want to leave my "own" behind. Anna Lynn
– Visit my ‘Embroidery in the Netherlands’ pages at: http://www.xs4all.nl/~retort/index.html
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As stitchers, I think it might be important for us to design our own personal samplers which might tell a story about us (if our samplers live that long <g). I’ve been giving it some thought and intend to stitch a "personal" sampler, probably with some family names and personal info–possibly where I’ve lived (I’ve moved around.) I am thinking of including stitching some of the "small things" of everyday life. I am not a designer, nor artist, but I find the more I do samplers, the more I want to leave my "own" behind. Anna Lynn
This is a wonderful idea. I just read in Thea Dueck’s latest newsletter that she just led a class in learning how to design a sampler. Each class member worked on creating her own individual ideas. This sounds like an idea whose time to bloom is right now! — Nan Laugh before you are happy because otherwise you might die before having laughed. –Jean de La Bruyere. Too much reading hinders knowledge. We think we know what we have read, and consider ourselves excused from learning it. –Rousseau
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I created an original XS sampler in 1975 right after I taught myself counted thread stitching, to record a move to a new State and house we bought. Basing this own a typical sampler format, stitched a stylized version of my house, a fence, tree and massed colorful X flowers with my own verse and border along with date, place and name. All was stitched with wool on a fairly large count of Aida. Now after 20 years, this basic beginner XS sampler is a nice piece of memory hanging on my wall. Another sampler I started on similar lines was when we moved and bought another house, resides in my Shaker sewing box half finished as new interestes took hold of me. All the DMC skeins and sampler itself are neatly rolled in the box and someday, someone will look and see this as another example of late 20th century needlework as the date had been stitched in, speculating on why I didn’t finish my second sampler! — Lula http://www.woolydream.com Needlework Adventures – Hide quoted text — Show quoted text – As stitchers, I think it might be important for us to design our own personal samplers which might tell a story about us (if our samplers live that long <g). I’ve been giving it some thought and intend to stitch a "personal" sampler, probably with some family names and personal info–possibly where I’ve lived (I’ve moved around.) I am thinking of including stitching some of the "small things" of everyday life. I am not a designer, nor artist, but I find the more I do samplers, the more I want to leave my "own" behind. Anna Lynn This is a wonderful idea. I just read in Thea Dueck’s latest newsletter that she just led a class in learning how to design a sampler. Each class member worked on creating her own individual ideas. This sounds like an idea whose time to bloom is right now! — Nan
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This is kind of on this topic: I have an entire list of Sampler Symbols online — http://www.winonanet.com/mktplace/tvenette/symbol.html Have to go — the baby’s hollering! T
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I think this would be a great piece of personal history to pass on to our children and grandchildren and the ones that come after that. Of course we would only include the good and wonderful things we have done with out lives. They don’t need to know all the goof ups we have made in our lives. I would also include some info about my parents and grandparents because I know I am having touble finding the names of my fathers relative. He never talked about them and now that he is gone it very hard to find out all the information I would like to have. And I do have to say I didn’t get interested until I had a grandchild of my own. Now I want to have the history of our famliy for her and am having trouble finding all that I would like. Maybe I will design an own going sampler for her.
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There are some lovely samplers that were designed using all the fonts available on a Macintosh. http://www.wizard.net/~rnb/home.htm ako
Lovely site, but that’s not it. Does anyone still have them? We were passing the URL around a year or so ago… — Cindy Brown Cross-stitcher, quilter, designer, and cat-lover "My candle burns at both ends. It will not last the night. But ah, my foes and oh, my friends, It gives a lovely light!" – Edna St. Vincent Millay
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I think this would be a great piece of personal history to pass on to our children and grandchildren and the ones that come after that. Of course we would only include the good and wonderful things we have done with out lives. They don’t need to know all the goof ups we have made in our lives.
Although, don’t forget, if they have any wisdom at all, they will learn from our goof-ups and avoid making the same mistakes in their own lives. My mom and I have had a lot of discussions about things that show up regularly throughout generations of our family, and how if we don’t recognise them and change they will continue to do so. I would also include some info about my parents and grandparents because I know I am having touble finding the names of my fathers relative. He never talked about them and now that he is gone it very hard to find out all the information I would like to have. And I do have to say I didn’t get interested until I had a grandchild of my own. Now I want to have the history of our famliy for her and am having trouble finding all that I would like. Maybe I will design an own going sampler for her.
I have MLI’s "Mother’s Tree" that I plan to work up for my daughter, leaving space at the bottom for subsequent generations of mothers to be added. If/when I have a son, I plan to do the same, only as a "Father’s Tree." Perhaps you could do something similar to this, saying something about each person on the list as you go, like,"First midwife in Utah," or "Died in the effort to liberate France in WWII," or something like that? Lisa Richards
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As stitchers, I think it might be important for us to design our own personal samplers which might tell a story about us (if our samplers live that long <g). I’ve been giving it some thought and intend to stitch a "personal" sampler, probably with some family names and personal info–possibly where I’ve lived (I’ve moved around.) I am thinking of including stitching some of the "small things" of everyday life. I am not a designer, nor artist, but I find the more I do samplers, the more I want to leave my "own" behind. Anna Lynn
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Hi Ako, I vaguely remember seeing pictures of "tomato" shaped pincushions from the Victorian era so don’t think these red, round shaped pincushions are 20th century inventions. However, I’m not expert on old pincushions just an admirer of such sewing trinkets! So far, I only collect modern day pincushions! However, I love the idea of odd, unusual shaped pincushions and in the past, pincushions were really PIN cushions! Many of these tiny pillows were made with messages spelled out in pins arranged on the surface of the cushion and given as a friendship token or gift for a special occasion. If you’d like a little more info on pincushions and other needlework oddities check out this book from Dover originally published in 1928. Old Time Tools and Toys of Needlework by Gertrude Whiting ISBN 0-486-22517-8 As for contemporary sampler designers that stand out in my mind. I think Dawn Bradford of Sheepish Designs would be a good example of someone using old sampler motifs and ideas to create a whole new line of contemporary "old" looking designs as well as adaptations of some old pieces. Sandra Sullivan of Homespun Elegance, Mary Beale, Prairie Schooler and a host of other designers working in a similar vein of using old sampler ideas to create new samplers. I think it’s important too not to forget the old antique "classics" which can never be replaced as they are a link to our needlework past and stitchers continuing to make reproductions of such will keep the practice of samplers from becoming a dying or lost art in preserving the stitches and motifs. Our needlework heritage has gotten bigger since the first samplers were done and now we have our own repertoire of designs to add to someone else’s future needlework heritage! This is a good topic for discussion Ako and a very thoughtful question and comments on your part. Gave me something to think about while I was painting last night! — Lula http://www.woolydream.com Needlework Adventures – Hide quoted text — Show quoted text – It’s a bit off topic but i’m interested in the fact that our most popular pincushion is shape like a tomato. Is this a pretty new (20 century) thing? So which designer(s) do you think of as contemporary ones? I strongly think that creating and passing on *our* samplers to the next century is as important as reproducing the great antique needle arts from the past ( I tend to love the antique designs better though). Stitchers in the future would be thrilled to reproduce the works from late 20 century; that’ll be great I think =) Lula, thank you so much for your reply =) I really enjoyed your message. ako
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I think there are several things that will distinguish our samplers. First, we are the first to use synthetic fibers to such a large and varied degree. I know we had rayon from 19xx on but blending filament in all these colors, neon rays, wisper, all these things are all pretty "modern". And we have fabrics made of synthetics as well.
I was thinking about only the design but how true to check out the difference of fibers and fabrics. That’s so true. The last thing I can think of that we are contributing is modern fonts for lettering. Since fonts are being invented all the time, as we use these we date the earliest that our samplers could have been created.
I’ve read something about different fonts in different time period and in different part of the county. I’ve seen so many different types of motifs and fonts in those needleworks from the past and it seems that it’s hard to find ours. Perhaps it would be much easier for people in the future to find the significance of our works. After all, the time is passing slowly (even the life is too short!); things (culture and our way of life) would not change 180 degrees over night. Takes time to become the history I guess! Thanks Beverly =) ako
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There are some lovely samplers that were designed using all the fonts available on a Macintosh.
http://www.wizard.net/~rnb/home.htm ako
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One recent and still somewhat popular motif is the Sunflower being seen everywhere from fabrics, paper goods, pottery and more. Think of all those ubiquitous Ducks, Geese and Amish inspired designs of 10 years ago or so.
As you mentioned about sunflowers and ducks and geese i was going "Yea! that’s so true!!!" Along these lines is the "Country Look" still influencing designs with checked borders being another noticeable decorative element.
Perhaps tomato, cow, apple, chiken…etc? It’s a bit off topic but i’m interested in the fact that our most popular pincushion is shape like a tomato. Is this a pretty new (20 century) thing? Overall, I’d think some of the more original, contemporary designs of samplers will stand out as typical of needlework sampler designs stitched in the late 20th Century rather than reproduction sampler
So which designer(s) do you think of as contemporary ones? I strongly think that creating and passing on *our* samplers to the next century is as important as reproducing the great antique needle arts from the past ( I tend to love the antique designs better though). Stitchers in the future would be thrilled to reproduce the works from late 20 century; that’ll be great I think =) Lula, thank you so much for your reply =) I really enjoyed your message. ako
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I have a couple of question about samplers. There are many motifs used in samplers – acorns, bird, strawberry…etc. and I see those motifs in antique samplers (also in reproductions) which means they’ve been around for quite a while. My question is… have we created any new sampler motifs in our time ( late 20 century)??
What a wonderful discussion question! I think there are several things that will distinguish our samplers. First, we are the first to use synthetic fibers to such a large and varied degree. I know we had rayon from 19xx on but blending filament in all these colors, neon rays, wisper, all these things are all pretty "modern". And we have fabrics made of synthetics as well. The global combinations of techniques that we have now will probably also mark the late 20th century. Before global communication became so easy, I doubt you would ever have had a sampler combining hardanger, pulled thread, cross stitch, goldwork, blackwork etc all into one work, because the people that did hardanger didn’t really know about the use of blackwork (or whatever). The last thing I can think of that we are contributing is modern fonts for lettering. Since fonts are being invented all the time, as we use these we date the earliest that our samplers could have been created. I guess these aren’t exactly motifs, but they are things that may be used to date samplers to the 20th century in any case. Beverly - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – Department of Civil Engineering and Operations Research Princeton University Princeton, New Jersey, USA
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- Hide quoted text — Show quoted text – I have a couple of question about samplers. There are many motifs used in samplers – acorns, bird, strawberry…etc. and I see those motifs in antique samplers (also in reproductions) which means they’ve been around for quite a while. My question is… have we created any new sampler motifs in our time ( late 20 century)?? We do enjoy reproducing the historic samplers (and I do too) and the question comes back to me "what about the samplers from our time? something which represents beings in our time?" Some designers create "old style looks" samplers ( and I do enjoy those too!) using the old lettering and motifs…. but hundreds years from now, i wonder what people would think of the samplers created in late 20 century. Will they find something significant in our samplers to tell the differences from other time period? I have no idea what will stand in time and represent the out time (could be non sampler design as well); only people in future would know. I just started getting into samplers and I may have been ignorant about it…. but it is so interesting to me and i took a chance to post this!!! ako
There are some lovely samplers that were designed using all the fonts available on a Macintosh. Does anyone have the URL? I used to but it’s long gone… — Cindy Brown Cross-stitcher, quilter, designer, and cat-lover "My candle burns at both ends. It will not last the night. But ah, my foes and oh, my friends, It gives a lovely light!" – Edna St. Vincent Millay
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Yes, future art historians will generally be able to date many needlework samplers from this era easily, often by just looking at a piece because much of the needlework design of this time has been reproduced by many stitchers and pretty well documented by way of copyrights and published patterns. Like antique furniture styles, new reproductions of old furniture and other popular objects that have been reproduced through the years, I would guess the reproduction needlework samplers will have their own similar market values and collectors with the original antiques being out of reach for the average collector. It would also depend on how rare and original these designs might be along with the quality of the stitching and condition, like all collectibles. Popular art motifs will often crop up on all types of everyday objects through the years. One recent and still somewhat popular motif is the Sunflower being seen everywhere from fabrics, paper goods, pottery and more. Think of all those ubiquitous Ducks, Geese and Amish inspired designs of 10 years ago or so. Along these lines is the "Country Look" still influencing designs with checked borders being another noticeable decorative element. Overall, I’d think some of the more original, contemporary designs of samplers will stand out as typical of needlework sampler designs stitched in the late 20th Century rather than reproduction sampler adaptations due to the use of brighter colors, certain color combinations and the more whimsical motifs used such as the contemporary "primitive" folk art style that’s very popular at the moment like flying Rabbits, the prevalence celestial images of the sun, moon, star and many angel designs for example. Then you have the back to nature or eco-green influence with all sorts of wild life pictured in contemporary samplers along with popular garden motifs heralding the renaissance of gardening all across the US with inages of bee hives, knot gardens and so on. Generally, popular decorative elements, attitude and events of an era are often reflected in the contemporary needlework styles of the time. — Lula http://www.woolydream.com Needlework Adventures
My question is… have we created any – Hide quoted text — Show quoted text – new sampler motifs in our time ( late 20 century)?? We do enjoy reproducing the historic samplers (and I do too) and the question comes back to me "what about the samplers from our time? something which represents beings in our time?" Some designers create "old style looks" samplers ( and I do enjoy those too!) using the old lettering and motifs…. but hundreds years from now, i wonder what people would think of the samplers created in late 20 century. Will they find something significant in our samplers to tell the differences from other time period? ako
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I have a couple of question about samplers. There are many motifs used in samplers – acorns, bird, strawberry…etc. and I see those motifs in antique samplers (also in reproductions) which means they’ve been around for quite a while. My question is… have we created any new sampler motifs in our time ( late 20 century)?? We do enjoy reproducing the historic samplers (and I do too) and the question comes back to me "what about the samplers from our time? something which represents beings in our time?" Some designers create "old style looks" samplers ( and I do enjoy those too!) using the old lettering and motifs…. but hundreds years from now, i wonder what people would think of the samplers created in late 20 century. Will they find something significant in our samplers to tell the differences from other time period? I have no idea what will stand in time and represent the out time (could be non sampler design as well); only people in future would know. I just started getting into samplers and I may have been ignorant about it…. but it is so interesting to me and i took a chance to post this!!! ako
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– Hide quoted text — Show quoted text – Well, Petrose, you *did* get me to nibble on your bait in the Short Lists post, but I wasn’t able to really engage in an exchange about Xeriscape roses or rose tolerances, etc. (mainly due to various computer problems, which I have managed to circumvent). Now, I can see that in dealing with you, semantics are extremely important. You did throw in the modifier "thrive" after your initial post, so some of us jumped on that. "Grow" and "thrive" offer two different sets of criteria, I’ll admit, and we need to get our terms straight here. And I’m beginning to think that perhaps you have your own meanings for words and we may need to make our definitions more precise. Growing roses for exhibition purposes is really just one area of pleasure indulged in by rosarians. Even though this is *your* primary interest, you gotta acknowledge that many (dare I say *most*) people never intend to show a rose. They want them looking nice in their gardens and decorating their living rooms. Naturally, for these purposes they want healthy, vibrant, attractive blooms — but these adjectives can be applied to many roses that don’t *quite* meet exhibition standards. So cut us all some slack, Judge! I’m going to include a couple of quotes I came across since this thread appeared and disappeared — just for the sake of semantics: On the first page of the introduction to Climbing Roses Steve Scanniello writes (in reference to climbers): "Many are so rugged and disease resistant that they can thrive and produce spectacular blooms even when they receive no care at all." In your terms, this is a pretty radical statement. He says "thrive," "spectacular blooms," and "*no* care at all." His selection of cultivars is heavy on the antiques, but he includes plenty of modern roses as well. This guy *does* know what he’s talking about. Then there is no less than the redoubtable Tom Liggett in the recent American Rose Annual, discussing the SJHRG (a garden that you have raved about). Tom writes, "This leads into something that has become a huge part of my personal and professional philosophy as a rose grower and nurseryman; the establishment of realistic goals for the maintenance and appearance of roses and gardens. If we work too hard at growing roses, or any other fun pursuit, we will add to the stress of lives that today are already stress-filled. At that point, we might quit the hobby. What a loss that would be, both to ourselves and to the greater gardening world." I like Tom’s use of the word "realistic." Now, you’ve said, in so many words, in the past that people who don’t "care for their roses" (by your standards) might just as well not grow them — wasn’t there some crack about azaleas? Tom seems to think that this would be a loss and I agree with him. Then Sam offered a comment about how sad he feels to see neglected, tired roses in worn-out soil. I can’t agree more. I recently stayed in a motel that had roses planted in strips between parking areas and the soil was dust — thin, grey, dead. It made me itch to dump a few wheelbarrow-loads of manure on them and get busy with my secateurs. But, of course, I didn’t. I just averted my eyes and went into my room. There are lots of roses in the condition of these and I can’t save ‘em all. I am most definitely *not* promoting *neglect* of roses. But I *am* letting people know that they can find great satisfaction in their roses without being slaves to spray schedules, heavy watering, and other forms of the endless fussing that people often do with roses. With careful selection of varieties, they can grow ‘em in many places that wouldn’t be recommended as "ideal" for roses and be pleased with the results of their efforts. The roses that I recommend as "easy-care" are generally not HTs at all but are selected from the vast array of older classes and cultivars. There are roses and there are *roses*. I make an effort to provide my roses with a good place to grow — a site that is comfortable and suited to the individual plant, good fluffy rich soil, the "right amount" of water. I’m not interested in having a garden full of scraggly, unloved-looking plants — no more than you are. *But* (and here comes one of my big buts) I am also able to find intense pleasure in a rose that has a spot or two on a leaf or a flower that doesn’t quite reach the glory of a coffee table book photo. They smell as sweet.