Needlework and Art
Needlework is one of the most personal expressions of mourning art, and this is due to the lack of a mainstream industry surrounding it. Pieces were constructed in the home, making their sentiments genuine and heartfelt, unlike the established memorial cards whose biblical verses and poems were already chosen. Being an primary part of the education of young women, weaving and needlework are essential in the personal creation of mourning items, specifically samplers and their evolution1. Indeed, it was in the final exams at Dame School where samplers were tested, often taking a year to create2.
Many of the techniques had their origins in Europe (England and France) with quite advanced stitches. Metallic, silk and chenille’s are all common materials found within a piece of quality. As written by Olberding, US mourning samplers involve more crewel work than cross-stitch, with some of the stitches being tiny long-and-short and chain stitches that give the appearance ofengraving. Some of the backgrounds were painted instead of stitched and many silks came from China and fibres from England or France.
As the base fabric, velvet, silk or linen were incorporated. Designs were then put onto the base fabric (often by an instructor) while the students would fill in the lines and choose colours and threads with guidance.
When looking for styles in construction of samplers, DeLorme describes these techniques; "the simple cross stitch, most commonly employed in a young girl's first sampler, was later to include satin stitch, French knot, running and outline stitches, seed and bullion, couching and crewel.3" Mourning samplers with water colour painting in the piece, as well as coloured silk, wool, or chenille thread on silk or satin background are also prolific, according to DeLorme4.
America, from around the 1780s inherited much of the needlework technique being done in Europe, and as a largely puritan society, their samplers reflected much of the neoclassical symbolism of their time. American and European samplers still quite easy to source due to the practicing of folk art. Much like the hairworking industries, needlework is area specific and different areas reflect different work. Something in regional Germany may display quite different techniques than an English piece of the same time. At its core, however, the prerogative of the stitching and content are at the creator’s whims. Often religious symbolism is displayed in samplers, and with death as the constant in mourning samplers, religious motifs are not unusual. They hold a powerful connection to the upbringing of a person within their household and the beliefs of a household and community, hence anything from the alphabet to heavy symbolism are employed.
In this piece from 1786, there the powerful image of the urn and the strength of neoclassical art. It’s age declares it as piece which has little precedence, whereas a piece from ten years later has more ground to build upon, from an aesthetical standpoint. The depiction of the tree and the shading to the urn is incorporates some remarkable stitching as it is organic enough to be considered a drawing rather than stitching.
| Courtesy: |
Barbara Robbins |
| Dedication: |
To the Memory of Mr. John Crompton, Aged 21
"In truth sincere, in disposition kind,
With such unfeign'd humility of mind,
His talents great, his manners were demure,
His sense refin'd, his conversation pure.
His friendship lasting, was with east retain'd
For in his bosom, friendship's precepts reign'd,
But more than this, his Piety was true.
-"His study duty," virtues found in few.
Such was Crompton. Within whose youthful breast,
The deeds of vice, ne'er had their wonted rest.
But Heav'n was pleas'd to stop the fleeting hour.
And blight the fragrance of the opening flower.
We mourn. But not for him remov'd from pain.
Our loss we trust is his Eternal gain.
Like him we'll stirve to win the Saviors love.
And hope to join him with the blest above.
Sarah Holt 1797 |
This remarkable sampler above and the following two show the evolution of the sampler form. Over the period of 1780s to 1914, the samplers evolved in their construction, but the techniques and motifs behind them tend to be based upon the same ideal. Above, the floral weaving arrangement as a border with the alphabet don't show any particular mourning motif, but the inscription on the above sampler resonates as a personal expression for the loss of a loved one.
| Courtesy: |
Barbara Robbins |
| Dedication |
"John Babbington Who Died April th'18 1834 Aged..."
Affliction sore long time he bore
Physicians were in vain
Till God did please to give him ease
And free him from is pain
Why do ye mourn departed friends
Or shake at deaths alarms
Tis but the voice that Jesus sends
To call us to his arms
Go home dear friends and sheed no tears
I must lie hear tll Christ appears
And when he comes I hope to have A joyful rising from the grave
Ann Babbington her work done in the Blue coat charity school Birmingham
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The simplistic nature of this piece from 1834 is a wonderful example of needlework and symmetry. From Birmingham, Ann Babbington has done a wonderfully iconic and simple stitching to achieve a heartfelt memorial. The lines “Affliction sore long time he bore / Physicians were in vain / Till God did please to give him ease /And free him from is pain” this unique rhyme is so wonderfully special to Ann in her stitching that it elevates the piece into something unlike any other.
| Courtesy: |
Barbara Robbins |
| Dedcation: |
John Fisher Rimington their son Died July 5 1811 at Long Bennington Aged 1 Day
Hugh Rimington their son Died October 20 1820 at Coddington in the County of Nottinham Aged 7 months
Robert Rimington Son of Thomas and Sarah Rimington of Long Bennington in the county of Lincoln Died June 11 1810, Aged 1 Day
"This thought shall stop the falling tear
For you a God was crucified
Ye fell in peace my children dear
In pangs your great Redeemer died
That thus ye Tell I'll praise that God
To Whom no prayer is breath'd in vain
You felt no proud Oppressors rod
Nor haughty Tyrant's galling chain."
Thomas Rimington
Sarah Rimington Bechingham, 1840 |
Dating from seven years ahead of the previous sampler, this English piece from 1840 has motifs that are more common with the sentimental type of its time. More unique is the dedication to three people on the same sampler, which makes this a family history piece as well as a dedication. The three children whom the dedications are written for are one year, one year and seven months respectively. Each is a different infant mortality within the family, with the sampler being dated twenty years after the death of the last child. The simplicity of the piece in its use of two colours and geometric, angular column / urn shapes display this piece as being very bold in its design.
| Courtesy: |
Barbara Robbins |
| Dedication |
"In Memory of The Late Matthew Preston O Departed
This Life June 1 1843 Aged 3 Years
death has been here
and borne away a
brother from our side
Just in the morning
of is life as soon as
When he died"
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Just using the text, this sampler is a charming statement from a sister to a departed infant brother. Miss Preston, who created this piece may not have been terribly old herself, but her poem shows signs of a mature woman’s grief for her brother.
Colourfully styled and showing practice in the use of the needle, this piece shows a wonderful rendering of the plinth and willow. By the mid 19 th Century, the neoclassical art that was so popular had been eclipsed by other styles and what remained were more stylised concepts than the organic neoclassical depictions of the late 18 th Century. This can also been seen in the jewellery of the time, pieces that still retained symbolism in favour of bold statements are more inclined to have less symbolism and greater formal styling.
| Courtesy: |
Barbara Robbins |
| Dedication |
"In Remembrance of a beloved Father / He little warning did me give But
Quickly Called to my Grave O Haste
To Christ make no delay For no one nose
there Dieing day. 1858 / "J H," it is signed, at the bottom, "A H."
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From 1858, this sampler is shows mature and experienced stitching. The two trees bow down to the women mourning next to the plinth and urn, with flowers and the depiction of a bird (possibly a parrot) directly in the centre. As well as the design, the personalisation of this piece in that there are two daughters (one possibly a wife) in the frame weeping is an extraordinarily nice touch to a very sentimental and well executed piece.
Being a later piece, this sampler lacks formal design and opts for a flowing leaf and flower pattern. The photo itself is shows that the age is later, but the skill it is executed with is quite elegant.
| Courtesy: |
Barbara Robbins |
| Year: |
May 18th 1886 |
| Dedication: |
In Loving Memory of John Smith Who died May 18th 1886
Aged nine years and one month
Not Gone From Memory
Not Gone From Love
But Gone To His Father's
Home Above.
He is not dead but sleepeth near |
The open weave of this piece and the bold type make it very plain in its way, but it follows its form well with the frame. Simplicity becomes more and more common as the samplers evolve, as can be seen in the earlier, more elaborate pieces with full memorial scenes. This favours a simple symbol and text.
| Courtesy: |
Barbara Robbins |
| Year: |
1892 |
| Dedication: |
In Loving Memory of Clara Edith third daughter of W & E Williamson Who died at Swineshead Oct 21, 1892 Aged 16 Years
A dear one from the household gone.
Her voice we loved is stilled.
A place is vacant in our home
That never can be filled.
She's on her Saviour's bosom laid,
And feels no sorrow there.
She's by a Heavenly Parent fed,
And needs no more our care.
Interred at Sedney or (G)edney
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Much like the piece from 1886, this piece from 1892 is far superior and shows a very experienced hand in the layout and construction. Its balance with the frame is exceptional and the positioning of text is superb. This follows the form more common with the latter half of the 19 th Century in its simple, bold, formal style, though is no less more attractive.
Set in its original English Oak frame with a metal backing, this superb sampler raises a lot of questions about its creation and function. Originating in the Finchley Cemetary outside of London, it gives a heartfelt poem to Mary Coleman from her child (presumably daughter, if in fact created by her). However, this piece also has the number of the grave written in needlework on the bottom and the cemetery name. Questions from this arise as to its original function; was it made to be used at the cemetery mausoleum (given its metal backing), or was it a household memorial that provided extraneous information? Either way, the piece is devoid of graphical embellishment and very prominent with its text, which isn’t unusual for samplers of this time, hence not indicating it being a marker specifically. A beautiful and proud piece, it’s very heartfelt and sentimental in its personal nature.
| Courtesy: |
Barbara Robbins |
| Year: |
1904 |
Dedication
Loving Rembrance of Our Dear Daughter, Mary Urbas, who died, April 7, 1904, aged 2 years and 9 months
Gone, But Not Forgotten
We had a little treasure once,
It was our joy and pride;
We loved it, ah, perhaps too well,
For soon it slept and died.
All is dark within our dwelling,
Lonely are our hearts to-day,
For the one we loved so dearly,
Has Forever passed away.
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Made for the young Mary Urbas, this piece was a purchased and tailored (possibly by the funerary arranger) to accommodate her image. The poem, much the same as grave inscriptions, was chosen by the family from a series of poems as was the artwork. The frame and the artistry of this piece is a testament to the art of the early 20th century, as this was the standard for funeral art. Its frame is original (with corner embellishments) and its symbolism from the angels to faith, hope and charity are exquisite.
| Courtesy: |
Barbara Robbins |
| Year: |
1914 |
Dedication |
"In loving memory of our darling boy Thomas Holden
Who died Feb 11 th, 1914
Aged 14 years.
"A lovely child a father's pride a mother's hope with tears of love
For we were constant by his side till he was call'd to heaven above
Deeply Mourned
To Aunty From Edith |
From 1914, this piece shows the great difference in style from the previous century. In many ways, it is more naive, though has the symbolism of the anchor and cross. Use of ribbons in this piece may have been a personal preference by the weaver, but that shows just how unique these pieces are. The formal style that was popular not long before (and still popular at the same time as this was produced), is simply not used because of the personal nature of the piece and its defiance of external stimuli.
A marked change from the earlier funerary symbolism can be seen with this piece, so a softer, more gentle ‘heavenly’ approach, showing cherubic angels and very soft colours. This style still exists in different shapes and forms today in funerary art. The needlework in this piece is an excellent example of design and colour usage to present a well-balanced and professional piece. Notice the fine detail and dimension to the angels and flowers, which work incredibly well with the needleworked text.
Post mortem sketches like this one are a reflection of the personal decision of the family rather than being a popular device of the memorial industry. Being a popular curiosity and industry in its own right, post mortem photography was quite common in the United States and to a lesser extent Europe. Sketches, however, can be produced by the family for the family (in the same way as a sampler) or commissioned, but was not as popular as its technological counterpart. Pieces like these are rare and unique memorial items.
Wreaths can be an exceptional symbol of love from the family unit, often constructed with the hair of the entire family. The simple nature of the weaves and the size of the pieces make them memorials that could be constructed at home, much the same as a sampler. They can relate to being a form of folk art, as they are culture specific and each is unique to its own family. Frames range from the naïve to the opulent and the hair artistry can be as simple as weaves of hair into primitive flowers or rich bouquets involving several colours of hair. Sentimental words can also be found in hairwork wreaths, with the statement being the popular memorial of the time (such as ‘in memory of’). Wreaths did transcend the family unit, however, as professional weavers could be commissioned to produce a hair wreath. These would be displayed in the home, affixed to a wall or on an easel. This particular wreath shows a great depth in the kinds of hairwork, the fine work to the flowers and its organic design.
