Ex

Three Kings Day

The Feast of Epiphany or Three Kings Day on 6 January commemorates the visit of the three Wise men from the East to Bethlehem. They were led by a star and came to worship the newborn King of the Jews and to offer Him their gifts.

According a catholic tradition, children would go round the doors to sing carols. They dressed up like the three wise men and carried Chinese lanterns and a star on a pole.

On Dutch samplers, the scene of the three Kings was sometimes worked by the girls.  A perfect example is the pattern underneath taken from the excellent book of "Embroidery Motifs from Dutch samplers", published in 1974 and written by the late Mrs Albarta Meulenbelt.

1) Pattern on page 182, taken from a 1792 Dutch sampler.

More often, but not as often as the Spies from Canaan or Adam and Eve the sampler girls would simply leave out the third man, possibly for symmetrical reasons. Than it would look something like the image underneath. It was taken from the sampler IA 1772, which is momentarily on our website (our website) The two figures left do not wear crowns or royal costumes anymore.  In fact, they look like the children who would sing at the doors. However, were did the third figure go?

2) Detail of sampler dated 1772 with ' two Kings ' (Collection Ex Antiques)

Although not mentioned in the Bible, the three Wise men were given names. One of them, named Caspar was the black man or Moor who brought frankincense for the Redeemer. Every now and than, we see a pattern that might be Caspar all by himself or copied several times, but without his two companions. Please note the right arm. Should it not holding something, like a star on a pole?

4) Detail of Amsterdam sampler, dated 1823 (Col. Ex Antiques)

5) A large Amsterdam sampler by KS, Werk -en Leerschool 1823 (Col. Ex Antiques)

In our previous blog of a few days ago there was again the same figure. Often we thought that the black man pattern would refer to the slave-trade or colonialism, something the Dutch would be heavily involved with. Looking closely now, we can see a type of crown,  a sash and the arm holding on to nothing. This can only be Caspar!

6) Detail of Dutch sampler dated 1841 (see underneath for complete sampler).

Not unimportant, depending on were you live of course, the days are getting longer again after the sixth of January!

 

 

 

 

 

 

Happy New Sampler Year

On a day like this it can be good to look back. And what did I see ? That since september I have not updated my blog. Which is strange because there is enough material on our collective subject to share with you.

Of course,  on a day like this it can be good to look forward, into the New Year. That's what I do: I resolve to do more and better research on the Dutch samplers and to keep you informed. Promised!

To finish this year, you see underneath a unpretentious yet lovely possibly Amsterdam sampler from 1841. Happy New Year to you all!

Back from Germany

Most people were surprised to see the antique samplers on a arts and crafts fair. The more we stood out, the more it was appreciated. We would like to thank everybody again who were able to visit us a the stand. Hopefully we will come back next year. We even made it to the Neuer Osnabrücker Zeitung:

Newspaper article

Stickmustertuch HLK, zirka 1800

This fine German sampler we will take with us to next week fair Nadel und Faden 17. Messe für Textile Kunst und Handwerk in Osnabrück, Friday 16- Sunday 18 September. Wir freuen uns schon!

 

Annetje & Reimerich

It would be nice to have all Broek in Waterland band samplers on picture and on this blog. This time, I can add two examples, the first made by Annetje:

 
Annetie Muusdochter 1663, aged 11. Broek in Waterland

(Collection Open Air Museum Arnhem)

As you will see on these pictures and more to come, all 15 samplers look a like, yet are all quite  different. For example, although Annetje was reformed, she choose to stitch a large Maria in letters, the same for the Agnus Dei pattern in the middle. On other samplers the Maria symbol is less obvious or even absent, the Agnus Dei is on all of them.

One of the sayings which is uncommon compared to the rest and reads in translation:

O that the world to him would turn- To each himself would truly learn- And faults of others leave to them- the world would go much better then.

Next one is on most of the samplers:

How beautiful we flowers that nod, It is soon done if it please God. Trust not in good that will decay, but in the world that lives for aye*.

(*translation taken from "The Needlework of Marken', M.van Hemert 1943)

Reimerich Dircksdochter 1673, aged 11. Broek in Waterland.(private collection)

Ten years later than Annetje's sampler, Reimerich choose somewhat larger patterns like the rosettes, the mystic wine-press and the cross. This sampler proves that the tower, often seen as the bell-tower of Monnickendam or even Edam, can stand by itself in the 1670's, not only on the earlier examples. On both samplers the bands are practically the same and the dogs are still fighting...

Now, eleven more pictures to be put on the weblog. For reasons of research it would be great to get them all together, large and in color. I will keep you updated.

 

 

A group of 17th century Dutch samplers

Doing sampler research can be quite frustrating and is often not rewarded by great findings or breakthroughs. In particular, the earlier in time you search for information, the more difficult it gets. But than again, you will not have to read about it either.

There has always been a 'pressing' matter in Dutch Samplerland.  Possibly one of the most intriguing group of samplers in the Netherlands have had always an unknown or not clear origin. Now it seems that the enigma has been unraveled.

It was about time to gather all (Dutch) courage needed and get prepared to be days in the Waterland archives in Purmerend. Hours and days of painstakingly research to come, reading the eligible 17th century hand writings on birth, marriage and death and worse, perhaps doing all the work without any result. Or at least, with the only conclusion that you were on the wrong path. Well, not much of this was the case. What happened?

All the girls worked their sampler in an un-Dutch manner : they stated a full name, date en age. Being optimistic with  this wealth of information and being cynical about the origin of the samplers, and to be honest, walked on several wrong path before, this time strong result was needed...and that's what happened. It turned out that not Marken, as generally accepted, neither Edam or Monnickendam, but the small village of  Broek in Waterland is the source of this wonderful group of samplers!

These are the facts: There are 15 samplers known so far. A few others, maybe five might be from the same source. About half is kept in museums, the other half in private collections. The oldest sampler is dated 1640; the youngest 1689.; eight were made in 1670's.The youngest girls were nine years old, the oldest just eleven. All of them were born in Broek in Waterland, sometimes married and/or died in Broek.

Here are the girls:

1)  Trijntje Jans 1640

2)  Immetje Cornelisdochter 1652    

3)  Geertjen Cornelisdochter 1656

4)  Annetje Muusdochter 1663 (see picture in blog above)

5)  Aeltgen Maertesdochter, circa 1670 (see picture)

6)  Neeltje Jacobsdochter 1670

7)  Reimerich Dircksdochter 1673 (see picture in blog above)

8)  Aeltje Claasdochter 1673

9)  Claes Verlaansdochter 1674

10) Claesie Jansdochter 1674

11) Eechje Jacobsdochter 1678 (see picture)

12) Neeltje Mues Mars 1679

13) Lobbetje nanninghsdochter 1688

14) Aeltje Cornelis Corvers 1688

15) Grietje Albersdochter 1689

Distinctive patterns on all samplers is the tower/church, , the bands, pious text in gothic lettering and many others. All samplers are made with the finest silks on linen mostly in cross-, long-armed cross-, stem-and chain stitch. Average sizes 40 x 45 cm.

In a part II (and III ?) of this important group of 17th century samplers more details will be discussed. Satisfying research results should be shared, naturally. Don't you think so?

 

Eechje Jacobsdochter 1678, Broek in Waterland

 

Aeltgen Maertesdochter circa 1670, Broek in Waterland; a few samplers have only a tower, not the church. (Collecting Open Air Museum Arnhem)

 

Church and tower of Broek in Waterland. Flags were raised when we visited.

 

Next to the tower was the village school. Our girls did not go there. Probably they had a private teacher. Unfortunately, so far none of the samplers show any clue of a teacher.

 

Broek in Waterland is a rather picturesque village, just north of Amsterdam. In the 17th century, it was a very wealthy place. The swans are not on the samplers; they are still, however, in the fields around Broek. Lutherans used a swan as their symbol, as catholics used the cross and the reformed a rooster. At that time, Broek in Waterland was also called by way of a joke Lutherdam.

 

 

 

Fair coming up!

This is to let you know that this year we will attend the Nadel und Faden (Needle and Thread) fair in Osnabrück. It is mostly an art and crafts fair with a large variation of stands and merchandise. It is the best and biggest in Germany held from September 16-18, 2011.

Naturaly, we will bring a fine selection of our antique samplers and needlework with us. We hope that if you come to the event, you will visit us. You should find us in booth 94 on the first floor. We hope you can make it, until than!

 

Two more Pattern Darning Samplers, one with name!

In previous blogs we discussed the Crown-, Cock-, Rococo- and Pattern Darning samplers. Of the last type two wonderful pieces can be added to the list. Both still stand on their own.

The first is of particular historical interest because the initials of ES are known! This is the first time we have a name in this series. ES stands for Evertje Swaan who was born in 1752 in Maarssen. Maarssen is a small town along the river Vecht, just north of Utrecht. The river Vecht flows between Amsterdam and Utrecht and became in the 17th century the favorite location of well to do Amsterdam merchants who would built there their country-houses.

A little background of Evertje is also known. Her father was alderman in Maarssen. What we do not know yet is where the girl went to school. It is still likely that it was in Amsterdam (see previous blogs). Yet, speculating is allowed; perhaps Evertje went by tow-boat to her (semi-) boarding school in Amsterdam, maybe back and forth a few times a month. Or could this group be from a school in Maarssen?

 
ES ( Evertje Swaan) 1765 (Private collection)

Evertje worked the wonderful big rose, a crown imperial and a peony as worked on some of the other samplers and seen on contemporary damask.

Underneath, the sampler has the uncommon combination of a ' regular- 'and pattern darning sampler. The rather large sampler made by MB in 1770 contains maybe the most hours of work of all described samplers so far. You can see why. Obviousely the sampler was very good preserved by careful owners. The girl could choose the finest and most colorful silks. The result in 1770 is still about the same as we see it now 241 years later.

 
MB 1770 (Private Collection)

More findings

In our search for more pieces belonging to the group of Crown-, Cock-, Rococo,- and Patterndarning samplers we found a few others. The one that really stands out is the Pattern darning sampler, a fantastic piece of art made by WLK in 1783. In a previous blog (Crown sampler with cockerels) WLK was the girl who made a Cock- and Crown sampler. The last one was worked in 1782, the two others both in 1783. Quite a production, and probably there is another Rococo sampler somewhere made in that same year. About the sequence of the samplers we know for sure that the Crown sampler came first and the Pattern darning sampler came last. Possibly the Cock sampler came second and the Rococo sampler was the third piece these girls wood make.

WLK 1783 (Private Collection)

Due to the ongoing digitalising of the museum archives we found another sampler in the Amsterdam Museum ( http://collectie.ahm.nl/brief.aspx...search for merklap or stoplap) that fitted right into the group.  It is a crown sampler, although this time more cartouches than separate crowns were practised. The girl worked so many different patterns but was not able to completely finish it; it is not signed nor dated.

Not signed, circa 1780 (Collection Amsterdam Museum)

The last one we found for now was made by ED in 1783. It is still a loner, but maybe it can linked sometime to other samplers. The resemblance with for instance WLK 's sampler is obvious; same material, same composition, almost same patterns, same school! But which one?

We keep searching! If you find any, please let us know.

ED 1783 (Private Collection)

Four more cockerels...

There are four more 'Cock samplers' we want to show now. Two are possibly well known, since they were published before in two books, the other came from our own archives, the Ex files.

Interesting is to set the date. The earliest was made by AMDP in 1768, the latest was worked by RT in 1800, meaning at least a span of 32 years in which this kind of samplers were made. Here they are, the oldest first, the youngest last.

AMDP 1768 (Private Collection)

Striking are the vine tendril  borders, very uncommon on Dutch samplers. The large roses in pots indicates Amsterdam provenance as well. They are seen on most Cock samplers.

 
FW, not dated, circa 1790 (Private collection)

The sampler shown above was on the front page of the booklet by the late Mrs Schipper-Van Lottum, "Merk-en Stoplappen". It is a book on schoolwork of Amsterdam girls. Here you see the variation with a large gate instead of the building.

MED 1799 (Private Collection)

Curiously, the girl MED signed and dated her sampler backwards. Interesting are this time the peacocks, which are similar to the one on IVS 1792 (see previous blog). The sampler was first published  in " Stickmustertücher " by the late Eva Maria Leszner, page 77.

 

RT 1800 (Private Collection)

The sampler above, made by RT in 1800 is so far the youngest Cock sampler we found. Again with a large gate and pagode pillars, the Lion holding the seven arrows symbolising the United Dutch Provinces and as an extra, deers in each bottom corner.

Hopefully more to follow...