Early Victorian
Circa 1839 & 1841 | Scotland
It is exceedingly rare to find a pair of antique early Victorian samplers. These were worked by Mary Ann Clarkson. The samplers are possibly of Scottish origin due to the stylised lettering (see The Gen) and the old label on the verso of the frames is for John Mathieson & Co., Edinburgh.
Alphabet sampler
The alphabet sampler of 1839 was worked by Mary when she was 11 years old. It’s inscribed “Mary Clarkson aged 11 years 1839” with the “s” charmingly incorrectly worked in reverse. It has a double border of red and strawberry vine, a style which is replicated in the later sampler of 1841. Within the border we find a double alphabet worked in capital letters, followed by numbers and then large letters—each row being separated by a different decorative line.
The sampler is worked in a range of stitches in wool thread on a linen ground.
Band and Building sampler
The band and building sampler (see The Gen) of 1841 was worked by Mary when she was 13 years of age and we can see her development as an embroiderer. She has filled this highly individual sampler with as many motifs as she can to exemplify her talent.
It is bordered with strawberries to the top and bottom and upper- and lower-case alphabets to the sides. From the top there is a row of different crowns and what appear to be a collection of family initials below them. This is followed by additional rows of possible family initials. We then have “Mary Ann Clarkson, aged 13” stitched in an unusual manner by using two colours of wool, green and red, to create the cross stitch.
We now come to the bottom band of the sampler which contains a verse with a charming spelling error on the fourth line! Below the verse appears a Georgian house with a red bird on the roof. The house is surrounded by an array of spot motifs including roses; flowerpots; a woman and man; lions; two giant vases, one containing perhaps a pomegranate tree; diamonds; and finally there are two small, but beautiful, hearts.
This is an absolutely exceptional sampler worked in a range of stitches in beautiful wool threads of vivid reds, greens, browns, blues, pinks, yellow, lilac and black on a linen ground; the colours as vivid today as they were almost 200 years ago when it was created.
SIGNATURES, MARKINGS & INSCRIPTIONS:
Alphabet sampler
Mary Clarkson aged 11 years 1839.
Band and Building sampler
Mary Ann Clarkson aged 13.
The Lord my pasture shall prepare,
And feed me with a shepherds care,
His presence shall my wants supply,
And gaurd me with watchful eyes,
My noonday walks he shall attend,
And all my midnight hours defend (see The Gen).
DIMENSIONS: Band and Building sampler Frame 48 x 35 cm, Visible sampler 45.5 x 32.5 cm. Alphabet sampler Frame 47.5 x 35 cm, Visible sampler 45 x 32.5 cm.
CONDITION: Both samplers are in excellent original condition retaining exceptional original colour. No evident restoration.
REFERENCES: For an example of a sampler with similar motifs see Victoria & Albert Museum, Accession Number B.545-2016 and for a sampler with coronets see Accession Number B.543-2016.
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THE GEN
“The most unusual and outstanding characteristics of many of the Scottish samplers is their beautifully embellished letters. Although this lettering provides a quick way to identify Scottish pieces, other characteristics typical of the region also offer clues. Because of the fanciful stitching used in the lettering, these samplers are visually quite appealing and highly collectible. Fewer of them exist than English pieces of the same period, which is not surprising considering Scotland’s smaller population base.” (Millers Samplers: How to Compare & Value, Stephen Huber, Octopus Publishing Group, 2002, p. 70)
“Typically, this sampler format consists of bands at the top, a cartouche with verse and possibly name and date in the centre, and a lower third that is dominated by a large country house and garden. The entire sampler is usually peppered with small motifs of birds, animals, trees, figures, crowns, and other designs. All such Scottish samplers are bordered, most commonly with an arched strawberry design. Scottish band and building samplers have a great appeal and are widely collected.” (Millers Samplers: How to Compare & Value, Stephen Huber, Octopus Publishing Group, 2002, p. 68)
The Lord My Pasture Shall Prepare was written by Joseph Addison who was born at Milston, near Amesbury, Wiltshire, May 1, 1672, the son of a clergyman. He was educated at the Charterhouse, and at Magdalen College, Oxford. Addison was an English essayist, poet, playwright and politician. He founded The Spectator with his friend Richard Steele. This poem was published within its pages on July 26, 1712. He married, in 1716, the Dowager Countess of Warwick, and died at Holland House, Kensington, June 17, 1719, and is buried at Westminster Abbey. In a tribute to him it was said “As a man, he may not have deserved the adoration which he received from those who, bewitched by his fascinating society, and indebted for all the comforts of life to his generous and delicate friendship, worshiped him nightly, in his favourite temple at Buttons. But, after full inquiry and impartial reflection, we have long been convinced that he deserved as much love and esteem as can be justly claimed by any of our infirm and erring race … ” (“Essay on the Life and Writings of Addison”, Essays vol. V, Hurd and Houghton, 1866)
Mary Ann most likely found the verse within Reverend Isaac Watts songbook, from which most of the favourite verses for samplers were taken, as it was published some six years before she completed this sampler. It appears as Hymn 92. L.P.M. Devotion The Christian’s Shepherd by Addison. (The Psalms, Hymns and Spiritual Songs of the Rev. Isaac Watts, Crocker & Brewster, 1835, p. 564)
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