Sampler worked by Mary Ann Sebire at age 11. Eldest child of Henry and Martha Sebire.Embroidered Sampler with letters of the Alphabet and words. Cream mount in a wooden frame.textile samplers

Made by Martha Sebire (nee Rihoy) in 1849 in Guernsey, and brought to Australia by her circa 1850's.Cross-stitch sampler, framed in gold and wooden frame with glass cover."Martha Rihoy aged 13 years april 4 1849 Guernsey"textile samplers

non-fictionAnnemieke Mein will have her first solo exhibition in Melbourne in nine years at Artspace from 11/07/2025 - 30/08/2025mein annemieke, artspace, textile art

These items were made as samplers either at school or most likely college. They are samples of embroidery stitches, seam types and sewing and knitting techniques.Nos 1-16 are group of samplers made from cotton lawn, cotton with sateen weave and flannel and made by Ruth McGannon. No 17 is a pair of gloves made by Margaret Russell. .1) A small square of yellow lawn with three horizontal rows in blue thread and three vertical rows in red thread of running stitch each 3.5 centimeters apart. The edges are frayed to 1.2 centimeters. .2) A larger rectangle of yellow lawn with three horizontal rows 7.8 centimeters apart and three vertical rows 10 centimeters apart of long stitch, stitched in blue thread. The edges are frayed to 2 centimeters. .3) A small square of yellow lawn with three horizontal rows and three vertical rows of blue thread of running stitch, each 1.9 centimeters apart. The edges are frayed to 1.5 centimeters. .4) A larger rectangle of yellow lawn with three horizontal rows 9 centimeters apart and three vertical rows 11.2 centimeters apart of running stitch, stitched in red thread. The edges are hemmed with two rows of long stitch .5 centimeter apart with a loose blue thread of laced running stitch weaving in and out of the red long stitch. .5) A rectangle of hemmed yellow lawn with a pocket formed at each end. Two rows of long stitch in red thread hem the edges with a blue thread stitched between each red stitch. The pockets are formed by turning back the edges and stitching them down in brown thread. R.M. is embroidered in brown chain stitch on the right side. .6) A rectangle of hemmed blue lawn the same as the previous piece but with five rows of back stitch in yellow and orange thread creating a pattern. .7) A rectangle of blue lawn with the top and bottom edges hemmed with two rows of long stitch close together in yellow and orange. The other two edge are frayed to 2.5 centimeters and has four rows of long stitch .7 centimeter apart in yellow and orange thread. .8) A blue lawn bag with two packets was made by hemming a rectangle of fabric on three sides in long stitch with orange thread, then yellow thread between the stitches. The fourth side is hemmed in hemming stitch in yellow thread with blanket stitch in yellow thread along the edge. This edge is folded up by one third to create a pocket. The edges on either side are stitched together. A row of chain stitch in orange thread is stitched down the middle to create two pockets. A tape is stitched to either side at the top and this is folded over the pocket. .9) A cream cotton with sateen weave rectangle is hemmed with a double row of orange thread in long stitch. On both sides is embroidery in orange and yellow thread. .10) A yellow cotton with sateen weave baby's bib is made from a rectangle of fabric with a semi circle cut out of the top. The edges are turned and hemmed with a narrower turning on the neck. A tape is stitched at either side of the neck. On the front is embroidered a train in blue and yellow threads. .11) A yellow lawn embroidery sampler using blue and brown thread shows long stitch, stem stitch, herringbone stitch, chain stitch, fly stitch, lazy daisy stitch, cross stitch and satin stitch. It is hemmed using drawn thread work and the bottom is scalloped and finished in blanket stitch. .12) A pink lawn embroidery sampler with green thread shows herringbone stitch, stem stitch, running stitch, chain stitch, cross stitch, lazy daisy stitch, fly stitch, feather stitch, satin stitch and back stitch. The bottom is scalloped and finished in buttonhole stitched. The other three edges are hemmed using drawn thread work. .13) A small cream flannel square with two smaller squares are stitched together down the middle in decreasing sizes using chain stitch. The largest piece is hemmed using both herringbone and a decorative blanket stitch. It also has a run and fell seam on the opposite side using both running and herringbone stitches. A row of feather stitch is on either side of the seam. The two smaller squares are frayed on the edges. .14) A cream rectangular flannel sampler has two seams along the length. One is a run and fell seam using running and herringbone stitches and the other is an open seam using running stitch and both edges are stitched down with herringbone stitch. The two shorter edges are bound and the longer edges have a tape which is stitched down to neaten the edges. On the right side are two rows of feather stitch. .15) This blue lawn apron has a rectangular gathered skirt which is attached to a waistband and in turn attached to a bib front which goes over the head. The bib and skirt sides are hemmed using decorative blanket stitch in pink and dark blue thread. The skirt hem and both sides of the waistband are stitched in two rows of herringbone in pink and dark blue thread. .16) This pale pink lawn child's shirt has french seam side seams, a waist band to which the shirt is attached using slight gathering. The sleeves have cuffs. There is a front facing and a collar and there is a small pocket in the left hand breast. .17) These yellow knitted gloves are made using plain stitch for the hand and rib for the wrist.Written on paper and stitched on to a couple of items - Ruth McGannon V.3 - 312 Written on paper and stitched to the gloves - Margaret Russell x No2embroidery, sampler, gloves, stitches, sewing, knitting, apron, costume, needlework, dressmaking, textiles

A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills learnt by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream cotton sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), inserted patch, buttonhole, button, gathering, a gusset, frills, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L L/1897flagstaff hill maritime museum and village, warrnambool, shipwreck coast, needlework, textiles, plain sewing sampler, darning sampler, handwork, sewing, great ocean road, susan henry oam, vedmore trust, hand sewing, sewing techniques

A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry nee Vedmore (1944 - 2021). Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills needed by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream flannel sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), darned patches, inserted patches, pleats, buttonholes, buttons, a gusset, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L.L. / ?? Yr 1897flagstaff hill maritime museum and village, great ocean road, warrnambool, sewing, plain sewing, sewing sampler, plain sewing sampler, darning sampler, hand sewing, textiles, susan henry oam, vedmore foundation, sewing techniques

A school sampler from the 1930's, demonstrating a mastery of numerable sewing skills: Buttonholes- both bound;6 bound buttonholes. Button loop fastening 17 rouleau loops. Seams: Plain flat seam, machine stitched-part neatened by hand, and part neatened by machine. An overlapped flat seam-machine stitched. Fasteners: Press-studs (3) Buttons (4) shanked and f;flat. Metal hook-and-eyes (3), one eye hand stitched, all attached in buttonhole stitch. Pockets: (2) Machine stitched. Collar: (1) Rounded ''Peter Pan"" collar, with bound placket opening, one pearl button, and hand stitched loop. Facings (3). One square, one round, one Vshaped. Pintucks: 4 machine stitched pintucks.textiles, domestic, school needlework sampler 1930's

Embroidered by Edna Wark in 1980.One of two samplers showing Burden stitch. The embroidery is in a leaf shape with gold thread couched (Burden stitch) with a different shade of purple. Mounted on purple velvet.goldwork, embroidery, samplers, 1960-80, australia, metal thread

Originating from the Dutch province of Friesland, these samplers served as a way to practice and record various stitching techniques. Household linen was embroidered with initials to identify items after washing and draped in fields to dry. Fries sampler in the traditional style with multiple alphabets and traditional motifs, worked in silk threads on approx. 32 count linen. Worked selvedge to selvedge with top and bottom hemmed. Consisting of 4 sided stitch, cross stitch and eyelet stitches. In pale/faded blues, greens and beige.K.D. 1713-1714

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on backembroidery, sampler, england

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on backsampler, embroidery

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on backsampler, embroi, embroidery

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on backsampler, embroidery

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on backsampler, embroidery

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on backsampler, embroidery

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on backsampler, embroidery

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on backsampler, embroidery

Sampler. South Australia. Plymouth.Child's cross stitch sampler. Six decorative cross stitch borders, followed by alphabet in upper case with 2/3 of each letter and numbers1 to 15. Second row of upper case alphabet with numbers 16 to 20. Two rows of lower case alphabets followed numbers 1 to 6. A religious verse and the name and date embroidered beside a simple cross stitch tree. Worked on coarse beige linen in medium and dark blue cotton thread. Hemmed on three sides and selvedge on left hand side."Ashamed of Jesus! Yes I may When I've no crimes to wash away No tear to wipe no joy to crave No fears to quell nor soul to save" Harriott Stattaford Her work Finish'd September the 18 1810 Aged 10 Years

Samplers served as both a learning tool and a showcase of a young girls skill in needlework, literacy and numeracy.Sampler with floral border surround. Multiple rows of uppercase and lower case letters with numbers 1-11. Separated by rows of geometric and floral patterns. A row of Crowns, each has an initial above to indicate the title eg. K for King, D for Duke. Embroidered in Cross and half cross stitch in greens, browns with a small area of red stitching.Anne Fletcher 1841 " Sigh not for beauty nor languish for wealth But grant me kind providence virtue and health Then richer than kings and more happy than they May my time be spent sweetly and swiftly away"

Samplers served as both a learning tool and a showcase of a young girls skill in needlework, literacy and numeracy.Sampler with floral border surround. Rows of alphabet and numbers embroidered in red four-sided stitch. Brown alphabet embroidered in eyelet stitch. Separated by rows of ornate patterns. Religious verse in dark brown surrounded by vases of flowers and floral motifs.Beathea Jannett Dickenson her work finished in the ninth year of her age 1840 " Jesus permit thy Gracious Name to stand As the First effort of an infants hand And while her fingers oe'r the canvas move engage her tender heart to seek thy love With thy dear children let her share a part And write thy Name thyself upon her heart"

Designed and worked by Mrs H.S. Williamson.These pieces show the use of different materials (even weave linen, fine linen and very fine linen) threads, stitches and designs suitable for ecclesiastical use. Fine linen - surface stitchery, vine and grape motif, plain edging.embroidery, counted thread, surface stitchery, whitework, ecclesiastical, 1980-2000, england, samplers

Designed and worked by Mrs H.S. Williamson.These pieces show the use of different materials (even weave linen, fine linen and very fine linen) threads, stitches and designs suitable for ecclesiastical use. Very fine linen - surface embroidery various cross motifs, decorative hem finishes.embroidery, counted thread, surface stitchery, whitework, ecclesiastical, 1980-2000, england, samplers

Sampler worked by Rose Alice Taylor and finished in 1902. This sampler consists of 14 panels demonstrating embroidery and dress making techniques, joined with strips of knitted lace and backed with pale green satin attached with feather stitch.Rose Taylor Aged 11 St. Thomas' G. School, Portman Square, June 1902embroidery, samplers, knitted lace

Mrs Ethel Webb embroidered this in the 1940's. One bedspread is in the Power House Museum in Sydney. The bedspread design was designed by Mrs Webb using motifs from various sources. She died before she completed the piece.This is the last of six bedspreads embroidered by the donor's mother, Mrs Ethel Webb in the 1930's and 1940's. One bedspread is in the Power House Museum in Sydney. The bedspread design is stitched in cross stitch on cream linen. It was designed by Mrs Webb using motifs from various sources. She died before she completed the piece.Mrs Webb's eldest daughter embroidered her name and date of death on the top, the whole piece looks like a large cross stitch sampler.embroidery, cross stitch

Sampler worked by Jane Sutherland in 1852 in Scotland, just prior to her migration to Australia in 1855. The sampler house not believed to belong to the family. Family history in Collection archives. The first lines quoted are the opening stanza of a metrical psalm written by Isaac Watts (1674–1748), a prolific English hymnwriter. It is his adaptation of Psalm 1 (The Difference between the Righteous and the Wicked).Sampler worked by Jane Sutherland in 1852. Piece embroidered in wool on linen in a variety of colours and in cross stitch. Design has trees and plants and a large house. Also has eyelets and satin stitch. Some stitches redone by donor's sister."Happy the man whose cautious feet, shun the broad way that sinners go, Who hates the place where atheists meet and fears to talk as scoffers do" Thess. 5 Chap 16 to 17 verses "Rejoice ever more, Pray without ceasing" Romans 8 Chap 31 verse "If God be for us, who can be against us" Jane Sutherland worked this sampler 1852 embroidery, sampler, scotland

Worked by Hester L. Fairlie Hopkins 1936 probably as a sampler, at the Royal School of Needlework.Double sided embroidered banner, cream linen stitched in silk and gold metal thread. Crown at centre top, above red scroll, incribed 'Cheshire 89' to one side of crown and 'IV' on other side. Silk oak leaves and acorn in one lower corner, silk roses and foliage in other corner."Cheshire '89" and "IV"embroidery, sampler, banner, silk & gold thread, england

Made by Hester Fairlie, aged 9 - donor.School sampler. Cream/beige linen hemmed sampler, with buttonhole, button, hook fastening, darning, patching and embroidery stitches in orange and aqua threads.Hester Fairlieembroidery, sampler

Small sampler on natural linen. Cross stitch in grey thread. Design is a simple alphabet and numbers. Three sides are hemmed and one end is selvedge.E Smart 1809embroidery, sampler, cross stitch, alphabet

Sampler designed by 4 Guild members to celebrate the Guild's 50th Anniversary, Rosemany Tonkin, Jan Green (member), Margaret Freeman and Susan Davies.Sampler on cream evenweave linen stitched with green, blue and peach variegated stranded cotton and metallic thread. Sampler was designed by Guild members for the 50th anniversary of The Embroiderers Guild Victoria. Framed green/gold.The Embroiderers Guild Victoria Fiftieth Anniversary 1960-2010embroidery, sampler, australia

Made by Lorna Law (Guild member) to commenorate the Guild's 50th anniversary.Whitework sampler made to celebrate the Guild's 50th anniversary, featuring drawn thread designs from pieces in the Guild's collection. Mounted on a pale green ground and framed.The Embroiderers Guild Victoria 1960-2010. Worked by Lorna M. Law 2010embroidery, whitework, drawn thread, holbein