"American classrooms have gone largely unrecorded, these astonishing embroideries which are usually signed, dated, and even sometimes inscribed with the names of the towns in which they were worked and the names of the embroiderers' teachers serve as historic documents, attesting to the existence of colonial education for women. There is a story behind each of the nearly eighty samplers illustrated in this book"--Insleaves.

Mønstre til korsstingsbroderi og andre broderiteknikker, hvor motiverne er bygninger, mennesker, træer, dyr, borter, blomsterarrangementer, tal og bogstaver

The history from the 17th century offering a practical guide to the stitches.

Drawing from 167 examples of decorative needlework—primarily samplers and quilts from 114 collections across the United States—made by individual women aged forty years and over between 1820 and 1860, this exquisitely illustrated book explores how women experienced social and cultural change in antebellum America. The book is filled with individual examples, stories, and over eighty fine color photographs that illuminate the role that samplers and needlework played in the culture of the time. For example, in October 1852, Amy Fiske (1785–1859) of Sturbridge, Massachusetts, stitched a sampler. But she was not a schoolgirl making a sampler to learn her letters. Instead, as she explained, “The above is what I have taken from my sampler that I wrought when I was nine years old. It was w[rough]t on fine cloth [and] it tattered to pieces. My age at this time is 66 years.” Situated at the intersection of women’s history, material culture study, and the history of aging, this book brings together objects, diaries, letters, portraits, and prescriptive literature to consider how middle-class American women experienced the aging process. Chapters explore the physical and mental effects of “old age” on antebellum women and their needlework, technological developments related to needlework during the antebellum period and the tensions that arose from the increased mechanization of textile production, and how gift needlework functioned among friends and family members. Far from being solely decorative ornaments or functional household textiles, these samplers and quilts served their own ends. They offered aging women a means of coping, of sharing and of expressing themselves. These “threads of time” provide a valuable and revealing source for the lives of mature antebellum women. Publication of this book was made possible in part through generous funding from the Coby Foundation, Ltd and from the Quilters Guild of Dallas, Helena Hibbs Endowment Fund.

Designer Kathleen Tracy is back with more delightful little quilts! This time she's gathered a treasury of 4" blocks reminiscent of those sewn by schoolgirls during the nineteenth century. Make all 72 timeless blocks and combine them in a sampler quilt or select a few favorites to use in any of six other charming quilts. Quick to stitch and perfect for reproduction-fabric scraps, the blocks are easy to make and you can complete several in one sitting or complete a small quilt in a weekend. Kathy includes plenty of tips for sewing small blocks, and her simple cutting instructions and clear piecing diagrams will help you succeed as you stitch each pint-sized treat.

Rejecting traditional notions of what constitutes art, this book brings together essays on a variety of fiber arts to recoup women's artistic practices by redefining what counts as art. Although scholars over the last twenty years have turned their attention to fiber arts, redefining the conditions, practices, and products as art, there is still much work to be done to deconstruct the stubborn patriarchal art/craft binary. With essays on a range of fiber art practices, including embroidery, knitting, crocheting, machine stitching, rug making, weaving, and quilting, this collection contributes to the ongoing scholarly redefinition of women's relationship to creative activity. Focusing on women as producers of cultural products and creators of social value, the contributors treat women as active subjects and problematize their material practices and artifacts in the complex world of textiles. Each essay also examines the ways in which needlework both performs gender and, in turn, constructs gender. Moreover, in concentrating on and theorizing material practices of textiles, these essays reorient the study of fiber arts towards a focus on process?the making of the object, including the conditions under which it was made, by whom, and for what purpose?as a way to rethink the fiber arts as social praxis.