200 Year Old Sampler

[Kittyfaces]

This sampler was done in 1805 and I'll be sewing muslin strips to the perimeter and then lightly stretching it around 8ply with batting underneath. The fabric the needle art is stitched into is kind of like burlap and is in good enough condition to be lightly stretched over a board (the other 2 will need to be lightly tacked).

Anyway, I'm tempted to block the one that will be stretched but then again, I'm wondering if I should stay on the safe side, leave the weave out of whack and have the uneveness be a part of the character of the antique. Could not blocking it lead to further distortion?

Any thoughts?

 

[BUDDY]

Erin there are alot better qualified people to answer this question and they probaly will after me. however the method I was taught ( even though i've never received one that old0 is to blind stitch or use a running stitch to attach rhe work to a sleeev of unbleached Muslin which is slip over a rag mount board and to (as you suggest ) not stretch the actual work at all, but mount the sleve with out stessing the work.

Don't mind the sags and weave of the work .You may get a very unpleasant surprise if the wrong anount of stress is applied to an old dry work like that which you have deasribed. also make sure that there is PLENTY of air space between the Glaseing and the work since puckers may occur and contact with the glazing is to be avoided by all means also.

I have seen a few of these antique works framed and unlike current needlework straightness isn't the main criteria,PROTECTION and DOING NO HARM is.
If they are ruined or damaged there ARE NO REPLACEMENTS. You can't re-do these.
BUDDY

 

[Baer Charlton]

Erin, Buddy is right. What ever the sleeve, I would take the time to test with Ph paper, which is not the same as Litmus paper. Litmus only shows presence of acid, where Ph paper (health food store) tests from 4-11. I have run into some muslin that was in the 8 value... enough to burn wool to a toasty brown.....

If you can determine the canvas, match the thread to the canvas = linen-linen cotton-cotton silk-silk, that way they have the same strength.

The sleeve should fit snuggly over the board, and then blind whip the open end once it's on the board. I think it's a pain, but important to stitch the piece down AFTER you have secured the sleeve around the board.

Remember to make the mount "board" the size of the frame, then you will not have a "mounting" problem. the mat lays between the glass and mount board and if needed, a backer board.

I envie you Erin, those samplers from that period are some of the most amazing. Another period is the 1860s with all that termoil too.

Take your time (and pictures) and enjoy this one, because you won't be making money on this one. Accept that fact, I you won't rush.

baer

 

[Ron Eggers]

Isn't that always the way it goes?

They did the sampler in 1805 and are finally bringing it in to be framed? I'll bet it's been in the trunk of the car for 199 years and now it's a rush order!

 

[preservator]

Any fabric that has lasted that long, has probably, as Ron noted, been stored in the dark.
Your client would be well advised to construct
a careful copy for you to frame and to leave
the 200 year old wrapped in bug-proof material
and kept in the dark, so the future can make
their own copies.

Hugh

 

[BUDDY]

Hugh I apprecaite your advise . However I have seen some of these old samplers offered for sale at needlework shows and (amazeingly) really don't look that bad,despite not being archivally stored.many where bought in rural farming communities.

However I don't know how long they lasted once they were displayed in someones modern home enviroment.

There actually was a vendor at Needlework Shows we atteneded that bought nothing but these old samplers ,framed them and offered them for wholesale.But even at wholesale the price was surpriseingly high.But there were a fair amount of "Sampler Collectors" that had to have these old works and would pay unbeliveale prices depending on their authenticity and/or PROVINANCE.
BUDDY
PS I just read my original reply ,I don't know how anyone understood it.LOL Even when I take my time I have to recheck my writeing ,but when I rush ( as I did there) Good God I'm sorry.

 

[Kittyfaces]

I know they won't go for the copy advise because they want to show them off, but perhaps I can talk them into framing a copy that hinges open like a medicine cabinet to reveal the orginal.

In the event that they don't go for either suggestion (at least I offered, right?) should I completely rule out the muslin along the perimeter plan and stitch it to a muslin sleeve? I've read about doing it that way, but this is the first time I've had to implement it.

So let's see if I have this right: stretch the muslin over the board and batting. Then stitch the sampler to the muslin. Right?