Another Lovely Old Scots Sampler

I came across another lovely old Scottish sampler the other day, made by one Agnes Renwick Ballantyne in 1870. I love these samplers - they always lead me to speculate about the girls who made them. This one is very neat and still quite bright (I had to photograph it under glass, so it doesn't show up too well) with a characteristically Scottish 'strawberry border', cornucopias of flowers, two royal crowns and lots of family initials, including a D McD.

There's an excellent little book about Scottish samplers by Rebecca Quinton, the curator of costumes and textiles for Glasgow museums. It's called Patterns of Childhood. - specifically about the samplers from Glasgow Museums - and what very interesting samplers they are.

In fact Glasgow and its surrounding area is full of interest for textile devotees - visit The Burrell Collection for tapestries, and Jacobean raised work, as well as fascinating costumes. Go to the Kelvingrove Museum for some wonderful embroidery by Margaret MacDonald (Charles Rennie Mackintosh's wife).  Paisley has a museum stuffed with shawls. And if you want to go a little further afield, to Shambellie House outside Dumfries, you'll find a whole enchanting costume collection.

Gorgeous Shawls, Tartan and Early Edinburgh

This week, in my ebay shop, I'm listing a couple of amazing and very old shawls - great textile and costume survivals. One is - as you can see from the picture - a beautiful old tartan crinoline shawl. The craze for tartan probably originated with Queen Victoria who loved all things Scottish (including, allegedly, John Brown!) The shawl is such beautiful colours, although it has bits of damage in the shape of moth holes and a couple of little tears, here and there. But something to be treasured, all the same.

 And the second shawl of the week is this delicately beautiful paisley patterned Kashmir style shawl but I'm told that this one is, in fact, a very early Edinburgh hand woven shawl, from about 1820. I hardly ever find something so old and so beautiful, so it's really exciting for me, and my imagination is working overtime on it! I can feel some stories coming on.  It's square, designed for a slimmer silhouette than a crinoline and when I think about it, it dates from the time when this cottage was newly built. The woven border is delicate and intricate and floral while the soft fabric itself is very fine with a wonderful sheen to it.

When you look at the back, (see picture below) you can see that the weaving technique is quite different from later paisley shawls. Amazing and moving to find something which has survived for almost 200 years in reasonably good condition. And something which would have been worn not long after the death of Robert Burns. Which could even have been worn - for example - by Nancy McLehose, Burns' Clarinda, in her later years.