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Namespace Prefixes

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Statements

Subject Item: n4:9b2985de-5022-5c28-82e9-1e423a227fe6
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n9:744
rdf:subject: n2:8f2b4ea0-75e9-339e-912b-b51fabf40dbf
prov:wasGeneratedBy: n6:9b2985de-5022-5c28-82e9-1e423a227fe6
silk:L18: 0.4584

Subject Item: n4:bf62569b-0b30-5809-b9fb-ed38bb16af6e
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n9:745
rdf:subject: n2:8f2b4ea0-75e9-339e-912b-b51fabf40dbf
prov:wasGeneratedBy: n6:bf62569b-0b30-5809-b9fb-ed38bb16af6e
silk:L18: 0.6243

Subject Item: n2:8f2b4ea0-75e9-339e-912b-b51fabf40dbf
rdf:type: ecrm:E22_Man-Made_Object
rdfs:label: 1670 / 1680, England
rdfs:comment: Object Type This pin cushion was among the contents of an embroidered casket used by a young girl, Martha Edlin, to store her small personal possessions. She would have embroidered it herself. It does not appear to have been used. It is worked in flame stitch, a technique also sometimes known as Irish stitch, Hungarian stitch, florentine stitch and bargello stitch, the variety of names indicating the uncertainty of its origins. People Martha Edlin (1660-1725) worked a series of embroideries during her childhood, including this jewellery case, which were cherished by her descendants and passed down through the female line in her family for over 300 years. We know little about her life, except that she married a man called Richard Richmond and appears to have been a prosperous widow living in Pinner in Greater London at the time she drew up her will, with daughters and grandchildren. Materials & Making Following the usual development of needlework skills in a young educated girl in the mid-17th century, Martha Edlin embroidered a sampler in coloured silks at the age of eight, and a more complicated piece in whitework and cutwork at nine. By 1671, her eleventh year, she had embroidered the panels of an elaborate casket, and two years later this beadwork jewellery case. The needlework skills she demonstrated in these pieces would be important attributes in her adulthood, in the management of her household and the making, mending and decoration of her own and her family's clothes. Embroidered silk pin cushion, made by Martha Edlin, England, 1670-1680 British Galleries: MARTHA EDLIN'S EMBROIDERY The small scale of each piece is further evidence of Martha's sewing skills. She used different stitches and techniques, like the flame stitching on the small pincushion and plaiting on the cords of the purse. [27/03/2003] Pin cushion, rectangular in shape. The front is embroidered in shades of blue and pink silk in flame stitch, and the back is covered in pink plain woven silk. Edged with a plaited cord of pink silk and silver thread.
owl:sameAs: n13:O11075
dc:identifier: T.446-1990
ecrm:P3_has_note: Object Type This pin cushion was among the contents of an embroidered casket used by a young girl, Martha Edlin, to store her small personal possessions. She would have embroidered it herself. It does not appear to have been used. It is worked in flame stitch, a technique also sometimes known as Irish stitch, Hungarian stitch, florentine stitch and bargello stitch, the variety of names indicating the uncertainty of its origins. People Martha Edlin (1660-1725) worked a series of embroideries during her childhood, including this jewellery case, which were cherished by her descendants and passed down through the female line in her family for over 300 years. We know little about her life, except that she married a man called Richard Richmond and appears to have been a prosperous widow living in Pinner in Greater London at the time she drew up her will, with daughters and grandchildren. Materials & Making Following the usual development of needlework skills in a young educated girl in the mid-17th century, Martha Edlin embroidered a sampler in coloured silks at the age of eight, and a more complicated piece in whitework and cutwork at nine. By 1671, her eleventh year, she had embroidered the panels of an elaborate casket, and two years later this beadwork jewellery case. The needlework skills she demonstrated in these pieces would be important attributes in her adulthood, in the management of her household and the making, mending and decoration of her own and her family's clothes. Embroidered silk pin cushion, made by Martha Edlin, England, 1670-1680 Pin cushion, rectangular in shape. The front is embroidered in shades of blue and pink silk in flame stitch, and the back is covered in pink plain woven silk. Edged with a plaited cord of pink silk and silver thread. British Galleries: MARTHA EDLIN'S EMBROIDERY The small scale of each piece is further evidence of Martha's sewing skills. She used different stitches and techniques, like the flame stitching on the small pincushion and plaiting on the cords of the purse. [27/03/2003]
ecrm:P43_has_dimension: n8:1 n8:2
ecrm:P65_shows_visual_item: n9:745 n9:744
ecrm:P138i_has_representation: n11:27e9f3cb-2edf-3f5c-87bb-fdd200da8af6 n11:573f6b46-83c1-3365-bd2c-bf9ec34d058a
ecrm:P102_has_title: 1670 / 1680, England