Pin Cushion
1670-1680 (made)
| Artist/Maker | |
| Place of origin |
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.
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.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Embroidered in silk thread , backed with plain woven silk |
| Brief description | Embroidered silk pin cushion, made by Martha Edlin, England, 1670-1680 |
| Physical description | 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. |
| Dimensions |
|
| Gallery label |
|
| Credit line | Purchased with the assistance of the National Heritage Memorial Fund and Art Fund |
| Object history | Purchased. Registered File number 1989/1572. |
| Summary | 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. |
| Collection | |
| Accession number | T.446-1990 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | May 12, 1999 |
| Record URL |
Download as: JSONIIIF Manifest
