A Swedish Needlepoint sampler

In a later frame. Not examined out of frame. Losses to stitching in areas of oxidized browns. Some small losses to other colors, in otherwise good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The eighteenth-century Swedish needlepoint panel offered here is an intriguing example of a sampler where old vernacular motifs are mixed with contemporaneous pan-European decorative elements. This piece, dated 1752, is either the work of a professional milliner or embroiderer, who intended to showcase her masterful abilities in her craft, or is domestic work, in which case it was probably prepared as part of a dowry or simply to pass time. The initials 'E.M.Å.' and 'A.C.Ä.' could refer to the maker or makers, or to names of the recipients. The most often repeated motif in this sampler is the vigg (lightning-bolt) design, which was much-preferred in South Sweden throughout the centuries. This elongated zig-zag motif was very popular all over Europe for its wide-range of hues, intricate shading effect and durability, and had numerous variants with some being more curvilinear and others more angular. Whereas in the 1700s it was known as the fiamma (flame) and punto unghero (Hungarian point) stitch, today it is called Florentine work or Bargello needlepoint embroidery. In this sampler different variants of this vigg pattern are mixed with diamond and star motifs that are also present in early Swedish folk textile art, particularly in flatweaves and kilim cushion covers. The floral motifs that further decorate this panel, particularly the single flower head in the upper left corner, can be related to designs found in luxurious eighteenth-century European damasks that were reserved for the Swedish elite of time, but to which milliners and middle-class women would have been exposed. The charming figural scenes executed in the finest detail are further testaments to the mastery of the maker and render this piece particularly complex in both design and technique.