An American needlework carpet

Property of a New England Historical Society, Sotheby's New York, December 3, 1988, lot 347

Fabric Backed. Scattered surface abrasions, not extensive. Re-stitching throughout to stabilize and conceal previous losses and oxidized areas. Sides bound on all four sides, in good fully restored condition, ready for use.
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 unusual long embroidery stitch employed in the wools of this carpet set it apart in the small known corpus of American needlework carpets. Sarah Sherrill notes that "American needlework carpets are distinctly rare," and that "affluent American families in the early nineteenth century... are known to have practiced the pastime of embroidering carpets, following customs of upper-class English women," see Sarah B. Sherrill, Carpets and Rugs of Europe and America, New York, 1996, p. 252. In design, this carpet with its lobed circular medallion on a field dotted with blossoms follows the patterns of French weavings, particularly the carpets of Aubusson during the early 1800s. For a few examples see, M. Jarry, The Carpets of Aubusson, Leigh-on-Sea, 1969, figs. 42, 49, 51. In the present carpet, the design is more rustic in rendering as would be expected from domestic work. The ample border encloses floral sprays punctuated by a dotted scalloping ribbon with small baskets at each corner. This border is framed by striking deep brown and white zigzagging guard borders. These design elements are particular to this carpet and while familiar with European patterns, the maker of this carpet also inserted her own individual flourishes. Individual interpretation and artistry is the hallmark of domestic American weavings as seen in one of the most renowned wool embroidered carpets, the signed and dated (ZHG 1835) carpet by Zeruah Higley Guernsey Caswell of Castleton, Vermont that is now in the Metropolitan Museum of Art, see Sherrill, ibid, pl. 282, p. 254.