Needlework Picture of Palemon and Lavinia by Sarah Dana
Dateca. 1805
Artist/Maker
Sarah Dana
(1791-1867)
MediumSilk embroidery thread, paint, and pencil on plain-woven silk in a gilt and plaster frame with eglomise glass mat
DimensionsOverall (Unframed H x W): 17 1/2 x 11 1/2in. (44.5 x 29.2cm)
Overall (Framed H x W): 21 x 15 1/2in. (53.3 x 39.4cm)
Credit LineGift of the John D. Rockefeller, 3rd, Fund, Inc., through the generosity and interest of Mrs. John D. Rockefeller, 3rd, and members of the family
Object number1979.601.2
DescriptionThis intricately shaded embroidered and painted picture shows a man and a woman standing near a wheat field, representing Palemon and Lavinia. The lawn of grass on which they stand is completed entirely in satin stitches, with dimension added in both the stitch direction and the colors. At least four shades of green are used, and the colors are delicately alternated to achieve a smoothly gradient in places. The woman is shown in an early-19th-century dress with an extremely high waistline, stitched in lustrous cream-colored thread in a satin stitch. The folds of the dress are represented by red lines, instead of the intricate shading evident in the rest of the piece. She is wrapped in a golden shawl worked in golden colored thread with some fold lines worked in a very similarly shaded brown. The flow of the fabric is further portrayed by the direction of the stitches, which follow the folds of the shawl. Within the shawl she is holding a small, loose bundle of wheat with the shaft stitched in the same threads as her dress and the seeds stitched in the same color as the shawl. The small portions of her feet that are showing are worked in the same thread as her dress, and she is wearing dark brown slipper shoes. Her arms and head are painted over a thick white base of paint. On her curly brown hair sits a dark brown bonnet with pink ribbons stemming from its crown.
The man beside her is shown in a suit of varying shades of brown. His coat is worked in lustrous cream thread of a shade darker than the woman’s dress. His waistcoat and cravat are worked yet a different shade of cream, darker than the dress, yet lighter than the jacket. Shading is achieved by stitching the same colored threads in opposing direction as the main ground stitches. The direction of the satin stitching in the man’s coat follows the drape of the fabric and even changes direction at the garment’s structural seams. His pants are worked in brown, with an insert of cream (waistcoat shade) at his inner right thigh for shading. Folds in the fabric as well as cuffs and ties are differentiated by working the same color thread in a direction opposing the main. Beneath his pants, the man’s stockings are worked in the same shade of cream as his waistcoat. Finally, he is wearing dark brown boots in the same color as the woman’s shoes. His hand and face are painted over a thick white base of paint. Along with his curly brown hair, his collar points and the cuffs of his shirt are also painted rather than stitched. He holds a painted black hat in his right hand.
A tree stands along the right border of the scene. It is worked in the same shade of gold as the woman’s shawl. Though only one color thread is used for the trunk and branches, knots are clearly visible by altering the orientation of the satin stitches. Leaves are worked in satin stitches in four shades of green. Each individual leaf is worked in a single shade of green, and many are outlined in a different shade than its fill color.
In the grass lawn behind the woman sits a bushel of wheat, again worked in the same color as her dress. The seeds are again worked in the same color as the shawl. The first row of the wheat in the field is also embroidered, after which the field is painted. Surrounding the field is rich, green scenery consisting mainly of trees. Far in the distance are mountains. The sky fades from blue to pink, suggesting a sunset. The presence of paint over some of the embroidered leaves and unpainted sections close to some of the embroidery suggests that the paint was done after the embroidery.
Beneath the picture is the finely worked inscription, “O heaven! The very same/The soften’d image of my noble friend!/Thomson” taken from a poem about Palemon and Lavinia from Thomson’s book THE SEASONS, which Sarah likely had access to through her school.
The needlework picture is in a gilt and plaster frame with an elgomise glass mat that is inscribed in gold: "BY SARAH S. DANA."
STITCHES: back, outline, and satin
Label TextSarah Dana probably embroidered this picture while attending Mrs. Saunders’ and Miss Beach’s Academy in Dorchester, Massachusetts. Her composition may have been inspired by an illustration for James Thomson’s poem “Autumn” from his popular book THE SEASONS. A line from the poem embroidered below the scene describes Palemon’s recognition of Lavinia as the long-sought daughter of his friend Acasto.
InscribedBeneath the picture is the finely worked inscription, “O heaven! The very same/The soften’d image of my noble friend!/Thomson.”
ProvenanceMade by Sarah Dana, c. 1805.
Acquired by Katrina Kipper, Accord, MA;
Sold to Abby Aldrich Rockefeller for use in Bassett Hall, 1935;
Given to CWF, 1979.
MAKER HISTORY
Sarah Sumner Dana was the second daughter and youngest child of Reverend Josiah Dana (1742-1801) and his second wife Mrs. Sarah Sumner Caldwell Dana (1754-1805). A Congregational minister, Reverend Dana held degrees from Harvard, Yale, Brown, and Dartmouth and lived in Barre, Massachusetts from 1767 until his death in 1801. His first wife, Mercy Bridgham, died in 1787 at the birth of their twelfth child. Reverend Dana married in 1788 Mrs. Sarah Sumner Caldwell, and they had two daughters: Isabella Caldwell Dana and Sarah Sumner Dana (May 13, 1791-March 1, 1867).
Sarah likely attended Mrs. Saunders and Miss Beach’s Academy in Dorchester, Massachusetts, which is where she undoubtedly embroidered this picture. She married Major Thomas Bellows (1779-1825) of Walpole, New Hampshire in September, 1812. They had two daughters, Isabella Caldwell Bellows (1813-1819) and Sarah Isabella Bellows (1820-1866). Sarah moved in with her daughter of the same name after her daughter’s marriage to George W. Grant. She lived with them in Walpole, New Hampshire until her death on March 1, 1867.
Sarah Isabella Dana and George W. Grant had three children, Louisa (who died as a child), Helen, and Herbert.
Late 18th, early 19th century
1805-1820 (ca 1812?)
