Winterthur Needlework Conference 2008
Friday & Saturday, October 17 & 18, 2008

Many American samplers contain family names and other genealogical information, while silkwork pictures may depict family members or mourn their death. Historians have long recognized that family networks play a crucial role in the political, commercial and religious activities of both men and women. The exhibition and related conference will explore how family ties are honored and strengthened through needlework, how needlework can serve as primary source material for historical and genealogical research, and the function of needlework through gifts and inheritance by subsequent generations. Exhibition on display from October 4, 2008 through January 9, 2009.

All lectures will be held in Copeland Lecture Hall (located in the Visitor Center). All workshops will take place in the museum or the research building.

Friday, October 17
Registration and coffee service begin at 8:30 am in the lobby of the Visitor Center.

	9:00 am	WELCOME AND INTRODUCTION
	9:15 am	Betsy Ross and the Making of America: Family and Craft Tradition in Early Philadelphia Marla R. Miller, Associate Professor, History Department, University of Massachusetts Amherst Betsy Ross is best remembered for the events of a single afternoon in the Spring of 1776 when the young upholsterer was approached about making a flag for the British colonies united in rebellion. But her work with needles and fabrics, which itself extended over six decades, was embedded in much larger contexts of family and craft extending through generations of artisans who made stays and built houses, who made gowns of silk and canns of silver. Betsy Ross together with her ancestors and descendants literally "made" early America. Betsy Ross embraced flags as a new product line for her shop, and bequeathed those skills to children and grandchildren who would carry the work west to Iowa and south to Alabama. This talk will explore family and craft tradition as it illuminates the life behind the legend of Betsy Ross.
	10:00 am	Samplers as Documents: Current Research on Quaker (and Other) Samplers Carol Humphrey, Honorary Keeper of Textiles, The Fitzwilliam Museum, Cambridge, England In the past samplers were largely accepted as an unremarkable element of a girl's education. Only relatively recently have they been admired not only for their stitching skills and decorative qualities but also for the insights they give into the lives of our female forbears. Building on her research on Ackworth samplers, Carol Humphrey will explore a world of family connections, shared teachers, traveling ministers, merchants, and immigrants which have all contributed in some way to the style and content of Quaker samplers on both sides of the Atlantic. As well as looking at these links and discoveries she will also briefly discuss a particular 17th century sampler to show that even one early sampler can be used as a document, as a primary source, to discover much about the girl who made it, her family and her background.
	10:45 am	MORNING BREAK
	11:15 am	Ties That Bind: Documenting Families in Needlework Samantha Dorsey, graduate of the Winterthur Program in American Material Culture, University of Delaware Samplers and silk work pictures tell personal stories of families in the eighteenth and nineteenth centuries. They not only document vital records of births, deaths, and marriages, but also provide clues to the significance of families in the lives of their makers. These personal stories are made all the more intimate by their sheer survival. Needlework is often treasured and passed down through generations of a family, preserving information about the past for families today.
	12:00 pm	"By Her Direction": Leah Galligher's Embroidery Work and Identity (1789-1802) Jennifer C. Van Horn, Ph.D. candidate, Art History Department, University of Virginia Jennifer Van Horn will use the unique biography of schoolmistress Leah Galligher, along with the samplers created by her students in Lancaster, Pennsylvania, to explore how the teacher and her pupils crafted family identity through their embroidery. By surveying the court records and newspaper advertisements generated by Galligher's scandalous divorce, as well as the tax records and building surveys that provide insight into the social class of her students' families, she will discuss women's important role in establishing a genteel status for their families and themselves through their samplers.
	12:45 pm	LUNCH
	2:15-5:30 pm	CLASSES/WORKSHOPS/TOUR SESSIONS
	5:30 pm	RECEPTION, Galleries Reception Area

Saturday, October 18

	9:00 am	The Patten School: Needlework, Education, and Family Enterprise in a Changing World Dr. Susan P. Schoelwer, Director of Collections Development, The Connecticut Historical Society, Hartford, Conn. The Patten school in Hartford persisted from 1785 until 1825, a remarkably long tenure for a young ladies academy in the Early Republic. Founded just after the close of the American Revolution, it was operated by sisters Sarah, Ruth, and Mary under the watchful eye of their mother, Ruth Wheelock Patten. This long-lasting, multi-generational enterprise serves as a bridge between two eras in needlework production: on the one hand, an earlier, traditional world -- in which fine needlework appears to have been produced mainly by women in clerical families (arguably, the most intellectual women in colonial Connecticut), and instruction passed primarily through kinship networks, paralleling the family-based workshop traditions in wood and metalworking crafts; and, on the other, a later, more "modern" world in which needlework production and instruction became centered in formal schools or academies, available to any who could pay but often marginalized as "fancy work," in opposition to serious, academic studies. This lecture will explore family history and surviving examples to suggest the Pattens' sources of instruction and inspiration and the curriculum and values of their school.
	9:45 am	"To Form the Mind": Jacob Mordecai's Female Academy Kathleen Staples, Independent scholar, Greenville, South Carolina Jacob Mordecai's female academy in Warrenton, North Carolina, resembled in most respects the hundreds of girls' schools that dotted the southern landscape in the opening decades of the nineteenth century. But the family was uneasy about this new venture. Aside from the concerns about providing for and educating a house full of other people's children, they questioned whether Christian parents would send their daughters to a school run by someone with a "different name." Although they did not follow orthodox practice, the Mordecais were Warrenton's first Jews. The Mordecais intended for their school to be a business; the venture was to continue until Jacob and his wife had accumulated enough capital to retire. The ten-year story of this school, as well as the institution it replaced and its successors, is a narrative of financial hardship and success, religious diversity, conflicting educational models, the involvement of slaves, and, above all, the interactions and changing relationships within the Mordecai family.
	10:30 am	MORNING BREAK
	11:00 am	"A Small Testimony of My Affection": Needlework as Gifts Alison Buchbinder, graduate of the Winterthur Program in American Material Culture Women did not keep the needlework they made. Daughters presented their school samplers to their parents. Wives made pocketbooks for their husbands. Grandmothers made reticules for their grandchildren. Women's letters and diaries are filled with remarks about the embroidery they planned to give friends and relatives as a testimony of their affection. This lecture will examine surviving needlework, as well as women's letters and diaries which are filled with remarks about the embroidery they plan to give friends and relatives as a testimony of their affection.
	1:45 pm	"My pupils became to me as my children…": Susanna Rowson in loco parenti, Boston, 1797-1822 Jane C. Nylander, President Emerita, Historic New England Jane Nylander will present the story of Susanna Rowson's female academy. As proprietress and principal instructress of a female academy, Susanna Rowson sought to prepare young women to fulfill their future roles as wives and mothers, thoughtful citizens, devout church members, and generous philanthropists. She took care to provide them with well stocked minds, a variety of ornamental accomplishments, and suitable friends. Her school was so well regarded that it attracted pupils from as far away as Jamaica.
	12:30 pm	LUNCH
	1:45-5:00 pm	CLASSES/WORKSHOPS/TOUR SESSIONS

Marla R. Miller is Associate Professor of History at the University of Massachusetts, Amherst. Her research interests are in early American history, women's history, and American material culture, as well as public history. She received her Ph.D. from the University of North Carolina at Chapel Hill in 1997. Marla's book, The Needle's Eye: Women and Work in the Age of Revolution, published by the University of Massachusetts Press in August 2006, won the Costume Society of America's Millia Davenport Publication Award for the best book in the field for that year. Related articles have appeared in the New England Quarterly (1998), the proceedings of the Dublin Seminar on New England Folklife (2000), and the William and Mary Quarterly (2003). She is presently completing work on a microhistory of women and work in Federal Massachusetts, and diving into a new project that she is especially excited about: a scholarly biography of that most-misunderstood early American craftswoman, Betsy Ross. As Director of the History Department's Public History program, Marla also teaches courses in Public History, American Material Culture, and Museum and Historic Site Interpretation, and continues to consult with a wide variety of museums and historic sites.

Carol Humphrey graduated from Cambridge University with a Fine Arts (History of Art) degree and promptly married and had five children. To escape domesticity, she started to learn about and look after the Textile Collection at the Fitzwilliam Museum, an area long neglected. The most popular part of the varied collection has always been the samplers. Over the years she has curated exhibitions ranging from Korean wrapping cloths to 20th century Aubusson tapestries. However, her published work has been dominated by work on samplers and to a lesser extent, English historic needlework and embroidery.

Samantha Dorsey graduated with distinction in History from James Madison University. While an undergrad Samantha dabbled on screen as Peggy Shippen in Cookie Robert's special, Founding Mothers. In 2005 she interned at Mount Vernon where she revised the interpretive plan for the Pioneer Farm. More recently she worked with curators at the Philadelphia Museum of Art, researching Scottish émigrés of the early nineteenth century. She is a recent graduate of the Winterthur Program in American Material Culture and wrote her Masters thesis on the physical philosophy of Stays in eighteenth-century America. Inspired by her seven years living history experience at Claude Moore Colonial Farm, she is currently pursuing a career in museums. Samantha is the co-curator with Alison Buchbinder of the exhibition, Who's Your Daddy? Families in Early American Needlework, which is based on the textile research project they completed in the fall of 2007 with Linda Eaton.

Jennifer C. Van Horn is a Ph.D. candidate in the Art History Department at the University of Virginia in Charlottesville. She graduated with Honors from the University of Delaware in 2000 and received her Master's degree from the University of Delaware in the Winterthur Program in Early American Culture in 2002. Her thesis, "Samplers, Social Capital, and the Formation of Feminine Identities," focused on the embroidery of schoolmistress Leah Galligher and the samplers created by her students in Lancaster, Pennsylvania. Ms. Van Horn has published several articles on needlework and art in Winterthur Portfolio: A Journal of American Material Culture and other journals, and presented papers on the subject of early American portraiture. She was a teaching assistant and instructor at the University of Virginia from 2003 through 2007, and was the recipient of the Outstanding Graduate Teaching Assistant award for the Department of Art History, 2004-2005. Ms. Van Horn was a participant in the Attingham Summer School Program (2003) and the Museum of Early Southern Decorative Art's Summer Institute (2004), and held a Shannon Jefferson Scholars Fellowship, University of Virginia, 2002-2007.

Dr. Susan P. Schoelwer is Director of Collections Development at the Connecticut Historical Society in Hartford and Project Director for a major, ongoing study of Connecticut needlework, 1740-1840, funded by the Coby Foundation, Inc., and the National Endowment for the Arts. She holds a PhD in American Studies from Yale University and an MA from the Winterthur Program. She was fortunate to begin her formal studies of American needlework with former Winterthur Curator Susan B. Swan and Conservator Margaret Fikoris; however, her interest in needlework extends back to 4-H club projects in crewel and silk embroidery. Dr. Schoelwer has written and lectured on various topics in American art, women's history, textiles, and Connecticut material culture; she is the editor of recent CHS books on tavern signs and Connecticut Valley furniture.

Kathleen Staples, an independent scholar, is well-known to students and enthusiasts of historic European and American needlework. Ms. Staples's curatorial work includes exhibitions at The Textile Museum, Washington, D.C., the DeWitt Wallace Gallery at Colonial Williamsburg Foundation, The Charleston Museum in South Carolina, and an upcoming project at the New Bedford Whaling Museum. She has authored articles for the Journal of Early Southern Decorative Arts, The Magazine ANTIQUES, PieceWork, and Sampler & Antique Needlework Quarterly and has authored two books. Kathleen is currently working with the Metropolitan Museum of Art on their collection of seventeenth-century English embroideries and co-authoring a book on colonial dress to be published by Greenwood Press.

Alison Buchbinder graduated magna cum laude, with honors in American Studies, from Wellesley College. As a student assistant at the Wellesley College Archives, she helped the costume designer with research for the film Mona Lisa Smile. At Tudor Place, she researched the lives of the slaves and servants who worked there. As a fellow with the Davis Museum and Cultural Center at Wellesley, she researched 20th century women artists. As a museum educator for the Nantucket Historical Association, she developed and wrote specialized tours. Currently, she is a graduate student in University of Delaware's Winterthur Program in American Material Culture where she is working on her master's thesis "Through the Looking Glass: The Magic Objects of 19th Century Children's Fantasy Literature." She is co-curator, with Samantha Dorsey, of the exhibition Who's Your Daddy? Families in Early American Needlework, which is based on the textile research project they completed in the fall of 2007 with Linda Eaton.

Jane C. Nylander is President Emerita of the Society for the Preservation of New England Antiquities, former President of Strawbery Banke Museum, and former Curator of Textiles and Senior Curator at Old Sturbridge Village. She is a Trustee of Historic Deerfield, the New Hampshire Historical Society, and the Decorative Arts Trust. Her many publications include Our Own Snug Fireside: Images of the New England Homes 1750-1860, Windows on the Past, and Fabrics for Historic Buildings as well as more than ninety articles. Her presentation at the 2005 Deerfield Needlework Symposium, "Useful & Ornamental Education for Young Ladies, Mrs. Rowson's Academy, Boston 1797-1822" was published in the Winter 2006 issue of New England Ancestors and her biographical data base of Mrs. Rowson's pupils can be accessed on www.newenglandancestors.org. Mrs. Nylander was elected an Honorary Member of the New Hampshire chapter of the AIA in January 2008 and to the Roll of Honor of the National Society of Colonial Dames in the State of New Hampshire in June 2006. She received the Iris Foundation Award for Outstanding Contributions to the Decorative Arts from the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture in 2005 and with her husband, Richard C. Nylander, she shared a Lifetime Achievement Award from the New England Chapter of the Victorian Society in June of that year.

Joanne Harvey purchased her first antique sampler in 1975. The following year, she founded her company, The Examplarery, and reproduced her own sampler. For over thirty years, she has studied American samplers in depth and is noted for her expertise in providing accurate reproductions of some of the most important seventeenth and eighteenth century samplers in museum collections. All of the known seventeenth century American samplers which have been reproduced are the result of Joanne's work. Joanne reproduces samplers from her own collection and from the collections of museums primarily in the eastern part of the country. She has taught classes for symposia sponsored by Winterthur, Colonial Williamsburg, and The Peabody-Essex Museum, among others.

Margriet Hogue was born in Holland and lived for a time in South America before immigrating to Canada as a young girl. She has lived there ever since, founding her company, The Essamplaire, nineteen years ago. She is noted for the reproduction of European samplers of the seventeenth and eighteenth centuries, with a focus on German and English samplers. A few years ago, she began an in-depth study of historic Dutch samplers and is considered the leading authority in providing kits for reproducing samplers from her native country. In the last few years, Margriet has studied Quaker samplers, particularly those of the Ackworth School. She taught a reproduction class at a seminar at Ackworth and has reproduced numbers of samplers originally executed at that school. Last year she added the study of Pennsylvania German samplers and needlework accessories to her repertoire and made reproductions of this genre available to her customers.

Dr. Tricia Wilson Nguyen is owner of Thistle Threads, a company that specializes in embroidery designs based on historic embroidery and research into materials used in early embroidery. She is also a partner in Redefined, Inc., manufacturers of Tokens and Trifles sewing cards. Dr. Nguyen attended MIT and the University of Michigan in materials science and engineering. Her specialty is electronic textiles and she has several patents and products in this field.

Joy Gardiner is the Assistant Director of Conservation, Winterthur's Textile Conservator, and an Adjunct Assistant Professor at the University of Delaware. She received her B.F.A. in Textile Arts from Moore College of Art in Philadelphia in 1977. She remained in Philadelphia and worked in various guises as a free-lance artist before pursuing a career in conservation. Her pre-program conservation experiences included: volunteering in the Textile Conservation Lab at Winterthur Museum; working for Helene Von Rosenstiel, a private textile conservator in Brooklyn, NY; and working on a rug and tapestry storage project at the Philadelphia Museum of Art. In 1988, she received her M.S. in Art Conservation from the Winterthur/University of Delaware Program in Art Conservation, majoring in textile conservation. Her third-year internship was with the Textile Conservation Center at the Museum of American Textile History in North Andover, MA. Joy's nine-month post-graduate Master Apprenticeship in Costume and Textile Conservation at the Philadelphia Museum of Art was sponsored by the NEA. Following the grant, she began working as a contract textile conservator for the Philadelphia Museum of Art and Winterthur Museum, as well as doing private work and conservation surveys for a number of local institutions. In May of 1991, Joy began to work full time at Winterthur as an assistant textile conservator and to teach in WUDPAC. She has lectured on a variety of topics relating to textile conservation with a number of these being written up in pre- and post-prints. She has been treasurer (1991-1992), vice-chair (1998-1999) and chair (1999-2000) of the Textile Specialty Group of the AIC and since 2000 has been on the Steering Committee/Board of the North American Textile Conservation Conference.

Linda Eaton is the Curator of Textiles at Winterthur. Linda received her degree in Textile Conservation at the Textile Conservation Centre (Hampton Court Palace in conjunction with the Courtauld Institute of Art). She first joined Winterthur in 1991 as a Textile Conservator and part-time Associate Professor for the Art Conservation Department at the University of Delaware, and after eight years made the switch to curatorial work. Ms. Eaton has published many articles in professional journals and conference proceedings and has curated numerous exhibitions at Winterthur including "Deceit Deception & Discovery" in 1997, "This Work in Hand: Studying Philadelphia Needlework from the 18th Century," and "Needles and Haystacks: Pastoral Images in American Needlework." Her latest research interests resulted in the recent exhibition, "Quilts in a Material World," along with the accompanying book.

Katherine H. Sanford is an independent scholar and former COBY/NEA Needlework Project Curator at the Connecticut Historical Society in Hartford. She graduated with an M.A. degree from the University of Delaware Winterthur Program in Early American Culture in 2003.

Catherine Cooney is the recent Senior Librarian of the Printed Books and Periodicals collection at Winterthur. Much of her work at Winterthur focused on design sources from the seventeenth and early eighteenth centuries. In March she left Winterthur to work as a cataloger with ARTstor, a non-profit, subscription based, online digital library with strengths in the art, architecture, material and visual culture of the Americas. Cate has an M.A. in Library and Information Studies and an M.A. in Art History from the University of Wisconsin-Madison. Her library career first began at the University of Wisconsin where she started the digital library for decorative arts and material culture. Following that, and prior to Winterthur, she was the assistant librarian at Marquand Library of Art and Archaeology at Princeton University.

Participants will register for (4) sessions on a first-come, first-served basis. Space is limited and varies.

* Indicates that the purchase of a kit is required at the time of registering for class. All kits will be distributed during check-in the first day of the conference.

Half-Day Sessions (each count as 2 sessions)

* The kit for the Sarah Talley reproduction sampler is $124.00. This includes all materials. The sampler contains a number of different stitches: cross, four sided herringbone, queen, flame, satin and some freehand stitches. The sampler is silk on linen and is a reproduction of a local sampler done by a girl from Talleyville, Delaware and dated 1798. Both the maker's name, Sarah Talley, and her teacher's name, Mary Sullevan, are documented on the sampler. Sarah lists her siblings, the children of Elihu and Lydia Forewood Talley. From this piece, we can document that Lydia died after giving birth to twins, born two days apart. Unusual motifs include hounds and an eagle and shield, along with the more traditional flower and bird motifs.
2000.67, Sarah Talley sampler, Courtesy Winterthur

Put on your archeology hat and join Dr. Tricia Wilson Nguyen for an afternoon of delving into the unique threads used in 17th century embroidery. Students will look at a sweet bag and knife sheath from Winterthur's Watson study box using loops and magnifiers in the classroom to examine the unique silk-metal threads on the embroidery. After examination, we will view photographs of fascinating composite threads, discuss how they were made, and explore how some of these threads are being remade experimentally for reintroduction to the market. Spangles for lace, real gold threads, gilt sylke twist, mica, hand twisted variegated silk, and silk covered purl are just some of the subjects that will be covered. A miniature version of the sweet bag and sheath will be provided as a project so that the student can try a selection of these materials using 17th century stitches. Some of the materials for this project have been specially developed for the reproduction project Tricia is doing for Plimoth Plantation. This class offers the public the unique opportunity to work with reproduction 17th-century threads developed with her input. Be the first to try these fine and expensive materials of a high quality.

* The kit for the project is $175. This project will be based on Winterthur's Watson box sweet bag and knitting sheath (objects seen below). The finished project will be about 2 ˝ to 3 inches in size. Silk wrapped purl will be used. Techniques for the background will be altered to a different 17th century technique such that the project is not an exact reproduction.

Knitting sheath made of two tubular forms sewn together and embroidered with metallic and silk threads in polychrome floral design; legend inscribed on tag (in ink): "Knitting Sheaf of [lady]/ of Queen Elizabeth/ from Norris family 16[82]". According to tradition, these objects were collected by John Fanning Watson along with 58.0102.2-.20.

Rectangular sweet bag with plaited drawstring with tassels and fringe of apricot silk; embroidered with gold, silver, and colored metallic thread in floral design; lined in apricot taffeta; legend inscribed on tag (in ink): "This knitting bag/+ sheath- from a Lady/ of the Court of 2. Elizabeth/ Brot to Philda by the/ Norris family. - 1682."
(left) 1958.102.17, Knitting sheath, Courtesy Winterthur
(right) 1958.102.18, Sweet bag, Courtesy Winterthur

1˝ Hour Sessions (each count as 1 session)

In addition to Joanne Harvey's instructions for making a high quality reproduction of this piece, participants will have the opportunity to closely examine other pieces of 18th century canvaswork from Winterthur's collection with Alison Buchbinder and Samantha Dorsey, recent graduates of the Winterthur Program in American Material Culture.

According to family tradition, this small canvaswork picture was worked by Dorothy Cotton (1656-1706), the daughter of Seaborn Cotton and Dorothy Bradstreet. Both Dorothy's parents descended from famous colonial families; her father was the son of John Cotton, the famed puritan minister and her mother was the daughter of Anne Bradstreet, the first American poetess and both the daughter and wife of Massachusetts governors. Families, however, can often be confused. Stylistically related to other canvaswork pieces worked in the Boston area from the 1740s through the 1770s, this canvaswork picture was almost certainly worked by another family member. Dorothy died the year after her marriage to Joseph Smith, and it is tempting to speculate that she died in childbirth.

* The Dorothy Cotton reproduction canvaswork kit is $68.50. It will be worked in DMC on 28-count linen. All of the stitches are tent stitch. Finished dimensions of the reproduction are approximately 9.25 inches tall by 8.25 inches wide. The reproduction, bottom right, is based on the needlework picture shown to the top right. Please bring needlework supplies such as scissors, pencil, hoop or scroll bar, magnifier if needed, and extension cord.
1958.2230, Dorothy Cotton canvaswork, Courtesy Winterthur

Pre-Conference Classes
Thursday, October 16
10:00 am - 3:00 pm

Elizabeth Taylor was born on October 8, 1789 and embroidered her striking sampler at Mrs. Leah Galligher's school located in Lancaster, Pennsylvania. This embroidery is part of a grouping of samplers executed under the tutelage of Mrs. Galligher. She advertised the opening of her school on April 21, 1797 and taught until the mid 1820's. Elizabeth's sampler is housed in the collections of Winterthur Museum. Pictured below the maker's name, birth date, instructor, and verse is a rendition of Edward Hands house. Dr. Hand was a prominent Lancaster physician of the area.

* The Elizabeth Taylor reproduction sampler is $88.50 (without silk ribbon) or $120.50 (with silk ribbon). The reproduction is based on the original sampler shown to the top right. This sampler was stitched by Elizabeth Taylor "in the 9 year of her age" at Leah Galligher's school in Lancaster. This c.1798 sampler contains cross and queen stitches with an original green silk ribbon and pink and green corner rosettes. The reproduction, shown bottom right, will be worked in DMC on 35-count linen and measures approximately 18 inches tall by 21 inches wide. Motifs include diamonds, strawberries, hearts, baskets of fruit, birds, and a house flanked on each side by three trees. This sampler can be personalized to contain your genealogical records if so desired. If so, please bring along pertinent information, such as christening, birth, marriage, and/or death dates. If interested, bring along a photo of your home to see whether it could be worked into the design. Joanne will advise. Bring needlework supplies such as scissors, pencil, hoop or scroll bar, magnifier if needed, and extension cord.
1991.0006, Elizabeth Taylor sampler, Courtesy Winterthur

* The Lorenza Fiske reproduction sampler is $124. It will be worked mainly in freehand with the design drawn onto the linen, and some counted work. Silk on linen. Reproduction sampler can be personalized with your own family tree.

Lorenza Fisk created this genealogical sampler in 1811 in Lexington, Massachusetts. The motifs it uses make it characteristic of a group of samplers, family trees, and watercolors from the coastal New Hampshire, Massachusetts, and Connecticut area. The original (shown right) is 18.75 inches high and 16.25 inches wide. The central motif is a brown, satin-work tree with duo-shaded green satin leaves and tent stitched orange-colored apples that bear the names and birth dates of Lorenza and her siblings. The tree sits on a grey plinth with the inscription "Family Record" to the left of the plinth and "Lorenza Fisk Work" to the right. The plinth is topped with two interlocking hearts bearing the name and birth dates of Lorenza's mother and father. Below that is their marriage date. The tree is flanked by successive sprigs of flowers rendered in a chain and satin stitch and the whole piece is outlined with a green long stitch saw tooth border.
1969.430, Lorenza Fiske Sampler, Courtesy Winterthur

Pre-registration for Winterthur Members begins on Monday, April 28, 2008.
General registration begins on Monday, May 12, 2008.

Three ways to register:

• By phone: Call 800.448.3883 for up-to-date class/workshop availability.
• By fax: 302.888.4953
• By mail: A registration form can be printed, filled out, and faxed to 302.888.4953 or mailed with payment to
  

  Winterthur Information and Tours Office
  Winterthur Museum & Country Estate
  Winterthur, DE 19735
  

CONFERENCE FEE
$375        Winterthur Members
                  Join today for substantial savings and other benefits!
$375        Professionals working for nonprofit organizations
                  (with copy of business card)
$250        Students with valid ID
$425        Nonmembers

CONFERENCE FEE INCLUDES:
•	All lectures and 4 sessions (Friday & Saturday)
•	Coffee breaks and lunches (Friday & Saturday)
•	Friday evening reception
•	General Admission (Gardens & Galleries ticket) to Winterthur Museum & Country Estate (Thursday-Sunday)
•	Option of registering for pre-conference class

KIT FEE(S):
$  68.50        Dorothy Cotton Canvaswork ("Adam and Eve in the Garden of Eden")
$124.00        Sarah Talley Sampler
$175.00        Explore & Play With Threads of the 1600s - small ornament project
$  88.50        Elizabeth Taylor Sampler (without silk ribbon)
$120.50        Elizabeth Taylor Sampler (with silk ribbon)
$124.00        Lorenza Fiske Sampler

PRE-CONFERENCE CLASS FEE (must purchase kit separately):
$80               Elizabeth Taylor Sampler Class
$80               Lorenza Fiske Sampler

PRE-CONFERENCE CLASS FEE INCLUDES:
•	Class instruction
•	Lunch and Breaks

Additional Questions?
Please e-mail the Office of Continuing Education Programs:
continuing-ed@winterthur.org

Registrants are responsible for making their own arrangements for lodging, as well as transportation to and from Winterthur.

A block of rooms has been reserved for conference participants at the Best Western Brandywine Valley Inn. Please reference the "Winterthur Needlework Conference" when calling:

ADDITIONAL AREA LODGING OPTIONS:

A map of the Brandywine Valley Area, local hotels and B & Bs.
Brandywine Valley Bed & Breakfasts Association

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