Winter 2016

family may have sent their daughter to be educated in the city. 3 In further exploring the visual clues, we f ind additional encouragement for a Philadelphia connection. The picture’s mount represents a powerful piece of evidence. 4 With the needlework laced to a cedar board through a series of small drilled holes, the mount strongly resembles those of the two Sarah Wistar pictures in Winterthur’s collection and, according to curator Linda Eaton, of other work from the Philadelphia school of Elizabeth Marsh and her daughter Ann. 5 Eaton has argued that mounts and original frames are crucial, and often overlooked, factors in discerning the origins of samplers and embroidered pictures. The piece under discussion may be another case in point, with the mount providing important support for a possible Philadelphia origin. 6 Striking visual similarities to other Philadelphia needlework pictures strengthen the possible connection to this city, and to the Marsh school, in particular. In a 1738 sconce by Margaret Wistar, sister of Sarah Wistar and a likely student of Elizabeth Marsh, 7 we see multiple points of comparison (Fig. 2). The treatment of the sun, dog, sheep, and butterfly are all notably similar to these same elements in the present picture. The flying golden birds in particular share the same positioning of body, tail, and wings, the same tufted head, and the same groupings of feathers on the tail and wings. This correspondence carries over to other examples of the same subject, including a circa 1730 picture executed by Ann Marsh herself. 8 Winter 174 www.afamag.com | w ww.incollect.com Fig. 2: Sconce, Margaret Wistar, Philadelphia, 1738. Silk on silk satin with linen border. Courtesy Wyck Historic House, Garden and Farm, Philadelphia. WINTERTHUR PRIMER