Inquiring readers,
Last April Brenda Cox shared a thought-provoking post about a Jane Austen Sampler. Click here to read the article. Mrs. Cox writes that Deirdre Le Faye, an expert on Jane Austen, believes that the stitcher was another Jane Austen, probably a second cousin of the author of ‘Pride and Prejudice.’
Mrs. Cox has continued her research into this fascinating topic, and writes:
A few years ago, I bought a printed copy of the “Jane Austen sampler” at the Jane Austen Centre in Bath. In 2018 I posted thoughts on my blog about that “Jane Austen Sampler.” However, I had no idea whether “our” Jane Austen had stitched it or not.
Then Deirdre Le Faye saw that post and directed me to her article for the Jane Austen Society. She speculated, for various reasons, that the sampler may have been done by a cousin of Jane Austen’s. In 2019 I wrote about her ideas in Jane Austen’s World. At the end of that article I asked if some genealogist might try to track down the history of the sampler.
Now the plot continues to thicken. Months later, Alden O’Brien, curator of the DAR Museum in Washington, D.C. saw those posts and wrote to me for details. She then did extensive research based on her specialties: the history of needlework and genealogical research. Exactly what we needed!
Ms. O’Brien posted her conclusions which I highly recommend you read: “Is This Jane Austen’s Sampler?”
In summary:
For it to be “our” Jane Austen’s sampler, we need to assume that it originally said 1787 and stitches were pulled out to make it say 1797. Deirdre Le Faye thought this was highly unlikely. Alden O’Brien thinks it even more unlikely. From the photos we have (which admittedly are not great), there is no evidence in the fabric that stitches were removed. And O’Brien compared it to Cassandra Austen’s sampler which includes all the numbers. Presumably the sisters would have been using the same style of numbers. The “9” in the “Jane Austen sampler” looks much like Cassandra’s 9, but not completed. Cassandra’s 8 is a different shape, so it’s unlikely that the original said 1787.
Even more conclusively, O’Brien was able to trace the provenance given for the sampler. She found clear records from the sampler’s previous owners back to a Jane Austen who would have been about 12-14 in 1797, the right age for making such a sampler. It appears that this Jane grew up to marry the owner of a pub. One of her sons was a servant, and her daughter married an oyster fisherman. So she was from a lower social class than the author Jane Austen. O’Brien points out that even young women of this class often went to schools where they might produce samplers like this one.
The Mr. Frederick Nicholls of Whitstable who once owned the sampler is claimed to be “a grandson of a cousin of Jane Austen.” However, from this evidence, it appears he actually was a grandson of this (alternate) Jane Austen.
So, the bad news is that the sampler almost certainly was not sewn by the author Jane Austen. Still, it did come from her time period. And unraveling the mystery has been a story in itself!
Jane Austen's World 
Unraveling the mystery, indeed. What a story. As a lover of all things Jane, I am sad that this isn’t “our” Jane Austen’s work. But thinking of the young girl who did do this sampler leaves a vivid picture in my head. As for the needlework itself, I am enthralled being lover of all things needle art. I can no longer do needlework myself, drat. But I love looking at it and live vicariously through the skill of others, from past or present artists. Looking very close at the sampler is a poignant experience; the little mistakes that were just worked into the design of the border, which by the way looks very close to the border I worked in a sampler of my own from a very old pattern. Thank you for the wonderful article.
Very interesting research and conclusion. Well done all.
so nice to be able to have the provenance traced and have better answer
denise
Vic, I ‘d have to agree with Brenda’s sources – Le Faye and O’Brien – that sampler hasn’t been altered, judging from the photo. I’ve been a needle worker for years and studied a few samplers and I can tell you that anything that old would have marks in the fabric if it had been altered. It’s hard to hide your stitching “sins” on a piece of linen. And while it might not be noticed the first years after it was stitched, age would discolor the threads slightly and that change would be apparent – even if only faintly.
Terrific article, though – antique needlework pieces are just fascinating!
Thank you all for your comments! I agree that it’s disappointing the sampler is not by “our” Jane Austen. But I was also very excited to finally get a definitive answer. And it is still a fascinating piece of work. I’m actually in the middle of stitching a copy of it myself, and I will continue stitching! [If you’re interested, a pattern is available from http://www.inspiredneedleworks.com/product/jane-austens-sampler-pattern/ .]
By the way, Deirdre Le Faye has just confirmed that she finds Alden O’Brien’s work quite persuasive. She wrote to me, “I think she (Ms. O’Brien) is absolutely right in her researches and conclusions drawn therefrom.”
It’s good to know the truth.
Love these real-life mysteries a la Jane that send tingles down my spine. Many thanks.
What a fascinating piece and completely convincing. Thank you for posting. I love these intelligent, well-researched expeditions into anything Austen.