As one of the earliest known samplers produced in Australia, this demonstrates the continuation of British domestic practices in the colonies.

The word sampler comes from the French examplair, meaning a model or pattern to work by. By the 1600s, samplers had become part of the process of educating young girls in one of the most important feminine skills, plain and fancy needlework. By the time Ann Sims produced this sampler in Tasmania, the range of stitches and complexity of pattern had been greatly reduced. Cross stitch was now the predominant sampler stitch and elaborate patterns had been replaced with alphabets and verses.

However the sampler had not lost its importance. It was seen as the ideal occupation for a young girl training to become a good wife and mother. Indeed sewing and needlework defined the very essence of Victorian femininity. In colonial Australia, images of domesticity frequently focussed on a woman quietly stitching away. This image brought together, and seemingly resolved, the basic dichotomies in women's lives: the woman is at work, yet peaceful; productive yet removed from any suggestions of commerce or industry; a quiet observer of the family yet contributing to it. As Mrs Warren and Mrs Pullan declared in 'Treasures of needlework' (1855), needlework 'brings daily blessings to every home, unnoticed, perhaps, because of its hourly silent application; for in a household each stitch is one for comfort to some person or other and without its ever watchful care home would be a scene of discomfort indeed.'

In producing this sampler, Ann Sims was fulfilling the ideal. Not only was she demonstrating her patient and careful stitching, the verses she embroidered reinforced Christian values of simplicity, virtue and wisdom.

The careful stitching in silk thread on linen and geometric border are typical of the period. Ann Sims has added her own touch in the two animals on either side of the poem's title.

Little is known about Ann Sims, other than that she lived in Launceston, and married Joseph Rees, also of Launceston, in 1832.

This sampler was embroidered by Ann Sims. Little is known of her life other than that she married Joseph Rees, also of Launceston.

Sampler is signed November the 13 1826

The sampler passed from Ann Sims to Ann Brooks (b. 1865), daughter of Mr and Mrs Murdoch Munroe. From there to Rena Guy (Mrs Brassil's mother) and then the her son (Gene) and Mrs Muriel Brassil.

Sampler, 'Ode to Content', linen/silk embroidery, Ann Sims, Launceston, Tasmania, Australia, 1826.

Rectangular panel of linen, with 10mm selvedge extension added to the right front edge. The sampler is hand embroidered in cross stitch, using slate/grey embroidery silk. A central inscription is surrounded by a narrow border of small cross stitched lozenges. The poem's title 'ODE TO CONTENT' is flanked on each side by 2 small animals [dogs?], the inscription is worked in both upper and lower case as follows: ODE TO CONTENT/Of Heav'n ask Virtue Wisdom Health/But never let thy Pray'r be Wealth/If Food be thine tho' little Gold/And Raiment to repel the Cold/Such as may Natures Wants suffice/Not what from Pride and Folly rise/If soft the Motions of thy Soul/And a calm Conscience crowns the Whole/Add but a Friend to all this store/You can't in Reason wish for more/And if kind Heaven this Comfort brings/'Tis more than Heaven bestows on Kings./Ann Sims November the 13. 1826.

Designer: Sims, Ann; Launceston, Tasmania

Maker: Sims, Ann; Launceston, Tasmania; 1826

"Of Hea'n ask Virtue Wisdom Wealth.../ But never let thy Pray'r be Wealth.../ If Food be thine tho' little Gold../ And Raiment to repel the Cold../ Such as may Natures Wants Suffice../ Not what from Pride and Folly rise.../ If soft the Motions of thy Soul..../ And a calm Conscience crowns the Whole/ Add but a Friend to all this store.../ You can't in Reason wish for more.../ And if kind Heaven this Comfort brings./ Tis more then Heaven bestows on Kings.../ ^^^^^^^^^^^^^^^^^^/ Ann Sims November the 13 1826"

93/354/1

165 mm

145 mm