E is for Embroidery

“Success is not fame or money or the power to bewitch. It is to have created something valuable from your own individuality and skill, a garden, an embroidery, a painting, a cake, a life." Charlotte Gray, Canadian biographer and historian

This sampler is an example of embroidery created to demonstrate skill and proficiency in needlework. 
Tauranga Museum, 0283/84.

This embroidery sampler was created in 1913 by Iris Shead and, according to Tauranga Museum’s receipt book, was donated to the collection in 1972 by Mrs Wapp. When I first came across it, a few questions quickly came to mind: Who was Iris? How old was she when she embroidered the sampler? And where, or what, was Hamont?

Research revealed that Iris was born in Ashburton in 1898 to Amy and Walter Shead. Just a year after her birth, her mother was involved in a shocking railway accident at Rakaia, where four passengers were killed when two excursion trains collided due to excessive speed. Amy was pregnant at the time and sustained serious back injuries, prompting Walter to take a civil case against the Crown. The case was successful and became something of a landmark, leading to improvements in railway safety across New Zealand. Amy received £700 in compensation, and Walter £500, awarded for “the expenses he had been put to by his wife’s illness (he had been forced to hire a housekeeper) and as compensation for the loss of society and companionship.”

The Rakaia Railway Disaster: view of wrecked carriage in which victims were killed. 
Auckland Libraries Heritage Collections AWNS-18990324-04-03

 You may be wondering what any of this has to do with an embroidered sampler. A few months after receiving the payout, the Shead family left New Zealand for Europe. By 1913 Iris, aged 14 or 15, was living in Hamont, Belgium, where she embroidered this sampler.

In 1920, Iris married Englishman Wilfred Phillips, had a son, and eventually returned to New Zealand. She later divorced Phillips and, in 1927, married Arthur Wapp. Together they would also have a son. Through all these moves and life changes, Iris’s sampler travelled with her. Toward the end of her life, she chose to preserve it by donating it to the museum’s collection. What initially appears to be a modest example of needlework becomes something far more evocative - a stitched record of a young woman’s life shaped by family tragedy, migration, and resilience.