Laura Dunn art prints and posters

The word “sampler” comes from the Latin word “examplar”, literally meaning “example” or “model”. Samplers existed in Europe from the early 16th century, although the earliest known survivor was stitched by Jane Bostocke in 1598.

Samplers were originally worked to provide a portable record of stitches and patterns in an age where printed patterns were very rare. The early samplers were generally completed by adults and were frequently worked on long strips of bleached or unbleached linen.

The first printed pattern book was published in 1523 and, towards the end of the 16th century, the function of samplers changed to become increasingly decorative. In the 18th and 19th centuries, most young girls would have worked at least one sampler during the course of their education. In particular, many samplers of this kind have a religious or moral tone.

Most samplers from the 19th century have been prepared with cross-stitch, which became so common that it came to be called “sampler stitch”. In the 19th century, naturalistic subjects became increasingly popular, including portrayals of birds, trees, houses, animals and people, as well as the more general numeric and alphabetical themes.

Laura Nancy Dunn flourished in the middle of the 19th century, and the subject illustrated in the Rosenstie´s catalogue was completed by her at the age of 14. Her sister, Ann Lydia Dunn, also completed a similar sampler at the age of 13. Both sisters were taught by their mother and the samplers of both children feature the family dog and were worked in coloured silks in a wide variety of stitches.

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Gives the frame its character and provides the perfect setting for an artwork to be fully enjoyed.

Perspex or glass

Protects the artwork from dust and wilting so that it can be admired for many years.


Adds depth to an image and works with the moulding to enhance and protect the artwork.

Backing board

Bonds to the artwork ensuring it is perfectly smooth and holds the whole frame together.

More about framing


In the Design Studio

We partner with the world's top museums and galleries to bring you exclusive prints of the highest quality. Our teams of designers ensure the colours are accurate, papers are well suited and the best frames are suggested.

Colour Perfecting in the Print Room

In the printing room, artworks are printed on state-of-the-art machines with a team of technicians checking colour and quality every step of the way.

Measuring Up

After being cut down to size, our team carefully finish any stray edges, check measurements and prepare the prints for mounting and framing.

Assembling Frames in the Framing Workshop

We have a team of master framers who work with high-quality, responsibly-sourced wood to create our vast range of framing combinations - each frame is bespoke and made to order for every print.

Hand-finishing in the Framing Workshop

Our selection of hand-finished frames are painted or stained by hand in a variety of colours, and finished with a layer of wax - the end result is a uniquely crafted, beautiful frame that is made to last.

The Last Stop

In this workshop everything comes together - the print, the frame and the glass - in a seamless and stream-lined process.

Mounting the Prints

The artwork is carefully mounted in preparation for framing.

Laying the Glass

Once mounted, the print is ready to be covered by glass or perspex - a delicate procedure but expertly done with not a fingerprint in sight.

The Final Product

After a final, thorough check, the framed print is ready to be carefully packaged up and shipped to the customer.

Transferring to Canvas

For those who order their art as canvas prints, the same amount of attention and care goes into the process. Here, the print is being transferred to a wooden frame.

Finishing the Canvas Edging

As with the framed prints, our canvases are all hand-finished in the workshop - a labour of love from start to finish.