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Sampler commemorating the marriage of HRH Prince Charles and Lady Diana Spencer, 29 July 1981.

Rectangular sampler in portrait format; tent stitch embroidery in multi-coloured yarns on pale yellow cotton canvas ground.

Along the top, there is red lettering on a scrolling banner that reads: H.R.H PRINCE CHARLES & LADY DIANA SPENCER. Along the bottom, there is purple lettering on a scrossling banner that reads: WEDDING JULY 29.1981. The embroidery is 'signed' by the maker on the lower proper left: B I CONNICK in sage green thread.

The embroidery features a representation of St Paul's Cathedral on the proper right and the front entrance to Highgrove House on the proper left, with a rose in-between, and the escutcheon of the Prince of Wales, a Welsh dragon and the Coat of Arms of Lady Diana Spencer below. The Prince of Wales Feathers, with a pair of bells on either side, are at the upper centre.

Irish shamrocks, Scottish thistles and Welsh daffodils are on the proper right. On the proper left side are tendrils with pink blossoms which could represent the sweet peas that were used to make up Diana's wedding bouquet. A bird with a curved red beak sits on the lower end of this flower. The embroidery is framed by oak with its strong symbolism of longevity, strength, fertility etc.

The embroidery was originally mounted in a frame but the frame has not been accessioned and has been discarded.
Framing: A thin, fine white cotton fabric was wrapped around a thin piece of brown card. The edges that were brought round to the reverse were taped down with masking tape. The embroidery was then placed over this, again with its edges folded over to the reverse and held down with masking tape. The centre of the card which remained uncovered, was signed in pencil: "Beryl Connick Dee 1981 Started July 1981".

The side edges of the embroidery were bound in masking tape. Both upper and lower turn-backs have a selvage edge. The embroidery on its card-support was then placed inside the frame and was held in place by small steel pins. A larger piece of thin brown card was placed over the back of the frame, adhered in place (only around the edge) and sealed off with masking tape. White synthetic baling twine was tied to two small ring hooks that have been screwed into the upper back of the sides of the frame.

There are stitch holes and remains of white thread along the edges of the canvas which suggest that it would have previously been mounted differently.