Lynne Anderson, Director of the Sampler Archive Project & president of the Sampler Consortium
Tuesday, October 3rd, 2023, 6-7:30pm EDT
The Rokeby House Museum in Ferrisberg, Vermont is hosting a virtual lecture by Dr. Lynne Anderson on October 3, 2023 at 6:00 – 7:30 pm Eastern Time. In a presentation entitled The Vermont Sampler Initiative: Uncovering a Rich Heritage, Lynne will describe the Vermont Sampler Initiative’s efforts to locate, photograph, and document schoolgirl samplers so they can be included in the nationally recognized Sampler Archive, an online database of American samplers and related girlhood embroideries. In addition, she will share some of the project’s important findings and conclusions, using the samplers as evidence.
Of particular interest will be her focus on the variety of educational experiences and options available to Vermont’s early daughters, the diversity in needlework samplers that emerged under the instruction of Vermont’s female teachers, the impact of religion and community values on sampler format and content, and the ways in which schoolgirl samplers from Vermont both reflect and participate in the larger New England experience. Advanced registration is required and is handled through Eventbrite. The cost is $5.00.
The Royal School of Needlework
Wednesday, October 4th, 2023, 7pm UK
The Royal School of Needlework is hosting a virtual lecture by Isabella Rosner on Wednesday, October 4, 2023 from 7:00 – 8:30 pm UK (BST). On a journey that spans four centuries of sampler making by English schoolgirls, Isabella will showcase samplers in the Royal School of Needlework’s large collection, putting pieces into conversation with samplers form the same periods in other public collections. Her talk will focus on samplers ranging from 17th-century spot samplers to Quaker samplers from Ackworth to Berlin wool work samplers, revealing the rich stories of girls and women and the worlds in which they lived. Isabella is a newly hired curator at the Royal School of Needlework. a position she took after successfully defending her dissertation entitled “Women Professing Godliness with Good Works: Quaker Women’s Art Before Ackworth and Westtown c. 1650-1800.” Advanced registration is required and participants are asked to give a donation of their choice.
by Andrew Fowler 9/20/2023
Article by Andrew Fowler in the National Catholic Register about a needlework exhibit at the newly opened museum at Mother Seton’s Shrine in Emmitsburg, Maryland. The exhibit features 20 pieces of 19th century needlework stitched by girls attending St. Joseph’s Academy and Free School as either day or boarding students. Included are examples of silk embroideries featuring the large white brick building known as the “White House” (or “St. Joseph’s House”), as well as late 19th century Berlin work featuring biblical stories and Catholic saints.
Founded by the Sisters of Charity in 1810, St. Joseph’s Academy offered girls a full academic curriculum (English, math, science, penmanship, language and religion) in addition to “painting, drawing, and embroidery.” The new $4 million museum and visitor’s center at the National Shrine of Saint Elizabeth Ann Seaton opened September 22, 2023 and tells “the life story of Mother Seton through an immersive experience, examining her impact as the first native-born American to be canonized.”
The exhibit, “Fancywork: Early American Needlework from St. Joseph’s School” opened on September 24.
The Concord Museum in Concord, Massachusetts announces a new sampler exhibition entitled “Interwoven: Women’s Lives Written in Thread” (Sept 29, 2023 to Feb 25, 2024). On display are 30 extraordinary examples of schoolgirl needlework from the museum’s own collection, all stitched by girls living and going to school in the greater Boston area in the 1700s to mid-1800s. The exhibition explores how samplers reveal the stories of young sampler makers’ lives -- their education, expectations, interests, families, and community -- as well as connections to international markets and enslaved labor. The website announcement invites the public to:
“Learn about the education of privileged young women in the early republic and understand how wealth and enslaved labor enabled them to pursue decorative arts. Explore the materials used in constructing samplers, such as linens, dyes and silk, and how and where these materials were produced. View samplers that demonstrate how women recorded family history and the loss of loved ones through needlework. Understand how they incorporated the importance of community and a strong sense of place in their samplers.”
A variety of events are planned to accompany the exhibition, including gallery tours and needlework demonstrations. The exhibition’s sponsor is the Coby Foundation.
curated by Amelia Peck
Eight 18th century American samplers are on display in a small exhibit in the American Wing of the Metropolitan Museum of Art in New York City. Curated by Amelia Peck, the samplers were made between 1721 to 1795 and are showcased in an intimate gallery off the Richmond Room. One of the stars is a sampler by Rebekah White, stitched in 1766 in Salem, Massachusetts. Rebekah was born July 18, 1754, the daughter of Benjamin and Elizabeth (Miller) White. Her sampler is very similar to the 1766 sampler by Susannah Saunders, also of Salem, that was formerly in the Betty Ring collection. Both samplers showcase the long diagonal filling stitches common to many 18th century samplers made in Salem, a technique that was apparently adopted by multiple area teachers. Clearly Rebekah and Susannah knew each other and attended school together. Another stunning sampler in the exhibit was stitched in 1792 by Martha (Patty) Coggeshall of Bristol, Rhode Island. Patty’s sampler was probably embroidered under the instruction of Anne Bowman Usher (1723–1793), who ran a successful school for girls in Bristol from 1774 to 1793. Samplers from the school have a distinctive fully stitched black background and distinctive motifs such as a man playing a flute and a long-tailed bird in flight. Also included in the exhibit are the following samplers.
For images and more information on all of the samplers listed, check out the 18th century American samplers in the Metropolitan Museum’s online collection (link below). Mary Munro, 1788, Mary Balch School in Providence, Rhode Island Peggy Ingraham, undated but she born in 1778, Bristol, Rhode Island Mary Austin, 1784, of Salem, Massachusetts Mary Waine, 1795, of Boston, Massachusetts Abigail Ridgway, 1795, unknown origin.
Five schoolgirl embroideries of the
Plan of the City of Washington ca. 1800
by Virginia Whelan, Textile Conservator,
NSCDA Sampler Survey chair, Pennsylvania Society
Article by Virginia Whelan in the NSCDA publication “Dames Discovery” (Spring/Summer 2023, Vol. 33, No. 1, p. 8-9) entitled “Marvelous Maps.” The article discusses five very detailed silk-on-silk map samplers featuring “the plan of the city of Washington.” Believed to have been stitched by girls attending school in Alexandria, Virginia circa 1800, each embroidery is unique but all share enough similarities to attribute them to the same instructor. Virginia discusses the shared features but also highlights the subtle differences (e.g., various spellings for the Potomac River) and provides explanations for why these differences might exist. Information is also provided about each of the five sampler makers and current ownership for all five embroideries. Virginia Whelan is a textile curator and owner of Filament Conservation Studio in Pennsylvania. She is also chair of the NSCDA Sampler Survey.
Lecturer: Cindy Steinhoff
Live Lecture Date: Sunday, June 11, 2023 1PM Eastern
Live Lecture Registration: May 22 – June 9, 2023 1PM Eastern
Format: Live Lecture and Recording
An antique sampler reveals some of its physical characteristics and often some information about the girl who stitched it, but what else can it tell us? Cynthia Shank Steinhoff will discuss how she learns more about the samplers she collects and researches. The result is a full documentation of a sampler’s appearance and history. Many of the characteristics that she identifies for older samplers can be used to provide a full description of a needlework piece made today.
Cynthia Shank Steinhoff is the director of the library at Anne Arundel Community College, where she has been a member of the faculty since 1983. A graduate of Edinboro State College (now Edinboro University of Pennsylvania), she also holds a Master of Library Science degree from Clarion University of Pennsylvania and a Master of Business Administration degree from University of Baltimore.
Cynthia is a stitcher, sampler collector, and needlework researcher. She began stitching as a young girl and still owns the first set of stamped pillowcases that she made. Her collection of samplers includes works by girls in Delaware, Maryland, Pennsylvania, and New Jersey, among other states, and from Scotland, England, and Ireland. The oldest sampler in her collection was made in England in the 1730s. Her current areas of focus are samplers made in Pennsylvania, Maryland, and Delaware, and those stitched by Quaker girls. She researches many aspects of her needlework pieces, including stitches and materials used in the samplers, the stitchers’ lives, and connections between her pieces and others in museums and private collections.
Cynthia contributed to and copy-edited Wrought with Careful Hand: Ties of Kinship on Delaware Samplers, by Dr. Lynne Anderson and Dr. Gloria Seaman Allen, the catalog that accompanied an exhibition of 60 Delaware samplers at the Biggs Museum of American Art in Dover, Delaware, in 2014. She is the co-author with Gloria Seaman Allen of Delaware Discoveries: Girlhood Embroidery, 1750-1850, published in 2019, and is also its editor. Cynthia wrote Delaware Schoolgirl Samplers, an essay on the M. Finkel and Daughter web site. She has given presentations about samplers at numerous needlework guilds, Winterthur’s biennial needlework conference, Penn Dry Goods Market, and Sewell C. Biggs Museum of American Art in Dover, Delaware.
A member of the Annapolis Historic Sampler Guild and Loudoun Sampler Guild, Cynthia also belongs to three chapters of the Embroiderers Guild of America – Constellation, Washington DC, and CyberStitchers, the EGA’s online chapter. She is first vice president of Anne Arundel Genealogical Society in Maryland.
When not researching samplers, Cynthia can be found stitching (usually a sampler), reading a mystery novel, and hanging out on the family dog.
“Lo Children are an heritage of God”: a Family Record Sampler of the Child Family
Recording family history
While most people are familiar with published family genealogies and manuscript lists of ancestors in musty family Bibles, genealogy also played a starring role in the decorative arts. One of the most interesting is the family record sampler, which first appeared in the late 18th century and reached its peak of popularity between 1820 and 1830, particularly in New England. Whereas girls of a previous generation might have expressed their family pride by stitching an elaborate coat of arms, as Sally Cobb Paine did in the 1760s, by the turn of the century, girls stitched records that were less formal and more focused on recording their own family unit. As Peter Benes notes, family unity in these records was demonstrated in a common and easily understood visual vocabulary, “by interlocking chains, by adjacent circles, by standing architectural structures, and by planted grids or ‘fields’ of names.”
This needlework sampler stitched by Hannah Richards Child in 1827
memorializes the family of Daniel and Rebecca Richards Child ofWest Roxbury and Newton, Massachusetts.
Black cotton thread on loosely woven natural linen, 1827, 54.7 cm x 42 cm
The Child family sampler
Hannah Richards Child’s 1827 family record sampler contains elements of Benes’s formula. Strong twin pillars enclose the family’s names within, crowned with an arch and the phrase “Lo Children are an heritage of Gd,” from Psalms 127:3, which continues “Like arrows in the hands of a warrior are children born in one’s youth. Blessed is the man whose quiver is full of them.” Hannah’s choice of psalm serves as both an affirmation of her strong religious faith and a loving tribute to her father. After her mother Rebecca died in 1826, Hannah—according to her own obituary—"had devoted herself assiduously to her surviving parent, consoling him under many trials, through which he has recently been called to pass, and directing his house with a degree of judgment, prudence, and affection that are seldom equalled.”
Within the pillars, Hannah recorded the names and birthdates for herself and her 11 siblings, although by the time she stitched her family register, three of her siblings and her mother had died. Two names are repeated on the list—Isaac and Hannah. At the time, child mortality was not uncommon and when a child died, the next child of the same sex would sometimes be named for his or her predecessor, often within the same year. This occurred twice in the Child family. The first Hannah was born in 1794 and stitched her own sampler in 1805, four years before her death in January of 1809 at the age of 14. Our sampler maker, born later that year, was christened Hannah, a name that proved unlucky for her as well. Four years after stitching this sampler, Hannah Richards Child met a tragic end and was glowingly eulogized in the 13 April 1831 edition of the Columbian Centinel:
"Died, in Newton, on the 5th inst. Miss Hannah R. child, aged 22, youngest daughter of Mr. Daniel Child. The sudden death of this young woman, together with the distressing circumstances of it, has cast a gloom over the whole neighbourhood. To see one, thus lovely and excellent, at one moment in perfect health, and, at the next, torn from us by death in one of its most heart-rending forms, is truly distressing. In the afternoon of that day, her aged father left his home to be present at an examination of a neighbouring school. On his return, about five o’clock, finding her not in the house, and having waited a short time, in momentary expectation of her return he became alarmed. The neighbours were assembled, and search was made. At 8 o’clock in the evening, her remains were found at the bottom of the well, near the house. It appears that she had gone to the well for water; and that, in reaching over the curb, to lift out the bucket, she was precipitated to the bottom of the well, that was twenty-five feet deep, with fourteen feet of water. Medical aid was at hand, and every effort made to rekindle the spark of life; but it was quenched.
The scene presented by this event was heart-rending to those who witnessed it. For several years since the death of her mother, this affectionate daughter had devoted herself assiduously to her surviving parent, consoling him under many trials, through which he has recently been called to pass, and directing his house with a degree of judgment, prudence, and affection that are seldom equalled. To see this old man, in the increasing alarm for his daughter’s safety, in the apprehension for her fate, that became more dreadful with every moment’s delay, and the yet evident fear to know the worst, and at last in the agonies of despair, when he saw that she was dead, must have touched every heart that was not itself dead to feeling. To her father no blow could be more painful, to her brother and sisters none more severe—by the circle—the large circle—of her friends, none more sensibly felt. The void that this death has left in society will not be easily filled. But all her friends have the consolations that spring from their religious convictions and hopes, and the beauty and excellence of her character. We bow before the mysterious movements of God’s holy providence, and hope and trust that such as may have been influenced by her example to follow in her steps, may hereafter be united with her in the rewards which have been graciously set before our hopes, as motives to virtue, in the gospel in which the deceased trusted till her death, and which she adorned in her life."
For further reading
The samplers worked by both Hannah Child and Hannah Richard Child were given to the Massachusetts Historical Society along with the papers of their brother John Richards Child.
The Society also holds the papers of their brother Daniel Franklin Child.
The MHS also owns a family record sampler by Sally Whitcomb of Randolph, Mass., ca. 1809.
Benes, Peter. “Decorated New England Family Registers, 1770 to 1850,” in The Art of Family: Genealogical Artifacts in New England Boston: New England Historic Genealogical Society, 2002.
Child, Elias. Genealogy of the Child, Childs and Childe Families Utica, N.Y.: Curtiss & Childs, 1881.
Huber, Stephen and Carol Huber. Samplers: How to Compare and Value London: Octopus Publishing Group, 2002.
Ring, Betty. Girlhood Embroidery: American Samplers & Pictorial Needlework 1650-1850 New York: Alfred A. Knopf, 1993.
Tuesday 18th April 2023 to Sunday 22nd October 2023
Special events: Friends' Study Morning May 11 & June 21
This display showcases a range of textiles from across the Mediterranean world and explores the embroidery practices that connect them. Mostly created by women, these lively and decorative textiles provided a means of self-expression for women and girls of all ages. Generation after generation of makers handed down their needle skills, creating pieces that reflected personal tastes, social standing and community affiliation.
In the main, the embroideries were made for use in the home, as cushions, towel ends, bed tents, or as clothing.
Common features included ships, vases, fantastical beings, humans, birds and even words, while other motifs denoted regional differences. Some patterns travelled, appearing on other objects, such as ceramics, from opposite ends of the Mediterranean.
The selection curated here for the Shiba Gallery begins to tell the intertwined stories stitched into these detailed and delicate embroideries.
Watch the short film 'Running threads, dancing bodies: The life and collection of Andreas Peris Papageorgiou'.
This six-minute film tells the story behind the little-known collection of Andreas Peris Papageorgiou (b. 1931). Peris is unusual in that he is both a maker and a collector, an artist who has spent his life collecting the last remnants of a once vibrant tradition and at the same time keeping them in use, outside the museum, by having his own dance troupe wear his collection for performances.
Greek textiles, embroideries and traditional dress have been sought after by European collectors since the 1600s. By the early 1900s, the most valued specimens had found their way into museum collections, such as the collection here, soon to be on display in the Shiba Gallery.
BY WILLIAM DEGREGORIO AND CHRISTIAN JUSSEL
An early step in needlework’s reappraisal as an art form was the Exhibition of Old English Tapestry Pictures, Embroideries and Samplers of 1900, organized by the former editor of the Art Journal, Marcus B. Huish, at the Fine Arts Society in London. As he wrote in the large illustrated catalogue that appeared later that year, popular interest in the exhibition was extraordinarily high, precisely because “almost every visitor possessed some specimen of the craft, but few had any idea that his or her possession was the descendant of such an ancestry, or had any claim to recognition beyond a quite personal interest.” Only when needlework was removed from its domestic context and viewed en masse did the public begin to accept its value. It took a “museological” approach to elevate estimation of this material, and Huish cited no less an authority than John Ruskin in arguing for needlework’s fundamental place in the English museum landscape. The Illustrated London News hoped that the “publicity thus given to the primitive phase of our national art may draw other specimens from their hiding-places.”
Subsequently, in a fulfillment of this wish, the numerous exhibitions that showcased English needlework in the interwar period (1919–39), often staged for charities, brought together large quantities—up to 600 pieces in some cases—of embroidery, impressing the public with the sheer mass and brilliancy of this material. Typically viewed in sometimes sad country-house contexts, domestic needlework of the seventeenth century did not have a stellar artistic reputation. However, the needlework caskets (Fig. 1), baskets (Fig. 4), framed panels (Fig. 5), and trinkets (Fig. 6) collected by Percival Griffiths, Sir William Burrell, William Hesketh Lever (Lord Leverhulme), Sir William Plender, Sir William Lawrence, Frank Ward, and Sir Frederick Richmond were carefully chosen to be the best of the best in connoisseurial terms, and when these objects were presented in large numbers—often with the endorsement of the omnipresent exhibition patron Queen Mary—their reputation and interest steadily grew.
Needlework picture of King Solomon and the Queen of Sheba, English, c. 1650.
15 1⁄2 by 19 1⁄2 inches. Collection of Joseph P. Gromacki.
Article continued on The Magazine Antiques
Presented by Margi Hofer, Museum Director and Vice President of the NYHS, it's a deep dive into Rosena Disery, a student at New York City’s African Free School, and her highly significant 1820 sampler. Hofer includes a great amount of information about the school and also its students along with fascinating information about the lives of Rosena, her husband and family - highly successful caterers in NYC. The New York Historical Society also holds the African Free School’s records and papers.
This sampler, and much information, is in the archives of our website. Put "rosena" in the search box upper right on any page of our site (of course you can use this for any other search). We are proud to have owned, researched, conserved and framed the sampler before NYHS acquired it, ten years ago.
Article in The Magazine Antiques (July 3, 2020) by Dr. Gene R. Garthwaite
visit Bennington's website for more information on this sampler from 1835.
Check out a recorded Zoom presentation (in Spanish, password is: 0p%eR140) about school girl embroidery in Mexico City from the College of San Ignacio De Loyola, Vizcaínas, founded in 1767
National Museum of American History (NMAH) in Washington, DC.
The exhibition is one in many ways in which the various Smithsonian museums have chosen to honor the 100th anniversary of the ratification of the 19th amendment giving women the right to vote.
The exhibition will be at the NMAH for two years, after which it will be a traveling exhibition and be on display at five to seven other museums in the country 2023-2025. https://americanhistory.si.edu/exhibitions/girlhood-its-complicated?utm…
by Stacey Fraser
Lexington Historical Society, Massachusetts
by Aimee Newell
Luzerne County Historical Society, Pennsylvania