Collecting the artwork of children

In 18th and 19th century America, samplers were used as an educational tool for girls from all social backgrounds. The function of the finished product, however, would be different. For an affluent girl, her proud parents might put in a wooden frame and hang it on the wall to show her skill in needlework, good upbringing and domesticity. It also communicated that a girl’s parents were wealthy enough to send their daughter to school and that the family valued the arts of refinement. However, for a girl in a charity school student, her example would prove to potential employers her ability to sew, mark and mend personal and household linen.

Courtesy Stephen and Carol Huber
Rebecca Shields Kirkpatrick wrought this rare and nicely developed Wheeling, Virginia (now West Virginia) sampler in 1839 while attending school as a young girl.

A middle or upper-class girl was expected to grow up, get married, have children, and take care of a home. Proficiency with needle and thread was not a hobby back then, it was a necessity. As part of her preparation for the responsibility of sewing clothes and linens for her future family, most girls completed at least two samplers. Regardless of the social class of most sampler stitchers, the techniques were often similar. Samplers demonstrated an ability to do simple embroidery techniques, plain sewing techniques and darning. Plain linen cotton and wool were the usual ground fabrics. Marking samplers with her initials in cross-stitch served a dual purpose. It taught the child basic embroidery techniques and the alphabet and numbers and would help the homemaker keep track of her linens, some of her most valuable household goods.

Courtesy Stephen and Carol Huber
This rare mid-18th century compartmented verse and flower sampler is one of only a few known examples and was in all likelihood worked at Ann Marsh’s school in Philadelphia. It is inscribed at the bottom Isaac Lobdell Rebekah/ Lobdell Anna Lobdell/ Her Work 1761 EL.

The Charity School movement began in 18th century England at a time when growing numbers of children were destitute due to a rising population and rapid urbanization. In 1740 Philadelphia, Ben Franklin and William Shippen began building a charity school, and added a branch of the Charity School for girls in 1753. It was believed that teaching needlework benefitted girls from impoverished backgrounds, since it prevented idleness and gave them employable skills. Girls could start sewing as young as 5 or 6, as long as they could hold a needle and a piece of fabric. They might make their first sampler as young as 8, possibly continuing with further ones into their later teenage years. Many of these Charity School samplers tended to be simpler, more practical examples of needlework. These items could be used within the school or sold during school sales to benefit the school and sometimes the stitcher.

Conversely, a girl who was lucky enough to continue her education usually made a second, more intricate decorative pictorial sampler at a ladies boarding school while she was in her adolescent years. There were a variety of regional differences in these schools. As a result, experts can often assign a sampler to a region, or even a particular school by the style of stitching and design elements. Dealers and collectors prefer them signed and dated. Commonly, alphabets and rows of numbers were stitched in. Buildings, animals, trees, and borders of flowers and vines, were often included as well.

Courtesy Stephen and Carol Huber
This rare North Carolina sampler is beautifully stitched, well designed, and in wonderful condition. It is inscribed: “Mary. L. Speaight./Aged. 12. Years./1832.” She also included a verse from the “Universal Prayer” by Alexander Pope.

Samplers and pictorial embroideries created by girls and young women are a valuable insight into the social history of women’s culture and education in the 17th, 18th and 19th centuries. In addition to showcasing a girl’s domestic talents, decorative samplers also revealed the values of the girl and her family to potential suitors. The verses found on many samplers emphasized the importance of female virtue, the value of education, and obedience to one’s parents and to God. The acceptance of death and the remembrance of the dead, including the sampler maker herself, is another frequent theme. Girls usually signed their samplers, stitching their name, age, and the date the sampler was completed.

In 1921, The National Society of The Colonial Dames in The Commonwealth of Massachusetts published American Samplers, researched by members Ethel Stanwood Bolton and Eva Johnston Coe. Listing 2,500 samplers, the book is still considered to be the most comprehensive resource for samplers and pictorial embroideries. This site continues the documentation, locating those samplers listed in the book and adding others as they are found. If you own a sampler or pictorial embroidery stitched before 1900, please click on the survey form (samplersurvey@hotmail.com) and join in this valuable project.

Schoolgirl needlework is unique among the things we collect in that it is the work of young girls, and the work typically stops when the girls grow up. To collect and study these is to always collect the early years — there is no middle or later period, no mature work, and most often, not even more than one. The samplers are also evidence of these young girls’ lives- in some instances the only proof that they existed. Putting their examples in a historical context illuminates issues of gender and education in the 18th and 19th centuries.

Framed American schoolgirl samplers can fetch hundreds, even thousands of dollars, providing they are in good original condition, colorful, and graphically pleasing. A young woman’s sampler was her mark on the world-the pinnacle work of her education.

These small bits of embroidered cloth are often all that remains to testify to the otherwise unrecorded lives of their makers.

Michelle Galler, is based in Georgetown and in Washington Va., and specializes in American primitives and antique folk art. Her shop Antiques,Whimsies & Curiosities is located in Hazel River Antiques, 12625 Lee Hwy, Washington. Contact her at antiques.and.whimsies@gmail.com or via Facebook at Antiques, Whimsies & Curiosities.

Michelle Galler
About Michelle Galler 29 Articles
Michelle Galler has been an antique dealer and consultant for more than 25 years. Her business, Antiques, Whimsies & Curiosities, is based in Washington, Va. If you have questions or finds, email her at antiques.and.whimsies@gmail.com.

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