The earliest known American sampler was made by Loara Standish of the Plymouth Colony about 1645. By the 1700s, samplers depicting alphabets and numerals were worked by young women to learn the basic needlework skills needed to operate the family household. By the late 1700s and early 1800s, schools or academies for well-to-do young women flourished, and more elaborate pieces with decorative motifs such as verses, flowers, houses, religious, pastoral, and/or mourning scenes were being stitched. The parents of these young women proudly displayed their embroideries as showpieces of their work, talent, and status.
In recent years, samplers have become important in museum collections as representations of early American female education. Many are signed, and some are inscribed with locations and the names of teachers and schools. The emergence of large numbers of these samplers has resulted in much research in diaries, account books, letters, newspaper ads, local histories, and published commentary that is helping to illuminate the lives of women in early America.
Many early samplers do not have the letters “J” and “U” in their alphabets because they were not part of the early Latin alphabet and so the letter “I” was used for “J” and the “V” for “U.” The letter “s” is often replaced with the printers “s” which looks like the modern f.
There are 137 American samplers in the Textile Collection. The first was donated in 1886, the Margaret Dinsmoor sampler. In the 1890s the Copp Collection was received and it contained two samplers—one by Esther Copp and the other by her great niece Phebe Esther Copp. (The Copp Collection is an extensive collection of 18th-and 19th- century household textiles, costume items, furniture, and other pieces belonging to the Copps, a prosperous but frugal Connecticut family.) The earliest dated sampler in the collection was made in 1735 by Lydia Dickman of Boston, Massachusetts.
"American Samplers - Introduction" showing 1 items.
- At bottom of the sampler is an unfinished two-story house with two baskets and an urn of flowers, on a ground of straight stitches shaded like Florentine patterns. Margaret Arndt stitched a common proverb that reflected the importance at that time of one’s salvation in Christ. The inscription reads:
“The LOSE of a FaThEr IS MUSh
BUT The LOZE OF a MOTher IS MOOR
BUT the LOSE OF ChrIST IS SUCh
AS NONe CAN RE STOre
DONe IN MY AELEVe
Nth YeAr OF my
Age the YeAr OF
OUR LOrd ONe ThOUSaNd 1815
- The sampler is stitched with silk and cotton embroidery thread on a linen ground with a thread count of warp 27, weft 29/in. The stitches used are cross, chain, Algerian eye, satin, stem, outline, buttonhole, straight, crosslet, slanted gobelin, and hem.
- Margaret Arndt, born ca. 1804 in Pennsylvania, married on June 11, 1833, as the second wife of Henry DeHuff (1794 - 1854). They had six children - Catherine (c.1834-), Jacob A. (c.1836-), Abraham (c.1838-), Anna (1840-), Susannah (c.1845-), and John (c.1848-).
- Currently not on view
- date made
- Arndt, Margaret
- ID Number
- catalog number
- accession number
- Data Source
- National Museum of American History, Kenneth E. Behring Center