October 5, 2012 - August 31, 2013

Sampler verses have long fascinated those who study the needlework canvas. Here are a few with some of their connections to authors or other needlework references.

To European visitors, nineteenth-century Americans appeared constantly on the move. They moved within the borders of their native states: to the Near West; to the Deep South; and finally to the “Far, Far West,” a term sometimes used to describe the vast unknown western territory. These migrations rent family life and ties. 

A survey of 22 New York samplers in the DAR Museum collection was undertaken in 2003-2004 to study the samplers in depth, both individually and as a group. This exhibition features a selection from that group.

From the earliest days of colonization in North America, sewing traditions arrived with the settlers. During the 18th century, most design and motifs came into the United States directly from England and Europe. As in most decorative arts, those would be absorbed and eventually take on their own American flavor.

By the late 19th century, collectors recognized the charm of American schoolgirl samplers. This interest partially arose from the Centennial celebrations and from the Colonial Revival movement. It was not until the 20th century that the substantial collections and subsequent reserch resulted in the growth of auctions, exhibitions and a revolving list of needlework historians, scholars and professionals.