Sampler made at the Westtown Quaker School by Sarah Thomas

Sampler made at the Westtown Quaker School 1801

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fibre-art, textile

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fibre-art

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decorative element

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textile

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flower

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figuration

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form

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geometric

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line

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pattern repetition

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decorative-art

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decorative art

Dimensions 14 3/4 x 12 1/2 in. (37.5 x 31.8 cm)

Editor: We're looking at "Sampler made at the Westtown Quaker School," created by Sarah Thomas in 1801. It's a textile piece, and the floral motifs give it a very delicate, almost fragile feel. How do you interpret this work? Curator: This sampler speaks volumes about the education and expected roles of young women in the early 19th century. Beyond mere decoration, these samplers were powerful displays of skill, literacy, and domestic capability, particularly within Quaker communities, where education was more accessible to girls. They were simultaneously exercises in technical skill and articulations of social identity. What does the rigid geometric framing of the various vignettes suggest to you? Editor: I hadn’t considered it in that light, but it's like each little embroidered scene is carefully contained, almost like she’s practicing control. Do you think the floral elements relate to women's roles as caregivers? Curator: Precisely. The floral motifs weren't simply decorative; they referenced the natural world, subtly linking women to ideas of fertility, domesticity, and nurture. Furthermore, the act of creation – the stitching itself – could be seen as a form of quiet resistance or self-expression within the confines of societal expectations. How does knowing it was made in a Quaker school affect your interpretation? Editor: Knowing it’s from a Quaker school makes me wonder about the balance between tradition and progress within that community. It challenges the assumptions of the needlework being only related to feminine passivity, becoming also an example of their pursuit of intellectual advancement through literacy. Curator: Exactly! So, through threads and fabric, Sarah Thomas wasn't just creating a pretty picture; she was weaving herself into a larger narrative about gender, education, and identity in early America. Editor: I’ll definitely look at samplers differently now. I can really see the complexities behind what I had originally interpreted as only delicate and fragile.

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