National Quilt Collection - Introduction
"Quilt": A cover or garment made by putting wool, cotton or other substance between two cloths and sewing them together. An American Dictionary of the English Language, by Noah Webster, LL.D., New York 1828.
The National Quilt Collection incorporates quilts from various ethnic groups and social classes, for quilts are not the domain of a specific race or class, but can be a part of anyone’s heritage and treasured as such. Whether of rich or humble fabrics, large in size or small, expertly crafted or not, well-worn or pristine, quilts in the National Quilt Collection provide a textile narrative that contributes to America’s complex and diverse history. The variety and scope of the collection provides a rich resource for researchers, artists, quilt-makers and others.
Part of the Division of Home and Community Life textiles collection, the National Quilt Collection had its beginnings in the 1890s. Three quilts were included in a larger collection of 18th- and 19th-century household and costume items donated by John Brenton Copp of Stonington, Connecticut. From this early beginning, the collection has grown to more than 500 quilts and quilt-related items, mainly of American origin, with examples from many states, including Alaska and Hawaii. Most of the contributions have come to the Museum as gifts, and many of those are from the quilt-makers’ families. The collection illustrates needlework techniques, materials, fabric designs and processes, styles and patterns used for quilt-making in the past 250 years. The collection also documents the work of specific quilt-makers and commemorates events in American history.
Learn more about the quilt collection and step behind the scenes with a video tour.
"National Quilt Collection - Introduction" showing 162 items.
Page 4 of 17
1830 - 1850 Stenciled Child's Counterpane
- Description
- Stenciling was popular as a decorative technique in the early 19th century. This example, possibly made for a crib, is not quilted, but has some linen cloth and thin cotton wadding between the cotton pieced top and linen lining. At least 13 different templates were used in different combinations to create an overall design. A label, now missing, written in the late 19th century read: “George Jones infant quilt Ohio.”
- Sixty-three 6-inch blocks, alternately plain and stenciled, comprise the top. One motif, a tree with fruit, appears on six blocks, three on either side. Other stenciled motifs, in green, blue, rose, and yellow, are more randomly placed. It is bound with two different roller-printed, ¾-inch floral strips folded over the edges.
- The bright, cheerful stenciled motifs found on this child’s counterpane are similar to those found on floor cloths, furniture, and other home accessories of the period. The stenciling technique, using paints, brushes, and templates, was a convenient way to bring color and interest to everyday objects.
- Location
- Currently not on view
- date made
- 1830-1850
- maker
- unknown
- ID Number
- 1995.0011.03
- accession number
- 1995.0011
- catalog number
- 1995.0011.03
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1835 Jessy Anderson's Stuffed-Work Quilt
- Description
- Jessy Anderson made this white quilted and stuffed-work counterpane in New York, probably completing it in 1835. The free-form overall design incorporates eagles, cornucopias, flowers, leaves, fruits, and other motifs popular at the time. Acorn, oak leaves and thistles are repeated in the quilting in several places.
- The center panel, 43 x 39 inches, contains a basket of flowers surrounded by branching coral with a different spray of flowers in each corner. With a thin inner layer of cotton it is closely quilted at sixteen stitches per inch. A 24-inch border surrounds the center panel. It does not have an inner layer of cotton, but is quilted at 18 stitches per inch.
- Two eagle motifs are centered in the top and bottom borders. One eagle is perched on an arch that is inscribed in quilting “E Pluribus Unum.” The other eagle holds arrows and an olive branch under a ribbon also inscribed in quilting, “Pluribus Unum.” A cornucopia in the left border holds a “lemon,” the family term, on which is embroidered in backstitch “Jefsy Anderson New York 1835.”
- For seven generations the quilt was handed down to the first-born daughter before its donation to the Smithsonian in 1981. The donor remarked that “I am unable to give it the kind of preservative care it needs and deserves . . . . I am also anxious to share this remarkable piece of artistry with as many people as would be interested in it.” While it had been in the family for over 140 years, the decision was made by the donors that “the highest honor we could give to our talented ancestor would be to place the quilt in a museum for many to enjoy.” Jessy Anderson’s quilt documents the expression of skills and art that many women displayed with their needlework.
- Location
- Currently not on view
- Date made
- 1835
- quilter
- Anderson, Jessy
- ID Number
- 1981.0830.01
- catalog number
- 1981.0830.01
- accession number
- 1981.0830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1835 - 1845 Quaker Trousseau Pieced Quilt
- Description
- An intriguing note came with this framed medallion quilt when it was donated: “The Quaker Quilt. Phil. ca 1840 made for wedding of bride of early Philadelphia Quaker Abolitionist of pieces from the gowns of her trousseau.” Unfortunately there is no indication of the quilt maker or ownership.
- The focus of the 41-inch central square, “Star of Bethlehem,” is set off by a 5-inch octagonal border. Additional pieced and plain borders frame this variation of a medallion-style quilt. The beige, tan, brown, rust, and light grey silks and satins utilized for the pattern would be typical of the Quaker esthetic and period. The quilt is lined with roller printed cottons and filled with wool. It is quilted with a variety of geometric patterns (grid, diagonal, chevron, and parallel lines), feathered and flowering vines in the borders, and a spray of flowers in the corner squares. This quilt is a precisely designed example of Quaker quilts in the mid-19th century.
- Location
- Currently not on view
- date made
- 1835-1845
- maker
- unknown
- ID Number
- TE*E388880
- accession number
- 182022
- catalog number
- E388880
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1839 Frances M. Jolly's Quilt Top
- Description
- The embroidered inscription “Frances M Jolly 1839” graces the center medallion of this quilt top. This signed and dated silk-and-wool-embroidered quilt top came from an African American family, and the maker, Frances M. Jolly, was said to be an ancestor of one of the donor’s grandparents. The family, of whom little else is known, is said to have lived in Massachusetts and moved to Pinehurst, North Carolina.
- A 37½-inch black square set diagonally in the center with red corner triangles is the focal point of this quilt top. It is surrounded by three borders: a 9-inch black, a 10-inch orange, and an 11-inch black. Appliquéd flowers, leaves, and vines embellished with braid and embroidery decorate the surface.
- The edges of the appliquéd motifs are not turned under, but are held in place by buttonhole stitching in matching or near-matching thread colors. Silk or cotton threads are used for securing the appliqué motifs, stitching, and the embroidery, except for the inscription, which is chain-stitched in red wool. The quilt has both hand and machine stitching. The outer two borders are machine-stitched, indicating that they were joined after 1860 when sewing machines became common in households. Wool fabrics are used for both the pieced sections and the appliquéd motifs. Wool and silk braid and silk ribbon contribute to the overall design.
- Little is known about Frances M. Jolly. A headstone in the White Cloud Presbyterian Church Cemetery, Calloway County, Missouri bears the name “Frances M. Jolly dau of E. H. and A. M. Jolly Feb 15, 1915 and Feb. 11, 1916.” Whether this has a connection to the Frances M. Jolly that is inscribed on this quilt top is a question that remains to be answered with further research and information.
- Location
- Currently not on view
- Date made
- 1839
- quilter
- Jolly, Frances M.
- ID Number
- 1983.0241.01
- catalog number
- 1983.0241.01
- accession number
- 1983.0241
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1840 Eliza Hussey's Masonic Symbols Quilt`
- Description
- Eliza Rosecrans Hussey personalized her pieced wool-and silk-star quilt with symbols of the Masonic Society. The embroidered motifs are interspersed between twenty-five blocks pieced in a variation of the “Feathered Star” pattern. Another silk quilt in the Collection was also made by Eliza, and was embroidered with symbols and inscriptions of the Odd Fellows. Edward Simmons Hussey, her husband, was an active member of both the Masons and the Odd Fellows.
- Eliza, born about 1817 in Pennsylvania, went with her family to Indiana as a young child. In the early 1830s she married Edward Simmons Hussey in Carlisle, Indiana. They lived in various Indiana towns while Edward worked as a merchant, hotel manager, book keeper, and express agent.
- By 1860 they had settled in Brazil, Indiana, where Eliza worked as a milliner. There they raised their family of ten children. Eliza, after some years as an invalid, died in 1880. Her carefully designed and crafted quilts are a reminder of the importance of benevolent societies such as the Masons and the Odd Fellows in the developing towns and cities in the Midwest in the first half of the nineteenth century.
- Location
- Currently not on view
- Date made
- 1840
- quilter
- Hussey, Eliza Rosenkrantz
- ID Number
- 1981.0680.01
- catalog number
- 1981.0680.01
- accession number
- 1981.0680
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1840 - 1850 Hephzibah Jenkins Townsend's "Hawk Owl" Appliqued Quilt
- Description
- According to family information, this mid-nineteenth-century appliquéd quilt belonged to Hephzibah Jenkins Townsend of Charleston, South Carolina. The central focus, possibily a Hawk Owl perched above a bird’s nest and surrounded by flowers and butterflies, is appliquéd on a 39 x 37-inch panel. A similar bird is on an English block-printed fabric of about 1780. This is framed by a 2-inch roller-printed cotton floral band, a 13-inch white border appliquéd with flowers and birds, and an 11-inch border of roller-printed cotton. The overall diagonal grid quilting pattern is closely worked at 11 stitches per inch. A 4½-inch woven and knotted cotton fringe is along each edge.
- Hephzibah (Hepzibah – Hepsaba – Hepsibah) Jenkins was the daughter of Capt. Daniel Jenkins, a Revolutionary War officer, and Hepsibah Frampton. She was born about 1780 in Charleston, South Carolina. Her mother died in childbirth, while her father was imprisoned by the British during the Revolutionary War. Before her death, Hephzibah’s mother seems to have arranged to have two trusted family slaves take Hephzibah to Edisto Island, a difficult journey at that time, to stay with the Townsend family. The little girl grew up at Bleak Hall, the Townsend family home on Edisto Island. Sometime before 1801 she married Daniel Townsend (1759-1842) and they reared a large family on the island. Hepsaba was said to have been beautiful and gifted with a brilliant mind, a strong will, and a sense of justice.
- During her stay on Edisto Island, Hephzibah was inspired by the preaching of Richard Furman, an influential Baptist minister who led the church from 1787 to 1825. He was well known for his leadership, promotion of education, and mission work in South Carolina and elsewhere. After becoming a Baptist in 1807, Hephzibah utilized her talents and organizational abilities to found, in 1811, the first mission society in South Carolina, the Wadmalaw and Edisto Female Mite Society. Their fund raising efforts succeeded, and $122.50 was contributed to the missionary fund in 1812, motivating women to organize societies in other Baptist churches. A few years later, about 1815, this society was responsible for building tabby ovens made from a mixture of sand, lime, oyster shells and water. There the women baked bread and pastries which were sold to raise money to support mission work and build a church.
- Hephzibah is also credited with founding the Edisto Island Baptist Church, which was constructed in 1818. While Baptists had worshipped on Edisto Island from the late seventeenth century, it was Hephzibah whose efforts built the first Baptist church on the island. She died in 1847 and is buried in the church cemetery.
- Initially, the Edisto Island Baptist Church accommodated both the island’s white planters and their enslaved African Americans. During the Civil War the building was occupied by Union troops. After the war, when most of the plantation families left, the church was turned over to the black membership and continues to this day as an African American church. Both the ovens and the church foundation were made of tabby, an early building material consisting of sand, lime, oyster shells, and water. The Hephzibah Jenkins Townsend Tabby Oven Ruins and the Edisto Island Baptist Church are both on the National Register of Historic Places.
- Location
- Currently not on view
- date made
- 1840-1850
- maker
- unknown
- ID Number
- TE*T16008
- accession number
- 298698
- catalog number
- T16008
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1840 - 1850 Hephzibah Jenkins Townsend's Appliqued Child's Quilt
- Description
- According to family information, this mid-nineteenth-century appliquéd quilt belonged to Hephzibah Jenkins Townsend of Charleston, South Carolina. The central focus of this quilt, a “Tree of Life” motif, is decorated with appliquéd peacocks and other birds. The branches, flowers, birds, and butterflies are cut from different block-printed cottons. An 8½-inch border is printed with several floral stripes on one piece of cloth. The overall diagonal grid quilting pattern is very closely worked at 13 stitches per inch.
- Hephzibah (Hepzibah – Hepsaba – Hepsibah) Jenkins was the daughter of Capt. Daniel Jenkins, a Revolutionary War officer, and Hephzibah Frampton. She was born about 1780 in Charleston, South Carolina. Her mother died in childbirth, while her father was imprisoned by the British during the Revolutionary War. Before her death, Hephzibah’s mother seems to have arranged to have two trusted family slaves take Hephzibah to Edisto Island, a difficult journey at that time, to stay with the Townsend family. The little girl grew up at Bleak Hall, the Townsend family home on Edisto Island. Sometime before 1801 she married Daniel Townsend (1759-1842) and they raised a large family on the island. Hephzibah was said to have been beautiful, and gifted with a brilliant mind, a strong will, and a sense of justice.
- During her stay on Edisto Island, Hephzibah was inspired by the preaching of Richard Furman, an influential Baptist minister who led the church from 1787 to 1825. He was well known for his leadership, promotion of education, and mission work in South Carolina and elsewhere. After becoming a Baptist in 1807, Hephzibah utilized her talents and organizational abilities to found, in 1811, the first mission society in South Carolina, the Wadmalaw and Edisto Female Mite Society. Their fund raising efforts succeeded, and $122.50 was contributed to the missionary fund in 1812, motivating women to organize societies in other Baptist churches. A few years later, about 1815, this society was responsible for building tabby ovens made from a mixture of sand, lime, oyster shells, and water. There the women baked bread and pastries which were sold to raise money to support mission work and build a church.
- Hephzibah is also credited with founding the Edisto Island Baptist Church, which was constructed in 1818. While Baptists had worshipped on Edisto Island from the late seventheenth century, it was Hephzibah whose efforts built the first Baptist church on the island. She died in 1847 and is buried in the church cemetery.
- Initially, the Edisto Island Baptist Church accommodated both the island’s white planters and their enslaved African Americans. During the Civil War the building was occupied by Union troops. After the war, when most of the plantation families left, it was turned over to the black membership and continues to this day as an African American church. Both the ovens and the church foundation were made of tabby, an early building material consisting of sand, lime, oyster shells, and water. The Hephzibah Jenkins Townsend Tabby Oven Ruins and the Edisto Island Baptist Church are both on the National Register of Historic Places.
- Location
- Currently not on view
- date made
- 1840-1850
- maker
- unknown
- ID Number
- TE*T16009
- accession number
- 298698
- catalog number
- T16009
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1840 - 1850 Mary Ann Bishop's "Wreath of Roses" Appliqued Quilt
- Description
- In the mid-nineteenth century, Mary Ann Bishop appliquéd this “Wreath of Roses” quilt in the then popular red and green combination of fabrics. Nine 18-inch blocks appliquéd with wreaths of roses are separated by 5½-inch plain white sashing. Eight-pointed stars are appliquéd at the sashing intersections. The 8-inch quilt border is appliquéd with three-lobed leaves on an undulating vine. Plain-weave white and red cottons and a roller-printed cotton of brown dots on a green ground were used for the quilt. Diagonal grid and line quilting, 10 stitches to the inch, provides a contrast to the quilted feathered leaves on the sashing. Two gradually curved S-shaped wooden templates, also donated to the Collection, were used for marking the quilting pattern.
- Mary Ann Gotschall was born July 7, 1819. She married Hiram H. Bishop (1818-1897) on January 31, 1842, in Harrison County, Ohio. He received his medical training at Starling Medical College in Columbus, Ohio, in the late 1840s. Lyne Starling (1784-1848) was the founder of the hospital and medical school, a new concept at that time of providing medical education and patient care in one facility. During the Civil War, from June 1864 to March 1865, Hiram was contracted as an Acting Assistant Surgeon at the Totten General Hospital, Louisville, Kentucky. In March of 1865, when he left, the hospital had over 6,500 patients and fewer than 100 surgeons.
- Mary and Hiram reared four children; John (b. 1843), Naomi (b. 1845), Mary (b. 1848), and Luie (b. 1860). Mary Ann died March 9, 1915, and is buried in the Wilkesville Cemetery. Mary Ann Bishop’s quilt in the “Wreath of Roses” pattern is one of three quilts in the collection that were donated to the Smithsonian by her granddaughter, Maude M. Fierce, in 1936 and 1937.
- Location
- Currently not on view
- date made
- 1840-1850
- maker
- Bishop, Mary Ann Gotschall
- ID Number
- TE*T07956
- accession number
- 143694
- catalog number
- T07956
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1840 - 1860 "Carolina Lily" Album Quilt
- Description
- The “Carolina Lily” pattern, popular in the mid-19th century, was chosen for this example of an album quilt. Roller-printed red and blue-green cotton fabrics make up the pieced and appliquéd pattern. The “Carolina Lily” blocks, quilted in diagonal lines, alternate with plain white blocks each quilted with a different floral design. There is a 1-7/8-inch sawtooth band inside the 7-inch plain white border. The border is quilted with a scrolling feathered vine. The quilting is finely done at 12 stitches/inch.
- Twenty-one of the “Carolina Lily” blocks have a signature along the stem. Six of the surnames are Crumbaker and six are Stoutsenberger, all born in Lovettsville, Virginia. These families are buried in the New Jerusalem Church Cemetery, the Saint James Reformed Cemetery, or the Lovettsville Union Cemetery. It is not known why or for whom the quilt was made, but the many signatures indicate the place where it was most likely made and used.
- Location
- Currently not on view
- date made
- 1840-1860
- maker
- unknown
- ID Number
- TE*T11176
- accession number
- 205528
- catalog number
- T11176
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1840 - 1860 "Rose of Sharon" Applique Quilt
- Description
- Even though this appliquéd quilt has no known maker, nor specific place of origin, it is a fine example of mid-nineteenth-century quilt making. It consists of nine 23-inch blocks, the center and four corner blocks are appliquéd with a large variation of the Rose of Sharon pattern. Four other blocks are quilted and stuffed motifs popular at the time; an eagle with a shield and flags, an eagle with arrows and an olive branch, a grape-vine and a basket of fruit. The 12-inch border of the quilt is appliquéd with swags and roses. Also on the border are thirty-six small quilted and stuffed motifs of birds on branches, flowers, and grapes.The fabrics used are roller printed cottons. The background is closely quilted with diagonal lines, 12 to 13 stitches per inch. Many of the motifs found on this quilt expressed patriotism and often embellished quilts as well as other household items in the nineteenth century.
- Location
- Currently not on view
- Date made
- 1840-1860
- quilter
- unknown
- ID Number
- TE*T12918
- accession number
- 246047
- catalog number
- T12918
- Data Source
- National Museum of American History, Kenneth E. Behring Center