National Quilt Collection

"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.

This mid-nineteenth-century quilt, its maker unknown, is from the Williams family of Milton, Pennsylvania. It features an unusual seven-sided sunburst radiating from a seven-pointed star in the center.
Description
This mid-nineteenth-century quilt, its maker unknown, is from the Williams family of Milton, Pennsylvania. It features an unusual seven-sided sunburst radiating from a seven-pointed star in the center. The skillful quilt maker combined precision piecing with mathematical proficiency to create this intricate geometric figure with its uneven number of sides of equal length. The number seven is echoed in the seven-petal-flowers on the vine encircling the heptagon.
Nine different assorted small print cottons in reds, greens, browns, and blues contribute to the radiating effect of the center. The heptagon sunburst is surrounded with appliquéd motifs of partridges and May trees cut from an early-nineteenth-century English furnishing chintz. It is quilted with various patterns: herringbone, clamshell, outline and parallel diagonal lines.
Fancy sunbursts adorn the centers of many mid-nineteenth-century quilts, but most of them have eight sides. The number seven, found significant in many cultures, myths, and legends, represents concepts of completeness, perfection, plenty, security, and safety. The Heptagonal “Sunburst,” donated in 1991, is a complex variation of the more frequently found eight-sided pattern. It is a tribute to workmanship and design in quilting.
Location
Currently not on view
date made
1830-1850
maker
unknown
ID Number
1991.0381.01
accession number
1991.0381
catalog number
1991.0381.01
An intriguing note came with this framed medallion quilt when it was donated: “The Quaker Quilt. Phil.
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
A stamped inscription of leaves and a bird frame the names: “Eby Byers & Catherine Byers” and the place, “Chambersburg.” Below Chambersburg is noted "1837," in a penned ink inscription ---possibly a later addition?
Description
A stamped inscription of leaves and a bird frame the names: “Eby Byers & Catherine Byers” and the place, “Chambersburg.” Below Chambersburg is noted "1837," in a penned ink inscription ---possibly a later addition? Did Catherine make this quilt?
Catherine Byers, born in 1805, was the daughter of Frederick Byers and Anna Eby of Pennsylvania. Catherine married James Crawford (1799-1872) in 1826. They raised their children and lived on the family homestead in Franklin County, Pennsylvania. Catherine died in 1892. Both came from families who were early settlers of Pennsylvania, some of whom had fought in the Revolutionary War.
Thirty-six pieced blocks, each with a center square of dark blue printed cotton and three appliquéd leaves at each corner create a unique pattern. The central focus is the 9 ¾-inch-block with the inked drawing and inscription. The quilt is framed by a 6-inch border and is quilted at 10 stitches per inch. As no information was included with the quilt, it is difficult to know who made the quilt and the significance of the date.
Location
Currently not on view
date made
1840-1860
maker
Byers, Catherine
ID Number
1980.0253.01
catalog number
1980.0253.01
accession number
1980.0253
The large center block of this album quilt is inscribed in ink: “Hester Willard To her Sister Mary Norriston April 12 1842.” Hester’s sister would have been Mary H. (?) Taylor.
Description
The large center block of this album quilt is inscribed in ink: “Hester Willard To her Sister Mary Norriston April 12 1842.” Hester’s sister would have been Mary H. (?) Taylor. Almost all of the other 68 pieced and appliquéd blocks contain an inked or stamped signature, and many are dated between 1841 and 1844. Additionally many are inscribed with verse from hymns or period literature expressing parting and remembrance. The signatures on the quilt blocks are those of relatives, neighbors, and friends. They lived either in Lower Dublin in Philadelphia County or in the city of Philadelphia, except for Mary’s sisters, Hester Willard and Emily Taylor, who lived in Norristown, Pa, a suburb of Philadelphia.
All of the 68 pieced and appliquéd blocks are different, creating the sampler effect. Both traditional motifs and delightful original designs are represented. These are arrayed around a 17 x 18 1/4-inch center square. An unfinished quilt top, evidence indicates that it was reassembled at some time. Four blocks have been enlarged with fabrics that appear to be of a later date (1875-1900). The fabrics are mainly roller-printed dress fabrics with some furnishing chintzes, there are no plain-colored cottons.
Mary was probably the daughter of Thomas and Susan Wright Taylor. Neither Thomas nor Susan is listed in the 1850 Census. Earlier, Susan is listed as head of household in the 1830 and 1840 Census for Lower Dublin, Philadelphia, Pa. Many of the Wright family members are buried in the cemetery at the Pennyback Baptist Church which was first named the Lower Dublin Baptist Church. It was the first Baptist Church in Philadelphia. We know no further information about Mary Taylor ---whether she had married, gone west, or died.
Location
Currently not on view
date made
1841-1844
maker
unknown
ID Number
TE.T14870
catalog number
T14870
accession number
282796
Members of the Society of Friends, or Quakers, presented Hannah C. Nicholson with this album quilt made in 1843. She was 19 years old at the time and would shortly marry Howell Grave in 1845.
Description
Members of the Society of Friends, or Quakers, presented Hannah C. Nicholson with this album quilt made in 1843. She was 19 years old at the time and would shortly marry Howell Grave in 1845. A descendent wrote at the time of donation: “The quilt has been carefully tended since that time and regarded as an heirloom by our family.”
In the mid-nineteenth century, album quilts with inscriptions and signatures were often made to celebrate an important event, and provide a textile record of friends and family. The forty-one appliquéd blocks and one inked block on this quilt are inscribed with names, dates, and places. Names of Hannah’s paternal relatives, Nicholson, Miller, Biddle, and Parrish, predominate.
The quilt’s inscriptions indicate that some blocks were contributed by women in the name of relatives or young children, e.g. “for her brother” or “for her daughter.” When the block was for a son or daughter, the age was also added. The dates are given in the style of month, date and year with many of them just “8 Mo 1843.” Most of the places inked on the blocks are from the Philadelphia area, with a few from New Jersey (Woodbury, Bordentown, Pleasant Hill, and Salem). Although Hannah was born and lived in Indiana, her father was from New Jersey.
The quilt is composed of forty-nine pieced and appliquéd blocks. The blocks are made with glazed, unglazed, and roller-printed cottons. These were joined by a 2 ½-inch glazed printed-stripe sashing. The same printed cotton is used for the border, providing a cohesive grid-like framework for the blocks. The quilting pattern is an overall diagonal grid, quilted 8 or 9 stitches per inch.
Hannah C. Nicholson was born in Indiana on November 19, 1824, to John and Esther Nicholson. On August 14, 1845 Hannah married Howell Grave (1818-1894) in Wayne County, Indiana. Howell’s ancestors were among the earliest settlers of Indiana. His parents and grandparents arrived in the same year Indiana achieved statehood, 1816, and he was born there in 1818.
Howell and Hannah farmed in Wayne County and raised four children, three girls (Esther, Emma, and Josephine) and a son (Vernon). In the early 1860s they moved to Richmond, Indiana, where for twenty years Howell was one of the principal iron merchants in the city. By the mid-1880s he was in the insurance and real estate businesses. Two of their daughters are listed as teachers on the 1870 census, while Vernon continued to farm. After Hannah was widowed in 1894, she lived with her daughter and son-in-law in Wayne, Indiana. She died there on February 13, 1912, and is buried in the Earlham Cemetery Richmond, Indiana.
Location
Currently not on view
date made
1843
maker
unknown
ID Number
1986.0657.01
catalog number
1986.0657.01
accession number
1986.0657
A quilted and stuffed block on this mid-nineteenth-century quilt bears the inscription “JANE BARR JULY 1849.” Although a gift to the Smithsonian from her niece, Nancy Angelina Ross of Mars, Pennsylvania, in 1954, little more is known about Jane or the significance of the date.The
Description
A quilted and stuffed block on this mid-nineteenth-century quilt bears the inscription “JANE BARR JULY 1849.” Although a gift to the Smithsonian from her niece, Nancy Angelina Ross of Mars, Pennsylvania, in 1954, little more is known about Jane or the significance of the date.
The quilt is composed of 12-inch blocks appliquéd with crossed flowers. Red-, green- and yellow-ground roller-printed fabrics were used for the design. The pattern has characteristics of both “Meadow Daisy” and “Mexican Rose” motifs. Intervening white blocks are elaborately quilted in different geometric and floral motifs, 9 stitches per inch. A flowering vine delineates the border of this beautifully crafted quilt from Pennsylvania.
Location
Currently not on view
date made
1849
maker
Barr, Jane
ID Number
TE.T11101
accession number
201232
catalog number
T11101
Harrisburg, Pennsylvania friends of Ellen Winebrenner Calder presented this quilt to her in 1851. It was a farewell present for Ellen, a young bride, who was accompanying her husband, Rev. James K. Calder to Fuh-Chua, China.
Description
Harrisburg, Pennsylvania friends of Ellen Winebrenner Calder presented this quilt to her in 1851. It was a farewell present for Ellen, a young bride, who was accompanying her husband, Rev. James K. Calder to Fuh-Chua, China. They worked under difficult circumstances in China for two years as missionaries for the Methodist Episcopal Church before returning to the United States. Ellen Calder, born in 1824, died in 1858 at Shippensburg, Pennsylvania. She is buried in the Harrisburg Cemetery.
This cotton quilt consists of 36 blocks appliquéd with a fleur-de-lis motif often used by religious groups for presentation pieces. In the center circle of each block is penned a name and on many the place and date as well. Also penned on the quilt are a few pertinent religious inscriptions such as:
"When on the bounding wave,
Or in a Heathen land,
May God in Mercy Save,
And guide you by the hand.
And when your labors cease,
And you no more must roam,
May you return in peace,
To your beloved home."
In the mid nineteenth century the album or autograph quilt was a popular token of affection, often presented to someone leaving the community for a long journey or a new home far away.
Location
Currently not on view
Date made
1851
user
Calder, Ellen Winebrenner
quilters
unknown
ID Number
TE.T08114
accession number
144655
catalog number
T08114
In 1977 Laura M. Trexler donated this child’s quilt made by her great-grandmother in the mid-nineteenth century. According to family history it was made for Polly’s daughter, Lucetta (1851-1934). Lucetta was married to Amos D.
Description
In 1977 Laura M. Trexler donated this child’s quilt made by her great-grandmother in the mid-nineteenth century. According to family history it was made for Polly’s daughter, Lucetta (1851-1934). Lucetta was married to Amos D. Trexler (1845-1915) in the early 1870s and the quilt was used for all their children, the last born in 1890. They lived in Trexler, Pennsylvania, where the family had several businesses.
The “Log Cabin”-patterned quilt is composed of four 6½-inch blocks pieced with beige and fuchsia wool and wool/cotton fabrics. A 5-inch border in beige frames the four “Log Cabin” blocks. It is machine quilted with a chain stitch.
Maria (Polly) Kistler, daughter of John Kistler and Maria Brobst, was born October 20, 1824 in Lynn Township, Lehigh County, Pennsylvania. She married Daniel W. Fetherolf (b. 1821) in 1844. They farmed, and on the 1880 census were still living in Lynn Township. Maria (Polly) died in 1910 and is buried in the St. Jacobs Union Church Cemetery, Jacksonville, Lynn Township, Pennsylvania.
Location
Currently not on view
date made
1860-1870
maker
Fetherolf, Polly
ID Number
TE.T18384
accession number
1978.0619
catalog number
T18384
“Mary W. Stow,” embroidered in red, is prominent on this patriotic quilt made of fabrics commemorating the 1876 Centennial in Philadelphia. The motifs were cut from bandannas that were printed as souvenirs of the event, and then appliquéd on white cotton.
Description
“Mary W. Stow,” embroidered in red, is prominent on this patriotic quilt made of fabrics commemorating the 1876 Centennial in Philadelphia. The motifs were cut from bandannas that were printed as souvenirs of the event, and then appliquéd on white cotton. Most of the motifs are edged with a button-hole stitch using red cotton. Printed fabrics with patriotic motifs were popular in America before the 1876 Centennial, but the major exhibition in Philadelphia provided textile companies with an incentive to produce many new fabrics for the event. Several of these can be found on the quilt.
The central motif depicts the Memorial Hall Art Gallery at the Centennial International Exhibition at Fairmont Park, Philadelphia. The Main Exhibition Building, Machinery Hall, Agricultural Hall, and the Horticultural Hall are circular motifs. These all originally appeared on one bandanna. There are flags of many nations, most likely cut from a printed textile. Cut-out portraits on printed fabric of George and Martha Washington, William Penn, Thomas Jefferson, Benjamin Franklin, and Ulysses Grant are among the motifs. Democratic candidates for president and vice-president, Samuel J. Tilden and Thomas A. Hendricks, and their Republican counterparts, Rutherford Hayes and William A. Wheeler, appear in separate motifs.
Mary W. Stow lived in Wisconsin, and included on her quilt printed pictures of the capitol building at Madison, Wisconsin and Harrison Ludington (1812-1891), governor of Wisconsin from 1876 to 1878.
Motifs also include inked drawings of the Hingham, Massachusetts, First Meeting House, the Bunker Hill Monument, the Liberty Bell, the Charter Oak, Trinity Church, and Independence Hall. Several motifs have the printed or inked date “1876.”
The border makes use of patriotic colors. A 1½-inch inner band of blue striped cotton with white stars is framed by an outer 1¾-inch band of red cotton. Quilting, 9 stitches per inch, outlines the appliquéd motifs. The border is quilted with a feathered vine and 1-inch diamond quilting fills the background.
The patriotic theme is carried to the lining of the quilt. In the center of the back is a bandanna with the printed text of the Declaration of Independence and facsimiles of the signatures of the signers. These are framed by the Liberty Bell and seals of the thirteen colonies, linked by names of the Revolutionary patriots.
Mary Williams Loomis was born on April 8, 1820, in Brownville, Jefferson County, New York. The daughter of General Thomas Loomis, she married Marcellus Kent Stow (1806-1871) on October 5, 1837, in Buffalo, New York. They moved to Fond du Lac, Wisconsin, in 1852 where Marcellus was a business man, practiced law, and was a county judge.
Marcellus had followed his brother, Alexander, to Wisconsin from New York and together they had platted subdivisions that provided a plan for the city’s growth. Their father, Silas Stow, was a congressman from New York during the War of 1812. Mary and Marcellus reared five children, two girls and three boys.
Mary was also active in the Fond du Lac community. She was a foundering member of the Fond du Lac Relief Society, established in 1873 following the great forest fires of 1872 that destroyed several areas in Wisconsin. The establishment and management of a “Home for the Friendless” or “The Home” was a result of the fund-raising labors of this organization. Operating well into the twentieth century “The Home” provided a refuge for those in need, particularly the elderly, who did not have other resources. Although widowed, Mary still lived in Fond du Lac at the time of the Philadelphia 1876 Centennial. She may have visited the Exhibition and made this quilt as a reminder of the event. Her son, James W. Stow (1853-1913), lived in Washington, D.C., and Fond du Lac, Wisconsin. It was in Washington, D.C., on June 13, 1898, that Mary died.
Location
Currently not on view
date made
1876
maker
Stow, Mary W.
ID Number
TE.T15703
accession number
297870
catalog number
T15703
Elizabeth Smedley made this silk quilt for the trousseau of her niece, Elizabeth Webster Smedley. She married Walter Brinton at Philadelphia, Pennsylvania, in 1891. Off white, grey, and tan are used to set off the simple design.
Description
Elizabeth Smedley made this silk quilt for the trousseau of her niece, Elizabeth Webster Smedley. She married Walter Brinton at Philadelphia, Pennsylvania, in 1891. Off white, grey, and tan are used to set off the simple design. Chevron pattern quilting is used for the vertical bands, and the border is quilted in a cable pattern. The whole imparts a quiet elegance typical of Quaker quilts of the 19th century.
Location
Currently not on view
date made
1890-1891
maker
Smedley, Elizabeth Webster
ID Number
1984.1059.01
catalog number
1984.1059.01
accession number
1984.1059
Eliza Bennis appliqued her initials “EB” and date “1795” in the center of the outer border of this counterpane. Although in fragile condition, this appliqued and embroidered textile is noteworthy.
Description
Eliza Bennis appliqued her initials “EB” and date “1795” in the center of the outer border of this counterpane. Although in fragile condition, this appliqued and embroidered textile is noteworthy. The center panel (21+” high x 28+” wide) is an early Irish printed fabric known as “Irish Volunteers” or “Volunteer Furniture.” The copper-plate design, probably drawn by Gabriel Beranger, is a representation of a Provincial Review in Phoenix Park (June 1782) near Dublin. It was printed by Thomas Harpur at Leixlip, Ireland. This particular fabric may have held significance for Eliza as her husband, in 1779, was instrumental in the formation of a Limerick corps of Irish Volunteers.
Elizabeth (Eliza) was born in Limerick, Ireland, in 1725, daughter of Isaac and Alice Patten. Eliza married Mitchell Bennis (1720-1788) in 1745. They had four children that reached adulthood. Eliza is significant in the history of Methodism and corresponded with John Wesley, among others. Journal of Elizabeth Bennis 1749-1779, begun in her 20s, is an accounting of her spiritual progress after she joined the Methodist Society. In her later years she emigrated from Limerick to Philadelphia and possibly brought the “Irish Volunteers” fabric or counterpane with her. She died in 1802. In 1809 her son, Thomas, published a book of her correspondence.
Location
Currently not on view
date made
1795
maker
Bennis, Eliza
ID Number
1985.0034.01
catalog number
1985.0034.01
accession number
1985.0034
Wilhelmina Dollinger Endlich, crafted this quilt for her daughter, Evelyn, when Evelyn was about ten years old. Wilhelmina appliqued and embroidered the eight hoop-skirted, sunbonnet-wearing and parasol-carrying figures.
Description
Wilhelmina Dollinger Endlich, crafted this quilt for her daughter, Evelyn, when Evelyn was about ten years old. Wilhelmina appliqued and embroidered the eight hoop-skirted, sunbonnet-wearing and parasol-carrying figures. Different print and color-schemes were used for each figure. Variations of this design were popular throughout the 20th century. The blocks are separated by 2 1/4-inch sashing. The quilt was sent out to be quilted.
Wilhelmina Dollinger was born in Philadelphia in 1904 and married in 1922. She became a registered nurse after she married, graduating in 1928 from the Roxborough Memorial Hospital. During World War II she worked for the signal corps as a nurse with a later career was as an industrial nurse. She died March 12, 1964.
Location
Currently not on view
date made
1940-1947
maker
Endlich, Wilhelmina
ID Number
1985.0771.02
catalog number
1985.0771.02
accession number
1985.0771
Five different striped, plaid, and plain blue, rust, and khaki colored wool and wool-cotton fabrics are utilized to construct the 9½-inch blocks for this utilitarian quilt. Four-patch blocks provide a contrast on each corner.
Description
Five different striped, plaid, and plain blue, rust, and khaki colored wool and wool-cotton fabrics are utilized to construct the 9½-inch blocks for this utilitarian quilt. Four-patch blocks provide a contrast on each corner. One edge has an added cotton strip, apparently a later addition. The quilt is lined with a woven plaid blanket. The initial “E” is embroidered in one corner of the lining. Quilted 5-6 stitches per inch in a 1½-inch diagonal grid pattern.
This pieced wool quilt with a wool blanket lining is an example of a 19th century bed covering specifically made for warmth.
Location
Currently not on view
date made
1850-1899
maker
unknown
ID Number
1986.0675.01
catalog number
1986.0675.01
accession number
1986.0675
Over 5,000 hexagonally shaped patches of plain and printed cottons were used to create the quilt. It is outline-quilted at 10 stitches per inch. It was quilted on a frame made by Emma’s grandfather in 1833.
Description
Over 5,000 hexagonally shaped patches of plain and printed cottons were used to create the quilt. It is outline-quilted at 10 stitches per inch. It was quilted on a frame made by Emma’s grandfather in 1833. The frame was used in the family until it was donated with the quilt in 1988.
Emma Mundorff’s grandfather, Philip Snyder, was born in Bavaria, Germany, in 1801. He and his wife, Maria, immigrated to the U.S. in 1832 and settled near Gettysburg, Pennsylvania. Granddaughter Emma Culp was born in 1869. Her family farm, “Culp’s Hill,” is part of Gettysburg Battlefield history. She married Jacob Mundorff (1863-1915) in 1886.
Emma made quilts for herself, her four children, and eight grandchildren. Her masterpiece, “Flower Garden,” was made in 1949 when she was 80 years old.
Location
Currently not on view
date made
1949
maker
Mundorff, Emma Culp
ID Number
1988.0123.01
catalog number
1988.0123.01
accession number
1988.0123
This unfinished parlor throw or quilt was made in Pittsburg, Pennsylvania, by Mary Dickson Watson (born about 1840). The raised or “biscuit” patchwork was done by basting 3 ½” silk squares to 2 ½” cotton squares with a pleat at the center of each side.
Description
This unfinished parlor throw or quilt was made in Pittsburg, Pennsylvania, by Mary Dickson Watson (born about 1840). The raised or “biscuit” patchwork was done by basting 3 ½” silk squares to 2 ½” cotton squares with a pleat at the center of each side. Cotton batting was put under the center of each square. The covered squares were then machine-stitched together to make this colorful top.
Location
Currently not on view
date made
1890-1900
maker
Watson, Mary Way Dickson
ID Number
1989.0268.01
catalog number
1989.0268.01
accession number
1989.0268
Mary Dickson Watson, quilted and corded the pink silk crepe baby carriage cover to match a pillow cover (1989.0268.03) that she made for her granddaughter, Mary Dickson Wilson, born in 1900. The quilting in the center quatrefoil depicts two rabbits with a butterfly and flowers.
Description
Mary Dickson Watson, quilted and corded the pink silk crepe baby carriage cover to match a pillow cover (1989.0268.03) that she made for her granddaughter, Mary Dickson Wilson, born in 1900. The quilting in the center quatrefoil depicts two rabbits with a butterfly and flowers. Surrounding the center are squares outlined by corded quilting, some containing a flower, some empty. Additionally, a narrow pink silk ribbon is used as a tie in eight places.
Mary Way Dickson was born about 1840. She married Alexander Watson in 1859. Their daughter, Mary Dickson Watson, was born about 1865 in Pittsburgh, Pennsylvania. She married Adam Wilson in 1897 and it was for their daughter, Mary Dickson Wilson, that the pillow and baby carriage cover were made. On the 1900 census, Mary Dickson Watson, was living with them in Pittsburgh, Pennsylvania. The recipient of the silk carriage and pillow cover later married Joseph Phipps. The items remained in the family until they were donated to the Collection in 1989.
Location
Currently not on view
date made
1900
maker
Watson, Mary Way Dickson
ID Number
1989.0268.02
catalog number
1989.0268.02
accession number
1989.0268
Mary Dickson Watson, quilted and corded the pink silk crepe pillow cover to match a baby carriage cover (1989.0268.02) that she made for her granddaughter, Mary Dickson Wilson, born in 1900. The quilting in the center quatrefoil depicts two rabbits with a butterfly and flowers.
Description
Mary Dickson Watson, quilted and corded the pink silk crepe pillow cover to match a baby carriage cover (1989.0268.02) that she made for her granddaughter, Mary Dickson Wilson, born in 1900. The quilting in the center quatrefoil depicts two rabbits with a butterfly and flowers. Each corner has a square outlined by corded quilting containing a flower.
Mary Way Dickson was born about 1840. She married Alexander Watson in 1859. Their daughter, Mary Dickson Watson, was born about 1865 in Pittsburgh, Pennsylvania. She married Adam Wilson in 1897 and it was for their daughter, Mary Dickson Wilson, that the pillow and carriage cover were made. In the 1900 census, Mary Dickson Watson, was living with them in Pittsburgh, Pennsylvania. The recipient of the silk carriage and pillow cover later married Joseph Phipps. The items remained in the family until they were donated to the Collection in 1989.
Location
Currently not on view
date made
1900
maker
Watson, Mary Way Dickson
ID Number
1989.0268.03
catalog number
1989.0268.03
accession number
1989.0268
The distinctive eagle in each corner and the bold colors relate this cotton quilt to a similar quilt group of late 19th and early 20th century Pennsylvania origin.
Description
The distinctive eagle in each corner and the bold colors relate this cotton quilt to a similar quilt group of late 19th and early 20th century Pennsylvania origin. In 1929 quilt historian Ruth Finley called this patriotic pattern “Union” in her classic book, Old Patchwork Quilts and the Women Who Made Them. The center is quilted, 6 stitches per inch, with a diamond grid pattern. A cable pattern is used for the border.
Location
Currently not on view
date made
1850-1900
maker
unknown
ID Number
1991.0288.01
accession number
1991.0288
catalog number
1991.0288.01
This miniature quilt may have been a doll’s quilt, a “first” quilt, or a display on a model quilting frame. Possibly made in Pennsylvania, it consists of twelve 1 to 1-and-1/2-inch blocks in the "Four-patch" pattern.
Description
This miniature quilt may have been a doll’s quilt, a “first” quilt, or a display on a model quilting frame. Possibly made in Pennsylvania, it consists of twelve 1 to 1-and-1/2-inch blocks in the "Four-patch" pattern. Quilted in a chevron pattern, 3-4 stitches per inch.
Location
Currently not on view
date made
1890-1900
maker
unknown
ID Number
1995.0011.08
accession number
1995.0011
catalog number
1995.0011.08
Marion Frick, a dressmaker, constructed this “Log Cabin” quilt in the “Barn Raising” pattern. The quilt has samples of many different silks; plain, pattern-woven, ribbed striped, plaid, dotted, and watered.
Description
Marion Frick, a dressmaker, constructed this “Log Cabin” quilt in the “Barn Raising” pattern. The quilt has samples of many different silks; plain, pattern-woven, ribbed striped, plaid, dotted, and watered. Possibly she was able to amass the many silk scraps from dresses that she made.
The parlor throw is both hand and machine sewn. The 3/8-inch strips of silk are pieced in 3½-inch blocks. A 3¾-inch red silk border is machine stitched. The lining is red twilled cotton, hand quilted, with an inner lining of loosely-woven cotton. Diagonal grid quilting pattern was used for the lining and the front and back are turned in and machine-stitched through all layers.
Marion Frick was born in Northumberland, Pennsylvania, February 5, 1829, the daughter of John Frick and Anna Elizabeth Gotshall. She never married, but worked as a dressmaker and lived with her sister’s family. She died in October 1908 and is buried in the Lewisburg Cemetery, Lewisburg, Pennsylvania.
Location
Currently not on view
date made
1870-1890
maker
Frick, Marian
ID Number
TE.T16909
accession number
308473
catalog number
T16909

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