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. 

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Topic: Art

1830 - 1850 Mary Willcox Taylor's Fort Dearborn Quilt

"There was exhibited at the late Mechanical Fair held at Chicago, Ill., by Mr. C. Taylor, of that place, a quilt composed of 9,800 pieces of silk, each of which was about an inch square and all sewed with exceeding beauty and neatness.
Description
"There was exhibited at the late Mechanical Fair held at Chicago, Ill., by Mr. C. Taylor, of that place, a quilt composed of 9,800 pieces of silk, each of which was about an inch square and all sewed with exceeding beauty and neatness. Its chief charm, however, was the great skill evinced in the ingenious blending of colors, so as to produce a proper effect in the representation of various figures which ornamented it in every part. A brilliant sun shown in the centre, the moon and stars beamed out from one corner, while in another appeared a storm in the heavens, with lowering clouds and flashes of lightning.
Around the border were various designs illustrative of the season and the rapid growth of the western country. At one place appeared a barren heath, with Indians and hunters roaming over it; next, a trading post, as the first entrance of civilization; next, a military station, with the glorious banner of our country streaming from the flagstaff; then a city, and steamboats and vessels gliding in and out of port." "Great Quilt," Scientific American, Volume 5, Number 12, December 8, 1849.
The quilt described in the 1849 Scientific American, may well have been Mary Willcox Taylor's silk quilt made between 1830 and 1850 and brought to the Museum in 1953. Although the pieced and appliquéd quilt was made in Detroit, Michigan it was said that Mary at one time had lived at Fort Dearborn. In one corner of the quilt is depicted a military fort complete with a prominent U.S. flag on a pole. Fort Dearborn was completed in 1804, burned by Indians in 1812 and rebuilt in 1816. It was demolished in 1856 to accommodate the rapidly expanding city of Chicago. Today, a plaque located in the Chicago Loop recognizes the earlier Fort Dearborn.
Mary used many shades of silk, even a few embellished with water-colors to depict the skies from dawn to dusk, sunny to stormy. Vignettes on the outer edges of the quilt are detailed and precise using many different fabrics and techniques. They portray scenes of the growth and changes in Chicago during the first half of the nineteenth century. All the diamond shaped pieces are quilted in an outline pattern. Now, unfortunately too fragile to exhibit, this example of a nineteenth-century pictorial quilt displays the skills and artistic ability of Mary Willcox Taylor.
Location
Currently not on view
Date made
1830-1850
quilter
Taylor, Mary Willcox
ID Number
TE.T11053
accession number
197748
catalog number
T11053

1876 Ellen Harding Baker's "Solar System" Quilt

This intriguing quilt, “Solar System,” was made by Ellen Harding Baker (1847-1886), an intellectually ambitious Iowa wife and mother.
Description
This intriguing quilt, “Solar System,” was made by Ellen Harding Baker (1847-1886), an intellectually ambitious Iowa wife and mother. It came to the National Museum of American History in 1983, a gift from her granddaughters.
The maker, Sarah Ellen Harding, was born in Ohio or Indiana, in 1847, and married Marion Baker of Cedar County, Iowa, on October 10, 1867. In the 1870s they moved to Johnson County, where Marion had a general merchandise business in Lone Tree. Ellen had seven children before she died of tuberculosis on March 30, 1886.
The wool top of this applique quilt is embellished with wool-fabric applique, wool braid, and wool and silk embroidery. The lining is a red cotton-and-wool fabric and the filling is of cotton fiber. The design of this striking and unusual quilt resembles illustrations in astronomy books of the period. Included in the design is the appliqued inscription, “Solar System,” and the embroidered inscription, “E.H. Baker.” Mrs. Baker probably began this project in 1876, as per the “A.D.1876” in the lower right corner.
The “Solar System” quilt was probably completed in 1883 when an Iowa newspaper reported that “Mrs. M. Baker, of Lone Tree, has just finished a silk quilt which she has been seven years in making.” The article went on to say that the quilt “has the solar system worked in completely and accurately. The lady went to Chicago to view the comet and sun spots through the telescope that she might be very accurate. Then she devised a lecture in astronomy from it.” This information was picked up the by the New York Times (September 22, 1883).
The large object in the center of the quilt is clearly the Sun, and the fixed Stars are at the outer edges. Around the Sun are the orbits of Mercury, Venus, Earth and Moon, and Mars. Not shown are the two moons of Mars that were first seen, at the U.S. Naval Observatory in 1877. The four curious clumps beyond Mars represent the asteroids. The first asteroid (Ceres) had been found in 1801, and with the proliferation of ever more powerful telescopes, ever more objects came into view. Then there is Jupiter with its four moons first seen by Galileo, and Saturn with its rings. The six moons orbiting Uranus are somewhat confusing, as astronomers did not agree on the actual number. Neptune has the one moon discovered by an English astronomer in 1846, shortly after the planet itself was seen.
The large item in the upper left of the quilt is surely the naked-eye comet that blazed into view in the spring of 1874, and that was named for Jerome Eugene Coggia, an astronomer at the Observatory in Marseilles. Americans too took note. Indeed, an amateur astronomer in Chicago put a powerful telescope on the balcony of the Interstate Industrial Exposition Building (1872-1892), a large glass structure recently erected along the shore of Lake Michigan, and offered to show Coggia’s Comet to citizens of and visitors to the Windy City.
The New York Times described Mrs. Baker’s intention to use her quilt for pedagogical purposes as “somewhat comical”---but it was clearly behind the times. Most Americans knew that women were teaching astronomy and other sciences in grammar schools, high schools and colleges, in communities across the country. Mrs. Baker, for her part, may have been inspired by the fact that the famed Maria Mitchell, professor at Vassar College, had brought four students and piles of apparatus, to Burlington, Iowa, to observe a solar eclipse in August 1869.
Location
Currently not on view
Date made
1876
user
Baker, Ellen Harding
quilter
Baker, Ellen Harding
ID Number
1983.0618.01
catalog number
1983.0618.01
accession number
1983.0618

1880 - 1890 Sophia Tilton's Parlor Throw

Sophia M. Tilton decorated her patches on this parlor throw with a wide range of painted flowers. According to donor Helen T.
Description
Sophia M. Tilton decorated her patches on this parlor throw with a wide range of painted flowers. According to donor Helen T. Batchelder, her grandmother Sophia was inspired by wildflowers such as morning glories, violets, and clover on her farm, and the roses, pansies, and lilies in her garden. Sophia was also remembered as a china painter and she used similar motifs to decorate ceramics.
China painting became a popular pastime in the United States in the 1870s. Pottery kilns developed by ceramicists such as Susan Frackelton who patented a “China-firing Apparatus” in 1886 and 1888, helped spur a large growth in both amateur and professional china painters. It is estimated that there were 20,000 professional china painters by 1900, many listed in city business directories. On this parlor throw, Sophia combined her needlework and painting skills to create her unique version of the crazy patchwork throw that was also very fashionable in the late 19th century.
The silk fabrics and ribbons that comprise this throw were said to have been bought in Boston, possibly at Thresher Bros., as Sophia’s eldest son, Alfred, owned a drugstore nearby. The throw was made for Alfred and later given to his son, the donor’s father.
A 5-inch border in the “Flying Geese” pattern frames the crazy-patchwork. The russet satin lining is decorated with bands of white silk feather-stitching framing a center rectangle outlined in herringbone-stitching. Within the rectangle is embroidered a spray of flowers and leaves in white silk. According to family tradition, it may have been designed by Sophia. The throw is edged with an orange silk cord.
Sophia Moore Leavitt, the daughter of Thomas Moore Leavitt and Sally Dearborn, was born about 1820 in Stratham, Rockingham County, N. H. Sophia’s first name was given as “Survial,” possibly a nickname, in the letter of donation. She married Nathaniel D. Tilton January 4, 1846, in Newburyport, Massachusetts. They had four sons, Alfred, Charles, Edward, and Nathaniel and were living in Watertown, Middlesex, Mass., in 1870. By 1880 Sophia was widowed and living with her youngest son (17), Nathaniel D., in Auburn, Rockingham Co., N. H.. It would have been about this time that she made her crazy-patch throw.
According to the donor at the time of donation in 1951, “Needless to say, her four sons considered it a masterpiece and I suppose it was, of the period . . . . It will be very pleasant to think of it in your department where many people can enjoy it instead of having it laid away in a trunk . . . . I give it to the museum in return for the inspiration and stimulation it has given me.” A granddaughter’s generous donation allows others to see and be inspired by her grandmother Sophia’s “masterpiece.”
Location
Currently not on view
date made
1880-1890
maker
Tilton, Survial Leavitt
ID Number
TE.T11009
accession number
192928
catalog number
T11009

1886 J.A.L.'s Crazy-patch Parlor Throw

“Pleasant dreams to you my friends J.A.L.” is embroidered on a diamond prominently placed near the center of this throw. Sentiments such as this suggest that these throws are often called slumber throws as well as parlor throws.
Description
“Pleasant dreams to you my friends J.A.L.” is embroidered on a diamond prominently placed near the center of this throw. Sentiments such as this suggest that these throws are often called slumber throws as well as parlor throws. In general, throws were made to display fancy needlework skills and serve as ornament rather than as bedding.
This piece includes a Women's Christian Temperance Union ribbon in one block.
Often they were made in the crazy-patch style that became fashionable in the last part of the 19th century. This throw utilizes crazy-patched and embroidered plain silk diamonds for the “Tumbling Blocks” pattern, creating an intriguing optical illusion.
The center, pieced in the “Tumbling Blocks” or “Cubework” pattern, is framed by a 5 ½-inch crazy-patch border edged on each side by a 1 ¾-inch blue satin band. The lining is pink silk with a 1 ¼-inch blue silk band decorated with feather and herringbone stitches around all four edges. Silk, tinsel and chenille embroidery threads were used for the buttonhole, feather, French knot, herringbone double cross, running, stem, detached chain, and satin stitches that embellish this throw.
An embroidered patch in the border contains a name, “C. D. Whittier,” and date, “1886.” Another has American flag motifs with the dates “1776-1886.” A moose head and an elephant with “Jumbo” embroidered on it are prominent among the flowers, hearts, horseshoes, birds, fans, web, broom and other motifs typically found on patchwork of the period. “Kate Greenaway” figures are embroidered on several patches. Kate Greenaway (1846-1901) was a popular writer and illustrator of children’s books. Her distinctive style for drawing children was widely copied and appears on various decorative arts of the time.
Several painted diamond patches are signed “Agnes R. Hodgson” or “ARH 86.” One patch with that signature has a palette and brushes. Could she have been an artist who provided patches for crazy-patch work? A friend who had her own particular technique? Or was she the maker of the throw?
The only Agnes R. Hodgson that was found appears on the 1860-1880 censuses. Agnes was born in Oregon City, Oregon, in 1859 to Francis D. and Mary Hodgson. In 1870 they were living in Seneca Falls, N. Y. By 1880 she was living in Milo, Yates County, N. Y., with her parents and five younger siblings. Agnes died in April 1888 at Horseheads, N. Y., of spinal disease (probably meningitis). She is buried in the Mt. Hope Cemetery in Rochester, N.Y. No information on the maker or origins of this throw was provided at the time of donation to the Collection in 1961.
Location
Currently not on view
date made
1886
maker
unknown
ID Number
TE.T12726
accession number
239740
catalog number
T12726

1899 Lydia Finnell's "Star Quilt"

Lydia Pearl Finnell may have made this parlor throw for her trousseau. It exemplifies the fancy needlework techniques popular in the late 19th century. Motifs and designs that appear on the throw can be compared with patterns that appear in needlework manuals of the period.
Description
Lydia Pearl Finnell may have made this parlor throw for her trousseau. It exemplifies the fancy needlework techniques popular in the late 19th century. Motifs and designs that appear on the throw can be compared with patterns that appear in needlework manuals of the period. The patterns consisted of simple outline drawings, which allowed the user to enhance them to the best of their abilities. Lydia’s talents and schooling are reflected in her elaborate and well-executed interpretations. Highly decorated items, such as this, were often placed in the parlor to display the maker’s needlework skills.
Eighty-two patches of fabric make up this extensively adorned parlor throw. The central irregular patches are framed by an eight-pointed star made of 2-3/8" strips of black silk pile, giving it the name “Star Quilt.” Each patch is decorated with flora (e.g., pansies, sumac, thistle, etc.) or fauna (e.g., frogs, chicks, swans, owls, etc.) motifs. Ruching, and satin, French knot, plush and outline embroidery stitches are among those techniques used to embellish the parlor throw. The competent use of the plush stitch is evident on many of the motifs. This stitch produces loops that are later cut, combed, and sculpted with scissors to give a three dimensional effect to each motif. The lining is red wool embroidered with small daisy motifs. A braid attached to the 2-7/8” border of black silk pile completes the quilt.
Lydia Pearl Finnell was born March 3, 1867, to William and Sarah Irvine Finnell in Harrodsburg, Kentucky. At the age of three, she was sent to live with her Aunt Lize (Eliza Finnell Terhune) and Uncle Boley (William Terhune). They taught her the social graces as well as housekeeping skills, cooking, animal husbandry, and some rudimentary doctoring skills. At the age of 14 or 15 she attended Daughters College in Harrodsburg, where she received an excellent education for the time. This included plain and fancy needlework and the fine arts of canvas and china painting.
Lydia married Bushrod Allin (1871-1942) of Harrodsburg on November 8, 1899. Bushrod and Lydia did not have any children, but raised Mary Forsythe Finnell, the daughter of Lydia's brother Charles Handy Finnell. Lydia died March 31, 1949 and is buried in the Spring Hill Cemetery, Harrodsburg, Kentucky. Lydia’s “Star Quilt” is a unique example of extraordinary design and needlework skills, truly a “star” in the Collection.
Location
Currently not on view
date made
1880-1899
maker
Finnell, Lydia Pearl
ID Number
1996.0381.01
accession number
1996.0381
catalog number
1996.0381.01

1720 - 1734 Jane Alcock's Silk Applique Counterpane

According to family information, Jane Alcock made this counterpane in a convent school in England a few years before running away to Barbados and marrying William Atlee (1696-1744) on June 1, 1734. A few weeks later the couple settled in Philadelphia.
Description
According to family information, Jane Alcock made this counterpane in a convent school in England a few years before running away to Barbados and marrying William Atlee (1696-1744) on June 1, 1734. A few weeks later the couple settled in Philadelphia. Jane was born in 1695 in England and died in 1777 in Lancaster County, Pennsylvania.
The scrollwork-and-flower design is appliquéd, held in place by a linen-thread cord, on a dark blue satin ground. The elegant counterpane remained in the family until its donation in 1985.
Location
Currently not on view
date made
1720-1734
maker
Alcock, Jane
ID Number
1985.0154.01
catalog number
1985.0154.01
accession number
1985.0154

1979 - 1980 Francoise Barnes' "Inhibitions II" Quilt

“Inhibitions II,” as named by the artist, Francoise Barnes, is a quilted piece utilizing the “Log Cabin” pattern. Francoise was among the artists in the 1970s who established the Art Quilt movement in which artists use traditional and modern quilting techniques to create art.
Description
“Inhibitions II,” as named by the artist, Francoise Barnes, is a quilted piece utilizing the “Log Cabin” pattern. Francoise was among the artists in the 1970s who established the Art Quilt movement in which artists use traditional and modern quilting techniques to create art. She, along with others, helped found the Quilt National, a venue for the exhibition of non-traditional quilts.
Nine 14-inch Log Cabin blocks of contrasting solid colors were assembled to create the center of this quilted piece. It is framed by a 5½-inch diagonally-pieced border. It is machine stitched and hand quilted. Vivid colors and the use of shading contribute to the overall dynamism of this 1970s example of an Art Quilt.
Location
Currently not on view
date made
1979-1980
maker
Barnes, Francoise
ID Number
1995.0011.07
accession number
1995.0011
catalog number
1995.0011.07

1840 - 1880 Elizabeth McEuen Smith's Indian Palampore

This whole-cloth quilt was made from an Indian palampore, about 1780, that according to the donor was given to Thomas Sully (1783-1872) by a woman whose portrait he had painted. An inscription written in ink on the palampore before it was lined and quilted states:“. . .
Description
This whole-cloth quilt was made from an Indian palampore, about 1780, that according to the donor was given to Thomas Sully (1783-1872) by a woman whose portrait he had painted. An inscription written in ink on the palampore before it was lined and quilted states:
“. . . Thomas Sully This Quilt was purchased 1736 of a Smuggler of East India goods in the Isle of White [sic], England (Belonging to my late friend Mifs Bradford. Elizabeth Smith Charleston.”
While the date in the inscription appears to be 1736, the design of the palampore is more typical of the latter half of the 18th century.
Thomas Sully painted Elizabeth McEuen Smith’s portrait in 1823 (now in the collection of the Honolulu Academy of Arts). He painted another of her sisters, Emily and Mary McEuen (Los Angeles County Museum of Art). Elizabeth was born in 1795 in Philadelphia, Pa. She married Charles Willis Smith in 1817. Elizabeth died in Georgetown, D.C., in 1839.
A small stamp, possibly an agent’s stamp in Tamil appears in the same area as the inscription. The palampore quilt top was both mordant-painted (a chemical process to fix a dye), dyed, and hand-painted, in Madras, India. It was probably quilted and lined in the mid-19th century.
Location
Currently not on view
date made
1840-1880
maker
unknown
ID Number
TE.T13945
accession number
272175
catalog number
T13945

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