National Quilt Collection - About

The National Quilt Collection (view a video tour) contains both quilts made for functional, utilitarian purposes as bedding, and others made mainly for decorative purposes. The parlor throws or crazy quilts of the latter part of the 19th century, as well as more recent art quilts, are examples of quilts as ornamental objects. The Collection includes quilts that were made to exhibit needlework skills and were entered in contests or shown at fairs where they won prizes.
Many quilts in the Collection have inscriptions, a practice particularly popular after the mid-19th century, and are a textile record that expresses the interests and feelings of the makers. Symbolic motifs found on quilts attest to patriotic views, honor fraternal organizations or relate to major historical events. Some quilts were made to memorialize events—several in the Collection commemorate the 1876 Centennial by using souvenir fabrics in the construction, and another incorporates World War II slogans.
There are quilts in the Collection that represent both domestic household production and the growth of quilting as a commercial venture. Some of the earlier quilts were made of fabrics that were woven and dyed at home. Across the Collection, quilts contain fabrics that represent changes in the textile industry such as in the fabric printing process. Hand-sewn and quilted examples can be compared and contrasted to machine-sewn quilts as the availability of home sewing machines expanded. Other quilt examples utilized commercial patterns or were made from kits that could be purchased, a quilt marketing phenomenon that began in earnest in the early 20th century.
While many of the quilts were made by women, the Collection also has examples, some as early as the mid-19th century, that were made by men. The 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 National Quilt Collection, part of the Division of Home and Community Life textiles collection at the National Museum of American History, Kenneth E. Behring Center, 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. Quilt donations continue to be accepted in areas where the Collection has needs.
"National Quilt Collection - About" showing 162 items.
Page 10 of 17
1860 - 1875 Machine Quilted Quilt
- Description
- The crafting of this quilt was made possible by William Grover’s 1851 invention of the double-thread chain stitch. He and William Baker were issued U.S. Patent No. 7,931 for a machine that used this stitch. The Grover and Baker Sewing Machine Co. of Boston, Mass., began manufacturing the machines in 1851, and by 1856 were producing for the home market. “Quilting on a Grover & Baker’s sewing machine, is no trouble at all, and the rapidity with which it is accomplished, enables us to apply it to many things which would cost too much time and labor for hand sewing.” ( The Ladies’ Hand Book of Fancy Ornamental Work Florence Hartley, Philadelphia, 1859.)
- The most elaborate quilting of the 19th century was done by hand. It is unusual that the unknown maker of this quilt used a machine to stitch the design of each square through two layers of cotton fabric. The design areas were then stuffed with cotton fibers. The squares were sewn together by hand to make the quilt top, and an overall lining was added. The three layers were quilted by hand along each side of the seams where the squares of the quilt top were joined.
- By 1870, the Grover and Baker double-thread, chain-stitch was being replaced by a lockstitch. The lockstitch machines used one-third the amount of thread and made less bulky seams. The lockstitch remains the standard stitch of home sewing machines to this day.
- The motifs on this all-white quilt top are similar to those found on many of the colorful appliqué quilts of the mid-19th century. Although more complex than most of the work for which the new machines were used, the quilt’s design and the use of the Grover and Baker stitch suggest that this is an early example of machine quilting.
- Location
- Currently not on view
- date made
- 1860-1875
- quilter
- unknown
- ID Number
- TE*T18240
- catalog number
- T18240
- accession number
- 1977.0101
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1860 - 1880 "Whig's Defeat" Quilt Top
- Description
- This example of the “Whig’s Defeat” pattern was made in the mid-nineteenth century, probably in Arkansas. The quilter pieced and appliquéd six 25¾-inch blocks, using red and white cottons to make the quilt top. The blocks were set with 3-inch red and white pieced sashing and a 4¼-inch border.
- The pattern, “Whig’s Defeat,” has been linked to the victory of Democrat James Polk, over Whig candidate Henry Clay in the 1844 presidential election. Whether the quilter chose the pattern as a political statement or merely for its design is unknown.
- The quilt top was part of a donation to the Smithsonian by G. Ruth McHenry in 1961. It may have been in the family of Jane Winter Price, who made a “Carpenter’s Wheel” quilt that is also in the Collection.
- Location
- Currently not on view
- date made
- 1860-1880
- maker
- unknown
- ID Number
- TE*E387831
- accession number
- 188128
- catalog number
- E387831
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1860 - 1880 "Tumbling Blocks" Child's Quilt
- Description
- The maker of this child's quilt remains unknown. Well worn, it is pieced in the Tumbling Blocks pattern, also referred to as Cubework or Boxes. The placement of the four inch diamond shaped pieces cut from various roller-printed cottons creates an example of an optical illusion in textiles. The lining is a roller-printed check cotton in red and brown. The quilt was completed with outline quilting, six stitches /inch, and bound with a strip of printed cotton folded over the edge and machine-stitched. The quilt was donated to the Museum in 1968 by Mrs. Dorothy Walkley Faul. She provided the information that the quilt had been in the Walkley family who had settled in Southington, Connecticut, about 1630 and that the quilt was probably made in the 1860s.
- Location
- Currently not on view
- Date made
- 1860-1880
- quilter
- unknown
- ID Number
- TE*T14533
- catalog number
- T14533
- accession number
- 277119
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1860 - 1900 Long Family Hexagon Pieced Quilt
- Description
- This vividly colored quilt was made sometime after 1860 by the sisters of Joseph Long of Washington County, Md. Red, yellow, blue and white 3-3/4-inch hexagons are set in concentric rings.
- The pieced hexagons on some of the rings are quilted with hexagons, others with floral motifs. The concentric rings are framed by a 9-inch border consisting of three bands, one white and two red. The red bands are quilted in a chevron pattern and the white band in a feathered vine.
- The quilting is 9 stitches per inch. The quilt has a cotton filling and the lining is brought to the front and machine-stitched to form the binding. While family information indicates an 1847 date, the 3x2-ply S-twist cabled cotton thread that is used for the machine piecing and hand quilting suggests a later date.
- Location
- Currently not on view
- date made
- 1860-1900
- maker
- unknown
- ID Number
- TE*T15695
- accession number
- 296914
- catalog number
- T15695
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1861 Mary Rockhold Teter's "Stars and Stripes" Quilt
- Description
- In 1940 Eugene Teter donated to the Museum this patriotic quilt made by his great-grandmother in 1861 for his grandfather, a Union soldier from Indiana. Mary Rockhold Teter based her pieced and appliquéd quilt on a design published in the July 1861 issue of Peterson's Magazine , a popular women's periodical published in Philadelphia. She personalized it by quilting the name of her son, George Teter, and the names of Generals Scott and Taylor under whom he served. Also found in the quilting are "Abe "and "Ab Lyncoln," "Genral Lyon," the word "Cat" and the year "1861." There are thirty-four stars appliquéd in the center diamond and the same number appliquéd in the border. They represent the number of states in the Union from July 4, 1861 until July 4, 1863, the Civil War years.
- Mary Rockhold was born in Ohio in 1817 and married Thomas E. Teter in 1838. They moved to Indiana in 1846 and had seven children; four daughters died in infancy, three sons attained adulthood. Mary and Thomas were fortunate enough to celebrate their Golden Anniversary in 1888. Mary died in 1897 in Noblesville, Indiana. This "Stars and Stripes" patriotic quilt is a reminder of her devotion to family and country.
- "She was of a family of strong, patriotic Revolutionary stock, and inherited a willingness to do and to labor that the country might grow. Her grand-father was Capt. John Rockhold a native of Pennsylvania, who served in the War for Independence. Her father, Joseph Rockhold, moved from Pennsylvania to Ohio in 1800. He was a captain in the War of 1812. This trait of patriotism was one of the strongest in the character of Mrs. Teter. During the late war she showed her great love for the soldier boys in many ways, aiding in every way she could to encourage and help in the country's peril."
- (From the obituary of Mary Rockhold-Teter, 1897)
- Location
- Currently not on view
- Date made
- 1861
- made for
- Teter, George
- quilter
- Teter, Mary Rockhold
- ID Number
- TE*T08420
- accession number
- 157340
- catalog number
- T08420
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1863 Susannah Pullen's Civil War Quilt
- Description
- Mrs. Gilbert (Susannah G.) Pullen and her Sunday school class made this pieced quilt in Augusta, Maine in 1863. She followed the guidelines set by the U.S. Sanitary Commission for bedding to be used in the Civil War. The fourteen young ladies in the Sunday school class contributed over 150 inscriptions that were penned on the quilt's fifteen separate star-patterned blocks. They chose Bible passages, stories to uplift and guide, and riddles to which the answer was only to be found in the Bible. They also provided numerous inscriptions on practical health advice, patriotic messages, and light-hearted riddles. Even personal messages such as: "If you are good looking send me your photograph. Direct to the name in the large square. E.G.D." appeared on the quilt. It was hoped that the quilt would not only provide a diversion for the wounded soldiers during their long days recovering in hospital but also "alleviate or prevent disease and lead to happiness and Heaven." The numerous inscriptions on this quilt provide an insight into the feelings and concerns of the period and perhaps all war eras.
- Susannah Pullen expressed hope for correspondence when she penned these words on the quilt: "We have many dear friends connected with the army & any proper letters from any persons embraced in the defense of our country, received by any whose names are on this quilt shall have a reply. Tell us if nothing more its destination. We meet with many others to sew for you every Wednesday and your letters would prompt us to more exertions for our patriots." Two letters remain with the quilt and attest to its use at the Carver and Armory Square Hospitals in Washington D.C. A letter from Sergt. Nelson S. Fales of Nov. 22, 1863 eloquently expresses his gratitude: "Dear Madam I have had the pleasure of seeing the beautiful 'Quilt' sent by you to cheer and comfort the Maine Soldiers. I have read the mottoes, sentiments, etc., inscribed thereon with much pleasure and profit."
- On the back of the quilt Susannah Pullen penned these words: “The commencement of this war took place Apr. 12th 1861. The first gun was fired from Fort Sumter. God speed the time when we can tell when, and where, the last gun was fired; & ‘we shall learn war no more.’ If this quilt survives the war we would like to have it returned to Mrs. Gilbert Pullen, Augusta, Me . . . This quilt completed Sept. 1st 1863.” It did survive use during the Civil War, and it was returned to Mrs. Pullen as she requested.
- Susannah G. Corey was born in Brookline, Massachusetts in 1816. She married Gilbert Pullen (1810-1890) April 26, 1840. Gilbert was listed as a marble cutter on the 1850 census. They lived in Augusta, Maine with their two daughters, Susan E. and Charlotte. Susannah and Gilbert were members of the First Baptist Church. Susannah died November 26, 1871, and is buried in the Forest Grove Cemetery in Augusta, Maine.
- Susannah Pullen's Civil War Quilt was exhibited at a library in Augusta, Maine, for many years. Over time the inscriptions faded, but fortunately a transcription of them was made in the early-twentieth century. In 1936 Susannah’s granddaughter, Gertrude B. Davis, donated the quilt in her mother’s name, Charlotte Pullen Scruton. It is a reminder of the efforts of the many women who used their needlework and organizational skills to provide comfort for the armies of both the North and South.
- Location
- Currently not on view
- Date made
- 1863
- quilter
- Pullen, Mrs. Gilbert
- quilters
- unknown
- ID Number
- TE*T07726
- accession number
- 138338
- catalog number
- T07726
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1866 - 1900 "Five-pointed Star" Pieced Quilt Top
- Description
- This quilt top was made in the last third of the nineteenth-century and its maker has not been identified. It was part of a donation to the Smithsonian by G. Ruth McHenry in 1961. It may have been in the family of Jane Winter Price who made a “Carpenter’s Wheel” quilt that is also in the Collection.
- Five-pointed stars, twenty in number and made of printed and plain colored cottons, are set off by white circles to create this quilt top. The 15½-inch blocks are framed by an 8-inch-wide dark green border. The quilt was never finished.
- Location
- Currently not on view
- date made
- 1866-1900
- maker
- unknown
- ID Number
- TE*T12699
- accession number
- 238478
- catalog number
- T12699
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1866 - 1900 "One Patch" Pieced Quilt Top
- Description
- The maker of this quilt top, who is unknown, used samples of many late nineteenth-century-fabrics. The quilt top was part of a donation to the Smithsonian by G. Ruth McHenry in 1961. It may have been in the family of Jane Winter Price, who made a “Carpenter’s Wheel” quilt that is also in the Collection.
- The quilt top, pieced in the one-patch “Tumbler” or “Flower Pot” pattern, is made of printed cottons. Nineteenth-century geometric, floral, and polka-dot roller printed cottons are well represented. Both printed and woven striped, checked, and plaid fabrics also contribute to the design. Novelty roller-prints such as dogs’ heads, scallop shells, horseshoes, and ribbons-and-bows can be found on the quilt top. The variety in fabrics makes the quilt top a useful object for study.
- Location
- Currently not on view
- date made
- 1866-1900
- maker
- unknown
- ID Number
- TE*T12700
- accession number
- 238478
- catalog number
- T12700
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1867 Susan Rogers's Family Album Quilt
- Description
- Embroidered in the lower left corner of this Brooklyn, New York, quilt is the quilter's name, "Susan Rogers," with the date "1867." Each of the twenty-five blocks has a different design and most of them contain an embroidered name or initials of a family member. The quilt was donated to the Museum by the wife of Susan Rogers's great-great-grandson.
- A tree filled with birds is the detailed design of the block containing Susan Rogers's name. On one of the branches there is a robin holding a worm in its beak, and a nest with three open-mouthed baby birds begging to be fed, while a seated cat waits patiently below. Other blocks contain appliquéd symbols of military service or membership in benevolent and fraternal organizations. Seven of the blocks contain tiny appliquéd United States flags as part of their patriotic designs. The majority of the blocks have floral motifs. The name "Nellie," Susan's thirteen-year-old granddaughter is embroidered under a basket of flowers. Another floral motif block has the initials "E L," probably for Emma Louise, Susan's ten-year-old granddaughter. A vase decorated with the image of a young boy, cut from printed cotton, and filled with flowers, has "Mother" embroidered underneath it.
- The focus of the album quilt, the center block, is a decorated tree. The presents or decorations include baskets of fruit and flowers, oranges, stockings, a cane, a candy cane, a ladder, parasols, an umbrella, a bottle of bitters, a fish, a bird, a mitten, a slipper, a picture of a dog in an oval frame, a cat on a mat, a pipe, a watch, a bird in a cage, and other gifts. A few are marked with names or initials. Under the fenced-in base of the tree, Susan embroidered "Merry Christmas." Susan Rogers's quilt is a charming example of the mid-nineteenth-century album quilt, each block unique and personalized.
- Location
- Currently not on view
- Date made
- 1867
- quilter
- Rogers, Susan
- ID Number
- TE*T15474
- catalog number
- T15474
- accession number
- 293922
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1865 - 1875 Lizzie Lisle's "Fold and Cut" Appliqued Quilt
- Description
- Lizzie Lisle appliquéd this red and white quilt in about 1870, probably in Cadiz, Iowa before her marriage. Sixteen 14¾ -inch blocks are appliquéd with red conventionalized flowers and four spade-shaped leaves. Each flower has cut-outs forming a cross, revealing the white ground beneath. The center is framed by a 2-inch red band. An 11-inch white border is embellished with a traditional appliqué pattern of swags, bows, and tassels.
- This quilt was referred to in a 1949 Woman’s Day magazine as a “Lincoln Drape” quilt. In the period from 1865 to 1875, a popular swag pattern known as “Lincoln Drape” was used to commemorate the death of Abraham Lincoln and can be found on other decorative items such as glassware. The whole piece is quilted 11 to 12 stitches per inch, with diagonal grid and triple diagonal line patterns.
- Elizabeth (Lizzie) Lisle, born in Ohio in 1836, was the daughter of John Lisle (1803-1890s) and Elizabeth Johnston (1811-1889). Members of the extended Lisle family were early settlers in Jefferson and Harrison Counties in Ohio, but many also moved westward and settled in Iowa. It was in Jasper County, Iowa, on February 11, 1886, that Lizzie married Eden Randall. Eden was born in Delaware County, Ohio, about 1840 and served in the Civil War (Co. G, 3rd Iowa Volunteer Infantry).
- Mustered in June 8, 1861, Eden was taken prisoner on April 6, 1862, in Shiloh, Tennessee. In January 1863 he was part of a prisoner exchange and rejoined his company, only to be severely wounded in the face and mouth on June 12, 1863, at Vicksburg, Tennessee. He recovered in a hospital in Keokuk, Iowa. Elizabeth and Eden had no children. Lizzie is buried in Fairview Township, Jasper County, Iowa. Her grandniece generously donated two of Lizzie Lisle's quilts to the Smithsonian in 1949.
- Location
- Currently not on view
- date made
- 1865-1875
- maker
- Lisle, Lizzie
- ID Number
- TE*T10101
- accession number
- 144535
- catalog number
- T10101
- Data Source
- National Museum of American History, Kenneth E. Behring Center
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