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.

Topic: Textiles

1850 - 1875 Mary La Follette's Pieced Quilt Top

This unfinished quilt top, which resembles a “Tic Tac Toe” game, was made by Mary La Follette of Primrose, Wis. Two different 8-inch block patterns were used to create the quilt top---an X and a hollow octagon.
Description
This unfinished quilt top, which resembles a “Tic Tac Toe” game, was made by Mary La Follette of Primrose, Wis. Two different 8-inch block patterns were used to create the quilt top---an X and a hollow octagon. Ninety-nine blocks, pieced with roller-printed cottons, are framed by a 1 ¾-inch white border. In 1974, Mary’s granddaughter donated this quilt top that had been in the family.
Mary Ferguson was born in November 1818 in Indiana. She married Alexander Buchanan in 1840, but he died in an accident before their first child, Ellen, was born. In 1846 Mary married Josiah La Follette. After a few years in Indiana they moved in 1849 with their children Ellen (b. 1841), and William (b. 1847) to Primrose County, Wis. They farmed, and two more children Josephine (b. 1853) and Robert Marion (b. 1855) were born. Another son, Marion, born in 1850, died as a toddler in 1853. Mary’s husband, Josiah, died in 1856, a few months after Robert was born. After Mary became a widow for the second time, she worked the farm with her children until 1862, when she married John Saxton (1792-1873). In 1873, after his death, she moved to Madison, Wis, where she died April 21, 1894.
It was her youngest son, Robert or “Fighting Bob” La Follette who became well known in politics. He was a member of the U.S. House of Representatives (1885-1891), governor of Wisconsin (1901-1906) and U.S. Senator (1906-1925). He died in Washington, D.C., in 1925.
Among many qualities, Mary was known for her industry, strong character, and active participation in the pioneer life of Primrose, Wis. The quilt top is a reminder of one of her skills, that as a seamstress. Her obituary in the Mt. Horeb Times of April 1894 stated “The brilliant career of her youngest son, from this period on, and the esteem in which her other children were held, must have been a source of pride and comfort to her in her old age.”
Location
Currently not on view
date made
1850-1875
maker
La Follette, Mary
ID Number
TE.T17173
accession number
313380
catalog number
T17173

1850 - 1880 Lucy Meade's "Sunburst" Pieced Quilt

The “Sunburst” quilt was brought to Kansas from Ohio in 1904 by Emma Tracy, Lucy Meade’s mother. She had inherited it from her mother, Candus Cone Northway, whose aunt crafted it in the mid-19th century.
Description
The “Sunburst” quilt was brought to Kansas from Ohio in 1904 by Emma Tracy, Lucy Meade’s mother. She had inherited it from her mother, Candus Cone Northway, whose aunt crafted it in the mid-19th century. Lucy Tracy Meade, the donor’s grandmother, exhibited the quilt in Kansas in the 1970s.
According to Lucy Meade, it was always referred to in the family as the star pattern. Whether it is called a 14-point star, a sunburst, or a sunflower, the quilt makes a bold graphic statement.
This carefully designed quilt is composed of five different roller-printed cottons, with a white cotton lining and cotton filling. A 23 ¾-inch red circular center is surrounded by 14 yellow triangles and 14 green diamonds. Additional piecing in blue provides contrast to the colorful sunburst. The resulting 57-inch square is framed by a border of 9 ½-inches on three sides and 17-inches on the bottom. The quilting accents the design with concentric circles ¾-inch apart in the center, echo quilting on the diamonds and triangles, clamshell quilting on the wedges between diamonds, and further concentric circles around the sunburst. The border is quilted with a diagonal grid pattern, all done at 7 stitches per inch.
In an article in the Hays Daily News from 1979 about the “Sunburst” quilt, Lucy Meade says: “It’s been in the family for as long as I can remember. We’re even so worried about it wearing out that we don’t use it anymore, except for display purposes.” Her granddaughter, Janet Meade Komoroske agreed, and felt that the quilt belonged in a museum collection where it can be admired and studied by a wider audience.
Location
Currently not on view
date made
1850-1880
maker
unknown
ID Number
1984.0211.01
catalog number
1984.0211.01
accession number
1984.0211

1850 - 1900 Sylvia S. Queen's "Garden of Eden" Quilt

Purchased at a church bazaar in Fort Smith, Arkansas, this Bible-inspired rendition in fabric of the Garden of Eden is a testimony to the ingenuity and creativity of quilt makers in the second half of the nineteenth century.
Description
Purchased at a church bazaar in Fort Smith, Arkansas, this Bible-inspired rendition in fabric of the Garden of Eden is a testimony to the ingenuity and creativity of quilt makers in the second half of the nineteenth century. The donor's grandmother, Laura Doty Diffey, acquired the quilt in 1900. It is possibly the work of Sylvia S. Queen of Olathe, Kansas, as a quilt with similar vignettes, attributed to her, is in the Johnson County Museum in Shawnee, Kansas.
The center medallion of this quilt represents the firmament, with the sun, stars, and four phases of the moon. Artfully arranged around the center are scenes from the Old Testament: Adam and Eve, Eve tempted by the serpent, Eve giving Adam the apple, and, finally, Adam and Eve running out of the Garden of Eden. Appliquéd motifs of birds, butterflies, flowers, and fruit trees are interspersed. A flowering vine that grows from a double trunk at the bottom of the quilt frames the vignettes, leaving a space at the top. The scalloped edge echoes the curving vine. Plain and roller-printed cottons, and plain and checked silks are used for the appliquéd motifs, some of which are stuffed. Outline-quilting is used for the sun, moon, stars and larger flowers. The background is quilted in parallel diagonal lines, 3/8-inch apart, 8 stitches per inch.
Sylvia S. Queen was born in 1804 in Connecticut and lived for several years in Kankakee Township, LaPorte County, Indiana, where she is listed on the 1870 and 1880 censuses. From 1881 on, she lived in Olathe, Kansas. Sylvia made a will in 1891 while she was living with a granddaughter, Susan M. Sanford. The will mentioned a son, Faber M. Walker of Benton Harbor, Michigan. Born about 1829, he served in the Civil War for a short time. He was to receive “. . . the sum of one dollar . . . having received before this all I intended to give [him] . . .” Sylvia’s will states that most of her belongings were to go to her granddaughter “. . . if she lives with and takes care of me, as she has done ever since she came to live with me in the month of April 1891, as long as I live.” According to Sylvia’s obituary in the Olathe Mirror May 14, 1896, she had “been an invalid for a number of years . . . She was possessed of some ability as a poet and many of her friends have her writings as mementos . . . . She was an ardent Christian and gave liberally to the church.” Sylvia died May 9, 1896, at the residence of Mr. and Mrs. Edwin Sanford, and is buried in the Olathe Cemetery in Kansas.
Location
Currently not on view
date made
1850-1900
maker
Queen, Sylvia S.
ID Number
TE.T15534
accession number
295251
catalog number
T15534

1850 - 1900 "Pinwheel" Child's Quilt

This lively pieced child’s quilt was made in the second half of the nineteenth century and the maker is not known. It was part of a donation to the Smithsonian by G. Ruth McHenry in 1961.
Description
This lively pieced child’s quilt was made in the second half of the nineteenth century and the maker is not known. 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.
Green and white pinwheels within red circles surrounded by pieced chains of green pointed ovals give a sense of whirling animation to this small quilt. Inside the 1½-inch border are semicircles of printed cotton. White thread is used for the outline and concentric line quilting on the red circles and white ground. Green thread is used for the outline and concentric line quilting on pinwheels and chained ovals, and for the herringbone quilting in the border. All are quilted 9 stitches per inch. The use of color and the complex pieced pattern combine to make this child’s quilt dynamic.
Location
Currently not on view
date made
1850-1900
maker
unknown
ID Number
TE.T12701
accession number
238478
catalog number
T12701

1851 Ellen Calder's Presentation Quilt

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

1851 - 1855 Ripley Family's "Friendship" Quilt

About 1855 in Northfield, Mass., Charles Torrence Ripley was preparing to move his family and daguerreotyping business to Fond du Lac, Wis.
Description
About 1855 in Northfield, Mass., Charles Torrence Ripley was preparing to move his family and daguerreotyping business to Fond du Lac, Wis. This “Friendship” quilt was made by friends and family for his wife, Lucy Arabella (Holton) Ripley.
Friendship quilts are composed of signed blocks of the same pattern often accompanied by an inscription. These quilts were popular in the mid-19th century when many families were relocating further west and a tangible reminder of those they left behind was in order. It is through the many signatures on this quilt that some of its history can be traced.
Blue and white printed cottons are pieced in the “Friendship Chain” (“Album” or Chimney Sweep”) pattern, and the blocks are set diagonally with a 3 ½ -inch blue-and-white polka-dot sashing. The blocks are partly outline-quilted and many have four “Xs” quilted in the white center area.
The majority of the ink-inscribed blocks (28) are from Massachusetts (mainly Northfield) and New Hampshire. Three name towns in Wisconsin, one dated 1854, and the other two, 1920s. Five other blocks are dated 1901 and 1926 and are inscribed in indelible pencil. It would appear that these were written long after the quilt was made and may indicate a significant date or person to be remembered.
In addition to names, places, and dates, many of the blocks contain verses pertinent to friendship. Adaline Swan from Northfield, Mass., penned this on her block in 1851:
“The storm-cloud comes o’er the autumn sky
And the flow’rets in their beauty die,
But friendship true, is an ever green.
That decayeth not ‘neath a sky serene”
(”True Friendship” by James Aylward 1813-1872)
The verses were taken from many sources and may have appeared in magazines or newspapers of the period.
The name of the Museum's donor, “Ione Ripley, Aug 18, 1926, Kenosha, Wisconsin” is written on one of the blocks in purple indelible pencil. The quilt had been kept in the family of her father, Floyd Stratton Ripley, until Ione donated it in 1956. Floyd Stratton Ripley was the son of Charles Stratton Ripley (1851-1914), who immigrated with his parents (Charles Torrance Ripley and Lucy Arabella Ripley) in 1855 to Fond du Lac, Wis., from Northfield, Mass. The initial recipient of this quilt, Lucy Arabella Holton, was born in 1821 in Northfield, Mass. She married Charles Torrance Ripley (b.1815) in 1847, and moved with her 3-year-old son to Fond du Lac in 1855 and had two more children. Her husband established a studio in Fond du Lac, but died in 1861. Lucy died in 1887. Her daughter-in-law, Florence Fellows Ripley (1863-1926), owned the quilt before Ione. Her name, also in indelible pencil, is noted on a block with the date 1901 and Kenosha, Wisconsin. Most likely the donor, Ione, received this quilt after her great-aunt’s death in July 1926.
The quilt was kept in the family for more than 100 years, and now serves as an example of one way a community created a memento for those who left to settle in the West.
Location
Currently not on view
date made
1851-1855
maker
unknown
ID Number
TE.T11452
accession number
210281
catalog number
T11452

1853 Rachel Roseberry's "Album Patch" Quilt

A date of “August 1853” inscribed on seventeen blocks provided a clue to the possible origins of this “Album Patch” quilt. Names and places inscribed on other blocks gave further information.
Description
A date of “August 1853” inscribed on seventeen blocks provided a clue to the possible origins of this “Album Patch” quilt. Names and places inscribed on other blocks gave further information. Probably Rachel Young Roseberry started this quilt when the family moved to Brentsville, Va., from Phillipsburg, N.J., in 1853. At the time she and her husband, Michael, had four young children: Emma (1838-1897), Annie (about 1840-?), John (1843-1915, and, Alice (about 1844-?). The names of friends and relatives appear to have been written by the same hand, maybe at different times, and many are further embellished by different floral drawings.
Thirty-six nine-inch “Album Patch” or “Friendship Chain” pieced blocks are composed of plain red and white or printed green and white cottons. The “Album” blocks are framed by a 1 ½-inch border of printed green and plain white triangles. All blocks are signed in ink denoting name, and sometimes a date and/or place. Ink drawings are added to several of the inscriptions. The same red and green cottons and thread were used throughout the quilt and nearly half are inscribed “1853.” The addition of dates of “1858,” “1859,” and “1871,” suggest signatures may have been added after the quilt was completed. Places included Washington, D.C., Youngsville ?, Newark, N. J., and Brentsville, Va.
Rachel Roseberry’s quilt represents a personalized textile document containing names of friends and family and associated dates that may represent visits, marriages, deaths or other significant events related to that name. Album quilts such as this were popular in the mid-19th century, as was the use of the red and green color combination.
Location
Currently not on view
date made
1853
maker
unknown
ID Number
TE.T11232
accession number
209501
catalog number
T11232

1853 - Yale Engine Company's Quilt

The inscription found on this quilt identifies its origins. Within a wreath cut from a printed cotton chintz on one block is inked: “Ladies’ Donation / to the Fireman’s Fair / Yale Engine Co. No.
Description
The inscription found on this quilt identifies its origins. Within a wreath cut from a printed cotton chintz on one block is inked: “Ladies’ Donation / to the Fireman’s Fair / Yale Engine Co. No. 1 / South Reading / July 1853.” Quite likely a group of women devised the quilt making project to raise funds for the Yale Engine Company. A new engine house was erected in South Reading, Massachusetts, in 1853.
Two blocks in particular indicate the pride the community had in its ability to be prepared for fires. One has an appliquéd and embroidered fire engine marked “Yale 1.” The other block, all embroidered, has a ladder, hook, hose, the date "1853," and inscription: "Yale Engine Company No. 1 / South Reading." As reported in the Official Program of the Celebration of the 250th Anniversary of the Settlement and Incorporation of Ancient Redding” May 1894: “In 1852, by vote of the town, came a handsome new, double-decker fire-engine, resplendent in finish of rosewood and trimmings of polished brass . . . . The new machine was from Jeffers’ works at Pawtucket, R.I., and was named ‘Yale Engine, No. 1,’ in grateful recognition of a large gift . . . from Burrage Yale, Esq., whose tin pedler’s carts were for many years known all over New England." It was further reported that, "'The Yale’ distinguished herself in many fields, and saved much property from destruction. She is still [1894] retained by the town . . . and regarded with respect and appreciation."
All but five of the thirty 15½-inch blocks that comprise this quilt have geometric motifs made by cutting folded cloth. These were made from the same roller printed cotton fabric and appliquéd to a white ground. One block is pieced in a popular pattern, “Star of Bethlehem.” The inclusion of an American flag block contributes an element of patriotism. The blocks are joined in a quilt-as-you-go method. Each one is appliquéd, pieced or embroidered; then lined and quilted; bound with a narrow red-ground print; and finally, joined to make the quilt.
Burrage Yale, whose contributions to the community of South Reading, Massachusetts, were many, was born in Meriden, Connecticut, on March 27, 1781. At an early age he set out to help his family as a peddler of tinware. In 1800 he came to Reading, Massachusetts, and within a few years had settled there and founded a soon-thriving business manufacturing and dealing in tinware.
A man of strong convictions, he was profiled by Lilley Eaton in his 1874 Genealogical History of the Town of Reading. Burrage Yale was known as “polite, dignified, and hospitable, a friend and patron of education and liberal toward public improvement.” He was also “. . . a shrewd and accomplished business man . . . . accused of being proud, haughty and ambitious . . . unmerciful to his debtors.”
According to Eaton, “he once rendered himself so odious to a portion of the people . . . that on a certain night he was hung in effigy . . . and then consumed in a great funeral pyre, amid the shouts of the crowd; and . . . upon a board nailed high upon the oak, these words in epitaph: ‘This great and mighty lord, he is no more!’”
While Burrage Yale may not always have been gracious or generous, he apparently contributed a significant-enough sum to the fire fighting cause in his community that a fire engine, fire house and later an avenue bore his name. His wife, Sarah Boardman (1786-1844), was one of the early female teachers in South Reading. She was described by Lilley Eaton as “. . . a faithful teacher, and our memory of her in that capacity is most pleasant. In after-life she was ever a most worthy and valuable woman.” When Burrage Yale died September 5, 1860, the fully uniformed firefighters of the Yale Engine Company marched in his funeral procession.
This quilt, so carefully worked, is an example of efforts by women of South Reading, then a small rural New England town, to work together to provide for their community.
Location
Currently not on view
date made
1853
maker
unknown
ID Number
1995.0011.04
accession number
1995.0011
catalog number
1995.0011.04

1854 - 1858 Ward- Harrison "Love Apple" Appliqued Quilt

When this quilt was donated in 1917 it was accompanied by a note: “Quilt pieced by Louise Ward 1854 and quilted by Louise Harrison 1858.” Little further information was given, but they may have been relatives of the donor who was from Iowa.Red, green, and orange cottons were effe
Description
When this quilt was donated in 1917 it was accompanied by a note: “Quilt pieced by Louise Ward 1854 and quilted by Louise Harrison 1858.” Little further information was given, but they may have been relatives of the donor who was from Iowa.
Red, green, and orange cottons were effectively used to make this mid-19th century quilt. The appliquéd “Love Apple” pattern is framed by a 7-inch border appliquéd with toothed swags and tassels. Outline quilting was used for the flowers, accented by concentric arcs and diagonal lines on the background and quilted at 9 stitches per inch. It is bound with a straight strip of cotton.
The Report on the Progress and Condition of the United States National Museum for the Year Ending June 30, 1917 recorded the quilt as a gift from Dr. Carrie Harrison. “Illustrating household industry in the textile arts . . . a cotton appliqué quilt, pieced and quilted by a relative before 1859 . . . . At different times, she also donated several other items of interest to the textile collection.
Dr. Carrie Harrison, a native of Iowa, was the first curator at the National Herbarium. In that role she traveled internationally in the late 19th and early 20th centuries. According to A Biographical Dictionary of Contemporary Women of the United States and Canada 1914-1915 “[Carrie] At 16 taught a country school; at 17-18 managed a farm; later became interested in botany and with a book, dog and horse as companions made several prize collections of Iowa plants. At the time of the Boxer uprising in China [she] was the means of getting a cablegram through to the American Legation in Peking, which probably saved all the foreign embassies in China. This was called by Andrew D. White the finest piece of diplomacy in 1900.”
A woman of many accomplishments, she was known as a suffragette and botanist who coined the 4-H motto “To Make the Best Better.” The “Love Apple” Quilt is an apt donation by a botanist to enrich a textile collection.
Location
Currently not on view
date made
1854-1858
maker
Harrison, Louise
Ward, Louise
ID Number
TE.T04215
accession number
61242
catalog number
T04215

1855 - 1860 Millie Medaris's "Ocean Wave" Quilt

In 1939, Millie Medaris’s granddaughter donated this “Ocean Wave” pieced quilt. Unfortunately, little is known at this time about the quilt maker.
Description
In 1939, Millie Medaris’s granddaughter donated this “Ocean Wave” pieced quilt. Unfortunately, little is known at this time about the quilt maker. The “Ocean Wave” has been a popular pattern at various times and this mid-nineteenth-century quilt provides a competently rendered example.
The quilt is composed of fourteen-inch blocks pieced of plain and printed triangles around plain cotton centers. A three-inch white cotton border frames the “Ocean Wave” pattern, enhanced by a ¾-inch printed cotton strip along the inside edges of the two sides. The fabrics used, typical of the late 1850s, are plain-colored, roller-printed, and checked cottons. All the pieced triangles are outline-quilted, with clamshell quilting on the white centers and double diagonal lines on the border. It is finely quilted, 10 stitches per inch.
Location
Currently not on view
date made
1855-1860
maker
Medaris, Millie
ID Number
TE.T08358
accession number
153091
catalog number
T08358

1855 - 1885 Laura Clark's Silk Patchwork Table Cover

Laura Clark pieced 11½-inch blocks in a variation of the Log Cabin pattern also referred to as Pineapple or Chestnut Burr. Each of the blocks has a black center and corners. The pointed edges are bound in black velvet.
Description
Laura Clark pieced 11½-inch blocks in a variation of the Log Cabin pattern also referred to as Pineapple or Chestnut Burr. Each of the blocks has a black center and corners. The pointed edges are bound in black velvet. The blocks are pieced with paper templates that are still in place over muslin foundation blocks, with a very thin cotton filling between the paper and the top fabric. The fabrics used include plain, striped, ribbed, pattern-woven, checked, printed, and brocaded silks as well as velvet, taffeta, cotton and ribbon. Many of the fabrics date from the 1850s and 1860s, but there are also fabrics from the 1870s and 1880s, suggesting that the piece was made in the 1880s using recycled fabrics. Herringbone, buttonhole, chain feather, cross and French knot embroidery stitches embellish the surface. The table cover is lined with a warp-printed, woven striped silk.
Laura A. Baldwin was born in Rutland, Vermont in February 1834 and moved with her family to Pennsylvania as a young child. In about 1860 she married Chester B. Clark. Chester was born in Torringford, Connecticut in 1827 and had also moved with his family to Pennsylvania. In 1867 Laura and Chester Clark settled in Earlville, Illinois where they lived the rest of their lives. Chester was listed as a merchant and capitalist in the censuses and died in 1901. Laura's grandson, Chester Wells Clark donated the table cover to the Museum in 1951.
Location
Currently not on view
date made
1855-1865
quilter
Clark, Laura A. Baldwin
ID Number
TE.T10972
accession number
191408
catalog number
T10972

1856 - 1857 Virginia Ivey's Russellville Fair Quilt

Virginia Ivey designed this white-work quilt to capture the excitement and lively interest of a county fairground in the mid-nineteenth century. The center circle, 40 inches in diameter, is edged by a board fence complete with gate.
Description
Virginia Ivey designed this white-work quilt to capture the excitement and lively interest of a county fairground in the mid-nineteenth century. The center circle, 40 inches in diameter, is edged by a board fence complete with gate. Inside the fence is the quilted inscription: "1856 A REPRESENTATION OF THE FAIR GROUND NEAR RUSSELLVILLE KENTUCKY." The central judges' pavilion with the judges, encircled by horses and riders, fair buildings and workers, animals of all sorts, and of course the fairgoers themselves, all in a state of arrested motion, contribute to the unique design.
Virginia Ivey's needlework and artistic skills resulted in a quilt that depicts the smallest details of fence rail, walking stick and saddle, or men shaking hands in greeting. The surface outline was quilted using two layers of fine white cotton with a thin cotton fiber filling, stitched through all three layers. The sculpted effect of the design was achieved with stuffed and corded quilting techniques and grounded with stippling, 12 stitches to the inch. The quilt is finished with a 4½-inch woven and knotted cotton fringe. Her needlework is often described as using needle and thread much like another artist might use pen or brush.
Virginia Mason Ivey was born on October 26, 1828 in Tennessee. She was the daughter of Mourning Mason and Capt. David Ivey, a farmer and soldier in the War of 1812. According to family information her father named her after his native state. When Virginia was a young child the family moved to Keysburg, a small town in Logan County, Kentucky. Aunt Jennie, as she was known to the family, according to her niece Ida B. Lewis, "never had any lessons in art-just-her own talent and creative instinct. She loved beauty in many forms and had a most attractive personality and was quite a pretty woman." Virginia Ivey never married and when she died she left this quilt to her niece, Lillian Virginia Lewis.
"I have a quilt which I value most highly. It was made by my aunt, Virginia M. Ivey. I cannot care for it much longer and I should like very much to know that it will have excellent care and that it will give pleasure to many people who will appreciate its remarkable workmanship and its great beauty". So wrote Lillian V. Lewis about the quilt she donated to the Museum in 1949. Now over 150 years old, this elaborate example of white-work quilting, "A REPRESENTATION OF THE FAIR GROUND NEAR RUSSELLVILLE KENTUCKY 1856," has been exhibited at fairs and museums and has won many prizes.
Location
Currently not on view
date made
1856-1857
quilter
Ivey, Virginia Mason
ID Number
TE.T10269
catalog number
T10269
accession number
183387

1860 Mary McCrea's "Crown" Quilt

Two quilted and stuffed blocks help identify this quilt; “M. L. Mc May 24th 1860” (Mary Larson McCrea) and “J Mc” (Rev. James McCrea, her husband).
Description
Two quilted and stuffed blocks help identify this quilt; “M. L. Mc May 24th 1860” (Mary Larson McCrea) and “J Mc” (Rev. James McCrea, her husband). According to family information that accompanied the donation, a close inspection of the quilt even reveals the handprint of one of her children. Other designs in the quilting were inspired by the ferns and flowers gathered near her home.
This pieced quilt artistically embodies two quilting techniques popular in mid-nineteenth-century America: raised and ground quilting. Sixteen 10-inch blocks, pieced of plain white and printed red cottons in the “Crown” pattern, are set diagonally with elaborately quilted and stuffed plain white blocks in floral patterns. The quilt has a 9-inch border edged by two pieced sawtooth bands, the inner one of the same fabric as the pieced blocks, the outer one composed of green printed cotton. It is quilted with feathered vines. The quilting is 10 stitches per inch, all a fine tribute to Mary McCrea’s needlework and design skills.
Mary Lawson Ruth, daughter of Samuel and Margaret Ruth, was born in Washington County, Pennsylvania, in 1835. The family, like many in that period, moved to Ohio where Mary received her education and taught school at Millwood (Quaker City), Ohio. An account of Quaker City, Ohio, describes the early school, founded in 1810, as a log cabin equipped with a few books and a supply of hickory and beech switches, although by the time Mary was teaching in the 1850s the school presumably had improved.
On July 3rd, 1856, Mary married Rev. James McCrea. A white silk shawl with a white silk embroidered floral border that was worn by Mary McCrea at her wedding was included in the donation. They had seven children.
She was profiled in family information as an “accomplished needlewoman . . . proven by the exquisite stitchery in the quilt and infants’ clothing.” A baptismal gown, also part of the donation, was made for her first child, Samuel P. McCrea, born in 1857, and subsequently worn by all her children. “She made all of the clothing worn by her family including her husband [his clothes].” James McCrea was both a teacher and ordained minister of the Presbyterian Church. Mary died in December 1880 and is buried in the Murray, Indiana, cemetery. The “Crown” quilt as well as jewelry, infant apparel, and family portraits, were included in the bequest to the Smithsonian by Miss Mary E. McCrea in 1941.
Location
Currently not on view
date made
1860
maker
McCrea, Mary Lawson Ruth
ID Number
TE.T08582
accession number
160721
catalog number
T08582

1860 - 1864 Martha Loud's Parlor Throw

Martha Mehetable Loud pieced the top of this parlor throw in a hexagon or mosaic pattern. Her grandmother, Lucena Beardley Kile, lined and finished it after Martha's death at age fifteen.
Description
Martha Mehetable Loud pieced the top of this parlor throw in a hexagon or mosaic pattern. Her grandmother, Lucena Beardley Kile, lined and finished it after Martha's death at age fifteen. Black silk hexagons set off rosettes composed of pieced 1¼-inch hexagons of plain, striped, moiré, plaid, printed, ribbed, brocaded, and pattern-woven silks. Three sides are edged with a narrow black ribbon and a pleated 1 inch red-violet wool braid. The lining is constructed of nine pieces of dark green and white striped silk. The parlor throw is not quilted but tied every two inches with pink and dark green silk thread. From the middle of the nineteenth century, patchwork made of silks and velvets, such as this parlor throw, were a popular means to display needlework and artistic skills.
Martha Mehetable Loud was born January 24, 1849 and lived in Huntsburg, Geauga, Ohio, until her early death in 1864. Her grandmother, Lucena Beardley Kile, was born in Connecticut about 1800 and also lived in Huntsburg, Geauga, Ohio. She died in 1886. The quilt was donated to the Museum in 1969 by Mrs. Charles Bittinger who was the daughter of Martha Loud's sister.
Location
Currently not on view
Date made
1860-1864
quilter
Loud, Martha Mehetable
Kile, Lucena Beardley
ID Number
TE.T15027
catalog number
T15027
accession number
285569

1860 - 1865 Matilda Whisler's "Whig Rose" Appliqued Quilt

Matilda Whisler appliquéd this variation of the “Whig Rose” pattern in the mid-19th century. She accentuated the pattern with outline quilting on all of the appliquéd motifs.
Description
Matilda Whisler appliquéd this variation of the “Whig Rose” pattern in the mid-19th century. She accentuated the pattern with outline quilting on all of the appliquéd motifs. Quilted feathered plumes (“Princess Feather”), diagonal lines ¼-inch apart, and clamshells on the outer edges further enhance the design. Finely quilted at 7-10 stitches per inch, hers is a typical example of the red and green quilts popular in that period.
Matilda Kramer was born in Frederick County, Va., on 18 March 1817. She married Henry Whisler, a native of Rockingham County, Va., in 1818. According to census information, they lived in Rockingham County and had three daughters and a son. Henry was a shoemaker. His son, Cambias (1846-1909) followed his father in the shoemaking trade. Henry died in 1885, and Matilda on 15 September 1898. Both are buried in Trissell’s Mennonite Church Cemetery in Rockingham County.
In 1942, the donor, one of Matilda’s daughters, wrote: “In 1861 my mother made a very beautiful quilt which is still in excellent condition. . . . I shall be glad to donate it.” Matilda’s carefully crafted quilt in the “Whig Rose” pattern was considered a “desirable specimen” by the Museum.
Location
Currently not on view
date made
1860-1865
maker
Whisler, Matilda Kramer
ID Number
TE.T08613
accession number
162596
catalog number
T08613

1860 - 1865 Celia Corwin's "Economy" Pieced Quilt

This quilt was among several pieced-work quilts, quilt blocks, and other household textile items that were donated in 1932.
Description
This quilt was among several pieced-work quilts, quilt blocks, and other household textile items that were donated in 1932. It is the work of Celia Corwin, the daughter of Rachel Burr Corwin, whose quilts are also in the Collection.
A wide variety of plain-weave and roller-printed cottons were used for the cross-and-square design, a variation of the “Economy” pattern. The thirty 13-inch blocks are framed with a 4½-inch polka-dot sashing and border. The lining is composed of four lengths of roller-printed stripe fabric. Linear quilting, 5 stitches per inch, completes the quilt.
Celia Corwin, daughter of Samuel and Rachel Burr Corwin, was born April 13, 1816, in Orange County, New York. She never married and died December 23, 1884. The Textile Collection also contains a sampler that she made in 1830.
Location
Currently not on view
date made
1860-1865
maker
Corwin, Celia
ID Number
TE.T07119
catalog number
T07119
accession number
121578

1860 - 1870 Polly Fetherolf's "Log Cabin" Child's Quilt

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

1860 - 1875 Machine Quilted Quilt

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.
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

1860 - 1880 "Whig's Defeat" Quilt Top

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.
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

1860 - 1880 "Tumbling Blocks" Child's Quilt

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.
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

1860 - 1900 Long Family Hexagon Pieced Quilt

This vividly colored quilt was made sometime after 1860 by the sisters of Joseph Long of Washington County, Md.
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

1861 Mary Rockhold Teter's "Stars and Stripes" Quilt

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.
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
Associated Name
Lyon, Nathaniel
Lincoln, Abraham
Butler, Benjamin Franklin
Scott, Winfield
made for
Teter, George
quilter
Teter, Mary Rockhold
ID Number
TE.T08420
accession number
157340
catalog number
T08420

1863 Susannah Pullen's Civil War Quilt

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.
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

1866 - 1900 "Five-pointed Star" Pieced Quilt Top

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.
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

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