Textiles

The 50,000 objects in the textile collections fall into two main categories: raw fibers, yarns, and fabrics, and machines, tools, and other textile technology. Shawls, coverlets, samplers, laces, linens, synthetics, and other fabrics are part of the first group, along with the 400 quilts in the National Quilt Collection. Some of the Museum's most popular artifacts, such as the Star-Spangled Banner and the gowns of the first ladies, have an obvious textile connection.

The machinery and tools include spinning wheels, sewing machines, thimbles, needlework tools, looms, and an invention that changed the course of American agriculture and society. A model of Eli Whitney's cotton gin, made by the inventor in the early 1800s, shows the workings of a machine that helped make cotton plantations profitable in the South and encouraged the spread of slavery.

The embroidered inscription “Frances M Jolly 1839” graces the center medallion of this quilt top. This signed and dated silk-and-wool-embroidered quilt top came from an African American family, and the maker, Frances M.
Description
The embroidered inscription “Frances M Jolly 1839” graces the center medallion of this quilt top. This signed and dated silk-and-wool-embroidered quilt top came from an African American family, and the maker, Frances M. Jolly, was said to be an ancestor of one of the donor’s grandparents. The family, of whom little else is known, is said to have lived in Massachusetts and moved to Pinehurst, North Carolina.
A 37½-inch black square set diagonally in the center with red corner triangles is the focal point of this quilt top. It is surrounded by three borders: a 9-inch black, a 10-inch orange, and an 11-inch black. Appliquéd flowers, leaves, and vines embellished with braid and embroidery decorate the surface.
The edges of the appliquéd motifs are not turned under, but are held in place by buttonhole stitching in matching or near-matching thread colors. Silk or cotton threads are used for securing the appliqué motifs, stitching, and the embroidery, except for the inscription, which is chain-stitched in red wool. The quilt has both hand and machine stitching. The outer two borders are machine-stitched, indicating that they were joined after 1860 when sewing machines became common in households. Wool fabrics are used for both the pieced sections and the appliquéd motifs. Wool and silk braid and silk ribbon contribute to the overall design.
Location
Currently not on view
Date made
1839
quilter
Jolly, Frances M.
ID Number
1983.0241.01
catalog number
1983.0241.01
accession number
1983.0241
Harriet Powers, an African American farm woman of Clarke County, Georgia, made this quilt in about 1886. She exhibited it at the Athens Cotton Fair of 1886 where it captured the imagination of Jennie Smith, a young internationally-trained local artist.
Description
Harriet Powers, an African American farm woman of Clarke County, Georgia, made this quilt in about 1886. She exhibited it at the Athens Cotton Fair of 1886 where it captured the imagination of Jennie Smith, a young internationally-trained local artist. Of her discovery, Jennie later wrote: "I have spent my whole life in the South, and am perfectly familiar with thirty patterns of quilts, but I had never seen an original design, and never a living creature portrayed in patchwork, until the year 1886, when there was held in Athens, Georgia, a 'Cotton-Fair,' which was on a much larger scale than an ordinary county fair, as there was a 'Wild West' show, and Cotton Weddings; and a circus, all at the same time. There was a large accumulation farm products--the largest potatoes, tallest cotton stalk, biggest water-melon! Best display of pickles and preserves made by exhibitor! Best display of seeds &c and all the attractions usual to such occasions, and in one corner there hung a quilt-which 'captured my eye' and after much difficulty I found the owner, a negro woman, who lives in the country on a little farm whereon she and husband make a respectable living . . . . The scenes on the quilt were biblical and I was fascinated. I offered to buy it, but it was not for sale at any price."
Four years later, Mrs. Powers, at the urging of her husband because of hard times, offered to sell the quilt, but Miss Smith's "financial affairs were at a low ebb and I could not purchase." Later Jennie sent word that she would buy the quilt if Harriet still wanted to dispose of it. Harriet "arrived one afternoon in front of my door in an ox-cart with the precious burden in her lap encased in a clean flour sack, which was still further enveloped in a crocus sack. She offered it for ten dollars--but--I only had five to give." Harriet went out to consult her husband and reported that he said she had better take the five dollars.
Mrs. Powers regretfully turned over her precious creation, but only after explaining each of the eleven panels of the design, which Jennie Smith recorded. Briefly, the subjects are Adam and Eve in the Garden of Eden, a continuance of Paradise with Eve and a son, Satan amidst the seven stars, Cain killing his brother Abel, Cain goes into the land of Nod to get a wife, Jacob's dream, the baptism of Christ, the crucifixion, Judas Iscariot and the thirty pieces of silver, the Last Supper, and the Holy Family.
In her narrative about the quilt, artist Jennie revealed why she was so taken with it: "Her style is bold and rather on the impressionists order while there is a naievete of expression that is delicious." In recent times, historians have compared Harriet's work to textiles of Dahomey, West Africa.
The Bible quilt is both hand- and machine-stitched. There is outline quilting around the motifs and random intersecting straight lines in open spaces. A one-inch border of straight-grain printed cotton is folded over the edges and machine-stitched through all layers.
Harriet Powers was born a slave near Athens, Georgia, on October 29, 1837. At a young age, she married Armstead Powers and they had at least nine children. Some time after the Civil War, they became landowners. Eventually, circumstances forced them to sell off part of the land but not their home. The date of Harriet's death, Jan. 1, 1910, was recently discovered on her gravestone in Athen's Gospel Pilgrim Cemetery.
Location
Currently not on view
date made
1885-1886
quilter
Powers, Harriet
ID Number
TE.T14713
catalog number
T14713
accession number
283472
Diana DeGodis Washington Hines crafted this pieced quilt in the second half of the 19th century, probably while living in Kentucky. Triangular 11-inch blocks pieced in the “Sugar Loaf” or “Arrowhead” pattern alternate with 11-inch plain white triangles.
Description
Diana DeGodis Washington Hines crafted this pieced quilt in the second half of the 19th century, probably while living in Kentucky. Triangular 11-inch blocks pieced in the “Sugar Loaf” or “Arrowhead” pattern alternate with 11-inch plain white triangles. These are framed by 1 ½-inch printed and plain borders. At a later date, possibly to save frayed edges, about an inch of each edge is folded to the front and loosely stitched.
The donor, Diana’s grandson, included a hand-written family history when the quilt was donated to the Collection in 1966. Diana DeGodis Washington Hines was born in February 1797 at Mt. Vernon, George Washington’s home. “She was reared by the Washington family, lived with them in the Mt. Vernon home, until she was pass the age of twenty five. At that time there was a breaking up in the family and she was sold as a Slave to a Mr. Jackson, of Jackson Hotel at Arlington.” Diana married twice. Her second husband was Edward Hines. He too had been a slave in Kentucky with the McClure family, freed at age 21. “But he remained with the McClure family . . . . [they] were prominent and wealthy, owning several thousands [of] acres of land and stock, of which Edward Hines was manager. Mr. and Mrs. Edward Hines left Kentucky in 1877 with their son John Hines for Greensburg, Ind., and remained there with him until their death.” In addition to their son, John, they had four daughters. Diana died October 30, 1891.
Location
Currently not on view
date made
1850-1880
maker
Hines, Diana DeGodis Washington
ID Number
TE.T14114
catalog number
T14114
accession number
272512
Mary Rhopa la Cierra made this quilt on the occasion of President Barack Obama’s Inauguration in 2009. She was inspired by the television coverage of the crowds of people in attendance.
Description
Mary Rhopa la Cierra made this quilt on the occasion of President Barack Obama’s Inauguration in 2009. She was inspired by the television coverage of the crowds of people in attendance. Mary embroidered the very small emblem of the US Capitol at top center with radiating lines and many pieces of patterned fabrics to represent the massive crowds in attendance and the distances many had come. The title, “OUR PATCHWORK HERITAGE IS A STRENGTH” appliqued at the top of the quilt was taken from the President's inauguration speech.
The quilt is machine strip pieced, appliqued, embroidered and stamped or stenciled. “OUR PATCHWORK HERITAGE IS A STRENGTH” is hand appliqued (blanket stitch) and outline machine quilted across the top. The word “HOPE” is stenciled with gold paint on the majority of the blocks and border squares and then machine outline stitched. One hundred 7-inch blocks make up the center of the quilt; each with a red center, creating an appearance of diagonal sashing. She used fabrics recycled from clothing found at yard sales and thrift stores, especially the shop that supports a local women’s shelter. The muted colors of the blocks evoke the winter coats worn by the massive crowds in the very cold weather that day. These blocks are framed by forty-four 7-inch yellow and tan blocks as a border.
Mary Rhopa la Cierra, born in Iowa, is a retired theatrical costume designer living in Florida. On her retirement, among many other activities she began quilting. At her 80th birthday party she gave away most of her quilts to friends. One friend, the donor, was particularly interested in having this quilt, “Patchwork Heritage,” which she had admired for its beauty and its message. She enjoyed it in her home for a time, and then donated it to the Collection, with the approval of the maker, Mary Rhopa la Cierra.
Location
Currently not on view
date made
2009
maker
La Cierra, Mary Rhopa
ID Number
2015.0336.01
catalog number
2015.0336.01
accession number
2015.0336
This headwrap dating between 1972 and 1984 was worn by Fath Davis Ruffins, an African American woman in Washington, DC.
Description
This headwrap dating between 1972 and 1984 was worn by Fath Davis Ruffins, an African American woman in Washington, DC. Ruffins bought the fabric for this headwrap and matching dress, which is also in the Smithsonian collections, at an African shop on Georgia Avenue in Washington, DC. It was made in 1972 but was worn as part of a summer "dress-up" outfit through 1984. Elaborately tied headwraps were worn by young African American women during this period to acknowledge their West African ancestral roots.
The flat cotton rectangular panel is a large floral "Java Print" in three shades of green with yellow accents on a cream background with a dark green with yellow floral design border. The forty-six inch long rectangle is narrower on one short side (twenty inches) than the other (inches) with stitched edges. "Guaranteed Dutch Java Print" is stamped on the selvage.
Location
Currently not on view
Date made
1972-1984
used by
Ruffins, Fath Davis
maker
Ruffins, Fath Davis
ID Number
1992.0456.001
accession number
1992.0456
catalog number
1992.0456.001

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