Textiles - Overview
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.
"Textiles - Overview" showing 207 items.
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1934 Ada Chitwood Jones's "Sock Top" Quilt
- Description
- This twentieth-century-quilt, made in 1934 by Ada Jones of Fyffe, Alabama is unique in many ways. The top is pieced of machine-knitted sock tops that were made as separate items to be sewn onto women’s socks. The designs in the sock tops are composed of dots, squares, diamonds, and other shapes.
- W. B. Davis, the oldest hosiery factory in Fort Payne, Alabama, made sock tops and sold them by the pound. The factory survived the Depression and tried to make Fort Payne the sock capital of the world. Ada’s sister-in-law, Ruby Mae Jacoway Chitwood, worked at the factory and acquired the tops after they were no longer needed in the mill’s showroom. Ada assembled and then hand-stitched the sock tops into strips to create a delightfully designed top for her quilt.
- The lining of the quilt is printed cotton from fabrics distributed by the Agricultural Extension Office, Auburn, Alabama, in a New Deal self-help program to aid farm women. The filling is ginned cotton from cotton grown on the family farm. In 1963, one of the donors, Jimmie Sibert Jones, added a printed cotton border to protect the quilt's fraying edges. This fabric was from unused fertilizer sacks that were given to her by the E. Brooks Gin and Fertilizer Company of Fyffe, Alabama. On a fabric label stitched to the lining is printed in ink, “MADE BY / ADA CHITWOOD JONES / DONATED BY / JIMMIE SIBERT JONES.”
- In 1994 when the quilt was given to the Smithsonian, the donor wrote: “The quilt was made in 1934 under the New Deal a government organized form of self help. . . . the government issued surplus cotton fabric to be used in the homes for bed linen and other items. . . . top part is made from ladies sock tops of new material with stylish colors and designs of the thirties. . . . in this era the tops were knitted and then sewn to the sock . . . . My mother-in-law, who is now ninety years of age, received two pieces of the fabric and made two quilts. She gave the quilts to me when I married in 1945. The other quilt is now in the State of Alabama Department of Archives and History.” Ada Chitwood Jones, born in 1903, died in 1997 a few years after the donation. She is buried in Mountain View Memory Gardens, DeKalb, Alabama.
- Location
- Currently not on view
- date made
- 1934
- maker
- Jones, Ada Chitwood
- ID Number
- 1994.0169.01
- accession number
- 1994.0169
- catalog number
- 1994.0169.01
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1820 - 1840 Achsah Goodwin Wilkins's Appliqued Counterpane
- Description
- Achsah Goodwin Wilkins designed this appliquéd counterpane, which is similar to several that have been attributed to her skills. Written in ink in one corner of the lining is: “A. G. Wilkins 1820 / M. D. Davis 1890.” She gave many quilts and counterpanes to her daughters. These were later inherited by descendents. “M. D. Davis” is most likely Mary Dorsey Davis (1845-1939), daughter of Hester Ann Wilkins Davis, and granddaughter of Achsah Goodwin Wilkins.
- A bouquet of appliquéd water lilies and roses, cut from different chintz fabrics, is the focus of this counterpane. It is surrounded by two undulating wreaths. Eight floral sprays, cut from another chintz fabric, are between the two wreaths. The ground for the appliqué resembles quilting, but is a fancy weaving of a white cotton double cloth called Marseilles. A wide 7¾-inch roller-printed floral strip borders three sides of the counterpane. It is the only area that is lined.
- Achsah Goodwin, daughter of a wealthy merchant, William Goodwin of Lyde, was born in Baltimore, Maryland, in 1775. Achsah became a member of the Methodist Church at eighteen, although it caused difficulties with her Episcopal family. On August 5, 1794, she married William Wilkins Jr. (1767-1832), also a Methodist. In addition to rearing a family, she was active in mission work and the establishment of a Methodist church in Baltimore. Achsah died in 1854.
- In William Rush Dunton’s Old Quilts, 1947, one of her granddaughters, Mary Dorsey Davis, provided notes from her mother, Hester Anne (Mrs. Allen Bowie Davis), detailing Achsah’s life. “My mother [Achsah] was a very superior woman, possessing strong sense, sound judgment, great dignity, remarkably self-possessed . . . . She suffered from cutaneous disease . . . most frequently [she] beguiled her weary hours of sickness by designing and laying out fancy spreads in which she displayed beautiful taste . . . . I, as well as many of her descendants, have choice specimens of her handiwork which we prize highly.” Achsah’s access to fine imported fabrics, attention to needlework details, and her design innovations are evident in this quilt, as well as others that are attributed to her. Her quilts are treasured additions to several quilt collections.
- Location
- Currently not on view
- date made
- 1820-1840
- maker
- Wilkins, Achsah Goodwin
- ID Number
- 1995.0011.01
- accession number
- 1995.0011
- catalog number
- 1995.0011.01
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Aunt Lizzie Reagan's Coverlet
- Description
- Lizzie Reagan wove this overshot coverlet in Tennessee in about 1930. It is made of cotton and wool, and woven in a design that is sometimes known as "Lee's Surrender." Lizzie Reagan was known as Aunt Lizzie, and was an expert on natural dyes. She was active in the movement to reintroduce "old" methods such as hand spinning and weaving at the Phi Beta Phi Settlement School in Gatlinburg, Tennessee. Such schools were started in the 1880s by benevolent societies in an attempt to encourage and preserve the local material culture, and provide the local artists with income.
- Location
- Currently not on view
- date made
- ca 1930
- maker
- Reagan, Lizzie
- ID Number
- 1996.0120.01
- catalog number
- 1996.0120.01
- accession number
- 1996.0120
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1935 - 1945 Olive Bender's "Water Lily " Quilt
- Description
- Olive Bender made this quilt for her son and daughter-in-law as a Christmas gift in the 1940s. Her grandson, David Bender, later donated the quilt. He recalled that his grandmother would work on quilt patches during the warm months, and then, in the winter, quilt on frames she would set up in the dining room of her Ohio farmhouse.
- Nine 16”-inch blocks, appliquéd and embroidered in the “Water Lily” pattern, are set in pink and white sashing. The lily buds, leaves, water, lily pad, and flower details are embroidered. Various patterns quilted at 7 stitches per inch and scalloped edges complete the overall quilt design.
- Popular in the 1920s to 1940s, the “Water Lily” motif was available in kit form or as a paper pattern. Quilt historian, Cuesta Benberry, traced this pattern to the Rainbow Quilt Block Company owned by William Pinch. His company perfected a printing process that stamped colors on muslin squares indicating the color of embroidery threads needed to complete the motif and gave the company its name, Rainbow. William Pinch (1880-1972), a professional photographer, created as many as 1,000 designs for his company. Advertised in flyers, newsletters and catalogs, the kits and patterns could be purchased by mail or in retail stores making them available to small towns and rural areas.
- Olive Mae (nee Fairall) Bender was born February 13, 1892, in Frazeysburg, Ohio. She died April 18, 1971, in East Sparta, Ohio. Her quilt is an example of mid-20th-century quilting and of a design available from the Rainbow Quilt Block Company, one of many companies that promoted quilting from the 1920s on by publishing patterns and providing quilting kits.
- Location
- Currently not on view
- date made
- 1935-1945
- maker
- Bender, Olive Mae Fairall
- ID Number
- 1996.0223.01
- accession number
- 1996.0223
- catalog number
- 1996.0223.01
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Bassler Coverlet
- Description
- The name "J Bassler", the date 1842, and the letters " W B " are woven into the lower edge of this coverlet. It is not known if "J Bassler " or "W B" was the weaver of the coverlet. The coverlet is Jacquard woven, with red, blue and green stripes. The design features rows of birds and flowers.This coverlet could be considered part of the "Fancy" period in American decorative arts, as the overall design is bright and full of movement.
- Location
- Currently not on view
- date made
- 1842
- maker or owner
- Bassler, J.
- maker
- unknown
- ID Number
- 1998.0081.03
- accession number
- 1998.0081
- catalog number
- 1998.0081.03
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Hausman Coverlet
- Description
- Benjamin Hausman, (1795—1885) of Allentown, Pennsylvania, wove this cotton and wool Jacquard double-woven coverlet for Jane Paul in 1841. His name and hers appear in the lower corners along with the date. The coverlet is Jacquard double-woven with floral medallions and stars, as the overall pattern, and with a border of trees and flowers. It has no center seam. Several members of the Hausman family were coverlet weavers in Pennsylvania in the 19th century. Benjamin worked in Allentown, Lehigh County, from 1836 to 1845, and in York, York County, from 1847 to 1848. He appears to have moved to Philadelphia in 1852, but is listed as a coverlet weaver in the 1850 census of York, York County, Pennsylvania.
- Location
- Currently not on view
- date made
- 1841
- owner of coverlet in 19th century
- Paul, Jane
- maker
- Hausman, Benjamin
- ID Number
- TE*E.393749
- accession number
- 211601
- catalog number
- E.393749
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1830 Jane Valentine's "Irish Chain" Quilt
- Description
- On the front of this “Irish Chain”-patterned quilt is found an inscription in ink: “Commenced in 1825 & Finished in 1830 by Mifs Jane Valentine Scipio Cayuga Co. N.Y. No. of Pieced Blocks 168 Small Blocks 4,2,42." Another inscription in a different hand and ink on a back corner states: “My Mothers 5040 Blocks 1832 In Case of My death to be given to My Sister Hattie Blodgett.”
- The quilt is made of 3-inch plain and pieced blocks. The blocks are comprised of about 130 different roller-printed cottons with small print motifs. An examination of the quilt reveals that there are 348 white blocks and 348 pieced blocks; the segments of the pieced blocks are 5/8-inch square, and there are 10,092 of them. Diagonal grid quilting follows the “chain.” The plain white blocks are quilted, 6 stitches per inch, with a floral motif. The “Irish Chain” pattern was in use in the early 1800s and may have been adapted from weaving patterns.
- Margaret Jane Valentine was the daughter of Peter Valentine (1784-1865) and Elizabeth Hilliker. Jane married Benjamin Brown Jr. on November 16, 1831. Harriet Brown was born in 1848 and married Charles Blodgett. It was Mrs. Harriet E. Blodgett who in 1915 donated this quilt and a coverlet. At the time she wrote that the quilt was “. . . pieced by my mother. Commenced in 1825 when she was about fourteen finished 1830. . . I feel a great desire to put them [both quilt and coverlet] where they will be preserved.”
- Location
- Currently not on view
- date made
- 1830
- maker
- Valentine, Jane
- ID Number
- TE*E287383
- accession number
- 58478
- catalog number
- E287383
- 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
1850 - 1875 Jane W. P. McHenry's "Tulip" Appliqued Quilt
- Description
- An inked inscription on the lining of Jane’s quilt states, “Jennie C. McHenry from her Mother.” This quilt and several others were donated to the Collection by Miss G. Ruth McHenry, Jane’s granddaughter. It was given to her by her aunt, Kate (Catherine) Price McHenry. Catherine Price McHenry was the daughter of Jane Winter Price, who made this quilt.
- Twelve 27-inch blocks were each appliquéd with a large red tulip with buds and dark green leaves and stems. Chains of dark green pointed ovals cover the joining seams of the blocks. The appliqué on this quilt is achieved using blind-stitching. The more often used whip-stitch was used only for the end of the stems and the joining of the buds to the stems. Floral motifs within circles are quilted in the corners of each block. The quilting design was marked in pencil and quilted 12 stitches per inch. The solid red, dark green, and white cottons chosen for this quilt provide a vivid rendition of the “Tulip” pattern.
- Jane Winter Price, born in 1818 in Charles County, Md., was the daughter of Catherine Winter Dunnington II (1790 - 1863) and Richard Price (1771-1823). Catherine was married in 1813, and widowed in 1823. In 1838 she, along with her two living children, Jane and George Richard Price, left with others for Ala. On February 27, 1849, Jane married Josiah W. McHenry (b. 1815 in Maryland) in Shelby, Ala. In 1860 they lived in La Pile, Union County, Ark., with their four children, Catherine (b. 1850), Barnabas (b. 1852), George (b. 1854) and Jane C. (b. 1856) and Jane’s mother, Catherine, then aged 70. By 1870 they were living in Homer, La., where Jane died in January 1899. Jane C. was most likely the “Jennie” that is inked on the quilt.
- Location
- Currently not on view
- date made
- 1850-1875
- maker
- Price, Jane Winter
- ID Number
- TE*E387832
- accession number
- 188128
- catalog number
- E387832
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1750 - 1800 Copp Family's Indigo Wool Quilt
- Description
- This indigo wool quilt is one of three late-eighteenth-and-early nineteenth-century quilts that were donated in the 1890s by John Brenton Copp of Stonington, Connecticut. All are part of an extensive gift of household textiles, costume items, furniture, and other objects that belonged to his family from 1750 to 1850. The Copp Collection continues to provide insights into New England family life of that period.
- Whole cloth quilts were most popular between 1775 and 1840, although before 1800 they were relatively rare and expensive. This eighteenth-century example from the Copp family is a glazed indigo wool quilt. The fabric was dyed blue with indigo, one of the oldest dyes used for textiles. Glazing, a process involving the use of a hot press on wool fabric, resulted in a smooth, lustrous surface. The lining, a butternut-colored wool, apparently was made from two different blankets.
- It is quilted with a popular motif of the period, a large pineapple, using blue wool thread, 7 stitches per inch. A quilted flowering vine extends from a basket at the bottom edge of the quilt and frames the pineapple. A family member, John Brown Copp (b. 1779), was known to have drawn designs for white counterpanes for the young ladies in the Stonington area. The quilting pattern on this indigo wool quilt is similar to the embroidery pattern of a white counterpane, from about 1800, which also belonged to the Copp family.
- An analysis of the household textile collection donated by John Brenton Copp can be found in the Copp Family Textiles by Grace Rogers Cooper (Smithsonian Institution Press, 1971). In the book the author summarizes the family background. “The first Copp to reach America was William, a 26-year-old London shoemaker who in 1635 set out for the Massachusetts Colony on the good ship Blessing. He landed east of Boston and became the first owner of Copp’s Hill in north Boston . . . . William’s son Jonathan established the Connecticut branch of the family around Stonington later in the seventeenth century. Many of his male descendents gained comfortable prosperity as merchants and businessmen, while their wives and daughters led full lives as mothers of the large families in which education and refinement were encouraged . . . . The long succession of Jonathans, Samuels, Catherines, Esters, Marys, and Sarahs makes it rather difficult to set in order the generations and their contributions to the collection.” The exact maker of this indigo wool quilt is unidentified, but it was probably made by one or more members of the Copp household.
- Location
- Currently not on view
- date made
- 1750-1800
- maker
- Copp Family
- ID Number
- TE*H006643
- accession number
- 28810
- catalog number
- H006643
- Data Source
- National Museum of American History, Kenneth E. Behring Center