Seven sample lengths of Mallinson's tradename Pussy Willow silk, printed. Selvage widths; selvage inscriptions. Soft drapey plain weave fabric printed with National Parks series design "Garden of the Gods" in seven different color combinations: Ground colors are A. tan, B. black (warm), C. green, D. orange, E. gray, F. black (cool), G. French blue. In late 1926 American silk manufacturer H.R. Mallinson & Co. introduced a bold new line of printed silks, twelve landscape designs, each available in from eight to twelve colorways (color combinations) on three different ground fabrics. The designs celebrated America's National Parks - then only a decade old. The designs represented all the usual styles necesssary for making clothing: allover prints, horizontal stripes, checks, a border design, etc These samples illustrate how strikingly different a single design can appear by changing the colors of the ground and design elements.
This red, white, and blue overshot coverlet was woven in the nineteenth century. The pattern is most commonly known as “Tennessee Trouble.” The coverlet was woven in three panels, but one of the panels appears to have been cut down at some point in the past, likely due to wear. There are now only borders on the bottom of the coverlet and one side. The seams are also now unbalanced.
In late 1926 American silk manufacturer H.R. Mallinson & Co. introduced a bold new line of printed silks, twelve landscape designs, each available in from eight to twelve colorways (color combinations) on three different ground fabrics. The designs celebrated America's national parks - then only a decade old. The designs represented all the usual styles necesssary for making clothing: allover prints, horizontal stripes, checks, a border design. This sheer plain weave fabric, Mallinson's Indestructible chiffon voile, is printed with the design depicting Mammoth Hot Springs, at Yellowstone National Park. Selvage width; selvage inscription. Judging from drawings by free-lance textile designer Walter Mitschke in the collection of the Museum of Fine Arts - Boston, Mitschke designed this print and a few others in the National Parks series.
Three sample lengths of printed "Khaki Kool," Mallinson tradename for a rough finish sport silk: Rough surface crepe fabric woven with warp of tussah silk and weft of tussah loosely twisted with a silk crepe yarn. Selvage width; selvage inscription. Printed with National Park series "Garden of the Gods" design; in three different color combinations (on grounds of white, orange, and mauve). In late 1926 American silk manufacturer H. R. Mallinson & Co. introduced a bold new line of printed silks, twelve landscape designs, each available in from eight to twelve colorways (color combinations) on three different ground fabrics. The designs celebrated America's National Parks - then only a decade old. The designs represented all the usual styles necesssary for making clothing: allover prints, horizontal stripes, checks, a border design, etc. These samples illustrate how strikingly different a single design can appear by changing the colors of the ground and design elements.
In late 1926 American silk manufacturer H.R. Mallinson & Co. introduced a bold new line of printed silks, twelve landscape designs, each available in from eight to twelve colorways (color combinations) on three different ground fabrics. The designs celebrated America's National Parks - then only a decade old. The designs represented all the usual styles necesssary for making clothing: allover prints, horizontal stripes, checks, a border design. This overall design depicts Bridal Veil Falls at Yosemite National Park, on Mallinson's trademark Pussy Willow silk. The firm donated two different colorways of this design, one with a tan ground and one with a green ground. .
Five sample lengths of a printed silk sheer, Mallinson tradename "Indestructible Chiffon Voile". Selvage width; selvage inscription. A sheer, plain weave all silk fabric printed with National Park series "Garden of the Gods" design; samples of five different color combinations (ground color are: peach, grey, blue, green, and orange). In late 1926 American silk manufacturer H.R. Mallinson & Co. introduced a bold new line of printed silks, twelve landscape designs, each available in from eight to twelve colorways (color combinations) on three different ground fabrics. The designs celebrated America's National Parks - then only a decade old. The designs represented all the usual styles necesssary for making clothing: allover prints, horizontal stripes, checks, a border design, etc. These samples illustrate how strikingly different a single design can appear by changing the colors of the ground and design elements.
This pillow case, one of a pair, is pieced of white cotton and a printed cotton with a small colored figure and a red ground. Lining is printed cotton with a small blue and yellow floral figure on a ground of pink and brown stripes and yellow dots.
Names for quilt pattern blocks change over time, by region and as variations on traditional or classical block patterns develop. On this quilt blocks pieced in the “Robbing Peter to Pay Paul” chain pattern alternate with plain blocks quilted in a variety of floral patterns, 9 stitches per inch. Executed in white and a green floral print cotton, the “chain” effectively surrounds each quilted block. A 6½-inch border, using the same fabrics, frames the pieced center.
Ruth Jones Black Patrick was born January 31, 1905, She was an artist, teacher and illustrator, and began making this quilt, her first, in 1932 for her infant son. He was 20 years old when she finished it! In a 1971 newspaper interview, she is quoted thus, “. . . Edward was a little boy, I needed some sort of cover for his bed and thought I’d do something original. It was just going to be a small quilt . . . but it grew as he did—into twin bed size.” She made her own designs for her quilts, inspired by life, pictures in books, and quilt patterns of the time. Her unique quilts won ribbons at Alabama State Fairs.She married December 25, 1930, Herbert Edward Black(1906-1954), and she died November 25, 1999.
Berlin woolwork pattern of a lily designed by Hertz & Wegener in Berlin. According to Miss Lambert’s Handbook of Needlework published in 1846, in 1805 a Mr. Phillipson introduced hand painted patterns on ‘point paper’ (graph paper). However, some people thought his patterns were devoid of taste and in 1810 a Madame Wittich prevailed upon her husband, a printseller of note in Berlin to undertake the publication of a series of these patterns. Miss Lambert claimed to have gotten her information from Mr. Wittich. To produce the patterns a master copy of the design was made on paper, then a copperplate was engraved with faint symbols in each square indicating the color. The plate was printed, and then colorists painted each square using a tiny square-tipped brush. In 1820 with the introduction of Berlin wools comes the name Berlin woolwork patterns.
This "Catalpa Flower" pattern, overshot coverlet was made from brown 2-ply, S-Twist, Z-spun wool and cotton between the years 1790-1820 in Darlington County, SC. This overshot coverlet was a gift of the Field family and came with detailed genealogies linking the coverlet to the family of Col. Lemuel Benton (1754-1818). The Benton family home, Stony Hill, now demolished, was just outside of Mechanicsville, Darlington County, South Carolina. It was likely made on the family's farm, possibly by enslaved spinners and weavers.
Colonel Lemuel Benton (1754-1818) was born in Granville County, North Carolina. As a young man he moved to Darlington County, South Carolina. He became an eminent landowner and planter in what was then known as the Cheraw District. Benton was elected major of the Cheraw Regiment in 1777. . He was promoted to the rank of colonel in 1781 and resigned his commission in 1794. After the Revolutionary War, Col. Benton severed in the South Carolina State House of Representatives from 1782-1788. Benton also served as a county court justice, county treasurer, sheriff, and as a delegate to the state’s convention to ratify the U.S. Constitution in 1788 and 1790. Colonel Benton also served three terms in the U.S. House of Representatives. Benton retired to his estate, Stony Hill in Darlington County where he died in 1818.
Colonel Benton appears to have been married twice. He and his first wife, who has yet to be identified, had a daughter, Charlotte Benton Prince (1783-1870). Col. Benton marries Elizabeth “Betsy” Kimbrough (b. 1776) sometime before the birth of their child, Gilly Hinton Benton Dubose (1789-1852). It is possible that his wives or daughters wove this coverlet. It is also just as likely that some of the ninety-five enslaved people recorded in the 1810 Federal Census were working in a loom house weaving coverlets, blankets, and cloth for the other enslaved people working on Benton’s land.
Script upper-case alphabet, & at end; second line completed with geometric vine; block upper-case alphabet; lower-case alphabet, & at end. Fourth row completed with geometric vine. Fifth row, numbers to 14, completed on each side with geometric vine. Alphabets and numbers separated by simple crossbands; simple crossbands separate above from Family Record and inscription. Geometric vine separates inscription and verse. Floral motif on each side of verse. All above enclosed in simple geometric border. Outer border of flowering vine that emanates from Grecian-style urn at bottom center and bows at top center, at lower left, and at lower right. Inked pattern for outer border visible. Silk embroidery thread on linen ground. STITCHES: satin, encroaching satin, queen, chain, outline, cross. THREAD COUNT: warp 32, weft 28/in.
Inscriptions:
"Family Record Daniel Dutch born f[s]eptember 3 1765 Sarah Dodge born June 12 1766 were married september 17 1786 Nathaniel Dodge Dutch born september 10 1787 Daniel Dutch born march 7 1790 died may 12 1791 Sarah Dutch born march 20 1792 Daniel Dutch born december 28 1794 Priscilla Dutch born september 9 1797 Mary Dutch born november 12 1800 Isaac Dodge Dutch born december 21 1803 Mrs Sarah Dutch died February 7 1808 in the 42 year of her age Priscilla Dutch wrought this sampler in the 11th year of her age 1808 As this fair sampler shall continue still The guide and model of my future skill May Christ the great exemplar of mankind Direct my ways and regulate my mind"
Background:
Priscilla was born on September 9, 1797, to Daniel and Sarah Dodge Dutch, near Ipswich, Massachusetts. She married Ebenezer Putnam, a widower, on May 7, 1844. They did not have any children, but Priscilla was a mother to the thirteen children of Ebenezer and his first wife, Betsey Webb Putnam. Priscilla died on April 18, 1856, in Massachusetts.
Pattern block names vary by era and region. Variations on traditional or classical block patterns are always evolving with new names. In this variation of the "Princess Feather" pattern, eight appliqued feathers surround an 8-pointed pieced star center in each of the four blocks that comprise this quilt. The 6 ¾-inch border has alternating appliqued feathers and pieced half stars. The quilting consists of 6, 8 and 16 petal flowers, hearts, teardrops, and medallions. The feathers and stars have outline and echo line quilting. A simple palate of yellow, green and white cottons were used for the design.
Der Politiker, a Berlin woolwork pattern. Printed square paper with symbols printed in some squares, forming a rudimentary pattern. Complete pattern executed by water-colorist using the symbols as a guide. Interior scene with table, candle, chair and man in colonial dress reading the newspaper. Flame from the candle has caught the rim of his hat on fire.
According to Miss Lambert’s Handbook of Needlework published in 1846, in 1805 a Mr. Phillipson introduced hand painted patterns on ‘point paper’ (graph paper). However, some people thought his patterns were devoid of taste and in 1810 a Madame Wittich prevailed upon her husband, a printseller of note in Berlin to undertake the publication of a series of these patterns. Miss Lambert claimed to have gotten her information from Mr. Wittich. To produce the patterns a master copy of the design was made on paper, then a copperplate was engraved with faint symbols in each square indicating the color. The plate was printed, and colorists painted each square using a tiny square-tipped brush. In 1820 with the introduction of Berlin wools comes the name Berlin woolwork patterns.