In the mid-nineteenth century, Mary Ann Bishop appliquéd this cotton “Wreath of Roses” quilt in the then popular red and green combination of fabrics. Nine 18-inch blocks appliquéd with wreaths of roses are separated by 5½-inch plain white sashing. Eight-pointed stars are appliquéd at the sashing intersections. The 8-inch quilt border is appliquéd with three-lobed leaves on an undulating vine. Plain-weave white and red cottons and a roller-printed cotton of brown dots on a green ground were used for the quilt. Diagonal grid and line quilting, 10 stitches to the inch, provides a contrast to the quilted feathered leaves on the sashing. Two gradually curved S-shaped wooden templates, also donated to the Collection, were used for marking the quilting pattern.
Mary Ann Gotschall was born July 7, 1819. She married Hiram H. Bishop (1818-1897) on January 31, 1842, in Harrison County, Ohio. He received his medical training at Starling Medical College in Columbus, Ohio, in the late 1840s. Lyne Starling (1784-1848) was the founder of the hospital and medical school, a new concept at that time of providing medical education and patient care in one facility. During the Civil War, from June 1864 to March 1865, Hiram was contracted as an Acting Assistant Surgeon at the Totten General Hospital, Louisville, Kentucky. In March of 1865, when he left, the hospital had over 6,500 patients and fewer than 100 surgeons.
Mary and Hiram reared four children; John (b. 1843), Naomi (b. 1845), Mary (b. 1848), and Luie (b. 1860). Mary Ann died March 9, 1915, and is buried in the Wilkesville Cemetery. Mary Ann Bishop’s quilt in the “Wreath of Roses” pattern is one of three quilts in the collection that were donated to the Smithsonian by her granddaughter, Maude M. Fierce, in 1936 and 1937.
Joseph Granger’s granddaughter donated both her grandmother’s (Caroline Granger’s) prize-winning child’s quilt and the quilt that her grandfather made. According to a family note with the quilt, “Pa quilted the other all himself by machine.”
Joseph Granger chose to machine-quilt in a triple diagonal grid pattern, similar to the background of his wife’s hand-quilted child’s quilt that won a medal at the New England Agricultural Fair in 1878. It is not known whether Joseph made the quilt as a personal challenge to equal his wife’s accomplishment, or if it was made to prove the point that what could be done by hand could also be done with a machine. After several decades of improvements, sewing machines, by the 1870s, had become popular consumer products to have in the home. Possibly the idea of mechanical sewing was intriguing to Joseph and he wished to try his proficiency with it.
Joseph H. Granger was born on October 21, 1842, in L’Acadie, Quebec, Canada. He married Marie Caroline Lamoureux (1850-1936) in N. Grosvenordale, Connecticut, on January 30, 1873. They had twelve children and lived in Worcester, Masssachusetts. Joseph died on June 16, 1934.
Claire L. Meyer, the Granger’s granddaughter wrote: “Many thanks for your letter of July 7, 1972, regarding a crib quilt made by my grandmother a hundred years ago. I am also enclosing for your consideration a quilt machine stitched by my grandfather! . . . I hope it will be worthy of the national collection.” The two quilts are worthy, and provide an interesting contrast between the precise handwork of Mrs. Caroline Granger and the equally precise machine stitching of Mr. Joseph Granger.
Attached to this quilt when it was donated in 1975 was a note: “Made of Wedding and ‘Second Day’ dresses belonging to Mrs. William Penn (nee Clarissa Tarleton,) of St. Mary’s County, Maryland. (Circa 1800).” While many of the fabrics in this quilt are from the mid-19th century, the pale yellow and pearl-grey silks are possibly of an earlier date. They show wear and darning. Clara Tarlton married William Penn on March 7, 1809, in St Mary’s County, Maryland. Perhaps years later she fashioned this quilt using some of her wedding trousseau.
The pale yellow eight-pointed star in the center is set off by a purple ground and peach border. Seven more colorful borders frame the center. Meandering and feathered vines, bowknots, and flowers, as well as diagonal grid and parallel line patterns used for the quilting, further delineate the borders. The quilt has been relined with glazed cotton, replacing the original lining of grey-green wool. The quilting was originally done in yellow and ivory silk. Later quilting utilized various colors of silk thread, and was quilted through both linings. The adept use of color enhances the geometric balance of this quilt which preserved the fabric mementoes of a special event.
While it is not known that Clarissa was a Quaker, the quilt is typical of Quaker silk quilts of the early 19th century. These were made of solid colors, often expensive silks and/or remnants of wedding dresses. Quilts such as Clarissa’s were treasured as decorative and commemorative items and subsequently well cared for.
When this quilt was given to the Collection in 1972, the donor indicated that it was from her husband’s relatives who lived in New Jersey. Sixteen 12-13-inch blocks are pieced in a “Blazing Star” pattern using red, white, and blue cotton fabrics. The blocks are set with sashing and borders of the same color scheme. The lining and filling are also cotton. The quilt was machine pieced and joined. Small floral designs and variations of the fleur-de-lis motif are quilted on the borders, sashing, and open white spaces. The diamond pieces that comprise the “stars” are accented with linear quilting. The hand quilting is 9 stitches per inch.
The donor, Mrs. George Maurice Morris (nee Miriam Hubbard), was a collector of 18th-century furniture. In 1934 she and her husband purchased and moved a 1754 Georgian-style home from Danvers, Mass., to Washington, D.C. It was restored and named the “The Lindens,” apparently for the linden trees along the original driveway in Massachusetts. “The Lindens” is the oldest building in Kalorama, Washington, D.C., and was listed on the National Register of Historic Places in 1969. Mrs. George Morris donated an 18th century-example of a palampore, an early-19th-century appliqué quilt and this late-19th- early-20th century “Blazing Star” quilt to the Collection.
Elizabeth “Betsey” Weeks made this indigo wool quilt before her marriage to James Brown. According to the family, the wool for the quilt was carded, spun, and woven by Betsey. The dark blue counterpane is quilted with wool thread in a pattern of scrolling vines and large stylized flowers, 6 stitches per inch. Carded wool was used for the filling, the seams are stitched with linen thread. “As can be seen by the worn spots and the much darning it has had much use…” commented the donor.
Elizabeth (Betsey) Weeks was born on January 18, 1773 in Vermont. She married James Brown Johnson and they lived in Benson, Rutland Co., Vermont. They had one daughter, Relief (1800-1847). According to family information, Elizabeth died on July 31, 1861. She is buried in the Old Benson Cemetery, Vermont. The donor is Elizabeth’s great, great granddaughter.
Marie Joseph Paul Yves Roch Gilbert Du Motier Marquis de Lafayette
quilters
Bradbury family
quilter
Bradbury, Emily
Silsby, Maria
Rich, Harriet Bradbury
ID Number
TE.T10090
accession number
180031
catalog number
T10090
Description
Harriet Bradbury Rich wrote in 1948 that she was "pleased and proud" to donate this "memento of the First Centennial Exhibition of the United States of America." Her father, John Henry Bradbury, had been a merchant in the dry goods wholesale trade in New York and his firm received samples from the manufacturers commemorating the first one hundred years of nationhood that was celebrated at the 1876 Centennial in Philadelphia. At the age of twelve Harriet Bradbury along with her mother, Emily Bradbury, and her grandmother, Maria Silsby, assembled the commemorative fabric samples to make this patriotic quilt. The quilt was made at the Bradbury home in Charleston, New Hampshire, the fourth settlement on the Connecticut River, dating back to the French and Indian Wars.
Printed fabrics with patriotic motifs were popular in America before the 1876 Centennial but the major exposition in Philadelphia provided the textile companies with an incentive to produce many new fabrics. The utilization in this quilt of the small sample pieces that Mr. Bradbury brought back to his family provides an index of fabrics for that period. There are twenty-six roller-printed cottons and five plate or roller-printed bandannas or banners in the quilt. Many of these are printed with the dates 1876 or 1776-1876 or the word centennial. Patriotic motifs of eagles, flags, liberty caps, muskets, stars, cannonballs, liberty bells as well as portraits of George and Martha Washington and Lafayette are found in the various fabric designs. One particular striped design honors Martha Washington as it was copied from the fabric of a favorite gown of hers, the bodice of which is still at Mount Vernon, Virginia. The center of the back of the quilt contains a cotton kerchief that contains the text of the Declaration of Independence surrounded by the Liberty Bell and the seals of thirteen colonies linked by the names of the patriots of the Revolutionary cause.
A variation of the “Irish Chain” and “Sawtooth” bands are used to frame the four “Tulip”motifs on this 19th century red and green quilt. Outline quilting is used for the motifs at 8-9 stitches per inch. A combination of straight and diagonal grid quilting enhances the overall design of this pieced and appliqued quilt.
This elaborate, tasseled example of crazy-patchwork was owned by Margaret Lenington Simpson and donated by her great-great-grandson. The style, motifs and fabrics that were used indicate the 1880s or 1890s. The motif labeled “Patrick Henry” was actually the conductor of a group of musicians in an embroidery pattern designed for a night-gown case. It appeared in the 1880s Needlecraft: Artistic & Practical by Butterick Publishing Co. Limited, N.Y. Other motifs are mainly floral, but also include birds, butterflies, and fans. The parlor throw was constructed in blocks, with additional patches covering the areas where they are joined. A variety of embroidery stitches were used for embellishment. It has a red satin, lining also decorated with embroidery.
Jane Winter Price pieced this example of the “Carpenter’s Wheel” pattern in the second quarter of the nineteenth century and quilted her initials, “JWP,” into a white triangle at the lower edge of the quilt. According to family information, she may have made this quilt during a previous engagement when she lived in Maryland, before the death of her fiancé. “Keate Price McHenry from her Mother” is written in a corner of the lining. Catherine (Kate) Price McHenry was Jane’s daughter, born in 1856 in Arkansas.
Thirty “Carpenter’s Wheel” pieced blocks are set diagonally with alternate white blocks on this elaborately quilted example of mid-nineteenth-century needlework. The blocks are 11½ inches square, and the blue-ground chintz border is 7½ inches wide. The white squares are quilted, 15 stitches per inch, with sprays of flowers and grapes against a background of diagonal lines 1/8 inch apart. Double clamshell quilting is found in the white triangles inside the border. Both the pieced blocks and the border are quilted 9 stitches per inch. The wide border effectively frames the artistic placement of pieced blocks and finely quilted white blocks and triangles.
Jane Winter Price, born in 1818 in Maryland, was the daughter of Catherine Winter Dunnington II (1790 -1863) and Richard Price (b 1771). Catherine was married in 1813, but widowed in 1823. In 1838 she, along with her two living children, Jane and George Richard Price, left with others for Alabama. Jane married Josiah W. McHenry (b.1815) in 1849. In 1860 they lived in La Pile, Union County, Arkansas, 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, Louisiana, where Jane died in January 1899.
This quilt is among several items that G. Ruth McHenry donated to the Smithsonian in 1961. It had been given to her by her aunt, Kate (Catherine) Price McHenry. Catherine Price McHenry was the daughter of Jane Winter Price, who probably made this quilt before her marriage to Josiah W. McHenry in 1849.
Column or Pillar prints had two periods of popularity during the first half of the nineteenth century. This quilted counterpane consists of five lengths of cotton, roller-printed in a design of columns and flowers in red, yellow, and black on a drab ground. It has an ivory cotton lining, cotton filling. Concentric right angle lines, arranged in blocks, make up the quilting pattern; quilted at 5-6 stitches per inch. Bound with 5/8-inch straight strips of 5 different roller-print cottons seamed to the front, whipped to the lining. Corners cutouts, 22-24 inches, at the bottom, make this an example of typical mid-nineteenth century bedding.
Esther Rose Cooley fashioned this pieced quilt from printed cotton souvenirs that she collected when she visited the 1876 Centennial Exhibition in Philadelphia. Printed fabrics with patriotic motifs were popular in America before the 1876 Centennial, but the major exhibition in Philadelphia provided textile companies with an incentive to produce many new fabrics for the event.
The center printed square depicts the Memorial Hall Art Gallery as well as the Main Exhibition Building, Machinery Hall, Agricultural Hall, and Horticultural Hall. “CENTENNIAL INTERNATIONAL EXHIBITION FAIRMOUNT PARK PHILADELPHIA 1776 1876” is prominently printed on the square. A banner in the eagle’s beak carries the legend “E PLURIBUS UNUM.”
Four flag banners contribute to the overall design. Each has a large U.S. flag with 42 stars surrounded by foreign flags in their national colors. They represent countries that participated in the 1876 Centennial Exposition: “ITALY, SPAIN, PORTUGAL, TURKEY, SIAM, TUNIS, PERSIA, EGYPT, PERU, VENEZUELA, HONDURAS, GUATEMALA, ECUADOR, BOLIVIA, NICARAGUA, CHILI, ARGENTINE, IRELAND, CHINA, JAPAN, MOROCCO, SANDWICH, HAYTI, LIBERIA, MEXICO, FRANCE, GERMANY, BELGIUM, HOLLAND, SWITZERLAND, RUSSIA, AUSTRIA, DENMARK, [and] SWEDEN.”
The flag banner design was patented Dec. 28, 1875. The center is probably plate-printed, the flag banners, roller-printed cotton. Two flag segments (36 stars and 7 stripes) are used to balance the quilt design. A strip of foreign flags, probably cut from a similar flag banner, border the quilt.
Esther Rose was born in Granville, Massachusetts, in 1824. She married Simon Foster Cooley. The Cooley family was long established in Massachusetts, an early ancestor having received a grant of land in Amherst from King George III. Esther Cooley lived in North Hadley, Massachusetts, and according to family information, “She was a great traveler for those days. She went annually to Chautauqua in N.Y.” Esther died in 1918, but the quilt she crafted from souvenirs of her visit to the 1876 Centennial in Philadelphia serves as a reminder of the importance of that event.
In 1977 one of Esther’s great-granddaughters, Cloyce C. Reed, wrote about the donation of the “1876 Centennial” quilt to the Smithsonian. “My Quilt Goes to Washington,” Yankee Magazine, April 1977. “In a 1972 issue [ Yankee Magazine ] there was an article on quilts which prompted me to write to you about the quilt fashioned by my great-grandmother out of souvenir squares she bought at the 1876 Centennial Exhibition in Philadelphia . . . you published my letter in . . . February 1973. . . . Then one day I received a telephone call from the Smithsonian! They had heard of the famous quilt . . . ask[ed] if I would loan it for their upcoming . . . exhibit.” It was on exhibit for the 1976 Bicentennial Exhibit and became part of the permanent collection through the generosity of the Cooley family. “It was truly wonderful to see this old quilt which has been in the family so long, in its final home, well cared for and enjoyed by so many fellow countrymen. We felt we had personally participated in the Bicentennial celebration.”
This white counterpane has a quilted design of daisies and squares-within-squares. The “stuffed and corded” needlework technique was utilized to achieve the overall design. This technique creates a raised design by inserting extra filling (often cotton) or cording in specific areas to make the motif stand out in relief. A narrow quilted border frames the center. "1840 MT" is quilted in one corner. It is quilted, 9 – 10 stitches per inch. There is no filling or separate binding, front and back are turned in and sewn with a running stitch. The precise needlework skills of an unknown quilter are emphasized on this example of a whole cloth quilt.
The New England Agricultural Society medal was awarded to Mrs. Joseph (Caroline) Granger at the 1878 New England and Worcester Agricultural Fairs. One side of the bronze medal has animals with "New England Agricultural Society" around the edge. The other side has; "AWARDED TO [inscribed] Mrs. Joseph Granger for the best Crib Quilt" also "WORCESTER MASS 1878". A certificate with the medal from the office of New England Agricultural Society, dated "Boston, November 1st, 1878" states: "This is to Certify, That Mrs. Joseph Granger Worcester Mass received a Bronze medal awarded at the New England and Worcester Agricultural Fairs, held in the City of Worcester, Mass. September, 1878, for the best Crib Quilt." Signed Daniel Needham, Secretary.
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.
Found in a trunk in Massachusetts, on either the MacGuire or Fowler homestead, this quilt is composed of 11-inch “LeMoyne Star” pattern blocks. The 19 pieced blocks and one Nine-Patch block are set diagonally with 11-inch squares of glazed printed cotton. Attached to the sides and bottom of the quilt are gathered flounces 25 ¼ inches long (included in overall measurements) made of the same glazed roller-printed cotton used for the plain squares.
The fabrics are plain-woven roller-printed cottons: floral, plaid, checked, striped, and dotted. Six patches are made of bolt-ends with large black stamped numbers and letters. The lining is composed of two lengths of plain-woven cream colored cotton. Cotton was used for the filling, and it is quilted 7 stitches per inch. No separate binding except at corner cutouts where a bias strip of printed cotton binds the inside curve. Front and lining are turned in and stitched, the flounces are sewn to the front layer.
The star motif was and is a popular quilting design. This mid-nineteenth century quilt is an example of the traditional “LeMoyne Star” pattern and bed furnishing design.
Patience Ramsey was 13 years old when she made this complex quilt, according to family information. The twelve “Rose Tree” circles were constructed almost completely in curved piecing with only small appliqued leaves at the tops of the rosebuds. The white circular “blocks” are pieced of several sections (all in the same arrangement). It is quilted (10 stitches per inch) in a diamond pattern.
Patience Ramsey was born in Huntingdon County, Pennsylvania, in 1832. She married William Gutshall and they had thirteen children. She died in 1880. This quilt and another in the Collection were donated by her granddaughter about 100 years after Patience stitched them.
Fans, butterflies, flowers, and many other motifs typical of the crazy-patch quilt era adorn this parlor throw. A wide array of fabrics available in the late 19th century for crazy-patch needlework is represented. Silks that are plain, printed, ribbed, pattern-woven, striped, brocaded, and plaid, as well as satins, velvet, taffeta, and ribbon are all combined to create this vivid example. Fancy stitches (herringbone, feather, detached chain, satin, French knot, stem) secure the patches. Originally an unfinished top, it was backed over a half century later with a machine-quilted gold satin, and a silk border was added to complete it.
Elizabeth Fenton was born in 1830 in Pennsylvania. She later moved to Washington D.C., and in 1851 married Benjamin Franklin Darley (1826-1884). They had four children. Elizabeth Darley died in 1890 and is buried in Congressional Cemetery, Washington D.C.
The donor of the parlor throw finished it in the 1960s as a favor to her friend, Mrs. Mae Glover of Norwalk, Conn. Mrs. Glover, born about 1890, noted that the quilt top was made by her grandmother, Mrs. Benjamin Franklin Darley, and “regretted that the quilt had never been finished.” As it remained unfinished and unused for so many years the crazy-patch fabrics are in excellent condition.
With an astute arrangement of the colors of the diamond shaped pieces, a framed center design was achieved on this example of a mid-nineteenth century silk quilt. Silk diamond-shaped patches, 2-1/4 inches long, are pieced in straight vertical rows. A wide variety of silks are represented; plain, ribbed, checked, brocaded, printed, pattern-woven, plaid, and striped. The “frame” is an 8-inch brown silk border, quilted in a wave pattern. There is outline quilting on most of the diamonds. It is quilted at 8 stitches per inch. The quilt has a cotton filling and is lined with a plaid cotton. This colorful silk quilt was said to be found in Bremen, Maine, but no other information was given.
“Commenced Jan 12th 1887. San Rafael . . . Finished March 12th 1887. . . M. M. Ware” is embroidered on this parlor throw composed of nine 21 ½-inch crazy-patch blocks. Many satin and velvet ribbons with California references are found among typical motifs such as a horseshoe, a fan, flowers, owls, bicycles, etc. A variety of embroidery stitches in many colors of silk thread decorate the throw. A red velvet 7-inch border and a red cotton lining complete it.
Mehitable (Mettie) Babcock was born in Vermont in 1816. She taught school from the age of 14 until she married Preserved Ware (1811-1885) in 1836. They had eight children and from 1868 they lived in California, where Mehitable Ware died in 1897.
The cotton prints used for this central panel probably have English origins. The center (22-inches x 22-inches) is a pair of birds in a wreath of flowers, block printed in red, tan, dull yellow, and black on a white ground, with blue added by surface roller. The square is bordered with strips of block-printed flowers (roses, peonies, anemones) in red, pink, dull yellow, green, light blue, and black on white and glazed. One edge of border is a selvage.
Panels of this type were implemented by English wood-block printers not only for furnishing fabrics, but also as specific designs for chair seats, borders and/or panels to be used for quilts or counterpanes. Palm trees and game birds were popular motifs in America in this period.