This yellow-gold silk quilted petticoat came from the Scovill family of Connecticut. The petticoat has a woven wool lining and a carded wool interlining. The elaborate quilting pattern included both flora and fauna. Animals and birds that include lions, horses, peacocks, snakes, boars, squirrels, roosters, a stag, a unicorn, dragons, a frog, butterflies, insects, and birds are detailed in back stitch which forms a dotted line of tiny stitches on the silk.
Possibly the inspiration for the motifs was Thomas Boreman’s “A Description of More than 300 Animals…” originally published in 1730. The floral images seem to be used as a filler in and around the fantastic motifs creating an overall whimsical design.
Petticoats such as this were designed to display fine quilting. With the wool lining and interlining adding warmth, they were probably much appreciated in New England winters.
“We hope that restful comfort lingers / Under this work of loving fingers” is the sentiment inked on this parlor throw by Mary “Delia” Lynch. As Mary grew up in Virginia, married and lived in Illinois and in 1886 moved to California, it is not known precisely where this parlor throw was made. When the donor, Mary’s granddaughter, discovered it in an old trunk in the 1950s, she noted, “It was as new as the day it had been finished years ago for it had not only never been used, it had not even been lined.”
Twenty 13 ¾-inch crazy-patched blocks are framed with a 2 ¾-inch maroon velvet border on this parlor throw. As is characteristic of many silk crazy-patched quilts (parlor throws) of this period, the pieces came from a variety of sources. The donor described the fabrics her grandmother used: “Most of the pieces are from materials of her [Mary Lynch] dresses and the dresses of my mother [Norma Clark] as a child and as a young girl. Among them are several pieces on which my mother painted a musical score [notes for ‘Auld Lang Syne’], a verse, and a spray of flowers.” Although the pieces were collected over a long period of time, it is not known whether Mary brought along the pieces, squares, or finished throw when she moved to California in 1886. The lining of the throw was done in 1968 by the donor a few years after she discovered it in an old trunk after her mother died.
The patches contain initials, and other painted and embroidered motifs often found on patch-work parlor throws. Among these are two 1880 campaign ribbons; one for Republicans James Garfield and Chester Arthur, another for Democrats Winfield Hancock and William English. Commemorative ribbons are another item often found included on crazy patch needlework.
One embossed maroon velvet patch, has the inscription “J.H. WHITEHURST GALLERIES / NEW-YORK / WASHINGTON D.C. / BALTIMORE / RICHMOND / NORFOLK / PETERSBURG / LYNCHBURG.” Most likely this is a case pad that would have been opposite a daguerreotype. It is an unusual example of the source of fabrics gathered to make a throw. Jesse Harrison Whitehurst (about 1820-1875) was one of the earliest and most successful photographers in Virginia. As noted above, he had several commercial studios and the quality of his work is among the best of that era.
All of the patches are enhanced with cross, buttonhole, feather, straight, detached chain, herringbone, star, stem, and French knot stitches--a feature of crazy-patchwork.
Mary Adelia, known as Delia, was born about 1845 to Maria and Grover Young in Richmond, Va. She was a descendent of an early English pioneer, William Claiborne (about 1600-1677), surveyor and settler in Virginia and Maryland. She married Jacob G. Lynch (ca 1842-1886) in Illinois, on January 30, 1867. On the 1870 census, they were living in Cairo, Ill., with their infant daughter, Norma. In 1886, after Jacob’s death, Mary moved to California. From at least 1900, she lived with her daughter Norma and Norma’s husband, Joseph H. Clark, in Oakland, Alameda Co., Calif. Mary died February 9, 1917, and is buried in the Mountain View Cemetery in Oakland.
The donor in a letter expressed this often-noted sentiment: “Because I am the last of my line with no blood relatives, I am eager that this beautiful heirloom piece of American hand-craft should find a home where it can be appreciated, preserved, and cherished.” At the news that the parlor throw had been accepted, the donor “went out to dinner in celebration of the fact that at long last ‘Grandma’s Quilt’ had found a proper home.” Mary Lynch’s parlor throw is a noteworthy addition to the Collection.
This hexagon pieced quilt is either of English or American origin. Two and a half inch hexagons in yellow- and green-ground, roller-printed cottons are arranged in concentric circles, each with a red and white printed center. Nine patches have been replaced, and the binding appears to be a later 19th century fabric. The lining consists of three lengths of plain-woven ivory cotton. The filling is cotton. The quilting pattern outlines each hexagon; 8 stitches per inch. A 7/8-inch (finished) straight strip of twilled polished cotton, seamed to the front, whip stitched to the lining, was used for the binding. This hexagon pieced quilt is an example of a popular technique used for some of the oldest quilt patterns.
An unknown maker crafted this example of contained crazy-patchwork. Twenty 12 ¼-inch blocks are elaborately embroidered and surrounded by a 2-inch black ruffled border. The center of each block has a larger design, either floral or other motif such as a fan or a horseshoe. Birds, ceramics, and Kate Greenaway motifs typical of the era also adorn the throw. Silk, satin, velvet, and ribbon were used for the patchwork, which was lined with black pattern-woven silk. Chenille and silk embroidery threads were used for the many fancy stitches that embellish the throw.
The “Variable Star” pattern was used for the 7-inch pieced blocks that alternate with 7-inch plain blocks. The pieced blocks have examples of a variety of roller-printed fabrics. Around all four edges of the quilt are ten inch red and blue floral print triangles. The initials “S N” are cross-stitched in brown silk on the lining which consists of three lengths of plain-woven cotton. The quilt has a cotton filling and is quilted 6 stitches per inch. No separate binding, the front and lining are turned in and sewn with a running stitch. This quilt is an example of mid-nineteenth century quilting utilizing a variation of the popular star design.
In 1962 a great-great-granddaughter of one of the makers of this quilt donated it to the Museum with the information that it had been made by women in the Adams family. They were said to have made the quilt while the men were away during the War of 1812. The donor’s great-grandfather was Jackson Adams, her great-great uncle, Joshua Adams, and her grandmother, Jane Adams.
This quilt is made up of 7-inch blocks pieced in the "Pinwheel" pattern, alternating with plain white blocks. Detailed stuffed quilting embellishes the white blocks and border. Ten different quilting patterns are used for the plain blocks, all but one repeated.
The 8-inch white border has a quilted-and-stuffed feathered vine with small quilted-and-stuffed floral motifs. White cotton fabric was used for the lining, cotton fiber for the filling and stuffing. The pieced blocks and border are quilted at 9 stitches per inch. The “Pinwheel” Quilt, with its contrast of elaborate stuffed quilting and simply pieced blocks, is a fine example of early 19th-century quilting making.
Deep red and blue 11-inch squares were set diagonally, checkerboard fashion, to create this example of an early 19th century wool quilt. Each square is quilted with a floral or geometric motif. In total twenty-two different patterns, quilted 6 stitches per inch, were used.
Lucy Addison was born in New Hampshire about 1808 or 1809 and married John Shepherd (or Shepard) in 1833. The quilt may have been made in New Hampshire, but according to censuses, after they were married they lived in Phillipston, Worcester County, Massachusetts, the rest of their lives. They had one son, Timothy Addison Shepherd, born in 1836, and it was his descendent, a great-grandson of Lucy and John, who donated the quilt in 1964.
A floral block-printed fabric was used to make this quilted counterpane. Three panels of cotton, block-printed in brown, red, and pink with penciled blue were sewn with linen thread to create the center. This was framed by a band of trees also block-printed on cotton. "S . B 6" is cross-stiched on the lining. It was quilted in a chevron pattern, 9 stitches per inch, and finished with an ivory silk tape binding.
This well planned quilt was executed using just two different roller-printed cottons. One a floral design in red, blue, and brown on white; the other a stylized floral print in blue, tan, and brown. The seven-inch octagons are set with 3 ¼-inch pieced squares creating an overall kaleidoscopic effect. Only along the two side edges and part of the top edge are there triangles made of other printed cottons. The lining is a plain-woven ivory cotton, and the filling is cotton. It is quilted at 8 stitches per inch. There is evidence of repairs made, probably due to wear, on the edges.
"Memorial to the Constitutional Prohibition Ammendment 1888", is found on a red satin triangle on a corner of the lining. In 1888 the Prohibition Party was beginning to achieve national strength in the presidential elections.
Founded in 1869, for the purpose of prohibiting the sale and manufacture of liquor, the Prohibition Party finally achieved the goal in 1919 with the ratification of the 18th Amendment. The 18th Amendment was repealed in 1933 by the 21st Amendment. Although the party still exists, it does not have the following it had in the late 19th and early 20th centuries. This parlor throw was made at the height of the Prohibition Party’s popularity.
A 14-inch center block of red velvet with painted water lilies is framed by two rows of painted or embroidered 7-inch satin blocks. The use of three colors (amber, blue and black), set alternately, provides a balanced overall aesthetic. An 8 ¼-inch red velvet border completes the throw. The lining is red satin, machine-quilted in a triple diagonal grid. Five of the black satin squares have painted religious inscriptions: “Hope;” a Bible with “Tried and Proved;” “Rest in the Lord and wait patiently for Him;” Be of the same mind one toward another;” and, a cross with “Et Teneo et Teneor.” The last, meaning "I hold and am held," may have referred to the motto of a Baptist college founded by Charles Haddon Spurgeon in the 1860s. The floral and bird motifs, the spider web, and others are similar to those found on crazy patchwork of the late 19th century.
Although the maker is not known, the sentiments expressed are indicative of the types of inscriptions on decorative items that might be found in many homes during that era.
This complex pieced and embroidered medallion quilt came from the White family of the Westminster/Boston area. They were descendents of John White of Dorchester, England, who was instrumental in founding the Massachusetts Bay Colony.
The quilt has a crewel-embroidered linen center in a floral pattern, framed by two rows of pieced-work, and an embroidery-on-linen border. One row of pieced work is composed of 4-inch blocks, some of which are made up of many smaller scraps. The second row is of 8-inch blocks pieced with two large triangles. The center and pieced borders are lined and quilted. The outer border is embroidered with large and small birds, flowers, and insects. No two are alike. Possibly the quilt was the work of more than one person.
Pieced 8-inch blocks in the “Evening Star” (or “Sawtooth Star”) pattern are set diagonally with 8-inch plain blocks. Blocks are pieced of roller-printed cottons (1830-1860s), woven stripes, and checks. The border (22-inches on the sides, 21-inch bottom) is a geometric roller-printed cotton. Lined with an ivory cotton, filled with cotton, and quilted at 7 stitches per inch. No separate binding, the front and lining are turned in and sewn with a running stitch. Star patterns are popular quilting designs and this mid-19th century example uses a variety of fabrics with both printed and woven designs.
It took Margaret Tormey sixteen years to carefully craft this 86-inch quilt top, dated 1886, and two matching pillow shams. She included campaign and club ribbons that name New York and Brooklyn; printed silks from the Robinson Company with such motifs as the Statue of Liberty; and brocaded silk pictures to personalize her project. Examples of chromolithograph printing on silk are also found on the quilt top. A multitude of embroidered motifs typical of the era embellish the crazy-patchwork.
Margaret McNamara was born in Ireland (about 1835) and immigrated with her family to the United States about 1848. In 1861 she married Patrick Tormey, who was also born in Ireland (about 1835) and immigrated as a teenager. They lived in Brooklyn, N.Y. Patrick, a Civil War veteran, was keeper of the Brooklyn City Hall for many years. He died in 1900. Margaret died in 1910.
The unknown maker of this quilt chose a traditional pieced pattern, but the fabrics make it memorable. The stars are all pieced of plain and patterned silk diamonds, with the center of the large star composed of black velvet alternating with gold-embroidered ivory satin. The combination of plain and patterned silks in the black background adds to the overall dramatic effect.
This simply designed quilt is pieced of alternating strips of two roller printed plain-woven cottons. The quilt shows evidence of reworking; two outer strips on one side of the quilt have been crudely joined (complete with their original lining and quilting) to the main body of the quilt. It has a cotton filling. The lining consists of five lengths of plain-woven ivory cotton. Quilted in a chevron pattern, 7 stitches per inch. There is no separate binding, the front and lining turned in and sewn with a running stitch. The light and dark contrasting strips create an interesting quilt from the first half of the 19th century.
Anna (Mrs. Henry C. Slaymaker) and her two sisters, Mary (Mrs. William Boothe) and Lucy (Mrs. Thomas Speiden) worked on this slumber throw top that was never completed. Anna’s needlework is also represented by two samplers, embroidered when she was 9 and 10, that are in the Textile Collection.
Twenty blocks, 12 or 13 inches each, are pieced using silks, satins and velvets. Except for two blocks with simple embroidery, they are undecorated. The combination of geometric and crazy-patch piecing gives interest to this unfinished top.
Anna was born on October 2, 1842, to John and Mary P. Stabler Leadbeater in Alexandria, Virginia. John, her father, was the owner of the Stabler-Leadbeater Apothecary in Alexandria. Anna married Henry C. Slaymaker, a Confederate Civil War veteran, on November 6, 1866, and they had three children (Isabel, Henry C. Jr., and Frank).
The donor, Mrs. Clarence Milton Yohn, included a note about Anna's grandfather, Lt. Henry C. Slaymaker. “[He] was only 16 when he served as a civilian informer in 1861 and 1862, carrying messages from Alexandria and Washington, D.C., quilted in his waistcoat and pretending hunting excursions in the woods in order to get to his cousin, Gen. Robert E. Lee. He was about to be hanged in 1862, when he escaped to join the Confederate Army under age.” After the Civil War, Henry Sr. established a dry goods business, but died at 36 of consumption on February 28, 1880. Anna died on February 15, 1906.
Anna’s sister Mary was born in 1839 and married Capt. William Boothe (1818-1894). She died in 1914. Lucy, the third sister, was born about 1838 and married Thomas Speiden. The three sisters were from the family who founded the Stabler-Leadbeater Apothecary Shop, which was operated by family members from 1796 to 1933, when it became a pharmacy museum. The buildings, which date to the early 1800s, have withstood four wars and a major city fire, and currently house the Stabler-Leadbeater Apothecary Museum in Alexandria, Virginia.
Using an elaborate silk quilt, such as this hexagon example, in the parlor gave the accomplished needlewoman an opportunity to show off her work. This unknown maker displayed both her design and needlework skills as evidenced in the intricate pieced work, embroidery, and quilting on both quilts which were combined to make one.
The large star shapes on the top quilt are composed of 1-3/8-inch silk hexagons. Each shape is contained within a ring of black hexagons, further set off by another circle of stars made of 5/8-inch diamonds. In contrast, the center focus is a rose, embroidered in chenille yarn, on black velvet. This is echoed by the 4-1/2-inch black velvet border embroidered in a rosebud vine pattern. It is completed with a cotton filling and red cotton lining, and quilted with outline stitching on the hexagons and diamonds.
A second quilt is made of red silk with cotton filling and a printed cotton lining. It too is quilted, using red silk thread, in diagonal grid, feather plume, and circle quilting patterns. The quilting on both is 14 to 15 stitches per inch. The two complete quilts are stitched together around the edges and finished with a green binding.
The fine quilting, the use of a variety of silks and velvets, and the intricate work all contribute to this impressive example of needlecraft from the later part of the 19th century.
This crazy-patched parlor throw was made by two sisters who lived in Fall River, Mass. The only information known about them is their last name, Vickery, and that neither sister married. A date of 1883 is embroidered on one silk patch.
Their needlework is an example of the crazy-patch work that was very popular in the United States from 1870 to 1900.
This type of quilt was not necessarily made for bedding, and more often was a project designed to be displayed over a chair or sofa in the parlor. The crazy-patchwork throws were constructed of pieces of silk, satin, velvets, and ribbon, and enhanced with fancy embroidery stitches. A wide range of appliquéd, embroidered, or painted motifs provided additional interest.
This parlor throw consists of many crazy-patched and embroidered parallelograms that were assembled into ten 4 ½-inch vertical strips. The strips were joined and framed by a 2 ½-inch black velvet ribbon border with 1 ¾-inch gold satin ribbon tabs, imposing order on disorderly crazy-patches. Felted appliquéd motifs of flowers and birds adorn several patches. Other patches contain motifs such as fans, butterflies, horseshoes, or spider webs, all frequently found on crazy-patchwork. “Kate Greenaway” figures, another popular motif of the era, are embroidered on several patches. Kate Greenaway (1846-1901) was a popular writer and illustrator of children’s books. Her distinctive style for drawing children was widely copied and appears on various decorative arts of the time.
Commemorative ribbons were often saved and then used for crazy-patchwork. A silk ribbon souvenir bookmark with an image of Lincoln and the inscription: “THE LATE LAMENTED PRESIDENT LINCOLN” (“T. Stevens Coventry” on the back) is prominent on this parlor throw. It is a modified version of a ribbon the Thomas Stevens Company of Coventry, U.K., made for Lincoln’s second inauguration in 1865.
Thomas Stevens revitalized silk ribbon weaving in Coventry by adapting the jacquard weaving process to produce woven pictures. Custom-designed ribbons, badges, bookmarks, etc., might have portraits, text, or local scenes incorporated in the weave. The term “Stevengraph” is often used to describe the products. These were marketed at the time as “Stevens’ Patent Illuminated Book Markers.” Although only part of the ribbon is visible on this throw, similar ribbons are further inscribed: “ASSASSINATED AT WASHINGTON / 14 APRIL 1865 I HAVE SAID NOTHING BUT WHAT I AM WILLING TO LIVE BY, AND IF IT BE THE PLEASURE OF ALMIGHTY GOD, TO DIE BY. (A. LINCOLN)”
While there is little information about the Vickery sisters at this time, their needlework project contains many items of interest. It is a worthwhile contribution to the Collection.
The top of this quilt is cotton, block printed and painted in England or France in the late 18th century. The floral, tree, and bird motifs were popular for fabrics at that time. Probably the fabric was originally used for bed furniture that included curtains at the sides, head, and foot, enclosing the whole bed. When these sets became worn, faded, or out-dated, the fabric was frequently recycled. The floral-designed, roller-printed fabric used for the lining is from the mid-19th century.
The focus of this mid-nineteenth century quilt is the latticework basket, possibly containing a variation of the “Tree of Life” motif which was popular at that time. The basket is framed by a meandering vine and three borders. The inner border, 5 ½-inches, is a block-printed floral fabric. The next border, 5 ½-inches, is a white band appliqued with lilacs, violets, acorns, peonies, and lilies cut from two block-printed fabrics. The outer border, 5 ¾-inches, is a roller printed floral fabric.
The quilt was one of three donated to the Collection by the Morris family that typified various quilting styles: A block-printed quilt reusing furnishing fabrics from the late 18th century (TE*T16394); this appliqued quilt from the mid- 19th century; and, a family quilt in the “Blazing Star” pattern from the late 19th-early 20th century (TE*T16395).