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.
Stenciling was popular as a decorative technique in the early 19th century. This example, possibly made for a crib, is not quilted, but has some linen cloth and thin cotton wadding between the cotton pieced top and linen lining. At least 13 different templates were used in different combinations to create an overall design. A label, now missing, written in the late 19th century read: “George Jones infant quilt Ohio.”
Sixty-three 6-inch blocks, alternately plain and stenciled, comprise the top. One motif, a tree with fruit, appears on six blocks, three on either side. Other stenciled motifs, in green, blue, rose, and yellow, are more randomly placed. It is bound with two different roller-printed, ¾-inch floral strips folded over the edges.
The bright, cheerful stenciled motifs found on this child’s counterpane are similar to those found on floor cloths, furniture, and other home accessories of the period. The stenciling technique, using paints, brushes, and templates, was a convenient way to bring color and interest to everyday objects.
The inscription found on this quilt identifies its origins. Within a wreath cut from a printed cotton chintz on one block is inked: “Ladies’ Donation / to the Fireman’s Fair / Yale Engine Co. No. 1 / South Reading / July 1853.” Quite likely a group of women devised the quilt making project to raise funds for the Yale Engine Company. A new engine house was erected in South Reading, Massachusetts, in 1853.
Two blocks in particular indicate the pride the community had in its ability to be prepared for fires. One has an appliquéd and embroidered fire engine marked “Yale 1.” The other block, all embroidered, has a ladder, hook, hose, the date "1853," and inscription: "Yale Engine Company No. 1 / South Reading." As reported in the Official Program of the Celebration of the 250th Anniversary of the Settlement and Incorporation of Ancient Redding” May 1894: “In 1852, by vote of the town, came a handsome new, double-decker fire-engine, resplendent in finish of rosewood and trimmings of polished brass . . . . The new machine was from Jeffers’ works at Pawtucket, R.I., and was named ‘Yale Engine, No. 1,’ in grateful recognition of a large gift . . . from Burrage Yale, Esq., whose tin pedler’s carts were for many years known all over New England." It was further reported that, "'The Yale’ distinguished herself in many fields, and saved much property from destruction. She is still [1894] retained by the town . . . and regarded with respect and appreciation."
All but five of the thirty 15½-inch blocks that comprise this quilt have geometric motifs made by cutting folded cloth. These were made from the same roller printed cotton fabric and appliquéd to a white ground. One block is pieced in a popular pattern, “Star of Bethlehem.” The inclusion of an American flag block contributes an element of patriotism. The blocks are joined in a quilt-as-you-go method. Each one is appliquéd, pieced or embroidered; then lined and quilted; bound with a narrow red-ground print; and finally, joined to make the quilt.
Burrage Yale, whose contributions to the community of South Reading, Massachusetts, were many, was born in Meriden, Connecticut, on March 27, 1781. At an early age he set out to help his family as a peddler of tinware. In 1800 he came to Reading, Massachusetts, and within a few years had settled there and founded a soon-thriving business manufacturing and dealing in tinware.
A man of strong convictions, he was profiled by Lilley Eaton in his 1874 Genealogical History of the Town of Reading. Burrage Yale was known as “polite, dignified, and hospitable, a friend and patron of education and liberal toward public improvement.” He was also “. . . a shrewd and accomplished business man . . . . accused of being proud, haughty and ambitious . . . unmerciful to his debtors.”
According to Eaton, “he once rendered himself so odious to a portion of the people . . . that on a certain night he was hung in effigy . . . and then consumed in a great funeral pyre, amid the shouts of the crowd; and . . . upon a board nailed high upon the oak, these words in epitaph: ‘This great and mighty lord, he is no more!’”
While Burrage Yale may not always have been gracious or generous, he apparently contributed a significant-enough sum to the fire fighting cause in his community that a fire engine, fire house and later an avenue bore his name. His wife, Sarah Boardman (1786-1844), was one of the early female teachers in South Reading. She was described by Lilley Eaton as “. . . a faithful teacher, and our memory of her in that capacity is most pleasant. In after-life she was ever a most worthy and valuable woman.” When Burrage Yale died September 5, 1860, the fully uniformed firefighters of the Yale Engine Company marched in his funeral procession.
This quilt, so carefully worked, is an example of efforts by women of South Reading, then a small rural New England town, to work together to provide for their community.
This miniature quilt may have been a doll’s quilt, a “first” quilt, or a display on a model quilting frame. Possibly made in Pennsylvania, it consists of twelve 1 to 1-and-1/2-inch blocks in the "Four-patch" pattern. Quilted in a chevron pattern, 3-4 stitches per inch.
Names for quilt pattern blocks change over time, by region, and as variations on traditional or classical block patterns develop. This quilt is an example of the “Variable Star” pattern set in vertical strips. These strips alternate with 11 ½-inch vertical strips of printed floral striped cotton. Roller-printed cottons of many designs, woven checks, and plaids are used for the quilt. The top 6-inches of the quilt alternates the print used for the triangles in the blocks and the floral stripe fabric used in the 11-inch panels. The lower corners are cut out. A plain-woven ivory cotton was used for the lining; cotton was used for the filling.
This redwork embroidered counterpane was most likely made as a fund raiser for the Clarksville Reformed Church. It is dedicated to “Rev. Boyce Pastor. Peggy His wife, Rex Their dog.” According to further inscriptions on the quilt, the occasion was the “Clarksville Reformed Church Fair Dec. 8th 1922.”
A twelve-petal daisy is the motif of the forty-eight blocks, the petals providing spaces for over 500 embroidered names. First, the names were written in pencil, and then embroidered with red cotton. In a few instances, a different name is embroidered over the original penciled name. One block utilized the spaces for advertising: “Priced / Lowest / The / Transportation / Economical / Motor Cars / Chevrolet / Wright / Gardner / Automobile / Equipped / Fully.” Presumably a small donation, maybe ten or twenty-five cents, assured one’s name embroidered on the counterpane. Further funds may have been secured by a raffle at the December fair. Or it may have been given to Pastor Boyce as a token of appreciation. Quilts or counterpanes such as this are still used, as they have been for more than 150 years, to raise funds for worthy causes.
The Clarksville Reformed Church was established in 1853, when a building was erected to serve the congregation. Sadly, this church was destroyed by fire on a cold February Sunday in 1912. The congregation rallied to rebuild and less then a year later, in January 1913, they were able to hold services in a new church. Clarksville in the 1920s, when this counterpane was made, was a small village in Albany County, New York. Reverend Boyce was the pastor for the Clarksville Reformed Church from 1919 to 1926 and also the Reformed Church in Westerlo, New York. In the 1950s Clarksville was still a small village and it became increasingly difficult to support the church. Another church in Clarksville, the Methodist Episcopal Church, also faced similar problems, and the solution was to merge the two. By the mid-1960s, a new church was dedicated whose sign incorporates the two bells from the older churches, symbolizing the origins of the new Clarksville Community Church.
The maker of this Amish quilt, probably from Pennsylvania, effectively utilizes sixteen 8½-inch crazy-patched and embroidered blocks set diagonally to create this dramatic example. The crazy-patched blocks are contrasted with blue and framed within a 4½-inch light rose border with lavender corner squares and a 10-inch darker rose border. Pieces in the crazy-patch blocks are outlined with polychrome silk embroidery in herringbone, feather, buttonhole, thorn, cross, and double-cross stitches. The fabrics are wool and wool-and-cotton. The initials “AK” are embroidered on a corner of the lining. The controlled use of the crazy-patch aesthetic in this quilt gives it an ordered, focused appearance.
Eliza Bennis appliqued her initials “EB” and date “1795” in the center of the outer border of this counterpane. Although in fragile condition, this appliqued and embroidered textile is noteworthy. The center panel (21+” high x 28+” wide) is an early Irish printed fabric known as “Irish Volunteers” or “Volunteer Furniture.” The copper-plate design, probably drawn by Gabriel Beranger, is a representation of a Provincial Review in Phoenix Park (June 1782) near Dublin. It was printed by Thomas Harpur at Leixlip, Ireland. This particular fabric may have held significance for Eliza as her husband, in 1779, was instrumental in the formation of a Limerick corps of Irish Volunteers.
Elizabeth (Eliza) was born in Limerick, Ireland, in 1725, daughter of Isaac and Alice Patten. Eliza married Mitchell Bennis (1720-1788) in 1745. They had four children that reached adulthood. Eliza is significant in the history of Methodism and corresponded with John Wesley, among others. Journal of Elizabeth Bennis 1749-1779, begun in her 20s, is an accounting of her spiritual progress after she joined the Methodist Society. In her later years she emigrated from Limerick to Philadelphia and possibly brought the “Irish Volunteers” fabric or counterpane with her. She died in 1802. In 1809 her son, Thomas, published a book of her correspondence.
Some partisans were content to wear a ribbon. Quilter Abigail Ann Lane and her husband, William Bagley Lane, acquired enough Whig and William Henry Harrison ribbons to sleep in. The quilt is composed of three different ribbon designs. The most prevalent ribbon commemorates Harrison’s inauguration as president in March 1841 and his death about a month later, a date printed near the bottom of the ribbon that was not part of the original engraving. The quilt is made of 432 ribbons stitched together and backed with plain white linen. According to family tradition, the Lanes acquired—or were left with—an overstock of ribbons for Mrs. Lane to assemble the quilt.
This quilted counterpane has a cotton top and linen lining. The top is pieced using various sized segments of the same block-printed fabric. The floral fabric is in red, pink, brown, tan, and black with penciled blue and yellow (blue over yellow) for green. The top and lining are stitched with linen thread; cotton thread was used for the Chevron pattern quilting. The fabric is earlier than the quilt and probably was used previously, an example of recycling precious fabrics in the early 19th century.
Adele Paturel created this fascinating example of crazy patchwork before her marriage to Emile Soher in 1895. The unlined pillow sham has a dark red plush border with an embroidered fan in one corner. Delightful embroidered motifs (many three-dimensional) include a hand with a bead ring; a hot air balloon and basket; an embroidered mailbox (“USM”) surrounded by birds with letters in their beaks; a harp with strings; a bird and nest with eggs; “Flor Cuba Havana” on a box of cigars; a spider on a web inscribed with “climbing up”; a pocket watch and many other designs. Several patches have animal motifs such as a cat inscribed with “who says mice,” a deer, a retriever dog and ducks, a squirrel, a bear (California State Flag motif), and an eagle. Elaborate stitches anchor the various patches.
Adele Paturel crafted this pillow sham dated “1893” to accompany a larger crazy-patch parlor throw also in the Collection (TE.T16996). Her two daughters donated the parlor throw in 1973, and twenty years later this smaller (33” x 33”) companion piece that had been in a frame.
Adele Paturel was born in Santiago, Chile, in 1865. She was brought to San Francisco, California as an infant and lived there until her death in 1954. She married Emile Soher (1863-1910) in 1895. The whimsical motifs and multiple examples of fancy stitching are very typical of the crazy-patch fashion of the late 19th century.
Five different striped, plaid, and plain blue, rust, and khaki colored wool and wool-cotton fabrics are utilized to construct the 9½-inch blocks for this utilitarian quilt. Four-patch blocks provide a contrast on each corner. One edge has an added cotton strip, apparently a later addition. The quilt is lined with a woven plaid blanket. The initial “E” is embroidered in one corner of the lining. Quilted 5-6 stitches per inch in a 1½-inch diagonal grid pattern.
This pieced wool quilt with a wool blanket lining is an example of a 19th century bed covering specifically made for warmth.
Members and friends of a Methodist Church, possibly in Elyria or Wooster, Ohio, each contributed twenty-five cents to have a name inscribed on this red and white, fund-raising quilt. It was later presented to the minister, Charles Hendrickson Stocking (1842-1926). Charles Stocking served in the Civil War and was ordained a minister in 1869. For more than 50 years he served at various churches in the Midwest and was recognized as a successful fund raiser, having a talent for easing debts and constructing churches.
Fifty-four wheels-with-spokes or flowers-with-petals were each appliqued on 9 1/4-inch blocks. The names, all inscribed in ink by the same hand, appear on the centers and spokes or petals of the motifs and a few on the sashing between blocks. More than 1000 names appear on the quilt. All of the motifs are outlined in quilting. The blocks are framed by a 4-inch border. A matching pillow with one motif and inscriptions was included in the donation. This quilt is a fitting tribute to a minister who was known for his skills at fund raising.
The floral bouquet focal point of this mid-19th century appliqued quilt was probably from a panel printed especially for use as a cushion cover or quilt center. The circular 24½-inch center is surrounded by appliqued sprays of flowers and framed by three 6” cotton borders; two roller-printed borders and one white. There may have been a fourth quilted border, part of which remains stitched to the present outer printed border, but later it was folded to the back and stitched for a binding.
The donor gave this quilt to the Museum in honor of her aunt who “rescued” the quilt. “I think it would be a shame to have it hidden away from those who appreciate our heritage and admire beautiful needlework. It would no doubt have been destroyed . . . .”
This late 18th-century medallion style quilt has many examples of block-printed and plate-printed fabrics. The focal center of the quilt, a 12-inch block constructed of four triangles, is surrounded by four pieced borders made of 3-inch and 6-inch triangles. The fabrics in each row are arranged in a mirror image from the ends of the row to the center creating a kaleidoscope effect. The red, copperplate print used in the pieced section of the quilt is the fabric: “Apotheosis of Franklin and Washington” printed in England about 1785. The border fabric is cotton, plate-printed in red, and is similar to English plate prints of 1770-1795. It is quilted 6 stitches per inch in a diagonal grid pattern on the outer border with linear quilting accentuating the pieced triangles of the center.
The many fabrics of this well planned quilt make it a valuable part of the Collection.
According to family information, Sara Ann Mellon crafted this quilt before her marriage to Robert Dickey in 1864. Nine 16-inch blocks are appliqued with stylized star flowers, oak leaves, and sprigs of berries. The berry stems are accentuated with chain stitch embroidery. It was said that the meandering vine in the border was stitched with a hand-turned sewing machine, all the other stitching is by hand.
Sara Ann Mellon was born February 18, 1841 in Cameron, Marshall County, Virginia (now West Virginia). She married Robert Dickey (1836-1909), a veteran of the 6th West Virginia Infantry. He enlisted in 1861. Severely wounded in the summer of 1864, he was discharged in the fall. He and Sara married December 22, 1864, in Greene County, Pennsylvania. They had three children: George W., Clara, and John H. Sara died in 1927.
Plain-weave roller-printed cottons, mainly geometrics, plaids, and stripes were effectively assembled to construct this quilt. Pieced blocks, 8 1/2-inch square, are crossed diagonally by a band of pieced small triangles to create an overall interesting geometric effect.
An unknown quilter assembled this quilt using a striking combination of deep blue, red, and various plaids of wool, wool-cotton, and cotton fabrics. Five-and-a-half inch square blocks are pieced in a modified “Nine-patch” design. Each has a red center, blue rectangles, and plaid corner squares. They are set alternately with blue squares. These are framed by plaid triangles along the edges. It is quilted 8 stitches per inch. The binding, a ½ inch straight strip of the same blue fabric as the large squares, completes the quilt.
Thirty-five blocks, 8-inches square, are pieced in the “Lemoyne Star” pattern. They are set diagonally with twenty-four 8-inch squares of the same floral printed cotton. All four sides are finished with large triangles of printed cottons. On one end is an 8½-inch border of the same floral print as the squares. Quilting patterns include outline on the pieced squares; parallel lines and 1½-inch diagonal grid on the un-pieced squares; and, clamshell on the border. It is quilted 8 stitches per inch. The quilt is an interesting combination of mid-19th century roller printed cottons.
Friends of Mary Elizabeth Hitchcock Seamans created this quilt of fifty-six 9½-inch blocks, possibly on the occasion of her marriage to Stephen Harris Seamans in 1864, or possibly before they left for Wisconsin. All but 8 of the blocks contain either embroidered or inked names of friends and family.
The blocks are made of printed and white cottons in the “Friendship Chain,” or “Album,” pattern. The border has machine-stitched initials “MES,” a back-stitched date “May 4th,” and the hand quilted year “1864.” One block has a tiny pair of embroidered mittens which according to the family represented a suitor Mary had rejected; she had “given him the mitten,” a phrase popular in the 19th century.
This Album Quilt is one of three quilts donated from the same family.