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.
Two block alphabets. Upper-case alphabet has 26 letters; lower-case alphabet has no "J." One script alphabet with no "J" or "U." Numbers 1 through 14. Border of a vine with triangular flowers or leaves. Silk embroidery thread on linsey-woolsey; blue linen warp, tan wool weft. STITCHES: cross, Algerian eye, hem. THREAD COUNT: warp 27, weft 26/in.
Inscription:
"Embroidry [sic] decks The canvas round And yields a pleasing view So virtue tends to deck the mind and form its blisful [sic] state Mary W Tyler aged 12 years
Background:
This may have been made by Mary Welles Tyler, born on April 2, 1792, to Nathan and Nancy Tyler, or by Mary Whitwell Tyler, born on June 23, 1798, to Royall II and Mary Tyler.
This bassinet quilt with a framed center design is made of high-quality plain blue and white cotton feed sack fabrics. Dorothy Overall of Caldwell, Kansas, a contestant in many sewing events in the 1950s and 1960s, pieced and appliquéd this quilt on a Pfaff sewing machine she had won in a contest. In 1959 she won the National Cotton Bag Sewing Contest that included a vacation trip to Hollywood as part of the prize.
According to Dorothy, cotton feed sack fabric was light enough for summer, almost as nice as percale and the colors didn’t fade. Cotton sacks for flour, animal feed and other commodities were produced in many colors and prints. Flour and feed companies found that their sales were often influenced by the popularity of their sacks which were used for clothes and household items.
"The Battle of the Sewing Machines" was composed and arranged by F. Hyde for the piano, and was published in 1874 by Wm. A. Pond & Co. of 547 Broadway, N.Y., N.Y. The lithograph by R. Teller of 120 Wooster St., N.Y., N.Y., illustrates a "battle" of sewing machines. The Remington "army" is marching towards the fleeing Singer, Howe, Succor, Weed, and Willcox & Gibbs sewing machines. The soldiers are riding the Remington treadle machines like horses and are carrying Remington rifles. The Remington No. 2 sewing machine had just come out to market in June 1874. The family treadle machine with a drop-leaf table and two drawers would have cost $75.00.
On the top left of the sheet music, a woman is pictured sewing on a Remington machine in the Remington office at Madison Square, New York. In the right box is featured the Remington Works of Ilion, N.Y. The music consists of 11 pages, with such subtitles as: "Howe the battle began"; "Advent of all the best machines"; "Song of the Sewing Machine Man: 'How Can I Leave Thee'"; "Triumph of the Remington Sewing Machine," and "Home Sweet Home."
This lithograph is a bird's-eye view of the Wheeler & Wilson Manufacturing Company, circa 1880. The company maufactured sewing machines in Watertown, N. Y., from 1851 to 1856. In 1856, they relocated to Bridgeport, Conn., where they continued operations until 1905. In the 1850s and 1860s, their sewing machines outsold all others, including Singer and Howe. Two separate factory buildings are illustrated. The caption under the building on the left notes: "Front 368 ft., Width 307 feet," and the dimensions for the building on the right are noted as "Front 526 ft., Width 219 feet." The lithographers were Worley and Bracher of 320 Chesnut Street in Philadelphia, Penn.
S.I. Photo Negative No.: 92-4215 for both B&W and color slide.
"SAMPLES OF SEWING / DONE ON THE / GROVER & BAKER SEWING MACHINE." stamped in gold letters on brown leather cover. Consists of 18 samples of machine-sewn fabric, each of which is tied with red ribbon to a page. Included among the samples are nine embroidery samples and two quilted examples.
This late 18th – early 19th century quilt is pieced in a framed-center pattern. The 13-inch outer border on three sides is a plate-printed cotton. The fanciful flowers, birds, and insects create a dynamic pattern. The fourth side has a large square in a blue floral print on either corner creating a contrast to the mainly brown and beige colors of the other fabrics. The geometric layout of the central portion directs attention to the octagonal center.
The border is a quilted pattern of a vine-with-flower motif. Additionally, the maker seems to have stitched freeform floral designs in each of the triangular pieces. Unfortunately nothing is known of the maker or owner, but the quilt has a wonderful array of fabrics, stunningly assembled.
Harriet Hockaday, who exhibited and won prizes for her quilts at various fairs, crafted this unique silk quilt. She combined the precise “Tumbling Blocks” pattern with elaborate embroidery to create the top quilt. A second quilt provides the backing. Each one is quilted in a different pattern, 16 stitches per inch. The quilting pattern in one corner of the second quilt incorporates a few Odd Fellows’ symbols. The quilt is finished with a twisted cord along the edges and large tassels at each corner.
Harriet Fry was born May 4, 1831, in Clay County, Missouri. Her mother and father, Susan and Solomon Fry, were prominent longtime settlers in Missouri. In 1850 Harriet married George D. Hockaday (1818-1899) in Clinton Co., Missouri.
They lived in Lathrop, Missouri, and had four children. After the death of her husband in 1899, Harriet moved to Tacoma, Washington, and lived with her son, Eugene. She died in 1902.
Man in fawn-colored fall-front trousers, short blue jacket decorated with faceted gilt beads, and tall dark hat. On his arm, lady wearing long dress with wide white collar and blue bonnet tied with long bonnet-strings; she carries parasol and reticule and wears necklace or chain of gilt beads. To right of couple, blue-domed building (temple?) with tall columns on hill above pond, with two deer and flowering bush; to left of couple large tree and under it, sheep and dog. In each upper corner, bluebird under grapevine; children's names enclosed in panel outlined by wave band. Grapes on vines in upper corners worked by coiling purple thread and tacking down each coil in two or three places. Border on all four sides, straight vine bearing roses and rose buds. Silk embroidery thread on linen ground. STITCHES: cross, crosslet, chain, four-sided, French knot. THREAD COUNT: warp 28, weft 28/in.
Inscriptions:
"FAMILY RECORD
Mr Levi Ingersoll was born Dec 26th 1775 Miss Sarah Hubbard was born Jan 2nd 1779 They were united in marriage Jan 31 1802
THEIR DESCENDANTS
Hannah Ingersoll was born Jan 30th 1803 Eliza Ingersoll was born Oct 30th 1804 Ann Ingersoll was born Nov 1st 1806 Henry H Ingersoll was born Feb 25th 1809 Charles Ingersoll was born Jan 23rd 1811 Jane Ingersoll was born July 1st 1815 Mary Ingersoll was born Sept 27th 1819 [last 2 numbers replaced or filled in later] Sarah Ingersoll was born Feb 10th 1821 [last number replaced or filled in later]
By Miss Mary Ingersoll in the 9th year of her age New York 1830" [number 9 replaced or filled in later]
Background:
Mary was born on September 27, 1819, to Levi and Sarah Hubbard Ingersoll in Pound Ridge, New York. She died unmarried on April 18, 1889.
The focus of this chintz appliquéd quilt, an extravagant flowering tree, is surrounded by bouquets of flowers and two borders; a 4 ½-inch inner border of roller-printed floral fabric and a 7 ¾-inch outer border roller-printed with small flowering trees, birds, and butterflies. The central motif is assembled with pieces cut out from a block-printed cotton fabric and rearranged to form the large tree. It is lined, cotton-filled, and quilted with the motifs outlined and the background stitched in clamshell and chevron patterns. It was found in Massachusetts.
Souvenir needle case commemorating the World's Columbian Exposition held in Chicago, Illinois in 1893. The wooden case is in the shape of an egg and contains a cylindrical center used to store needles. Egg features a depiction of the Fair's Manufacturers and Liberal Arts Building.
The 1893 World's Columbian Exposition was an assertive statement about American culture and identity. Celebrating the 400th anniversary of Christopher Columbus' arrival in the New World. The fair was created by American business, political and artistic leaders to exhibit American progress and to proclaim America's arrival as an economic and cultural force on the world scene. The Columbian Exposition's centerpiece was the remarkable Ferris Wheel, invented and designed to challenge the 1889 Paris Exposition's Eiffel Tower as the world's most modern wonder. The Fair was an enormous success, having 27 million visitors during its May through October run.
In addition to exhibits relating to agriculture, science and industry, the Fair hosted a variety of cultural displays, including an exhibit of American art and performances from artists such as the Chicago Symphony Orchestra and John Philip Sousa. The exotic Midway attractions featured performers such as ragtime pianist Scott Joplin and the dancer Little Egypt.
The African American community was essentially excluded except as performers and for the allowance of a single day for coloreds only. Black leaders disagreed on the proper response to this slight, some encouraging participation, while others demanding a change in policy, continuing America's ongoing national discussion about racial representation and exclusion.
Eight pointed pieced work star from a quilt. Pieced of fabric from tobacco pouches; twill weave cotton, printed in blue-green trade mark that includes a picture of a building. A few pieces have something printed in red instead of building.
A small quilt, probably for use in a cradle or crib, is pieced in a framed center pattern. The center, 24-inches by 20-inches, is pieced with block-printed fabrics. The border, 2 ½-inches at the side and 4 ½-inches top and bottom, is a well-worn block-printed cotton. It is bound, cotton filled and lined. An overall diagonal grid pattern was used for the quilting. Unfortunately neither maker nor owner is known.