A Vermont quilter, Elizabeth Johnson, fashioned this oak themed quilt in the mid-19th century. The 11½-inch blocks are appliqued with flowers and buds and set diagonally with 11½-inch white blocks that are crossed by appliqued bands of rose, green, and pale green. These are framed by a 5½-inch border appliqued with oak leaves. At some point the quilt may have been altered, one side removed and then reset on the cut-down quilt.
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.
The quilt is composed of blocks pieced in the “Ohio Star” (“Variable Star" or "Eight-pointed Star") pattern set diagonally with 12 ½-inch squares of red printed cotton. The fabrics are plain-woven cottons, mostly roller-printed florals, geometrics and stripes. The lining is cotton and the quilt is cotton filled. It is quilted 5-6 stitches per inch. A bias strip binding of plain red cotton seamed to the front, whipped to the lining completes the quilt. This quilt is an example of nineteenth century quilting employing a variation of the popular star design.
Mary Sterrett Gist created this quilt using “Feathered Star” blocks. Thirty-six 12 ½-inch squares pieced of printed cottons are set with plain white squares. A 2-inch appliqued saw tooth border completes the design. The pieced blocks are quilted in parallel diagonal lines, the small white squares in a diagonal grid, and the large white squares with a leafy branch motif. Finely quilted at 10 stitches per inch.
Mary Sterrett Gist was born on September 1, 1808, daughter of Independent Gist and Rachel Gist. Her life was spent near Westminster, Carroll County, Maryland. She died on January 22, 1890. “A venerable and highly esteemed member of the distinguished Gist Family . . . . a lady of fine literary ability and [who] had lived all her life in the house where she died.” ( Daily News , Frederick, Maryland, January 24, 1890.) According to the family she was a descendant of General Mordecai Gist of Maryland who fought in the Revolutionary War and died in 1792.
This is one of two matching appliqued pillowcases and a bedcover that were made in China in the 1920s. Rev. Alexander Cunningham, a Presbyterian minister in China at the time, sent them to the United States on the birth of his nephew, James Cunningham, in 1926. Both pillowcases are white with a single blue square at each end. On either side of each blue square is a figure of a boy with a ball, a bird, a cat, and a dog; all are made of overlapping blue circles.
Alexander Cunningham was born March 13, 1861, in Murrayville, Illinois. He graduated from Illinois State Normal University in 1887 and McCormick Theological Seminary in 1890. In that same year he married Mary E. Neely, and they left for China to become missionaries. Assigned to the Presbyterian North China Mission, they were active missionaries in China from 1890 to 1933, and after retirement continued to live in China until 1940. After fifty years as missionaries, they returned to California on the eve of World War II. Alexander Cunningham died in Los Angeles, California, on September 20, 1943. This appliquéd pillowcase with the matching bedcover may be the product of a mission where Rev. Alexander Cunningham served.
The pattern used in this coverlet is known as “Washington Beauty,” and can be found in Heirlooms from Old Looms , p.151, published in 1955. The coverlet has "Pine Tree" borders on three sides, and a self fringe at the lower edge. The overall design features “Snowballs.” The coverlet is made of cotton and wool, and was probably woven in the first half of the 19th century. The name of the weaver is unknown. The complex design found in this coverlet is made entirely with squares and rectangles. Coverlet weavers kept “drafts” of the various designs they used, and sometimes sold them to each other.
This circular quilted potholder bears the inked inscription: “by an old woman aged 86 for Miss Sheldon from Ruth Croswell.” One side is pieced in a LeMoyne Star pattern the other side has an inked Biblical inscription: “The Lord will not cast off forever But though he cause grief, yet will he have compassion according to the multitude of his mercies. For he doth not afflict willingly nor grieve the children of men but the Lord chastens us that we may be partakers of this holiness wherefore lift up the hands that hang down and turn again unto the Lord who will have mercy upon us. . .” It is bound with woven striped cotton tape and has a small brass ring hanger. No further information was provided with this donation of a charming use of quilting for a simple household item.
Eight-inch square blocks pieced in a “Four-patch” variation are arranged to form diagonal chains. A variety of roller printed cottons (geometrics and florals) and woven stripes, checks, and plaids are represented on the pieced blocks. The pieced blocks alternate with 8-inch squares of the same roller-printed cotton. The quilt is cotton filled, and lined with a plain-woven cotton. It is bound with ½-inch (finished) straight strips of 2 different roller-printed cottons folded over the edge, seamed to the front, and sewn to the lining with a running stitch. The two corner cutouts with 4-inch diagonal slashes to accommodate bedposts, are typical of many nineteenth century quilts.
Adele Paturel probably made this example of crazy patchwork not only to show her skills in needlework but also to serve as an album of special occasions. Among the many patches with motifs of the era (flowers, animals, spiderwebs, etc.) are several printed silk ribbons commemorating California events and organizations, some dated 1887 and 1888.
Adele Paturel was born in Santiago, Chile, in 1865. She was brought to California as an infant and lived there until her death in 1954. She married Emile Soher (1863-1910) in 1895. He was a member of the Native Sons of the Golden West, and several ribbons included on Adele’s parlor throw are from that organization.
This cotton and wool double-woven coverlet was woven in two pieces that were sewn together. The overall pattern used in this coverlet is sometimes called “Snowball,” and a tree-like pattern can be seen in the borders. There is a self-fringe along the bottom edge. This coverlet is believed to have been made in the early 19th century. The weaver and owner remain unknown. In the early 19th century, women were still spinning wool for their coverlets, but machine-spun cotton replaced hand-spun linen relatively quickly.
This blue and white, double-cloth coverlet has no fringe. The centerfield pattern consists of large stylized floral medallions alternating with smaller bird and flower motifs. Similar patterns have been named “Bird of Paradise” and are generally associated with the Finger Lakes region of New York. The four-sided border is composed of abstract geometric and leaf figures. The cornerblocks depict a “Double Rose” motif. This design is likely the logo or trademark of an unidentified coverlet weaver in that region. The donor, Dr. Charles D. Walcott was the Fourth Secretary of the Smithsonian. This coverlet had passed down through his family in Washington County, New York, and it is almost certainly from the area. There is a center seam joining the two panels of the coverlet together. The coverlet is in overall excellent condition and likely dates from the 1840s.
Below the crewel embroidered basket of flowers in the center panel of this quilt is the cross-stitched inscription: “Margret Nowlan 1822.” The quilt was found in a trunk by renters of a house in Maumee, Ohio. It was noted that Margret Nowlan was a housekeeper whom the owner of the house married after his wife died. After he died, she remarried again, but no names were provided. The significance of the 1822 date is unknown.
Five borders frame the central motif. The two plain borders are composed of several pieces of white cotton fabric that had been previously used. Roller-printed cottons were used for the other three borders. Linen thread was used for the zigzag quilting pattern on this example of a framed center quilt.
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.
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.
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.
“Pieced by Cynthia Hobby in her 90th year” is the inscription prominently quilted in the center block of this quilt, a variation of the “Meadow Lily” pattern. The quilt is composed of thirty 12-inch blocks, with a 4-inch border. One pieced block has the quilted name “Emily Seamans,” and another the name “Julia F. Seamans.” In the border are the quilted names: “S H Seamans,” M E Seamans,” “J A H Fay,” and the date “March 1869.”
Two of the plain blocks include a quilted outline of a small hand; one with “M” for Millie (1865-1956) and the other “J” for Julia (1867-1960). They were the great-granddaughters of Cynthia Hobby. “We can remember reaching over the edge of the quilting frame to have the outlines of our hands made.” (Family information.)
The quilting was done in 1869 by Mary Elizabeth Hitchcock Seamans (1839-1881) and her sister Julia Ann Fay. Mary married Cynthia Hobby’s grandson, Stephen Harris Seamans, Jr., in 1864.
Cynthia Husted Hobby was born September 22, 1770. She married Squire Hobby (1766-1811). Cynthia died April 5, 1863 a few years after she pieced this quilt at age 90.
This family textile document is one of three quilts donated by the same family.
This pieced quilt consists of 5-inch blocks in the “Dutch Tile” or “”Diamond in the Square” pattern, set diagonally in 7-inch wide strips. These strips are separated by 7-inch strips of cotton printed in a series of geometric stripes. The fabrics are mainly geometric roller-printed cottons. The lining consists of three lengths of plain-woven ivory cotton. It is quilted 8 stitches per inch. The binding is a ½-inch (finished) straight strip of the same printed cotton used for the long dividing strips; seamed to the front, whipped to the lining. The variety of fabrics utilized contributes to the overall design of this quilt.
This album quilt top, belonged to Adaline Wharton Street, the donor’s grandmother. The quilt top is composed of twenty-four 7¾-inch blocks pieced in the “Flying Geese” or “Goose in the Pond” pattern. Except for four blocks in the center made of green and white cottons, the rest of the top utilizes roller-printed cottons. This unfinished quilt top has a 4-inch border along one side.
Adaline was born in Pennsylvania in 1820. She married Jonathan Street (1843) and in 1855 they settled in Wenona, Illinois. The dates on this quilt top are 1859 and 1869. There are several signatures, most with the surname of “MCarty” or “McCarty”. It is not possible to determine whether these are blocks from Pennsylvania or Adaline’s new home in Illinois. Album quilts were popular items during the mid-19th century, often given to friends or family moving to new locations.
This is a red and white, geometric double-woven coverlet woven from two sets of cotton and red wool warp and wefts. The upper edge is hemmed with 2- ply s twist white cotton. The lower edge has a knotted self fringe, which has sustained some damaged. Three of the four sides of the coverlet have a deep border featuring a linear design. The borders measure 5.5 inches on three sides and 3.5 inches along the top edge. The coverlet is in good condition. The donor stated that this coverlet was woven by his great-grandmother in the first half of the nineteenth century in Hillsboro, Loudon County, Virginia. More research is needed to determine which of his great-grandmothers may have woven it as there was no specification as to whether this grandparent was from the paternal or maternal lines. Although family lore holds that this coverlet was woven by a grandmother, the nature of geometric double-cloth weaving in the early nineteenth century likely meant that this coverlet was woven by a male, professional weaver.
Geometric double-cloth patterns are based on what is known as block weaving which was developed in the sixteenth century in the German States of the Holy Roman Empire and spread quickly throughout Europe and into America. Traditionally used for damask linen weaving, American weavers would expand these patterns creating geometric double-cloth coverlets like the one seen here.
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.
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.