Samuel Graham (1805-1871) of Henry and Delaware Counties, Indiana wove this blue and white, Figured and Fancy, double-cloth coverlet featuring the profile of presidential candidate and Major General Zachary Taylor in 1847. The centerfield is made of up double profile bust portaits of Taylor which form squares which are filled with double fylfot or swastika designs. The fylfot is a common folk motif that can be traced back millennia. The three borders all depict a tree design. Beyond the tree border is a very thin border of the words, "Rough and Ready" repeated over and over. “Rough and Ready” was Taylor’s nickname earned during his many battles against Native American groups and in the Mexican-American War and was later used as a campaign slogan during the election campaign of 1847-1848. The cornerblocks feature a spread-wing eagle on a branch. This is Graham’s preferred trademark design. = The date 1847 appears in two corners. The coverlet was constructed from two panels and measures 83 inches by 76 inches. The coverlet originally belonged to U.S. Representative, Hamilton Fish’s (NY) secretary, George Hill who inherited the coverlet from his mother.
This framed-center quilt was among several quilts, quilt blocks, and other household textile items that were donated in 1932. It is the work of Rachel Burr Corwin. At the time of the donation it was considered by the curator “. . . a valued addition to the Museum’s collection of old cotton prints.”
A variation of the “Nine-patch” pattern is used for the central panel. This is framed by borders pieced in the “Flying Geese,” “Lemoyne Star,” “Chained Square,” and “Nine-patch” patterns. The fabrics are mainly roller-printed fabrics with a few block-printed cottons. The quilting employs various geometric patterns, 5 stitches per inch.
Rachel Burr, daughter of Samuel Burr and Sibyl Scudder Burr of Massachusetts, was born March 3, 1788. She married Samuel Corwin of Orange County, New York, October 14, 1809. They had four children. Needlework examples by one of their daughters, Celia, are also in the Collection. Rachel Burr Corwin died March 14, 1849, in Orange County, New York.
“It [quilt] was made 125 years ago in Charleston, S.C., by my great-grandmother, Susan Ladson McPherson. It is in perfect condition as it has evidently never been used, only hoarded as an heirloom. I have no daughter to leave it to and it is too large and elaborate for everyday use.” So wrote the donor in 1943.
The original quilt had the center floral wreath encircled by rose vines with a few appliqued flowers around the edge. At a later point appliques were removed (evidenced by many needle-holes) and others added to the center (scrolled frames and vases of flowers) as well as roller-printed cotton borders.
William Craig, Sr. (1800-1880) wove this rust, white and blue, double-cloth coverlet. The centerfield design is composed of floral and foliate carpet medallions. There are borders along three sides. The two side borders feature vertically-oriented flowering urns. The lower border features pairs of confronted birds, possibly doves, perched on flowers. Between those pairs of birds is an Asian, Chinoiserie or Ottoman-style domed building underneath what appears to be a Mediterranean castle. The corner blocks are curiously mosques topped with onion domes and crescent moons. William Craig is know to have used this cornerblock trademark. The date 1850 appears in the two lower corners. There is fringe along the lower border. This coverlet belonged to the grandmother of the donor, Jane Russell of Clinton County, Indiana.
The Craig Family weavers consist of Scottish-born, William Craig, Sr. (1800-1880), Scottish-born cousin, James Craig (1819-1896), William Craig, Jr. (1824-1880), and James Craig (1823-1889) make up the two generations of weavers who intermarried with other Scottish immigrant weaving families, dominating the coverlet market in Floyd, Decatur, and Washington counties in Indiana. It is almost certain that their regional influence extended into Western Kentucky as well. The Craigs were prodigious weavers and entrepreneurs and the number of extant coverlets attest to this fact.
This is classical Italian Cantù bobbin lace from about 1900. It is of fine quality made particularly to sell abroad. Originally apparently four placemats and two long runners, it does not have a sewing edge where the pieces are attached. It has two-dimensional animal and flower motifs made in finer thread than the rest of the lace. Animal figures are made first, starting at the outer points and working to the center. This provides neater points as well as the additional threads needed for the larger areas. It also aids in more appropriately and neatly attaching the trails.
This example of the “Feathered Star” pattern was among several quilts, quilt blocks, and other household textile items that were donated in 1932. It is the work of Rachel Burr Corwin. At the time of the donation the quilt was considered by the curator “. . . a valued addition to the Museum’s collection of old cotton prints . . . one is amazed at the work required to piece together patches of ½-inch dimensions.”
Fifteen-and-a-half-inch “Feathered Star” pieced blocks are set diagonally with sashing pieced in the “Garden Maze” pattern. These are framed by a six-inch pieced border. An 1829 date was given on a note pinned to the quilt, but the roller-printed cottons are more typical of those used a few years later. Small quilted floral motifs and outline quilting, 7 stitches per inch, complete the quilt.
Rachel Burr, daughter of Samuel Burr and Sibyl Scudder Burr of Massachusetts, was born March 3, 1788. She married Samuel Corwin of Orange County, New York, October 14, 1809. They had four children. Needlework examples by one of their daughters, Celia, are also in the Collection. Rachel Burr Corwin died March 14, 1849, in Orange County, New York.
Jacob Impson wove this Figured and Fancy, blue and white double-cloth coverlet for Louis Burnham in 1834. The coverlet was woven from two sets of cotton and wool warp and weft and has no fringe. The centerfield pattern features “Double Lily” medallions offset by starbursts. The borders along three sides appear to depict grape vines or possibly even a hops plant, used in brewing beer. The words "Cortland Village" are woven along border, as is the word “Fancy.” The names Lois Burnham and Jacob Impson and the date 1834 are woven into the lower corner blocks.
Jacob Impson (1802-1869) wove coverlets from at least 1832-1845 in Ludlowville and Cortland Village, Cortland County, New York. Impson advertised in the 1824 Ithaca Journal that he was operating a weaving workshop out of the home of John Goodrich. At some point before 1834, Impson relocated to the county seat, Cortland Village where he wove this coverlet for Lois Burnham (1792-1849). More research is needed to learn more about Lois’ life, but we do know from the NY Mortality Census that she was born in Connecticut, married, and fifty-four years old when she died of dysentery in Cortland County.
Annis Curtis pieced her version of a “Reel” pattern during the second quarter of the 19th century. Sixteen 12-inch pieced blocks and 4 half-blocks in blue and white are set diagonally and alternate with 12-inch squares of the same printed dark blue fabric. The cotton fabric was printed in pale blue and yellow on a dark blue ground. The white in the pattern is achieved through discharge printing, a process that bleaches the color from the fabric. It is quilted, 6 stitches per inch, with diagonal lines in the border, and arced lines following the “Reel” pattern on the blocks. The blue and white theme is continued with the borders on three sides.
Annis Lawrence, daughter of Joab and Jemima Cross Lawrence, was born January 28, 1787, in Simsbury, Conn. Her grandfather, Col. Bigelow Lawrence (1741-1818) was a captain and major in the Revolutionary War and also served in the New York militia in the War of 1812. About 1795 he and his eight sons, one of which was Joab, were the first settlers of Marcellus, Onondaga County, N.Y. Her aunt, Asenath Lawrence (1773-?) was the first female teacher in Marcellus in the late 1790s. Annis married Israel Curtis (1781-1845), also originally from Simsbury, Conn. Annis died August 19, 1858. They apparently had no children, but lived in the area of Marcellus and are both buried in the Old Marcellus Village Cemetery.
Martha Mehetable Loud pieced the top of this parlor throw in a hexagon or mosaic pattern. Her grandmother, Lucena Beardley Kile, lined and finished it after Martha's death at age fifteen. Black silk hexagons set off rosettes composed of pieced 1¼-inch hexagons of plain, striped, moiré, plaid, printed, ribbed, brocaded, and pattern-woven silks. Three sides are edged with a narrow black ribbon and a pleated 1 inch red-violet wool braid. The lining is constructed of nine pieces of dark green and white striped silk. The parlor throw is not quilted but tied every two inches with pink and dark green silk thread. From the middle of the nineteenth century, patchwork made of silks and velvets, such as this parlor throw, were a popular means to display needlework and artistic skills.
Martha Mehetable Loud was born January 24, 1849 and lived in Huntsburg, Geauga, Ohio, until her early death in 1864. Her grandmother, Lucena Beardley Kile, was born in Connecticut about 1800 and also lived in Huntsburg, Geauga, Ohio. She died in 1886. The quilt was donated to the Museum in 1969 by Mrs. Charles Bittinger who was the daughter of Martha Loud's sister.
The blocks for this quilt are pieced in the basic “Nine-patch” pattern and set diagonally with unpieced 5 ¼-inch squares of mainly the same roller-printed cotton. The lining and filling are cotton. The pieced blocks have outline quilting, while the quilting on the squares consists of parallel lines, 6-7 stitches per inch. The binding is a ¾-inch (finished) bias strip of printed cotton seamed to the lining, whip stitched to the front. The “Nine-patch” is one of the earliest pieced patterns which has retained its popularity. The blocks on this quilt display a variety of cotton fabrics typical of the period.
Diana DeGodis Washington Hines crafted this pieced quilt in the second half of the 19th century, probably while living in Kentucky. Triangular 11-inch blocks pieced in the “Sugar Loaf” or “Arrowhead” pattern alternate with 11-inch plain white triangles. These are framed by 1 ½-inch printed and plain borders. At a later date, possibly to save frayed edges, about an inch of each edge is folded to the front and loosely stitched.
The donor, Diana’s grandson, included a hand-written family history when the quilt was donated to the Collection in 1966. Diana DeGodis Washington Hines was born in February 1797 at Mt. Vernon, George Washington’s home. “She was reared by the Washington family, lived with them in the Mt. Vernon home, until she was pass the age of twenty five. At that time there was a breaking up in the family and she was sold as a Slave to a Mr. Jackson, of Jackson Hotel at Arlington.” Diana married twice. Her second husband was Edward Hines. He too had been a slave in Kentucky with the McClure family, freed at age 21. “But he remained with the McClure family . . . . [they] were prominent and wealthy, owning several thousands [of] acres of land and stock, of which Edward Hines was manager. Mr. and Mrs. Edward Hines left Kentucky in 1877 with their son John Hines for Greensburg, Ind., and remained there with him until their death.” In addition to their son, John, they had four daughters. Diana died October 30, 1891.
According to family information, Mary Rigby pieced this quilt top when she was six. There is a definite difference in the quality of stitching. Either Mary improved as she worked or she had help with the quilt top. She was about 8 or 9 when her mother died and possibly this activity was designed as a distraction for her. A child’s thimble (TE*T12873) used by Mary is also in the Collection.
Eight-inch blocks, pieced in a “Pinwheel” pattern are set diagonally with plain white triangles. The piecing is done by overcasting, not by a running stitch.
Mary Augusta Rigby was born September 10, 1847 in New York. Her parents were John Hankey Rigby (1819-1853) born in England and Catherine Bentley (1825-1856) born in New York. Mary married Thomas Wintringham (1846-1900) on December 18, 1877. They had two children and lived in San Rafael, California. Mary was active in community causes such as saving the original pear trees from the San Rafael Arcangel Mission. She died in California on September 9, 1945.
This coverlet is from what is known as the “Big Lion” or “Hollow Lion” group. The weaver has not yet been identified. There have been at least eighteen of these coverlets identified and collectors and scholars have attributed these coverlets to Auburn State Prison or to weaver, Harry Tyler, who also sometimes used a lion in his cornerblocks. There is; however, no evidence to corroborate these prior attributions. The centerfield design features stylized floral carpet medallions. There are borders on three sides. The side borders depict flowering trees, and the bottom border also features a different design of tall, leafed trees. The cornerblocks are unsigned and undated and contain a vertically oriented lion. This lion is depicted in outline form rather than solid as depicted in Tyler’s coverlets. This coverlet measures 84 inches by 78 inches and was constructed from two panels sewn together with a center seam. The unidentified weaver would have been from the Finger Lakes region of New York state and the coverlet was likely woven between the years 1835 and 1845.
Henry Keener wove this coverlet in 1843 in the town of Womelsdorf, Pennsylvania. It is Jacquard single-woven, and made of cotton and wool yarns. The center of the coverlet features a large medallion design rimmed by tulip-like flowers, and framed by large leaves and small tulip-like forms. Scroll-like forms fill the space between the large motifs. The border consists of two parts. The inner band consists of leaves and rosettes, and the outer one combines tulip flowers with scalloped swags and dots. The lower corners contain the words “HENRY KEENER/WOMELSDORF/1843” and the initial “M” and the name “HAINE.” Henry Keener was born January 5, 1812 and married Anna Maria Wilhem on December 22, 1833. He died September 10, 1895.
The center is composed of 10 1/2-inch strips of seven-inch blocks pieced in the “Nine-patch” pattern, alternating with 7-1/2-inch plain strips of printed cotton. Side and bottom borders (22-inches) are made a roller-printed furnishing print. The quilt has a cotton ivory lining, a cotton filling, and is quilted 8-9 stitches per inch. It is bound with a straight strip of roller-printed floral cotton seamed to front, sewn to lining with running stitch. The cutout corners, designed to accommodate bed posts, are typical of many mid-nineteenth century quilts.
Andrew Kump’s workshop produced this Jacquard, blue & white, tied-Beiderwand coverlet. It features fringe on 3 sides. The border is composed of floral chains, which appear to be roses. The centerfield pattern is made up of “Double Lily” and “Double Lily” medallions and there are woven cornerblocks that read, "Andrew Kump, Damask Coverlet Manufacturer, Hanover, York County Pa. 1848." The coverlet measures 96x88 inches and has a center seam indicating it was woven on a handloom with a Jacquard attachment. The refinement of the design of this coverlet when compared with our other Kump coverlet (T8955), which was woven in 1836 reflect the rapid advancement of the patterning technology and the shifting tastes in style.
Kump worked in Hanover, York County, Pennsylvania, but advertised in Northern Maryland as well as Pennsylvania. Kump employed another weaver named Valentine Cook (1820-1869). The only evidence that Kump was a coverlet weaver comes from the 1835-1836 York County tax lists. The 1850 Federal Census listed Kump as a retail store owner with Cook living in the household. In the 1860 Federal Census, Cook is absent and Kump is listed as a confectioner. More evidence is needed to prove without a doubt that Kump owned the license for the weaving equipment that Cook was using, but the absence of signed Cook coverlets seems to suggest that Kump was having his own branded coverlets woven on-site at his store. In 1855, when Cook moved to Adams County, Pennsylvania, William Gernand, a Maryland coverlet weaver, advertised that he had recently purchased Kump’s equipment and inventory. It is therefore likely, that at least after 1850, Cook was weaving coverlets sold by Kump at his store.
A “First Premium” blue ribbon is attached to Amelia Johnson’s silk parlor throw. It was awarded in 1878 at the St. Louis Agricultural and Mechanical Association Fair in Missouri. Fairs were particularly popular events in the nineteenth century. They provided amusements, celebrated achievements, and promoted new ideas. After the Civil War, much money was spent to expand the St. Louis fairgrounds and add buildings. By the late 1870s, its annual agricultural, industrial, and metropolitan displays were worthy of international attention. This parlor throw won a prize at one of the decorative arts exhibitions.
Approximately 500 three-inch “Log Cabin” blocks made of silk were stitched on a muslin foundation to complete the top of this parlor throw. Plain-weave and ribbed solid-colored silks were used to create a mosaic of color. The lining is constructed of red silk fabric quilted 10 stitches per inch to a piece of white cotton fabric. Pink silk thread is used for the quilted trapezoid pattern on the lining. The “Log Cabin” top and quilted lining are joined together and edged with a heavy twisted cord composed of white, pink, green, and black silk cords. This parlor throw is a prize-winning example of the fancy needlework that was so fashionable in the Victorian period. The donor, J. A. Goodall, provided little information about his Aunt Amelia when the parlor throw was added to the Collection in 1940.
This fine example of a framed center quilt belonged to the Alston family and came from the Fairfield-on-the-Waccamaw plantation near Georgetown County, South Carolina.
The center is composed of three block-printed squares. These were specifically designed and produced in the first half of the 19th century to be used as quilt centers or for cushion covers. The center of the quilt is framed by five borders cut from printed floral stripe cottons, each with a tiny geometric band. A sixth border is appliquéd with flowers and birds cut from various glazed chintzes.
The uncomplicated quilting and simple tulip motifs rendered in red and green make this a striking example of mid-19th century quilting. The quilt is from donor Mary Newman's family, long-time residents of Somerset, Kentucky.
The pieced tulips are appliquéd on 16 ½-inch blocks, which are set diagonally. They alternate with plain white blocks of the same dimensions. The tulips are quilted with close parallel lines, filling the shape and following the outlines. The background is 3/8-inch straight grid quilting.
The “Tulip” quilt came to the Museum in 1936. At the time Edith B. Newman wrote, “I have a very beautiful [quilt] . . . early handmade and very artistic . . . which I inherited from my husband’s family. . . . I am growing old and have no immediate heirs who might appreciate it. . . . [It should] bear the name of my deceased husband’s sister [Mary] as its donor.”
Hannah Chandler (1761-1836) wove this "American Beauty" pattern, overshot coverlet using a light and medium blue 2-ply, S-twist, Z-spun indigo-dyed cotton and linen warp, a Z-spun cotton single weft, and a 2-ply, S-twist, Z-spun gold wool supplementary pattern weft. The coverlet was woven as one length, cut in half, folded back on itself, and seamed up the middle, creating the full coverlet width. Although undated in the weave and lacking an embroidered date on the hemline, this coverlet was most likely woven c. 1790-1825 near Wilmington, Vermont. This coverlet is said to be made by Hannah Chandler. The donor is the great-granddaughter of Hannah, wife of Medad Smith. Hannah Chandler was born October 28, 1761 and died April 26, 1836. Medad Smith was born February 22, 1755, and married Hannah October 23, 1781. The coverlet was originally dated at 1780, but this is too early for plied cotton yarns to be found in the warp. Technology improved toward the end of the 18th century allowing for stronger cotton yarns that could withstand the tension of the loom. This coverlet is interesting because of the blue-dyed cotton and linen threads. When contrasted with the gold wool, this coverlet would have really stood out in a room.