This quilt, pieced in the “Brick Wall” pattern, is composed of 2¼” x 3” rectangles. The rectangles were pieced in strips and artfully joined so that light and dark colors form diagonal stripes creating a dramatic overall effect. A roller-printed cotton depicting a pastoral scene, was used for the lining. This particular fabric, probably English, includes a man fishing, a woman carrying a hayrake, and an amorous couple in front of a cottage.
Twenty-one different roller printed cottons were used to craft this quilt, a variation of the “Nine-patch” pattern. Seven inch blocks are set diagonally with a 3 ½-inch roller-printed sashing. The side and bottom borders are 25 inches wide. The cotton border fabric is a pillar print with baskets, a popular motif of the period. Two corners are cut out. The lining consists of four lengths of plain-woven white cotton. The filling is cotton. It is quilted 7 stitches per inch. The binding is a 1 inch (finished) straight strip of border fabric seamed to the front, sewn to the lining with running stitches. The assortment of period fabrics contributes to the design of this quilt.
Adaline Lusby made this example of a chintz applique quilt in 1837-1838. The quilt design is composed of floral motifs cut from two different chintz fabrics. The center lattice-work basket features a parrot on the front and another perched on one of the branches in the basket. Flowering cactus and sprays of anemones frame the basket, surrounded by a flowering vine of roses and anemones, and, an outer row of sprays of roses. Strips of plain red cotton cut in points and valleys creates a vibrant border. Quilted floral motifs fill the white spaces.
Adaline Wineberger was born c. 1808 in Washington D.C. In 1837, about the time the quilt was made, Adaline married James Lusby (1803-1866). They had three children; James, Sarah, and Fanny. Adaline died in Washington D.C. on October 18, 1895.
According to a note with the quilt when it was donated by her granddaughter, Adelaide Rado, it was rescued from a packing trunk that had floated in a flooded cellar for several days after a tornado in 1915. “The quilt was hung in the garden to dry but unfortunately left stains which have discolored the under part, rather than the top.” Better the lining than the top! Adaline’s carefully planned-out quilt is a nice example of cut-out chintz quilt design.
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.
When this quilt was donated in 1917 it was accompanied by a note: “Quilt pieced by Louise Ward 1854 and quilted by Louise Harrison 1858.” Little further information was given, but they may have been relatives of the donor who was from Iowa.
Red, green, and orange cottons were effectively used to make this mid-19th century quilt. The appliquéd “Love Apple” pattern is framed by a 7-inch border appliquéd with toothed swags and tassels. Outline quilting was used for the flowers, accented by concentric arcs and diagonal lines on the background and quilted at 9 stitches per inch. It is bound with a straight strip of cotton.
The Report on the Progress and Condition of the United States National Museum for the Year Ending June 30, 1917 recorded the quilt as a gift from Dr. Carrie Harrison. “Illustrating household industry in the textile arts . . . a cotton appliqué quilt, pieced and quilted by a relative before 1859 . . . . At different times, she also donated several other items of interest to the textile collection.
Dr. Carrie Harrison, a native of Iowa, was the first curator at the National Herbarium. In that role she traveled internationally in the late 19th and early 20th centuries. According to A Biographical Dictionary of Contemporary Women of the United States and Canada 1914-1915 “[Carrie] At 16 taught a country school; at 17-18 managed a farm; later became interested in botany and with a book, dog and horse as companions made several prize collections of Iowa plants. At the time of the Boxer uprising in China [she] was the means of getting a cablegram through to the American Legation in Peking, which probably saved all the foreign embassies in China. This was called by Andrew D. White the finest piece of diplomacy in 1900.”
A woman of many accomplishments, she was known as a suffragette and botanist who coined the 4-H motto “To Make the Best Better.” The “Love Apple” Quilt is an apt donation by a botanist to enrich a textile collection.
This crazy-patch piano cover or runner was constructed of two rows of 12 ½-inch blocks pieced of silks, satins, velvet, and ribbon. The patches were embellished with embroidered, painted, and beadwork motifs. Among the decorations are painted flowers, a painted frog, printed and painted "Kate Greenaway" figures, and silk ribbon flowers. The blocks are constructed on muslin squares and held in place by embroidered fancy stitches. The lining is a loose-weave cotton, roller-printed with a floral and scroll design. The embroidered initials “E.S.” probably refer to Eva Gibbs Shaw, who made the piano cover.
Eva Gibbs was born in Iowa in 1859. She married William Shaw in 1885. They had two daughters and lived in Washington, D.C.
This blue and white, overshot coverlet is woven in a simple patch pattern variation. The customer’s initials, "M S" and the date “1787” are woven into the fabric at one corner. The weaver of this coverlet is unknown; however, there are several others known. There are two others in the NMAH collection. It is thought that the weaver worked in the Albany, New York area. The earliest coverlet that is dated in the weave was woven by this weaver. It is dated 1771 and is currently in the collection of the National Museum of the American Coverlet in Bedford, Pennsylvania. The coverlet was constructed from two panels and measures 89 inches by 64 inches.
A stamped inscription of leaves and a bird frame the names: “Eby Byers & Catherine Byers” and the place, “Chambersburg.” Below Chambersburg is noted "1837," in a penned ink inscription ---possibly a later addition? Did Catherine make this quilt?
Catherine Byers, born in 1805, was the daughter of Frederick Byers and Anna Eby of Pennsylvania. Catherine married James Crawford (1799-1872) in 1826. They raised their children and lived on the family homestead in Franklin County, Pennsylvania. Catherine died in 1892. Both came from families who were early settlers of Pennsylvania, some of whom had fought in the Revolutionary War.
Thirty-six pieced blocks, each with a center square of dark blue printed cotton and three appliquéd leaves at each corner create a unique pattern. The central focus is the 9 ¾-inch-block with the inked drawing and inscription. The quilt is framed by a 6-inch border and is quilted at 10 stitches per inch. As no information was included with the quilt, it is difficult to know who made the quilt and the significance of the date.
Jacob Saylor wove this Jacquard, double-cloth coverlet in North Liberty Township, Knox County, Ohio in 1853. It is possible to know this because of the woven inscription found in the coverlet’s two lower cornerblocks. The corner block says, “Maide by/ Jacob.Sayl/or North Lib/erty Knox/ County Ohio 1853.” The side borders feature a “Double Rose and Carnation” pattern and lower border features stylized fruit tree and folk motifs. The centerfield is made up of lobed medallions in a carpet medallion arrangement. Inside the medallions can be found a variation of the “Double Rose” pattern accented with what appears to be stalks of wheat. Tied-Beiderwand is a complex weave structure where dedicated warp yarns tie together sections of the textile that would otherwise be double-cloth. The red, gold, and blue horizontal banding is suggestive or Saylor’s Pennsylvania origins and the wool yarn used is 2-ply, S-twist, Z-spun. The cotton yarns used are all 3-ply, S-twist, Z-spun. The coverlet has a center seam and measures eighty-eighty by seventy-eight inches.
There are several Jacob Saylors (Saylers) in Ohio that appear on the 1850 and 1860 Federal Census. None of these Jacobs is recorded as being a weaver, which is very common, especially in the availability of affordable land in the Midwest. Weaving would have only be a portion of the family income. More research is needed to determine exactly which Jacob Saylor is the correct one. Clarita Anderson reports that he was active in Stark, Knox, and Pickaway counties. John Heisey used a history of Pickaway County to conclude that Saylor moved to Ohio from Somerset County, Pennsylvania during the War of 1812. So far, no definite match has been found. More research is needed to determine which Jacob Saylor wove this coverlet.
Lizzie Lisle appliquéd this red and white quilt in about 1870, probably in Cadiz, Iowa before her marriage. Sixteen 14¾ -inch blocks are appliquéd with red conventionalized flowers and four spade-shaped leaves. Each flower has cut-outs forming a cross, revealing the white ground beneath. The center is framed by a 2-inch red band. An 11-inch white border is embellished with a traditional appliqué pattern of swags, bows, and tassels.
This quilt was referred to in a 1949 Woman’s Day magazine as a “Lincoln Drape” quilt. In the period from 1865 to 1875, a popular swag pattern known as “Lincoln Drape” was used to commemorate the death of Abraham Lincoln and can be found on other decorative items such as glassware. The whole piece is quilted 11 to 12 stitches per inch, with diagonal grid and triple diagonal line patterns.
Elizabeth (Lizzie) Lisle, born in Ohio in 1836, was the daughter of John Lisle (1803-1890s) and Elizabeth Johnston (1811-1889). Members of the extended Lisle family were early settlers in Jefferson and Harrison Counties in Ohio, but many also moved westward and settled in Iowa. It was in Jasper County, Iowa, on February 11, 1886, that Lizzie married Eden Randall. Eden was born in Delaware County, Ohio, about 1840 and served in the Civil War (Co. G, 3rd Iowa Volunteer Infantry).
Mustered in June 8, 1861, Eden was taken prisoner on April 6, 1862, in Shiloh, Tennessee. In January 1863 he was part of a prisoner exchange and rejoined his company, only to be severely wounded in the face and mouth on June 12, 1863, at Vicksburg, Tennessee. He recovered in a hospital in Keokuk, Iowa. Elizabeth and Eden had no children. Lizzie is buried in Fairview Township, Jasper County, Iowa. Her grandniece generously donated two of Lizzie Lisle's quilts to the Smithsonian in 1949.
Copper-plate and block-printed fabrics from the late-18th and early-19th centuries make this pieced quilt a valuable contribution to the Collection. Originally purchased at a thrift shop for $2.00, this rare find was generously donated to the Museum in 1956.
In the 21-inch pieced center section are ten fragments of a plate-printed cotton fabric thought to commemorate the Treaty of Pillnitz, 1792. It was the first formal alliance in opposition to the French Revolution. Participants whose portraits appear on the fabric segments are the King of Prussia (Frederick William II), The Empress of Russia (Catherine II), the King of Britain (George III), and the Emperor of Germany (Leopold II).
The center block is immediately surrounded by 15 ½-inch-square pieced blocks and rectangular blocks either of linen embellished with wool embroidery or plain and block-printed cotton and linen/cotton fabrics. This is framed by a complex piecing of printed, embroidered, and plain fabrics. The crewel-embroidered floral sprigs and exotic birds on linen may have been fragments from recycled bed furnishings or a petticoat. Linen thread was used for the chevron and diagonal grid quilting patterns, quilted at 7-8 stitches per inch. The various fabrics produced by different printing techniques make this quilt a remarkable example of the period.
Josie Mast (1861-1936) wove this “American Beauty,” overshot coverlet in Valle Crucis, Watauga County, North Carolina. The overshot structure is made of an indigo-dyed wool supplementary pattern weft which floats at controlled intervals across a plain weave ground cloth of unbleached cotton warp and weft. The coverlet also features a with a cotton warp fringe with leno or gauze weave detailing. Josie was the wife of Finley Mast, proprietor of Mast General Store. A well-known weaver of the North Carolina highlands, Josie was one of four teachers who taught weaving at the newly established industrial school in Valle Crucis, NC. Using weaving techniques and patterns typical of the late-eighteenth and early nineteenth centuries, Josie carded, spun, and wove rugs, coverlets, and many household items on a family loom over 100 years old when she used it. In an effort to raise awareness of the plight of Appalachian children and the need for education, Wilson's first wife, Ellen, ordered rugs and coverlets from Josie Mast to furnish what became known as the Blue Mountain Room. This coverlet was purchased by the museum from the showroom of the Southern Education Association, headquartered in Washington, D.C. From 1913-1926, the association hosted a craft exchange with the proceeds from sales going back to Appalachia to fund future work by the various artists. This coverlet is part of a very important accession linked to the SEA, Appalachian settlement schools, and craft revival in the Southern Appalachians.
Mary Ann Bishop of Wilkesville, Vinton County, Ohio, made this quilt in the mid-nineteenth century. She utilized plain-woven roller-printed cotton dress fabrics and woven striped, checked, and plaid cottons. Two of the blocks of the “Double Nine-patch” quilt were enlarged by adding strips of printed cotton along two edges. A combination of diagonal-line and feathered “S” curve patterns were used for the quilting. Two gradually curved S-shaped wooden templates, also donated to the Collection, were used for marking the quilting pattern.
Mary Ann Gotschall was born July 7, 1819. She married Hiram H. Bishop (1818-1897) on January 31, 1842 in Harrison County, Ohio. He received his medical training at Starling Medical College in Columbus, Ohio, in the late 1840s. Lyne Starling (1784-1848) was the founder of the hospital and medical school, a new concept at that time of providing medical education and patient care in one facility. During the Civil War, from June 1864 to March 1865, Hiram was contracted as an Acting Assistant Surgeon at the Totten General Hospital, Louisville, Kentucky. In March of 1865, when he left, the hospital had over 6,500 patients and fewer than 100 surgeons.
Mary and Hiram reared four children; John (b. 1843), Naomi (b. 1845), Mary (b. 1848), and Luie (b. 1860). Mary Ann died March 9, 1915, and is buried in the Wilkesville Cemetery. Mary Ann Bishop’s quilt in the “Double Nine-patch” pattern is one of three quilts in the Collection that were donated by her granddaughter, Maude M. Fierce, in 1936 and 1937.
On the front of this “Irish Chain”-patterned quilt is found an inscription in ink: “Commenced in 1825 & Finished in 1830 by Mifs Jane Valentine Scipio Cayuga Co. N.Y. No. of Pieced Blocks 168 Small Blocks 4,2,42." Another inscription in a different hand and ink on a back corner states: “My Mothers 5040 Blocks 1832 In Case of My death to be given to My Sister Hattie Blodgett.”
The quilt is made of 3-inch plain and pieced blocks. The blocks are comprised of about 130 different roller-printed cottons with small print motifs. An examination of the quilt reveals that there are 348 white blocks and 348 pieced blocks; the segments of the pieced blocks are 5/8-inch square, and there are 10,092 of them. Diagonal grid quilting follows the “chain.” The plain white blocks are quilted, 6 stitches per inch, with a floral motif. The “Irish Chain” pattern was in use in the early 1800s and may have been adapted from weaving patterns.
Margaret Jane Valentine was the daughter of Peter Valentine (1784-1865) and Elizabeth Hilliker. Jane married Benjamin Brown Jr. on November 16, 1831. Harriet Brown was born in 1848 and married Charles Blodgett. It was Mrs. Harriet E. Blodgett who in 1915 donated this quilt and a coverlet. At the time she wrote that the quilt was “. . . pieced by my mother. Commenced in 1825 when she was about fourteen finished 1830. . . I feel a great desire to put them [both quilt and coverlet] where they will be preserved.”
Emily Holbert put not only her name, date, and location on this quilt, but also two maxims that held significance for her. Boldly and precisely appliquéd in the border: “INDUSTRY, AND PROPER IMPROVEMENT OF TIME 1847 VANITY OF VANITIES, ALL IS VANITY. EMILY HOLBERT’S QUILT; WORKED JANUARY, A.D. 1847. CHESTER, ORANGE COUNTY, NEW YORK.” “Vanity of vanities, all is vanity” is from Ecclesiastes I:2. “Industry, and proper improvement of time are the duties of the young” was an expression that could be found in mid-nineteenth-century school books. Similar religious and moralistic sayings are found on samplers, embroidered pictures, and other needlework items, that were made by young women in the eighteenth and early-nineteenth centuries.
This quilt consists of twenty 14-inch blocks, each appliquéd with a medallion surrounded by three-lobed leaves, iris, and tulip motifs. The blocks are set with a 2-inch printed green sashing. The 9¾-inch-wide border contains the appliquéd inscriptions on all four sides of the quilt, sandwiched between a band of appliquéd leaf, tulip, and cherry motifs and a pieced sawtooth edge. Roller-printed fabrics are used for the appliqué work; the lining is white cotton with a cotton filling. All the appliquéd motifs, letters, and numbers are outline-quilted, and the leaves have quilted veins. Open spaces are filled with quilted motifs of scrolls, botehs, oak leaves, and hearts; 8 stitches per inch.
Emily Holbert, born October 15, 1820, was the daughter of James Holbert (1788-1871) and Susan Drake Holbert (1791-1851 or 1854). Emily was born and lived in Chester, Orange County, New York. On October 30, 1851 she married Theodore Finch, son of John and Catherine Anne Woodward Finch. Theodore was born about 1827 and died in January 1852 at the age of 24, a few months after his marriage to Emily.
There is no record that Emily remarried, and she died in 1858, only six years after Theodore. In 1988, the quilt she so proudly put her name to was donated to the Smithsonian by Mr. and Mrs. John Beard Ecker. Emily Holbert was Mrs. Theodora Ecker’s great-aunt. At the same time another quilt from the same family, Susan Holbert’s “Little Sister’s" quilt, was also presented to the Museum.
Achsah Goodwin Wilkins designed this appliquéd counterpane, which is similar to several that have been attributed to her skills. Written in ink in one corner of the lining is: “A. G. Wilkins 1820 / M. D. Davis 1890.” She gave many quilts and counterpanes to her daughters. These were later inherited by descendents. “M. D. Davis” is most likely Mary Dorsey Davis (1845-1939), daughter of Hester Ann Wilkins Davis, and granddaughter of Achsah Goodwin Wilkins.
A bouquet of appliquéd water lilies and roses, cut from different chintz fabrics, is the focus of this counterpane. It is surrounded by two undulating wreaths. Eight floral sprays, cut from another chintz fabric, are between the two wreaths. The ground for the appliqué resembles quilting, but is a fancy weaving of a white cotton double cloth called Marseilles. A wide 7¾-inch roller-printed floral strip borders three sides of the counterpane. It is the only area that is lined.
Achsah Goodwin, daughter of a wealthy merchant, William Goodwin of Lyde, was born in Baltimore, Maryland, in 1775. Achsah became a member of the Methodist Church at eighteen, although it caused difficulties with her Episcopal family. On August 5, 1794, she married William Wilkins Jr. (1767-1832), also a Methodist. In addition to rearing a family, she was active in mission work and the establishment of a Methodist church in Baltimore. Achsah died in 1854.
In William Rush Dunton’s Old Quilts, 1947, one of her granddaughters, Mary Dorsey Davis, provided notes from her mother, Hester Anne (Mrs. Allen Bowie Davis), detailing Achsah’s life. “My mother [Achsah] was a very superior woman, possessing strong sense, sound judgment, great dignity, remarkably self-possessed . . . . She suffered from cutaneous disease . . . most frequently [she] beguiled her weary hours of sickness by designing and laying out fancy spreads in which she displayed beautiful taste . . . . I, as well as many of her descendants, have choice specimens of her handiwork which we prize highly.” Achsah’s access to fine imported fabrics, attention to needlework details, and her design innovations are evident in this quilt, as well as others that are attributed to her. Her quilts are treasured additions to several quilt collections.
Eliza Jane Todd’s silk quilt top is pieced in the “Honeycomb” or “Mosaic” pattern, also referred to as “Grandmother’s Flower Garden.” One inch hexagons are seamed by overcasting into 6 ½-inch “flowers” each having a dark center hexagon. Many have outer rings of red silk hexagons. The “flowers” are separated by black hexagons. A 3 ½-inch border of red silk ribbon is outlined with bands of black silk. Included at the time of donation was a paper hexagon pattern cut from a letter dated Sept. 14, 1835, that had fallen off the quilt.
Eliza Jane Todd was born in Indiana in 1820, the daughter of Robert William Todd (1795?-1885) and Catherine McCully (1800-1860), granddaughter of Owen Todd (1762-1817) and Maria Jane Paxton (1771-1834). The family was related to Mary Todd Lincoln, and Thomas Paxton, who fought at Valley Forge. Eliza never married. She died in 1895 and is buried in the Evergreen Cemetery in Jacksonville, Florida.
Eliza Jane lived with her parents in Madison, Indiana, for most of her life. Later (about 1880) she stayed with her sister, Anna Maria Todd Smith, in Chattanooga, Tennessee and Florida. In the 1850s, The Western Horticultural Review (Volume III, 1853) noted “. . . that a female competitor has successfully entered the lists in the department of Pomology, and feel bound to allude in flattering terms to the fruits presented by Miss E.J. Todd, of Madison (Indiana)” Eliza Jane (E.J. Todd) was the recipient of several awards for her fruits (pears, grapes, quinces), preserves and floral arrangements.
Until the donation, the quilt had been in the donor’s family. After Eliza Jane’s death, the quilt was with Anna Maria Todd Smith who was the donor’s grandmother. In 1936, the donor, Anna Perkins Stewart, donated her great aunt's quilt to the Museum.
This white counterpane was made for Mary T. Barnes’s dower chest in 1850. She married Gen. John Bratton Erwin in 1866. The 20-inch center of this counterpane is composed of 7-inch squares filled alternately with wineglass and diagonal grid quilting. The center is surrounded by an 8 ½-inch band quilted in a pattern of large triangles filled with shell quilting. This band in turn is framed by a band of 7-inch squares quilted in the same pattern as those of the center. Next comes another 8 ½-inch band quilted in a running vine pattern with shell quilting in the background. Finally, a border of 7-inch squares, again filled with wineglass and diagonal grid quilting, completes this counterpane. An inked inscription, “Mary T. Barnes 1850” is near one corner. Mary’s two daughters donated the precisely quilted counterpane in 1932.
Mary T. Barnes, the only child of Dixon Barnes (1816-1862) and Charlotte Brown Barnes, was born 16 October 1840 in Lancaster County, S. C. Her mother died when she was six. Her father, Col. Dixon Barnes, commanded the 12th South Carolina Infantry during the Civil War and died as a result of wounds during the Antietam Campaign when Mary was about 22.
After her marriage in 1866, she and John Bratton Erwin (1834-1916) settled on her plantation in Lancaster County, S. C. John, trained as a lawyer, fought in the Civil War, and after his marriage managed Mary’s large estates. They had six children, of whom three lived into adulthood. In 1876 John Erwin was elected to the U. S. House of Representatives and in 1886 to the Senate. Mary died in 1893 and John in 1916. Both are buried in the Camp Creek Methodist Church Cemetery, Lancaster County, S. C..
Lizzie Lisle utilized a unique floral design for this quilt. The center panel consists of four 28½-inch square blocks each appliquéd with large red, green and yellow flowers, leaves, and berries. The large red flowers have reverse-appliquéd details made of printed yellow cotton. Many of the leaves have cut-out details revealing the white ground beneath them. Green cotton gathered over a solid foundation and attached to the quilt gives a three-dimensional effect to the berries. The center is framed by a red saw-tooth band. The 12½-inch border is appliquéd on three sides with an undulating leaf-and-floral vine. A second saw-tooth band follows the outer edge of the quilt. Fine quilting, 12 to 13 stitches per inch, in a variety of patterns, covers both the background and the appliquéd motifs.
Elizabeth (Lizzie) Lisle, born in Ohio in 1836, was the daughter of John Lisle (1803-1890s) and Elizabeth Johnston (1811-1889). Members of the extended Lisle family were early settlers in Jefferson and Harrison Counties in Ohio, but many also moved westward and settled in Iowa. In Jasper County, Iowa, on February 11, 1886, Elizabeth married Eden Randall. Eden was born in Delaware County, Ohio, about 1840 and served in the Civil War (Co. G, 3rd Iowa Volunteer Infantry).
Mustered in June 8, 1861, Eden was taken prisoner on April 6, 1862, in Shiloh, Tennessee. In January 1863 he was part of a prisoner exchange and rejoined his company, only to be severely wounded in the face and mouth on June 12, 1863, at Vicksburg, Tennessee. He recovered in a hospital in Keokuk, Iowa. Elizabeth and Eden had no children. Elizabeth is buried in Fairview Township, Jasper County, Iowa. Her grandniece generously donated two of her quilts to the Smithsonian in 1949.
This coverlet with floral sprig and dotted centerfield, grapevine borders, and 8-pointed starburst cornerblocks features a woven inscription, "Andrew and Mary Corsa 1836.” It is double-woven with two sets of cotton and indigo wool warps wefts. The coverlet was woven in 1836 most likely in Suffolk, Nassau, or Westchester Counties, New York. Susan Rabbit Goody wrote the book on Long Island, NY coverlets and the same grapevine border with names inscribed in the vine, and starburst cornerblocks are all common features of a yet-to-be-identified weaver.
Andrew Corsa (1762-1852), the customer, lived in Fordham Manor in the Bronx. His grandfather established a family farm on what is today the Rose Hill campus of Fordham University. Andrew's father, Isaac (1733-1822) held a commission in the British military. During the Revolution, Isaac remained loyal to the British, fleeing to Nova Scotia where he would spend the rest of his life. Andrew, however, was a patriot. He was the youngest and longest lived of the "Westchester Guides" who served as navigators, scouts, and spies for Gens. Washington and Rochambeau during the 1780-82 campaign of the American and French armies. The family farm was lost due to lawsuits and debt settlement. Andrew bought land adjacent to the family farm and started over, eventually developing his own pear cultivar, the "Corsian Vergaloo." Mary Poole was Andrew's second wife. They were married in the Fordham Dutch Reform Church in 1792. Corsa Ave. in the Bronx is named in Andrew's honor for his service during the Revolutionary War. The weaver of this coverlet is still unidentified. Goody listed a table of known grapevine border coverlets in her book. Further genealogical research on the inscription names on those coverlets shows that most of the names that are possible to accurately identify are associated with either Suffolk or Nassau Counties on Long Island, particularly the town of Southold, NY. Goody also pointed out that there is an as of yet unidentified connection between the communities of Westchester and Bronx Counties and the counties of Long Island.