Mary Rhopa la Cierra made this quilt on the occasion of President Barack Obama’s Inauguration in 2009. She was inspired by the television coverage of the crowds of people in attendance. Mary embroidered the very small emblem of the US Capitol at top center with radiating lines and many pieces of patterned fabrics to represent the massive crowds in attendance and the distances many had come. The title, “OUR PATCHWORK HERITAGE IS A STRENGTH” appliqued at the top of the quilt was taken from the President's inauguration speech.
The quilt is machine strip pieced, appliqued, embroidered and stamped or stenciled. “OUR PATCHWORK HERITAGE IS A STRENGTH” is hand appliqued (blanket stitch) and outline machine quilted across the top. The word “HOPE” is stenciled with gold paint on the majority of the blocks and border squares and then machine outline stitched. One hundred 7-inch blocks make up the center of the quilt; each with a red center, creating an appearance of diagonal sashing. She used fabrics recycled from clothing found at yard sales and thrift stores, especially the shop that supports a local women’s shelter. The muted colors of the blocks evoke the winter coats worn by the massive crowds in the very cold weather that day. These blocks are framed by forty-four 7-inch yellow and tan blocks as a border.
Mary Rhopa la Cierra, born in Iowa, is a retired theatrical costume designer living in Florida. On her retirement, among many other activities she began quilting. At her 80th birthday party she gave away most of her quilts to friends. One friend, the donor, was particularly interested in having this quilt, “Patchwork Heritage,” which she had admired for its beauty and its message. She enjoyed it in her home for a time, and then donated it to the Collection, with the approval of the maker, Mary Rhopa la Cierra.
This panel is embellished with bobbin lace and silk embroidery. The woven center is decorated with embroidery, drawn thread work and needle weaving. It is bordered with gold and silver (?) bobbin lace insertions and edging. The lace is worked with threads made of strips of metal foil wrapped around an un-spun silk core in an S-twist, indicating 17th century. The salmon colored satin stitch silk embroidery alternates with the same geometric motif in gold foil wrapped silk thread. There is a tassel in one corner and the remnant of a tassel in the opposite corner.
The embroidered inscription “Frances M Jolly 1839” graces the center medallion of this quilt top. This signed and dated silk-and-wool-embroidered quilt top came from an African American family, and the maker, Frances M. Jolly, was said to be an ancestor of one of the donor’s grandparents. The family, of whom little else is known, is said to have lived in Massachusetts and moved to Pinehurst, North Carolina.
A 37½-inch black square set diagonally in the center with red corner triangles is the focal point of this quilt top. It is surrounded by three borders: a 9-inch black, a 10-inch orange, and an 11-inch black. Appliquéd flowers, leaves, and vines embellished with braid and embroidery decorate the surface.
The edges of the appliquéd motifs are not turned under, but are held in place by buttonhole stitching in matching or near-matching thread colors. Silk or cotton threads are used for securing the appliqué motifs, stitching, and the embroidery, except for the inscription, which is chain-stitched in red wool. The quilt has both hand and machine stitching. The outer two borders are machine-stitched, indicating that they were joined after 1860 when sewing machines became common in households. Wool fabrics are used for both the pieced sections and the appliquéd motifs. Wool and silk braid and silk ribbon contribute to the overall design.
This bedcovering and two matching pillowcases 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. Twenty 7¾-inch square blocks of white and blue cottons are framed by a white border. The white squares have appliquéd figures depicting various childhood activities such as fishing, juggling, leaping, and ball play. The animated appliquéd figures are made of overlapping blue circles, and all wear hats.
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 bedcovering with matching pillowcases may be the product of a mission where Rev. Alexander Cunningham served.
Esther Wheat's quilt is an example of a glazed wool fabric, not only used for bedding but also petticoats in the eighteenth century. The shiny surface of the quilt top was achieved by calendering, a process of applying heat and pressure with metal plates or rollers to a worsted fabric. In Esther's quilt the high sheen of the fabric enhanced the elaborate quilting of the large feathered heart and two pineapples surrounded by a scrolling vine with flowers. According to the donor, Esther Wheat Lee's great-great-granddaughter, the original plain weave yellow wool lining wore thin and was replaced by Esther's daughter, Olive Lee Doolittle. A thin layer of cotton fiber filling was added before the second lining of red twill weave cotton and wool was quilted to the original lining, but not through the quilt top.
Esther Wheat made this quilted indigo-blue wool bed cover for her dower chest in the 1790s. Esther, a twin, was born in 1774 in Conway, Massachusetts. She married Benjamin Lee in 1799 and died at Canastota, New York in 1847. Esther's quilt was passed down through five generations of women before being donated to the Smithsonian in 1973.
Martha Jane Taylor employed her needlework skills to create this chevron patterned parlor throw. According to the donors, her granddaughters, she died in 1882 after a long illness; possibly making this throw was a distraction for her as her health declined.
The 4-inch vertical bands made of strips of silk pieced in a chevron pattern are separated by 1 ½-inch silk ribbons. A 4-inch crazy-patched border with some embroidery frames the center. The lining consists of 30 square and rectangular fragments of a purple/black/white plaid silk fabric. The filling is cotton with an inner lining of cotton cloth. It is tied with purple and yellow silk.
Martha Jane Nicar was born in 1827 or 1828 in Lynchburg, Virginia. In 1845 she married Carlo Reed Taylor (1821-1897) in Mishawaka, Indiana. Carlo R. Taylor was born in Lewiston, N.Y., but traveled and worked in many parts of the country. During the Civil War, according to the family, he was employed by the Confederate Army, possibly manufacturing all the printer’s ink for the Confederacy during that time. He was involved in businesses in Michigan, Wisconsin, Indiana, among other places. They had five children. Martha died in South Bend, Indiana in 1882.
In the mid-nineteenth century, Mary Ann Bishop appliquéd this cotton “Wreath of Roses” quilt in the then popular red and green combination of fabrics. Nine 18-inch blocks appliquéd with wreaths of roses are separated by 5½-inch plain white sashing. Eight-pointed stars are appliquéd at the sashing intersections. The 8-inch quilt border is appliquéd with three-lobed leaves on an undulating vine. Plain-weave white and red cottons and a roller-printed cotton of brown dots on a green ground were used for the quilt. Diagonal grid and line quilting, 10 stitches to the inch, provides a contrast to the quilted feathered leaves on the sashing. 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 “Wreath of Roses” pattern is one of three quilts in the collection that were donated to the Smithsonian by her granddaughter, Maude M. Fierce, in 1936 and 1937.
Joseph Granger’s granddaughter donated both her grandmother’s (Caroline Granger’s) prize-winning child’s quilt and the quilt that her grandfather made. According to a family note with the quilt, “Pa quilted the other all himself by machine.”
Joseph Granger chose to machine-quilt in a triple diagonal grid pattern, similar to the background of his wife’s hand-quilted child’s quilt that won a medal at the New England Agricultural Fair in 1878. It is not known whether Joseph made the quilt as a personal challenge to equal his wife’s accomplishment, or if it was made to prove the point that what could be done by hand could also be done with a machine. After several decades of improvements, sewing machines, by the 1870s, had become popular consumer products to have in the home. Possibly the idea of mechanical sewing was intriguing to Joseph and he wished to try his proficiency with it.
Joseph H. Granger was born on October 21, 1842, in L’Acadie, Quebec, Canada. He married Marie Caroline Lamoureux (1850-1936) in N. Grosvenordale, Connecticut, on January 30, 1873. They had twelve children and lived in Worcester, Masssachusetts. Joseph died on June 16, 1934.
Claire L. Meyer, the Granger’s granddaughter wrote: “Many thanks for your letter of July 7, 1972, regarding a crib quilt made by my grandmother a hundred years ago. I am also enclosing for your consideration a quilt machine stitched by my grandfather! . . . I hope it will be worthy of the national collection.” The two quilts are worthy, and provide an interesting contrast between the precise handwork of Mrs. Caroline Granger and the equally precise machine stitching of Mr. Joseph Granger.
This complex pieced and embroidered medallion quilt came from the White family of the Westminster/Boston area. They were descendents of John White of Dorchester, England, who was instrumental in founding the Massachusetts Bay Colony.
The quilt has a crewel-embroidered linen center in a floral pattern, framed by two rows of pieced-work, and an embroidery-on-linen border. One row of pieced work is composed of 4-inch blocks, some of which are made up of many smaller scraps. The second row is of 8-inch blocks pieced with two large triangles. The center and pieced borders are lined and quilted. The outer border is embroidered with large and small birds, flowers, and insects. No two are alike. Possibly the quilt was the work of more than one person.
Charlotte Merritt Roe embroidered her name as well as the place (Virgil) and date (1806) on this pieced child’s quilt. Charlotte Merritt was born in 1774 in Rye, Westchester County, New York. She married John Elting Roe in 1796. In 1797 Charlotte and her husband settled in Virgil, New York. They stayed on to rear five children. This quilt, made for one of their children, was passed down through the family before being donated to the Museum in 1984.
An anecdote in Stories of Cortland County by Bertha E. Blodgett, Cortland, New York, published in 1932, relates the arrival of Charlotte and John Roe in Virgil.
“In the spring of 1797 John E. Roe . . . came up the river and prepared a log cabin in Virgil. He . . . peeled bark for a roof and agreed with a man to put it on . . . then went down the Tioughnioga to get his wife, bringing her in a sleigh from Oxford . . . .
When they came to the river at a place called Messengerville, they saw Mr. Chaplin’s house on the opposite bank. It was winter and the river was high, and the canoe that had been used in crossing was carried away. Mr. Chaplin’s hog trough was secured, and Mrs. Roe was safely carried over on it . . . whole day was consumed in negotiating the road over the hill to Virgil . . . when they arrived they were surprised to find their house without a covering and the snow deep on the floor . . . .
In after years, Mrs. Roe enjoyed telling the story of her experience . . . and she always ended by saying, ‘And what do you think! The horses were so hungry that they ate the seats out of my nice rush-bottomed chairs.”
Stenciled in the center of the lining of this quilt is “S. T. Holbert” which stands for Susan Theresa Holbert. Her older sister, Emily, made another quilt in the Smithsonian’s collection, the “Vanity of Vanities” quilt.” Might Emily have made this quilt for her younger sister as well? Or were they both accomplished quilt makers?
The center of the quilt is a sunburst or star 26½ inches in diameter, pieced of triangles and diamonds. Sixteen appliquéd feathered plumes emerge from the outer edge of the sunburst. Between the plumes are sixteen small 4-inch pieced sunbursts. A 3/8-inch band of red cotton print separates the field from the border. Along the inner edge of this band are birds with flowers and buds, and in each of the four inner corners is a pieced and appliquéd “Carolina Lily” block. The 7½-inch border contains an appliquéd undulating oak leaf vine.
The fabrics used are roller- and discharge-printed cottons. The quilt has a filling of cotton with a white cotton lining. All the pieced and appliquéd motifs have double-outline quilting and the open spaces are filled with motifs of flowers, running vines, leaves, sprigs, fleur-de-lis, botehs, and hearts; each quilted 8 stitches to the inch. This quilt’s dramatic design incorporates a popular mid-19th century motif: plumes or the “Princess Feather” pattern, in the then-fashionable red and green color combination.
Susan Theresa Holbert was born in Chester, Orange County, New York, on February 24, 1834. She was the daughter of James Holbert, a farmer, and Susan Drake Holbert. They had another daughter, Teresa, who died in 1816 at the age of three and Susan was probably named after her. Susan married William Alfred Lawrence in 1861, and they had a son, Theodore (1862-1947). Susan died in 1871. This quilt was donated to the Smithsonian by Mr. and Mrs. John Beard Ecker. Mrs Theodora Ecker is Susan’s granddaughter. At the same time another quilt from the same family, Emily Holbert’s “Vanity of Vanities” quilt, was also donated to the Smithsonian.
Fannie Gatewood Grimes pieced nine 21-inch examples of the “Harvest Sun” pattern (also known as “Prairie Star” or “Star of Bethlehem”) to fashion this wool quilt in the third quarter of the nineteenth century. In 1988 it was donated to the Smithsonian by her granddaughter, Mary Harding Renshaw.
The “Harvest Sun” blocks were pieced with wool fabrics and set with a 6-inch dark green wool sashing. Contributing to the overall design, the 3½-inch borders are made with the same red wool that was used as a background for the pieced blocks. The lining is black twill-woven cotton. The quilting patterns consist of outline and diagonal grid, quilted 7 stitches per inch.
Frances (Fannie) Price Gatewood was the daughter of Fielding Gatewood (1787-1833?) and Nancy Williams Gatewood (b. 1791). She was born March 22, 1822 in Logan County, Kentucky, one of four children. Fannie married James T. Grimes (about 1814–1869) on December 19, 1840. They lived in Logan County where James was a sheriff and a farmer. Of their eight children, two died in childhood. Family information described James as a tall, red-headed Irishman with a temper, and Fannie as liking nothing more than smoking a pipe filled with cherry leaves. On the 1880 census, Fannie is head-of-household, keeping house in Keysburg, Logan County, for her son and daughter, their spouses, a granddaughter and her mother, Nancy, age 89. Her son is listed as a leaf tobacco dealer and her son-in-law as a distiller. Fannie died on December 11, 1914, at age 92, and is buried in the Grimes Cemetery in Logan County.
In 1993, Fannie’s “Harvest Sun” wool quilt was reproduced under license to Cabin Creek, a West Virginian quilting cooperative and sold through the Land’s End Catalog. This was in response to an outcry by American quilters who were concerned about the sale of Chinese reproductions of American quilts from the Smithsonian Collection. The reproduction “Harvest Sun” quilt was made by American hand quilters with cotton fabrics that were purchased from American mills.
The quilt top is comprised of twenty-five 13-inch printed cotton squares that are samples from the textile firm, James, Kent, Santee & Co., of Philadelphia, Pennsylvania. All of the squares are plain-woven, roller-printed cotton. Thirteen squares are different red on pink or pink on red floral designs; twelve are brilliant polychrome prints, mainly paisleys. The squares are hand sewn, but the border is stitched on by machine.
James, Kent, Santee & Co., was a successful textile firm established by William C. Kent and two friends in 1840. A New York Times notice (February 22, 1860) listed the firm among other Philadelphia merchants, as “enemies to the institutions of the South.” They were listed under “THE BLACK LIST, OR ABOLITION HOUSES, OF PHILADELPHIA.” Despite this and a disastrous Philadelphia fire in February 1866 that destroyed their buildings, the firm prospered until it was reorganized under another name in 1882.
The donor’s father, Henry D. Welsh, joined the firm in 1852, became a partner in 1856 and continued in the firm until 1881. William C. Kent and Henry D. Welsh and others, in addition to the textile business, successfully invested their time and energies in the development of railroads. Among many other civic activities, Henry D. Welsh was one of the incorporators of the Centennial Exposition in 1876. Both men, self-made, died successful businessmen. The quilt top represents the product of the textile firm that was instrumental in their careers.
The blue and white, Jacquard double-cloth coverlet features a carpet medallion centerfield design composed of floral medallions and scalloped foliate-filled diamonds. The border is a meandering/running floral design and unique to the maker, John LaTourette. There is a self-fringe at the lower edge of the coverlet. A stylized flower trademark is woven into each of the lower corners, and below it, the date 1844. This flower trademark is associated with the LaTourette family of Fountain County, Indiana, and the 1844 date suggests that John (Jean) S. LaTourette was the weaver.
The LaTourette family immigrated to Staten Island, New York in 1685, just after Louis XIV’s revocation of the Edict of Nantes, when French Protestants, known as Huguenots, were forced to either convert to Catholicism or leave the Kingdom of France. As a result, there was a mass exodus of craftspeople to Protestant Europe and the British American colonies. John (Jean) S. LaTourette (1793-1849) was born in New Jersey to a weaver and Revolutionary War veteran also named John G. Latourette (1749-1813). After serving in the War of 1812, John married his wife, Sarah Schenck (1799-1873) in 1816.
The couple immediate headed west, first settling in Germantown, Ohio were the first half of fourteen children were born. In 1828, John LaTourette purchased eighty-acres in what would become Wabash Township, Fountain City, Indiana. The LaTourettes were among the first European settlers in the area. The family initially lived in a log cabin and spent most of their energy clearing the land, farming, and weaving a variety of goods for their neighbors.
After 1840, the weaving began to shift to exclusively coverlets and the log cabin became the loomhouse as the family built a larger brick home on their farm. This is also the time that two of his children, Sarah (1822-1914) and Henry (1832-1892) began to weave with their father. There are several extant accounts that there were at least three looms on the property. In an interview, John’s youngest son, Schuyler LaTourette described the looms the family used to weave the coverlets, indicating that they used punch-cards associated with the Jacquard loom introduced to the United States during the 1820s. John S. LaTourette died in 1849, leaving the booming weaving business in the able hands of his daughter Sarah and son Henry who continued to weave coverlets until 1871.
This coverlet is in excellent overall condition and is a wonderful example of one of Indiana’s famous coverlet-weaving dynasties. We can attribute this coverlet to John because of the 1844 date during his lifetime and the omission of the word “year” from the cornerblock. His children would continue to use the same cornerblock as their father but added the word “year” to differentiate their work from that of their father.
The “Carolina Lily” pattern, popular in the mid-19th century, was chosen for this example of an album quilt. Roller-printed red and blue-green cotton fabrics make up the pieced and appliquéd pattern. The “Carolina Lily” blocks, quilted in diagonal lines, alternate with plain white blocks each quilted with a different floral design. There is a 1-7/8-inch sawtooth band inside the 7-inch plain white border. The border is quilted with a scrolling feathered vine. The quilting is finely done at 12 stitches/inch.
Twenty-one of the “Carolina Lily” blocks have a signature along the stem. Six of the surnames are Crumbaker and six are Stoutsenberger, all born in Lovettsville, Virginia. These families are buried in the New Jerusalem Church Cemetery, the Saint James Reformed Cemetery, or the Lovettsville Union Cemetery. It is not known why or for whom the quilt was made, but the many signatures indicate the place where it was most likely made and used.
This whole-cloth quilt was made from an Indian palampore, about 1780, that according to the donor was given to Thomas Sully (1783-1872) by a woman whose portrait he had painted. An inscription written in ink on the palampore before it was lined and quilted states:
“. . . Thomas Sully This Quilt was purchased 1736 of a Smuggler of East India goods in the Isle of White [sic], England (Belonging to my late friend Mifs Bradford. Elizabeth Smith Charleston.”
While the date in the inscription appears to be 1736, the design of the palampore is more typical of the latter half of the 18th century.
Thomas Sully painted Elizabeth McEuen Smith’s portrait in 1823 (now in the collection of the Honolulu Academy of Arts). He painted another of her sisters, Emily and Mary McEuen (Los Angeles County Museum of Art). Elizabeth was born in 1795 in Philadelphia, Pa. She married Charles Willis Smith in 1817. Elizabeth died in Georgetown, D.C., in 1839.
A small stamp, possibly an agent’s stamp in Tamil appears in the same area as the inscription. The palampore quilt top was both mordant-painted (a chemical process to fix a dye), dyed, and hand-painted, in Madras, India. It was probably quilted and lined in the mid-19th century.
Pieced and appliqued quilt. Border contains twenty-six 8” square blocks. Each block has a 5 ½” white square appliqued with a motif and letter of the alphabet and framed by a 1 ½” blue strip. A (apple), B (bluebird), C (cat), D (doll), E (elephant), F (flower), G (goose), H (house), I (ice cream cone), J (Jack-in-the-box), K (king), L (lamp), M (music notes), N (numbers “3” & “7”), O (orange), P (pail), Q (queen), R (rabbit), S (sailboat), T (tree), U (umbrella), V (violet), W (windmill), X (xylophone), Y (yacht), Z (zebra). The center consists of six 17” blocks set in sashing, and a center strip 6 ½” x 59” with the numbers 1 – 10 embroidered down the strip. The blocks and strip are of the same fabric. Blocks are quilted (outlined) 4 stitches/inch. Binding: Front turned to back and stitched.
A quilted and stuffed block on this mid-nineteenth-century quilt bears the inscription “JANE BARR JULY 1849.” Although a gift to the Smithsonian from her niece, Nancy Angelina Ross of Mars, Pennsylvania, in 1954, little more is known about Jane or the significance of the date.
The quilt is composed of 12-inch blocks appliquéd with crossed flowers. Red-, green- and yellow-ground roller-printed fabrics were used for the design. The pattern has characteristics of both “Meadow Daisy” and “Mexican Rose” motifs. Intervening white blocks are elaborately quilted in different geometric and floral motifs, 9 stitches per inch. A flowering vine delineates the border of this beautifully crafted quilt from Pennsylvania.
This indigo wool quilt is one of three late-eighteenth-and-early nineteenth-century quilts that were donated in the 1890s by John Brenton Copp of Stonington, Connecticut. All are part of an extensive gift of household textiles, costume items, furniture, and other objects that belonged to his family from 1750 to 1850. The Copp Collection continues to provide insights into New England family life of that period.
Whole cloth quilts were most popular between 1775 and 1840, although before 1800 they were relatively rare and expensive. This eighteenth-century example from the Copp family is a glazed indigo wool quilt. The fabric was dyed blue with indigo, one of the oldest dyes used for textiles. Glazing, a process involving the use of a hot press on wool fabric, resulted in a smooth, lustrous surface. The lining, a butternut-colored wool, apparently was made from two different blankets.
It is quilted with a popular motif of the period, a large pineapple, using blue wool thread, 7 stitches per inch. A quilted flowering vine extends from a basket at the bottom edge of the quilt and frames the pineapple. A family member, John Brown Copp (b. 1779), was known to have drawn designs for white counterpanes for the young ladies in the Stonington area. The quilting pattern on this indigo wool quilt is similar to the embroidery pattern of a white counterpane, from about 1800, which also belonged to the Copp family.
An analysis of the household textile collection donated by John Brenton Copp can be found in the Copp Family Textiles by Grace Rogers Cooper (Smithsonian Institution Press, 1971). In the book the author summarizes the family background. “The first Copp to reach America was William, a 26-year-old London shoemaker who in 1635 set out for the Massachusetts Colony on the good ship Blessing. He landed east of Boston and became the first owner of Copp’s Hill in north Boston . . . . William’s son Jonathan established the Connecticut branch of the family around Stonington later in the seventeenth century. Many of his male descendents gained comfortable prosperity as merchants and businessmen, while their wives and daughters led full lives as mothers of the large families in which education and refinement were encouraged . . . . The long succession of Jonathans, Samuels, Catherines, Esters, Marys, and Sarahs makes it rather difficult to set in order the generations and their contributions to the collection.” The exact maker of this indigo wool quilt is unidentified, but it was probably made by one or more members of the Copp household.
This parlor throw, made in the last quarter of the 19th century, is an example of fancy work using silks, velvets and embroidery that was popular in Victorian America. Irregularly shaped pieces in silk and velvet combine with a large variety of stitches to create the crazy patchwork that was found on many items made for the home to display needlework skills. In 1890 a magazine, Sewing Machine Advance wrote this about crazy patchwork "it drives a man nearly crazy when his wife makes one because it keeps her so busily engaged that she has no time for other work."
This parlor throw has thirteen embroidered vignettes probably copied from patterns based on illustrations found in Kate Greenaway's children's books. Outline embroidered motifs of children playing were a popular addition to parlor throws. Other embroidered motifs that were probably copied from pattern books include; owls, flowers, cats, butterflies, plums, acorns, fans, spider webs, wheat, goldenrod, cat-tails, birds, a dog, strawberries, a house, a juggler, blackberries, shamrocks, mice and a chinoiserie tray with tea set. "Should old acquaintance be forgot" and "Welcome my friends all" as well as initials "JK" and "KUP" are also embroidered on the throw. The silks used for piecing are plain, checked, striped, brocaded, twilled, printed, pattern-woven, and plaid. Fur-textured fabric, satin ribbons and velvets are used as well. The lining is a pale green satin. The throw is not quilted but tied with pink and green silk thread every five inches. While there is no information on the maker or where it is made, it is an example of needlework typical of the Victorian period.