The quilt is said to have been made by Clara Harrison of Middlebury, Connecticut. The top of this quilt is of indigo resist-dyed cotton that probably dates from the mid-eighteenth century. The fabrics used for this quilt were most likely sections of bed furniture and then re-used for this quilt in the late-eighteenth or very-early-nineteenth century. Bed furniture may have included curtains at the sides, head, and foot that could enclose the whole bed, a bed cover, and valances around the top and base. The lining of this quilt is linen, with a carded wool filling. It is quilted five or six stitches to the inch.
To obtain the design in the fabric, a dye-resistant substance was applied to the area that was not to be colored. It appears that the resist paste was both block printed and painted on this cotton fabric. The fabric was then dipped in an indigo dye. To achieve the two shades of blue, the lighter blue was dyed first, then covered with the resist and the fabric was dipped again for the darker blue. The resist was then removed, leaving the background without color. The indigo resist dyed cotton used for Clara Harrison's quilt is an example of recycling valuable fabrics when they are no longer suitable; too worn, faded or out of fashion for their original purpose.
In the late 1880s, track for the Cumberland Valley Branch of the Louisville & Nashville Railroad was being laid near the Siler, Kentucky, home of Mary Frances Steele Harris. It was one of many short lines that carried coal down the mountains to connect with the main line. According to family members, Mary Harris sold butter, eggs, and milk to the railway workers, which enabled her to purchase fabrics for making quilts. In this cotton quilt, she combined variations of “Carpenter’s Wheel” and “Crown of Thorns,” pieced patterns with quilted arcs and squares.
The quilt is comprised of twenty 10 ½-inch blocks and saw-toothed connecting arcs. The fabrics Mary used to create her pattern were plain-weave red, white, and green (now tan) cottons. Quilted arcs, parallel lines, and grids, 7 or 8 stitches per inch, completed the quilt.
Mary Francis Steele was born in Siler, Knox County, Kentucky, in 1861. Her father was Harrison Holmes Steele, her mother ( ? Barton) died when Mary was a young child. On November 30th, 1882, Mary married William Harvey Harris at the Harrison Steele home. By 1894 they had three children. Frances B. Steele is noted on the tombstone of her husband as wife of William Harvey Harris (1867-1927), but no dates were given for her. Mary’s “Butter and Eggs” quilt is a reminder of the ingenuity of rural women to use their entrepreneurial skills to obtain the materials to create objects of beauty for their homes.
According to family tradition, Mary Anderson McCormick made a quilt for each of her seven daughters. This all-white exquisite quilt, made for her youngest daughter, Ella, was inspired by floral designs found on embroidered silk shawls from China.
Mary worked her elaborate design in a variety of embroidery stitches. She achieved a three-dimensional effect by using thick cotton thread and working the satin stitches layer upon layer.
Mary Anderson was born in Virginia on September 12, 1793. In 1809 she married John McCormick (1788-1868) of Augusta, Kentucky. John was a tailor and the couple had eight children. Shortly after her marriage Mary suffered a crippling injury to one hand, and the only practical thing Mary could do thereafter was hold a needle. She clearly made triumphant use of her remaining hand in creating this beautiful quilt and others. Mary died in Kentucky in 1864.
Elspeth Duigan crafted this fine example of a white-work quilt in 1849. She divided the center into 8 large and 4 small squares each enclosing stuffed floral motifs. According to family information, she quilted the initials “E.D.” in one of the corner squares and it incorporates the date “1849” with the edge of the square a “1”, the “E” is also an “8,” the “4” is represented by the “D” (the fourth letter of the alphabet), and “9” is the top part of the “D”. The lining is a very thin cotton layer, and the motif stuffing is cotton and cotton cord. All the motifs are outlined in quilting. The background is quilted with parallel diagonal lines 3/16-inch apart, 13-14 stitches per inch.
Elspeth Duigan was born in Jamestown, Virginia, in 1831. She married Mr. Thompson in Jamestown and later they moved to Lexington, Kentucky. During the Civil War they moved further West to Lexington, Missouri. Elspeth died in 1894.
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.
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.
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.
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.
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.”
The date “June 3 1836” and initials “W.B.” in the center panel are plainly evident on this quilted and stuffed white counterpane. Unfortunately no further information was given at the time of donation. Does the date signify an engagement or wedding date? Is “W.B.” the maker or a person honored?
The white-work counterpane is an example of stuffed work using a method of spreading apart the threads in the lining and inserting cotton stuffing. In this way the motifs such as the plumes, sunflowers, daisies, and undulating vines are given a dimensionality. Precise quilting, 10 stitches per inch, further enhances the elegance and overall design of this bedcover.
This “Mosaic” quilt top is made of 1 ½-inch hexagons pieced into flowers. Each is framed by a row of tiny diamonds and triangles. The center of each flower is a printed red morning-glory and the same roller-printed cotton is used for the small diamonds. According to donor information it was made by Mrs. Tarlton, and won a prize at a county fair in Vermont before the Civil War.
Mrs. Tarlton’s daughter, Nellie, married Captain McKeogh of New Orleans during the Civil War. She in turn gave the quilt to Miss Hannah Jane Seymour on the occasion of her marriage to Elliott Graham in 1891, the parents of the donor. Two of the white hexagons are inscribed “Graham” and “Hannah.” Unfortunately little is known of Mrs. Tarlton other than she moved to New Orleans with her daughter, Nellie.
When this quilt was given to the Collection in 1972, the donor indicated that it was from her husband’s relatives who lived in New Jersey. Sixteen 12-13-inch blocks are pieced in a “Blazing Star” pattern using red, white, and blue cotton fabrics. The blocks are set with sashing and borders of the same color scheme. The lining and filling are also cotton. The quilt was machine pieced and joined. Small floral designs and variations of the fleur-de-lis motif are quilted on the borders, sashing, and open white spaces. The diamond pieces that comprise the “stars” are accented with linear quilting. The hand quilting is 9 stitches per inch.
The donor, Mrs. George Maurice Morris (nee Miriam Hubbard), was a collector of 18th-century furniture. In 1934 she and her husband purchased and moved a 1754 Georgian-style home from Danvers, Mass., to Washington, D.C. It was restored and named the “The Lindens,” apparently for the linden trees along the original driveway in Massachusetts. “The Lindens” is the oldest building in Kalorama, Washington, D.C., and was listed on the National Register of Historic Places in 1969. Mrs. George Morris donated an 18th century-example of a palampore, an early-19th-century appliqué quilt and this late-19th- early-20th century “Blazing Star” quilt to the Collection.
“This quilt was made in 1840 by Ann, a colored slave girl 16 yrs. old, who wove and spun and took care of all linen on the plantation of Capt. and Mrs. William Womack (Aunt Patsy and Uncle Billy) in Pittsylvania Co. Virginia. Grandma Adams made her home with Aunt Patsy after mother’s death and inherited her large estate.” So wrote Mrs. Womack’s great-niece, Florence Adams Dubois in a note included in the 1976 donation.
Little is known of the quiltmaker, Ann. She is probably mentioned in William Womack’s will November 1, 1849, “. . . to my beloved wife Martha Womack during her natural life the following Negro slaves to wit, Ann . . . “
Thirty 14-inch blocks appliquéd with a crossed tulip motif are set with a 2-inch tan sashing. A 5/8-inch orange cotton bias strip is seamed to the front, and whipped to the back along three sides. The fourth side has a 1 ½-inch straight strip of cotton seamed to the front, and whipped to the back. While the blocks may have been made in the 1840s, the bedcover was probably assembled some time later.