fabric, silk pile on cotton ground, wool, cotton (overall material)
thread, cotton, silk (overall material)
filling, cotton (overall material)
Measurements:
overall: 72 in x 74 in; 183 cm x 187 cm
Object Name:
bedcover, crazy-patch and embroidered
quilt
Place Made:
United States: Kentucky, Harrodsburg
Date made:
1880-1899
Description:
Lydia Pearl Finnell may have made this parlor throw for her trousseau. It exemplifies the fancy needlework techniques popular in the late 19th century. Motifs and designs that appear on the throw can be compared with patterns that appear in needlework manuals of the period. The patterns consisted of simple outline drawings, which allowed the user to enhance them to the best of their abilities. Lydia’s talents and schooling are reflected in her elaborate and well-executed interpretations. Highly decorated items, such as this, were often placed in the parlor to display the maker’s needlework skills.
Eighty-two patches of fabric make up this extensively adorned parlor throw. The central irregular patches are framed by an eight-pointed star made of 2-3/8" strips of black silk pile, giving it the name “Star Quilt.” Each patch is decorated with flora (e.g., pansies, sumac, thistle, etc.) or fauna (e.g., frogs, chicks, swans, owls, etc.) motifs. Ruching, and satin, French knot, plush and outline embroidery stitches are among those techniques used to embellish the parlor throw. The competent use of the plush stitch is evident on many of the motifs. This stitch produces loops that are later cut, combed, and sculpted with scissors to give a three dimensional effect to each motif. The lining is red wool embroidered with small daisy motifs. A braid attached to the 2-7/8” border of black silk pile completes the quilt.
Lydia Pearl Finnell was born March 3, 1867, to William and Sarah Irvine Finnell in Harrodsburg, Kentucky. At the age of three, she was sent to live with her Aunt Lize (Eliza Finnell Terhune) and Uncle Boley (William Terhune). They taught her the social graces as well as housekeeping skills, cooking, animal husbandry, and some rudimentary doctoring skills. At the age of 14 or 15 she attended Daughters College in Harrodsburg, where she received an excellent education for the time. This included plain and fancy needlework and the fine arts of canvas and china painting.
Lydia married Bushrod Allin (1871-1942) of Harrodsburg on November 8, 1899. Bushrod and Lydia did not have any children, but raised Mary Forsythe Finnell, the daughter of Lydia's brother Charles Handy Finnell. Lydia died March 31, 1949 and is buried in the Spring Hill Cemetery, Harrodsburg, Kentucky. Lydia’s “Star Quilt” is a unique example of extraordinary design and needlework skills, truly a “star” in the Collection.
The crafting of this quilt was made possible by William Grover’s 1851 invention of the double-thread chain stitch. He and William Baker were issued U.S. Patent No. 7,931 for a machine that used this stitch. The Grover and Baker Sewing Machine Co. of Boston, Mass., began manufacturing the machines in 1851, and by 1856 were producing for the home market. “Quilting on a Grover & Baker’s sewing machine, is no trouble at all, and the rapidity with which it is accomplished, enables us to apply it to many things which would cost too much time and labor for hand sewing.” ( The Ladies’ Hand Book of Fancy Ornamental Work Florence Hartley, Philadelphia, 1859.)
The most elaborate quilting of the 19th century was done by hand. It is unusual that the unknown maker of this quilt used a machine to stitch the design of each square through two layers of cotton fabric. The design areas were then stuffed with cotton fibers. The squares were sewn together by hand to make the quilt top, and an overall lining was added. The three layers were quilted by hand along each side of the seams where the squares of the quilt top were joined.
By 1870, the Grover and Baker double-thread, chain-stitch was being replaced by a lockstitch. The lockstitch machines used one-third the amount of thread and made less bulky seams. The lockstitch remains the standard stitch of home sewing machines to this day.
The motifs on this all-white quilt top are similar to those found on many of the colorful appliqué quilts of the mid-19th century. Although more complex than most of the work for which the new machines were used, the quilt’s design and the use of the Grover and Baker stitch suggest that this is an early example of machine quilting.
This green wool quilt, crafted in the late 18th-early 19th century has a lovely quilted motif of a large tree with flowers and branches stitched in feathered arcs reaching from the bottom edge of the quilt almost to the top. The tree is flanked by two long curving feathered vines and framed by bands of feathered quilting on the edges. Background quilting of parallel lines sets off the motif. Quilting is 6 stitches per inch.
Plain-weave green wool is used for the top, yellow plain-weave wool for the lining. The filling is wool as is both the sewing and quilting threads. This Massachusetts quilt by an unknown maker is a beautiful example of whole cloth wool quilting.
The floral bouquet focal point of this mid-19th century appliqued quilt was probably from a panel printed especially for use as a cushion cover or quilt center. The circular 24½-inch center is surrounded by appliqued sprays of flowers and framed by three 6” cotton borders; two roller-printed borders and one white. There may have been a fourth quilted border, part of which remains stitched to the present outer printed border, but later it was folded to the back and stitched for a binding.
The donor gave this quilt to the Museum in honor of her aunt who “rescued” the quilt. “I think it would be a shame to have it hidden away from those who appreciate our heritage and admire beautiful needlework. It would no doubt have been destroyed . . . .”
Found in Londonderry, Vermont, in a house dated about 1850, this quilt was purchased by the donor in the 1980s. The many cotton fabrics used to construct this quilt give it value.
Ten-inch blocks of red-and-white floral printed fabric alternate with “Sixteen-Patch” blocks composed of many block- and roller-printed fabrics. Ten “Eight-pointed Star” blocks of block-printed red-and-white fabric are set near the outer edge. Three quilting patterns are utilized for the three different types of blocks, quilted 6-7 stitches per inch. Blue cotton triangles on the outer edges complete the well-planned quilt.
This late 18th-century medallion style quilt has many examples of block-printed and plate-printed fabrics. The focal center of the quilt, a 12-inch block constructed of four triangles, is surrounded by four pieced borders made of 3-inch and 6-inch triangles. The fabrics in each row are arranged in a mirror image from the ends of the row to the center creating a kaleidoscope effect. The red, copperplate print used in the pieced section of the quilt is the fabric: “Apotheosis of Franklin and Washington” printed in England about 1785. The border fabric is cotton, plate-printed in red, and is similar to English plate prints of 1770-1795. It is quilted 6 stitches per inch in a diagonal grid pattern on the outer border with linear quilting accentuating the pieced triangles of the center.
The many fabrics of this well planned quilt make it a valuable part of the Collection.
Plain-weave roller-printed cottons, mainly geometrics, plaids, and stripes were effectively assembled to construct this quilt. Pieced blocks, 8 1/2-inch square, are crossed diagonally by a band of pieced small triangles to create an overall interesting geometric effect.
The pineapple motif, often associated with hospitality, was pieced-and-appliqued on sixteen 13-inch white blocks for this mid-19th century quilt. The blocks are framed by appliqued swags with small pineapples and buds, also of orange and green cottons. According to family information, it was made by the great-great-great aunt of the donor, unfortunately no name was given.
This quilt, composed of 5 ¾” squares of printed cotton set diagonally with 2 ¾” sashing and border, contains interesting cotton fabrics from the early 19th century. The green motif repeated on a dark ground appears to have been mordant-printed from a small wooden stamp, possibly of Indian origin, and dyed. The sashing is cut from yardage of copper-block-printed floral stripes, probably English. The lining is a block-printed resist-dyed fabric. The various fabric printing techniques and the woven effect of the sashing contribute to the appeal of this quilt.
The 17-inch center block of this early 19th-century quilt is appliquéd with a charming array of floral, geometric, and heart-shaped designs. It is surrounded by five pieced borders.
Block-printed, copperplate-printed, Indian-painted, and roller-printed techniques are represented in the fabrics that were used for piecing. Plain-woven and pattern-woven white cottons are also evident. The 8 ½-inch blocks that make up the borders are pieced in a variety of patterns popular in the first half of the 19th century. It has a cotton filling and is quilted, 7 stitches/inch.
The quilt is probably from southern New England, possibly Connecticut, where it was found. The many, many fabrics, different pieced block patterns, and appliquéd designs contribute to this sampler of 19th- century quilt making.
In 1962 a great-great-granddaughter of one of the makers of this quilt donated it to the Museum with the information that it had been made by women in the Adams family. They were said to have made the quilt while the men were away during the War of 1812. The donor’s great-grandfather was Jackson Adams, her great-great uncle, Joshua Adams, and her grandmother, Jane Adams.
This quilt is made up of 7-inch blocks pieced in the "Pinwheel" pattern, alternating with plain white blocks. Detailed stuffed quilting embellishes the white blocks and border. Ten different quilting patterns are used for the plain blocks, all but one repeated.
The 8-inch white border has a quilted-and-stuffed feathered vine with small quilted-and-stuffed floral motifs. White cotton fabric was used for the lining, cotton fiber for the filling and stuffing. The pieced blocks and border are quilted at 9 stitches per inch. The “Pinwheel” Quilt, with its contrast of elaborate stuffed quilting and simply pieced blocks, is a fine example of early 19th-century quilting making.
Twenty-five blocks, each of a different fabric, are pieced in the “Schoolhouse” pattern for this “Friendship” quilt. The names of 25 women are inscribed in ink by the same hand. Research on the names revealed that they all had connections to Addison County, Vermont. The oldest was born in 1808, the youngest in 1866, with most born in the 1830s and 1840s. Some were teachers. Many are buried in Vermont, mainly at East Shoreham Cemetery.
In 1906, as a token of friendship, the quilt was passed along to the donor’s mother by a neighbor in Dubuque, Iowa. The neighbor’s mother was the maker of the quilt.
“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.
The distinctive eagle in each corner and the bold colors relate this cotton quilt to a similar quilt group of late 19th and early 20th century Pennsylvania origin. In 1929 quilt historian Ruth Finley called this patriotic pattern “Union” in her classic book, Old Patchwork Quilts and the Women Who Made Them. The center is quilted, 6 stitches per inch, with a diamond grid pattern. A cable pattern is used for the border.
An elaborate eagle and an American flag block adorn this patriotic example of a mid-19th-century album quilt. Baskets of fruit and flowers, wreaths, and cornucopias, all typical motifs of the period, complete the quilt. Some of the most extravagantly decorated blocks appear on a distinctive group of presentation quilts that were made in or near Baltimore, Maryland, and are now popularly known as Baltimore album quilts.
The quilt contains both hand and machine quilting. A two-thread chain-stitch machine was used to outline some of the appliquéd motifs and anchor the bias binding on the edges. The background was hand-quilted with feather plumes, clamshells, and diagonal grid patterns, 8-9 stitches per inch.
A variation of the “Irish Chain” and “Sawtooth” bands are used to frame the four “Tulip”motifs on this 19th century red and green quilt. Outline quilting is used for the motifs at 8-9 stitches per inch. A combination of straight and diagonal grid quilting enhances the overall design of this pieced and appliqued quilt.
Location:
Currently not on view
Subject:
Textiles
Quilting
Domestic Furnishings
Quilts
Credit Line:
Gift of Mrs. Roy E. Thomas and Col. Herbert A. Meek
This Amish quilt was in the Swarey family and probably was made by Mrs. Swarey's grandmother, Mrs. Peachy. The Swarey family lived in Allenville, Mifflin County, Pennsylvania, where the quilt was made in the late-nineteenth or early-twentieth century.
Ten inch squares are set diagonally with ten-inch triangles filling in the edges to complete the center portion of this quilt. Nine of the squares are quilted in an 8-pointed star pattern; the other squares are quilted in a grid pattern. Clam-shell quilting is found on the triangles. A quilted leafy vine graces the border on three sides. The quilting is done with black cotton thread; the fabrics are wool/cotton. The quilter deftly uses four major colors and well placed quilted motifs to achieve the bold effect this quilt conveys.
A poppy motif dominates this pieced, appliqued and embroidered quilt, probably assembled by Cynthia Hobby (1770-1863) and quilted by her granddaughter Mary Elizabeth Hitchcock Seamans (1839-1881). Twenty-five 15½-inch blocks are framed by a 9-inch border that has appliqued clusters of cherries with leafy stems and is edged with pieced sawtooth bands. Fine quilting, 12 stitches per inch, outlines all the appliqued motifs. Diagonal grid and diagonal line quilting further enhance the blocks and border on this well designed quilt.
This is one of three quilts donated by the same family.
Also known as the “Seamstresses’ Quilt,” this red and green example of mid-19th century quilting was in the George Slothower family of Baltimore County, Maryland. He was a wholesale dry goods merchant and the owner of two cotton mills: the Powhatan and Pocahontas Mills. Apparently at the time this quilt was crafted, resident seamstresses, usually of German or Dutch origin, made the family clothing and most likely this quilt.
The center basket of flowers is framed by floral-and-leaf panels and borders, each accented with red saw-tooth bands. Echo quilting highlights each of the motifs on this appliquéd quilt.
fabric, cotton/wool, wool, rayon (overall material)
thread, cotton, silk (overall material)
filling, cotton (overall material)
Measurements:
overall: 80 in x 78 in; 203 cm x 199 cm
Object Name:
quilt
Object Type:
quilts
Place Made:
United States: Pennsylvania, Lancaster County
Date made:
1900-1925
Description:
Quilted in Lancaster County, Pennsylvania, in the early twentieth century, this is a beautiful example of Amish quilting utilizing a traditional pattern. The dark red 25½-inch center diamond with a 3¾-inch purple border is set diagonally into a 46¼-inch square also with a 3¾-inch border. Framed by an outer 11¾-inch border, the quilt is finished with a wide contrasting binding of dark blue. The fabrics are mainly wool, wool-and-cotton, and some rayon. An 8-pointed star, feathered circles, vines, and scallops are motifs quilted with black cotton to complete this quilt.