Tuesday, September 17, 2019

Small Floral Panels: #9 and #17

Panel #17

The last of the panels: Two small florals often seen scattered about a central, larger panel. 

Panel #17 is a circular bouquet with lilies, perhaps a Turk's Cap Lily
Lilium superbum....

also called a Tiger Lily.
The panel is smaller than most in the files.

It's the round corner image in this tree-of-life quilt from the collection of Old Sturbridge Village. The photo is from the Massachusetts Project and the Quilt Index. Little is known about this beautiful quilt; the mother of the donor bought it in Massachusetts in 1969.

Dealer Cindy Rennels sold this quilt a few years ago to Violet Vaughnes.
It looks more like an American pieced medallion with a cut-out chintz
or Broderie Perse center than a British frame quilt.

In the center four trimmed versions of Panel #17....

With triangular corners appliqued around each.
More corners than nosegays so they must have been
leftovers from another project.



Attributed to Mary Amelia or Eleanora Roche of Baltimore
Pictured in the book A Maryland Album.

Center panel is  #14 with the blue ribbon

Authors Gloria Seaman Allen and Nancy Gibson Tuckhorn noted the twelve block-printed medallions here "resemble motifs in an English cotton print produced at the Bannister Hall Printworks around 1826."


Snapshot of a quilt in similar style from the Charlotte (NC)
Museum of History with Panel #17 as the small circular images.
Could those be its corners floating like small birds through the composition?

We love the term cabbage for the leftover pieces. 

1812 portrait of a tailor with a cabbage for a head.

Style in the quilts above seem to be a kind of cabbage salad. Below a completely different style in what looks to be more a British frame quilt than an American chintz applique.

Collection of Marjorie Childress

Four of panel #17 are in the corners framing the central panel #1

This is an odd piece. Techniques are unusual (appliqueing the panel where one would guess it was pieced). The quilt seems to have significant, fairly recent repairs.

Free-form spotty shapes are mid-20th-century patches that appear to be covering something else---probably a disintegrating fabric.

And although it's dated "Ann Price 1824" we are guessing that year is the date
of the woven textile that forms the base of the piece rather than when the chintzes were added---
appliqued atop an old bedcover.

But it's probably not much later than 1824.

Panel #9

Panel #9
Panel #9, an oval bouquet of roses and tulips with other florals is larger. Is that a ranunculus in the center?


.

Collector Lenna DeMarco has a pair of pillow covers with Panel #9 framed by a striped border, 
giving us a good view of the panel with its corners.


The only other full view (well, half a full view) of the panel is from
the collection of the Cooper-Hewitt Design Museum


In the two quilts below Panel #9 accents the central round Panel #2 (at right) drawn in similar style. Was the smaller panel a companion pieces to the larger design?

From an auction at Skinner's
Many small panels

Collection of Andrea Frazier

Panel #9 alternates with one of similar scale inside the
swags in this basted example William Dunton showed
from Baltimore. The center panel is the fruit basket #5.


What have we learned from these small panels?


How cleverly seamstresses made use of every scrap and what a lot of scraps some of them had.

Illustration of a French sewing workshop about 1890

The cabbage on the floor

Next: Conclusions

Tuesday, September 3, 2019

Landscape Panels: 29, 33, 34, 36

Panel #29, Chinese figures in an arch

Panel 29
Chinese Scene

We are coming to the end of the panel database and have grouped four landscape panels. The first is unusual in design with an arch for a frame and unusual in that we have few American examples in the database. 

Faded example in the center of a quilt sold at a Copake auction in the U.S. this year.


Hexagon patchwork in a border.

From a Christie's Auction in England

We have a little more information about this one, which was made in 
Cumbria in northwest England

And this intriguing photo of a photocopy of a quilt attributed to
Esther Straker Jackson in County Durham in the north of England

See another panel with Chinese (Chinoiserie) imagery that was more popular with Americans at this post:

Panel #33
Swans Under a Bridge


We have so few quilts with landscape #33 (just two) that this is the best we can do for a photo. Fortunately, Deryn O'Connor and Tina Fenwick Smith describe it in their chapter in the British Quilters Guild Heritage Search summary Quilt Treasures

Figure 159
They show a detail of the panel in the center

They found this example at Penrith in Cumbria, England with "a pair of black swans swimming before a waterfall with a bridge spanning the river all beset with lush flowers and trees."


"The remarkable feature of this medallion is that the central picture and the border are all printed on the same fabric, necessitating the border to be printed with mitered corners."

The mitered corners.


Here's a better view of the border---Chinese landscape with humans, deer, birds, a building, palm trees and a sailing boat. Scroll down to see the quilt in the Philadelphia Museum of Art with the same landscape stripe.

Our only other bedcover with the swan panel was pictured in Averil Colby's 1958 book on British quilts, Patchwork, and curiously enough the panel has the same stripe in the same position around the landscape.

But not quite the same position, indicating that the stripe was
a separate piece added to the panel.
Perhaps the stripe was a companion fabric sold with the swan panel.
Like the other landscape panels in this post it seems to have been sold in the
British market, rarely reaching the United States.

Panel #34
Deer and Birds

Panel #34 is also a landscape, an oval with two exotic birds in a tree,
long-legged shore birds on the left and a pair of deer. We have only two
bedcovers with this panel in the database.

Collection of the Philadelphia Museum of Art,
attributed to England. A gift of the Ginsburg family in
memory of textile dealer Cora Ginsburg

The untrimmed central panel is framed by the Chinoiserie landscape
stripe, more evidence that the stripe was not printed as part of the swan panel.

Perhaps it was printed in this repeat with 3 different stripes of different scenes.
But what about that thin dark stripe---was that in there too?

Probably not.

Sold on EBay, no information, but it certainly
looks like an English frame quilt.

Panel #36
 Palm Tree and Birds

Panel #36, Palm Tree and Birds

Above an exotic palm with game birds on the ground and song birds in the trees.


We have two good photos of panel 36, this one more colorful with the yellows and purples brighter, maybe a different colorway but perhaps less faded.

The design has much in common with the very
popular palm tree and pheasant repeat pattern here shown with a white ground.

The panel measures 22" across. It's a more popular panel than the other landscapes, according to the database.

A quilt with the palm fabric was offered on EBay a few years ago.

The seller in Iowa had a family story that it was purchased in 
Lincolnshire, England and brought to the United States in 1850 
by the Hakenson family.

Top in the collection of the New England Quilt Museum.
Looks British style.
(Is the photo reversed at the Quilt Index?)

Pictured in the 1987 Quilt Engagement Calendar from the inventory
of Tom Woodard & Blanche Greenstein
The textured look of the prints is a British design characteristic.

We have one example located in Great Britain:
Quilt once in the Mrs. Blackett-Ord's Helbeck Collection, exhibited in Cumbria.
The composition is odd with the large strip at the top, much like the
ebay quilt with the black swan panel above.

The Helbeck quilt is shown on the small catalog of that show. It's since
been sold at a Kerry Taylor auction.

And then there are the photos we find floating around on the internet.

Don't know where these are located.


Four of Panel #30 birds in a nest frame the larger #36
See our post on the smaller panel #30 here:

We have no examples of quilts with Panel #30 (the corner panels above) that we think were made in the U.S., judging by style characteristics. But nearly all those in the files are now located in the U.S. We may not have imported the panel but we seem to have imported the quilts.

Attributed to Eliza Ely Bready (ca 1820-?), Philadelphia
Winterthur Museum. Gift of Marguerite (Margaret) L.
 Riegel (1892-1983) in 1963,  Eliza's granddaughter.

This unusual piece in the Winterthur may be the only American-stitched quilt with palm tree panel. The museum has good close-up shots at their website. Do a search here for Bready:

 But it really doesn't fit into the category of American-style chintz quilt either.

Three Chinese figures---some kind of a fight?

A Christian saint?


What Have We Learned from the Landscape Panels?

Panel #28 in a quilt in the Bowes Museum

These panels seem to have been more to English taste, reminding us of the style
in this basket of flower design #28 found in the center of the Austen family quilt.

The Austen patchwork


Perhaps printed by one mill that did not ship fabric off in the export trade.