Panel #13 has a lily of the valley over on the left in an
oval (almost round) frame of oak leaves and acorns.
Atlanta History Center quilt
Most of our photos do not show the corners...
which include two red blossoms.
The Charleston Museum has a set of album blocks dated 1853 to 1855,
among them three with the central bouquet trimmed. Two are signed Boyd. First
initials I or J, middle A or B.
Collection of the Spartanburg County (SC) Regional Museum
Auction Newbury, UK
Four panels, two each of #13 and #15.
All that piecing and those heart appliques certainly look English. In the center
"1804 Mary Anne Radley"
As this date predates the panels we are guessing Mary Anne incorporated
an earlier piece of needlework into her patchwork.
A crib quilt top or just a fragment, top sold out of Vermont. Two
of the lily of the valley panels at the bottom.
Top from the International Quilt Study Center & Museum Collection
Panel 13 is right in the center with Panel 6 in the inner corners.
Notice how cleverly she pieced that border.
Each one of the 80 light triangles is cut from a panel corner and pieced into the border.
Someone had a lot of cabbage: Leftover corners from 20 panels.
Unfortunately, the triangle edges are all on the bias so the top is a little out of square.
Philoclea Casey Eve's quilt at the Atlanta History Center has eleven
copies of panel #13 in the outer border. Five are just the central bouquet;
six include the oak and acorn frame.
Someone used a trimmed bouquet for an album block on the left in this quilt from the Townsend-Pope family at the Edisto Island Museum. The oak leaf circle frames another chintz block in the center lower area.
We'd guess many chintz applique album blocks were cut from panel fabric but we can't always see the details in photos. Sharon Pinka arranged to have this quilt at AQSG in 2103 when she gave her paper "Lowcountry Chintz: The Townsend/Pope Quilt Legacy," Uncoverings 2013.
Nearly every quilt we have with Panel #13 that has a reliable information on the source is from the Carolinas.
Quilt attributed to Ann Adeline Orr Parks of Charlotte, North Carolina
This one from a North Carolina family uses a dozen of panel 13 with 28 corners (leftovers from 7 panels) and 20 oak and acorn arcs from the frame (leftovers from 5 panels).
The larger center panel is #2
See more about the Parks quilts here:
Collection: Glorian Sipman
Sold from the Columbia, South Carolina estate of
Jennie Clarkson Dreher Hazlehurst (1916-2006).
Panel 2 in the center with three supporting designs,
9, 12 and 13
From a Skinner's Auction
We've shown this quilt several times as it has five different panels in it
including a couple of #13 in the outer border at the bottom with #2 in the center.
The seamstress also made interesting use of panel corners.
Those triangular edge pieces look appliqued rather than pieced.
What Can We Learn from Panel #13?
The two quilts above indicate that Panel #13 is about one-fourth the size of the center panel #2. They are so close in coloring and style we wonder if the smaller panels were not sold as a suite to use with the larger.
Panel 13 on the back, larger Panel 2
on the seat---a virtual chair
When you consider that the panels were used as furniture coverings you wonder if they were not designed for a two-part chair like the Photoshopped furniture above.
And all those corners we've been counting: Could they have been left overs from the upholstery and slip cover business?
Gibson's Upholstery business from an 18th-century
trade card in the collection of the Victoria and Albert Museum
British Museum collection, 18th century
"Issac Astley, London,
Maketh and Selleth all sorts of Standing-Beds, Quilts..."
Bedcovers and upholstery, a good combination.