Panel repeated in a finished textile.
Collection of the Winterthur Museum #1979-0058-009
22-1/3" x 24-3/4"
Panel #7 Gothic Ruin in Floral Wreath
The cataloging record on this group of four panels stitched together
describes it as an English woodblock print 1790-1810.
Is that printing date too early?
Winterthur's repeat of four images, which they think might have been a pillow sham or handkerchief cover, is remarkably like the center of a quilt in the collection of the Quilters' Guild of the British Isles. Do note that the Winterthur example has less vegetation behind the architecture so it looks lighter in the center.
The British quilt is signed in red cross stitch in the center
"J.H. Thorne September 3rd 1824."
The Thorne quilt panel is described as "wreath of flowers surrounding a pictoral design of Gothic ruins and trees." Merikay has looked at the Thorne quilt closely and noted the four panels are one piece of fabric.
Four of the Gothic Ruin panel in the corners framing the Fruit panel (#5).
From Jane Lury's collection.
Jane showed hers in Nantes, France last year.
The small panel's center looks tan so it may be the same busier variation as in the
Thorne quilt. The quilt looks more like a British frame quilt than an American piece.
The wreath and ruin panel is probably an English fabric exported to the United States, where it was popular. The Charleston Museum has at least three chintz quilts using a trimmed wreath in a secondary border pattern.
Charleston Museum #HT 586
Detail of HT 586.
The ruin is easy to spot even in a small photo
because a road runs through the structures
dividing the image into two parts.
Charleston Museum #HT 740
Two basket quilts framed by floral wreaths.
The quilt above has the same fabric in the inner border seen in the whiter quilt above. Panel 7 is in the corners
Charleston Museum #HT 742
This quilt has an outer border stripe of the same fabric found in the inner
border in the quilt below.
Charleston as one of the largest seaports in North America is also home to a distinctive airy chintz applique style that thrived between 1820 and 1850. Fabrics were imported but the applique style seems American.
Two quilts from nearby Columbia, South Carolina also include the panel as a secondary design in north/south positions in the border.
Quilt now in the Poos Collection, attributed to Lavinia Eason
Both these quilts offered by Charlton Hall Auction were from the estate of Jennie Clarkson Dreher Hazlehurst (1916-2006) of Columbia. Jennie was descended from two old Columbia families, the Tabers and the Clarksons. She may have inherited the quilts.
The North Carolina Quilts book showed two chintz appliques by
Sarah Alexander Harris Gilmer (1806-1832) of Cabarrus County.
Her panel quilt uses 4 wreaths to frame the fruit panel (#5)
often seen in American quilts.
One of two quilts by Margaret Salena Perkins Laxton (1808-1883)
of Burke County, North Carolina
in the MESDA collection
All the Carolina quilts use the wreath as an oval with the corner florals trimmed off.
Carolinians were not the only American seamstresses with access to the fabric.
This Baltimore bedcover was pictured in William Rush Dunton's
1946 book Old Quilts.
The four panels are on their sides around the central Fruit Panel.
Collection: Pink Palace Museum, Memphis
57" x 53"
This is a small quilt
The quilt was attributed to Grandmother Tickle, Shelby County, Tennessee by donor Estelle Robertson in 1956. The design seems to owe something to the Eastern Shore of Maryland and Virginia in its use of a field of triangle patchwork around a square on point.
The Minnesota project recorded a tattered quilt with a panel in each of the top border corners, attributed by the family to Joanna Murphy Johnson of Maine.
Attributed to England, 108" square
Sold at Skinner's Auctions a few years ago.
This quilt includes several panels of various sizes.
Two of panel #7, one in the top border, one in the bottom.
From the Quilt Index and the Kentucky project, made in Georgia
From eBay a few years ago.
A real beauty.
Panel 7 in the corners, Panel 2 in the center (about which more later.)
Similar construction in one dated 1833 with the initials E.H.R.
from Merikay Waldvogel's collection
Quilt dated March 12, 1839, attributed to Harriet Elizabeth Black.
Collection of the Museum at Texas Tech University.
She used two small panels and the larger fruit panel.
Album quilt for Eleanor Joseph Solomons,
South Carolina, 1851-1854
Collection of Judith Shanks
Someone who contributed a block used the rose wreath with
the central ruin cut out. See top row center. This is the latest dated example so far.
What Can We Learn from Panel #7?
(1) The figures of the architectural ruin and the wreath seem the same in all the panels, but the prints found in U.S. quilts have less vegetation with a lighter appearance. Does this indicate that the busier version was printed for the English market and the emptier just for export? Questions: Different mills? Different time periods? Different tastes?
(2) We have four date-inscribed quilts with this panel, an 1824 quilt from England and three American pieces dated 1833, 1839 and in the 1850s. We have many theories about sources and dates for the panels. One of Barbara's is that they were printed in the teens, available and used immediately in England, but not available and used in the U.S. until the 1820s. Is a data set of four quilts enough to base a theory on?
(3) The panels were probably printed after 1810 when the panel fashion began. 1790-1810 is too early. The more we study these multicolor panels the more we think "Printed after 1810."
Two of panel #7 in the top row with panel #11 in the center.
2013 online auction from Vermont
See the British Thorne quilt here:
See the Winterthur record on their four-panel piece: