British quilt top from a Christie's Auction with panel #21 in the center .
Panel #21, Princess Charlotte of Wales/
Prince Leopold of Saxe-Coburg marriage commemorative panel, 1816
A lovely quilt, very British in it's appliqued hearts and pieced frames, celebrating a future Queen of England, the only heir of King George IV.
The final border is a stripe popular on both sides of the Atlantic,
often paired with the fruit panel #5.
Royal Wedding, May, 1816
Top sold at Tennant's Auction
Another cheerful quilt full of hearts and hope for the future of the couple.
Sampler by Tirzah Gibbs, 1829, Bonham's Auctions
Died November the 5th,1817
Hope is Fled"
In 1923 MacIver Percival showed a trimmed panel in his The Chintz Book. In the inner border: "Princess Charlotte of Wales Married to Leopold Prince of Saxe Cobourg May 2, 1816"
The Castle Museum in York has this chintz applique
in its collection. Four Charlotte panels surround an oval floral (Panel #15)
Like other panels commemorating British current events
we can assume that the panel was not printed for export.
See the George III Jubilee panel at this post:
However, there are a couple of style characteristics in the Castle Museum coverlet that make me wonder if it is American. One is the lack of piecework in the borders. Another is the abundance of palm trees and birds. It's not that English quiltmakers didn't use palm trees and peacocks but they didn't use them in the same way. (A digression.)
Most of the Charlotte quilts look very British and most of them are in England today.
England's Beamish Open Air Museum has a nine patch with the panel in the center.
Medallion below from the Binney collection is now in the New England Quilt Museum, the only known Charlotte quilt in the U.S. today.
Princess Charlotte Commemorative
New England Quilt Museum
Gift of the Binney Family
Parts of Panel #5 form a ring around the birds...
The same birds as in the Castle Museum's top.
A Second Charlotte Panel
In Emma Jane Worboise's 1877 novel The Grey House at Endlestone she crafted a well-observed, cobwebby scene. Hilda awoke in a strange bed...
"the hangings were of faded chintz, the counterpane was a wonderful device of many-coloured octahedrons with a choice centre-piece, displaying the washed-out features of the Princess Charlotte, surrounded by the dates---almost illegible---of her Royal Highness's birth and marriage."
I thought this might be a description of the octagon panel above but then I realized there is another
Princess Charlotte textile.
With a portrait --- rather washed out and with her birth and death dates.
British frame quilt auctioned at Wooley & Wallis showrooms.
The panel is a monochrome toile, something we are NOT
indexing here but it is too cool to ignore.
The Metropolitan Museum and the Victorian & Albert each
have a panel. As you can see in the quilt it's large, 19" x 26".
The portrait with a mourning wreath was copied from a print...
Copied from a painting
Portrait of Princess Charlotte of Wales
1816. Collection of the Brighton Museum
And one more Princess Charlotte memorial:
The New England Quilt Museum also has a nicely
arranged hexagon top by Englishwoman Catharine Tebay
through 1816 and 1817.
Attention to detail throughout the patchwork...
Including this typeset label along the edge
and a piece she must have inserted after finishing
the top, mourning the death of the Princess.
Monument to Princess Charlotte at Windsor Castle
by M.C. Wyatt, finished in 1824
What Can We Learn From Panel #21?
The Prince(ess) of Wales's symbol of three feathers and motto
"I serve" in German
These polychrome framed panels marking public events seem to have been popular with British textile printers in the teens, beginning with the George III Jubilee panel about 1809, continuing through Wellington's Victory at the Battle of Vittoria in 1813 and Charlotte's wedding in 1816. Links to events easily date them and we can assume that many of the other popular panels in similar designs were printed from about 1810 to 1820.
American side chair with nail head trim, 1795
Collection of the Winterthur Museum
We also assume the panels were printed for furnishings and this Charlotte panel supports that view with its dotted border that looks much like nail heads.
Chair with nail head trim, 1794–99 attributed to
Samuel McIntire, Salem, Massachusetts
The Metropolitan Museum of Art
Read Anita Loscalzo's “Commemoration and Grief: Two Coverlets and the Death of Charlotte Augusta, Princess of Wales” in the British Quilt Studies Group's 2012 publication, Quilt Studies 13.
See pictures of the panels at these links:
Here's a post about Charlotte's husband.
Here's a post about Charlotte's husband.