Panel #32 is a bouquet topped with a parrot tulip in a low vase, a bowl or dish,
framed in an oval floral border.
This red, brown and blue colorway seems to be the only version printed.
Panel #32
In the corners: four identical butterflies.
Technically, moths.
(We call them butterflies---No complaints, you entomologists.)
The panel is seen in Southern quilts. The Charleston Museum in South Carolina has examples.
This small piece, 37" square, has the panel trimmed of the butterflies
then spaced at a distance.
Hannah Noland Henderson's quilt top has several popular chintzes with panels
3, 6 and 5 (corners) framed by a stripe of large tropical birds
.
The bowl of flowers panel is in the corners of the outer appliqued border and
six butterflies are in the first ring around the central Trophy of Arms.
The Charleston Museum's collection includes a set of album blocks.
This wreath of zinnias includes the butterfly in the center. The inking:
"1855 M B Crow"
UPDATE:
You will note in the comments that Glorian Sippman
sent photos of a block-style chintz album from her
collection with Panel #32 in one of the blocks.
Thank you! Glorian.
Colonial Williamsburg has 25 album blocks attributed to Beech Island, South Carolina, dated 1848-1850. This one includes the butterfly in a collage of chintzes focused on Panel #35, the Chinese garden. See a post here:
https://chintzpanelquilt.blogspot.com/2018/09/a-chinese-garden-panel-35.html
Another Update. Lynn Evans Miller just bought a chintz album with the bowl and the frame in different blocks. (July, 2019)
The butterfly is not the only scrap we find. That scalloped frame was too good to toss out.
Block signed H (or M) G Oakes
Someone's used it to highlight a bouquet of roses in this block
from the Charleston Museum's collection.
This quilt, now in the Poos Collection, attributed to Lavinia Eason, uses a half frame, cut from 8 panels for a scalloped border. It was sold at Charlton Hall Auction in Columbia, South Carolina.
The butterflies are not the same as those in the panel #32. The oval wreaths are panel #7.
Don't see the butterflies though.
It seems apparent that Panel #32 was widely available in South Carolina
but we have two examples from Great Britain (both very poor photos.)
One is shown in this detail of a quilt in Jane Lury's inventory.
The second is below.
The panel is used in a different, very British manner, framed by pieced borders rather than by the cut-out chintz borders typical of the Carolinas.
What Have We Learned from Panel #32?
The International Quilt Study Center & Museum has a quilt
in their Dillow collection of 36 cut panels alternating with
plain white blocks.
IQSCM #2007.040.0001
IQSCM has a second quilt with the panel.The medallion includes three panels. The large center oval
is #2 with #32 and #36 in a border.
Yardage is cut in strips for the side borders.
The top and bottom borders are Panel #35, the Chinese Garden also cut as strips.
An English piece from Rosemary Blackett-Ord's Helbeck Collection
includes the same two panels, apparently also cut as strips.
includes the same two panels, apparently also cut as strips.
The panels are the same size and printed in the same repeat with white intervals of the same size.
Two strips digitized together
If we were going to reproduce this panel we'd print it in stripes adjacent to the Chinese Garden It's tempting to think this may have been the way the fabric was originally printed in the early 19th century, but doubtful. Their fabric was narrower than ours.
It does seem obvious, however, that these panels were printed as companion fabrics, obtainable from the same place at the same time.
We shall explore the idea of companion fabrics as we look at other panels.
You may be lucky enough to have one of these repro panels
from Reproduction Fabrics, but they are now out of print.
