Flax wheel

Women on the American frontier typically used several types of spinning wheels in the home production of textiles, including
Saxony-type wheels such as this one.  The linen thread produced by flax wheels was used to weave textiles or combined with
cotton or wool to make a variety of textiles and clothing.  Often celebrated as tangible reminders of our colonial or pioneer history,
the number of surviving wheels is an indication of the value the original owners and their descendants placed on them. 

KM 833

Cotton gin

Although Kentucky’s climate made large scale production of cotton unsuitable, many farmers grew it for in-home
production of textiles. To expedite the time-consuming task of removing seeds, some Kentuckians made their own version of
Eli Whitney’s cotton gin, such as the example on exhibit. Women were often tasked with the responsibility for carding the
cotton, spinning the resulting fiber into thread, and weaving it into cloth.  Even after manufactured cloth was readily available
for purchase, some women continued to raise small plots of cotton, often for use as batts in their quilts. Oral histories record
this practice continuing well into the 20th century.

1976.22.1

Wholecloth quilt, ca. 1805
Rebecca Smith Washington (1786—1861)
Cotton/flax blend

Rebecca Smith’s hand-quilted bedcover is a rare surviving example of the influence of imported British woven quilts.
Her exquisitely stitched motifs mimic the framed-center format, intricate floral details, and filled background pattern of the popular
manufactured textiles. The quilt reportedly “took seven years to stitch.” Rebecca Smith was born in Virginia and married Whiting
Washington, a nephew of George Washington. The couple moved to Russellville, Logan County, where they raised their family.

Kentucky Museum, 2652

Hand-woven "Marseilles" quilt, 1790-1820
Unknown professional weaver
Cotton/flax blend

Factories throughout England produced fancy bedcovers on specialized looms from American-grown cotton. The finished
products, described as “quilted in the loom,” were among the popular British textiles exported to the United States as
fashionable consumer goods. In the years leading up to the War of 1812, patriotic women expressed support for an
embargo against British textiles by creating their own embellished bedcovers.

Kentucky Museum, 1961.1.6

Embroidered counterpane, ca. 1810
Elizabeth “Betsy” Patton Toomey
Warp: flax; Weft and embroidery yarns: cotton/flax blend

Elizabeth Patton Toomey was the granddaughter of Matthew Patton, who emigrated from Ireland, first to Virginia and then
to Clark County, Kentucky. Her mother died soon after her birth, and “Betsy” was raised by her aunt, Elizabeth Yeager
Patton. Betsy’s counterpane includes Dresden work, which indicates that she learned embroidery at a female
academy. The design of her counterpane closely resembles two others, pointing to a single unidentified instructor. 

Kentucky Historical Society, 1981.11

Weft-loop woven counterpane, ca. 1804
Elizabeth O’Neal (1786-1891)
Warp: flax; Wefts: cotton/flax blend

Elizabeth O’Neal was born in present-day Nelson County, Kentucky, in 1786. Her mother, Fannie Hall, was a weaver
whose parents had emigrated from West Yorkshire, England, to Fairfax, Virginia, around 1750. Elizabeth learned to weave
from her mother. In 1804, she wove this white counterpane in a traditional English weft-loop style which predated the
more complex Bolton counterpanes woven in neighboring Lancashire.

Kentucky Museum, KM 2021.2.1

Flax wheel

Women on the American frontier typically used several types of spinning wheels in the home production of textiles, including
Saxony-type wheels such as this one.  The linen thread produced by flax wheels was used to weave textiles or combined with
cotton or wool to make a variety of textiles and clothing.  Often celebrated as tangible reminders of our colonial or pioneer history,
the number of surviving wheels is an indication of the value the original owners and their descendants placed on them. 

KM 833

Cotton gin

Although Kentucky’s climate made large scale production of cotton unsuitable, many farmers grew it for in-home
production of textiles. To expedite the time-consuming task of removing seeds, some Kentuckians made their own version of
Eli Whitney’s cotton gin, such as the example on exhibit. Women were often tasked with the responsibility for carding the
cotton, spinning the resulting fiber into thread, and weaving it into cloth.  Even after manufactured cloth was readily available
for purchase, some women continued to raise small plots of cotton, often for use as batts in their quilts. Oral histories record
this practice continuing well into the 20th century.

1976.22.1

Wholecloth quilt, ca. 1805
Rebecca Smith Washington (1786—1861)
Cotton/flax blend

Rebecca Smith’s hand-quilted bedcover is a rare surviving example of the influence of imported British woven quilts.
Her exquisitely stitched motifs mimic the framed-center format, intricate floral details, and filled background pattern of the popular
manufactured textiles. The quilt reportedly “took seven years to stitch.” Rebecca Smith was born in Virginia and married Whiting
Washington, a nephew of George Washington. The couple moved to Russellville, Logan County, where they raised their family.

Kentucky Museum, 2652

Hand-woven "Marseilles" quilt, 1790-1820
Unknown professional weaver
Cotton/flax blend

Factories throughout England produced fancy bedcovers on specialized looms from American-grown cotton. The finished
products, described as “quilted in the loom,” were among the popular British textiles exported to the United States as
fashionable consumer goods. In the years leading up to the War of 1812, patriotic women expressed support for an
embargo against British textiles by creating their own embellished bedcovers.

Kentucky Museum, 1961.1.6

Embroidered counterpane, ca. 1810
Elizabeth “Betsy” Patton Toomey
Warp: flax; Weft and embroidery yarns: cotton/flax blend

Elizabeth Patton Toomey was the granddaughter of Matthew Patton, who emigrated from Ireland, first to Virginia and then
to Clark County, Kentucky. Her mother died soon after her birth, and “Betsy” was raised by her aunt, Elizabeth Yeager
Patton. Betsy’s counterpane includes Dresden work, which indicates that she learned embroidery at a female
academy. The design of her counterpane closely resembles two others, pointing to a single unidentified instructor. 

Kentucky Historical Society, 1981.11

Corded and stuffed quilt, ca. 1800
Temperance Wren Sharp (1783- after 1850)

Temperance Wren married John Sharp in 1816, in Paint Lick, Garrard County, Kentucky. In 1851, her son, William died
at age 25. A month later, his young widow Priscilla gave birth to their daughter, Willia Sharp. Priscilla took the baby to her
father’s home in Mercer County, where grandmother Temperance and her daughter, also named Temperance, reportedly
“used to spend months on visits” to the Brewer home. Willia inherited both her grandmother’s white quilt and her aunt’s
appliqued Rose quilt.

Kentucky Museum, 1806

Weft-loop woven counterpane, ca. 1804
Elizabeth O’Neal (1786-1891)
Warp: flax; Wefts: cotton/flax blend

Elizabeth O’Neal was born in present-day Nelson County, Kentucky, in 1786. Her mother, Fannie Hall, was a weaver
whose parents had emigrated from West Yorkshire, England, to Fairfax, Virginia, around 1750. Elizabeth learned to weave
from her mother. In 1804, she wove this white counterpane in a traditional English weft-loop style which predated the
more complex Bolton counterpanes woven in neighboring Lancashire.

Kentucky Museum, KM 2021.2.1

Corded and stuffed quilt, ca. 1800
Temperance Wren Sharp (1783- after 1850)

Temperance Wren married John Sharp in 1816, in Paint Lick, Garrard County, Kentucky. In 1851, her son, William died
at age 25. A month later, his young widow Priscilla gave birth to their daughter, Willia Sharp. Priscilla took the baby to her
father’s home in Mercer County, where grandmother Temperance and her daughter, also named Temperance, reportedly
“used to spend months on visits” to the Brewer home. Willia inherited both her grandmother’s white quilt and her aunt’s
appliqued Rose quilt.

Kentucky Museum, 1806

Weft-loop woven counterpane, ca. 1804
Elizabeth O’Neal (1786-1891)
Warp: flax; Wefts: cotton/flax blend

Elizabeth O’Neal was born in present-day Nelson County, Kentucky, in 1786. Her mother, Fannie Hall, was a weaver
whose parents had emigrated from West Yorkshire, England, to Fairfax, Virginia, around 1750. Elizabeth learned to weave
from her mother. In 1804, she wove this white counterpane in a traditional English weft-loop style which predated the
more complex Bolton counterpanes woven in neighboring Lancashire.

Kentucky Museum, KM 2021.2.1

Weft-loop woven counterpane, 1800-1820
Anonymous professional weaver
Cotton/flax blend

This counterpane is woven in the same weft-loop technique as those made in Bolton, Lancashire, England, but the 
format and the motifs are quite different. Some Bolton weavers continued to weave counterpanes after emigrating 
to the United States, where they modified motifs to suit American consumers.

Kentucky Historical Society, 2014.00.2

Weft-loop woven counterpane, 1800-1820
Anonymous professional weaver
Cotton/flax blend

This counterpane is woven in the same weft-loop technique as those made in Bolton, Lancashire, England, but the 
format and the motifs are quite different. Some Bolton weavers continued to weave counterpanes after emigrating 
to the United States, where they modified motifs to suit American consumers.

Kentucky Historical Society, 2014.00.2

Weft-loop woven counterpane, 1800-1820
Anonymous professional weaver
Cotton/flax blend

This counterpane is woven in the same weft-loop technique as those made in Bolton, Lancashire, England, but the 
format and the motifs are quite different. Some Bolton weavers continued to weave counterpanes after emigrating 
to the United States, where they modified motifs to suit American consumers.

Kentucky Historical Society, 2014.00.2

Embroidered tufted counterpane, ca. 1795
Rosannah Fisher (1781-1876)
Cotton/flax blend

Rosannah Fisher was born in Culpeper, Virginia, in 1781. She embroidered her counterpane in a design of tufts on a
handwoven ribbed fabric to reproduce the visual appearance of an imported Bolton counterpane.  In 1806, at age 25,
she married Martin Hardin. They raised their nine children on a farm in Mercer County. In 1860, Rosannah was
widowed and her household included an enslaved family, identified in her late husband’s will as “Jim, Judy,
and their children.”

Kentucky Historical Society, 1981.16

Bolton counterpane, 1790—1820
Anonymous British weaver
Cotton/flax blend

This hand-woven counterpane was produced in Bolton, Lancashire, England, from American-grown cotton. One or two
weavers worked a double-wide, two-harness loom to weave a bedcover without a center seam. This example would
have been purchased as a fashionable consumer item, to be handed down as a family heirloom.

Kentucky Museum, 2857

Embroidered counterpane, ca. 1790
Anne Lyne Starling (1777-1840)

Anne Lyne Starling was born to a wealthy family in Mecklenburg County, Virginia. The flax and cotton in her counterpane
were likely produced by enslaved farmhands, spinners, and weavers. In 1793, at age 16, she married Major John Holloway,
age 31. By 1800, they were living on a 1,500-acre farm in Henderson County, Kentucky, where they raised cotton, flax, and
other crops. By 1810, their household included eighteen enslaved laborers. 

Kentucky Historical Society, 1980.12.1

Embroidered counterpane, ca. 1815
Sarah “Sallie” Darrough (1797-1874)

Sallie Darrough was born in Harrison County, Kentucky in 1797. Her father, James Darrough, was born in Ireland, and
her mother, Margaret Dobie, in Pennsylvania. In 1818, at age 20, Sallie married Jacob Hedger and they established a farm
in Grant County, where they raised seven children. By 1870, the couple owned real estate and personal property valued
at $26,000. Their household included a Black female servant.

Kentucky Historical Society, 37.7 

Embroidered tufted counterpane, ca. 1795
Rosannah Fisher (1781-1876)
Cotton/flax blend

Rosannah Fisher was born in Culpeper, Virginia, in 1781. She embroidered her counterpane in a design of tufts on a
handwoven ribbed fabric to reproduce the visual appearance of an imported Bolton counterpane.  In 1806, at age 25,
she married Martin Hardin. They raised their nine children on a farm in Mercer County. In 1860, Rosannah was
widowed and her household included an enslaved family, identified in her late husband’s will as “Jim, Judy,
and their children.”

Kentucky Historical Society, 1981.16

Bolton counterpane, 1790—1820
Anonymous British weaver
Cotton/flax blend

This hand-woven counterpane was produced in Bolton, Lancashire, England, from American-grown cotton. One or two
weavers worked a double-wide, two-harness loom to weave a bedcover without a center seam. This example would
have been purchased as a fashionable consumer item, to be handed down as a family heirloom.

Kentucky Museum, 2857

Embroidered counterpane, ca. 1790
Anne Lyne Starling (1777-1840)

Anne Lyne Starling was born to a wealthy family in Mecklenburg County, Virginia. The flax and cotton in her counterpane
were likely produced by enslaved farmhands, spinners, and weavers. In 1793, at age 16, she married Major John Holloway,
age 31. By 1800, they were living on a 1,500-acre farm in Henderson County, Kentucky, where they raised cotton, flax, and
other crops. By 1810, their household included eighteen enslaved laborers. 

Kentucky Historical Society, 1980.12.1

Embroidered counterpane, ca. 1815
Sarah “Sallie” Darrough (1797-1874)

Sallie Darrough was born in Harrison County, Kentucky in 1797. Her father, James Darrough, was born in Ireland, and
her mother, Margaret Dobie, in Pennsylvania. In 1818, at age 20, Sallie married Jacob Hedger and they established a farm
in Grant County, where they raised seven children. By 1870, the couple owned real estate and personal property valued
at $26,000. Their household included a Black female servant.

Kentucky Historical Society, 37.7 

Embroidered tufted counterpane, ca. 1795
Rosannah Fisher (1781-1876)
Cotton/flax blend

Rosannah Fisher was born in Culpeper, Virginia, in 1781. She embroidered her counterpane in a design of tufts on a
handwoven ribbed fabric to reproduce the visual appearance of an imported Bolton counterpane.  In 1806, at age 25,
she married Martin Hardin. They raised their nine children on a farm in Mercer County. In 1860, Rosannah was
widowed and her household included an enslaved family, identified in her late husband’s will as “Jim, Judy,
and their children.”

Kentucky Historical Society, 1981.16

Bolton counterpane, 1790—1820
Anonymous British weaver
Cotton/flax blend

This hand-woven counterpane was produced in Bolton, Lancashire, England, from American-grown cotton. One or two
weavers worked a double-wide, two-harness loom to weave a bedcover without a center seam. This example would
have been purchased as a fashionable consumer item, to be handed down as a family heirloom.

Kentucky Museum, 2857

Embroidered counterpane, ca. 1790
Anne Lyne Starling (1777-1840)

Anne Lyne Starling was born to a wealthy family in Mecklenburg County, Virginia. The flax and cotton in her counterpane
were likely produced by enslaved farmhands, spinners, and weavers. In 1793, at age 16, she married Major John Holloway,
age 31. By 1800, they were living on a 1,500-acre farm in Henderson County, Kentucky, where they raised cotton, flax, and
other crops. By 1810, their household included eighteen enslaved laborers. 

Kentucky Historical Society, 1980.12.1

Embroidered counterpane, ca. 1815
Sarah “Sallie” Darrough (1797-1874)

Sallie Darrough was born in Harrison County, Kentucky in 1797. Her father, James Darrough, was born in Ireland, and
her mother, Margaret Dobie, in Pennsylvania. In 1818, at age 20, Sallie married Jacob Hedger and they established a farm
in Grant County, where they raised seven children. By 1870, the couple owned real estate and personal property valued
at $26,000. Their household included a Black female servant.

Kentucky Historical Society, 37.7 

Embroidered and quilted counterpane, ca. 1790
Maria Upshaw (Lafon) (1772-1852)

Maria Upshaw was born in 1772 in Essex, Virginia. As a young woman, Maria first embroidered an elegant white
counterpane, then took the unusual step of turning it into a quilt, layering her embroidered panel onto batting and
backing with close rows of tiny stitches. At age 29, Maria married Captain Nicholas Lafon, her first cousin. They lived in
Frankfort before relocating to a farm in Woodford County. Maria’s eldest daughter, Mary Virginia, embroidered a
sampler, also in this exhibition.

Kentucky Historical Society, 1935.2

Embroidered tufted counterpane, dated 1817
Martha “Patsy” Henry Woodruff (1796-1817)
Cotton/flax blend

This counterpane, inscribed “Martha Woodruff, April 15, 1817,” is a rarity, as very few Kentucky women marked
their whitework textiles in this way. It is probable that Martha Henry Woodruff, age 21, recorded the date that she finished
her counterpane. On June 10 that year, she gave birth to a daughter, Emily Jane. On October 16, Martha Woodruff died,
and, according to custom, her name was given to her baby daughter: Martha Emily Jane Woodruff. 

Kentucky Historical Society, 2000.21.1

Embroidered and quilted counterpane, ca. 1790
Maria Upshaw (Lafon) (1772-1852)

Maria Upshaw was born in 1772 in Essex, Virginia. As a young woman, Maria first embroidered an elegant white
counterpane, then took the unusual step of turning it into a quilt, layering her embroidered panel onto batting and
backing with close rows of tiny stitches. At age 29, Maria married Captain Nicholas Lafon, her first cousin. They lived in
Frankfort before relocating to a farm in Woodford County. Maria’s eldest daughter, Mary Virginia, embroidered a
sampler, also in this exhibition.

Kentucky Historical Society, 1935.2

Embroidered tufted counterpane, dated 1817
Martha “Patsy” Henry Woodruff (1796-1817)
Cotton/flax blend

This counterpane, inscribed “Martha Woodruff, April 15, 1817,” is a rarity, as very few Kentucky women marked
their whitework textiles in this way. It is probable that Martha Henry Woodruff, age 21, recorded the date that she finished
her counterpane. On June 10 that year, she gave birth to a daughter, Emily Jane. On October 16, Martha Woodruff died,
and, according to custom, her name was given to her baby daughter: Martha Emily Jane Woodruff. 

Kentucky Historical Society, 2000.21.1

Embroidered and quilted counterpane, ca. 1790
Maria Upshaw (Lafon) (1772-1852)

Maria Upshaw was born in 1772 in Essex, Virginia. As a young woman, Maria first embroidered an elegant white
counterpane, then took the unusual step of turning it into a quilt, layering her embroidered panel onto batting and
backing with close rows of tiny stitches. At age 29, Maria married Captain Nicholas Lafon, her first cousin. They lived in
Frankfort before relocating to a farm in Woodford County. Maria’s eldest daughter, Mary Virginia, embroidered a
sampler, also in this exhibition.

Kentucky Historical Society, 1935.2

Embroidered tufted counterpane, dated 1817
Martha “Patsy” Henry Woodruff (1796-1817)
Cotton/flax blend

This counterpane, inscribed “Martha Woodruff, April 15, 1817,” is a rarity, as very few Kentucky women marked
their whitework textiles in this way. It is probable that Martha Henry Woodruff, age 21, recorded the date that she finished
her counterpane. On June 10 that year, she gave birth to a daughter, Emily Jane. On October 16, Martha Woodruff died,
and, according to custom, her name was given to her baby daughter: Martha Emily Jane Woodruff. 

Kentucky Historical Society, 2000.21.1

Embroidered counterpane, ca. 1790
Miriam Elmina Helm (1777-1868)

Miriam Elmina Helm was born in Virginia in 1777 and came with her family to Kentucky.  She created this elegant
counterpane sometime before her marriage to Jacob Wright in 1797.  By 1820, Miriam and Jacob and their 13 children
were living in Smiths Grove, Warren County. A granddaughter recalled, “Grandmother took great pains to teach her girls
the art of spinning, weaving, and knitting. She did beautiful work herself. I have a counterpane for which she spun the
thread, wove the cloth, and then embroidered, when a young girl. Grandmother wanted each of her girls to be
a fine hand with a needle.”

Kentucky Museum, 1987.86.1

Tufted embroidered counterpane, ca. 1805 
Charlotte Briggs (1795-1862)

Charlotte Briggs was born in Virginia, then moved to Warren County, Kentucky. She likely made this counterpane
before her marriage to Thomas Stephens in 1817. By the time the counterpane came into the possession of Charlotte’s
granddaughter, Ora Susan Stephens Davenport (1866-1936), it had suffered from neglect, misuse, and damage.
To preserve it, Ora Davenport washed the tattered remnants and carefully stitched them onto a new backing.

Kentucky Museum, 1979.1.1

Embroidered counterpane, ca. 1790
Miriam Elmina Helm (1777-1868)

Miriam Elmina Helm was born in Virginia in 1777 and came with her family to Kentucky.  She created this elegant
counterpane sometime before her marriage to Jacob Wright in 1797.  By 1820, Miriam and Jacob and their 13 children
were living in Smiths Grove, Warren County. A granddaughter recalled, “Grandmother took great pains to teach her girls
the art of spinning, weaving, and knitting. She did beautiful work herself. I have a counterpane for which she spun the
thread, wove the cloth, and then embroidered, when a young girl. Grandmother wanted each of her girls to be
a fine hand with a needle.”

Kentucky Museum, 1987.86.1

Tufted embroidered counterpane, ca. 1805 
Charlotte Briggs (1795-1862)

Charlotte Briggs was born in Virginia, then moved to Warren County, Kentucky. She likely made this counterpane
before her marriage to Thomas Stephens in 1817. By the time the counterpane came into the possession of Charlotte’s
granddaughter, Ora Susan Stephens Davenport (1866-1936), it had suffered from neglect, misuse, and damage.
To preserve it, Ora Davenport washed the tattered remnants and carefully stitched them onto a new backing.

Kentucky Museum, 1979.1.1

Flax Comb, 1750-1800, made in Pennsylvania.
Gift of Mrs. Robert W. deforest, 1933. Metropolitan Museum of Art, 34.100.51.

Eli Whitney's Patent for the Cotton Gin, March 14, 1794;
Records of the Patent and Trademark Office; Record Group 241, National Archives.

Polly Darling, Untitled (Polly Darling Aged 11 Years, notions bag), ca. 1800-1825, cotton.
This notions bag is an example of other types of whitework created by girls and women in the Early Republic.

Smithsonian American Art Museum, Gift of Patricia Sue Smith, 2016.57.13.

Flax, n.d.

Flax fibers were processed to separate out the short two and long flax fibers
with the latter spun into threads using a flax wheel.

Flax Comb, 1750-1800, made in Pennsylvania.
Gift of Mrs. Robert W. deforest, 1933. Metropolitan Museum of Art, 34.100.51.

Eli Whitney's Patent for the Cotton Gin, March 14, 1794;
Records of the Patent and Trademark Office; Record Group 241, National Archives.

Polly Darling, Untitled (Polly Darling Aged 11 Years, notions bag), ca. 1800-1825, cotton.
This notions bag is an example of other types of whitework created by girls and women in the Early Republic.

Smithsonian American Art Museum, Gift of Patricia Sue Smith, 2016.57.13.

Flax, n.d.

Flax fibers were processed to separate out the short two and long flax fibers
with the latter spun into threads using a flax wheel.

Empire Dress, ca. 1815

Popular from 1790 to 1820, the Empire style in women’s fashion featured a flowing, loosely structured silhouette
inspired by archeological discoveries of classical Greek and Roman statuary. Often made of fine white batiste or
muslin, Empire dresses had low-cut necklines or décolleté, were gathered under the bustline, and included little or
no embellishment. As white was an impractical color for outerwear, wearing it was often limited to women
of higher social status.

Family tradition records that Catharine E. Whitesides (1824-1910) of Turkey Neck Bend, Monroe County, Kentucky,
wore the dress at her marriage to Varney F. Andrews (1819-1902). Given the popularity of the style before
Catharine’s birth, it may be a family heirloom that was originally worn by her mother or grandmother.

Empire Dress, ca. 1815

Popular from 1790 to 1820, the Empire style in women’s fashion featured a flowing, loosely structured silhouette
inspired by archeological discoveries of classical Greek and Roman statuary. Often made of fine white batiste or
muslin, Empire dresses had low-cut necklines or décolleté, were gathered under the bustline, and included little or
no embellishment. As white was an impractical color for outerwear, wearing it was often limited to women
of higher social status.

Family tradition records that Catharine E. Whitesides (1824-1910) of Turkey Neck Bend, Monroe County, Kentucky,
wore the dress at her marriage to Varney F. Andrews (1819-1902). Given the popularity of the style before
Catharine’s birth, it may be a family heirloom that was originally worn by her mother or grandmother.

Empire Dress, ca. 1815

Popular from 1790 to 1820, the Empire style in women’s fashion featured a flowing, loosely structured silhouette
inspired by archeological discoveries of classical Greek and Roman statuary. Often made of fine white batiste or
muslin, Empire dresses had low-cut necklines or décolleté, were gathered under the bustline, and included little or
no embellishment. As white was an impractical color for outerwear, wearing it was often limited to women
of higher social status.

Family tradition records that Catharine E. Whitesides (1824-1910) of Turkey Neck Bend, Monroe County, Kentucky,
wore the dress at her marriage to Varney F. Andrews (1819-1902). Given the popularity of the style before
Catharine’s birth, it may be a family heirloom that was originally worn by her mother or grandmother.

Man’s fall front trousers, ca. 1800
Linen

First worn by sailors and the working class, trousers gained acceptance as menswear in the 19th century,
replacing the wearing of knee breeches by all social classes. Tightly fitted around the waist and lacking belt
loops, they typically fit more loosely in the back. Their name derives from the front panel which the
wearer could drop when necessary.

According to family tradition, French immigrant and eventual Kentucky resident Abraham Miller wore this
pair of trousers at his wedding in October 1800 in the Shenandoah Valley of Virginia. The donor received
them from his great-grandmother in 1929 after he became the first great-grandchild tall enough to wear them.

Man’s fall front trousers, ca. 1800
Linen

First worn by sailors and the working class, trousers gained acceptance as menswear in the 19th century,
replacing the wearing of knee breeches by all social classes. Tightly fitted around the waist and lacking belt
loops, they typically fit more loosely in the back. Their name derives from the front panel which the
wearer could drop when necessary.

According to family tradition, French immigrant and eventual Kentucky resident Abraham Miller wore this
pair of trousers at his wedding in October 1800 in the Shenandoah Valley of Virginia. The donor received
them from his great-grandmother in 1929 after he became the first great-grandchild tall enough to wear them.

Man’s fall front trousers, ca. 1800
Linen

First worn by sailors and the working class, trousers gained acceptance as menswear in the 19th century,
replacing the wearing of knee breeches by all social classes. Tightly fitted around the waist and lacking belt
loops, they typically fit more loosely in the back. Their name derives from the front panel which the
wearer could drop when necessary.

According to family tradition, French immigrant and eventual Kentucky resident Abraham Miller wore this
pair of trousers at his wedding in October 1800 in the Shenandoah Valley of Virginia. The donor received
them from his great-grandmother in 1929 after he became the first great-grandchild tall enough to wear them.

Sampler by Elizabeth Huston, 1807.
Collection of the Speed Art Museum, from the Noe Collection, Gift of Bob and Norma Noe, Lancaster, Kentucky, 2011.9.19.

Schoolgirl sampler, dated 1821
Mary Virginia Lafon Jackson (1808—1880)

Mary Virginia Lafon embroidered this sampler at the age of 13. The text comes from a poem, “To a Young Lady,”
attributed to “Cotton,” possibly a pseudonym for Cotton Mather (1663-1728), a New England clergyman and poet.
Such verses were frequently published in early 19th century schoolbooks.

Mark, my Mary, how the roses
Emulate thy Damask cheek;
How the bud its sweets discloses— 
Buds thy opening bloom bespeak.

Lilies are, by plain direction, 
Emblems of a double kind;
Emblems of thy fair complexion,
Emblems of thy fairer mind.

But, dear girl, both flowers and beauty
Blossom, fade, and die away:
Then pursue good sense and duty,
Evergreens, which ne’er decay!

Quilted table cover, ca. 1790
Anne Lyne Starling (1777-1840)

In addition to her embroidered counterpane, Anne Starling also made a cover for a dressing table.
This item would have been called a “toilet,” from the French word toile, meaning fabric. It is exquisitely
quilted, with some elements raised by inserting cording between rows of stitching. 

Kentucky Historical Society, 1980.12.2

Embroidered counterpane, ca. 1810
Anonymous needleworker

In 1981, the staff at the Kentucky Historical Society discovered this counterpane among a trove of
uncatalogued early donations. The unknown maker learned to embroider from a skilled instructor, who
probably drew the elegant design. Whoever she was, we know that the counterpane was treasured by
her descendants, who preserved it in pristine condition.

Kentucky Historical Society, 81.19

White “practice” sampler, 1860-1900
Anonymous needleworker

In contrast with the formal samplers made by schoolgirls in female academies, this appears to be an informal
practice sampler. The unknown maker started with a piece of linen toweling, stitching over designs marked in ink,
probably drawn by a more experienced seamstress.  

Kentucky Historical Society, 1976.1.46

Sampler by Martha Ann Viley, 1833, completed at St. Catherine’s Academy in Scott County, Kentucky.
Courtesy Museum of Early Southern Decorative Arts, 5800.3

Sampler by Mary Johnson, 1810-1815, Ohio County, Kentucky.
Courtesy Museum of Early Southern Decorative Arts, 5829.3.

Sampler by Elizabeth Huston, 1807.
Collection of the Speed Art Museum, from the Noe Collection, Gift of Bob and Norma Noe, Lancaster, Kentucky, 2011.9.19.

Schoolgirl sampler, dated 1821
Mary Virginia Lafon Jackson (1808—1880)

Mary Virginia Lafon embroidered this sampler at the age of 13. The text comes from a poem, “To a Young Lady,”
attributed to “Cotton,” possibly a pseudonym for Cotton Mather (1663-1728), a New England clergyman and poet.
Such verses were frequently published in early 19th century schoolbooks.

Mark, my Mary, how the roses
Emulate thy Damask cheek;
How the bud its sweets discloses— 
Buds thy opening bloom bespeak.

Lilies are, by plain direction, 
Emblems of a double kind;
Emblems of thy fair complexion,
Emblems of thy fairer mind.

But, dear girl, both flowers and beauty
Blossom, fade, and die away:
Then pursue good sense and duty,
Evergreens, which ne’er decay!

Quilted table cover, ca. 1790
Anne Lyne Starling (1777-1840)

In addition to her embroidered counterpane, Anne Starling also made a cover for a dressing table.
This item would have been called a “toilet,” from the French word toile, meaning fabric. It is exquisitely
quilted, with some elements raised by inserting cording between rows of stitching. 

Kentucky Historical Society, 1980.12.2

Embroidered counterpane, ca. 1810
Anonymous needleworker

In 1981, the staff at the Kentucky Historical Society discovered this counterpane among a trove of
uncatalogued early donations. The unknown maker learned to embroider from a skilled instructor, who
probably drew the elegant design. Whoever she was, we know that the counterpane was treasured by
her descendants, who preserved it in pristine condition.

Kentucky Historical Society, 81.19

White “practice” sampler, 1860-1900
Anonymous needleworker

In contrast with the formal samplers made by schoolgirls in female academies, this appears to be an informal
practice sampler. The unknown maker started with a piece of linen toweling, stitching over designs marked in ink,
probably drawn by a more experienced seamstress.  

Kentucky Historical Society, 1976.1.46

Sampler by Martha Ann Viley, 1833, completed at St. Catherine’s Academy in Scott County, Kentucky.
Courtesy Museum of Early Southern Decorative Arts, 5800.3

Sampler by Mary Johnson, 1810-1815, Ohio County, Kentucky.
Courtesy Museum of Early Southern Decorative Arts, 5829.3.

Woven counterpane, ca. 1823
Anonymous Enslaved Weaver
Cotton/flax blend 

This counterpane, handed down in one family, is a rare, surviving example of work attributed to unnamed
enslaved artisans. The family narrative states that “slaves made the thread from cotton and wove the coverlet”
for Mary Leftwich Strange for her wedding in 1823.

Kentucky Historical Society, 1993.10.2 

Broadside announcing the sale of enslaved people in Mercer County, Kentucky, 1836.
Liljenquist Family Collection, Smithsonian National Museum of African American History and Culture.

Woven counterpane, ca. 1823
Anonymous Enslaved Weaver
Cotton/flax blend 

This counterpane, handed down in one family, is a rare, surviving example of work attributed to unnamed
enslaved artisans. The family narrative states that “slaves made the thread from cotton and wove the coverlet”
for Mary Leftwich Strange for her wedding in 1823.

Kentucky Historical Society, 1993.10.2 

Broadside announcing the sale of enslaved people in Mercer County, Kentucky, 1836.
Liljenquist Family Collection, Smithsonian National Museum of African American History and Culture.

Quilt with center medallion, ca. 1850
Harriet Legran Bates (1827-after 1880)

Harriet Legran Bates was born in Wayne County, Kentucky.  By 1880, widowed and childless, she had returned to the
family farm, headed by her widowed sister, Patience Jane Bates Simpson. The central medallion of Harriet’s white quilt
features cornucopias of pomegranates, grape bunches, and sheaves of grain. The DAR Museum owns two quilts with
nearly identical center designs, both of which were made in Wayne County.

Kentucky Museum, 2002.11.1

Embroidered counterpane, dated 1907
Bettie Whitney Napier (1862-1916)

Betty Whitney was born in Allen County, the fourth of twelve children. She married Charles Napier, and they lived in
Liberty, Casey County. In 1900, Bettie was widowed and living in Scottsville, and described as a merchant, probably
selling needlecraft supplies. Bettie executed the embroidery with great skill and artistry on a pre-stamped design on
linen, adding an initial N and the year 1907.

Kentucky Museum, 1993.14

Medallion quilt, ca. 1940
Gertrude Marie LaWarre Reuter (1898-1993)

Gertrude Reuter sewed and embroidered as a girl, but she did not discover quilting until she was in her 30s. 
She became a professional quilter to support her family, making quilts to order, often from the Mountain Mist
Batting Company. Of the several hundred quilts she made, the majority were appliqué patterns. This is the
only white wholecloth quilt she ever made.

Kentucky Museum, 1999.44.7

Tufted embroidered counterpane, ca. 1820
Anonymous needleworker

Tufted embroidered bedcovers first appeared in the late-18th century, inspired by woven counterpanes, such as examples
elsewhere in this exhibition. Early examples typically mixed tufting with other stitches. This bedcover, from a later period,
is covered with dense, high tufts in a bold, asymmetrical design of large, stylized flowers and leaves.

Kentucky Historical Society, 81.17

Tufted embroidered counterpane, ca. 1805 
Charlotte Briggs (1795-1862)

Charlotte Briggs was born in Virginia, then moved to Warren County, Kentucky. She likely made this counterpane
before her marriage to Thomas Stephens in 1817. By the time the counterpane came into the possession of Charlotte’s
granddaughter, Ora Susan Stephens Davenport (1866-1936), it had suffered from neglect, misuse, and damage.
To preserve it, Ora Davenport washed the tattered remnants and carefully stitched them onto a new backing.

Kentucky Museum, 1979.1.1

Embroidered counterpane, ca. 1790
Miriam Elmina Helm (1777-1868)

Miriam Elmina Helm was born in Virginia in 1777 and came with her family to Kentucky.  She created this elegant
counterpane sometime before her marriage to Jacob Wright in 1797.  By 1820, Miriam and Jacob and their 13 children
were living in Smiths Grove, Warren County. A granddaughter recalled, “Grandmother took great pains to teach her girls
the art of spinning, weaving, and knitting. She did beautiful work herself. I have a counterpane for which she spun the
thread, wove the cloth, and then embroidered, when a young girl. Grandmother wanted each of her girls to be
a fine hand with a needle.”

Kentucky Museum, 1987.86.1

Quilt with center medallion, ca. 1850
Harriet Legran Bates (1827-after 1880)

Harriet Legran Bates was born in Wayne County, Kentucky.  By 1880, widowed and childless, she had returned to the
family farm, headed by her widowed sister, Patience Jane Bates Simpson. The central medallion of Harriet’s white quilt
features cornucopias of pomegranates, grape bunches, and sheaves of grain. The DAR Museum owns two quilts with
nearly identical center designs, both of which were made in Wayne County.

Kentucky Museum, 2002.11.1

Embroidered counterpane, dated 1907
Bettie Whitney Napier (1862-1916)

Betty Whitney was born in Allen County, the fourth of twelve children. She married Charles Napier, and they lived in
Liberty, Casey County. In 1900, Bettie was widowed and living in Scottsville, and described as a merchant, probably
selling needlecraft supplies. Bettie executed the embroidery with great skill and artistry on a pre-stamped design on
linen, adding an initial N and the year 1907.

Kentucky Museum, 1993.14

Medallion quilt, ca. 1940
Gertrude Marie LaWarre Reuter (1898-1993)

Gertrude Reuter sewed and embroidered as a girl, but she did not discover quilting until she was in her 30s. 
She became a professional quilter to support her family, making quilts to order, often from the Mountain Mist
Batting Company. Of the several hundred quilts she made, the majority were appliqué patterns. This is the
only white wholecloth quilt she ever made.

Kentucky Museum, 1999.44.7

Tufted embroidered counterpane, ca. 1820
Anonymous needleworker

Tufted embroidered bedcovers first appeared in the late-18th century, inspired by woven counterpanes, such as examples
elsewhere in this exhibition. Early examples typically mixed tufting with other stitches. This bedcover, from a later period,
is covered with dense, high tufts in a bold, asymmetrical design of large, stylized flowers and leaves.

Kentucky Historical Society, 81.17

Tufted embroidered counterpane, ca. 1805 
Charlotte Briggs (1795-1862)

Charlotte Briggs was born in Virginia, then moved to Warren County, Kentucky. She likely made this counterpane
before her marriage to Thomas Stephens in 1817. By the time the counterpane came into the possession of Charlotte’s
granddaughter, Ora Susan Stephens Davenport (1866-1936), it had suffered from neglect, misuse, and damage.
To preserve it, Ora Davenport washed the tattered remnants and carefully stitched them onto a new backing.

Kentucky Museum, 1979.1.1

Embroidered counterpane, ca. 1790
Miriam Elmina Helm (1777-1868)

Miriam Elmina Helm was born in Virginia in 1777 and came with her family to Kentucky.  She created this elegant
counterpane sometime before her marriage to Jacob Wright in 1797.  By 1820, Miriam and Jacob and their 13 children
were living in Smiths Grove, Warren County. A granddaughter recalled, “Grandmother took great pains to teach her girls
the art of spinning, weaving, and knitting. She did beautiful work herself. I have a counterpane for which she spun the
thread, wove the cloth, and then embroidered, when a young girl. Grandmother wanted each of her girls to be
a fine hand with a needle.”

Kentucky Museum, 1987.86.1

Quilt with center medallion, ca. 1850
Harriet Legran Bates (1827-after 1880)

Harriet Legran Bates was born in Wayne County, Kentucky.  By 1880, widowed and childless, she had returned to the
family farm, headed by her widowed sister, Patience Jane Bates Simpson. The central medallion of Harriet’s white quilt
features cornucopias of pomegranates, grape bunches, and sheaves of grain. The DAR Museum owns two quilts with
nearly identical center designs, both of which were made in Wayne County.

Kentucky Museum, 2002.11.1

Embroidered counterpane, dated 1907
Bettie Whitney Napier (1862-1916)

Betty Whitney was born in Allen County, the fourth of twelve children. She married Charles Napier, and they lived in
Liberty, Casey County. In 1900, Bettie was widowed and living in Scottsville, and described as a merchant, probably
selling needlecraft supplies. Bettie executed the embroidery with great skill and artistry on a pre-stamped design on
linen, adding an initial N and the year 1907.

Kentucky Museum, 1993.14

Medallion quilt, ca. 1940
Gertrude Marie LaWarre Reuter (1898-1993)

Gertrude Reuter sewed and embroidered as a girl, but she did not discover quilting until she was in her 30s. 
She became a professional quilter to support her family, making quilts to order, often from the Mountain Mist
Batting Company. Of the several hundred quilts she made, the majority were appliqué patterns. This is the
only white wholecloth quilt she ever made.

Kentucky Museum, 1999.44.7

Tufted embroidered counterpane, ca. 1820
Anonymous needleworker

Tufted embroidered bedcovers first appeared in the late-18th century, inspired by woven counterpanes, such as examples
elsewhere in this exhibition. Early examples typically mixed tufting with other stitches. This bedcover, from a later period,
is covered with dense, high tufts in a bold, asymmetrical design of large, stylized flowers and leaves.

Kentucky Historical Society, 81.17

Tufted embroidered counterpane, ca. 1805 
Charlotte Briggs (1795-1862)

Charlotte Briggs was born in Virginia, then moved to Warren County, Kentucky. She likely made this counterpane
before her marriage to Thomas Stephens in 1817. By the time the counterpane came into the possession of Charlotte’s
granddaughter, Ora Susan Stephens Davenport (1866-1936), it had suffered from neglect, misuse, and damage.
To preserve it, Ora Davenport washed the tattered remnants and carefully stitched them onto a new backing.

Kentucky Museum, 1979.1.1

Embroidered counterpane, ca. 1790
Miriam Elmina Helm (1777-1868)

Miriam Elmina Helm was born in Virginia in 1777 and came with her family to Kentucky.  She created this elegant
counterpane sometime before her marriage to Jacob Wright in 1797.  By 1820, Miriam and Jacob and their 13 children
were living in Smiths Grove, Warren County. A granddaughter recalled, “Grandmother took great pains to teach her girls
the art of spinning, weaving, and knitting. She did beautiful work herself. I have a counterpane for which she spun the
thread, wove the cloth, and then embroidered, when a young girl. Grandmother wanted each of her girls to be
a fine hand with a needle.”

Kentucky Museum, 1987.86.1