The whole cloth coverlet is printed with a large bamboo tree in the center, surrounded by vines, leaves, and flowers. Two urns with floral arrangements flank the base of the tree. A scrolling vine and flowers surround the Tree-of-Life motif.
Letter from Royal Flint to Nathanael Greene. Includes a discussion of the discrepancies in the mail and missed communications. Flint goes on to discuss the political nature of the country as was told to him by General Greene. Flint continues to discuss the general nature of the politics and questioning the decisions made by the government; saying the people have developed a habit of complaining, the need to regulate the currency, and refrain from continuing to alter the constitution.He also addresses the issue of pay, advocating the compensation of the army. He then discusses the lack of supplies for General Greene's troops. Flint goes on to state that Colonel Wadsworth is tiring of his role in the legislature.
These images are from the Signal Book kept by Union Officer Ensign LaRue P Adams during the Siege of Charleston between August and September of 1863. Note: Some pages were not scanned because they were blank and contained no content or were ripped out and were therefore unavailable for digitization.
These images are from the daybook of James Poyas, a Charleston merchant. Entries begin in February 1760 and end in April of 1765. James Poyas was born in 1736 to Jean Louis (anglicized to John Lewis) Poyas and Marie Jourdan. He married Elizabeth Portall in 1755, and they had one child, a daughter, Elizabeth. In 1767, James moved his family to London. They never returned to America to live. His daughter married an Englishman, Joseph Higginson; and James died in Bath in 1799. Beyond these few facts, very little is known about James and his family. Research is, of course, on-going. The daybook itself is one of a set. The South Carolina Historical Society holds the companion book, which covers from 1764-1766, so there is some overlap. The description of the entries list the names and, in the parentheses behind them, their account numbers. This will serve as a differentiation between people (fathers and sons, cousins, etc.) with the same or similar names. Due to slight variations in spelling (for which we have attempted a reconciliation), it will also serve as a confirmation that one is in fact looking at the same person throughout the ledger. Some of the miscellaneous account numbers, not associated with people, are: account 3 -- the store itself; account 31 -- cash; account 87 -- Indico [Indigo?] and account 81 -- Bonds and Notes. Occassionally there are entries with no account numbers next to them. These seem to be have been entered into another ledger (petty cash?) but no account number has been listed in our corresponding description, even if that person had (or would have) an account.
Chintz applique quilt top, 105.5" square, made of 36 squares, each with a floral chintz applique. Fifteen squares have maker's signatures, dates and city. Floral chintz sashing. No batting or backing (unfinished). Signatures are: Adrianna L. Lartique, Blackville 1847 / Mary Elisa Gantt, April 1848 / Harriet Blackwood, Charleston 1848 / Elisabeth Cummins, Charleston 1848/ Harriet B. Chapman, February 1848 / Virginia Chapman, January 1848 / Rachel Chapman, Charleston 1848 / Mrs. C. T. Lartique, Blackville 1847 / T. B. Chapman, Charleston 1848 / Harriet B. Chapman, March 1848 / Catherine Chapman, Blackville 1847 / Mrs. R. Kirkland, Blackville 1848 / Ann E. Furman, Charleston 1847 / Claudia L. Chapman, Blackville 1847. Donated to the Charleston Museum by Lucia Fishburne Walker (Mrs. William Harvey Cogswell) in 1978. Second image displays detail of one square.
Chintz applique quilt measuring 109.5" by 190.5" and consisting of 41-12" square blocks with muslin ground and chintz applique flowers, set on point. Triangles fill in around the edges on all sides. Brown, red and cream print sashing frame the squares and triangles. Floral chintz is used on outer border. It has a woven tape binding with muslin backing and a very thin batting. Two wreaths in the center are signed "Margaret Thompson Banks / 1844" and "James Monroe Eason / 1844." A maker's wreath below and between the center wreath is signed "Gracy Drummond / December 4th, 1845/ Aged 66 yrs." Each block on the frontof the quilt has the name and date of a family member as follows: (A-1) J Bennett Lanneau; (A-3) Elizabeth Drummond; (A-5) Mary E Dotterer; (A-7) Thomas D Eason; (A-9) Robert Pritchard Eason; (B-2) Thaddeus Street; (B-4) Henry Eason Dotterer; (B-6) Gracia Jane Lanneau; (B-8) Thomas Davis Dotterer; (C-1) Hugh Rose Banks, Jr.; (C-3) Sarah Ann Eason Street; (C-5) Isabella Jane Grassell Eason; (C-7) Thomas A Dotterer; (C-9) Margaret Thompson Murphy; (D-2) Fleetwood Lanneau; (D-4) T Ogier Smith; (D-6) Margaret Thompson Banks; (D-8) William A Dotterer; (E-1) Jane S Windsor; (E-3) Caroline Thompson Mann Banks; (E-5) Gracy Thompson Drummond; (E-7) Hugh Rose Banks, Sr.; (E-9) Caroline C Banks; (F-2) Gracey Jane Windsor Lanneau; (F-4) Elizabeth A Banks; (F-6) James Monroe Eason; (F-8) Fleetwood G Lanneau; (G-1) Charles Henry Banks; (G-3) Thomas T Windsor; (G-5) Elizabeth Thompson Mann-Windsor; (G-7) Mary Eason Dotterer; (G-9) Sarah Jane Jones; (H-2) Martha Elizabeth Jones Windsor; (H-4) James B Dotterer; (H-6) James Caldwell Lanneau; (H-8) Sarah Thompson Calder; (I-1) Mary Stevens Lanneau; (I-3) Caroline B Drummond; (I-5) Margaret Murphy; (I-7) Harriet [unknown] Burns; (I-9) William Grassell Eason. The quilt was made for the marriage of Margaret Thompson Banks (1826-1886) and James Monroe Eason (1819-1887). The two were married on March 23, 1847 in Charleston, South Carolina. The quilt was donated in 2011, by direct descendents of Margaret and James Eason, Virginia Eason Winn and Julie King Winn Sellers. Includes two detail Objects of quilt blocks F-2 and H-2, respectively.
Very large white cambric quilt with appliques. Central medallion is floral bouquet surrounded with butterfly motifs and circular floral vine. Surrounding vine are bird and butterfly motifs, with architectural ruins inside four oval landscape medallions. Floral vase in each corner. Inner border is floral chintz with urns, lion's head depicted on each. Middle border is white cambric and outer border is different chintz pattern with cherubs. Tape binding, backing is cambric, fine batting.
The quilt consists of thirty blocks with centered applique motifs, each signed. Motifs include birds, flowers, floral wreaths, urns, and baskets of flowers. The motifs are cut out and appliqued with a button hole stitch. The blocks are separated by white sashes. The quilt is framed with a floral border. Bound, backed, and quilted.
At the center of the quilt is a large square medallion of individual appliqued chintz motifs. The center consists of various chintz flowers and leaves. The area bordering the center medallion depicts various birds, peacocks, and floral motifs. The outside border is floral chintz. Quilted and backed.
Letter from Stephen Drayton to Benjamin Lincoln mentioning the misconduct of the North Carolina’s commissary and continue to discuss ideas on better transportation of troops and supplies. Drayton goes on to detail some of the supplies which he has sent to various units and camps; tents, knapsacks, kettles, canteens, hoes, axes, and carpenters tools. He laments the lack of spades or shovels and states that he has enclosed a list of items.
Letter from John Laurens to Benjamin Lincoln discussing battle strategy and reporting the number of enemy troops opposite them on the Wappataw River. Laurens also reports that the enemy have ransacked ‘Mrs. Pinckneys’ plantation.
White cotton coverlet, 56" x 80," with pink chain stitch embroidery forming design of 42 squares, alternating pink rosettes with blue and white flower design, black seed centers and green scroll leaves. One edge hemmed; remaining three have heavy cotton cord 2.25" fringe. Made by Cynthia Elizabeth Poyas Marvin in the 1920s. Donated to the Charleston Museum by the maker's granddaughter, Margaret Sadler Eigner in 2006.
Pair of matching white cotton coverlets with appliqued design in pastel shades - 18 brown lattice baskets filled with purple, pink and yellow tulips, green leaves. Green sashing. Scalloped green binding on three sides, top edge hemmed. Made by Margaret Williams (Mrs. George W. Williams) in the 1930s. Donated to the Charleston Museum by maker's granddaughters, Elizabeth & Margaret Williams in 2008.
Rose of Sharon applique quilt, consisting of sixteen 14" muslin squares, each with pink and green rose pattern. Pink and green scalloped appliqued border. Green backing, turned back to front for binding. Outline and echo quilting. Made by Anne Marie Owens Thorne (Mrs. Thomas J. Thorne) in the 1930s. Donated to the Charleston Museum by the maker's grandson, Stephen T. Schachte in 2003.
Applique quilt with twenty white blocks separated by chintz sashing. Each square is appliqued with designs cut from chintz including tulips, roses, and vases. One block is cut from calico. Cotton batting, muslin backing. Quilting design is interlocked circles behind the appliques.
The quilt depicts the Tree of Life pattern in chintz applique on white cotton. At the base of the tree are appliqued scenes portraying pagodas, a male figure blowing a horn, another male figure chopping wood, and a lady carrying a basket of fruit. Peacocks and other birds of varying sizes are perched on the branches. Floral motifs and butterflies are throughout the quilt. The quilt is bordered with roses, forget-me-nots, buds, and leaves mitered at the corners. The whole quilt is bound by twill tape. The quilting inside the border is of interlocking 1 1/2" circles, while the quilting on the border is diagonal straight lines about 3/4" apart. The backing is made of three strips. The front fabric behind the applique is composed of two 30" strips and one 18 1/4" strip. Includes detail Objects of Tree of Life and border.
Chintz applique quilt top, 82.5" x 86," with Trophy of Arms center medallion encircled by wreath of flowers, then ring of butterflies, then ring of fruit motifs, and then ring of fruit motifs alternating with floral vase ovals. Chintz border of peacocks and flowers. No batting, backing or binding (unfinished). Made by Hannah Noland Henderson c. 1830. Donated to the Charleston Museum by descendants William Rutherford Trumble and Fritz Trumble in 2013. Detail Objects show center medallion Trophy of Arms and a floral vase oval.
Letter from John Mathews to Nathanael Greene regarding the possible battle strategies of the English as the end of the war draws near and how the Continental army should go about trapping the British troops.
Letter from William Bryan to [Governor Richard Caswell] regarding the British attacks in the north, the movement of their fleet, his suspicion that they intend to attack South Carolina, and the lack of preparation for said attack.
Letter from John Ashe to Benjamin Lincoln regarding the impending invasion of troops from the other side of the Savannah river and an insistence that there needed to be a strong opposition to meet them in Augusta. Ashe also states that he has enclosed a letter from General Williamson.
Chintz applique quilt, 101.5" square, with center medallion of pair of pheasants in a wreath of flowers. Four concentric floral chintz borders. Within first border are individual chintz flowers appliqued around wreath. The backing is a plain muslin with thin batting with woven tape binding. The quilt was found in the attic of 9 Ladson Street and later purchased by the donor at vintage clothing store in Charleston. It was given by Mary Alma Parker in 2008. Second image displays detail of the center medallion.
Letter from James Mitchell Varnum to Nathanael Greene regarding general politics and how he believes the country should be organized after the war. Varnum goes on to criticize Congress and discuss the lack of men and funds to continue much longer in the war.
White on white corded quilt, basket of flowers central design, surrounded by a grapevine oval. Beneath the basket are the initials "L O," the date "1806" and a smaller basket. There are cornucopias with flowers in each corner. Rows of cording and vines form borders. Looser weave cotton backing; woven tape binding. Donated to the Charleston Museum by Ruth Holmes Whitehead in memory of E. Milby Burton & Miss Elizabeth Simons in 1987. Second image is of the back of the quilt.
Baltimore Album quilt, 101.5" x 104.5," with 25 blocks, each with appliqued flowers, baskets, fruit, birds, tree motifs, with stuffed and embroidered details. Appliqued floral vine border. Marked in one block in cross-stitch: "Sarah Rosenstock 1857." Made by Sarah Rosenstock (Mrs. Gerson/George Rosenstock) in Baltimore, MD in 1857. Donated to the Charleston Museum by Mrs. Luke Vincent Lockwood in 1942.
A Chintz Applique,measuring 112" by 117", from the early to mid-19th century. It has a white background with red, blue, green and brown chintz pieces in a tree-of-life design. Border is a 12" strip of chintz with floral design on background of tiny black dots. There is no batting or backing and it is not hemmed. There are at least 17 different fabrics used in the center panel. The center piece is dated from an earlier period - approximatley 15 to 20 years earlier - with the border fabric being of a later date, possibly 1850. The palm tree and bird group in the lower left corner are circa 1815. The design is influenced by Indian palampores. The quilt was made, in Charleston, by Maria Boyd Schulz, the daughter of John Christopher Schulz and Susan Flud Cantey. Maria's sister, Martha Anne (1819-1852) married Dr. Thomas L. Burden, a relative of the donor's husband. The quilt was donated by Mrs. H. S. Burden in 1970.
Chintz floral quilted in overlapping fan or cloud design. Predominantly red, blue (faded) and brown on cream white background. Center medallion "Trophy of Arms" encircled by floral wreath, surrounded by 2 diagonal chintz borders with four semicircle floral clusters on each side. Floral triangles near edge complete shape into square (47"). Square is surrounded by 5-1/2" muslin border, surrounded by 5-1/2" chintz border, surrounded by another 5-1/2" muslin border. Final border is 1-1/2" floral chintz border fabric of red, blue, green, and gold. Woven tape binding, muslin backing, very thin batting. Second image displays detail of center medallion.
A crib or cradle quilt measuring 41" by 31". The squares alternate: either a white border with a floral patterned fabric in center or a floral patterned border with applique on white square in center. This is a variation of the "Log Cabin" design. The border is chintz with a poppy floral pattern and the backing is a white cotton, edged with braid. It is quilted overall in a geometric design. The quilt was made, in Charleston, by Mary Louisa Schirmer, who was the donor's step-mother. The quilt was donated by Robert S. Tiedeman in June of 1948.
The center medallion is a large urn with flowers surrounded by bird motifs. A floral appliqued vine encircles the center medallion, on a muslin background. The center medallion is predominantly red, brown, green, yellow, and blue. A golden face of a bearded man crowned with a wreath of fruit and leaves is portrayed on the urn. The quilt has a pink chintz border printed with alternating designs of brown cartouches with a floral vase in the center and blue and red flowers in brown baskets.
The chintz applique crib quilt depicts thirty-five floral motifs, each with a different floral spray or cartouche. The chintz motifs are appliqued with a buttonhole stitch. The border is floral chintz with vies and leaves. Predominate colors include shades of pink, red, and green. Muslin backing, thin batting. Quilted in small diamonds. Muslin squares without sashes.
Chintz floral medallion in center (roses, acorns, and thistles) appliqued on printed ground with tiny flowers widely spaced extending to floral border. Next border has chintz appliqued floral bouquets and oval medallions with appliqued strip of leaving twining around. Final border has printed design of scrolls and urns with gold and red border. Woven tape binding. Overall crosshatch quilting in various sizes.
Chintz applique quilt with white cambric background. The central medallion depicts a basket with circular spray of flowers, cut from various pieces of chintz. Chintz colors have all faded to brown, pink, and blue. Narrow border of individual floral motif forms a square around the central medallion. In each corner of the square are smaller floral baskets. The outer border is plain cambric with individual appliqued flowers. The quilt ends with the same narrow border of floral motifs. Overall cross-hatch quilting. Plain cambric back. Woven twill tape binding on all sides. Thin or no batting.
Constructed of three square chintz borders alternating with two applique borders depicting flowers and birds. Has batting, backing and binding. Blue and red printed chintz on linen with fruit basket design in floral wreath in center. Floral and bird designs surrounding wreath with floral border. Additional floral and bird designs outside border, surrounded by second set of border and applique designs. Thicker outer border also floral.
The chintz quilt consists of a floral center medallion encircled with a floral wreath. The center medallion is framed by six borders. The inner border is a floral chintz pattern with an alternating border or brown or tan linen. The two outside borders are floral chintz. Quilting is in a diamond pattern. Batting is almost gone. Unbound. Background colors darkened with age, originally brown or tan color.
The quilt is chintz applique and pieced. In the center is a large Ohio Star of floral chintz surrounded by a chintz border, a chintz applique border, and Ohio Star border. There are three wide chintz borders. Cotton batting, muslin backing, quilted overall.
The whole cloth palampore coverlet is printed with a tree-of-life motif surrounded by birds, flowers, and insects. Colors are predominantly browns, roses, and blues with a tan background. A shepherd with a flute and various pastoral animals are depicted under the tree. To the left are castellated ruins and a ship on the sea. To the right of the tree is another section of the seas with two cloaked men and a giraffe on a log raft, which is a reference to Zarafa, the giraffe given to Charles X by the Ottoman Viceroy of Egypt, Mehmet Ali Pasha in 1824. The entire design is bordered by a paisley motif.
Central medallion portraying a large basket of appliqued flowers, each flower outline quilted. Medallion surrounded by four smaller oval bouquets. Curving flowering vine and four small landscape medallions with architectural ruins. In each corner a small triangular floral motif, border of chintz in different pattern, then white cambric border quilted in one direction diagonal lines with spaced leaf motifs. Outer border is chintz in different pattern and manufacturer than rest of quilt, light brown outer border. Bound with tape, backed with same white cambric, very thin cotton batting.
mid 19th century. Basket of flowers medallion surrounded by floral circle. Background is white quilted French cambric circa 1840. English chintz applique designs. Outer border is appliqued chintz on all sides. Four floral wreaths each encircle scenic ruins with floral bouquets between wreaths at corners. Pencil markings used as guidelines for quilting visible. Second image displays detail of center medallion.
The quilt consists of nine chintz applique squares, each with an identical floral spray in center and four small sprays, one in each corner. Sashing between squares is a chintz floral strip with brown leafy scroll edging. A wide chintz floral border with large pink and red flowers and green leaves with smaller pink, brown/gold, and blue flowers. Muslin backing. Binding back to front, machine stitched. Each square is clamshell quilted and border is fan quilted. Six squares have inked names and dates.
Chintz applique quilt consisting of 30 squares, each with different floral or bird design. Some squares initialed or signed. Blocks set with sashes of burgundy chintz and framed with white cotton and brown Greek key motif. Backing is white cotton, folded over edges to form binding. Cotton batting.
The chintz quilt consists of twenty-five appliqued squares, each of which depicts floral motifs, including floral sprays, floral wreaths, and vases with bouquets of flowers, various birds including a rooster and a peacock, and butterflies. The squares are bordered with dark brown floral chintz sashing.
White cotton coverlet, 78" x 97," embroidered with white cotton handwork. Central tree of life in a handled pot or basket surrounded by inner border of grape vine, leaves and grape clusters. Outer border of swags. Directly under the pot are embroidered initials and date: "P D C 1814." No backing or batting; narrow rolled hem top and bottom, sides selvage. Made by Martha (Patsy) Dabney Chisholm of Charleston in 1814. Purchased by the Charleston Museum in 1999.
White on white corded quilt, basket of flowers central design, set in lozenge surrounded by flowers, border of scrolls and leaves. Wide outer border has arched motifs each with one of several flowers. Tape and fringe on three sides of quilt. Said to have been made by Mrs. Sarah Hyrne and her friends in South Carolina in the 18th century. Donated to the Charleston Museum by Margaret Livingston Charles Aldrich (Mrs. Richard Aldrich) in 1952.
White cotton bedspread with white cotton thread embroidery, 79" x 85." The central design is a tall flower in a vase surrounded by a scalloped diamond, with floral motifs around it. A vine with flowers forms final border. Said to have been made by Ann Hamilton (cousin of Alexander Hamilton) while visiting relatives in Charleston in 1812. Donated to the Charleston Museum by Florence Margaret Underwood Adams (Mrs. Gordon Adams) in 1977.
Piece of chintz, measuring 25 1/2" x 16 1/2", iris motif on brown ground, with maker's information stamped along top selvage: "Published as the ACT directs / September 24th 1835 / by John Lowe Shepley Hall." Also initials "J. H." Second stamp reads: "John Lowe and Compy Shepley Hall Furniture Printers / 80 N / 32867 / 28." Donated to the Charleston Museum by Mrs. W. P. McCorkle in 1922.
Letter from William Pierce, Jr. to Nathanael Greene regarding the transfer of the British fleet to Halifax, the lack of confidence the Tories have in Lord Cornwallis, and the general state of the British military holdings in the Americas.
Letter from John Hancock to the Governor and Council of the State of Virginia regarding the movement of the British fleet from New York. Hancock reports that the fleet is suspected to be bound for South Carolina.
A chintz applique measuring 109" by 111.5". It has a Tree-of-Life design and uses multiple fabrics. The design includes flowers, leaves and birds on a main tree with butterflies and floral sprigs encircling the tree. At the base of the tree is mound of flowers with various birds including peacocks. The floral border is wide and printed with green leaves, brown flowers and tiny, yellow flowers. The whole quilt is multicolored on a white background. The backing is plain muslin in four vertical strips with woven binding tape all around. The center of the quilt has double line diagonals forming diamonds with a floral motif in the center. It isqQuilted around the tree motifs. And the border is quilted in crossed diagonal lines. On the reverse, in dark blue cross-stitch, at top center is stitched: "Burges / Dec 1833." The quilt was possibly made in Charleston by Margaret Eliza Darley Seyle Burges, the great, great-grandmother of the donor. Margaret and James Smith Burges were the parents of Edward Burges. Edward married Eveline Olivia Petsch. Their son was Julius Eugene Burges, Sr., who married Anna Willissa Detwiler. Their son was Julius Eugene Burges, Jr., the donor's father. The quilt was given in 2010, by Gene Burges.
A chintz applique, medallion quilt measuring 92.5" by 91". It has a white background with pinks, blues, greens and browns. And a central motif of a basket of fruit with leaves and bird. This is encircled by bird, insect and floral appliques. There are varied floral bouquets at the four sides with fruit, floral and pheasant appliques below. Additional florals, in both baskets and sprays, are outside the center medallion. There is a narrow floral border on both sides of a wider border around the whole quilt. The wide border is a printed floral of bright blue, pink and brown. It is quilted overall in a clamshell design with the border having larger overlapping arcs. The plain muslin backing is in three vertical strips with binding front to back. The quilt was possibly made in Charleston by Margaret Eliza Darley Seyle Burges, the great, great-grandmother of the donor. Margaret and James Smith Burges were the parents of Edward Burges. Edward married Eveline Olivia Petsch. Their son was Julius Eugene Burges, Sr., who married Anna Willissa Detwiler. Their son was Julius Eugene Burges, Jr., the donor's father. The quilt was given in 2010, by Anne Burges Lake.
The quilt is floral chintz with a fruit basket medallion. The basket is filled with various chintz fruits (grapes, pineapple, peaches, strawberries) and a bird. The center medallion is encircled with a floral wreath. The main body of the top is quilted in a scalloped (clamshell) pattern with cording. The central medallion is surrounded by four circular rows of hexagonal patchwork flowers. These hexagonal flowers were appliqued after the completion of the corded quilting. Appliqued fruit in rounded triangles are in each corner of the quilt within the borders. The quilt is framed by two floral patterned chintz borders. Main colors in the quilt are rose red, blue, and brown. No batting. Back is whole cloth linen or cotton. The hexagon flowers contain block prints, copper plate roller prints, Lafayette blue and tan prints, madder print, and others.
White cotton coverlet, 65" x 81," with cotton thread embroidery forming two baskets of flowers facing out and four larged leaves in center forming an X. Floral tendrils overall and leafy border. Knotted fringe on three sides. Made by Mariah Parrish of Marlboro County, SC, c. 1830. Donated to the Charleston Museum by Miss George Rowe Townsend in 2002.
White coverlet with blue embroidered design of central basket of flowers and floral sprays overall. No batting or backing. Made by Sallie Stanley in Jones County, North Carolina, c. 1775 (but may be early 19th century). Donated to the Charleston Museum by Blanche Huckabee in 1971.
Scrap quilt, 70" x 84," made of multi-color cotton fabrics in crazy quilt style. Pieced muslin backing. Applied binding pieced of various fabrics. Marked "L A A / 6.13.34" indicating it was probably made by Leila Ann Axson (Columbia, SC) in 1934.
Letter from John Laurens to Francis Kinloch regarding foreign travel in Europe and the state of American political affairs. Laurens proceeds to outline the South Carolinian officials who are to attend the General Congress gathering that will soon take place in Philadelphia or New York.
Letter from William Pierce to William Davies regarding the general status of the American troops; in Charleston and Virginia in particular. In the last paragraph Pierce expresses the imminence of an attack.
Pieced Star of Bethlehem quilt, radiating from center red star - diamonds in red, brown, and blues. Vase of flowers chintz applique in each corner on muslin ground, 3 sprays of chintz applique flowers between star points. Narrow border, then pieced diamond border, then two more narrow borders. Muslin backing, woven tape binding. Cross-hatch quilting and floral quilting. Descended in Eason family of Charleston. Donated to the Charleston Museum by Thomas Dotterer Eason and Ann Eason in 2005.
The quilt depicts forty-nine squares with a cluster of grapes in each block. The blocks are separated by green calico sashing. The border is floral chintz. Predominate shades include pink and green. Muslin backing, thin batting and binding.
Chintz applique quilt with a center medallion depicting a basket of fruit (single printed motif) encircled by eight smaller fruit baskets on a muslin ground. There is a pair of birds with flowers in each corner (pheasants). The border is composed of a line of small fruit baskets, each encircled with a floral wreath to form a scalloped outer border of bouquets and circular motifs on a radish-pink background. Woven tape binding on all four sides. The quilting pattern is around each applique and printed motif with overall background quilting of floral vines. The red-pink portion of the border has diagonal line quilting . Cotton batting; backing of natural muslin, four long panels sewn together.
White background with central medallion depicting the Hunt Cornucopia. Central medallion encircled by appliqued wreath. Appliqued pheasants, various other birds, and flowers outside the wreath, all surrounded by chintz floral border, surrounded by white cambric border, with outer border of floral and bird motifs. Quilt center is the same as quilt in Smithsonian from the William Alston Plantation "Fairfield-on-the-Waccamaw."
A set of annual reports of the the Fire Department from 1859-1872. Reports missing for years 1862-1865. The annual reports open with a statement from the Fire Chief and include multiple lists of department expenses, financial cost of fires, the cause of the fires, and locations of city property pertaining to the fire department.
Eréndira Fabela Estrada (b. 1963) was born in San Pedro, Coahuila, Mexico. Her large family, school, and participation in the Catholic Church youth groups shaped her life. When she was twenty years old, she arrived for the first time to Johns Island, South Carolina to visit her sister and brother-in-law. There, she met her future husband and father of her daughter who worked as a contractor for a local farmer. Soon, Fabela Estrada was working with him in the fields and helping to manage the administrative side of contracting seasonal agricultural workers. The couple divided their time between Johns Island and San Pedro but decided to settle down definitively when their daughter started school. Motivated to improve her English to help her girl with the school homework, Fabela Estrada began taking classes at the College of Charleston. She continued studying until she graduated with a Bachelor's degree in Spanish and Education. For twelve years, she has worked as a Spanish teacher at the Military Magnet Academy in the City of North Charleston. In the interview, Fabela Estrada reflects on her experiences working in the agricultural fields, her love for studying and teaching, and the difficulties and satisfactions she experienced by challenging her community traditional roles. Eréndira Fabela Estrada (1963) nació en San Pedro Coahuila, México y creció sin carencias ni lujos en el seno de una familia numerosa. Su familia, la escuela y la participación en los grupos juveniles de la iglesia católica dejaron una marca importante en su vida. A los veinte años llegó a Johns Island, Carolina del Sur para pasar un tiempo con su hermana y su cuñado que se habían radicado en la isla. Fue ahí donde conoció a su futuro esposo y padre de su hija que trabajaba como contratista para un ranchero local. Con él trabajó en todas las labores implicadas en el cuidado de los campos y la organización de los trabajadores. La pareja repartía su tiempo entre Johns Island y San Pedro, pero decidieron establecerse definitivamente cuando la hija de ambos comenzó la escuela. Motivada a capacitarse y mejorar su inglés para poder ayudar a la niña con las tareas escolares, Fabela Estrada comenzó a tomar clases en el College of Charleston. Poco a poco, continúo estudiando y se graduó con un Bachelor en español y educación. Por doce años se ha desempeñado como profesora de español en la escuela Military Magnet Academy en la Ciudad de North Charleston. En la entrevista, Fabela Estrada reflexiona acerca de sus experiencias trabajando en el campo, su amor por el estudio y la enseñanza y los desafíos que enfrentó para salirse de los roles tradicionales de su comunidad.
Caption: 'Cook's Earthquake Views of Charleston and Vicinity. Taken after the 31st of August, 1886. No.116, wreck in George Street.' Written on front, at bottom: 'Charleston Earthquake view - Ruins in George St.'
Caption: 'Charleston Earthquake. Photographs by Dr. E.P. Howland, taken on his visit to Charleston and the earthquake region of Ten Mile Hill and Summerville. Over 150 photographs were taken. Orphans and tents in which they lived.' Written on front, at bottom: 'Charleston Earthquake scene - orphans, standing the yard of the Orphan House.'
Written on reverse: 'House in which young Mr. Robson was killed. Two young ladies were buried in the ruins were rescued. Coming near Cannon.' Possibly from Cook's Earthquake Views, No.132, residence of J.N. Robson, from west. Written on front, at bottom: 'Charleston Earthquake view. Residence of Mr. J.N. Robson, whose eldest son was killed.' Charleston city directory for 1886 shows James N. Robson at 200 Coming Street.
Caption: 'Cook's Earthquake Views of Charleston and Vicinity. Taken after the 31st of August, 1886. No.149, Robb's Lot.' Handwritten on reverse: ' Robb's Lot E. side [of] King bet[ween] Market & Horlbeck.'