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.