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.
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.
Large bolt found on top of the head of a hammer and an adjustable wrench in the bottom of the submarine interior. Images show an x-ray photograph of the bolt prior to deconcretion, the bolt with concretion, and the bolt following deconcretion and conservation treatment with subcritical fluid technology.
Iron tool handle cast in a T-shape, with a square end. Images show the tool following removal from the submarine but prior to deconcretion, x-ray photograph of the tool, and the tool following deconcretion and conservation treatment with subcritical fluid technology.
Metal file composed of wrought iron, initially found resting on top of a ballast block on the interior floor of the submarine. Images show the initial site of the iron file during excavation and the file after deconcretion and conservation treatment with subcritical fluid technology.
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.
Salt-glazed border tiles made from kiln-fired red clay, used to line walkways and gardens. Made by slave labor on a plantation near Hickory Hill, South Carolina. Four tiles exist in the collection, two of each shown here.
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.
Smoked ivory ornamental face mask, mouth is wide oval, eyes are a rectangle; origin Epulu (Democratic Republic of the Congo, formerly Zaire), but is a replica of masks created by the Dan people of Cote d'Ivoire.
Smoked ivory ornamental face mask, openings for eyes, mouth has slight opening, showing teeth, crown on head; origin Epulu (Democratic Republic of the Congo, formerly Zaire), but is a replica of masks created by the Pende people (also of DRC).
Edison Blue Amberol recording of Fred Van Eps "Darkies Dream" and "Darkies Awakening." Patent information on top of cover reads "1910. John Young, Frederick J Wheeler." Etched into the top of the cylinder is "Thomas A. Edison Patd. 183; 1544 DARKIES DREAM & DARKIES AWAKENING VAN EPS." Bottom of cylinder is imprinted "Seeley Tube and Box Co. Newark, N.J. USA."
Wooden face mask decorated with white, blue, and red paint; mouth carved in an oval, eyes have triangular lids with blue dots, chin has blue dots, cheeks have red and white dots, forehead has blue dots and white V-lines, straw beard; string attached to two nails in back; origin Ndaka people of the Ituri rainforest.
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.
Multiple views of a circular, flat sweetgrass basket with a handle made of pine needles wrapped in palmetto leaves; basket contains accents of pine needles throughout and artist has incorporated decorative pine knots; center of basket contains a combination of sweetgrass, pine needles, and bulrush, sewn with palmetto leaf; label on back reads "HAND MADE BY Ida Mae Bennett."
Oval sweetgrass basket with seven sets of pine knots (called "love knots") which are visible only from the outside; basket is accented with rows of pine needle; also contains bulrush; sewn with palmetto leaf; bottom reads "Anne Scott 2006."
Wooden chief's stool decorated with four broad supports, each with two female figures, hands clasped over the stomach. The wood surface is treated with a white coloring agent. Origin Dogon people of Mali.
Wooden part of bench for supporting and holding forward and central sections of the submarine interior bench, with notch cut out to fit around the submarine interior frame. Images show the concreted bench support following excavation and removal from the submarine; reverse-side view of concreted bench support; x-ray photograph of bench support; bench support following deconcretion, conservation treatment with polyethylene glycol, and cleaning; the reverse-side view of the same post-deconcretion condition; bench support following freeze-drying; and the reverse-side view of the support post-freeze-drying. Note the holes in all images where nails or screws were once held to attach the support to the forward and central bench.
Rudder composed of wrought iron, discovered on the exterior of the submarine beneath the stern end with a large portion portside. Images show excavated rudder with concretion of coral growth and sea urchin spicules, rudder following partial deconcretion, deconcreted rudder treated in caustic solution, and fully deconcreted and cleaned rudder.
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.
Front and interior views of a coiled basked made of sweetgrass, pine needle, and bulrush, sewn with palmetto leaf. Domed lid has a knob and is decorated with pine knots. Lid is connected by a hinge on one side and contains a protruding piece that fits into a loop on the other side, securing it when closed.
Ten-note barrel-shaped sound box, also known as board piano or thumb piano and lukembi, likembe, or kalimba; wooden with keys made from spoon handles, bicycle spikes, or metal keys hammered to the desired shape; keys plucked with thumb and fingers; open at top and closed at bottom; one hole in bottom and one on back; semi-circular red markings on sides and top, rectangles etched on sides; metal wrapped around keys; origin Bira people of the Ituri rainforest.
Twelve-note sound box, also known as thumb piano, board piano, lukembi, or kalimba; wooden with keys made from spoon handles, bicycle spikes, or metal keys hammered to the desired shape; keys plucked with thumb and fingers; one hole on base and one on back; one key has a coil wrap; crudely decorated with lines and scratch-like marks on back; origin Ngwanda people of Central Africa.
Miniature five-string harp with wooden arm and base; base covered with skin that has been nailed down, arm has leopard type decoration, base has markings, hole cut out on top of base; origin Mangbetu people of the Ituri forest.
Large straw bag made of dark colored straw and decorated with shells. Lined with brown cloth. The straw was woven in Long Bay Cays and sold to craftswomen in Nassau. Originally purchased in the straw market of Nassau, Bahamas.
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.