QUILT INDEX RECORD

25-21-349

Who documented this quilt?

Texas Sesquicentennial Quilt Association, Texas Quilt Search

Where are the records for this quilt housed?

Briscoe Center for American History, University of Texas at Austin

CONTRIBUTING INSTITUTIONAL INVENTORY CONTROL NUMBERS: Enter the main control number for this item you are entering. For a museum, this will probably be your acquisition number. It may be the number given to the quilt by the state or county project.

tqs_0016

AUTHOR/INTERVIEWEE: The person who brought the quilt for documentation is the source. Enter his/her name here.

Quilt owner; Relative of quiltmaker; Other

OTHER RELATIONSHIP TO SOURCE: If you chose Other, for the relationship to the source, describe the relationship here.

This quilt was identified and reviewed during the Texas Sesquicentennial Quilt Association's Texas Quilt Search, 1983-1985. Karey Bresenhan served as quilt historian.

DATE OF DATA COLLECTION: Enter the date the state or county documentation form was filled out (as mm-dd-yyyy or c.yyyy, e.g. c.1965).

1983-1985

RELATIONSHIP OF SOURCE PERSON TO QUILT: Choose the best description of the relationship of the source to the quilt. Use ctrl + click to choose more than one.

Quilt owner

IF SOURCE PERSON IS QUILT OWNER: If the source is the owner, choose how they came to own the quilt. Use ctrl + click to choose more than one.

Inherited

OTHER INFORMATION ON SOURCE PERSON TO QUILT: If you chose other, please describe how the quilt maker participated in the design.

The present owner of this quilt is the great granddaughter of the quiltmaker.

TYPE OF QUILT OBJECT: Choose the best description for the quilt being documented.

Finished quilt

OWNER'S NAME FOR QUILT'S PATTERN: Enter the name given to the quilt by the owner. This can be the name the family used to refer to the quilt as it passed through different generations, e.g. "Aunt Susie's quilt" or a pattern name that the owner used.

Rose of Sharon with Buds

OVERALL WIDTH: Enter how wide the quilt is. Specify units of measure (mm or in or inches)

96 in.

OVERALL LENGTH: Enter how long the quilt is. Specify unit of measure (mm or in or inches).

72 in.

SHAPE OF EDGE: Choose the best description for the edges of the quilt.

Scalloped

OTHER SHAPE OF EDGE: If you chose Other, please describe the edge treatment here.

sawtooth binding in red with red tassel at each corner

SHAPE OF CORNERS: Choose the best description for the corners of the quilt.

Other

OTHER SHAPE OF CORNERS: If you chose Other, please describe the corner treatment.

silk tassel attached at square corners

PREDOMINANT COLOR(S): CHECK ALL THAT APPLY: Enter all colors that are found in the quilt. Use ctrl + click to choose more than one.

Green; Orange; Pink; Red; White

OVERALL COLOR SCHEME: Choose the best color scheme description for the quilt being documented.

Bright or primary colors

OVERALL CONDITION: Choose the best description for the quilt being documented.

Very good/almost new

DAMAGE TO QUILT: Use this field to describe specific damage to the quilt. Use ctrl + click to choose more than one.

Mildew; Stains; Tears or holes

OTHER DAMAGE TO QUILT: If you chose Other, please describe the damage.

very slight wear

COMMENTS OR NOTES ON QUILT'S CONDITION OR REPAIR HISTORY: Some quilts have had extensive or unusual repair work done. Please use this field to describe anything that didn't fit in the previous fields.

In 1985, as part of the preparations for the “Lone Stars: A Legacy of Texas Quilts, 1836-1936” exhibit in the Texas Capitol Rotunda, the Texas Sesquicentennial Quilt Association sponsored a Quilt Conservation Seminar. Part of the seminar was a two-day intensive hands-on laboratory attended by quilt experts who stabilized, backed, or otherwise prepared the quilts, including this one, for this exhibition.

TIME PERIOD: Choose the time frame that best describes when the quilt was made. The date does not have to appear on the quilt to enter it in this field. This can be your best guess based on family stories or your own knowledge of quilts.

1850-1875

FAMILY/OWNER'S DATE FOR QUILT: If there are family stories that indicate a date when the quilt was made, enter that date (as mm-dd-yyyy or c.yyyy, e.g. c.1965).

early 1860s

OTHER EXTERNAL OR PROFESSIONAL DATE ESTIMATION: If the date was estimated by an antique dealer, quilt historian or appraiser, enter that date (as mm-dd-yyyy or c.yyyy, e.g. c.1965).

ca. 1860-1865

OTHER DATE ESTIMATION BY WHOM: Enter the name and/or title of the person who estimated the quilt's date for field 23d.

Karey Bresenhan

LAYOUT FORMAT: Choose the best description for the layout (or set) of the quilt.

Block pattern

NUMBER OF QUILT BLOCKS: This field only applies to quilts with a block format. Some blocks are harder to count than others (e.g. Storms at Sea, Double Wedding Ring). If needed, describe how the blocks were counted or if there are half blocks/corner blocks

6

SIZE OF BLOCKS (L X W): Applies only to block pattern quilts; block patterns are by far the most common layout formats. Block patterns don't have to be square (Double Wedding Ring and Grandmother's Flower Garden are common non-square blocks).

17 in. x 17 in. approximately

ARRANGEMENT OF QUILT BLOCKS: BLOCK ORIENTATION: This field only applies to quilts with a block format. Choose the best description for how the quilt blocks appear in the quilt.

On point or rotated on 45 degrees

SPACING RELATIVE TO OTHER BLOCKS: This field only applies to quilts with a block format. Choose the best description for how the quilt blocks are set together. Sashings are strips of fabric that separate the quilt blocks from one another.

Side by side

NUMBER OF DIFFERENT BLOCK PATTERNS PRESENT: Enter the number of different block patterns used in the quilt.

1

BLOCK STYLE: Some patterns use the same shape template throughout the quilt (i.e. Charm quilts, Grandmother Flower Garden, Brick wall, Lone Star). If this applies to your quilt, choose the best description.

Squares

NUMBER OF BORDERS: Borders are the strips of fabric that are added after the blocks (and sashings) are put together. They appear on the outside edges of the quilt. Quilts often have multiple borders. Enter the number of borders on the quilt.

1

BORDER DESCRIPTION: Describe the style of the borders (i.e. pieced, appliquéd, stenciled) and the width of each border, from the inside to the outside.

Elaborate rose and swags border in pink, red, and green around entire quilt, with even more decorative design at each corner.

FABRIC FIBER TYPES USED IN QUILT TOP: Choose all the types of fiber that are used to make the quilt top. Use ctrl + click to choose more than one.

Cotton

FABRIC PATTERNS, STYLES, MOTIFS, OR PRINT CATEGORIES USED IN QUILT TOP: Choose all the types of prints that are used to make the quilt top. Use ctrl + click to choose more than one.

Print; Solid/plain

CONSTRUCTION TECHNIQUES USED IN QUILT TOP: APPLIQUE TECHNIQUES: Choose the applique method used to construct the quilt. Use ctrl + click to choose more than one. Skip the question if no applique appears on the quilt.

Hand Applique

CONSTRUCTION TECHNIQUES USED IN QUILT TOP: EMBELLISHMENT TECHNIQUES: Choose the embellishment technique used to make the quilt. Use ctrl + click to choose more than one. If your answer in Field 38f was no, skip this question.

Other embellishment technique

UNIQUE OR OTHER CONSTRUCTION TECHNIQUES: Enter any unusual technique that hasn't been described in a previous field.

multi-layered applique; trapunto

CONTAINS PAPER REMAINS: This field is for quilts that have been either string pieced on a paper foundation or English template pieced. Choose yes if you can feel or see paper on the quilt that was used as a construction aid.

no

EMBELLISHMENT MATERIALS USED IN TOP: Choose the embellishment material used to make the quilt. Use ctrl + click to choose more than one. If your answer in Field 38f was no, skip this question.

Other attachments

UNIQUE EMBELLISHMENTS: Enter any embellishment materials that don't appear in a previous field.

silk tassel at four corners

FABRIC FIBER TYPES USED IN QUILT BACK: Choose the fiber type used to make the quilt back. Use ctrl + click to choose more than one.

Cotton

COLOR OF BACKING: Enter all colors that are found in the quilt backing. Use ctrl + click to choose more than one.

White

DESCRIPTION OF BACK: Choose the best description for the back of the quilt. Use ctrl + click to choose more than one.

Hand sewn; Same fabric used throughout; Solid/plain

MATERIALS USED IN QUILT BINDING: Choose the fiber type used to make the quilt binding. Use ctrl + click to choose more than one.

Cotton

UNIQUE BINDING MATERIALS: Enter any binding materials used on the quilt that do not appear in a previous field.

red tassel at each corner

CONSTRUCTION TECHNIQUES USED IN BINDING: Choose the construction technique used to make the quilt binding. Use ctrl + click to choose more than one.

Hand sewn; Prairie Points

WIDTH OF QUILT BINDING: Choose the width (in inches) of the binding of the quilt. Measure from the front side only.

half inch - one inch

MATERIAL USED FOR QUILT BATTING OR FILLING: Choose the fiber content that best describes the material used to fill the quilt.

Cotton

BATTING LOFT: Choose the thickness of the quilt filling that best describes the quilt.

Thin (Less than 3/16?)

UNIQUE OR OTHER BATTING: Enter any batting materials used on the quilt that don't appear in a previous field.

Karey Bresenhan thinks batting may have been prepared by hand because virtually no cottonseeds are visible.

QUILTING TECHNIQUES USED: Choose the technique that best describes the way the quilt layers are held together. Use ctrl + click to choose more than one.

Hand quilting; Stuffed work

THREAD TYPE: Describe the fiber content or type of quilting thread used on the quilt.

cotton

THREAD COLOR: Enter the color(s) of thread used to hold the quilt layers together.

white

NUMBER OF QUILTING STITCHES PER INCH (PLACE 1): Count only the stitches that are visible on the top and measure in one place on the quilt. Enter the measurement.

22

NUMBER OF QUILTING STITCHES PER INCH (PLACE 2): Count only the stitches that are visible on the top and measure in a different place on the quilt. Enter the measurement.

20

QUILTING DESIGNS USED: MOTIFS/OVERALL PATTERNS: Choose the overall quilt design found on the quilt top. Use ctrl + click to choose more than one.

Other

QUILTING DESIGNS USED: DECORATIVE PATTERNS: Choose the decorative quilt design found on the quilt top. Use ctrl + click to choose more than one. Skip the question if none of the designs appear on the quilt.

Feathering; Floral; Other

PLEASE DESCRIBE OTHER QUILTING DESIGNS USED: Describe any quilting designs that appear on the quilt, but were not listed in a previous field.

Karey Bresenhan describes quilting as superlative. She counted 22 stitches per inch in several locations on the quilt top and is absolutely sure the entire quilt was quilted by hand. Quilting patterns include a curving feather design to fill precisely the space between the border design and the edge of the quilt. Trapunto designs in white background blocks and on border; very heavily stuffed.

ANY OTHER FEATURES OR NOTES ABOUT THE QUILT'S APPEARANCE, MATERIALS OR CONSTRUCTION: Describe anything about the physical appearance of the quilt that wasn't already recorded in a previous field.

Roses are superb example of multi-layered applique. The applique was first done with a running stitch, overlaid with a perfect chain stitch, executed by hand, outlining every piece and every layer. Stuffed work adds texture and dimension. Quilt seems to have a sheen it is so heavily stuffed. Two matching baskets of flowers are in quilt center on white ground; stuffed flowers and other designs appear throughout the quilt, each individually stuffed from the back. According to Karey Bresenhan, "the designs rise in relief above a background completely flattened with many rows of straight line quilting no more than one-fourth an inch apart. The appliqued design, the swag and tassel turn each corner smoothly." According to family history, the quiltmaker was sixteen when she made this masterpiece.

QUILT TOP MADE BY: Enter the name of the person(s) who made the quilt top. Names must be listed last name first, followed by first name and middle name or initials; last name should be followed by a comma and space.

Dickerson, Margaret Wright

QUILTED BY: Enter the name of the person(s) who quilted the top. Names must be listed last name first, followed by first name and middle name or initials; last name should be followed by a comma and space.

Dickerson, Margaret Wright

STATE: Enter the name of the state where the quilt was made. Skip the question if you don't know where the quilt was made.

Missouri (MO)

COUNTRY: Enter the name of the country where the quilt was made. Skip the question if you don't know where the quilt was made.

United States

HOW WAS QUILT ACQUIRED BY OWNER: Choose the best description for how the owner acquired the quilt. Use ctrl + click to choose more than one. Skip the question if you don't know how the owner acquired the quilt.

Inheritance

OCCASION, DATE, PERSON INHERITED FROM, ETC: If the quilt was inherited, enter any information you know about the inheritance. Skip the question if the quilt was not passed on through a family.

Quiltmaker Margaret Wright of Missouri is said to have been about sixteen when she made this quilt. The family believes she was born about 1845 and that she died in Pasadena, Texas, in 1916. She made the quilt for her Civil War-era wedding, and she brought it with her when she moved from Missouri to Atoka, Texas, probably in the late 1870s. The couple had four children, the third of which was the present owner's grandmother, Gillie Dickerson Mitchell. According to the quilt's owner, in 1915 or 1916 the quiltmaker traveled by train from Pasadena to Hamlin, Texas, to visit her daughter Gillie; she "had a small trunk with this quilt in it to give to her daughter." Eventually Gillie gave the quilt to her sister Winnie Mitchell Bell; in 1980 Winnie gave the quilt to the present owner.

ANY ADDITIONAL STORIES OR NOTES ABOUT THE QUILT'S OWNERSHIP OR HISTORY: Describe anything about the history of the quilt that wasn't already recorded in a previous field.

The Dickersons lived on a farm in Atoka, Texas, in Coleman County. After Margaret Dickerson's husband died she moved to Houston to live with a son and his family. The owner believes that her great grandmother and a sister, Lula Wright, made three quilts, one of which is this Rose of Sharon with Buds quilt. A second quilt is believed to be in a San Diego area museum, but that remains unconfirmed. The third quilt is thought to be in the Pasadena-Houston area.

QUILTMAKER'S REASONS FOR MAKING THE QUILT: If the quilt was made for a specific purpose, choose the reason from the list. Use ctrl + click to choose more than one.

Wedding

PLEASE EXPLAIN OTHER OCCASION, IF APPLICABLE: If you chose Other, please explain the occasion.

Margaret Wright made this quilt for her hopechest.

QUILT WAS ORIGINALLY DESIGNED TO BE USED AS: Not all quilts were made for beds. Choose how the quilt was originally used. Use ctrl + click to choose more than one.

Bedding, special occasion

QUILT IS PRESENTLY USED AS: Choose how the quilt is being used by the present owner. Use ctrl + click to choose more than one.

Keepsake/memento

SOURCE OF QUILT'S MATERIALS: Choose how the quilt maker acquired the fabric for this quilt. Use ctrl + click to choose more than one.

Purchased new

QUILT TOP PATTERN SOURCE: Choose where the quilt maker found the pattern for this quilt. Use ctrl + click to choose more than one.

Public domain/traditional pattern; Traditional pattern variation

EXHIBITIONS (LIST ALL): List all known exhibits where this quilt has been displayed including: Title, Location, Dates, Venue of Exhibit and Catalog Title or publications, if applicable. Use this field for all information.

One of 62 Texas quilts exhibited in “Lone Stars: A Legacy of Texas Quilts, 1836-1936,” Texas State Capitol Rotunda, Austin, Texas, April 19-21, 1986.

OWNERSHIP OF THIS QUILT IS: Choose whether the quilt is owned by a person (private) or a museum or public collection.

Private

NAME OF QUILT OWNER: Add name of Quilt Owner if public other.

O'Rear, Iris Mitchell

QUILT OWNER STATE: State of current quilt owner.

Texas (TX)

QUILT OWNER COUNTRY: Country of current quilt owner

United States

OTHER RELATED ITEMS SUCH AS IMAGE, ORAL HISTORY, OR EPHEMERA: Use this box to list other materials that exist about this quilt. This may include oral history, articles, additional photos or publications, etc.

Bresenhan, Karoline Patterson and Nancy O'Bryant Puentes, Lone Stars: A Legacy of Texas Quilts, Vol. I, 1836-1936 (Austin: University of Texas Press), p. 54-55.

QUILTMAKER'S MAIDEN NAME: Enter the maiden name of the quilt maker.

Wright, Margaret

GENDER: Choose the gender of the quilt maker(s). Use ctrl + click to choose more than one.

Female

BIRTH DATE: Enter the birth date of the quilt maker (as mm-dd-yyyy or c.yyyy, e.g. c.1965).

ca. 1845

DEATH DATE, IF APPLICABLE: Enter the date of death of the quilt maker (if applicable, as mm-dd-yyyy or c.yyyy, e.g. c.1965).

1916

QUILT MAKER'S BIRTH STATE: Select the state of the quilt maker's birth.

Missouri

QUILT MAKER'S COUNTRY OF BIRTH: Select the quilt maker's country of birth, if known.

United States

SPOUSE'S/SPOUSES' OCCUPATION(S): Enter the occupation of the quilt maker's spouse.

farmer

NUMBER OF CHILDREN: Enter the number of children of the quilt maker.

4

NUMBER OF FEMALE CHILDREN: Enter the number of daughters of the quilt maker.

1

NUMBER OF MALE CHILDREN: Enter the number of sons of the quilt maker.

3

ESTIMATED NUMBER OF QUILTS MADE BY THIS QUILTER: Choose the number that approximates how many quilts the quilt maker has made.

1-5 quilts

AVAILABLE SOURCES FOR QUILTMAKER: List other source materials about this quiltmaker such as photos, oral histories, book or newspaper publications, fame for some other reason or event.

Texas Sesquicentennial Quilt Association’s Texas Quilt Search Archives

PHOTO CREDIT: Credit for photographer.

Sharon Risedorph

ACCESS AND COPYRIGHT INFORMATION FOR IMAGE: Choose whether this TIF is available to use other than in this database.

Restricted

FOR HOLDER OF COPYRIGHT, CONTACT: Enter the name of the person or institution that owns the copyright to the image.

Assistant Director Winedale

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