Showing posts sorted by date for query Antebellum Album. Sort by relevance Show all posts
Showing posts sorted by date for query Antebellum Album. Sort by relevance Show all posts

Saturday, November 14, 2020

Harriet Alexander Caperton's Sampler #2: Pre-Civil-War Years

                         

Unusual block, probably made from a paper-cut pattern,
in an appliqued sampler attributed to Harriet Alexander Caperton (1820-1899)
Union, Monroe County, Virginia, 1850s, perhaps.

Last week we began examining this sampler attributed to Harriet


Did Harriet's five-pointed stars indicate a sentiment for the Union? After all she lived
in the town of Union, Virginia all her life (Well, without her actually packing a thing she relocated to West Virginia in 1863---whether she liked it or not.)

Chrome orange areas are revealed through reverse applique.

 (See more at this post last week )
https://civilwarquilts.blogspot.com/2020/11/harriet-alexander-capertons-sampler-1.html

To examine Harriet's quilt and her life we have to begin with West Virginia's political history. When she was about 40 years old the Civil War broke out and the state of Virginia seceded to become a Confederate state.


Virginia had once been much larger extending from the Atlantic on the east into the western Appalachian mountains, but generations of ceding territory to form other states had created this strange 1860 shape, home to many different cultures. The purple counties in the northwest were far more loyal to the Union than the eastern and southern counties in pink. And then there was the mixed strip in red in the center. Harriet lived in the blue county on the line between some strong opinions. In 1863 western Virginia split off from the "Old Dominion" to become the 35th state, a Union state.

Cliches about pre-Civil-War Virginia, neatly categorizing eastern areas
as planters supported by slavery; the western people as mountaineers
in log cabins.


We do not know Harriet's opinions but my first reading of her album sampler was probably wrong. I looked at all these five-pointed stars, her town named Union and it's location in the break-away county as evidence of Union sympathies. I've changed my mind. First of all: Harriet's immediate family was anything but the stereotype of  "Mountaineer," although her grandfather James Alexander (1750-1814) could be viewed as a pioneer of the Revolutionary War era.

About the time of Harriet's applique she is listed
as owning 13 slaves in the 1860 census. Twenty percent of
the people in Monroe County were listed as enslaved that year.
 It's doubtful Harriet had any Union sympathies.

A 1911 regional history tells us that James and wife Isabella Erskine Alexander's families intermarried with "other leading families of Monroe [County], the Alexander connection has been very prominent in local annals [Descendants became Senators, U.S. Representatives, Governors, etc and some quite wealthy.] Mother Isabella (1748-1834) was from Cecil County, Maryland; James from eastern Virginia, perhaps near Roanoke.

James Alexander and Isabella, in their twenties, were the first [non-Native people] to settle in Monroe County, created in 1799 from Greenbrier County. They'd been in Greenbrier prior to the Revolution's end and built that proverbial "first house" on a hill east of Union, a cabin soon burned in a battle with the native people. They rebuilt on what would become the town's main street and apparently James and Isabella ran a tavern and mapped a town.

Militia musters were important social events.

The name Union was chosen six decades before the Civil War to honor a mustering place of the neighborhood militias, The Union Militia. 

Son Henry, Harriet's father, was the sixth of their 7 children. Harriet's mother Elizabeth Carthrae Alexander (1782-1829) was remembered in a local history as a gardener, raising the first geraniums and fuchsias ever seen in Union.


Harriet was born in 1820. Her mother died when she was nine. Perhaps she grew into one of the girls who shocked neighbor Anne Royall. Royall left observations about Monroe County in her 1826 book. She was unimpressed by Union: "This is a poor little village, remarkable for nothing but a very elegant brick court-house."

The brick courthouse in Union today is the third, built in the 1880s.

Royall noticed the wildness of the females who thought nothing of riding for miles around the country "sometimes attended only by another of their own age and sex! So much for the ladies of Monroe."

Elmwood Plantation survives in Union, on the National Register
of Historic Places

Early property owners thrived in the years before the Civil War, among them the Alexanders, who built increasingly grander homes that have not survived. Neighbor Hugh Caperton (1781-1847) is recalled as a Union resident who "became wealthy in land and the mercantile business [and] figured prominently in political affairs...."Elmwood. the Caperton family mansion, was built in Union in 1835.

Anne Royall thought Hugh Caperton remarkable although she did not mention him by name. "C___Esq. [has] amassed great wealth" as a merchant and speculator.
 "An American, a Kentuckian (I think.)  He is descended from a respectable family...he is one of your finest looking men, of elegant address, and very handsome....Those who are so unfortunate as to fall in their debt, receive no mercy....The taste those people have for foreign finery, and foreign luxuries, roused them to industry....Meanwhile their children are springing up, already practice the arts of cunning and speculation."

 A few years later Harriette married one of Caperton's children, William Gaston Caperton, middle child of ten.


Their wedding certificate

William Gaston Caperton (1815- 1852)
Gaston graduated from Yale in 1837,
married Harriette at 28. He was named
for Judge William Gaston of New Bern,
North Carolina.

Harriet was in her early 20s when she married in 1843. Her husband was probably called Gaston as were many of his descendant named for him. After perhaps a year spent practicing law in Staunton, Virginia the family returned to Union, due to his "failing health."


The 1850 census is hard to read. Harriette 29 is living with William G., three children and a 30 year-old Irish woman named Mary Cullan, perhaps in charge of the children. Gaston is worth $12,000 in land. By then Gaston was indeed in bad health. He dropped dead in front of Harriette at 37, leaving her with four surviving children aged 8 down to six-month old Isabelle.

Yale Obituary


We have little more information about Gaston; he doesn't seem to have accomplished much in his 37 years. His prominent brothers are pictured here without him. Allen Taylor Caperton on the right was a post-Civil-War U.S. Senator. Gaston at this point may already have died but he always seems just out of the picture. "Failing health" and dropping dead are often indications of alcoholism, rarely acknowledged. 


When Hugh Caperton died in 1847 he  left an elaborate will bequeathing much money, real estate and many enslaved people to his children. Harriette's husband did not receive what the others did: The enslaved Tuckwiller family and three other slaves listed by name, two horses and a cow. Gaston, married four years to Harriette, seems to have been much in debt to this father who enumerated, "advancements heretofore made to him, in all making about twenty thousand dollars." 

Washington newspaper the Daily Republic printed an obituary,
not too accurate but heartfelt.

And that seems to be the end of Harriette's husband.


The 1860 census shows Harriet at 40 as head of her own household with her four children each worth more than she was (wealth probably measured in human beings).  Right before the Civil War eldest son John was 16.

Harriet's blocks (on the left) have much in common with other antebellum applique quilts. On the right
blocks from a quilt dated 1848 made by the Robinson and Cather families, near Winchester, Virginia, 
Collection of the Museum of the Shenandoah Valley. Harriet's on the left are similar but a little more high-spirited.

Next week the Caperton family during the war.

See Anne Royall's biting observations about her neighbors in Monroe County:  Sketches of History, Life and Manners in the United States.


Wednesday, October 28, 2020

Cassandra's Circle #10: Carolina Rose/Miriam De Leon Cohen

Cassandra's Circle Block #10 Carolina Rose
by Becky Brown. She simplified the stems and pieced the star.

Mulberry, mid-20th-century view of the main house.
Mary Boykin Chesnut spent time during the war at her in-laws' plantation 3 miles from Camden
in South Carolina's midlands.

Mary was not fond of the small town of Camden where she lived most of her life. She didn't like the neighbors and they apparently didn't care much for her either.

Kamchatka, Library of Congress photo
Before the war Mary and James Chesnut built Kamchatka, a house
  so far from Camden's center they named it after the
remote Russian peninsula. They sold Kamchatka in 1858
when they moved to Washington and James entered the Senate.

In 1851 his Charleston law mentor James Louis Petigru visited the town.
"It is a stationary place. Some planters have good houses and there are 3,000 or 4,000 inhabitants.... My old student James Chesnut is obliging and attentive...a man of consequence here and in Columbia."


Susannah Pangelinan's Carolina Rose

One bright spot for Mary was friend Miriam De Leon Cohen, "My Mem, dear," just about the same age. "I have known her intimately all my life." Like her peers Mary had a hard time referring to Jews without bringing up their religion, actually their caste group. In the diary rework she introduces her: "My Hebrew friend, Mem Cohen, has a son in the war."

Camden's 1826 Kershaw County courthouse, a Robert Mills design, photographed in
 the 1930s by Frances Benjamin Johnston. Library of Congress

These portraits may now be in the Smithsonian's National Portrait Gallery

Mem's maternal grandfather Benjamin Nones accompanied the Marquis de Lafayette from France to fight in the American Revolution and later settled in Philadelphia. The child in the painting is thought to be Mem's mother Bilma Nones de Leon at the age of two or three.

Portrait with puppy
Bilma's Americanized name was Isabel

Mem was named for her grandmother Miriam Marks Nones. Her father's family were Sephardic Jews, leaving the Iberian peninsula for Jamaica and then to the Carolinas. Grandfather Jacob de Leon, born in Jamaica, also fought in the American revolution and settled near Columbia, South Carolina.
"Dr. De Leon (late of the Hospital Dept. of the U. S. Army) tenders his services in the line of his profession to his friends and the Public."Camden Gazette April 3,1816:
Miriam's father Dr. Abraham de Leon, associated with the army during the War of 1812, practiced in Charleston before moving to Camden. Miriam de Leon was born in Sumter in 1822.

Camden, about 1915, fifty years after
Mary and Mem spent their Civil War years there.

Several of Jacob de Leon's sons (Miriam's uncles) were doctors and Miriam herself married a doctor from nearby Sumter, Lawrence Ludlow Cohen in 1840.

Collection of Judith Shanks
This album made for Rebecca Solomons has several blocks dated 1852-1853
made by women named Cohen, perhaps relatives of Mem's husband.

Dr. Cohen did not live long, dying in his early thirties in 1847, leaving Miriam with two children under five: Lawrence Ludlow (called Ludlow) and Isabel.

Miriam's father died the same year she married.

Miriam seems to have been financially stable, a gentlewoman, perhaps left assets by father and husband. As the widowed Jewish wife of a small-town doctor she would have left few records but for her friendship with Mary Boykin Chesnut.

Carolina Rose
by Pat Styring

Mary's circle included several Camden and Columbia Cohens, Mem's first cousins. During the war Mary visited "my Columbia school friend Agnes De Leon (1819-1902), She is fresh from Egypt, and I wished to hear of the Nile, the crocodiles, the mummies, the Sphinx, and the Pyramids. But her head ran upon Washington life...."

Edwin de Leon (1828-1891)
"Mem tells me her cousin, Edwin de Leon, is sent by 
Mr. Davis on a mission to England."

Agnes's younger brother Edwin was the antebellum consul in Egypt, resigning when South Carolina seceded to become a Confederate diplomat. Agnes must have accompanied him on one of his Egyptian trips. Perhaps she was sworn to silence about their travels.

Mem, Agnes and Mary likely met at school. In the darkest days after the war when she was looking like the penniless refugee she was ("dirty, tired, tattered, and torn") Mary reminded a "haughty and highly painted" hotel keeper who she was.
"My home is in Camden."  
"Come, now, I know everybody in Camden."

 "Do you take me for a spy? I know you perfectly well. I went to school with you at Miss Henrietta de Leon's, and my name was Mary Miller."
David Camden de Leon (1816 – 1872)
Portrait by Solomon Nunes Carvalho 
National Portrait Gallery, Smithsonian

Another of Agnes's brothers Dr. David Camden De Leon became the Confederacy's first surgeon-general. He also visited Mary during the war's first weeks in Montgomery, Alabama:
"Dr. De Leon called, fresh from Washington, and says General [Winfield] Scott is using all his power and influence to prevent officers from the South resigning their commissions"
Mem's son Ludlow enlisted at 19, serving in Boykin's Rangers under Mary's favorite nephew Captain John Chesnut.
Captain John Chesnut
(1837-1868) 
"Mem Cohen, has a son in the war.... She has long fits of silence, and is absent-minded....The son is the mother's idol." 
The women undoubtedly shared concern about their boys in the same battles. Fears worsened when Ludlow began fighting under Stonewall Jackson. Mem "persistently wept since she heard the news. 'It's no child's play,' she says, 'when you are with Stonewall. He don't play at soldiering.' "

 As Sherman's army threatened South Carolina Mary "packed my valuables one sleety day." On her way to North Carolina she "called to see Mem Cohen who I found on the wing for York and Charlotte."

Both Johnny Chesnut and Ludlow Cohen survived the war but not the peace, both killed before they were 35 by gunfire. Mem died in Sumter in 1869, eight months before Ludlow's death in a Savannah duel at 28.

The Block

The block is drawn from a tattered antique.
We're skipping the reverse applique in the rose.


A sketch of the block, a Rose of Sharon variation, classic old Testament name....
With a six-pointed Star of David.

Applique to an 18-1/2" square or cut it larger and trim later.

The Patterns
One way to print these JPGS:
  • Create a new empty JPG file that is 8-1/2" x 11" or a word file.
  • Click on the image above.
  • Right click on it and save it to your file.
  • Print that file out 8-1/2" x 11". Note the inch square block for reference.
  • Adjust the printed page size if necessary. Do not use tools like "Fit to page."
  • Make templates.
  • Add seams when cutting fabric.


 

Becky's nicely balanced set

Rose far from Carolina in an 1860 New York album sampler
made for Mr. and Mrs. W.J. Smith, Elmira.
Chemung County Historical Society Collection.
 
Extra Reading

It's always difficult to read how bigoted people were in the past and how free the felt to express that nastiness in letters and diaries. Dale Rosengarten in her essay in Jewish Roots in Southern Soil: A New History writes about the relationship between Mary Chesnut and Mem Cohen.
Mem: "You despise a Jew in your heart....You like me but that is in spite of my being one."

See Dale Rosengarten's chapter "Jewish antiques roadshow: religion and domestic culture in the American South." at this preview.
https://books.google.com/books?id=fmPthcjNHRoC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

Read more about Mem's French grandfather here:
https://www.invaluable.com/auction-lot/pair-of-important-jewish-american-portraits-795-c-caccf01683



My #10. I have my nine-block mini pin basted for hand quilting. I think I'll echo quilt.

Wednesday, August 26, 2020

Cassandra's Circle #8: Molly's Cotton Boll

Cotton Boll for Mollie (Chesnut?)

One reason Mary Boykin Chesnut's book that reworks her Civil-War diaries is such a classic is her skillful development of character in the dialogue. The reader falls for a few of the dramatis personae, among them Molly her personal maid during slavery and a long-time friend and business partner.

Molly, probably photographed in the early 1860s at the
Quinby Studios in Charleston, from 
Mary Boykin Chesnut's photograph album

In 1860 Kershaw County, South Carolina had 8,000 black inhabitants and 5,000 white.

It's so hard to get even a glimpse of the African-American life during slavery
but Molly's story as told by Mary gives us much.

Mary's manuscripts at the South Carolinia Library 
University of South Carolina

Despite her professed distaste for slavery Mary was totally dependent upon slaves, particularly at Mulberry plantation---doing just about nothing all day but reading and a little sewing of slave clothing for her mother-in-law, the plantation mistress. During the war when Mary's world expanded to Richmond and Columbia Molly often was in attendance, the behind-the-scenes genius of the Chesnuts' fabled parties.


"My Molly" ran Mary's household, took care of her clothes, cooked her meals in gourmet fashion and gave her much advice, welcome or not. On a train trip in 1863 Molly decided to take on the bad manners of the Chesnut plantation overseer Adam Team. The train was crowded. Team got Mary two chairs, the extra for her feet and she slept. Molly got the floor with her head against a chair. She woke up when she heard Team bragging about the Chesnuts:
" 'Listen, Missus, how loud Mars Adam Team is talking. And all about old Master and our business, and to strangers. It's a shame....how old old Master is and how rich he is and all that. I am going to tell him stop.' Up stalked Molly. 'Mars Adam, Missus say please don't talk so loud. When people travel they don't do that away."
The Yard

Molly, married to Lige, had several children, mostly cared for by her mother while she and Mary traveled. Mary mentioned a sick baby in 1861 and  Molly had a six-month old in February, 1865, meaning she could not accompany Mary in her post-war escape from South Carolina. Instead young  Ellen went as Mary's personal maid with Laurence, James Chesnut's valet. Molly was probably sorely missed as Ellen was new at the personal maid business, although enthusiastic to learn.

Cotton Boll by Pat Styring

Molly stayed behind with her children at the Mulberry plantation. "She remained to look after my things---Mrs. Preston's cow, etc.etc." 

Woman in the egg business

Molly and Mary had been in the dairy business for a while. An 1861 entry in the manuscript diary:
Molly come...the chicken business goes on finely. If I can only raise eggs & chickens & butter---a great fall off for a cotton planter. [Molly] says the negroes say nobody shall touch my poultry. 'Missis' things,' nobody shall meddle with.' " 

Plantation scene by the Quinby & Company Studio in Charleston

In the fall Molly reported that the poultry business paid splendidly, but there was a problem with  overseer Adam Team (she didn't like him--with good reason we can assume.)
He took the best of their butter and "will not pay her for it." "Gesticulating round the room like the orator she was born...'He takes my butter and your things. His wife has grown so fat she has to go through the big gate---the little one too narrow for her now. No wonder Sundays they put two of your hams on their dinner table. Bless god! Two hams they eat." 

Sketch of a woman on the street in New Orleans

In the butter and egg partnership Mary seems to have paid for the livestock and feed; Molly made butter, collected eggs and marketed them to their mutual benefit. This partnership on shares lasted long after the war, giving both cash in the terrible post-war economy. In the Chesnut's 1878 account book Colleen Glenney Boggs found an entry for Molly's wages: 3 dollars.

Freedpeople outside their cabin near Camden, 1880s.
Much of the Chesnuts' postwar income was based on rent for the
 former slave cabins at Mulberry to the former slaves.

Portraits from Quinby's in Charleston

Quinby Studios background includes a monumental column, a studio setting often seen in Southern portraits from the war years. Molly's has the column but a painted railing different from the rail seen in most Quinby photos like Mary Chesnut's on the left. We can guess Mary who collected photos commissioned Molly's portrait there.


Block #8 Cotton Boll by Susannah Pangelinan

Two of Mary's albums

The Block


Mary & Molly's joint endeavor, the butter and egg business, was certainly a step down for people connected at any level with an enormous cotton plantation. Molly's status was also connected to the extremely wealthy family she served. A cotton boll to recall the antebellum days seems appropriate. 

Late-19th/Early 20th Century Cotton Boll
The Cotton Boll is a traditional regional Southern design. Quilters
felt free to interpret it in many ways.

20th-century cotton boll

Frances Johnston, North Carolina Museum of History
Late 19th century
Note the partial blocks.

Applique to an 18-1/2" square or cut it larger and trim later.


The Patterns

One way to print these JPGS.

  • Create a new empty JPG file that is 8-1/2" x 11" or a word file.
  • Click on the image above.
  • Right click on it and save it to your file.
  • Print that file out 8-1/2" x 11". Note the inch square block for reference.
  • Adjust the printed page size if necessary. Do not use tools like "Fit to page."
  • Make templates.
  • Add seams when cutting fabric.



One block in a small quilt found in the Minnesota quilt project.
Photo from the Quilt Index



Pat Styring's center
No rose but a bee.

See a post on Cotton Boll quilts here:

And Kathlyn Sullivan's chapter on the pattern in Mary W. Kerr's Southern Quilts

An Issue with Molly

The important issue with Mary Chesnut's diaries is that there are several versions---some edited by others, one drawn from Mary's actual manuscript diaries and the most famous her reworking of her memories and diaries into the large book Mary Chesnut's Civil War, published in 1981, edited by C. Vann Woodward.

Molly's role (and name) varies from book to book.
The first published edition (1905) tells us of an encounter with a runaway on March 8, 1861. The actual manuscript diary:
"Yesterday I met Mr. DeSaussure run away William. He dodged into a shop---but I saw him peeping at me from behind the door. He looked old and weather beaten & the very expression of his face has changed for the worse."
The first edition was edited by friends after Mary's death from her reworked manuscript in which Mary enlarged upon the story, recording her memories of William and his skills and a remark Molly made.
"Met a distinguished gentleman... William, Mrs. de Saussure's former coachman.... Night after night we used to meet him as fiddler-in-chief of all our parties. He sat in solemn dignity, making faces over his bow, and patting his foot with an emphasis that shook the floor. We gave him five dollars a night; that was his price.... Now he is a shabby creature indeed. He must have felt his fallen fortunes when he met me - one who knew him in his prosperity. He ran away, this stately yellow gentleman, from wife and children, home and comfort. My Molly asked him 'Why? Miss Liza was good to you, I know.' I wonder who owns him now; he looked forlorn."
In the 1981 book Molly is called Polly and William replies to Molly's impertinent question.
"My Polly asked him "Why? Miss Liza was good to you, I know."
I wonder who owns him now; he looked forlorn.
'Yes, but Marster was so mean. He was not bad. He was mean. In the twenty years I lived in his yard he never gave me a fourpence---that is, in money.' "
 Well, what are we to make of this? What actually happened and who is "My Molly"? who appears so often in the reworked book and less often in the actual diary, which refers to Molly 6 times in the index. The 1981 Woodward version has 67 references in its index.

Some critics think of the final Molly character as a conduit for Mary's thoughts (particularly those on slavery), an effective literary device. Imaginary Molly or not, she is one of the most endearing characters in a book rather sparsely populated with them. 


An 1883 letter to Varina Davis from Mary tells her to be grateful for her children.
 "I have nothing but Polish chickens---and Jersey calves."
Sue Garman had a pattern
The original sketch 1-8

Extra Reading

Read about Mary's photo albums here:
https://www.postandcourier.com/news/faces-of-the-civil-war-mary-chesnut-s-photographs-back/article_b4e3fc07-cf60-5427-84b2-294048c46752.html

Mary Chesnut's Illustrated Diary Mulberry Edition Boxed Set: Volume 1: A Diary from Dixie and Volume 2: Mary Chesnut's Civil War Photographic Album by Martha Deniels, Barbara McCarthy & James Kibler.

In her book Teaching the Literatures of the American Civil War Colleen Glenney Bogg has a  thoughtful discussion of Molly and the meaning of Molly's photo in the album.
Preview:
https://books.google.com/books?id=KHCADwAAQBAJ&dq=colleen+glenney+boggs+molly+chesnut&source=gbs_navlinks_s

A Post Script: Another Mollie Chesnut

1921

Two 20th-century documents, a 1921 death certificate for a baby named Jessie Mae Jackson who died of  "colitis" at 11 months; her mother's maiden name Mollie Chesnut---perhaps a descendant of the earlier Mollie. The younger Mollie and husband Willie Jackson were not lucky. Another daughter was stillborn in 1925.

1925

The Jacksons lived in Cheraw, about 100 miles northeast of Columbia.
On this form Chesnut is spelled with two T's. 

Temperance Neely Smoot's version of the cotton boll.
Alamance County, North Carolina, late 19th century?