Saturday, December 19, 2020

Charleston's African-American Seamstresses

 



Looking at Southern chintz quilts and particularly those from Charleston and the Carolinas one might conclude that bedcovers attributed to various wealthy women from 1825 to 1850 were in actuality purchased luxury goods stitched by professional seamstresses.

But who were those seamstresses?

Seamstresses, about 1650
Things did not change much until the sewing machine about 200 years later.

Sewing for a living was one of the standard occupations for women before the industrial age. A look at one small group of women---pre-Civil-War African-Americans in Charleston offers some context in an unusual city known for its chintz-style bedcovers.

We can classify Charleston's African-American seamstresses as belonging to four economic categories:

1) Enslaved seamstresses

2) Free women of color (as they were called)

3) A category rather in between, hired-out women whose owners allowed them to work for others

4) Escapees who tried to blend into the last two categories.


Seamstresses, about 1850


1) Enslaved seamstresses

There are no statistics on enslaved seamstresses, just personal histories. See one at a post here:
https://civilwarquilts.blogspot.com/2020/09/enslaved-seamstresses-mary-in-columbus.html

2) Free women of color 

Studying censuses and city directories gives us numbers. Many years ago E. Horace Fitchett counted 22 free Black women working as seamstresses in the year 1819 in the city of about 22,000 people, mostly Black. We have no idea how many enslaved women worked at sewing then or later.

In an Audubon shore bird water color, Charleston sits
behind Fort Sumter.

Loren Schweninger looked at "Black Owned Businesses in the South, 1790-1880," examining census and R.G. Dun business rating records, and made a few observations about free Black seamstresses. New Orleans was a center of free-Black-owned businesses (but New Orleans with its French & Spanish heritage did not have much of an antebellum quilt presence). Looking at the lower South in general he noted, "a surge into the entrepreneurial class during the 1850s among free women of color, who opened boarding and lodging houses, seamstress shops, and laundry businesses.... On the eve of the Civil War, Charleston [with a population of about 70,000] boasted 92 free Negroes who ran businesses of various types. Most of them were shopkeepers, storekeepers, skilled artisans, wood dealers, butchers, and boardinghouse keepers."

St. Michael's Alley, Charleston

3) Hired-out seamstresses

Slaves were hired-out and the slave owner received their wages. An orphaned family of white children, for example, might have their slaves hired out and live on the profits. 

Illustrated London News, 1863

Other owners hired out their enslaved workers when they left the city for the summer's sickly season. And some owners had few other assets than these human beings---the laboring classes. The higher classes could not work themselves; it cost them status.

Alice Huger Smith sketched nostalgic Charleston views 
for books published in the early 20th century.

In many cases the hired-out themselves could keep money earned over a certain sum.

Owners who hired out slaves were required to pay a tax (except for the orphans.) The tax was collected by requiring employees to wear a badge indicating their status. Just like dog tags (an unfortunate comparison) the city made money because they charged for the required badges. Charleston was unique in this requirement and Charleston slave badges, which had to be renewed annually, are quite a collectible item.

 Two slave badges in the Smithsonian's collection

Badges described the occupation, here a Servant and a Porter. The holes are added so they can be stitched to a coat.

Charleston Hotel, 1860

If you were looking for a porter to carry trunks you might look around the hotel for a man with a badge prominently displayed.

Grocery vendors, called Fruiters or Fruiterers had
their own badges. This woman carries on produce-selling
traditions fifty years after emancipation.

Charleston Museum Collection
Few actual occupations were noted on the badges.

Fruiterer was one. Other female occupations were Washerwoman, Huckster (food seller) and Fisher, permitted to vend fish in the city. The number 79 here showed the sequence in the badges issued that year (1814).

Fisher a hundred years later by Alice Huger Smith in
Elizabeth Allston Pringle's A Woman Rice Planter, 1913

Were the women fishers permitted to fish or did they just bring fish into the city for sale?

MESDA owns a badge stamped Mechanic from 1842

I had heard there were badges stamped "Seamstress" but read an authoritative book on the topic that refutes that idea. Badge occupations are limited in the surviving authentic examples (counterfeits are plentiful) and the women who worked as seamstresses, dress makers, milliners and upholsterers probably wore badges that just said "Servant." 


Read about the badges: Harlan Green, Harry S. Hutchins , Jr. & Brian E. Hutchins Slave Badges and the Slave-Hire System in Charleston , South Carolina  1783-1865

Runaways might counterfeit their own badges to disappear into the legally sanctioned community of female workers but the majority of the counterfeit badges are recent.

People selling on the streets were called Hucksters,
a word that did not have the negative connotation of a
dishonest or overly persuasive salesperson that it has today.


One institution that hired slaves was the Charleston Orphan House. In her dissertation Felice Knight counted 24 hired-out women working there in the year 1848, most probably doing the plain sewing for clothing, bedding, etc. plus four more-skilled Mantua-makers as dressmakers were called.

 Charleston Orphan Asylum occupied by Union troops, 1865
The building was torn down in 1953.

4) Escapees

New York Historical Society Collection
Sewing while standing up and flirting

The detail above of Eastman Johnson's 1859 idealization of Negro Life in the South shows a common motivation for runaways....
Lewis Miller's sketchbook Lynchburg, Virginia
Encyclopedia Virginia

...Love and subsequent family separations.

From A Portraiture of Domestic Slavery in the 
United States by Jesse Torrey 1816  

Torrey showed this woodblock of a Washington
woman jumping from the attic to join her husband.
It looks like she is levitating but she couldn't defy gravity. She broke her back.

Amani Marshall at the University of Georgia has studied Charleston fugitive slaves noting that a good proportion of the women's occupations listed were seamstresses. See his articles at the bottom of the page. He followed a woman named Celia who ran away from William R. Taber who described her as a "fine seamstress" in one of his advertisements offering a reward.


Women were often described as excellent Seamstresses and tailoresses
when advertised for sale but less often as runaways.

A New Orleans ad for a 22 year old seamstress with a "Charleston brogue or accent."
New Orleans Daily Picayune, 1845
from the Cornell University website 
Freedom on the Move

Seamstresses had an easy transferrable skill, required few tools and were in demand. Those who ran away hoped they could always make a living.

Did any of them make quilts?

Chintz bedcover associated with Sarah Reynolds Croft,
Charleston Museum

Read the conclusions Merikay Waldvogel and I wrote about these quilts last year:

And read about a professional seamstress Addie Brown (1841 - 1870), a free black woman in New York & Connecticut about the time of the Civil War.
https://womensworkquilts.blogspot.com/2019/04/professional-seamstress.html
See a short preview of Harlan Green's book Slave Badges:   

Lorinda Boulware Walker & Maggie Belle Gould Penn
20th-century African-American seamstresses
in Columbia.
South Caroliniana Library

Articles by Amani Marshall:
“‘They Are Supposed to Be Lurking about the City’: Enslaved Women Runaways in Antebellum Charleston,” South Carolina Historical Magazine 115, 2 (June 2015).

"‘They Will Endeavor to Pass for Free’: Enslaved Runaways’ Performances of Freedom in Antebellum South Carolina,” Slavery & Abolition 31, 2 (June 2010): 161-180
And his dissertation:
“Female Fugitives: Enslaved Women's Resistance in Georgia, 1815-1835” ...

Loren Schweninger, "Black Owned Businesses in the South, 1790-1880," Business History Review 63 (Spring 1989) 22-60. 



Wednesday, December 16, 2020

Additional Yankee Notions Blocks?

 

Rina Spina's Block #9 Yankee Puzzle

Rina in Sicily has a question about the Yankee Notions Block of the Month---12 blocks.

"I would like to make my quilt bigger, so can you suggest some extra block patterns that I can add?
I would love four more, it will fit much better on my bed."

1) SOUTHERN MOON

The theme for the BOM was culture North & South. I looked up some designs in the new Encyclopedia of Pieced Quilt Patterns. I added blocks in the third edition and here is one: Southern Moon from the Alice Brooks newspaper column in 1939.

Southern Moon, #1495.3, page 175
BlockBase with all the new patterns isn't ready yet so
I had to draw it in EQ. Print this out at 8-1/2" x 11" for
templates.

2) YANKEE PUZZLE


You know Alice never did anything the easy way. I looked around for some simpler blocks. There are several Yankee Puzzle blocks, this one of 16 identical triangles called Yankee Puzzle by Ruth Finley in her 1929 quilt book. (BlockBase #1195b)

This Yankee Puzzle is in my Civil War Sampler book. See a post here:



For a 12" block BlockBase says cut triangles from a 7-1/4" square.


3) RIGHT HAND OF FRIENDSHIP

Right Hand of Friendship by Becky Brown



Another block from the Civil War Sampler. Here's rotary cutting from BlockBase for a 12" block:
4) STRENGTH IN UNION

Strength in Union by Becky Brown
From a Chicago Tribune Nancy Cabot column.

Two pattern pieces
A = Half-square triangles cuts from 3-1/4" squares
B = Squares cut 2-7/8"

5) UNION

Union by Becky Brown
from a Ladies' Art Company design about 1890


See a post here: but it's so old that most of the pictures are gone:

12" cutting instructions from BlockBase

That's five to pick from and the Civil War Sampler book has 50 related blocks with 12" & 8" patterns.


See Rina's Instagram page at 
june.seven60


Saturday, December 12, 2020

Elizabeth Grisham Brown's Crazy Quilt

Crazy Quilt from the Brown Family of Georgia

"M.V.C. 1874"

When we see a date before 1880 on a crazy quilt we guess it is probably commemorative recalling an important event such as a birthdate or wedding.

Mary Virginia Brown Connelly (1850-1927)
in her wedding dress

This quilt was made after 1874 but the date remembers Mary Virginia Connelly's wedding day.

It's attributed to Elizabeth Grisham Brown (1826-1896)
and daughter Mary. A bas-relief sculpture of
Elizabeth from her tombstone.

The crazy quilt was shown a few years ago in a special exhibit
at Georgia's Old Governor's Mansion Museum
in Milledgeville, once capitol of the state.

The Browns were caught up in the crazy quilt fad of the
1885-1900 years, which is when the quilt was likely made.

Elizabeth & husband Joseph Emerson Brown (1821-1894)
Monument on the grounds of the Georgia state capitol

Quiltmakers do not get many sculptural monuments and Elizabeth has two, due to her position as wife of Georgia's Civil War governor Joseph E. and mother of  early 20th-century governor Joseph M. Brown.


Their history as members of a Georgia political dynasty
explains the two Confederate flags on the quilt.


What explains the rabbit and urn below the flag?

An American flag.
Initials on the blocks indicate various contributors.

Governor Joseph Brown Senior (1821-1894)

Elizabeth Grisham was born in South Carolina in 1826. In 1847 she married Georgia attorney Joseph Brown, who'd recently completed a year at Yale's Law School. They established a life in Canton, Georgia, 40 miles northeast of Atlanta. She gave birth to eight children between the years 1848 and 1865, years when Joe Brown was cultivating a reputation as Georgia's "Mountain Boy," and moving up Georgia Democrat's political ladder.


 (Note son named Franklin Pierce born in 1853, the year Democrat Franklin Pierce was inaugurated as president.)  


From Joseph E. Brown of Georgia by Joseph Howard Parks

Brown played the part of Mountain Boy successfully contrasting himself to established politicians. Quilts even entered into his campaign for Governor in 1857 when women from his home county presented him with a "calico bedquilt" symbolic of his humble station.

Elizabeth was a small person, weighing under a hundred pounds.
She left a diary that reveals more sophistication than she
and her Yale-educated husband presented as their public faces.
Her diary includes abusive episodes from her husband, which
she could only respond to by hoping to be more submissive.

Brown was serving his third two-year term when the Civil War began and Georgia seceded. He  became one of Jefferson Davis's foes opposing him at every turn.

Elizabeth's Uncle William Grisham built a house in Canton in the 1840s, one of the few that's survived fires, including a raid by Union troops under General Sherman in 1864. Canton's place as Georgia's Governor's home town is said to be a motive behind the city's burning in which the Brown's house was destroyed.

Canton's Civil War memorial is on the site of
Elizabeth's house.

The memorial's dedication in 1923


After burning Canton, Sherman's troops occupied the Governor's Mansion in Milledgeville for several days in November, 1864 before continuing on to Atlanta. The Browns had fled to Macon. A few weeks after the Civil War was over Union troops arrested Joseph Brown back in Milledgeville for treason. He was released on the condition that he resign the governorship and for several years he was affiliated with the Republican party.

His post-war career included decades as a Georgia political power in the U.S. Senate and becoming one of the state's first millionaires.

Elizabeth and Joseph with family about the time the crazy quilt was made.

Small scraps of one woman's life.