Horseracing in South Carolina has a long and colorful history. The first recorded race was run on February 1, 1734 on a green across from what is now the Charleston Museum. Today’s textile is an exciting part of that past. It is a jockey suit, 1830s or 1840s, made by “plantation tailors” (undoubtedly slaves) for Col. William Alston of Clifton and Fairfield Plantations on the Waccamaw River, in his livery colors.
The silk shirt is hand-sewn of red and dark green stripes, the front opening has red silk-covered buttons and the cuffs on the long sleeves have green silk-covered buttons. It has a stand-up collar and a red silk drawstring around the bottom edge. It is lined with white silk. The white buckskin breeches have a front buttoned fly and a short buckskin tie in back. The waistband has pearl buttons around and there are buttons at the knee along with a tie.
William Alston (1756-1839) of Georgetown owned many plantations in the area, and was a state representative and senator. He successfully raised thoroughbred horses and was a founding member of the South Carolina Jockey Club in the 1780s. In 1792, the club purchased land that became the Washington Race Course (now Hampton Park), the site of an annual race week in February for 70 years.
Apparently horses could be jockeyed by their gentlemen owners, young boys and servants, or slaves. It was not until 1845 that the club dictated a regulation on a specific jockey costume, after the English (silk jacket and cap, buckskin breeches and neat boots) and the need to register their colors before a race. Alston may have elected to have his jockey thus attired even before the mandatory regulation.
Alston’s grandson, J. Motte Alston (1821-1909) wrote in his memoirs a description of the Alston livery: house servants wore dark green broadcloth coats trimmed with silver braid and red facings and green plush trousers. He recalled the green and red coach, driven by Thomas Turner, a slave at Fairfield Plantation. “Thomas Turner was a great favorite, and was indulged and respected. He was my grandfather’s most trusted race-rider – when he owned a number of famous horses… horseracing was confined to gentlemen, and not gamblers, and was a pastime and not a profession. There were Gallatin, Shark, Comet, Black Maria, Symmetry and many others.” He told how in the summer the horse racers met in Virginia and in the winter at Charleston, Columbia, Camden, etc. Perhaps Thomas Turner was the jockey who wore this wonderful outfit, racing around the track at Washington Race Course.
TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday
Beautifully embroidered with spring flowers, this little silk tobacco pouch probably dates to the early 19th century. Each of the three sides has a different scene: pink and green roses and stems with a caterpillar; red strawberries surrounded by leaves and scroll; and a scroll design with an inscription and the initial “P.” The inscription, “The best wishes of a Friend Attend thee” suggests that it was made as a gift. Fortunately, the recipient never really used it for tobacco or at all since it is in excellent condition.
Each panel measures 5.25” x 9.5”. The stitches are chain, French knot, outline, satin and single done in two-ply silk thread and silk chenille. The top has a drawstring of silk rope with tassels at the ends. There are also tassels attached to the points around the pouch.
This wonderful piece came to the museum from Mr. & Mrs. William Porter Cart in 1955. If you trace back, his maternal great grandfather was William Lamb Porter (1786-1860) who married Ann Saylor (1791-1833) in Charleston on January 17, 1810. It seems possible that the “P” on our bag might be William Lamb Porter, made by and given to him by Ann before they married.
TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday
This fabulous silk crepe evening gown from 1931 is glamorous and elegant. The supple silk crepe fabric was one of the most popular choices for evening wear – it drapes and clings beautifully. The cowl neck in front is created by soft shoulder pleats and there is a small metal weight encased in silk that hangs about an inch from the center front. The back is cut deeper for maximum visual effect while dancing “cheek to cheek” and the shoulder drape adds a bit of panache. The softly flared skirt has a bias cut peplum and slits around the bottom hem. A narrow silk belt fastens with a beautiful Art Deco buckle of ivory and gemstones. The dress has a side opening that closes with tiny snaps.
This beauty was worn by Ruth Petty Pringle after her marriage to Willis Benton Pipkin in Charleston in 1931. She purchased this dress, along with most of her other trousseau items, in New York. They then lived in Reidsville (near Greensboro), NC. Ruth was born in 1910, the daughter of Ashmead Forrester Pringle and Agnes Petty of Charleston.
TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday
Embroidered bag, by Mrs. James Burges, c. 1795. The maker was probably Mary Margaret Dennis (born 1779) who married James Burges in 1799. Each side of the bag has delightful floral embroidery in silk thread.
This bag is currently on exhibit in Lowcountry Embroidery.
TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our new Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday
Calhoun Artillery flag, blue silk with silk, chenille and sequin embroidery. The back features a gold crescent with the words “Cresit. Alba” and “Calhoun Artillery.” The unit was raised for service during January 1861; its officers were Captain William Calhoun, 1st Lt. Thomas Wagner, 1st Lt. William Preston and 2nd Lt. S. Seagreaves. They, along with other companies became the First S.C. Artillery Battalion in May 1861.
This flag is on exhibit in The Charleston Museum’s Threads of War: Clothing and Textiles of the Civil War now through October 30, 2011.
Mosaic patchwork quilt by Marina Jones Gregg, 1852, Charleston, SC. Made of silk fabrics, cotton batting and silk fringe. The quilt is 103 ½ inches long by 97 ½ inches wide. The hexagon templates are 1 3/8 inch.
This masterpiece is a pattern called Stars and Diamonds. The backing is composed of gold and yellow silks, which were pieced together. The mosaic patchwork is quilted inside each hexagon, 1/8 inch from the seam lines. The navy blue silk border is quilted in cable design; the quilting averages fourteen stitches to the inch. The Charleston Museum also has the brass template Marina used to make the paper templates. Marina Gregg received an award, a silver pitcher, for her efforts on this quilt.
Marina was born in 1811 to Col. Mathias and Clara Perry Jones. She married William Gregg in 1829. William was a silversmith and jeweler and it is most likely that he made the brass templates for this quilt. The couple lived at 148 Rutledge Avenue in Charleston, then later in Graniteville, SC, where William became a textile manufacturer. Marina died in 1899 and is buried in Magnolia Cemetery.
To learn more about mosaic patchwork quilts and even Marina Gregg, see our publication Mosaic Quilts: Paper Template Piecing in the Lowcountry. The Marina Gregg quilt graces the cover.
TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our new Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday
