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Lot Essay
This quilt exemplifies the advanced craftsmanship by one or more members of the Numsen family. It is one of four quilts known to contain a Numsen signature. Circa 1850, quilts created in Baltimore were regarded as among the finest in the field. Baltimore saw extensive growth and prosperity in the mid-nineteenth century. The city’s port allowed for high activity of domestic and international trade, and its centrality in railroad routes enabled easy access for transporting materials. While album quilts would often depict urban society through blocks of trains or mills, the present quilt contains timeless and traditional floral designs. There are nine names inked or sewn on the quilt. Five Numsen names appear: William N. Numsen, C. Numsen, George Numsen, Matilda Numsen, and Mary Numsen.
William Numsen (1803-1891) was born in Delmhorst, Germany and immigrated to the United States in 1821. He settled in Baltimore, where he founded William Numsen & Sons, a prosperous pickling and packaging business. He married Mary Schneider (Snyder) (1804-1872), from Pennsylvania, in 1824. Together they had six children: John William (1827-1896), Nathaniel Gideon (1828-1899), Peter (1830-1897), Sophia Catherine (married name Thomas) (1832-1858), William Noah (1835-1911) and George Frederick (1837-1888). William Numsen was an active member of the Old Otterbein Church and his children were devout members of Methodist churches in the Baltimore area.
The present quilt displays stylized and intricate forms illustrative of popular mid nineteenth century Victorian style. There are different appliqueing techniques evident throughout, some more ornate than others. This alludes to at least two makers involved in the piecing of the quilt. Certain blocks display layering and manipulation of materials to create intricate, three dimensional flower arrangements and fruit bowls. The designs are further enhanced by ink applied as detailing within many blocks. The distinct red and green fabrics lend to Baltimore quilting traditions of the period. Numsen is the only repeating surname, but in some instances, women who wed into the Numsen family had their names applied in ink before taking the surname, such as Kate Gerber, who married William Noah Numsen in 1856.
Often these quilts were created to celebrate an event, honor an important figure to the community or represent affiliation with a church. This quilt was certainly crafted to celebrate the Numsen family. When this quilt went to auction in 1988, the owner explained it was a wedding gift to her great grandmother, Elizabeth Magdelena Happerla (Happerly/Happerle) (1826-1912), when she wed John William in 1849. The placement of William Numsen’s name in the central block, a patriotic and powerful eagle soaring alongside the nation’s flag, supports that this was crafted as a commemorative quilt for the family. Further research suggests Matilda Numsen and Kate Gerber, had their names inked onto blocks between 1853-1856. Matilda Numsen’s surname offers that this was signed subsequent to her marriage in 1853, but Kate Gerber’s maiden name suggests her name was signed prior to her marriage in 1856. Perhaps this began as a wedding quilt then was not completed in due course.
The Numsen name appears in three more album quilts which date to around 1850. One of these quilts, The Otterbein Quilt, resides in the Winterthur collection, representing the Numsen family’s association with The Otterbein Church. Two quilts remain in private collections.
William Numsen (1803-1891) was born in Delmhorst, Germany and immigrated to the United States in 1821. He settled in Baltimore, where he founded William Numsen & Sons, a prosperous pickling and packaging business. He married Mary Schneider (Snyder) (1804-1872), from Pennsylvania, in 1824. Together they had six children: John William (1827-1896), Nathaniel Gideon (1828-1899), Peter (1830-1897), Sophia Catherine (married name Thomas) (1832-1858), William Noah (1835-1911) and George Frederick (1837-1888). William Numsen was an active member of the Old Otterbein Church and his children were devout members of Methodist churches in the Baltimore area.
The present quilt displays stylized and intricate forms illustrative of popular mid nineteenth century Victorian style. There are different appliqueing techniques evident throughout, some more ornate than others. This alludes to at least two makers involved in the piecing of the quilt. Certain blocks display layering and manipulation of materials to create intricate, three dimensional flower arrangements and fruit bowls. The designs are further enhanced by ink applied as detailing within many blocks. The distinct red and green fabrics lend to Baltimore quilting traditions of the period. Numsen is the only repeating surname, but in some instances, women who wed into the Numsen family had their names applied in ink before taking the surname, such as Kate Gerber, who married William Noah Numsen in 1856.
Often these quilts were created to celebrate an event, honor an important figure to the community or represent affiliation with a church. This quilt was certainly crafted to celebrate the Numsen family. When this quilt went to auction in 1988, the owner explained it was a wedding gift to her great grandmother, Elizabeth Magdelena Happerla (Happerly/Happerle) (1826-1912), when she wed John William in 1849. The placement of William Numsen’s name in the central block, a patriotic and powerful eagle soaring alongside the nation’s flag, supports that this was crafted as a commemorative quilt for the family. Further research suggests Matilda Numsen and Kate Gerber, had their names inked onto blocks between 1853-1856. Matilda Numsen’s surname offers that this was signed subsequent to her marriage in 1853, but Kate Gerber’s maiden name suggests her name was signed prior to her marriage in 1856. Perhaps this began as a wedding quilt then was not completed in due course.
The Numsen name appears in three more album quilts which date to around 1850. One of these quilts, The Otterbein Quilt, resides in the Winterthur collection, representing the Numsen family’s association with The Otterbein Church. Two quilts remain in private collections.