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ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE FABRIC OF THEIR LIVES:

A COMMEMORATION OF FAMILY, FRIENDS, AND COMMUNITY BY

THREE WOMEN IN SALEM COUNTY NEW JERSEY

Sarah Suzanne Woodman

A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture.

Spring 2003

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1413564

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UMI Microform 1413564 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code.

ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE FABRIC OF THEIR LIVES:

A COMMEMORATION OF FAMILY, FRIENDS, AND COMMUNITY BY

THREE WOMEN IN SALEM COUNTY NEW JERSEY

Sarah Suzanne Woodman

Approved: [ > > — —______Linda Eaton, B.A. Hon.; D.T.C. Curator of Textiles, Winterthur Museum

Approved: James £ purtis, Ph.D Direcloi f the Winterthur Program of Early American Culture

Approved: Mark W. Huddleston, Ph.D Dean of the College of Arts and Science

Approved: Conrado M7 Gempesaw II, Ph.D Vice-Provost for Academic Programs and Planning

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. “Shadows lie upon the folded years,” But these fragments doth remain to bring back Old, old memories.

Jacob Lippincott, Salem, New Jersey, 1854.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS

I am indebted to many individuals for their guidance and assistance in this great

undertaking. I owe the greatest debt to Linda Eaton who never ceased to share my

enthusiasm for the Harrises and their scrapbooks. Thank you for always being willing to

trek to the library to take one last look at a swatch of fabric.

At the Salem County Historical Society, thank you David W. Young and Alice

Boggs for opening up the archives and the collection for my inspection.

I am particularly grateful to Grant Harris and his family for allowing me entrance

into their home to look at their family heirlooms; my thesis would not have been

complete without the long hours I spent looking through Amos Harris’s diary. It was also

a pleasure discussing the Harris family with Blanche Harris who offered insight into her

family through photographs, genealogies, and memories.

In the Downs collection, Jeanne Solensky and Laura Parrish graciously brought

out the scrapbooks when I had one more item to look up or measure and always had a

word o f advice or encouragement.

I am also indebted to Pat O’Donnel, Jim Turk, Neville Thompson, Hollie Davis,

and Karen Handling for their assistance and support throughout this project.

I do not think I could have maintained my sanity without my wonderful

classmates. It was wonderful sharing this experience with nine dedicated and funny

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. people. I will always be grateful for the kitchen sinks, trips to Resettlers, coffee breaks,

evenings at B.B.C., and irreverent discussions in the lounge.

I am grateful to Katie Woodman for sending me care packages filled with candy,

novels, and oddities, and to Matt Woodman for all his helpful suggestions. I also offer

my appreciation to Clara Woodman whose continued enthusiasm and love enabled me to

keep everything in perspective. And, of course, my parents and grandparents for their

unceasing support, comfort, and love.

And finally, I would like to thank Sallie Harris, Kate Harris, and Sarah Marion

Harris Johnson for creating four wonderful scrapbooks, and not forgetting the little

stories that create the bigger picture. I tried to do justice to your memories.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS

LIST OF FIGURES...... vii

ABSTRACT...... ix

THE CHAPTERS

1. SALEM AND SCRAPBOOKS...... 1

2. THE BRADWAY AND HARRIS FAMILIES...... 6

3. THE SCRAPBOOKS...... 16

4. COMMEMORATING FAMILY, FRIENDS, AND COMMUNITY...... 28

CONCLUSION...... 86

APPENDIX A: BRADWAY FAMILY TREE...... 93

APPENDIX B: HARRIS FAMILY TREE...... 94

APPENDIX C: BRIEF BIOGRAPHIES OF THE INDIVIDUALS AND FAMILIES LISTED IN THE SCRAPBOOKS...... 95

FIGURES...... 120

BIBLIOGRAPHY...... 141

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES

1 The Scrapbooks...... 120

2 Signature of Kate S. Harris in Scrapbook...... 120

3 Scrapbook Pages 47 and 48, Float...... 121

4 Scrapbook Pages 83 and 84...... 122

5 Folio Page 32...... 123

6 Album Page 65...... 124

7 Scrapbook Page 17...... 125

8 Scrapbook Page 3 ...... 126

9 Scrapbook Page 5...... 127

10 Scrapbook Pages 93 and 94...... 128

11 Scrapbook Page 72...... 129

12 Album Page 50...... 130

13 Scrapbook Page 12...... 131

14 Scrapbook Pages 41 and 42...... 132

15 Scrapbook Page 23...... 133

16 Album Page 69...... 134

17 Folio Page 28...... 135

vii

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 18 Scrapbook Page 64. 136

19 Album Page 2. 137

20 Folio Page 33. 138

21 Folio Page 13. 139

22 Folio Page 16. 140

viii

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT

During the 1880s Sallie Harris and her daughters, Kate Harris and Sarah Marion

Harris Johnson, of Salem County, New Jersey, collected fabric from family, friends, and

community members, which they compiled into four scrapbooks. The Joseph Downs

Collection of Manuscripts and Printed Ephemera at the Winterthur Library possesses the

scrapbooks, which contain 782 fragments of cotton, silk, wool, and linen from household

furnishings and personal garments. The collection includes fabric from China, England,

France, India, and America, dating from about 1770 to 1890, although most are from

1820s to the 1880s.

The swatches, to which the Harrises added brief annotations, represent the

Harrises’ connections to family, friends, and community members. The Harrises link

fabric to 180 individuals in New Jersey, Ohio, and Pennsylvania. Many of the

individuals associated with the swatches were members o f the Religious Society of

Friends, and Baptists and Episcopalians are also represented. Although much of the

significance has been lost, the fragments of cloth and their accompanying captions form

patterns that, when paired with genealogical research, provide insight into the Harrises’

“emotional universe.” The inclusion of fabric from their sisters, aunts, cousins, and

female friends is indicative of the Harrises’ strong network of women, but while the

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. portraying three women whose identities were shaped by their relationships with

members of their family and community, the scrapbooks also portray women whose

identities were closely tied to their past.

The small fragments of fabric signify the relationships the Harrises cultivated and

maintained throughout their lives. Symbolically placing their own lives in the context of

the people who influenced them, they used the swatches of fabric to mediate or reinforce

self, family, and group identity. Through their scrapbooks, the Harrises constructed and

examined their identities in relation to their friends, family, and community in the past

and present.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Chapter 1

SALEM AND SCRAPBOOKS

Across the Delaware River from New Castle County, Delaware, is Salem County

located in southwestern New Jersey. Gloucester County bounds it on the north,

Cumberland County lies to the east, and the Delaware Bay and River form its southern

and western boundaries. Salem was founded in the seventeenth century when a group of

Quaker settlers, led by John Fenwick, disembarked opposite the old Swedish fort

“Elsborg” near the mouth of what came to be called Salem River. Fenwick’s Colony, as

it was often called, was the first permanent English settlement on the eastern shore of the

Delaware River. English settlers, many of whom were Quaker, were drawn to the area for

its fertile soil and profusion of rivers and streams.

A modem visitor to Salem County is struck by the county’s agricultural

abundance and the area’s small-town charm. Fields o f wheat, com, tomatoes, and cattle

ring small isolated communities with such names as Carney’s Point, Pennsville,

Hancock’s Bridge, Harmersville, and Woodstown. Visitors cannot help but discover the

county’s rich history. In 1738, Casper Wistar founded the first successful glassworks in

the colonies near Alloway in the southern portion of the county. Although the

manufactory eventually failed, the industry was reestablished in the nineteenth century by

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. the Salem Glass Works, established 1863, and Gayner Glass Works, established 1874.

Located on Griffith Street in Salem, Salem Glass Works is now the container division of

the Anchor Glass Corporation.

Located a few miles south of Salem is the Hancock House, where in 1778 a party

of British soldiers bayoneted ten sleeping members of the local Home Guard, a group of

soldiers who were either too old or too ill for combat. They also killed Judge Hancock,

who despite strong American sympathies was an official in the British colonial

government.

One of the more famous anecdotes to come out of Salem is the story of Colonel

Robert Gibbon Johnson and his love apple, or tomato. In July of 1820, standing on the

steps of the county’s courthouse, Colonel Johnson bit into a tomato thereby proclaiming

that they were not poisonous as was commonly believed. By 1900, thirty canning

factories had sprung up around the county, including a large H.J. Heinz catsup plant in

Salem City.

In addition to its famous residents, Salem County produced many individuals who

have almost drifted into obscurity, including James Dare (1803-1894), son of Hugh

Blackwood and Margaret Avengin Dare. James Dare married three times: Prudence A.

Rulon in 1822, Sarah Evan Smith in 1831, and Hannah Bradway Harmer in 1853. He

was a weaver in his youth, producing brightly colored lengths o f wool for his wife and

children.

Harriet McCallister is also not mentioned in any of the county’s history books.

She was the daughter of John and Mary Ann Bradway McCallister. On March 9,1859,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. wearing a dress of white, blue, tan, and black plaid silk, Harriet married William Baker,

the son of Powell and Ann Baker. Tragically, Harriet died on November 1,1864, after

only five years of marriage.

A farmer’s wife and her two daughters preserved their memories of James Dare

and Harriet McCallister Baker as well as many more of their friends, relatives, and

community members in a collection of four scrapbooks that are currently in the

possession of Winterthur Library in Winterthur, Delaware. In the late nineteenth century,

Sarah Bradway Harris and her two daughters Catherine Harris and Sarah Marion Harris

Johnson set about to document the lives of members of their family and community

through their textiles. They collected over 700 fragments of wedding dresses, bed

curtains, aprons, and other personal articles that they organized into four scrapbooks. No

letters or diaries explain their reason for amassing this collection so one is left to

speculate as to the motivation for these three rural women to ask friends and family to

excise samples of their textiles and clothing. What survives is the fruit of their labor:

four scrapbooks of small scraps of silks, wools, linens, and cottons carefully sewn to the

pages.

The Harrises were probably familiar with quilting and may have constructed

quilts of their own although there are no known survivals. Because of Sallie Harris’s

association with the Religious Society of Friends, or Quakers, she was probably

especially familiar with signature quilts, which were made in substantial numbers in the

mid-Atlantic region. The term signature quilt describes any quilt composed of signed

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. quilt blocks. The form reached its zenith during the mid-to late-nineteenth century.1

Signature quilts, often made in acknowledgment of special occasions, including births,

marriages, and departure of a woman from the community, celebrated the friendships that

the quilts symbolized.2 As a woman was embarking on a new phase of her life, such as

marriage, her friends and family created individual quilt blocks that they would sign or

mark and then incorporate into a larger quilt. While the Harrises ultimately chose not to

incorporate their collected fabric into quilts, they maintained a decorative record of their

family and friends, and many of the pages are reminiscent of quilt blocks, featuring

square-shaped pieces of calico arranged in a radiating pattern.

Contemporaneous to quilting, assembling scrapbooks was a fashionable pastime

from about 1830 to 1900 but reached its zenith in the 1870s to 1890s.3 Most scrapbooks

featured poems, newspaper clippings, and die-cuts pasted onto the pages. Prior to the

Civil War, men and women enjoyed the activity in approximately the same numbers, but

the years following the war saw an increase in women’s participation. Concurrently,

companies began producing blank books for the expressed purpose of scrapbooking.

The Harrises combined the two display impulses of quilting and scrapbooking in

their effort. As if quilting, they chose to express their community and individual identity

with textiles, and they chose to sew their assorted pieces of silk, cotton, wool, and linen

1 Linda Otto Lipsett, Remember Me: Women and their Friendship Quilts (San Francisco: The Quilt Digest Press, 1985), 19.

2 Jessica F. Nicoll, “Signature Quilts and the Quaker Community, 1840-1860,” Uncoverings 7 (1986): 27-37.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. onto the pages rather than use the more traditional paste. While some information can be

conveyed with quilts, scrapbooks allow for far greater communication. Because of their

form, it is possible to write pages of information regarding the enclosed pieces. Although

the Harrises did not fully take advantage of the scrapbooks’ documentary potential, the

amount of information they included is far greater than that which can be accomplished

with quilts. Their choice to place their textiles in scrapbooks rather than in quilts

indicates that while they were interested in preserving and displaying their fabric

collection, they were equally concerned with the preservation of the information

associated with the fragments. They not only wanted to remember the significance of the

fabric, but they also wanted other people, possibly future generations, to know.

Although much of the significance of the scrapbooks’ has been lost, the swatches

and their accompanying captions form patterns, and with genealogical and historical

research, relations between the Harrises and their wide network of family, kin, and

friends can be determined. Because the Harrises did not record their reasons for

amassing a collection of textile fragments, we must look to the annotations for

information as well as the scrapbooks’ organization for an explanation.

3 Rachel Elisabeth Guest, “Victorian Scrapbooks and the American Middle Class” (Master’s Thesis, University of Delaware, 1996), vi.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Chapter 2

THE BRADWAY AND HARRIS FAMILIES

During the 1880s, Sallie Bradway Harris and her daughters, Kate and Sarah

Marion, collected over 700 swatches of fabric from their family and friends, which they

gathered into four scrapbooks. The collection they assembled represents three women

who had a deep connection to family and friends as well as a deep passion for history.

Bom September 10, 1832, Sarah Bradway (known as Sallie) was the daughter of William

and Mary Shourds Bradway. On March 19,1856, she married Amos Harris, the son of

Stretch and Rebecca Padgett Harris. They had four children: Kate, Sarah Marion, Amos

Howard, and Mary. At the time o f compiling the scrapbooks, Sallie was in her mid-

fifties, Kate was a maiden in her mid-twenties, and Sarah Marion was a young bride in

her early twenties who had her first child in May of 1880.

The Harrises were very much aware of their family genealogy and actively

commemorated their family and community’s history. Sallie Harris and her two older

daughters compiled genealogies proclaiming their family history. As one of only two

outside contributors, Sallie wrote both the Harris and Bradway family histories for

volume one of the Biographical. Genealogical and Descriptive History o f the First

Congressional District of New Jersey. Sallie also compiled a brief history of the Denn

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. family (her grandmother’s family), which is currently in the Denn family folder of the

Salem County Historical Society. Sallie’s daughters, Kate and Sarah Marion, shared

their mother’s love of history and genealogy; Kate traced the Denn family line back to

the year 1066.4 Their interest in history came naturally; Sallie’s uncle, Thomas Shourds,

who lived next door to the Bradway family in Hancock’s Bridge, wrote the History and

Genealogy of Fenwick’s Colony in 1876. In spite of its inaccuracies, Shourds’ account

of the families, places, and associations in Salem County remains the best source for

information regarding the county prior to 1850.

Sallie’s ancestor, Edward Bradway, emigrated from the parish of St. Paul,

Shadwell, in London, and with his family arrived in Fenwick’s Colony in 1677.5 A

prominent member of the Society of Friends and a man o f considerable means, he

purchased one thousand acres in the country and a sixteen-acre lot in Salem city where in

1691 he built the Bradway house.6 The house was built on Wharf Street, which became

known as Bradway Street after Salem was incorporated in 1693 and is now called

Broadway Street. Unfortunately, the house was demolished in the twentieth century.

Upon his death, his 1000-acre allotment, located on the south side of Alloways Creek,

4 Kate Harris, “Denn Ancestry,” Bradway Family file, Salem County Historical Society.

5 For a thorough genealogy of the Bradway family see: James N. Acton,Bradway - Stretch - Keasby - Waddington Families (Salem, New Jersey: Salem County Historical Society, 1978).

6 Thomas Shourds, History and Genealogy o f Fenwick's Colony (Bridgeton, N.J.: George F. Nixon, 1876), 35.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. was divided among his heirs.7 William Bradway received 500 acres and in 1687 married

Elizabeth Wood. William bequeathed the property to his son Jonathan, and the property

remained in the family through to Jonathan’s great-great-great-grandson, William

Bradway.

The son of Ezra and Mary Denn Bradway, William Bradway was bom on October

3,1805. In 1830, he married Mary Shourds, a daughter of Samuel and Elizabeth Ware

Shourds. William and Mary had six daughters: Elizabeth (b.l 831), Sallie (b.1832), Mary

(b.1836), Annie (b.l841), Rachel (b.l841), and Ellen (1845). They raised their daughters

in Hancock’s Bridge in the house where four generations of Bradways had lived.8 In

1849, the family moved into the Denn House, an eighteenth-century brick farmhouse that

descended in William’s mother’s family.9 In 1854, Elizabeth married Jeremiah Powell, a

son of John and Rebecca Powell. Sallie married Amos Harris, and Mary married Quinton

P. Harris, son of Benjamin and Martha English Harris. Mary was Quinton’s second wife;

his first wife, Elizabeth Powell, was the sister of Jeremiah Powell. In 1864, Rachel

married Joseph Sheppard, the son William and Sarah Sheppard; they moved to Camden,

New Jersey. Sallie’s other two sisters, Annie and Ellen, did not marry; Annie became a

7 Edward Bradway’s will of December 1693 quoted in Sallie Harris “Bradway Family,” Biographical, Genealogical and Descriptive History o f the First Congressional District o f New Jersey. Vol. 1. (New York: Lewis Publishing Company, 1900), 196.

8 William Bradway Vanneman, ed., How Dear to My Heart: Photographs and Writings o f William J.S. Bradway (Salem, New Jersey: Sunbeam Publishing Company, 1976), 213

9 John Maddox Denn built what came to be known as the Denn House in 1725, about a half a mile down the creek from the Hancock House.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. teacher, and Ellen remained at home, caring for her parents in their later years. Upon the

deaths of their parents, Annie and Ellen received the Denn home.

Amos Harris also belonged to a long-standing Salem County family although one

not as prosperous as the Bradway family. At the beginning of the eighteenth century two

brothers, Samuel and Thomas Harris, emigrated from Wales. Samuel’s son, Abraham,

bought 150 acres of land in Alloways Creek Township, in the vicinity of Quinton’s

Bridge. He built a log cabin on this property, married, and had six sons and one

daughter. Abraham was a member of the Baptist Church in Canton and served as a

deacon for many years. His son John, Amos’s grandfather, was bom in 1753 and was a

veteran of the Revolutionary War, fighting in the battles of Brandywine, Germantown,

Long Island, and Valley Forge. After returning from the war in 1783, “his company was

much sought, and he, having a retentive memory, would interest his friends by relating

incidents and occurrences he had experienced while in the army.”10 John married Lydia

Smith, a daughter of Captain William Smith. Together they had eleven children, seven of

whom lived to adulthood, including Stretch, Benjamin, Peter, Lydia, Elizabeth, Margaret,

and Clarissa. He raised his family first on Round Island, which he purchased in 1796,

then on Ragged Island, purchased in 1804. These two purchases represented the

beginning of the Harris family’s land wealth.

Stretch Harris, John’s eldest son, was bom January 25, 1788, married Rebecca

Padgett in 1812, and resided on his father’s Round Island farm. Stretch and Rebecca had

10 Sallie Harris, “Harris Family,” Biographical, Genealogical and Descriptive History of the First Congressional District of New Jersey, vol. 1 (New York: Lewis Publishing Company, 1900), 220.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. four children: Ann (b.l813); John (b.1815); Hiram, (b.l818); and Amos (b.l821).

Stretch followed his father’s example and continued to purchase land, “buying old and

wom-out lands at a low price and improving them.”11 In 1826, he purchased the John

Chambless farm on Alloways Creek Neck and a few years later acquired the Daniel

Stretch farm in Alloways Creek Township. At the time of his death in 1848, Stretch’s

property was valued at fifteen thousand dollars. His estate was divided equally between

his two surviving sons, Hiram and Amos Harris, and a thousand dollars was given to each

of his daughter’s children, since Ann had died a few years before her father.

In 1842, Amos Harris married Catherine Smith, a daughter of Andrew and

Hannah Stretch Smith and a distant cousin of Sallie Bradway. Hiram married Catherine

Smith’s sister, Hannah Smith. Catherine and Amos celebrated the births of three

children: Rebecca in 1846, Hannah Jael in 1848, and Stretch in 1852. Unfortunately,

Catherine died in 1855, while giving birth to her fourth child. Catherine and her infant

child were buried in the Canton Baptist Cemetery in the Smith family plot. Amos

married Sallie Bradway a year later; she was twenty-three years old, and he was ten days

shy of thirty-five. Although the Harrises were not as established as the Bradways, when

Sallie married Amos in 1856, she married a highly regarded man of standing equal to her

own. Like his father and grandfather before him, Amos was primarily a farmer but later

11 Sallie Harris, “Harris Family,” 223.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. became involved with local politics, including the Township Committee 1871-75,1881-

82, Commissioner of Appeal 1870-75, Chosen Freeholder, 1876-78.12

Sallie became a stepmother to her husband’s children and soon had children of

her own. On June 4, 1857, a little over a year after her wedding, Sallie gave birth to

Catherine Smith Harris, named in honor of her husband’s first wife. Sallie then had

Sarah Marion in 1859, Margaret in 1863, Amos Howard (known as Howard to

differentiate him from his father) in 1867, and Mary Lincoln in 1868. Unfortunately,

Margaret died when she only two years old and was buried in the burial yard of Canton

Baptist Church; her remains were later removed to East View Cemetery. The family had

experienced a loss a few years earlier when Hannah Jael, the daughter of Amos and his

first wife, died in 1863. She was buried next to her mother in the Canton churchyard.

Sarah and Amos’s children were bom in the Chambless house, which Amos had

inherited from his father. In 1869, the family moved to the Darkin house near

Sinnickson’s Landing in Elsinboro.13 Located in the southwest portion of the county, a

few miles from Salem city, Elsinboro is the smallest of the townships in Salem County,

containing only 7808 acres, most of it marshland. Most of the township’s residents lived

12 Thomas Cushing M.D. and Charles E. Sheppard, Esq, History o f the Counties of Gloucester, Salem, and Cumberland New Jersey, with Biographical Sketches o f their Prominent Citizens (Philadelphia: Everts and Peck, 1883), 420.

13 Shourds, 469. Elsborg, now Elsinboro, is one of the first places where Europeans landed and settled in West Jersey. When Fenwick arrived with his colony the point of land called Asamhocking was purchased by Robert Windham, but he died soon after that event, and left a daughter who married Richard Darkin. Richard died about 1714, and the land was divided between his two sons, John and Joseph Darkin. About 1720 John built a brick house, later owned Amos Harris. Unfortunately, the house was razed in the twentieth century.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. on small isolated farms; in 1876, the township comprised only 151 voters.14 Like his

father, Amos continued to farm, growing sweet potatoes, com, tomatoes, and melons, and

raising dairy, beef cattle, and hogs. In addition to his Elsinboro holding, he also fished on

the Alloways Creek and ran cattle on Round and nearby Ragged Island. Amos kept a

daily log of his activities for over sixty years; his terse commentaries enlighten the reader

of life in the mid- to late-nineteenth-century New Jersey. Typical entries record of the

weather and details about farm life interspersed with brief descriptions of other activities

involving family and friends; for instance, on May 8, 1863, Amos records, “Still cloudy,

drained cornfields in forenoon and afternoon boys over hauled fence and I and Stretch

hauled out 5 old bridge posts at new bridge along Wm. Ware’s fence and it rained enough

to wet me.”15 Several entries would be of interest to political historians: on March 4,

1861, Amos writes, “Abraham Lincoln inaugurated in Washington as President of the

U.S. Seven of them declared themselves out of the Union, without cause we think in the

North. They have a President and Congress at Montgomery, Ala. President Jefferson

Davis of Mississippi.”16

Since coming to the New World in the seventeenth century, the Bradways had

been members of the Religious Society of Friends, and following the schism, which

resulted in the Orthodox and Hicksite branches of the society, most of the family were

14 Cushing and Sheppard, 418.

15 Amos Harris, “Diary,” Salem County, New Jersey: 1854-1909. (Private Collection), 8 May 1863.

16 Ibid., 4 March 1861.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Hicksites. According to Sallie, a member of the eighth generation of Bradways in

America, “As a rule the occupation of the Bradway family had been that of farming, and

their religion that of the Friends, for two hundred years.”17 William and Mary and their

daughters attended the Alloways Creek Meeting at Hancock’s Bridge. The family’s

commitment to the society is evident in Sallie’s mother’s reputation. Later in her life,

Mary Shourds Bradway was a well-known Quaker minister in Lower Alloways Creek

and was celebrated as “a woman of exceptional brilliancy of thought, noted for her

beauty and force of her language.”18 After her death at the age of ninety, she was buried

beneath the oak tree in the Friends’ burial ground in Salem.

Sallie and Amos negotiated their involvement with their respective religious

faiths, often splitting their time between the two houses of worship. In his diary, Amos

records both Baptist and Friends activities: “Sunday, went to Canton Church, there were

11 baptised [sic] today.”19 Two weeks later he writes, “Sunday, went to Friends meeting,

I heard there were 12 baptised [sic] at Canton today.”20 Unfortunately, Amos often

describes both Friends and Baptist services as “meetings,” so it is difficult to ascertain

from his diary which type of service they attended. Sallie’s name is present in the

Friends’ meeting records, while Amos’s is lacking, indicating that Sallie was able to

17 Sallie Harris, “Bradway Family,"Biographical, Genealogical and Descriptive History o f the First Congressional District o f New Jersey, vol. 1 (New York: Lewis Publishing Company, 1900), 209.

18 Cushing and Sheppard, 425.

19 Amos Harris, 10 January 1858.

20 Ibid., 24 January 1858.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. maintain activity with Friends in spite of marrying out of union. Amos records several

instances where he attended “meeting” without his wife, often attending with his

daughter: “Blowed out colder and from N.W. and dry, went to meeting, Kate and I.”21

Although the family did not entirely affiliate itself with the Quakers, the Harrises home

seems to have been a popular visiting sojourn for area Friends; during the June Quarterly

Meeting, members of the society would often stop and visit the Harris household; for

example, on June 5, 1884, Amos records: “Quarterly meeting, all friends went and James

Butler and Henry Fogg were here, R.A. Baker. When the Steamboat come, Gideon

Birtsall, Rhoda A. Coffin and Aunt Jane Brown from Mt. Holly.”22

Although the Harrises had several hired indoor and outdoor servants, as members

of a farming family, the Harris children helped their parents by performing a variety of

farm duties including harvesting fruit, digging ditches, and herding and slaughtering

livestock. The children also undoubtedly assisted their mother with household duties like

laundry, cooking, and mending. Of the children from Amos’s first marriage, Rebecca

married Charles Baker and Stretch married Elizabeth Baker. Charles was the son of

James and Rachel Baker and a private in the 24th Regiment of New Jersey Volunteers

during the Civil War. He may be a cousin of Elizabeth Baker, a daughter of Powell and

Ann Baker.

Amos and Sallie’s eldest child, Catherine Smith, known as Kate, did not marry

but continued to live with her parents until their deaths. When her parents moved to

2'Amos Harris, 18 November 1877.

22 Ibid., 5 June 1884.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Salem city in the 1890s, Kate accompanied them. Sarah Marion, married William

Johnson on March 25, 1879. Sarah Marion and William Johnson had three children:

James R. (b.1880), Josephine (b.1881), and Howard H. (b.1892). Mary married Robert

N. Vanneman, son of Edwin and Josephine Newell Vanneman, in 1888. Robert later

became county sheriff. In 1893, Howard married Bertha Vaughan, a daughter of John and

Eliza Vaughan of Philadelphia. Prior to his marriage, Howard began working as a

livestock auctioneer, traveling throughout Ohio, Pennsylvania, and New Jersey.

Howard’s success as an auctioneer and a livestock handler continued, and his

descendents continue in the business today, owning and operating Cow Town, a rodeo

and auction establishment in Woodstown, New Jersey.

Sallie eventually died on March 10,1909 following a series of strokes. Her

husband died two years later on January 1 ,1911. Sarah Marion moved in with her sister

following her husband’s death. She later died in 1929. Kate lived until December 31,

1940, and was buried next to her parents in East View Cemetery in Salem, New Jersey.

Although Sallie and her daughters have been dead for over sixty years, their legacy lives

on in the scrapbooks they compiled. From the scrapbooks we can learn how the Harrises

structured their lives through their memories of friends, family, and community members.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Chapter 3

THE SCRAPBOOKS

The Joseph Downs Collection of Manuscripts and Printed Ephemera at the

Winterthur Library possesses four related scrapbooks that will be designated as Folio,

Scrapbook, Album, and Marble Scrapbook (See Figure l).23 Collectively they will either

be called scrapbooks or albums, but these terms should not be confused with the more

specific object. The Folio was the first of the scrapbooks acquired by Winterthur,

although no records were kept of the acquisition. It was in the library’s collection in 1974

when the library acquired the three additional albums after recognizing similarities

between the scrapbooks. Many of the same names and fabrics are repeated, the swatches

are attached in the same manner, and the handwriting is similar.

Despite their similarities the scrapbooks were compiled by at least three different

women: Sarah Marion Harris Johnson, Kate Harris, and their mother Sallie Harris. The

four scrapbooks possess a total of 782 swatches o f fabric that vary in size from Z%1 by 1

23 The librarians at Winterthur have numbered the pages, a numbering system that I will utilize in this study. The Folio’s pages are numbered using a different method than the other scrapbooks. While the other books’ pages are numbered consecutively, the Folio is numbered every other page; the backside is distinguished with an ‘A.’ For my ease as well as the ease of future researchers I have chosen to respect the integrity of the numbering system rather than to attempt to make it conform to the system of the other scrapbooks.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. V* inches to 15 '/z by 17 l/z inches, but most of the swatches fall within the range of three

to five inches. Many of the pages contain only one fragment of cloth while others

contain as many as fifteen. The straight edge of many of the fabrics was obtained by

cutting, while some appear torn along the grain. Although many of the swatches are

roughly square, very few true squares exist.

The collection includes silk, wool, cotton, and linen from China, England, France,

India, and America. The swatches represent household furnishings and personal

garments, dating from about 1770 to 1890, although most are from the Harrises’ lifetimes

up to the 1880s. Most of the swatches represent items used in the Salem County, New

Jersey, but a few fragments of articles were worn or used in other areas, including

Pennsylvania, New York, and Ohio.

Of the 782 swatches of fabric, 739 are attached to the pages. Unlike many

scrapbooks in which items are attached with paste, the Harrises chose to stitch the

fragments of cloth to the pages. At each comer a knotted stitch of white or cream-

colored thread attaches the fabric to the pages. An additional forty-three scraps of fabric

remain unattached and “float” between the pages; many of these floats duplicate tacked

swatches, but a few are unique in the collection.

Handwritten captions for 469 of the tacked swatches provide some information

about the fabric. These captions are usually located under the swatch being described.

The information varies from terse identifications, such as “Freas calico,” to extensive

narratives, such as “Homemade Linen Check belonged to Lydia Harris who died in

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1843”(A.15, 35).24 An additional seventy-eight tacked swatches duplicate fragments of

fabric that have captions.

Both Sarah Marion and Kate signed their names in the front of the Folio and

Scrapbook, respectively. Sallie Harris did not sign her name, but evidence suggests that

she compiled the Album.25 The Folio’s first page bears the signature of “Sarah M.

Johnson” along with the date of 1880, both of which have since been crossed out with a

ballpoint pen. At least one of the swatches substantiates Sarah Marion Johnson as the

Folio’s creator: a fragment of “Grandma Lindzey’s mosquito curtains” (F. 46A). Sarah

Marion’s husband’s grandmother was Hannah Butcher Lindzey (1813-1891). The Folio

also contains a number of swatches that are attributed to “Grandmother Harris;” the same

fabric is credited to “Mother Harris” in the Album, which was probably compiled by

Sarah Marion’s mother Sallie Harris.

Kate Harris’s signature along with the date, 1882, appears on the first page of the

Scrapbook (See Figure 2). Kate’s mark also appears within the Scrapbook, “Piece of my

dress worn as bridesmaid at Emma L. Ward’[s] wedding. Kate S. Harris,” corroborating

her as the creator of the Scrapbook (S. 42). Like her sister’s Folio, Kate’s Scrapbook also

has several swatches attributed to “Grandmother Harris.”

Although previously attributed to Kate Harris, the Album was most likely

compiled by Sallie Harris, as several captions attest. In the Album, the same fabric that is

241 will cite the scrapbooks parenthetically, and the different scrapbooks will be noted as “F.” for Folio; “S.” for Scrapbook; “A.” for Album; and “MS.” for Marble Scrapbook.

25 Using handwriting to assist in determining a maker is ineffective as all four exhibit similar handwriting.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. listed elsewhere as belonging to “Grandmother Harris” is attributed to “Mother Harris,”

indicating a member of the generation preceding that of Sarah Marion and Kate wrote the

captions. Sallie’s mark also appears on a note pinned onto a swatch of linen: “Linen

Spun 100 yrs ago by Hannah Fogg (Anna C. Ware great Grandmother) - Sallie Harris”

(A. 91). The caption for a silk of maroon ground with white flowers provides further

validation for Sallie as the maker of the Album: “Bought for me by Rhoda O. Lamb over

30 years ago” (A. 65). Neither Sarah Marion nor Kate had yet been bom in the 1850s

when Rhoda Lamb gave the fabric as the caption suggests. Although it is not currently

known when their friendship started, Sallie visited Rhoda Osbom Lamb and her husband,

Restore, at Mt. Holly, New Jersey on several occasions.26

No name appears within the Marble Scrapbook that indicates a maker, but it is

likely that Sarah Marion or Kate tacked the swatches to the pages and offered the brief

annotations, including “Grandmother Harris’ pressed flannell [sic] dress 40 years old.

1886” (MS. 80). The use o f the term “grandmother” instead of “mother” indicates that

the maker was one of Sallie’s children. The Marble Scrapbook remained with the

Scrapbook and Album suggesting that Kate was responsible for its creation and care.

Containing swatches of wool, linen, and cotton, the Marble Scrapbook compliments

Kate’s Scrapbook, which primarily displays silk. Although the fragments in the two

albums compliment each other, the styles of annotations differ. With approximately nine

percent of its swatches annotated, the Marble Scrapbook contrasts sharply with Kate’s

26Amos Harris, 13 July 1860,4 November 1864,1 November 1871, 5 June 1873,30 May 1876.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Scrapbook, which has an amazing ninety-one percent of its fragments annotated.

Considering Kate’s documentary nature, she would have provided more captions if she

compiled the Marble Scrapbook

All four scrapbooks bear indications that they were compiled during the 1880s,

but they probably were not compiled during a single occasion. Sarah Marion and Kate

both wrote dates in the front of their scrapbooks: 1880 in the Folio and 1882 in the

Scrapbook. They may have written these dates when they began the scrapbooks, or they

may have recalled the date years after the scrapbooks had been set aside. Regardless,

many of the captions bear dates indicating that the scrapbooks were compiled during the

1880s; for instance, Kate writes, “Piece of Mary Wilmer’[s] Mothers wedding dress 75

years old now 1882” (S. 36).

The textiles that Sallie Harris acquired at vendues, or household auctions, further

indicate the collection and compilation period of the scrapbooks. Sallie Harris attended

several vendues during the 1880s, including Sarah Birch’s vendue on September 1,1881

at which she obtained a brown floral print. Within the Album it bears the caption

“Bought at the sale of Miss Sarah Birch nearly 80 years old, calico thought to be 50 years

old,” and under the swatch an additional notation describes the fabric as from a bed quilt

(A. 1). This calico is the first swatch in the Album, evidence that Sallie probably did not

start her Album prior to 1881.

Bearing two separate dates - 1800 and 1886 - the Marble Scrapbook is at both the

early and late end of the compilation period. It may be an early attempt at preserving and

documenting fabric as well as a project that was revisited. While working on the later

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. scrapbooks, Kate or Sarah Marion returned to this earlier effort and added fabric and/or

captions.

By the late 1880s, the Harrises had completed assembling their collection into the

scrapbooks, as indicated by several floats that are not tacked to the pages. These include

a fragment of Bertha Vaughan’s dress from her wedding to Howard Harris on November

8, 1893 (S. 55-56). There are also two notes written on envelopes with postmarked dates;

attached to a fragment of gray silk in the Scrapbook is an envelope addressed to Sallie

Harris in Salem and postmarked from New York, NY on December 6,1904 (See Figure

3). On the backside of the envelope, Sallie describes the wedding of her great-aunt Mary

Shourds Hewes:

Wedding dress of Aunt Mary [Hewes], sister of my Grandfather Samuel Shourds, Samuel [Hewes] from Concord Delaware Cy, Penn, was married to Mary Shourds in 1828 in the Orthodox meeting house down Walnut St. near Public School house called silver gre [sic] silk. S.B. Harris 1-30-1905” (S. 47-48).

Kate probably would have tacked the floats to the pages if they were acquired during the

compilation phase. Instead of attaching the fabric to the pages, Kate preserved the

fragments by simply placing them within the Scrapbook.

Although at least three different women contributed their efforts, Sallie’s

influence is present in all four volumes. The textiles that Sallie includes in her Album is

overwhelmingly repeated in the other scrapbooks; of the Album’s 287 pieces of fabric, at

least ninety-two are also included in the Folio, Scrapbook, and Marble Scrapbook.27 The

Folio, Scrapbook, and Marble Scrapbook also bear duplications of one another, but not to

27 An additional twelve pieces bear similarities to fabric in the other scrapbooks and may be duplicates.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. the same degree; the Folio only bears two swatches that are repeated solely in the

Scrapbook and fifteen that are only repeated in the Marble Scrapbook.

Sallie most likely obtained much of the fabric, and, after using what she wanted in

her Album, gave the surplus to her daughters. According to Amos’s diary, Sallie

attended the vendues, or household auctions, where at least thirty of the pieces were

obtained. Although Amos’s diary does not mention them, she undoubtedly purchased

textiles while also buying larger household furnishings. For example, Sallie attended

Sarah Birch’s vendue on September 1,1881. Sallie includes a piece of Sarah Birch’s bed

quilt in her Album, but Sarah Birch’s fabric is also found in the Folio and Marble

Scrapbook.

Sallie’s written presence in the Folio and Scrapbook also attests to her

involvement in her daughter’s scrapbooks. A note attached to Beulah Ware’s calico in

the Folio reads “Bed Spread given to Beula Ware 1838 Sallie Harris” (F. 26). Similarly,

Kate kept the note regarding her great-great-aunt Mary Hewes that Sallie wrote in 1905.

It is interesting that neither Sarah Marion nor Kate chose to remove these notes from their

scrapbooks; instead they preserved their mother’s presence in their own creations.

Many of the swatches bear picked seams, hems, or additional marks where an

embellishment was removed demonstrating that the fragment was cut from a finished

article rather than obtained from surplus fabric. Annabelle Homblower’s grandmother’s

skirt is the best example of this; the silk satin retains the diagonal stitching lines of

eighteenth-century quilting (S. 70). A piece of what appears to be a collar with fabric

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. embellishment and tumed-under edges also suggests that finished items of clothing were

pillaged for the Harrises’ project.

Two pieces of black, green, and white plaid that bear similar but different notes

indicate how the Harrises obtained some of the information associated with the textiles.

The note pinned to the fabric in the Album reads, “My first silk dress,” while the same

fabric appears in the Scrapbook with the annotation “Rebecca Smith’s first silk dress” (A.

29, S. 96). Rebecca Smith apparently wrote the original note and attached it to the

fragment of her dress prior to giving it to Harrises. When Kate included the swatch into

her Scrapbook, she transferred the information with the addition of her cousin’s name.28

While most of the fabric was probably obtained as gifts, the Harrises purchased at

least a few of the fragments. As mentioned previously, Sallie bought fabric at vendues,

but a piece of paper tucked under a swatch of brown and white linen indicates that the

Harrises purchased additional fabric: “Dear Friend, I ran a thread around the square I

wanted of the brown and white linen. Inclosed [sic] find money” (A. 91). The use of the

term “Friend” probably indicates the family’s involvement with the Religious Society of

Friends, rather than denoting an intimate association.

The swatch displays no further annotation that would indicate from whom the

cloth was obtained, but it does show that the Harrises purposely chose sections of fabric

that met their requirements. In other instances, swatches have birds or similar motifs

centered within the swatch. Presumably, they could have chosen any section of fabric,

28As the granddaughter of Ann Harris Fogg, Amos Harris’s sister, Rebecca was a cousin to Kate Harris.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. but they either chose sections with the motif centered, or they trimmed the fabric to

center the motif.

While compiled in a similar manner and bearing many identical swatches, each of

the scrapbooks is unique. Measuring 14 % by 12 XA inches, Sallie’s Album appears to be

the most diverse of the scrapbooks; its ninety-eight pages primarily consist of cotton

although there are number of silk, wool, and linen. Of its 282 tacked swatches, 186 bear

captions. Additionally, there are five floats, one of which has attached information. The

captions identify sixty-five calicoes, twenty-two wedding dresses, nineteen dresses,

fifteen quilts, thirteen bed curtains, five curtains, three homespun, two merino wools, two

aprons, as well as the various scarf, lawn, wrapper, double gown, pongee, muslin, poplin,

and silk grenadine. Sallie’s Album features a combination of the influences present in

her daughters’ scrapbooks; like Kate, she includes a number of wedding dresses, and like

Sarah Marion, she identifies the type of fabric: “Painted muslin from Mary Griscom” (A.

79). Sallie also provides rather terse entries like “Birch calico,” while describing other

swatches at length: “Jane Lawson Grandmother’s bed curtains 75 years old” (A. 6,39).

Sarah Marion’s Folio is the largest of the scrapbooks, measuring 18 by 22 Vi

inches. Its fifty pages display 194 tacked swatches and no floats. Many of the pages

consist of only one swatch, which comprises the entire page, but many pages also contain

a number of swatches. The most swatches on one page is eleven. The Folio primarily

contains linen and cotton although there are a few pieces of silk and wool. It also

exhibits several commemorative ribbons from The World’s Industrial and Cotton

Centennial Exposition, St. Johns Commandery, and Yorktown Surrender.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Of the Folio’s 194 swatches, 139 bear captions. Most of the captions are brief

comments without the florid descriptions present in the other scrapbooks. Of those

swatches that bear captions, forty-six describe the fabric as calico, twenty-two as bed

curtains, fifteen as “Old Linsey Woolen Patterns,” seven as curtains, five as quilts, five as

dresses, three as linen, two as mosquito curtains, two as bedspreads, and one each of

assorted bed valance, vest, and dimity, ribbon, “boiling cloth,” baftha, and mummy cloth.

Many of these descriptions also include the name of the person associated with the cloth,

such as “Stackhouse bed curtain” (F. 4). An additional twenty-one captions refer to the

owner of the fabric or how the fabric was procured without describing the textile itself;

for instance, “Bought at Mary Bassetts Sale Salem N.J.” describes a fragment of yellow

cotton featuring red birds, flowers, and scrolls, but the fabric’s use is not noted (F. 12).

Kate’s Scrapbook, which measures 8 Zi by 11 inches, is primarily a collection of

silk fragments, although there is one cotton swatch and a few wool swatches. Its one-

hundred pages consist of 187 tacked swatches, mostly displayed in one or two swatches

per page. It also contains an additional thirty-five floating fragments. One hundred and

forty-one of the tacked swatches bear captions, and fourteen of the floats have

accompanying slips of paper providing information. Among the Scrapbook’s tacked

swatches, there are seventy-five pieces of silk, wool, and lace that relate to weddings

including forty-seven wedding dresses, two wedding vests, two bridesmaid dresses, two

wedding bonnet strings, a veil, and a bride’s traveling outfit.29 The earliest wedding

29 An additional seven swatches of wedding dress fabric float between the Scrapbook’s pages, but carry information in the form of handwritten notes.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. dress fabric is from 1804, and the latest wedding dress is from 1885, but most of the

wedding fabric date from 1850 to 1870.

In addition to the wedding-related fabric, Kate collected a variety of textiles.

Among the annotated swatches, the Scrapbook contains twenty-nine dress fabrics, fifteen

ribbons, three parasols, two shawls, two mantillas, two sashes, and the assorted bonnet

string, skirt, bonnet, scarf, apron, reticule, and doll’s apron. Kate’s annotations are

similar to her sister’s annotations, although Kate tends to provide more information.

Kate often describes the fabric, identifies its use, and provides a name and time period,

for example, for a piece of blue silk satin, she writes, “Blue satin quilted skirt worn by

Anabelle Homblower Grandmother supposed to be 100 years old” (S. 70).

The Marble Scrapbook measures 9 Vz by 12 inches and contains swatches of v/ool,

linen, and cotton. There are relatively few annotated swatches; of the two loose scraps

and 105 fragments of fabric that are attached to the pages, only nine bear annotation.

These consist of several pieces of wool related to the Dare family, including a peach and

brown fragmet with the caption: “Worn by Prudence Dare when ten years of age, 36

years ago. 1880” (MS. 79). An additional thirty-nine scraps match fabric that is

annotated in one of the other scrapbooks, providing some information for the fabric. The

Marble Scrapbook contains the only piece o f fabric related to Stretch Harris, Sallie’s

father-in-law and Sarah Marion and Kate’s grandfather.

The placement of the swatches indicates that Sallie, Kate, and Sarah Marion

premeditated the layout of their scrapbooks. For example, on page eighty-three of the

Scrapbook, Kate displays two fabrics from Lucy Haines including a fragment of a brown,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. mauve, white, and gray plaid dress and its accompanying green mantilla, and on the

opposing page exhibits a piece of Rebecca Harris’s green and gold neck scarf (See Figure

4). The matching colors and the decorative cutting indicate that Kate purposely chose

these swatches for placement on these specific pages. Although it is evident the Harrises

added fabric partly as it was acquired, the order and connection between the swatches

indicate that the Harrises were telling a story with the swatches. People compile albums,

whether photographic, scrap, or some other type, in one o f two ways; materials are either

added to the collection as they are gathered, or they are amassed first and then placed in

the collection. The first approach creates a chronological order of collecting, while the

second method allows for more freedom and creativity. Most scrapbooks feature a

combination of both techniques. The Harrises compiled their scrapbooks primarily using

the second method, amassing their collection of textile fragments, then sorting and

arranging according to the narrative they wanted expressed.

The Harrises combined their swatches in their scrapbooks to display a catalog of

family and friends as well to relate a narrative of their relationships. Although intended

correlations between swatches are not always clear to a modem viewer, it is apparent that

the swatches were combined in a way that conveyed meaning, at least to the Harrises.

Through research into the identities of the people mentioned in the scrapbooks, a

complex network of kinship, friendship, and community emerges.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Chapter 4

COMMEMORATING FAMILY, FRIENDS, AND COMMUNITY

Perhaps anticipating future importance or not trusting their memories, the women

chose to annotate many of their swatches with brief captions; of the 739 tacked swatches,

469 bear captions.30 Although some of the significance of the fabric has undoubtedly

been lost, the textile fragments and their brief annotations form patterns, which, when

paired with research and close examination, create a community of fabric. The

scrapbooks provide insight into the Harrises’ “emotional universe”: the relative strength

of relationships with family, friends, and community members and the ways they

nurtured their ties.

Proportionately, the Marble Scrapbook contains the most non-annotated

fragments; only nine of its 105 tacked swatches bear captions. Sallie did not provide

captions for approximately forty percent of the fragments in the Album, while Sarah

Marion failed to annotate twenty-eight percent, and Kate did not annotate a mere nine

percent. The Scrapbook reflects Kate’s proclivity for documentation. Current members

of the Harris remember visiting the house o f their grandfather Howard Harris Jr.’s where

30 An additional seventy-nine tacked swatches duplicate swatches with information.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. they viewed objects on shelves and tables displaying meticulous labels written by Kate.31

A corkscrew, currently in the possession of a Harris family member in Woodstown, New

Jersey, bears the label “Bought at the sale of Wm. Sheppard that lived near to Ed Fogg as

I remember, more than 50 years ago expect then at hundred + fifty years old now - Sept,

1900 KSH.” It is unknown why the Harrises did not provide captions for approximately

one-third of the tacked swatches. They may have grown tired of writing, forgotten the

information, or have been more interested in a particular swatch’s aesthetic qualities as

opposed to its associations with their families and friends.

Of the scrapbooks’ 469 annotated fragments of cloth, the Harrises connect 323 of

the captioned fabric with a specific individual or individuals and an additional 104

swatches with a family.32 Through the captions, the Harrises refer to 180 individuals by

name among a total of 103 surnames.33 The predominance of captions with a family or

individual association indicates that the Harrises were invested in their family and

community.

31 Grant Harris, conversation with author, Woodstown, New Jersey, 5 November 2002.

32 An additional seventy-one tacked fragments of fabric duplicate swatches with family or individual associations. Seventeen floats have related information.

33 In this figure I am including every specific name mentioned including those that identify individual with “Mrs.” or “Miss” and fail to provide a first name. For fabric that is associated with an individual’s relative, I am only including the individual unless their relative is identified. For example, with “Lena Holmes Mother bed curtains” Lena Holmes is included in the figure but her grandmother is not, but with “Susana Fitzgerald teaster-bed curtains John Denns wife & Susan Denn Grandmother” Susana Fitzgerald, John Denn, and Susan Denn are all included in the figure.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Harrises cite only forty-three men in their scrapbooks, compared to 137

women, and most of the citations of men are in reference to their female relatives; for

example, the Harrises include three swatches of fabric that relate to Clarkson Lippincott

(1832-1904), a farmer and a member of the Hicksite Monthly Meeting: Sallie includes

fragments of his first wife’s wedding dress and his mother’s bed curtains; Sarah Marion

includes a piece o f linen from flax grown on a farm that he later owned (A. 59,4; F. 45).

While the last fabric is related only tangentially to Lippincott, the other swatches reflect

two important women in Clarkson Lippincott’s life. Sallie and Amos attended Clarkson

Lippincott’s vendue on February 8, 1865, but Sallie most likely acquired the swatches

directly from Clarkson or from his third wife, Mary Jane Woolman Lippincott, who,

along with her mother, sister, and sister-in-law, is also represented in the scrapbooks.34

By including the reference to Clarkson, Sallie emphasizes his role in the lives of his

female relatives.

Only twenty tacked fragments of cloth are specifically related to men, including a

fragment of black silk satin with gray and white roses and leaves that belonged to Amos

Harris, Sallie’s husband and Kate and Sarah Marion’s father. Sarah Marion describes the

swatch as “Amos Harris A piece o f his vest at the age of 17,” while Kate describes it as

“Piece of Amos Harris’s vest when he was 18 years old” (F. 32, S. 69; See Figure 5).

Sallie Harris also includes a fragment of her husband’s floral silk although she did not

write a caption (A. 93). Bom in 1821, Amos wore the vest in 1838 or 1839. Considering

the differences in the two ages provided by Kate and Sarah Marion, the fabric may have

34 Amos Harris, 8 February 1865.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. been purchased or worn earlier or later than 1838, although Amos probably wore the silk

as a young, unmarried man; he did not marry his first wife until 1842. As a successful

farmer, Amos frequently purchased clothing other than work clothing, and his diaries

often record his purchases: “bought velvet pants for self cost $4.50.”35 He also mentions

wearing new outfits: “Clear and not very cold. I wore my new clothes that Lib. Patrick

made.”36 Despite Amos’s apparent assortment of work and leisure clothing, fragments of

these garments are not included in the scrapbooks. His wife and daughters chose to

commemorate him with fabric from his youth, as they did with their own fabric. Kate

displays both her and her sister’s first silk dresses, and Sarah Marion includes a fragment

of Sallie’s cape with the caption, “Mother’s Cape when in her teens” (F. 44A).

In his diary, which he kept for over fifty years, Amos Harris writes affectionately

of his wife and daughters, indicating that he had a relatively loving relationship with the

female members of his family. The three women acknowledge the importance of Amos

Harris in their lives by the inclusion of fragments from his vest, but despite their close

relationship he is only represented with fragments from one garment.

The Harrises include textiles from other men with whom they did not have such a

close relationship, including a fragment of fringed off-white silk crepe with the

annotation, “Scarf brought from China by Nathan Dunn” (A. 65; See Figure 6). Nathan

Dunn Jr. (1782-1844) was the son of Nathan Dunn and his second wife, Rhoda Silvers

Dunn. In 1818, he sailed for China and traded under the firm of Nathan Dunn &

35 Amos Harris, 23 November 1874.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Company. He imported various Chinese articles including teas, silks, nanteens, furniture,

lacquerware, shawls, crapes, and fans. He returned to Philadelphia in 1832, but while in

China he amassed a personal collection of Chinese artifacts, which he exhibited at his

museum in Philadelphia.37 As Nathan Dunn had spent much of his adult life abroad and

died when Sallie Harris was only twelve years old, Sallie probably did not know him

well. She most likely acquired the fabric from his half-sister, Rhoda O. Lamb. Sallie

was a close friend of Rhoda’s and other fragments of cloth from Nathan Dunn reflect this

kinship: Sarah Marion describes a fragment of black and white silk as “Goods bought in

China by Nathan Dunn for his Sister” (F. 32). The black silk features a woven

vermicular design (See Figure 5).

The Harrises may have included fabric from Nathan Dunn for of its connection to

one of Sallie’s closest friends, but the fragment’s association with a prominent and well-

known individual probably also affected its inclusion. Few have heard of Nathan Dunn

today but during the nineteenth century he was famous for his connections to the China

trade and for his museum. He also built a “cottage” in Mt. Holly, New Jersey, in which

he exhibited Chinese artifacts. As an autograph from a movie star would today, Nathan

Dunn’s fabric adds imagined importance to the collection.

Like Nathan Dunn, most of the forty-three men mentioned in the scrapbooks are

associated with the Harrises through their wives or other female relatives. O f the sixty-

eight captions that contain men’s names, forty-eight swatches list both men and women.

O f these, thirty-five of the captions link wedding dress fragments to both the bride and

36 Amos Harris, 4 February 1871.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. groom. The men are associated with the wedding dress fabric through their association

with the bride. On page seventeen of her Scrapbook, Kate displays fragments of the

wedding dresses from Hannah Bradway Harmer Dare’s two weddings (See Figure 7).

Hannah Bradway (b. circa 1811) was the daughter of Waddington Bradway and his third

wife Hannah Baner Bradway. She married Ebenezer Harmer in 1845 and James Dare in

1856. At the top of the page, Kate attaches a fragment of silk with a small white pattern

on moss green ground, which she annotates with “Piece of Hannah Bradway wedding

dress Married 1845 Ebenezer Harmer.” Below it is a fragment of russet silk with the

caption, “Piece of Hannah Harmer wedding dress married in 1853 to James Dare.” On

the annotation to the second fragment, Kate crossed out Hannah’s maiden name and

added the name from her first marriage.

Weddings are a transition from single status to a coupled status. The Harrises

include both the bride’s maiden name as well as the groom’s name to symbolize a

wedding’s liminal state. Hannah’s fabric uniquely displays the transitional qualities of

weddings. By including fabric from the dresses of both weddings, Kate symbolically

documents Hannah’s transformation from maid to wife to widow.

In addition to the fragments associated with both men and women, the Harrises

exclusively cite 133 women in relation to 277 fragments of dresses, bed curtains, aprons,

bonnets, and ribbons. One-hundred and nine of the swatches are related to women

identified with their married names, fifteen of which identify the women as a variation of

“Mrs.” For example, Sallie describes a fragment of red, white, and blue checked silk as

37 Arthur W Hummel, “Nathan Dunn,” Quaker History, 59 (1990): 34-39.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. “Mrs. John Glaspey wedding dress” (A. 60). John Glaspey or Glaspy (1822-1894), son

of Silas and Keziah Sayre Glaspey, married Phebe English (d. 1889) about 1850. The use

of her husband’s name marks Phebe Glaspey as the wife of John Glaspey as opposed to

an individual who stands on her own. Sallie probably did not know Phebe Glaspey well;

the only mention of her in Amos Harris’s diary is when she died: “Died in L.P. Neck at

her son in laws, D. Dixon, Phebe Glaspey, wife of John Glaspey and daughter of Wm.

English of Bacons Neck.”38 The Harrises’ limited relationship with Phebe Glaspey

accounts for the omission of her given name.

Sallie’s Album contains twenty-two fragments of wedding dresses, and Kate’s

Scrapbook contains seventy-five pieces of fragments associated with weddings. The

number of wedding dress fabric that Kate collected is intriguing. Never marrying, she

was about twenty-five years old when she amassed this collection. Did she realize that

she would not be joining her own wedding dress fabric to the rest in her collection? Was

she documenting an option that she ultimately dismissed? Kate may have used the scraps

of wedding dress fabric to imagine another life, of which she ultimately chose not to take

advantage.

Kate was not unique within her social sphere; the Harrises’ circle of friends

extended to include many maiden women from within their family as well as their

community. Forty-six scraps are associated with women who never married, including

Jane Lawson, Lydia Harris, Susan Denn, Annie Sheppard, Sarah C. Wilson, Emeline

Wilson, and Rebecca Stratton. Although in most cases a woman’s marital status would

38 Amos Harris, 15 May 1889.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. not be known, many of the captions explicitly identify the woman’s maidenly state.

Sallie describes a fragment of white cotton as the “Dimity bed curtains 100 years old

compliments of Miss Jane Lawson” (A. 42). Jane Lawson was the daughter of John and

Elizabeth Lummis Lawson. She never married but lived with her bachelor brother John

Lawson in the Salem home where her parents had lived.39 Although most women chose

to marry, remaining single in the nineteenth century was a viable and acceptable option

for women, especially for women from the middle to upper classes. Approximately ten

percent of American women bom between 1860 and 1880 never married, a larger

percentage than at any time between 1835 and the present.40 Women’s magazines of the

time emphasized the viability of remaining single. Their stories showed that unmarried

ladies could be useful and productive members of a community as nurses, teachers, and

moral guides.41

Weddings had long been a time for celebration; men and women wore the best

clothes and accessories they could afford. The country’s obsession with weddings is

reflected in two Salem County publications. Catering to his own or his reader’s interests,

Sallie’s uncle Thomas Shourds includes a section on Salem County’s early marriages in

his 1876 book, History and Genealogy of Fenwick’s Colony. In 1934, the Salem County

Historical Society issued a brief pamphlet detailing important events, people, and places

39 Shourds, 141.

40 Marilyn F. Motz, “Visual Autobiography: Photograph Albums of Tum-of-the-Century Midwestern Women,"American Quarterly 41:1 (March, 1989): 83.

41 Barbara Welter, “The Cult of True Womanhood: 1820-1860,” American Quarterly 18: 2, I (Summer, 1966): 169.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. in Salem County’s history. Deemed important by the anonymous contributors, the 1682

wedding of Richard Johnson and Mary Grover, owners of the Richard Johnson House in

Salem, receives attention. The author bemoans the fact that a description of the wedding

dress did not survive:

The marriage rite [was] solemnized after the simple form of the Quakers. There followed the festivities at the house of the bridegroom, which was attended by quite a large company, as eleven persons, presumably bride’s maids and groomsmen, signed their names as witnesses to the certificate, among them the Hon. James Nevill, the agent of William Penn.We regret there is no description left o f the dresses worn on the occasion.*2

The Harrises associate ninety-four swatches with women’s maiden identities, and

only three of these swatches represent women who were married after the scrapbooks

were compiled. Sallie describes a fragment of green silk as “Mary Ann Batten wedding

dress” (A. 54). Kate identifies the same fabric as “Piece of Mary A. Batten wedding

dress Married to Samuel C. Springer Jan 13th 1853” (S. 34). Mary Ann Batten married

Samuel Springer (1830-1897) at the Trinity Episcopal Church in Swedesboro, New

Jersey. They were close neighbors to the Harrises in Elsinboro, and the two families

assisted each other as well as other families with farming duties: “Cold and wind N.W.,

some banks as high as the fence. S.C. Springer and wife and Sam Thompson and Sallie

and I all went in our sleigh to Chas. H. Elwell’s to kill hogs and had a rough day.”43 The

Harrisses and Springers also spent time with each other on a more social basis: on

42 Salem County Historical Society, “Colonial Roof-Trees ” and "Candle Ends” (Salem, New Jersey: Salem County Historical Society, 1971), 34. Italics added for emphasis.

43 Amos Harris, 2 January 1877.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. September 3, 1881, “Sallie and I went to S.C. Springers in evening to tea.”44 Although

Mary Ann Batten Springer (1830-1920) knew the Harrises as a married woman, her

maiden persona is what is commemorated in the scrapbooks.

The omission of married names extends to textiles from women from earlier

generations as well to fabric unrelated to weddings; for example, Sallie describes a

fragment of printed cotton as “Susana Fitzgerald teaster-bed [sic] curtains John Denns

wife & Susan Denn Grandmother” (A. 47). Susana Fitzgerald married John Denn during

the mid-eighteenth century; she was Sallie’s great-aunt’s mother-in-law. Despite Sallie’s

unfamiliarity with Susana Fitzgerald Denn, she commemorates her with her maiden

name. The inclusion of the names of Susana’s husband and granddaughter provides

contextual authenticity for the swatch.

Within her Scrapbook, Kate uses her mother’s maiden name and does not even

mention her father when describing her mother’s wedding outfit: “Piece of Sarah

Bradway’s wedding bonnet string. Married March 19th 1856” (S. 3). Kate also describes

many wedding dress fragments with a finality that is almost disturbing; for example, Kate

writes, “Piece of Sallie W. Powell’s wedding dress. Married,” to describe the midnight

blue silk that her cousin wore when she married Henry Fogg (S. 21). Kate may have

intended to insert the groom’s name at a later date, or she may have considered the act of

marriage more significant than the man the woman was marrying. As an unmarried

44 Amos Harris, 3 September 1881.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. woman, Kate chose to identify with her friends and relatives’ identity as maidens, and

thus omitted the grooms’ names.

The predominance of female names suggests that Sallie and her two daughters

maintained a strong network of other women, which was typical during the nineteenth

century. Nineteenth-century women were socially encouraged to create and maintain

female relationships, which ranged from the supportive affection of sisters, through the

guiding love of mothers and aunts, to the adoration of girlhood friends.45 The omission

of men’s names and the use of maiden names indicates that within their sphere, a

woman’s identity was separate from her relationships with the men in her life.

Sallie acted as the core of the Harrises’ community, providing guidance to her

daughters and assistance to her friends, neighbors, and family. The first swatch that Kate

includes in her Scrapbook is a fragment of her mother’s wedding bonnet ribbon. Shown

in Figure 8, the ribbon of ecru satin with checkerboard center and scalloped edges is

located in the lower portion of page three o f the scrapbook. Sallie’s swatch is the only

fabric located on the page; the first two pages are left blank as is also page four, thus it is

isolated from the other swatches. Kate may have intended to include a swatch from an

accompanying garment such as Sallie’s wedding dress.

By isolating her mother’s ribbon and placing it at the front of the book, Kate

emphasizes her relationship with her mother as well as her mother’s role in her life.

Kate’s intimate relationship with her mother enabled her to be part of the female world

45 Carroll Smith-Rosenberg, “The Female World of Love and Ritual: Relations between Women in Nineteenth-Century America,” Signs I (1975): 1-29.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. that she celebrated with her Scrapbook. Her mother was probably the most influential

person in her life, and they obviously had a caring relationship; choosing not to marry,

Kate remained with her parents, offering support and comfort throughout their lives.

Although Sarah Marion does not isolate her mother’s fabric, she does include a piece of

white machine lace from her mother’s cape (F. 44A).

Sallie’s relationship with her daughters exemplified the quintessential mother-

daughter relationship. During the nineteenth century, the mother-daughter relationship

was the heart of the female world, and mothers furnished their daughters with the tools

and connections to act properly and create further relationships with other girls and

women.46 Sallie and her daughters shared the activity of compiling the scrapbooks, and it

is fitting that Kate and Sarah Marion highlight their mother in their scrapbooks.

As the wife and mother, Sallie served as the primary representative from her

family to the female sphere. Paying social calls and offering assistance in times of need

cemented the bonds of the female support structure. She visited other women on her own

or with members of her family and community, and those ties were later emphasized

within the scrapbooks; for example, on December 20, 1875, Amos Harris “went to

Bridgeton and took Sallie and Anna Gibbon, Susan Denn, Jane Trullender to see Mrs.

Gegg.”47 The sisters Anna Denn Gibbon and Susan Denn are represented in the

scrapbooks with a total of seventeen fragments of cloth including bed curtains, dresses,

and a wrapper. Sallie took her daughters on her visits to the homes of neighbors and

46 Smith-Rosenberg, 15.

47 Amos Harris, 20 December 1875.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. family members, where the girls learned how to negotiate through female society. When

they were young, Sarah Marion and Kate often accompanied their mother on her social

visits, and as they aged they paid calls on their own, with each other, or with another

female relative. The women also went on several outings with other women, including

on July 17, 1878, when “Sallie and the girls went on excursion up the Hudson with Ayres

of Bridgeton and did not get to Salem till 2 o’clock next morning.”48

Sallie and her daughters most likely procured much of the fabric that they

included in their scrapbooks during these visits. The exchange of small mementos like

locks of hair, short poems, flowers, or, in this case, fragments of cloth, was a common

practice during the nineteenth century. Women used the exchange of small gifts to

nurture and cement their bonds of friendship, and the keepsakes served as tangible

reminders of those of bonds. Prescriptive literature encouraged gift-giving between

friends; in 1864, Godey’s Lady’s Book suggested that a white silk pincushion or sofa

cushion with autographs of friends written in miniature would “make a very pretty album

of affection.”49

Through visits, Sallie and her daughters maintained their friendships with other

members of their circle. Although some of the swatches are most likely scraps left over

from making a gown, many of the swatches bear indications of having been taken from

completed articles; picked seams, embellishment markings, and intact hems show that the

48 Amos Harris, 17 July 1878.

49 “Autograph Bedquilt,” Godey's Lady’s Book, April 1864 (Philadelphia, Pennsylvania): 387.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. swatch was cut from a presumably still functional garment. The act o f cutting a treasured

garment such as a wedding dress or grandmother’s bed curtains and giving the fragment

to the Harrises indicates a high level of intimacy between the giver and receiver.

Kate celebrated her sister’s involvement in compiling the scrapbooks; the set of

swatches after her mother’s swatch is from her sister, Sarah Marion. Located on page

five are fragments from Sarah Marion’s wedding dress and veil (See Figure 9). The dress

bears the annotation, “Piece of Marion Harris’ wedding dress. Married March 25th 1879

to Wm Johnson,” and consists of two pieces of layered fabric (S. 5). The white gauze,

which features a series of one-quarter-inch tucks that create a striped pattern, lies on top

of a fragment of white twill cotton. Sarah Marion’s veil, which is located above the dress

on the same page, is white net and also bears rows of tucks. Sarah Marion’s wedding to

William Johnson was an important event in the lives of the members o f the Harris family.

She was the first child of Amos and Sallie Harris to marry, and her marriage to a member

of another prominent Salem County family received special attention. Kate and Sarah

Marion’s father noted in his diary the event of his daughter’s wedding: “Wm. Johnson[,]

son of John S. Johnson[,] and Sarah M. were married here at home by the Rev. M. Ray of

Memorial Baptist Church, some 75 to 100 people here and give her $1000 worth of

presents.”50

Fragments of Sarah Marion’s first silk dress are also present in Kate’s Scrapbook

as well as Sallie’s Album although Sallie chooses not to annotate the swatches. As Figure

10 shows, Kate pairs a fragment of her own dress with a fragment of her sister’s dress;

50 Amos Harris, 25 March 1879.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. located at the top of the page is a piece of woven tan and black silk with the annotation,

“Marion Harris’ first silk dress bought in 1877” (S. 94). Kate’s fabric, a midnight blue

silk, is located on the bottom of page, with the caption “Kate S. Harris first silk dress

bought in 1878” (S. 94).

The foremost location of Sarah Marion’s wedding dress fragments and the pairing

of Kate’s fabric with that of her sister’s suggests that Kate closely linked her identity with

her sister. Only two years apart in age, Kate and Sarah Marion were early companions.

Their younger sister, Mary, was about ten years younger than the pair and their half-

sister, Rebecca, was ten years older. This left Kate and Sarah Marion to grow up together

and experience many of life’s events together. During the 1860s and 1870s, Amos’s diary

rarely mentions one daughter without mentioning the other. For example, on June 15,

1874, Kate and Sarah Marion visited their Aunt Elizabeth Powell in Philadelphia and

“stayed till 5th day night.”51 A year later, the teenage sisters traveled again to

Philadelphia and purchased shawls.52 As adults, Kate also assisted her sister with child-

rearing and other household duties. In 1893, Kate traveled with Sarah Marion and their

sister Mary to the Columbian Exposition in Chicago to “help keep the little ones.”53

Although she did not annotate the fabric, Sallie Harris includes fragments of the

first silk dresses of all three of her daughters on the same page of her Album; these

51 Amos Harris, 15 June 1874.

52 Ibid., 12 June 1875.

53 Ibid., 12 September 1893.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. swatches match annotated swatches in Kate’s Scrapbook. At the top left of the page is a

white checked dark purple silk that belonged to Mary; next to it is Sarah Marion’s ecru

and blue striped silk; and at the bottom right is Kate’s midnight blue silk. Bom on

August 22, 1868, Mary Lincoln Harris (1868-1914) was Sallie and Amos Harris’s

youngest daughter. Also located on the page is a swatch o f black, white, and yellow

checked silk. The original owner is unknown, but it would be nice to think that it

belonged to one of Sallie’s stepdaughters. By displaying her daughters’ fabric together,

Sallie preserves the women’s relationship to her and to each other. The women

symbolically remain daughters and sisters.

The daughters from Amos Harris’s first marriage are also represented in the

scrapbooks, although they were not as intimate with Sallie and her daughters. Amos and

Catherine Smith Harris had two daughters, Rebecca and Hannah Jael, whom Sallie raised

after their mother died and she married their father. Kate includes a fragment of reddish

brown silk with the annotation, “Piece of Rebecca A. Harris’ wedding dress. Married to

Charles Baker Jan 12th 1865” (S. 15). Sallie includes a fragment of the same fabric in

her Album although she did not tack it to a page (A. 98-end). Bom April 17,1846,

Rebecca Harris was only ten years old when her father married Sallie. In his diary Amos

records the activities of Rebecca and her stepmother: “Colder, sorted apples and I fixed

up schoolhouse window and Sallie and Beck went to Phila[delphia].”54

The artifacts with which Sallie and Kate commemorate Hannah Jael Harris are

signifiers of a child and also of a young lady, including fragments of a mantilla, apron,

54 Amos Harris, 8 December 1864.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. reticule, and a doll’s clothing. Sallie does not provide a caption for the blue silk from the

mantilla worn by her stepdaughter (A. 28). Kate’s annotations emphasize the tragedy of

her half-sister’s death: “A Dolls apron made by Jael Harris died in 1863 aged 15;” “Piece

of Mantilla of Jael Harris 20 years old now 1882;” “Jael Harris silk apron bought in

I860;” “Piece of Jael Harris’ reticule died on Sept 25th 1863” (S. 72, 77, 88, 90).55 The

doll’s apron of pink silk with a black velvet ribbon is the only example o f an entire object

in the scrapbooks (See Figure 11). The apron’s hem features uneven stitching indicative

of a child’s sewing attempt.

After months of affliction, Hannah Jael Harris died on September 25, 1863 at the

age of fifteen. News of her illness and care consumes Amos Harris’s diary for the three

months leading up to her death; he writes on September fifth: “Hannah Jael died this

morning at 1 o’clock, having been confined to her Bed for near 3 months and had not

been well since last February, but was pretty smart for 3 or 4 months. Aged fifteen years,

six months and five days. Cloudy and blustery and pretty cool.”56 Hannah Jael died on

the cusp of womanhood, and her death must of have been particularly heartbreaking for

the family. Kate was only six years old when her older half-sister died; she probably had

few memories of Hannah Jael except for the tragedy of childhood death. Kate chose to

remember her sister with articles that convey youth and innocence, and with the

annotations, she emphasizes the injustice of a child’s death.

55 Hannah Jael Harris’ mantilla is also on Album 28 but without caption.

56 Amos Harris, 5 September 1863.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Fragments from the dresses from Sallie’s sisters, Elizabeth, Rachel, Mary, and

Ellen, feature prominently within the scrapbooks. As Figure 12 shows, Sallie includes

fragments from two of her sister’s wedding dresses along with swatches from two

friend’s wedding dresses on the same page. At the top right o f page fifty, she displays

Elizabeth Bradway’s silver gray silk with the caption: “Elizabeth A. Bradway’s wedding

dress.” Below it is a fragment of Rachel Bradway’s brown figured silk wedding dress

with the annotation, “Rachel Bradway’s wedding dress.”

Nine pages later is the swatch of brown silk from the wedding dress of Sallie’s

other married sister, Mary Bradway, who married Quinton P. Harris. Quinton was a

cousin of Amos Harris. Sallie chose to group Mary’s wedding dress fabric with the

swatches of five other wedding dresses, including the wedding dress of Elizabeth Powell

(1834-1858), Quinton P. Harris’s first wife. Elizabeth Powell was the daughter of John

and Rebecca Powell; before dying she had one daughter, also named Elizabeth. Sitting

side-by-side at the bottom of the page, the two swatches illustrate the tie between the two

wives. Kate also includes a fragment of the peach floral silk worn by Elizabeth Powell to

her wedding; she provides the annotation: “Piece of Lizzie Powells wedding dress

Married February 14 1855 to Quinton P Harris” (S. 28).

Sallie includes a swatch from her sister Ellen’s dress without an annotation (A.

31). The same green and white plaid silk is annotated in Kate’s Scrapbook: “Ellen

Bradway first silk dress” (S. 93). Noticeably missing from the scrapbooks is fabric from

Annie Bradway (b. 1841), Sallie’s other maiden sister. Although Annie may have chosen

not to give fabric, it is more likely that Sallie failed to annotate the swatch.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Bradway sisters were among the inner core of support for Sallie and her

daughters. Sallie was the second of six daughters bom to William and Mary Bradway.

Four of their daughters chose to marry, while two remained single. Throughout their

lives the sisters remained close, and their respective children also established close ties.

Sallie and her sisters maintained their intimate relationships through regular visitation:

“Pick Nick on shore and we went, Ellen and Annie were here, lite shower in evening.”57

The sisters also spent holidays, including birthdays and Christmases, in each other’s

company: “Colder, wind N.N.E. Nothing done today. Sallie and Kate, Rachel Sheppard

and Annie and I went to Mother Bradways to dinner and all her girls were there.”58

Sallie’s sisters also figure prominently in Kate’s Scrapbook, suggesting that ties

of intimacy follow the female line. Kate locates at the beginning of her Scrapbook, on

pages nine, ten, and eleven, respectively, the wedding dresses of her aunts Elizabeth,

Mary, and Rachel. Of her aunts’ marriages, Kate only chose to acknowledge Mary’s

groom: “Piece of Mary Bradway’s wedding dress. Married 23rd January 1862 to Quinton

P. Harris” (S. 10). While the husbands of Elizabeth and Mary Bradway became related to

Kate through their marriages to her aunts, Quinton was Kate’s first cousin once removed

on her father’s side. Perhaps because of the additional kinships ties, Kate includes his

name. She also includes fragments from several articles belonging to Mary Bradway

Harris although she chooses to identify her aunt with her maiden name: “Piece of Mary

Bradway sash when she was 19 yrs old 1855” (S. 91).

57 Amos Harris, 13 July 1872.

58 Ibid., 25 December 1885.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. In 1885, Sallie and Amos Harris traveled to New Orleans with Mary and Quinton

Harris to view the World’s Industrial and Cotton Centennial Exposition. Within her

Folio, Sarah Marion includes seven commemorative ribbons from the fair although she

does not provide a caption for the ribbons (F. 17A, 22A). The ribbons feature printed

images of buildings and the descriptions of those buildings and their exhibits, including

the Government Building, Horticulture Hall, and the Art Gallery. The Harrises left

Salem on February tenth and did not come home until February twenty-fifth. Amos

extensively records his activities and impressions of the trip, including the purchase of

souvenirs:

Warm and rainy in morning, went on Canal St. and bought $15 worth of presents for them at home and got on cars by the hardest and got out to the exhibition 1/2 past 10 and put in the day there. Saw a square auger or one that made square holes and cotton in all stages and got some seed and it cleared off pleasant and a little cooler.. ,59

The ribbons were probably among the fifteen dollars worth of presents Amos purchased

as souvenirs, or Sallie could have purchased them with the intent to place them in her or

her daughters’ scrapbooks. The ribbons do not represent a specific individual but

commemorate an event. They serve to stimulate the Harrises’ memories of their trip and

companions.

Kate and Sarah Marion’s aunt on their father’s side is also represented in the

scrapbooks. Kate honors her father’s sister with a fragment of her aunt’s brown silk

wedding dress with the inscription: “Piece of Ann Harris’ wedding dress. Married Dec

8th 1836 to Luke S. Fogg” (S. 12). Sallie and Sarah Marion include fragments of the

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. same piece of calico, which they attribute to Ann Harris Fogg although they differ in how

they refer to her. Sallie writes “Ann Foggs dress over 40 years ago” while Sarah

Marion’s caption reads, “Ann Harris’ Dress” (A. 6; F. 34). Ann Harris was the oldest

child and only daughter of Stretch and Rebecca Harris. She married Luke S. Fogg (1813-

1886), a son of Joseph and Hannah Hover Fogg. Unfortunately, five years after her

marriage, Ann died after giving birth to daughter Hannah and son John. Although Ann

Harris Fogg died in 1841 and neither Sallie nor her daughters knew her personally, the

Harrises commemorate Ann in their scrapbooks. Sallie identifies her deceased sister-in-

law with her married persona, but Sarah Marion relates to her as a maid and as a Harris.

The Harrises probably obtained the fabric from Ann’s daughter, who is also represented

in the scrapbooks. By providing her mother’s fabric, Hannah Fogg actively honored her

mother.

The Harrises continued to be close with the Foggs after the death of Ann Harris

Fogg. Following the deaths o f both their first wives, Luke Fogg and Amos Harris

traveled to Ohio and points further west. Upon returning to Salem, both men remarried;

Amos married Sallie, and Luke S. Fogg married Phoebe Mulford, daughter of Richard

and Lucetta Mulford. Sallie and Kate include a total of three fragments of Phoebe’s aqua

green silk wedding dress within their scrapbooks. Sallie describes the fragment as

“Phoebe Mulfords wedding dress” while her daughter includes the groom’s name and

date, “Piece of Phoebe Mulford’[s] wedding dress. Married to Luke S. Fogg March 29th

1854” (S. 28; A. 54). Along with Phoebe’s fragment, Sallie displays the wedding dress

59 Amos Harris, 18 February 1885.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. of Phoebe’s sister Mary Mulford, although it lacks a caption.60 Mary Mulford married

Andrew Smith Reeves on February 16, 1859, four years after her sister married Luke

Fogg. Sisters in life, the women continue to be connected through fragments of their

wedding dresses.

The Foggs and the Harrises remained close, visiting back and forth and providing

assistance with farming chores. The families also went on several vacations together:

“Went to Fortiscue on a pleasuring expedition, L.S. Fogg and wife, I and ditto, Rich

Irelan and wife, E.C. Smith and ditto, Abner Smith and daughter and Hiram, L.S. Carll

and Martha Mulford and stayed all night and come home.”61 When Phoebe Fogg was

afflicted with cancer, the Harrises continued their visits and offered their support: “...

Sallie and I went to see Phebe[sic], L.S. Foggs wife, she has a turner [sic] in her

breast...” 62 Phoebe Fogg died on February 11, 1884, and Luke S. Fogg died on

September 25, 1886; he was “buried at Canton Church between his wives.”63

Kate displays a fragment of the wedding dress of Hannah H. Fogg (1838-1909) on

the same page as a fragment of Ann Harris Fogg’s wedding dress (See Figure 13).

Located at the tope of page twelve, Kate includes a fragment of Hannah’s beige silk

wedding dress with the caption, “Hannah Fogg’s wedding dress married to Ephraim

60 The caption for Mary Mulford’s wedding dress is located in Kate Harris’s Scrapbook page 25.

61 Amos Harris, 17 August 1860.

62 Ibid., 19 October 1883.

63 Ibid., 29 Septemberl886.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Smith Jan 1856.” A fragment of Hannah’s mother’s wedding dress is located below

Hannah’s fabric. Hannah was only daughter of Luke and Ann Harris Fogg. She married

Ephraim Smith, the son of Peter and Elizabeth Smith, twenty years after her parents

wedding. Although Hannah was only about two years old when her mother died, Kate

felt their mother-daughter connection was important enough to be commemorated. While

Hannah Fogg Smith was Kate and Sarah Marion’s first cousin, she was closer in age to

Sallie Harris; Sallie does not include any of Hannah’s fabric within her Album.

Grouped together on pages ninety-two through ninety-six of the Scrapbook are

nine fragments of first silk dresses, belonging to Helena Woolman, Ellen Bradway, Sallie

Powell, Kate Harris, Sarah Marion Harris, Annie Sheppard, Ruth Sheppard, Mary L.

Harris, and Rebecca Smith. The dates of the first silk dresses range from 1860 to 1881.

The earlier pages consist of the dresses of Helena Woolman and Ellen Bradway, Sallie’s

sister. Kate annotates Helena’s black and ecru checked silk with the caption, “Piece of

Lena Woolman first silk dress I860” (S. 92). Bom in 1846, Helena S. Woolman, was the

daughter of James Mason and Mary Ann Pedrick Woolman. She would have purchased

and worn her first silk dress at the age of fourteen. Six years later, on April 26, 1866, she

married John G. Holme at the Woodstown residence of her father. The Harrises

frequently socialized with Helena Woolman Holmes and her family: “Thanksgiving

Day... Sallie, Kate and I went to John Holmes’ to dinner.”64

Sallie and Kate include fragments from Helena Woolman Holmes’s gray silk

wedding dress in both their scrapbooks. Within her Album, Sallie groups Helena’s

64 Amos Harris, 29 November 1883.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. wedding dress fabric with the wedding dresses of two o f her sisters, along with a

fragment from the wedding dress o f Rhoda Ann Birdsall. Records indicate that William

Coffin married Rhoda Ann Birdsall, the daughter of Gideon and Palmyra Osbom

Birdsall, but her maroon silk wedding dress does not match the fragment of green silk

marked “Piece of Rhoda Ann BircheU’[s] wedding dress married 2nd of 11 mo 1843 to

William Coffin Orange Co. New York” (S. 28).65 At this time the significance of Rhoda

Ann Birdsall is not fully understood, but by grouping her fabric as well as the silk from

Helena Woolman with the Bradway sisters’ fabric, Sallie demonstrates a familiarity

between the four women.

While Helena Woolman and Ellen Bradway are from Sallie’s generation, the

other first silk dresses in the Scrapbook are from within Kate and Sarah Marion’s sphere

of young women (See Figure 10). Sallie Powell, Ruth Sheppard and Annie Sheppard are

Kate and Sarah Marion’s first cousins, and Rebecca Smith is their second cousin once

removed. On page ninety-three, Kate displays a midnight blue silk with the caption,

“Sallie W. Powell’s first silk dress bought in 1878” (S. 93). Bom December 27, 1854,

Sarah Ware Powell was the daughter of Jeremiah and Elizabeth Bradway Powell. Kate

also includes a fragment of Sallie Powell’s midnight blue dress from her wedding to

Henry H. Fogg on March 30, 1880 (S. 21). Amos records the wedding in his journal:

“Clear and wind west.... I went to Wm. Johnsons with Sallie and Beck Baker in

65 Hummel, 37.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. afternoon. Henry Fogg and Sallie Powell married.”66 The fragments from Sallie Powell’s

first silk dress and her wedding dress are so similar that they appear to be from the same

garment.

Kate pairs the first silk dresses of the sisters Ruth and Annie Sheppard on page

ninety-five. The top of the page displays a fragment of blue and pink silk with the

annotation, “Annie Shepperd first silk dress bought in 1881.” Below Annie’s fabric, Kate

presents a fragment of black and blue striped silk with the caption, “Ruth Shepperd’s first

silk dress bought in 1881.” The daughters of Joseph and Rachel Bradway Sheppard,

Ruth (1869-1929) married William B. Sickler and Annie (1872-1962) never married.

The closeness of the Bradway sisters enabled their daughters to grow up together and

form bonds. They routinely visited one another, with their mothers and on their own.

Amos records many of their visits: “Cloudy... Rachel Sheppard was here and Ruth and

Annie.”67

Kate displays her youngest sister’s fabric in conjunction with the fragment of

Rebecca Smith’s first silk dress. Kate presents her sister’s purple and white silk at the

top of the page with the annotation, “Piece of Mary L. Harris first silk dress 1881” (S.

96). In the lower portion of the page, Kate displays the swatch of black, green, and ecru

silk with the annotation “Rebecca Smith’s first silk dress” (S. 96). Rebecca Smith was

the daughter of Ephraim and Hannah Fogg Smith. In 1887, she married Joseph S. Buzby,

the son of Elias and Susan S. Buzby.

66 Amos Harris, 30 March 1880.

67 Ibid., 6 August 1880.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Kate also includes a swatch from Emma Ward’s first silk dress although it is

separated from the other first silk dresses. Located on page seventy-six is a fragment a

brown and white striped silk with the annotation, “Emma L. Ward first silk dress at the

age of 9 yrs 1868” (S. 76). Bom April 20, 1860, Emma Ward was the daughter of

Thomas and Louisa Wilson Ward. On February 14,1883, she married Chalkley Kirby,

the son of Jacob and Mary A. Kirby. On pages forty-one and forty-two in her Scrapbook,

Kate displays fragments from Emma Ward’s wedding dress as well as fragments from the

dresses of her two bridesmaids, Kate Harris and Emily Kirby (See Figure 14). Kate’s

bridesmaid dress is comprised of two different fabrics: a white twill cotton and an

aquamarine wool, which she annotates with “Piece of my dress worn as bridesmaid at

Emma L. Ward’[s] wedding. Kate S. Harris” (S. 41). Emily Kirby wore a complimenting

dress of white and lavender wool. Kate grouped fragments from the dresses of Emily

Kirby and Emma Ward together on page forty, while displaying her bridesmaid dress by

itself on the facing page. While Emma Ward was a close friend of Kate Harris, she was

not a family member; her first silk dress was not grouped with those of Kate and her

sisters and cousins.

Kate places herself in the collection of young women’s fabric; she displays a

fragment of her midnight blue silk dress on the same page as Sarah Marion’s black and

tan striped silk. With the inclusion of first dress silks and grouping the majority of them

together, Kate commemorates an important occasion and time in a young woman’s life.

Although no research has been done on the phenomenon of first silk dresses, it was

obviously a coming-of-age activity for this group o f women. Kate commemorates herself

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. as well as her generation of female relatives with fabric associated with their youth. At

nine years old, Emma Ward Kirby and Annie Sheppard were the youngest to attain their

first silk dresses. Sarah Powell was the oldest at twenty-four and the ages of the other

women vary: Kate Harris was twenty-one, Sarah Marion Harris Johnson was eighteen,

Helena Woolman was fourteen, Mary Harris Vanneman was thirteen, and Ruth Sheppard

was twelve. The span of ages may be indicative of family choice, the girl’s relative

maturity, or family affluence. As the oldest one to receive her first silk dress, Sarah

Powell may have also worn her first silk dress as her wedding dress, which suggests a

conservation of financial resources by the family.

The Harrises’ sphere extended beyond their small community to include Ohio,

New York, and northern New Jersey. Amos Harris’s aunt Clarissa and her husband

David S. Ellett moved to Salem, Ohio in 1834.68 Salem, Ohio, as well as the cities in

Indiana, Iowa, and Oregon by that name were founded by emigrates from Salem, New

Jersey.69 The Elletts had thirteen children whom they raised in Ohio, and despite the

miles between the two Salems, the Harrises maintained contact with their relatives. On

July 15, 1884, Kate and her cousin Rebecca Smith recreated their progenitors journey to

Ohio: “Took Kate to the cars, Beck Smith and her started to Ohio for Alliance where

68 These Elletts should not be confused with Maria Chambless Ellett and her family.

69 Joseph S. Sickler, The History o f Salem County New Jersey: Being the Story o f John Fenwick's Colony, the Oldest English Speaking Settlement on the Delaware River (Salem, New Jersey: Sunbeam Publishing Company, 1937), 188.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Elias Ellett lives.”70 Kate most likely obtained the fragments of wedding dresses from

Letitia Ellett, Celestia Cook Ellett, Lizzie Card, and Mary Santee during this visit.71

On page twenty-one of her Scrapbook. Kate displays a fragment of the Letitia

Ellett’s orange-brown silk wedding dress with the caption, “Piece of Lettie Ellett’s

wedding dress Married Nov 2nd 1870 to John Trotter.” Lydia Letitia Ellett (1840 -

1937) was the eighth child of David and Clarrisa Harris Ellett. As an adult, she visited

her cousins in New Jersey: “Lydia L. Trotter arrived here from Ohio, formerly Ellett, to

day.” 77 During this visit, Amos Harris made Lydia Letitia a souvenir frame out of wood

from her grandfather’s property on Round Island.73 Kate also includes fragments from

the wedding outfit of Letitia Ellett’s sister-in-law: “Piece of Celeste Clark’s wedding

dress. Married Nov 10th 1870 to Elmer Ellett” and “Trimmings on her wedding bonnet”

(S. 23). Her black and white boucle silk from her wedding dress are accompanied with

pieces of gray ribbon and white silk from her wedding bonnet (See Figure 15). Celeste or

Celestia Clark married David and Clarissa’s youngest son, Elmer Ellett (1845-1941).

Following the fragment of Celeste Clark Ellett’s wedding dress, Kate places

swatches from Letitia and Celeste’s nieces; paired together on page twenty-four are

fragments from the wedding dresses o f Mary Santee and Lizzie Card. Kate locates

fragments from Mary Santee’s wedding outfit at the top of the page: a swatch of dark

70 Amos Harris, 15 July 1884.

71 Ibid., 15 July 1884.

72 Ibid., 18 August 1905.

73 Ibid., 23 August 1905.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. green velvet lies on top of olive green diamond-weave cotton. Lizzie Card’s black and

white striped silk is at the bottom of the page. Mary E. Santee (1862-1929) was the

daughter of William and Catherine Ellett Santee. On October 24, 1884, she married

Wilmer Stanley. Lizzie Card was a daughter of Silas and Margaret Ellet Card. She

married Charles Smith on July 10, 1879.

The Elletts and their descendents also visited the Harrises in New Jersey and

maintained regular contact through letters and cards.74 The fragments of cloth served as a

tangible link between the two families, and these souvenirs enabled the Harrises,

especially Kate, to stimulate their memories of not only the individuals associated with

the fabric but also the experience of visiting Ohio.

The scrapbooks include several fragments of cloth associated with Rhoda Lamb,

including a light green silk described as “Rhoda Lamb’s bonnet She died in 1880” in the

Scrapbook (S. 70). On page sixty-five, Sallie displays a fragment of maroon and white

floral silk with the caption “Bought for me by Rhoda O Lamb over 30 years ago” in the

Album (See Figure 6). Rhoda was the daughter of Thomas and Rhoda Silvers Dunn

Osbom. Her half-brother from her mother’s first marriage was Nathan Dunn, the

importer of Chinese goods and artifacts. Following her brother’s death, Rhoda, with the

help of her sister Phebe Osbom, served as mistress of his home in Mt. Holly, New Jersey.

Sallie emphasizes the importance of the Rhoda’s friendship with the comment that the

fabric was a gift from Rhoda. She also stresses the length of their friendship. Sallie

74 Grant Harris of Woodstown, New Jersey, has in his possession a collection of family correspondence including several letters and cards from Amos Harris.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. frequently visited her friend, often staying at her house when shopping or attending to

business in Philadelphia: “W.H. Thompson and wife and wife and I went to Centennial

and had a good time and he come home at night and we went to Mount Holly to Rhoda

O. Lambs and had a good time generally.”75 Rhoda died in 1880, and Sallie attended her

at her death: “Sallie went to Mount Holly, R.O. Lamb bad sick.”76 In addition to textiles,

the Harrises received other goods from Rhoda, either when she was living or following

her death. In 1941, Kate’s will values “Rhoda Osbom Lamb screen, shovel, and tongs”

at $5.00.77 Kate bequeathed the items along with a number of other objects to her

nephew, Amos Howard Harris.

Although there is no evidence that either Sarah Marion or Kate accompanied their

mother on her trips to Mount Holly, they were undoubtedly familiar with their mother’s

friend. Rhoda also traveled to Salem to visit with the Harrises: “we went to Quarterly

Meeting and Rhoda Lamb and Sarah Doughton come home with us.”78 While Sallie’s

daughters may not have been closely associated with their mother’s friend, they honor

their mother’s friendship with the inclusion of fabric. Kate includes a fragment of

Rhoda’s bonnet (S. 70). Sarah Marion does not cite Rhoda Lamb by name, but she

75 Amos Harris, 30 May 1876.

76 Ibid., 17 May 1880.

77 Salem County Wills and Probate Records, “Last Will and Testament of Kate S. Harris,” 20 January 1941 (Salem County, New Jersey: Salem County Courthouse).

78 Amos Harris, 5 June 1873.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. includes a piece o f black silk with a white vermicular design that Nathan Dunn brought

back from China for his sister (F. 32).

Although the origins of Sallie and Rhoda Lamb’s friendship is unclear, it

probably was fostered through connections with the Religious Society of Friends as well

as through the Salem County community; Rhoda’s parents were originally from

Woodstown, Salem County, New Jersey, and attended Pilesgrove Meeting, later known

as Woodstown Meeting. Rhoda and her husband Restore were known Quaker ministers.

The Harris’s friends came from a variety of religious backgrounds including

Episcopalian, Methodist, Baptist, and Quaker. While the Harrises did not exclusively

associate with members of one religious community, they had strong ties to the Religious

Society of Friends. The Harrises include fabric from at least thirty-five families that had

associations to the Society, but it is difficult to determine the level of many of the

individuals’ commitment to the Friends faith; for example, the scrapbooks contain eight

swatches of fabric relating to James Dare and his family, including fragments from the

wool dresses o f his wives and daughter. While James Dare (1803-1894), attended

Friends meeting, he also attended Baptist services, and he was buried in the Canton

Baptist Churchyard.

Sallie and Kate include fragments of ribbon belonging to Sarah Ann Conrow, a

member of the Salem Monthly Meeting of Hicksites. Kate describes a fragment of gold

and aquamarine ribbon as “Piece of Sallie Ann Conrow waist ribbon” while Sallie

annotates a piece of ecru ribbon with green and red chine along the border with the

simple distinction, “Sarah Ann Conrow” (S. 66; A. 87). Sarah Ann Conrow (1814-1905)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. was the daughter of Atkinson and Prudence Goodwin Conrow of Gloucester County,

New Jersey. She never married and was active in charitable work, including the Salem

Female Benevolent Society, which pieced out sewing and spinning to needy women in

the county.

While those who knew Sarah Ann Conrow would know her association to the

Religious Society of Friends, the fragments of ribbon do not bear specific Quaker

connotations. They are in the same style as ribbon worn by non-Quakers. It is difficult

to ascertain if Quaker associations enabled fabric like that belonging to Sarah Ann

Conrow to be collected. While Amos mentions people who visited during the Quarterly

Meeting of Friends, his references to Sarah Ann Conrow are more of a social nature:

“Little more pleasant. I took milk in sleigh and then Sallie and S.M. Johnson to Salem

and afternoon Sallie, Miss Conroe [sic] and Sarah Wilson to Quinton sleighing.”79

Within her Scrapbook, Kate includes a fragment of olive green silk that she

describes as “Piece of dress Marion Johnson made her appearance to Meeting in” (S. 6).

The Quaker associations in the description suggest that Sarah Marion and Kate identified

in part with the Friend’s faith. There is no indication that Sarah Marion Johnson was a

member of the Religious Society of Friends, although she probably attended Quaker

meeting. It is known that she attended Baptist services and was married in a Baptist

ceremony.80 By singling out fabric worn to Meeting, Kate and Sarah Marion declare

79Amos Harris, 5 February 1881.

80 Amos Harris, 25 March 1879. Sarah Marion married William Johnson in a Baptist ceremony performed by the Reverend M. Ray of Memorial Baptist Church.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. their view of appropriate Quaker garb. While not unique to Quakers, drab colors, such as

Sarah Marion’s olive green, have often been associated with members of the Religious

Society of Friends. Despite her sister’s affiliations with the Baptist faith, Kate preserves

her sister’s Quaker aspirations within her Scrapbook and in turn asserts her own

associations with the Quaker faith.

The scrapbooks include twenty-three swatches associated with the Harrises’ Denn

relatives. Kate includes a piece of Rhoda Denn’s tan silk wedding dress with the caption,

“Piece of Rhoda Shourd’s wedding dress” (S. 27). She also displays two fragments from

Rhoda’s silk dresses, including a swatch of heavy brown silk described as “Silk Byne

Aunt Rhoda Denn’s best dress 100 years old,” and a brown and white silk described as

“Bengal Aunt Rhoda Denn’s dress worn about 1814” (S. 68). Rhoda Shourds Denn was

Sallie Harris’s great-aunt on her mother’s side* On April 4,1804, Rhoda Shourds

married John Denn Jr., the son of John and Susanna Fitzgerald Denn. Rhoda was a noted

minister with the Religious Society of Friends: “She was above mediocrity in intellect

and remarkable for self-denial, and was a recommended minister in the Society of

Friends for a number of years. Her communications in public meetings were not

extended to great length, but she possessed a faculty of condensing and saying in a few

words much for her hearers to reflect upon.”81

John and Rhoda Denn had five daughters, including Rachel, Mary, Susan, Anna,

and Rebecca. Three of the daughters are represented in the scrapbooks. Sallie displays

81 Biographical, Genealogical and Descriptive History o f the First Congressional District o f New Jersey. Vol. 2. (New York: Lewis Publishing Company, 1900), 27.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. fragments of aprons belonging to Mary Denn and Susan Denn together on the same page.

At the bottom left of the page is a swatch of pink and ecru striped cotton with the

inscription “Mary Denns apron 51 yrs old,” and to the right of it is a swatch of brown,

green, and pink plaid cotton described as “Susan Denns apron 50 yrs old” (A. 44). Mary

Denn (1806-1842) died when Sallie Harris was only ten years old. Susan Denn (1808-

1897) never married, but kept house with her sister Rachel Denn Griscom on Broadway

in Salem. By placing the two fragments together, Sallie transfers the relationship

between the two sisters to the fabric. In comparison to the fine silks, the fragments of

apron fabric are rather dull, but their inclusion signifies a trend. Sallie and Kate include

four pieces o f fabric that they describe as aprons, two of these are fragments of silk while

two are cotton. Traditionally worn by women, aprons symbolize domesticity, fragility,

and “true womanhood.”82 With fragments of their aprons, Kate and Sallie portray the

women in traditionally domestic roles.

John and Rhoda Shourds Denn daughter, Annie Denn Gibbon (1811-1892) is

represented in the scrapbooks with a total of eight swatches of fabric, including three

fragments located on page sixty-nine of the Album. At the top right is a black on black

patterned silk satin with the annotation, “Annie Gibbon figured silk, 30 years ago.”

Below are two more black silks: on the left is a fragment a black moire silk, and on the

right is a swatch of a black satin described as “Annie Gibbon Turk satin 35 years old.”

On July 6, 1836, Annie married William Gibbons, son of James and Lydia Gibbons of

82 Frances. B. Cogan, All-American Girl: The Ideal o f Real Womanhood in Mid- Nineteenth-Century America (Athens, Georgia: The University of Georgia Press, 1989).

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Philadelphia. In 1889, Annie moved to Colorado with her daughter and son-in-law:

“Cool and clear, Sue Gibbon and her mother started for Denver Colorado with a drunken

Frenchman by the name of Duval, that she married last week after about one month’s

courtship.”83

On the same page as Annie Gibbon’s black silks, Sallie displays a fourth fragment

of black silk, which she describes as “Material used for making Friends bonnets by Susan

Denns Sister Mary” (A. 69; See Figure 16). Sallie makes an artistic statement by

grouping four different black silks together, as well as displays a sisterly association of

fabric. During the late nineteenth century, Friends’ conception o f the proper dress was

changing. Many Quakers and non-Quakers alike created a mythical past when Quakers

wore plain dress, and bonnets came to symbolize the plainness associated with historic

Quakers.84 By including a fragment of her cousin’s bonnet and directly associating it to

the Quaker faith, Sallie expressly identifies with the Friends’ faith.

Among the textiles associated with the Denn family are fragments of bed curtains.

Within her Album, Sallie displays a fragment of printed cotton from Susana Fitzgerald

Denn, and Sarah Marion includes a fragment of the same fabric in the Folio, which she

describes as “Susan Denn Grandmother’s bed curtains” (A. 47, F. 28).85 The fabric

83 Amos Harris, 26 July 1889.

84 Mary Anne Caton, “The Aesthetics of Absence: Quaker Women’s Plain Dress in the Delaware Valley, 1790-1900,” in Quaker Aesthetics: Reflections on a Quaker Ethic in American Design and Consumption, edited by Emma Jones Lapsansky and Anne A. Verplanck (Philadelphia: University of Pennsylvania Press, 2003), 246-271.

85 The fabric probably dates to the second quarter of the nineteenth century.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. features small, white leaf-like discharge print on mineral brown ground (See Figure 17).

Susannah Fitzgerald Denn was the mother-in-law of Rhoda Denn. Sarah Marion also

displays Rhoda’s bed curtains; a fragment of trailing floral cotton plate-print bears the

annotation “Aunt Rhoda Denn’s first bed curtains very old” (F. 15). This type of design

was popular in the eighteenth and early nineteenth centuries and was widely used in

women’s clothing, although in this case the fabric was evidently used as a furnishing

textile. Fragments from Rhoda Denn’s daughters’ bed curtains are present in the

scrapbooks as well: “Susan Denns bed curtains 40 years ago” describes a brown and

white floral tendril print, and “Annie Gibbon first bed curtains” describes a glazed cotton

print (A. 75, 47).

Sarah Marion’s Folio and Sallie’s Album contain a total of thirty-three swatches

bearing captions denoting the fabric as from bed curtains, including “Old Bed curtain

material called the N=0 pattern” (F. 44A).86 An additional fifteen swatches with

captions are from curtains, with two from mosquito curtains. O f the bed curtains and

curtains, Sarah Marion and Sallie describe twenty-six in terms of their age. During the

eighteenth century when bedchambers served as the principal entertaining and socializing

room in the house, bed hangings were the primary decoration and means of displaying

wealth. By the 1880s, bed hangings were associated with America’s colonial past. Their

inclusion in the scrapbooks indicates the Harrises’ desire to preserve fabric that they

perceived as having historical significance. The writer of Sallie Harris’s obituary

describes Sallie’s antique bedchamber in terms of its colonial aspirations: ‘To take a peep

86 This type of weave is more accurately called the “M-O” pattern.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. into ‘my lady’s chamber,’ with curtained and valanced high-posts, bring to mind an

occupant with widely ruffled night cap.”87

Like with all the fragments associated with Quakers, the Denn family swatches

have implicit Quaker associations; they do not look different than non-Quaker-related

fabric, and only people who know the Denn’s would know that they are related to

Quakers. By stating that Mary Denn’s black silk is from a Friend’s bonnet, Sallie

explicitly claims Quaker associations.

Sallie was raised Quaker, and although her status in the society was questionable

since she had married a Baptist, she still maintained ties to the Quaker community,

attending Meeting and staying close to many Friends.88 Amos Harris routinely mentions

the June Quarterly Meeting of Friends and the visitors they had during the event: “June

Quarterly meeting with Friends and we had a lot of company, Quinton’s wife and

daughter, James Dare and Wad. Ridgway, Harry Butler and wife, Eddie and John Butler,

o n , Frank Bradway and Eliza Jonas, Chas Bassett, R.A. Baker, Marion Johnson.” Later in

life, her daughter Kate chose to join the Religious Society of Friends, and was received

into the Hicksite branch of the Salem Monthly Meeting on June 27,1917.90

87 Mrs. Clarkson Pettit, “A Pioneer Collector of Colonial Antiques,”Salem (NJ) Standard and Jerseyman, 24 March 1909, 3.

88 There is no record of Sallie having been disowned from the society for marrying out of union as was the common practice o f the Religious Society of Friends.

89 Amos Harris, 4 June 1885.

90 William Wade Hinshaw, Encyclopedia o f American Quaker Genealogy (Baltimore, MD: Genealogical Publishing Co., 1994) 2:150.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The predominance of Quaker names and associations suggests that Sallie, Sarah

Marion, and Kate identified themselves in relation to the Quaker community. Because

Sallie’s family was Quaker and Salem County had a large Quaker population, the

Harris’s ties to the Quaker community were both family and community based. Much of

the fabric in the scrapbooks are from people associated with the Friends faith, but is

difficult to ascertain if their relationship with the Harrises was religiously based, family

based, or community based. The Harrises knew Susan Denn and Annie Denn Gibbon on

an intimate basis during the years in which they compiled the scrapbooks, as there was

routine visitation between the women and Amos Harris assisted the elderly women with

their gardens.91 Despite their active relationship, the fabric with which the Harrises use

to signify the Denns are from older garments and home furnishings, many of which they

describe in terms of age. Because of their tenuous link with the Quaker faith, Sallie and

her daughters may have been striving for a Quaker identity albeit an historical one.

In the Scrapbook and Album, Sallie and Kate provide the death dates of five

members of their friends and family, including Rhoda Lamb, Elizabeth Stretch, Rebecca

Harris, Lydia Harris, and Hannah Jael Harris. On page sixty-four of her Scrapbook, Kate

includes nine fragments of ribbon that she annotates with “Aunt Betsy’s cafe ribbons.

Died 1884” (S. 64). As Figure 18 shows, the ribbons, which vary in width from Vi” to 1

lA", are either white or cream. A few have highlights of blue, yellow, or pink. Elizabeth

Stretch is also present in the other scrapbooks with a total of thirteen swatches of fabric;

eleven of the fragments have captions while the other two duplicate annotated swatches.

91 Amos Harris, 29 October 1881.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Elizabeth Stretch (1800-1884) was the wife of Nathaniel Stretch and a sister to Stretch

Harris, Amos Harris’s father. The Harrises visited “Aunt Betsy” while she was alive, and

they attended her eightieth birthday party in 1880: “Afternoon Sallie and I and Hiram

and Han and Kate Taylor went to Peter Harris’s to Aunt Betsy’s birthday, 80 years to

day.”92 Elizabeth Stretch survived her husband by many years, but eventually died on

July 5, 1884 at the age of 83. Elizabeth and her husband did not have any surviving

children, so her nieces, nephews, and their families divided her effects. The August

following her death, Sallie visited Peter Harris, Betsy’s brother and with whom she had

been living prior to her death, and helped to divide Betsy’s household goods.93 In

November, Sallie and Amos again went to Peter’s home in Hancock’s Bridge and took

home a wardrobe, for their son, Stretch, a bureau for their daughter, Rebecca Baker, and a

chest they kept for themselves.94 Sallie probably obtained Betsy’s cafe ribbons and other

items at this time or earlier in August.

The scrapbooks contain twenty-one swatches associated with Rebecca Harris

including a fragment of a green and gold fringed scarf, which Kate annotates with

“Grandmother Harris’ neck scarf died in 1857” (S. 84; See Figure 4). Rebecca Padgett

Harris, mother of Amos Harris, died on December 10, 1856, at the age of sixty-six years.

Sallie had been married to Amos for only a year when her mother-in-law died, and

92 Amos Harris, 20 November 1880.

93 Ibid., 15 August 1884.

94 Ibid., 6 November 1884.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. neither Sarah Marion nor Kate knew their grandmother. The second piece of fabric in

Sallie’s Album is a piece of calico bearing the annotation, “Mother Harris’s dress 30

years old” (A. 2). The small, all-over print features yellow tendrils, green leaves, and

red, yellow, and blue flowers on a brown ground (See Figure 19). A few pages later,

Sallie includes an additional two swatches of calico and describes them with the same

annotation (A. 5). The location of the fragments - they would be among the first fabric

shown - indicates the primacy of Rebecca Harris in Sallie’s life. Regardless of her

physical involvement in their lives, her presence remained a constant, and all four of the

scrapbooks display fabric formerly belonging to Rebecca Padgett Harris.

In her Album, Sallie includes six swatches of wool that she describes as “Flannels

from a quilt belonged to Mother Harris 80 years old” (A. 72). These wools vary in color

from brown, coral, red, green, and blue. The Marble Album displays an additional piece

of wool from Rebecca Padgett; the deep purple wool is annotated with “Grandmother

Harris’ pressed flannell [sic] dress 40 years old. 1886” (MS. 80). Above it on the same

page is the only fabric associated with her husband, Stretch Harris. The tan boiled wool

bears the caption, “Grandfather Harris’ Greatcoat supposed to be 65 years old now 1886.

It was made like an army coat.” Bom January 25, 1788, Stretch Harris (1788-1848) was

the son of John and Lydia Smith Harris. He and Rebecca Padgett married on March 2,

1812. Sallie remembers Stretch as “a frugal and industrious man. Notwithstanding his

love of gain he had a sympathetic nature and was often found by the bedside of his

afflicted neighbors to assist and aid them as much as possible.”95

95 Sallie Harris, “Harris Family,” 222.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. By collecting and displaying ancestral fabric the Harrises literally display their

American pedigree. Many scholars have argued that the colonial revival in the late

nineteenth and earlier twentieth centuries was a reaction to the flood o f new immigrants

into America: “Fascination with the nation’s early history became a common thread that

linked some citizens with their own ancestors and ultimately, a way by which the elusive

and loosely defined idea of “Americanism” came to be measured.”96 Native-born

Americans touted their colonial past in order to reinforce their American identity over the

immigrants. The scrapbooks’ names and dates confirm the Harrises’ links to an extended

family in the past and implied heritage.

Sallie and Kate include three fragments of fabric from Stretch’s sister, Lydia

Harris, in their scrapbooks, two of which make note of her death. Kate displays two

pieces of Lydia Harris’s dress on the same page within her Scrapbook. The top fragment

is a piece of black, gray, white, yellow, and red checked silk, and at the bottom of the

page is a fragment of gray silk with the annotation, “Lydia Harris dress died 1843” (S.

87). Lydia Harris (1798-1843) was a maiden aunt of Amos Harris. Sallie also makes

note of Lydia’s death in her Album; she describes a swatch of blue and natural checked

linen as “Homemade Linen Check belonged to Lydia Harris who died in 1843” (A. 35).

In addition to Lydia Harris’s linen check, the scrapbooks possess seven fragments

of cloth that are described as homemade or homespun. These textiles were woven by a

96 Harvey Green, “Looking Backward to the Future: The Colonial Revival and American Culture,” in Creating a Dignified Past: Museums and the Colonial Revival,edited by Geoffrey L. Rossano (Maryland: Rowman & Littlefield Publishers, Inc., 1991), 1.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. variety of people, including Lydia Harris, Hannah Bradway, and Jesse Bond. The Marble

Scrapbook contains a fragment of cloth annotated with “Linen woven by Hannah

Bradway in 1820” (MS. 54). Hannah’s identity is uncertain at this point. She may have

been the third wife of David Bradway (1761-1822) or the third wife of Waddington

Bradway (b. 1770) who was the mother of Hannah Bradway Harmer Dare. In her Folio,

Sarah Marion provides a lengthy caption for a fragment of “Linen Check. Flax raised and

spun in the farm of Peter Andrews in Mannintown [sic] now owned by Clark Lippincott.

Woven by Jesse Bond in Salem. N.J. 1821” (F. 45). Jesse Bond was the son of Thomas

and Jane Bond. While the fabric from Hannah Bradway and Lydia Harris represent

small, home-weaving operations, Jesse Bond’s fabric corresponds to a larger albeit home-

based enterprise. Jesse supplemented his earnings from farming with weaving; in 1829,

the chair maker, William G. Beasley credits Jesse Bond’s account $8.74 for weaving.97

Sallie, Kate, and Sarah Marion identify with the American heritage that the

homespun represents. By the mid-nineteenth century and certainly by the 1880s,

manufactured fabric and clothing were commonplace, and Americans began to associate

homespun with a bygone era.98 In his 1851 address to the residents of Litchfield,

Q*7 Scott Wands, William G. Beesley (1797-1842), Windsor Chairmaker, Colourman, and Decorative Painter o f Salem, Jew Jersey (Unpublished Master’s Thesis, University of Delaware, 2003), Appendix A, 13 November 1829.

98 Welter, 29.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Connecticut, Horace Bushnell used homespun cloth as a metaphor for a simpler time

when family and community life took precedence."

By noting the date of death, the Harrises turn the fragments into mourning

memorabilia. While Hannah Jael Harris, Lydia Harris, and Rebecca Harris died several

years prior to compilation of the scrapbooks, Rhoda Lamb and Elizabeth Stretch died

during the years in which the Harrises were active with their collecting: Rhoda Lamb in

1880 and Elizabeth Stretch in 1884. Sallie attended the deaths of both women, making

the inclusion of their fabric especially poignant. Women were particularly close to death,

as they attended the dying person and prepared the body for burial. During the

nineteenth-century death Americans celebrated death with elaborate rituals and

memorabilia. In the early years of the century, women and girls stitched needlework

pictures featuring urns, willows, and angels as well at the names of their recently

deceased relatives. As the century wore on, jewelry containing locks of hair from the

deceased grew in popularity.

Several members of the Harrises’ contemporary community gave fragments of

fabric that belonged to their ancestors. There are nine references to ‘mother’ and eleven

references to ‘grandmother,’ not including the references to members of the Harrises’

family. A total of thirteen donors provided their ancestral fabric to the Harrises; three of

these donors were Jane Lawson, Rebecca Stratton, and Rebecca Merritt. Jane Lawson

gave fragments of textiles belonging to her grandmother: “Jane Lawson Grandmother’s

bed curtains 75 years old” (A. 39; F. 27; MS. 7). This red and yellow printed cotton

" Laurel Thatcher Ulrich, The Age o f Homespun: Objects and Stories in the Creation of

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. bearing pillars, ribbons, and flowers is in three of the scrapbooks: the Folio, Album, and

Marble Scrapbook. Pillar prints were popular for bed curtains from 1815 to 1830. The

identity of her grandmother is unknown.

Rebecca Stratton provided fragments of her mother and grandmother’s silk

dresses. In her Scrapbook, Kate displays a piece of blue Chinese silk, which she

describes as “Rebecca Stratton’s Grandmothers 75 years old 1885” (S. 70). A few pages

later she includes a swatch o f red and white checked silk attributed to “Rebecca Stratton’s

mother’s 31 years old 1884” (S. 73). Rebecca Stratton (1833-1896) was the daughter of

John and Mary Sloan Stratton. Her grandmother’s fabric most likely belonged to her

mother’s mother, Jane Moore Brannon.

Sarah Marion includes two cotton fragments belonging to the ancestors of

Rebecca Merritt. She describes a fragment of roller-printed cotton with large red flowers

as “Rebecca Merritt mothers bed curtains” (F. 22). A few pages later she includes fabric

from Rebecca’s grandmother; the swatch of cotton with floral stripes of alternating brown

and pink bears the caption “Rebecca Merritt Grandmothers bed curtains” (F. 25).

Rebecca Merritt (1830-1906) was the daughter of Solomon and Elizabeth Merritt (1800-

1876).

By providing textiles once belonging to their mother and grandmother the donors

link their identity with their ancestors and in turn link their ancestors with the Harrises.

Jane Lawson, Rebecca Stratton, and Rebecca Merritt commemorate the women in their

families by providing the Harrises with fabric from the important women in their lives. It

an American Myth (New York: Alfred A. Knopf, 2001), 14-17.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. is not known if or how well they knew their mothers or grandmothers, but through the

acts of cutting their mother’s and grandmother’s fabric and giving fragments to the

Harrises, they memorialize not only their maternal relationships but also venerate the

women themselves.

Of the scrapbooks’ 739 tacked fragments of cloth, the captions for one hundred

and seventy-nine of the swatches refer to the age of the textile.100 The manner in which

the Harrises refer to age varies; Sallie, Kate, and Sarah Marion provide a specific date in

thirty-two instances. The annotated dates range from 1800 to 1882. The Harrises also

date ninety-nine fabric swatches in relation to their own time: “Painted muslin from

Mary Griscom about 75 years old” (A. 3). The age range is from 110 years old to fifteen

years. Many of the captions provide a starting point for the age, such as “Piece of Mary

Wilmer’[s] Mothers wedding dress 75 years old now 1882” (S. 36.). Additional captions

describe the fabric in general age terms, including four captions that describe the fabric as

“ancient” and thirty-nine captions that describe the fabric as “old” or “very old.”

References to the age o f a piece of cloth indicate that the Harrises were not only

concerned with the personal associations of the fragments but also with the historical

significance. In citing the age of the swatch, the Harrises place emphasis on the fabric’s

antique value in addition to its significance in relation to an individual.

The dates with which the Harrises attribute textiles appear to be fairly accurate, or

at least accurate enough for the Harrises’ purposes. As with many antiquarians, the

100 I am excluding wedding dress fabric in this figure, which is a fixed date rather than a date of perceived historical significance. An additional thirty-four captions mention the date of the wedding.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Harrises were not as concerned with the historical accuracy of their captions as they were

with the fact that the fabric was associated with an historic past. The earliest date

mentioned in the scrapbooks is for a piece of brown, green, and yellow printed cotton that

Sarah Marion includes in her Folio (See Figure 20). She describes the swatch as “From

Sarah Downs Bedquilt 1800” (F. 33). Sallie Down boarded with the Harrises in July of

1871, but her significance remains a mystery.101

Sarah Marion provides a date of 1800 for Sarah Down’s quilt fragment, but she

may be early by a few years. The English block-printed glazed cotton typifies the drab

style, which is characterized by the predominance of green, brown, and yellow. The

color yellow, which figures so prominently in the fanciful flowers, became widely used

after 1799, at which time Dr. Edward Bancroft’s fifteen-year patent for the manufacture

of quercitron yellow expired.102

It is difficult to determine the dominant influence in why an individual fragment

of cloth was chosen for inclusion in the scrapbooks. As Figure 21 shows, Sarah Marion

annotates a fragment of floral print with “Ancient bed curtains belonged to Mary Ellet”

(F. 13). Mary Ellet refers to Mary Smith Ellett, wife of John Ellett and mother of Hannah

Carpenter Ellett Brown and Maria Chambless Ellett.103 The Elletts were members of the

Salem Monthly Meeting of Friends. Although neither Sarah Marion nor her mother knew

101 Amos Harris, 30 July 1871: “Warmer, Sallie Down is here boarding.”

102 Mary Shoeser and Celia Rufey, English and American Textiles from 1790 to the present (New York: Thames and Hudson, 1989), 43.

103 It is unclear how or if these Elletts are related to David and Clarissa Harris Ellett.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Mary Ellett, they were both familiar with her daughter Maria C. Ellett, who most likely

provided the Harrises with the swatches. It is difficult to determine what aspect of

swatches such as these were the most important to Harrises: Was it more important that

the bed curtains were ancient, that they symbolized the relationship to the Ellet family, or

that they were from a prominent Quaker family? The fragment of bed curtain, as well as

many of the swatches, was probably chosen for a variety of reasons including age and

personal and sentimental associations.

The Harrises provide dates and ages for a variety of types of fabric, including

dresses, bed curtains, homespun cloth, calicoes, aprons, blankets, and quilts. Like bed

curtains, some of the articles are already associated with an historical past. The Harrises

highlight the historical quality of the fabric by providing dates and ages. Most of the

historic fabric is associated with a specific individual in the past, but a significant portion

are linked to an unspecified past; for example, Sarah Marion describes nine fragments as

simply, “Old Calico” (F. 32A, 39A, 41). These calicoes date to the first half of the

nineteenth century.

In addition to the highly sentimental fabric, the Harrises also collected fabric

whose memorial quality is not as obvious. Owing to their desire for documentation, the

Harrises specifically indicate that eleven swatches were purchased at vendues, or

auctions.104 Sallie’s presence was a regular one at the county’s many vendues and sales,

and “when others saw Mrs. Harris bidding at a particularly desirable article they soon

104 An additional 126 fragments may have been obtained at vendues.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. found the contest too spirited, and left it to be knocked off to her.”105 While her husband

purchased livestock and agricultural equipment, Sallie bought dishes, chairs, and clothing

that she added to her growing collection of antiques and county memorabilia. The fabric

from vendues denotes the Harrises’ identity as collectors.

On the first page o f her Album, Sallie displays a fragment of brown floral printed

calico that she describes as “Bought at the sale of Miss Sarah Birch nearly 80 years old,

calico thought to be 50 years old” (A. 1). An inscription written under the scrap provides

additional information: “taken from a bed quilt bought at the sale of Sarah Birch aged

about 80 at Alloway Storm, thought to be about 50 years old.” In her Folio, Sarah

Marion includes four pieces of printed cotton that she simply describes as “Sarah Birch

Calico” (F. 36). The Marble Album includes three pieces of calico that match those with

attribution to Sarah Birch. The scrapbooks contain an additional sixty-six fragments

simply described as “Birch calico,” but it is not known how or if this fabric relates to

Sarah Birch. Birch was and still is a common surname in Salem County. Sarah Birch

died on August 6,1881, at the age of 74, and Sallie attended her vendue on September 1,

1881: “Sallie went to vendue at Allowaystown [sic], Mrs. Birch’s[,] went in the cars.”106

Sarah Marion’s Folio contains four swatches obtained at Israel Smith’s auction.

On page ten and sixteen, Sarah Marion displays two fragments of the same Chinese-

inspired print featuring three band members playing a trombone, cymbals, and drums

(See Figure 22). This roller-printed cotton dates to the second half of the nineteenth

105 Pettit, 3.

106Amos Harris, I September 1881.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. century. She annotates the fragments with the same annotation, “Bought at Israel Smiths

Sale Salem N.J.” Sallie attended Israel Smith’s sale on February 24, 1882: “Pretty day

and roads pretty good, sent 3 teams to woods and Sallie and I went to Israel B. Smith’s

vendue and bot [sic] a lot of old things amounting to $9.84.”107

Sarah Marion also includes two pieces of fabric purchased at Mary Bassett’s sale,

which are also included without annotation in the Marble Scrapbook. Both of the

swatches feature a yellow background with red print: the swatch on page twelve has long

tailed birds, flowers, and paisleys in red, and page fourteen’s fragment displays red and

white swirling leaves and stems (F. 12,14). Both are roller prints from the 1820s. Sallie

and Amos attended Mary Bassett’s vendue on October 28, 1886; she had died on August

22,1886, at the age of 89. Mary Acton Bassett (1798-1886) was the widow of Benjamin

Bassett (1801-1871), a son of Joseph and Mary Bassett. Prior to her marriage, Mary

Bassett was a tailor; the fabric may be related to that vocation.108 Mary Bassett’s sister-

in-law is also represented in the scrapbooks: Sallie displays a silk and wool blend, which

she describes as “Abby Bassett’s silk grenadine” (A. 40). The swatch features a printed

floral design on a woven green and white striped ground. Abigail Bassett was the wife of

William Bassett (1803-1880).

The scrapbooks of Sarah Marion and Sallie include fragments from the same

yardage of fabric acquired from Sarah Buzby. The cotton lace, which features a fountain

107 Amos Harris, 24 February 1882.

108 Shourds, 25.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. and leaves, bears the annotation “Bought at Sarah Buzby Sale near Woodstown N.J.” in

the Folio and “Bought at the sale Mrs. Amos Buzby near Woodstown” in the Album (F.

23 A; A. 82). Amos Buzby (1802-1878) was bom in Bass River, Burlington County, New

Jersey. On February 19,1829, he married Sarah Ann Miller (1809-1888). They lived in

Woodstown, Salem County, where they attended the Woodstown Monthly Meeting.

Sallie and Amos attended Amos Buzby’s sale on March 10, 1880: “Sallie and I went to

Amos Buzby’s deed vendue at Woodstown and to Wm. Smiths and got an old tea pot and

used to belong to old Capt Smith of Quinton fame and I bot [sic] a plow for 70cts.”109

Amos Buzby’s cousin provides one of the more interesting stories associated with

the scrapbooks. The Scrapbook and Album contain a total of three fragments of a bright

pink shawl from Elias Buzby and his daughter Mary Buzby. Sallie annotates the

fragments with the caption, “Border of a Pina Shawl that floated up on Penns Neck Shore

near Elias Busby’s with other foreign fabrics 20 years ago” (A. 76). Kate provides a

similar annotation: “Border of a shawl found in a bundle of clothes which floated up on

the Penns Neck shore over 25 years ago. Compliments of Mary Buzby” (S. 85). The silk

shawl is most likely French, and features gauze with cut wefts of a woven floral design.

Elias (died 1896) and Susan A. Scattergood Buzby had six children, including Mary

Buzby and Joseph Buzby, husband of Rebecca Smith. The Harrises and Buzbys visited

each other often: “Warmer and clear, boys picked tomatoes and raked hay in No. 5 and

went with Sallie and Kate to Elias Buzby’s in evening.”110 Although the Harrises and

109 Amos Harris, 10 March 1880.

110 Ibid., 29 August 1879.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Buzby’s frequently visited each other, Elias and Mary are only associated with the shawls

fragments. The Harrises probably included the shawl for its aesthetic value as well as for

its remarkable story, which has not been substantiated although it is not unlikely as ships

carrying cargo on the Delaware River traveled by Salem County on their way to

Philadelphia.111

The scrapbooks also contain numerous swatches that were probably acquired at

vendues but do not bear an annotation to that effect. Sarah Marion displays two

fragments that she describes as, “From Charles Freas. Alloway, N.J.” As Figure 20

shows, one of Charles Freas’s swatches features an angel reclining on a cloud (F. 33).

The other swatch, which is also repeated in the Marble Scrapbook where it comprises two

pages, features printed baskets of flowers with large columns of fern fronds (F. 40; MS.

74-75). Both stipple engraved roller prints date to the 1830s. Sallie attended Charles

Freas vendue on March 9, 1883: “Warmer, wind South.... Sallie went to Chas Fries

vendue.”112 The scrapbooks also contain thirty-seven fragments associated with the Freas

family, including two fragments described as belonging to Elizabeth Freas, although their

significance is not fully understood. They may be related to Henry and Elizabeth Freas

who owned and operated a dry goods business in Salem between 1880 and 1910.

111 In the eighteenth and early nineteenth century, Salem had a fairly large port, but by the mid-to-late nineteenth century, most of the shipping bypassed Salem in favor of the much-large ports in Philadelphia.

112 Amos Harris, 9 March 1883.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Amos Harris attended the vendue of Dr. Emma Robinson on August 7,1889

where he purchased $17.25 worth of goods.113 Among his purchases might have been a

variegated green and white ribbon with a checkerboard motif along the edges, which

Sarah Marion displays with the annotation: “Ribbon belonging to Dr. Emma Robinson”

(F. 32). Mary Emma Robinson was the daughter of James P. and Franklin Robinson.

The History of the Counties of Gloucester. Salem, and Cumberland New Jersey, with

Biographical Sketches of their Prominent Citizens (1883) lists Dr. Emma Robinson as a

“female physician,” but it is unclear if this refers to her gender or her clients.114 She died

on May 11,1889.

Sallie’s attendance at vendues reflects her interest in collecting a variety of

antiques. In 1892, over 500 residents of Salem County provided itemized lists of their

antique collections toSalem County's Committee on Antiques for a publication entitled

Relics of ve Olden Days in Salem County. New Jersey. Sallie represented Elsinboro

Township on the committee and also provided a list of her antiques. Sallie’s connections

with Salem County s Committee on Antiques might have enabled her to acquire some of

the fabric swatches. Thirteen individuals who provided lists to the committee also gave

fragments of cloth to the Harrises.

Sarah C. Wilson was a contributor toSalem County’s Committee on Antiques and

provided a listing of her relics for the committee: “Wooden-frame 1702; looking-glass,

1770, hidden during the Revolution; pictures, 1786; silver sugar-bowl, cream-cup,

113 Amos Harris, 7 August 1889.

114 Cushing and Sheppard, 358.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. spoons, 1792; chest o f drawers, 1792.”' 15 Despite the historical objects possessed by

Sarah Wilson, she gave fragments of her own dresses to the Harrises for their collection.

On the same page o f her Scrapbook, Kate displays two pieces of silk dress fabric with the

caption “Sarah C. Wilson silk dresses 35 years ago” (S. 72). Sarah Wilson was the

daughter of Joseph H. and Beulah Smith Wilson of Philadelphia and moved to Salem in

1858. She visited the Harrises on several occasions, and Sarah Wilson hosted Chalkley

Kirby and Emma Ward’s wedding, at which Kate Harris was a bridesmaid.116 The

Harrises obviously had an intimate relationship with Sarah C. Wilson in addition to their

connection through the Salem County’s Committee on Antiques, but a few of the

swatches were probably obtained because of the associations fostered by the committee.

James Rudolph, of Alloway, provides only one item to the list of Relics of ve

Olden Days in Salem. County. New Jersey. U.S.A.: “Spinning-wheel, about 200 yrs.,

belonged to his wife’s gr. grandmother.”117 He also contributed one fragment of fabric to

the scrapbooks; on page forty-six of her Folio, Sarah Marion includes a fragment of

whimsical printed cotton that she describes as “From James Rudolph. Alloway, N.J.”

The fabric features two dogs, one larger than the other, peaking out of window frame.

The late nineteenth-century fabric certainly reminded the Harrises of their own dogs;

Amos writes, “I helped mend gill net and got done and both dogs, Pete and Sam a big

115 Ann Hunter Van Meter, Relics o f ye Olden Days in Salem County, New Jersey, U.S.A. (Salem: Robert Gwynne, 1892), 85.

116 Hinshaw, 152.

117 Van Meter, 12.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. black and a scots terrier left, gotne [sic] to Salem I expect and the dog catchers got them

for they never come back.”118

Sarah Marion includes a fragment of black silk moire, which she describes as “A

piece of the dress of Mrs. Prescott the historians Mother” (F. 32; See Figure 5). This

fragment refers to Catherine Greene Hickling Prescott, mother of William H. Prescott

(1796-1859) from Salem, Massachusetts. William H. Prescott was a noted historian of

Latin America; he wrote History o f the Conquest o f Mexico (1843) and History o f the

Conquest o f Peru (1847). There is no indication that the Harrises knew the Prescott

family; Sallie or Sarah Marion most likely acquired the fragment of silk from either the

Straughton family or Mrs. William Penn Chattin. The Straughton family lists their

antiques as “ring with General Washington’s hair in it, (inherited from their aunt, Mrs.

Edward G. Prescott, whose husband was a brother of William H. Prescott, a well-known

historian).”119 Edward G. Prescott and his wife Margaret Johnson Smith Prescott did not

have children.120 Arabella Chew Chattin (b. 1823), wife of William Penn Chattin also

possessed connections to the Prescotts; she includes among her list of antiques a “dress

worn by the mother of Prescott, the historian.”121 Although his mother is not as well

118 Amos Harris, 19 January 1891.

119 Van Meter, 74.

120 Sickler, The History o f Salem County New Jersey: Being the Story of John Fenwick's Colony, the Oldest English Speaking Settlement on the Delaware 262. River,

121 Van Meter, 46.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. known, William H. Prescott is famous, and the inclusion o f fabric related to the historian

provides an additional level of substance to the scrapbooks.

As with many collectors, once the Harrises started collecting fabric it was difficult

to stop. People have felt the urge to collect and save for centuries. These impulses

usually result in saving a few childhood mementos or perhaps several related

“collectibles,” but in a few dramatic instances the “collection” becomes larger than life.

For example, Winterthur’s Henry Francis duPont started collecting eggs and rocks as a

child and as an adult this collecting impulse culminated in an 80,000 object collection of

decorative arts and material culture.

On a smaller scale, Sallie Harris and her daughters Kate Harris and Sarah Marion

Harris Johnson began collecting objects of family and community interest during the

colonial revival mania that was sweeping the nation during the 1870s and 1880s. The

Philadelphia Centennial celebrations drew many people from Salem, and “at times the

town was well nigh deserted as the people flocked to Philadelphia.” 122 The Harrises

viewed the centennial exhibition on several occasions: “Election day and rainy. Kate and

Marion went to Centennial in morning and Sallie and Mary in afternoon and boys

gunning and got a lot of rabbits.”123

In addition to her textile collection, Sallie also collected various other antiques.

At the time her uncle was compiling History and Genealogy of Fenwick’s Colony. Sallie

122 Sickler, • The History o f Salem County New Jersey: Being the Story o f John Fenwick's Colony, the Oldest English Speaking Settlement on the Delaware 307. River,

123 Amos Harris, 7 November 1876.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. was scouring vendues and attics searching for antiques: “there were always two people to

be found at a vendue, Mrs. Harris and the auctioneer.”124 By 1893, she had amassed a

houseful of objects whose description reads like a description o f Winterthur:

Indian relics: a tally stone (a mark for every scalp) from Cumberland Co.; pestles (1 large), axes, dear-skinners, etc., from their own farm in Elsinboro. Old Franklin stove, Cathedral pattern; 2 open-worked high-backed chairs, from the McCullough family; a heavily carved mahogany clawfoot sofa, Sheppard family, Cumberland, Co.; 2 high-back-chairs, web feet; high drawers, web feet; old Washington sofa, spindle legs; small bureau, walnut and oak, with inlaid initials and date, B.C., 1724; cupboard over 100 yrs.; 2 Crouch ware pitchers, once owned by Capt. Wm. Smith; a Bellarmine jug, with King’s seal, not used for 100 yrs.; an old flip iron; an old salad bowl, with open crescent mark; Worcester pottery; opal china cider mug, “forget-me-not” decoration; tiny clover leaf shaped cups and saucers 150 yrs.; china tea-pot, brick-red and blue dashed with gold;... china plate owned by Wm. Penn’s favorite lawyer; helmet-shaped Nankin china cream cup, heavily gilded; antique pepper-box, mythological figures; high antique brass lamp and semi-metal candlesticks; high comb and Spanish lace veil, worn by a bride in 1775, who married a Portuguese Jew named Philips; an old gold silk shawl; a toast rack over 100yrs.;...; antique silver sugar-tongs, shape of scissors; a white satin vest, worn in 1775; a newspaper printed by Benj. Franklin...”125

By the 1890s, her collection was already well known. A few years earlier a reporter

visited the Harrises to “take account of antiquities.”126

Although her mother undoubtedly obtained most of the objects, Kate was

particularly concerned with documenting the history of the objects; Sallie’s grandson

recalls that his grandmother “imparted much of her knowledge and interest in antique

furniture and family history to her daughter, [Kate], who, in turn, delighted in passing this

124 Newspaper fragment in Patterson's Scrapbook, Salem County Historical Society, 1:64-65.

125 Van Meter, 14-15.

126 Amos Harris, 14 December 1886.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. on to the many people who visited her.”127 Kate’s concern for the preservation of

antiques is evident in her donations to the Salem County Historical Society, which was

started in 1884. Although records at the historical society remain scant, accounts show

that Kate as well as her sister Sarah Marion donated bottles, sewing implements, shawls,

ceramics, and kitchen tools during the late nineteenth and early twentieth centuries.

While the scrapbooks most likely started as a means of preserving records of

family and friends, they were also a means of preserving fabric that was o f interest to the

Harrises for other reasons, whether it was historical or psychological. The Harrises did

not know many of the individuals at whose vendues they purchased fabric, nor were they

intimate with James Rudolph or Mrs. Prescott. They acquired the fabric and included it

in their scrapbooks for reasons other than the personal connections it represented. In a

number of instances the Harrises stress the fabric’s age, which evaluates the fabric on an

historical or antique value. While some of the swatches do not have overt personal

associations for the Harrises, they do possess associations with the community’s history.

Utilized as a repository of memories, the scrapbooks show the complex network

of family, kin, and friendship ties that shaped the lives of the three women. The small

fragments of fabric signify the relationships the Harrises cultivated and maintained

throughout their lives. The scrapbooks consist of fragmentary images and messages, but

when viewed as a whole, they provide a view into the identities of Sallie, Kate, and Sarah

127 William Bradway Vanneman, Booklet to the descendents o f Amos and Sarah Harris, Private Collection, 1965.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Marion. Although much of the scrapbooks’ significance has undoubtedly been lost, the

fragments of cloth characterize three individuals closely linked to their past and present.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CONCLUSION

The Harrises utilized the scrapbooks as repositories of memories, commemorative

artifacts, and displays of identity. Taken from existing garments and articles of

household furnishings that once adorned a friend’s home, the swatches serve as

reminders of the Harrises’ cherished connections, and, when viewed and handled, the

fabric triggers memories and emotions. An elderly woman in 1889 recalls the process of

assembling a quilt during her childhood:

I collected a few squares of calico, and undertook to put them together in my usual independent way, without asking direction. I liked assorting those little figured bits of cotton cloth, for they were scraps of gowns I had seen worn, and they reminded me of the persons who wore them.12

When worn next to the skin, cloth absorbs the essence of a person making it a highly

sentimental object. Although disconnected from their original article, the fragments of

cloth symbolize the complete garment or article and in turn signify the person who wore

the garment or used the bed curtains. Through the sharing of memories of the people

associated with the fabric, Sallie Harris and her daughters maintained intimacy with

family and friends as well as nurtured their relationships with one another.

128 Lucy Larcom, A New England Girlhood, 1889: reprinted in Mirra Bank, Anonymous was a Woman (New York: St. Martin’s Press, 1979), 13.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Like with most activities, the Harrises would not have compiled their scrapbooks

if they had not felt a strong need. The Harrises assert their importance with their

scrapbooks. By including their own fabric as well as fabric from their family and friends

in amongst the other swatches, the Harrises symbolically placed themselves in the

context of their community. Through the inclusion of ancestral fabric, fabric from

nationally significant individuals, as well as fabric from family and friends, the Harrises

construct their identities. Clothing has long been used as a means of communication. A

person’s appearance makes a statement about age, gender, social class, or religion. For

example, a wedding dress or Quaker bonnet informs viewers of aspects of the wearer’s

identity without additional communication. The Harrises use the textile fragments

symbolically to construct and communicate their own identities.

Sallie, Kate, and Sarah Marion chose to include fabric from individuals and

events that had significance in their lives. The inclusion of fabric from their sisters,

aunts, cousins, and female friends is indicative of the Harrises strong network of women.

While the portraying three women whose identities were shaped by their relationships

with members of their family and community, the scrapbooks also portray women whose

identities were closely tied to their past. During the nineteenth century, America

continually revered its colonial past, to which Americans looked for inspiration and

comfort. The frequency of swatches with annotations referring to age, indicates that the

Harrises identified themselves in relation to their ancestors. By including fragments of

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. cloth associated with their personal and family history, the Harrises presented themselves

as members of a long American heritage.

The Harrises also identified themselves as collectors. In addition to their textile

collection, the Harrises acquired numerous antiques, which were first displayed in their

farmhouse in Elsinboro and later displayed in their house on Broadway Street in Salem.

Even after her death in 1909, Sallie Harris continued to be remembered as a collector of

early American antiques and her obituary is devoted to describing her collecting:

Mrs. Harris because of a paralytic stroke a few years ago, has been no longer able to pursue her favorite “fad,” avocation, or call it what you may, but has lived among her collections and viewed them with pardonable pride. This further satisfaction has been hers, that her children have and ever will cherish her treasures with the same, if not more veneration, than that with which she has brought them together.129

Unfortunately most of the Harrises’ collection is no longer together; some objects were

given to the Salem County Historical Society, at least a few were sold to Henry Francis

du Pont and now reside at Winterthur Museum, and a few remain in the homes of the

Harris descendents.130

The Harrises used their scrapbooks to preserve and document fabric relating to

their family and community’s history. The scrapbooks present the lives of three

individuals through the people who were important to them and the story they chose to

tell. Through their scrapbooks, the Harrises constructed and examined their identities in

relation to their friends, family, and community in the past and present.

129 Pettit, 3.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I chose to explore the reasons for collecting and compiling the scrapbooks and

what the scrapbooks represented to the Harrises, but the scrapbooks are a rich source of

additional research possibilities, including as a record of a community’s fabric use during

more than a hundred years. I have tried to identify the individuals who contributed fabric

to the scrapbooks. Hopefully this scholarship will be utilized as the foundation for

further research.

Unlike manufacturers sample books, which display many designs that never

reached production, the Harris scrapbooks contain 782 fragments of cloth representing

what was worn, used, and produced for approximately 100 years in a small community.

The Harris scrapbooks provide fairly conclusive evidence for the ways various textiles

were used. Several of the annotations refer to price: “Calico used for bed spreads about

50 yrs ago bought in Philadelphia by Sarah T. Powell for 12 1/2 cts a yard” (F. 19). This

type of reference illuminates not only the cost of products at a specific time and place but

connections between a rural area and its closest large metropolitan city.

Most of what is saved in museums and personal collections are the finest o f

articles such as wedding dresses and other formal attire. While the Harris scrapbooks,

especially Kate’s Scrapbook, contain a number of wedding dress silks, they also exhibit a

large number of textiles used by average, middle-class Americans, much of which is not

saved in larger repositories. They were the common, everyday garments and articles used

until too threadbare to be useful.

130 According to family history, Kate Harris sold a Chippendale armchair to Henry Francis du Pont during the 1930s. At the time of print, the author was still trying to locate the armchair at Winterthur Museum.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Much of the fabric was made in Europe, China and elsewhere, but a significant

portion of the fabric was probably produced in the United States. Although very few

records or sample remain, southern New Jersey was a large calico manufacturing area in

the nineteenth century. The Eagle Factory in Trenton, New Jersey produced muslins,

sheeting, ginghams, and stripes in the early nineteenth century until 1845.131 There was

also the Trenton Calico Printing Manufactory, Shrevesville Manufactory, Washington

Manufacturing Company, and the Gloucester Manufacturing Company producing various

styles of calico and chintz in the early nineteenth century. In the last quarter of the

century, the state produced large quantities of silk yardage. By 1821,121 firms in

Paterson, New Jersey, turned imported raw silk into dress goods, flags, neckties, tassels,

ribbons, and other trims.132

The most well-known example of fabric scrapbooks is the collection of silks,

wool blends, and cottons assembled in England between 1746 and 1823 by Barbara

Johnson and now at the Victoria and Albert Museum.133 The scrapbook features

swatches of fabric from Johnson’s own gowns and can thus be used to recreate one

woman’s textile history. Johnson also annotates her swatches with information regarding

131 Phyllis Mount, “Early Calico Manufacturing,” in New Jersey Quilts, 1777-1950: Contributions to an American Tradition edited by Rachel Cochran (Paducah, Kentucky: American Quilter’s Society, 1992), 27-33.

132 Rachel Cochran ed., New Jersey Quilts, 1777-1950: Contributions to an American Tradition (Paducah, Kentucky: American Quilter’s Society, 1992), 139.

133 Natalie Rothstein, ed., A Lady o f Fashion: Barbara Johnson's Album o f Styles and Fabrics (New York: Thames and Hudson, 1987).

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. the cost of the fabric, the purchased yardage, and what was made from it. Included

among the cloth fragments are a number of engravings showing fashions o f the time.

During my research, I came across several additional examples of textile

scrapbooks compiled by individuals. Comparing these scrapbooks with the Harrises’

scrapbooks may serve to enlighten the Harrises’ scrapbooks as well as the scrapbooking

and cloth-collecting practice. Snipping bits of cloth from personally important garments

and including them in diaries, scrapbooks, or other albums was a fairly common practice.

Laura Kendall Hoadley of South Woodstock, Vermont included four pages o f fragments

of wedding dresses among a scrapbook of newspaper clippings and obituaries, cards, and

calling cards.134 This scrapbook is in the Collection of The Norman Williams Public

Library in Woodstock, Vermont.

The Riverside Municipal Museum in Riverside, California possesses a scrapbook

of fabric swatches associated with the Hayes family.135 Many of the fragments closely

relate to Hayes family quilts also in the museum’s collection, amplifying the link between

scrapbooks and quilts.

Two scrapbooks that bear close connections to the Harris scrapbooks add to an

understanding o f a community’s textile use and collecting practices. The Salem County

Historical Society has a scrapbook compiled during the 1870s and 1880s. It is unclear

who compiled the scrapbook, although the prevalence of Butcher names suggests a

134 Linda Otto Lipsett, To Love & To Cherish: Brides Remembered (San Francisco: The Quilt Digest Press, 1989), 49-53.

135 Sandi Fox, Quilts: California Bound, California Made 1840-1940 (Los Angeles: FIDM Museum & Library, 2002), 98.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Butcher family member. It contains thirty-four tacked fragments of wedding dresses, and

an additional two floating swatches. The Harrises and Butchers most likely knew of each

other’s respective albums, as Sarah Marion is mentioned in conjunction with a fragment

of green silk: “Loll Harris wedding dress married to William Johnson March 25th

1879.”136 Interestingly it does not match Sarah Marion’s wedding dress fabric in Kate’s

Scrapbook. Other names listed in both repositories include Hattie Richman and

Arthalinda Hogate.

The Friends Historical Library of Swarthmore College has a scrapbook compiled

by Rachel Denn Griscom in 1872. Rachel Griscom (1808-1901) was the daughter of

Samuel and Ann Powell Griscom. Although Rachel Griscom moved with her family to

Philadelphia, she was bom in Salem and had kinship ties to Salem, and a number of the

swatches indicate Rachel Griscom’s links to Salem; at the beginning of her scrapbook,

she displays three swatches of linsey-woolsey with the annotation: “Linsey over 100

years old. Made in the family of William Griscom of Salem County New Jersey. Part of

a woolen comfort. Composed of Linen & wool.”1 17 Although there are some family-

related fabrics in her scrapbook, Rachel Griscom was more concerned with documenting

and preserving what she viewed as significant fabric. Her inscription at the beginning of

the scrapbook illustrates her desire to save important pieces of cloth: “Gather up the

Fragments, that nothing be lost.”

136 Butcher. “Fabric Album.” Salem, New Jersey: 1870-1890. MS 4526. (Salem County Historical Society. Salem, New Jersey), 21.

137 Rachel Denn Griscom, “Scrapbook of Fabrics.” Philadelphia, Pennsylvania: 1872. MS 117 (Friends Historical Library of Swarthmore College. Swarthmore, Pennsylvania), 5.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A ppendix A

BRADWAY FAMILY TREE

William Bradway (1805-1877) - Mary Shourds (1804-1894)

— Sarah Ware Elizabeth (b. 1831) m. Henry Fogg m. Jeremiah Powell — Mary Bradway — Annie — Louisa — John m. Bertha Harris Sarah (b. 1832) m. Amos Harris*

— Lucy — Martha — Ellen — Mary (b. 1836) — Margaret m. Quinton P. Harris** — Quinton

— Ralph — William — Rachel (b. 1836) ______Ruth m. Joseph Wallen Sheppard m. william B. Sickler — Annie

*See Amos Harris. Annie (b. 1841) **Mary Bradway was second wife of Quinton P. Harris. His first wife was Ellen (b. 1845) Elizabeth T. Powell. They had two children: Anna and Elizabeth.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A ppendix B

HARRIS FAMILY TREE

Stretch Harris (1788-1848) - Rebecca Padgett (d. 1856)

Luke F. Anna Rebecca — Ann (1813-1841)_ Hannah _____ Jefferson W. m. Luke S. Fogg m. Ephraim C. Smith Frank P. John H. Phebe Fogg — John (1815-1832) John Fogg Peter Elmer — Hiram (1818-1891) | ___David m. Hannah Smith | _ Catherine

Rebecca (1846-) ______I Charles A. — Amos (1821-) m. Charles E. Baker ' Amos Harris m. Catherine SrmtlT Hannah Jael (1848-1863; Margaret — Stretch (1853-) Catherine m. Elizabeth Baker Amos

Catherine Smith (Kate) (1857-1940) m. Sarah Bradway James R. Sarah Marion (1859- Josephine 1929) m. William Johnson Marguerite Howard H. — Margaret (1863-1865) Ellen — Amos Howard (1867- John 1934) ------Howard Amos m. Bertha Vaughan Marion — Mary Lincoln ______Margaret m. Robert Vanneman William

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Appendix C

BRIEF BIOGRAPHIES OF THE INDIVIDUALS AND FAMILIES LISTED IN THE SCRAPBOOKS

Acton, Richard M., Jr. Richard M. Acton, Jr. was the son of Casper Wistar and Rachel Goodwin Acton. On January 11, 1882, he married Elizabeth P. Harris, the daughter of Quinton and Elizabeth Harris. According to Amos Harris’s diary, they were married in Philadelphia by Mayor Henry. At the time of his marriage, Richard was a farmer in Salem, but apparently he became a milkman later in life. He died on May 12, 1918. His wife died a few years earlier on August 29, 1912.

Andrews, Peter Peter Andrews was a member of the Salem Monthly Meeting of Hicksites. His wife, Mary, was the daughter of Whitton and Mary Cripps or Crips, and a descendent of Nathaniel Cripps, the founder of Mt. Holly. Peter and Mary’s daughter, Martha, married William Shourds, the son of Benjamin and Mary Shourds.

Archer It is unclear to whom these annotations refer. The Archer surname was and still is a common surname in Salem County. The most prominent Archer in the nineteenth century was Dr. Benjamin Archer, who was bom near Swedesboro, Gloucester County in 1775. He married twice: first Sarah Louderback on February 1,1802 and then Rachel Thompson on May 5,1813.

Armstrong There is no actual fabric with the annotation bearing a reference to the Armstrong family. The name appears under a piece of fabric that bears the annotation “Birch Calicoes.” On March 28,1883 Amos and Sallie attended the vendue of Mrs. Armstrong, and she purchased a stove. She may have also purchased fabric, but no connection has yet been made.

Baker, Elizabeth Elizabeth Baker was the daughter of Powell and Ann Baker. On January 3, 1872, she married Stretch Harris, the son of Amos and Catherine Harris. Her brother, William, married Harriet McCallister.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Baker, William William Baker, the son of Powell and Ann Baker, married Harriet McCallister on March 9, 1859. He farmed his father’s property. Harriet died a few years after her marriage on November 1,1864; William died on March 5, 1918.

Baker, Charles Charles Baker (1844-1923), a son of James and Rachel Patrick Baker, was bom in Lower Alloways Creek in Salem County. He served as a private in the 24th Regiment of New Jersey Volunteers during the Civil War, enlisting in August of 1862. On January 12,1865, he married Rebecca Harris (1846-1916), a daughter of Amos and Catherine Harris. Their children were Charles A. Baker, Amos Harris Baker, and Charles Baker.

Bassett, Abby Abby Bassett is most likely the wife of William Bassett (1803-1880), a son of Joseph and Mary Bassett. She would be the sister-in-law to Mary Bassett whose fabric is also represented in the scrapbooks.

Bassett, Mary Sallie and Amos attended Mary Bassett’s vendue on October 28,1886; she had died on August 22, 1886, at the age of 89. Mary Acton Bassett was the widow of Benjamin Bassett (1801-1871), a son of Joseph and Mary Bassett. They were also members of the Salem Monthly Meeting of Hicksites.

Batten, Mary A. Mary Ann Batten married Samuel C. Springer on January 13, 1853. See Samuel C. Springer for further information.

Bilderback, Mrs. The identity of Mrs. Bilderback is unclear. Amos Harris’s diary refers to the deaths of Margaret H., widow of Edward Bilderback, in 1886; Margaret, widow of Joseph Bilderback, ini 899; and Martha R., wife of Sam Bilderback, in 1904. Additionally, a Mrs. Frank Bilderback was part of the Salem County’s Committee on Antiques Relics of ve Olden Days in Salem County. New Jersey. U.S.A.

Birch Birch is a very common surname in Salem County, so to identify a specific family member is impossible given the limited information. Sallie may have obtained at least some of the fabric at Sarah Birch’s vendue, and chose not to include this information in the annotation.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Birch, Sarah Sallie attended Sarah Birch’s vendue on September 1 ,1881 in Allowaystown, Salem County, New Jersey; she had died on August 6,1881, at the age of 74.

Birchell, Rhoda Ann Rhoda Ann Birchell or Birdsall married William Coffin on November 2,1843 probably in Plattekil, Ulster County, New York. She was the daughter of Gideon and Palmyra Osbom Birdsall. Palmyra was the sister of Pheobe Osborn and Rhoda Osbom Lamb and a half-sister to Nathan Dunn. Rhoda Ann Coffin assisted her aunts at Dunn Cottage in Mount Holly, New Jersey.

Birdsall Zephaniah and Ann Sutton Birdsall had at least ten children: Phebe, Mary, Lydia, Jane, Anna, Lavinia, Huldah, Zephaniah, Gideon, and David. Gideon M. Birdsal (1794-1886) married Palmyra Osbom, sister of Rhoda Osbom Lamb (also represented here). On October 4,1827, Lavinia P. Birdsall (1803-1887) married Samuel Purdy Haviland at Plattekill, Ulster County, New York. Her sister Anna M. Birdsall married Benjamin Jennings or Jenney on October 29, 1835.

Blizzard, Mrs. The reference to Mrs. Blizzard is on a note attached to a piece of linen floating between the pages of the Marble Scrapbook. Amos Harris’s diary mentions the death of Elizabeth B. Blizzard, widow of David, who died on August 23,1887 at the age of 76, although there is nothing to indicate that she is related to the fabric.

Bonham Bonham was a common surname in both Salem County and Cumberland County, New Jersey. The Harrises were familiar with several Bonhams, including: Elisha, who married Lydia D. B. Lanning; Nathan Bonham, who married Amos Harris’s niece, Sarah M. Smith, a daughter of David Smith. Amos Harris’s diary also mentions several Bonhams. On April 16, 1884, Sallie and Amos attended a sale at Rhodestown where they purchased an old set of drawers from Mrs. B. M. Bonham. In August, they traveled to Shiloh to Martha Jane Bonhams after perhaps the same set of drawers. The connection with the Freas family is not fully understood.

Bonham, Lydia Lydia Davis first married Jonathan Barnes, then William C. Lanning and finally Elisha Bonham in 1873. On October 24,1883, Lydia’s brother, Isaac Davis held a vendue of his sister's effects. This calico probably was purchased at that sale.

Bradway, Elizabeth Bom March 12, 1831, Elizabeth Bradway Powell (1831-1891) was the eldest daughter of William and Mary Bradway Shourds. She was the oldest sister to

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Sarah Bradway Harris, Mary Bradway Harris, Rachel Bradway Sheppard, Annie Bradway, and Ellen Bradway. On March 29, 1854, she married Jeremiah Powell, a son of John and Rebecca Powell. They had five children: Sarah Ware Powell (1854-1949), who married Henry H. Fogg; Mary Powell (b. 1856), who died young; Ann Powell (b. 1859); Louisa Powell (1865-1939); and John Powell (b. 1871), who married Bertha Harris.

Bradway, Ellen Bom February 5, 1845, Ellen Bradway was the youngest daughter of William and Mary Shourds Bradway. Her older sisters were Elizabeth Bradway Powell, Sarah Bradway Harris, Mary Bradway Harris, Rachel Bradway Sheppard, and Annie Bradway. Ellen never married but remained with her parents until their deaths. After their deaths, she and her unmarried sister Annie Bradway received the family home.

Bradway, Hannah Hannah Bradway was the daughter of Waddington Bradway and his third wife Hannah Baner Bradway. She was bom around 1811; she first married Ebenezer Harmer in 1845 and then James Dare in 1853. See Ebenezer Harmer and James Dare for more information.

Bradway, Hannah The identity of this Hannah Bradway is uncertain although the caption indicates that she was alive and of age in 1820. It may refer to the third wife of David Bradway or the third wife of Waddington Bradway. In 1788, David Bradway (1761-1822) married Hannah Bradway, daughter of Aaron Bradway of Elsinboro. She died sometime before 1804, at which time he married Rebecca Jeffries. In 1807, he then married Hannah Allen Fogg, the widow of Aaron Fogg. Waddington Bradway and his third wife Hannah Baner had at least one daughter, also named Hannah Bradway (also listed) who married Ebenezer Harmer and James Dare.

Bradway, Mary Mary Bradway Harris (1836-1925) was bom on September 3, 1836, the third daughter of William (1805-1877) and Mary Shourds Bradway (1804-1894). Her sisters were Elizabeth Bradway Powell, Sarah Bradway Harris, Annie Bradway, Rachel Bradway Sheppard, and Ellen Bradway. On January 23, 1862, she married Quinton P. Harris, a son of Benjamin and Martha Harris. They were married in the evening by Henry Sinnickson, Mayor of Salem. See Quinton P. Harris for further information.

Bradway, Rachel Bom February 17, 1841, Rachel Bradway Sheppard (1832-1897) was the fifth daughter of William and Mary Shourds Bradway. Rachel and her sister Annie

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. were twins. Her other sisters were Elizabeth Bradway Powell, Sarah Bradway Harris, Mary Bradway Harris, and Ellen Bradway. In 1864, Rachel married Joseph Wallen Sheppard (1832-1897), from Greenwhich, New Jersey, and a son of William and Sarah Fithian Sheppard. They had two daughters: Annie Bradway Sheppard and Ruth Evans Sheppard, who married William B. Sickler.

Bradway, Sarah Bom September 10, 1832, Sarah Bradway Harris (1832-1909), also known as Sallie, was the second daughter of William and Mary Shourds Bradway. Her sisters were Elizabeth Bradway Powell, Mary Bradway Harris, Rachel Bradway Sheppard, Annie Bradway, and Ellen Bradway. On March 19, 1856, Sallie married Amos Harris. Sallie had a keen interest in antiques and history; she compiled at least one of the scrapbooks. See Amos Harris for more information.

Butler, Anna P. Anna Porter Butler (1860-1933) was the daughter of James and Prudence Dare Butler. On October 4, 1883, the Reverend Mr. Thomas, married Anna to Samuel Watson in Greenwich, New Jersey. They had at least one daughter, Grace Butler Watson (1884-1969).

Butler, James James Butler (1830-1917) was a soldier in the Mexican War and farmer and carpenter in Greenwich, Cumberland County, New Jersey. In 1855, he married Prudence Ann Dare (1834-1905), a daughter of James and Sarah Evan Smith Dare, in Greenwich. Together they had Harry S., Mary Emma, Annie, John, Edward, James, Richard, and Frank. Their daughter, Annie, married Samuel Watson and is also represented in the scrapbooks. The Butlers attended the Salem Monthly Meeting of Hicksites.

Buzby, Sarah On February 19, 1829, Sarah Ann Miller (1809-1888) married Amos Buzby. Amos Buzby (1802-1878) was bom in Bass River, Burlington County, New Jersey. His cousin, Elias Buzby, married Susan Scattergood. They lived in Woodstown, Salem County, where they attended the Woodstown Monthly Meeting. Sallie and Amos attended Amos Busby's sale on March 10, 1880.

Buzby, Elias and Mary On February 19, 1849, Elias Buzby (died 1896) married Susan A. Scattergood. They had six children: Elias Scattergood Buzby (bom 1850), Mary Watson Buzby (1851-1882), Howard Buzby (bom 1855), Joseph S. Buzby (bom 1857), Milton Wright Buzby (bom 1864), and Joseph (1859-1934). They lived on Round Island as well as in Fenwick Adam’s brick dwelling in Lower Penn’s Neck, Salem County, and attended Salem Monthly Meeting of Hicksites.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Carll, Rebecca Although the spelling is different, this most likely refers to Rebecca Carll (circa 1818-1881), daughter o f Ephraim and Elizabeth Finlaw Carll. In 1839, she married William Plummer (1818-1906). William was a descendent of Edward Bradway and distantly related to Sallie Bradway Harris.

Card, Lizzie Lizzie Card was a daughter of Silas and Margaret Ellet Card, and a distant cousin of Kate Harris.

Carpenter, William Although several men by the name of William Carpenter lived in Salem County during the nineteenth century, this most likely refers to William B. Carpenter (1822-1899), son of William and Mary Beasly Carpenter. He married Martha Gaskill in 1846 and Nancy A. Pease in 1869, and was a regular attendant at Friends meetings in Salem. Amos Harris refers to him several times in his diary. William B. Carpenter retained possession of his father’s farm in Elsinboro and one in Mannington Township. He was also connected to what was known as the Jesse Bond farm, Samuel Brick farm, and Lewis Morris farm although it is unclear if he lived on these farms or simply owned them at one time.

Casper, Mary Elizabeth Mary Elizabeth Casper (1856-1941), a daughter of William and Elizabeth Stretch Casper married James Newell on January 16, 1885. She was descendent of Edward Bradway on her mother’s side. Her father was a well-known auctioneer in Mannington Township, Salem County, New Jersey, and her siblings included Hildreth, William J., Anna, John, and Elizabeth. See James Newell for additional information.

Clark, Celestia Charles Elmer Ellett (1845-1941) was the son of David and Clarissa Harris Ellett married Celestia Clark or Cook in Salem, Ohio. He and Amos Harris were cousins.

Clark, Ella On April 29, 1880, Ella Clark, daughter of Jacob and Mary Clark, married Howard T. Woolman (1850-1931) in Philadelphia. They were married in Philadelphia by Mayor Stokley. They were both from Woodstown, Salem County, New Jersey. See Howard Woolman for further information.

Coffin, William Little is known about William Coffin. On November 2, 1843, he married Rhoda Ann Birchell or Birdsall in Plattekill, Ulster County, New York. It seems that he

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. died soon after, for his wife assisted her aunts in the maintenance of Dunn’s Cottage in Mount Holly, New Jersey.

Conard, Mrs. Amos Harris’s diary mentions attending Mrs. Nathan Conrad’s funeral on December 18, 1882, but little is known about this woman. A Nathan Conard is listed at 367 East Broadway in the Salem City Directory, 1882-83.

Conover, Prudence The identity of Prudence Conover is unknown. It may be in reference to Prudence Conrow, Sarah Ann Conrow’s mother.

Conrow, Sarah Ann Sarah Ann Conrow (1814-1905) was the daughter of Atkinson and Prudence Goodwin Conrow of Gloucester County, New Jersey. She never married was active in charitable work. She attended Salem Monthly Meeting of Hicksites. Sarah Ann contributed to the Salem County’s Committee on Antiques Relics of ve Olden Days in Salem County. New Jersey. U.S.A.

Corliss, Mary Several women by the name of Mary Corliss lived in Salem County during the nineteenth century, and the mixed use of maiden and married names in the scrapbooks further confuses the issue. Amos Harris’s diary refers to the deaths of two Mary Corlisses: on April 5, 1894, he writes of the death of Mary, wife of John H. Corliss; and on April 2, 1904, he writes of Mary, widow of Smith Robinson and daughter of Joseph and Mary Hildreth Corliss.

Dare, James James Dare (1803-1894), son of Hugh Blackwood and Margaret Avengin Dare, was a weaver in his youth as well as a farmer. He married three times: Prudence A. Rulon in 1822; Sarah Evan Smith in 1831; and Hannah Bradway Harmer in 1853. His two children from his first marriage were Fraklin Dare and Mark Rulon Dare; from his second marriage he had Prudence Ann Dare, Richard Smith Dare, and Sarah Tracy Dare. Kate confused the name of James’ daughter with his first wife. He is buried at the Canton Baptist Church; the Dares also attended Friends’ meeting in Salem.

Dare, Prudence Ann Prudence Ann Dare (1834-1905), daughter of James and Sarah Evan Smith Dare, married James Butler in 1855. See James Butler for more information.

Dare, Sarah These most likely refer to Sarah Evan Smith Dare, James Dare’s second wife. She married James on October 6, 1831 and died sometime before 1853. She gave

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. birth to three children: Prudence Ann Dare who married James Butler; Richard Smith Dare who married Beulah Tyler; and Sarah Tracy Dare (1849-1878) who married Stephen T. Coleman in 1870.

Davis, Isaac Isaac was a popular first name within the Davis family, but this most likely refers to Isaac N. Davis (1824-1904). Isaac N. Davis kept a store and farmed in Canton, Salem County; the Baptist Church that the Harrises attended is also in Canton providing some connection between the two families. Amos Harris’s diary mentions the death of Sarah R., wife o f Isaac N. Davis, in 1903 and Isaac N. Davis’s death in 1904.

Denn, Mary Bom on December 12,1806, Mary Denn (1806-1842) was the daughter of John and Rhoda Shourds Denn. She died while still a young woman.

Denn, Rhoda Shourds On April 4, 1804, Rhoda Shourds, daughter of Benjamin and Mary Shourds, married John Denn, Jr., son of John and Susannah Denn. Rhoda siblings included Thomas, Rachel, Samuel, William, Mary, and Benjamin. Her brother Samuel's daughter, Mary, was the mother of Sallie Bradway Harris. After her husband died in Mannington, Rhoda moved to Salem with her children Rachel (b. 1804), Mary (1806-1842), Susannah or Susan (1808-1897), Anna (1811-1892), and Rebecca (died 1815). The Salem County Historical Society has Rhoda’s memoirs, which record her thoughts on her husband’s death as well as the death of her daughter, Mary Denn. Rhoda was a known Quaker minister.

Denn, Susan Susan Denn (1808-1897) was the third daughter of John and Rhoda Shourds Denn. She never married, but kept house with her sister Rachel Denn Griscom on Broadway in Salem.

Mathews, Mary Denn The identity of Mary Denn Mathews is unknown. Denn was a fairly common name in Salem County, but no relationship between the Denn family and the Mathews family has been discovered.

Dennis, Elizabeth Elizabeth Dennis (1813-1888) was the daughter of Henry and Mary Dennis. She married Benjamin Holmes on October 25, 1837. See Benjamin Holmes for more information.

Down, Sarah The Harrises boarded Sarah Down in July 1871.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Dunn, Nathan Bom near Woodstown, New Jersey, Nathan Dunn (1782-1844) was the son of Nathan Dunn and his second wife, Rhoda Silvers, daughter of William and Mary Silvers. Nathan Jr.’s half-siblings from his father’s first marriage were Zacheus and Benjamin. Following the death of Nathan Sr., Rhoda Silvers Dunn married Thomas Osbom. Nathan Dunn Jr.’s siblings from his mother’s first marriage include Deborah, William, and Josiah; his half-siblings from his mother’s second marriage were Phoebe, Palmyra, and Rhoda. Nathan Dunn Jr. was a merchant in Philadelphia, and he was disowned by the Philadelphia Monthly Meeting for improper business dealings. In 1818, he sailed for China and traded under the firm of Nathan Dunn & Company. He imported various Chinese articles including teas, silks, nanteens, furniture, lacquerware, shawls, crapes, and fans. He returned to Philadelphia in 1832 and paid off his creditors. While in China he amassed a personal collection of Chinese artifacts, which he exhibited at his museum in Philadelphia. He built a “cottage” in Mount Holly, New Jersey, which was managed by his half-siblings Rhoda Osbom Lamb and Phoebe Osbom as well as his niece Rhoda Ann Coffin (also listed).

Dunn, Elizabeth Dunn was a common surname in Salem County, New Jersey. Nathan Dunn’s father and mother were married at the Pilesgrove Meeting, now Woodstown Meeting, and may be related to Elizabeth

Ellett, Charles Elmer Amos Harris’s aunt Clarissa Harris (1805-1886) and her husband David S. Ellett (1806-1886) moved to Salem, Ohio in 1834. They had thirteen children: James Ellett (1827-1907); Margaret H Ellett (1829-1914); Emily Ellett (1830-1891); John H. Ellett (1833-1908); Catherine Ellet (1825-1877); Sarah Ellett (1837- 1880); David Ellett Jr. (1839-1925); Stretch Harris Ellett (1840-1864); Josiah Ellett (1842-1932); Calvin Ellett (1844-1923); Josiah Ellett (1842-1932); Charles Elmer Ellett (1845-1931); and Lydia Letitia Ellett (1840-1937). Lydia Letitia Ellett married John Trotter on November 2, 1870, and her brother Charles Elmer Ellett married Celestia Cook or Clark on November 10, 1870. John and Lydia Letitia Ellett and Clarissa H. Trotter, Lydia Trotter, and James Earle Trotter. Charles Elmer and Celestia Ellett had Clarissa Harris Ellett and Homer Ellett.

Ellett, Lydia Letitia Lydia Letitia Ellett (1840-1937) was the daughter of David and Clarissa Harris Ellett of Salem, Ohio. She married John Trotter on November 2, 1870. See Charles Elmer Ellett for more information.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Ellett, Maria Chambless Bom September 29, 1795, Maria Chambless Ellett (1795-1882) was the second daughter of John and Mary Smith Ellett. Maria never married and resided in Salem. She was subscriber to the Salem Female Benevolent Society. Formerly a member of the Orthodox Salem Monthly Meeting, she was disowned in 1828 for joining the Hicksites.

Ellett, Mary John and Mary Smith Ellet had two daughters, Hannah Carpenter Ellett Brown (bom 1793) and Maria Chambless Ellett (bom 1795). Mary's sister Beulah married Joseph Wilson and had Emeline Wilson (also represented). The Elletts were members of the Salem Monthly Meeting of Friends.

Ewing, Dr. William Belford Although Kate refers to Greenwich, Ohio in the caption for Dr. Ewing’s wife’s wedding dress, she was most likely referring to Dr. William Belford Ewing (1776-1886) of Greenwich, Cumberland County, New Jersey. Dr. Ewing, the son of Thomas and Sarah Fithian Ewing, married Harriet Seeley on June 16, 1808. Amos Harris’s diary mentions working on “the old Dr. Ewing cupboard” on December 24,1896.

Fitzgerald, Susanna Susan or Susanna Fitzgerald of Delaware married John Denn of Mannington Township, New Jersey. They had seven children: Rhoda, Thomas, Rachel, Samuel, William, Mary, and Benjamin. Rhoda and two of her daughters are also represented in the scrapbooks.

Fogg, Ann On December 8, 1836, Ann Harris (1813-1841) married Luke S. Fogg, son of Joseph and Hannah Hover Fogg. Ann was the oldest child and oldest daughter of Stretch and Rebecca Padgett Harris; her brothers were John Harris (1815 - 1832), Hiram Harris (1818-1891), and Amos Harris (1821-1909). Before dying in 1841, Ann Harris Fogg gave birth to Hannah H. Fogg (also listed) and John H. Fogg. Her son served under Capt. Howard Bassett in Company A., Twenty- fourth Regiment of New Jersey Volunteers, 1862-1863.

Fogg, Emma Fogg was and still is a very common surname in Salem County, and Emma Fogg’s identity remains a mystery. No one by that name has been found who relates to Luke S. Fogg, which would be the obvious connection, and Amos Harris’s diary does not refer to anyone by that name.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Fogg, Hannah On February 16, 1856, Hannah H. Fogg (circa 1839-1909), daughter of Luke and Ann Harris Fogg, married Ephraim C. Smith, son of Peter Smith. Hannah was Amos Harris’s niece. See Ephraim Smith for further information.

Fogg, Luke S. On December 8, 1836, Luke Stretch Fogg (1813-1886), son of Joseph and Hannah Hover Fogg, married Ann Harris (1813-1841), daughter of Stretch and Rebecca Padgett Harris. Ann was Amos Harris’s only sister. On July 29, 1854, Luke then married Phebe Mulford (c.1832 - 1884), daughter of Richard and Lucetta Smith Mulford. The children from his first marriage were Hannah Fogg Smith and John H. Fogg. Phebe Mulford Smith died on February 11, 1884 after suffering for a few months from breast cancer. Luke was buried between his two wives at Canton Baptist Church. Although the Foggs were affiliated with the Baptist faith, they also attended Quaker meeting.

Freas Although several fabrics in the scrapbooks are associated with the Freas family, it is impossible to determine a single member who may have contributed the fabric. Amos Harris’s diaries refer to at least ten different Freas between 1872 and 1901, but it does not seem as if the Harrises were especially close to any one of them.

Freas, Charles Sallie Harris attended the vendue of Charles Fries or Freas on March 9,1883, but it is unclear which Charles Freas held the auction.

Freas, Elizabeth Amos Harris’s diaries refer to the deaths of two Elizabeth Freases: the wife of Richard Freas on February 4, 1887 and the widow of Johnson Freas on December 28, 1898. Both men married their Elizabeth’s in March of 1870. Additionally, Elizabeth Freas, widow of Henry J. Freas, managed her husband’s dry good business in Salem after his death.

Friedland, Jonas Jonas (1756-1825) and Elizabeth (1757-1823) Friedland or Freedland had at least three children: Jonathan, Sarah, and Lydia. Jonathan married Charlotte Wistar, daughter of John and Charlotte Wistar; Sarah married John Reeve, son of John and Beulah Reeve of Cumberland County; and Lydia married Joseph Bassett, son of Joseph and Mary Bassett. Lydia and Joseph Bassett’s daughter was Lydia Zems, wife of John Zems of Philadelphia. The Friedlands were members of the Religious Society of Friends and after the split, the Hicksite branch of the Salem Monthly Meeting. Amos and Sallie Harris attended Jonathan Freedland’s two- day vendue on May 19 and 20,1881.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Finlaw, Prudence Prudence Finlaw (1828-1899) married Ephraim Carll Jr. Amos Harris records Prudence’s death on January 30, 1899.

Glaspey, John John Glaspey or Glaspy (1822-1894), son of Silas and Keziah Sayre Glaspey married Phebe English (d. 1889) about 1850. Phebe was the daughter of William English of Bacons Neck, while John was from Greenwich, Cumberland County, New Jersey.

Gibbons, Anna The daughter of John and Rhoda Shourds Denn, Anna (1811-1892) married William Gibbons on July 6, 1836. Anna’s siblings were Rachel (wife of John Griscom), Mary, Susannah or Susan, and Rebecca. William was the son James and Lydia Gibbons of Philadelphia. When her husband died, Anna moved to Salem with her daughter, Susan.

Griscom, Andrew The son of Benjamin and Susannah Adams Griscom, Andrew Grisom (1800- 1862) first married Jane Pancoast, daughter of John and Sarah Keasby Pancoast, in 1823. In 1826, he then married Martha Davis (1799-1853), daughter of David and Mary Haines Davis. From this marriage he had seven children: Caroline, David, Mary Ann, Emma, Andrew, and Barclay. On November 28, 1855, he then married Hannah Ann Haines Stokes (1812-1887), the daughter of Caleb and Hope Lippincott Haines and widow of Barclay Stokes. The Grisoms were members of the Hicksite Salem Monthly Meeting. Hannah Ann Griscom died on February 2, 1887 in Medford, New Jersey.

Griscom, Theodosia Ann On October 16, 1823, Theodosia Ann Cooper (1804-1885) married Benjamin Griscom, the son of Benjamin and Susanna Adams Griscom. Benjamin was a descendent of Edward Bradway and a distant cousin of Sallie Bradway Harris; his brother Andrew is also represented in the scrapbooks. Benjamin and Theodosia had eleven children: Maurice H., Elizabeth, Charles, George, Susan, Samuel, Theodosia Ann, Ann Elizabeth, Benjamin, and Mary.

Haines, Lucy The identity of Lucy Haines continues to remain a mystery. She may be related to Hannah Ann Haines Stokes Griscom, daughter of Caleb and Hope Lippincott Haines.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Harmer, Hannah Hannah Bradway, daughter of Waddington Bradway and his third wife Hannah Baner Bradway, first married Ebenezer Harmer. Hannah’s second husband was James Dare. See James Dare for more information.

Harris, Amos Bom March 29, 1821, Amos Harris was the son of Stretch and Rebecca Padgett Harris. On May 4,1842, he married Catherine Smith, the daughter of Andrew and Hannah Stretch Smith. They had four children: Rebecca Harris Baker, Hannah Jael Harris, Stretch Harris, and a baby who died in infancy. Catherine Harris died in 1855. On March 10, 1856, Amos married Sarah (Sallie) Bradway, the daughter of William and Mary Bradway. They had five children: Catherine (Kate) Harris, Sarah Marion Harris Johnson, Margaret Harris, Amos Howard Harris, and Mary Lincoln Harris Vanneman. Margaret died at the age of two.

Harris, Ann Ann Harris was the oldest child of Stretch and Rebecca Padgett Harris and the only sister of Amos Harris. She married Luke S. Fogg on December 8, 1836, but unfortunately died in 1841, leaving one daughter, Hannah Fogg. See Ann Fogg and Luke S. Fogg for more information.

Harris, Catherine Smith (Kate) Bom June 4, 1857, Catherine Smith Harris or Kate (1857-1940) was the eldest child of Amos Harris and his second wife Sallie. Kate never married but lived with her parents first on their farm in Elsinboro and later in their house in Salem city. She compiled at least one of the scrapbooks.

Harris, Elizabeth P. Bom October 23,1858, Elizabeth P. Harris was the only child of Quinton and his first wife Elizabeth Harris. On January 11, 1882, she married Richard M. Acton Jr. in Philadelphia by Mayor Henry. See Richard M. Acton Jr. for more information.

Harris, Hannah Jael Bom March 20, 1848, Hannah Jael Harris was the daughter of Amos and his first wife Catherine Smith Harris. Hannah Jael died at the age of fifteen on September 25, 1863.

Harris, Lydia Lydia Harris (1798-1842) was bom on October 24, 1798. She was one of John and Lydia Smith Harris’s eleven children, and was Amos Harris’s maiden aunt.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Harris, Mary L. Bom on August 22, 1868, Mary L. Harris (1868-1914) was the youngest child of Amos and Sallie Harris. On January 18,1888, she married Robert N. Vanneman and had Marion, Margaret, and William.

Harris, Quinton Bom December 28, 1830, Quinton Parker Harris (1830- was the son of Benjamin and Martha English Harris. He attended boarding school in Wilmington, Delaware and worked and then lived on his father’s farm. On February 14, 1855, by Friends ceremony he married Elizabeth Powell (1834-1858), daughter of John and Rebecca Powell. Elizabeth died on December 12, 1858, and Quinton remarried four years later. His second wife was Mary Bradway, daughter of William and Mary Shourds Bradway and sister of Sallie Bradway Harris. They married on January 23, 1862 by Mayor Henry Sinnickson of Salem. His only child from his first marriage, Elizabeth (1858-), married Richard Acton. Quinton and Mary had five children: Lucy who married Clinton Arnold; Martha who died in childhood; Ellen who became a doctor and married Dr. W. Scott Smith; Quinton P. Jr.; and Margaret.

Harris, Rebecca Bom April 17, 1846, Rebecca Harris was the daughter of Amos and his first wife Catherine Smith Harris. She married Charles E. Baker on January 12, 1865. See Charles Baker for more information.

Harris, Rebecca Padgett Very little is known about Rebecca Harris nee Padgett. On March 2, 1812, she married Stretch Harris, the son of John and Lydia Smith Harris. Rebecca and Stretch had four children: Ann Harris Fogg, John Harris, Hiram Harris, and Amos Harris. Rebecca died on December 10, 1856 at the age of 66 years and 4 months.

Harris, Sarah Bradway (Sallie) Bom September 10,1832, Sarah Bradway (also known as Sallie) was the daughter of William and Mary Shourds Bradway. On March 19,1856, she married Amos Harris, the son of Stretch and Rebecca Padgett Harris. They had four children: Catherine (Kate) Harris, Sarah Marion Harris Johnson, Amos Howard Harris, and Mary Lincoln Harris Vanneman. Sallie died on March 10, 1909. She compiled at least one of the scrapbooks. See other family members for additional information.

Harris, Sarah Marion Bom June 22, 1859, Sarah Marion Harris was the second child of Amos Harris and his second wife Sallie Bradway Harris. On March 25, 1879, the Reverend C.W. Ray of Memorial Baptist Church married Sarah Marion to William Johnson

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. of Penn’s Neck. She compiled at least one of the scrapbooks. See William Johnson for more information.

Harris, Stretch Bom August 10, 1852, Stretch Harris was the son of Amos and Catherine Smith Harris. On January 3, 1872, he married Ann Elizabeth Baker, the daughter of Powell and Ann Baker. Stretch and Elizabeth had three children: Margaret, Catherine, and Amos.

Harris, Stretch Bom January 25,1788, Stretch Harris was the son of John and Lydia Smith Harris. He married Rebecca Padgett on March 2,1812, and they had four children: Ann Harris Fogg, John Harris, Hiram Harris, and Amos Harris. Stretch died on August 10, 1848.

Haviland, Lavinia The son of Samuel and Judith Purdy Haviland, Samuel Purdy Haviland (1803- 1887) married Lavinia P. Birdsall on October 4, 1827. They were married at Plattekill, Ulster County, New York but later moved to Greenwich, Ohio.

Hearsh, Mrs. Hearsh is not a typical Salem County name, and as yet she has not been identified.

Hewes, Mary Shourds The daughter of Benjamin and Mary Shourds, Mary Shourds Jr. married Samuel Hewes on October 8, 1828. Samuel was the son of John and Hannah Page Hewes of Delaware County, Pennsylvania. Mary was Samuel’s second wife. By his first wife he had two children, John and Sarah Ann Hewes, and with Mary he and one son, Charles Hewes.

Hildreth, Hannah Hannah Hildreth was the daughter of Jonathan Hildreth o f Alloways Creek. On March 25, 1813, she married David Fogg of Elsinboro. They had six children: Lydia Fogg Grier, Joseph Fogg, Aaron Fogg, David A. Fogg, Hannah Fogg and Joanna Fogg. The latter two were twins.

Hogate, Daniel Bom September 17, 1852, Daniel Hogate married Arthalinda Padgett on December 25,1872. Daniel died four years later on June 24, 1876. See Arthalinda Padgett for additional information.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Holme, Benjamin Benjamin Sealy Holme (1811-1867) was the son of John Gibbon and Margaret Morris Holme. On October 25,1837 he married Elizabeth Dennis (1813-1888), the daughter of Henry and Mary Dennis.

Holme, John G. John G. Holme was the son of Benjamin and Elizabeth Dennis Holme and the great-grandson of Colonel Benjamin and Esther Gibbon Holme. On April 26, 1866 he married Helena Woolman at the Woodstown residence of Helena’s father, James Woolman.

Hornblower, Anabelle Anabelle Hornblower was the wife of Charles Hornblower. Anabelle died on October 16,1881 at the age of 63, and Charles died on June 16, 1894.

Jarmin, Sarah The identity of Sarah Jarmin is not clear. On October 23, 1882, Amos Harris mentions in his diary “Aunt Sallie Jarmin died this morning about 7 O’clock in her 86th year,” but genealogical research has not indicated any aunts by that name.

Jenkins, Emily Emily Ellett Jenkins (1830-1891) was the daughter of David and Clarissa Harris Ellett. She married Charles Jenkins in Ohio, and they had two children: Walter and Harriet Jenkins.

Jenness, Mary The daughter of Joseph H. and Beulah Wilson, Mary H. Wilson married Mark Jenness on July 11, 1847. Mark Jenness was the son of Paule and Mehette Jenness of Burlington County, New Jersey. Mary Jenness died on April 1,1862 at the age of 47, and Mark Jenness married Sarah Taylor, the daughter of Anthony and Sarah Taylor, on November 8, 1860.

Johnson, Colonel Robert Carney Johnson Colonel Robert Camy Johnson was the son of Colonel Robert Gibbon (1771- 1850) and Hannah Carney Johnson. His father later married Juliana Elizabeth Zantzinger. Col. Robert C. Johnson was the first mayor of Salem and served in the Civil War. He died on March 25,1881 at the age of seventy. His wife was Julia Harrison Johnson.

Johnson, Isabelle The identity of Isabelle Johnson is uncertain. She may be related to William Johnson, Sarah Marion Harris Johnson’s husband, but at this time it is unknown.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Johnson, William The son of James and Sarah Lindzey Johnson, William Johnson married Sarah Marion Harris on March 25,1879. They had four children: James R. Johnson, Josephine Johnson, Marguerite H. Johnson, and Howard H. Johnson.

Kirby, Emily Fogg The daughter o f William and Mary Fogg, Emily Fogg is a descendent of Edward Bradway and a second cousin of Sallie Bradway Harris. On November 29, 1874, Emily married Richard Kirby.

Kirby, Cbalkley Chalkley Kirby was the son of Jacob and Mary Kirby of Harrisonville, Pennsylvania. On February 14,1883, he married Emma Lousia Ward, the daughter of Thomas H. and Lousia Ward, at Sarah C. Wilson’s house in Salem. They had at least two children: Granville Wilson Kirby and Clement S. Kirby.

Lamb, Rhoda The daughter of Thomas and Rhoda Silvers Dunn Osbom, Rhoda Osbom married Restore Lamb. Rhoda Lamb’s mother had previously been married to Nathan Dunn Sr., and Rhoda’s half-siblings included Nathan Dunn Jr., the Chinese collector. Her mother had three daughters from her second marriage: Phoebe; Palmyra, who married Gideon Birdsall; and Rhoda, who married Restore Lamb. The Lambs lived at Mt. Holly, New Jersey, where Rhoda served as the mistress of Dunn’s Cottage.

Lawson,Jane Jane Lawson was the daughter of John and Elizabeth Lummis Lawson. She never married but lived with her brother John Lawson in Salem where her parents had lived.

Lindzey, Hannah Sarah Marion Johnson nee Harris is most likely referring to her husband’s grandmother. William Johnson was the son of James and Sarah Lindzey Johnson. His grandmother on his mother’s side was Hannah Butcher Lindzey (1813-1891).

Lippincott, Clarkson Clarkson Lippincott (1832-1904) married three times: Emma L. Pedrick in 1863; Anne E. White in 1869; and Mary Jane Woolman in 1871. From his marriage he had a daughter, Clara T. Lippincott. From his third marriage he had five children: James W., Andrew T., Emma, Linda, and Mary W. Lippincott. The Lippincotts were members of the Salem Monthly Meeting of Hicksite Friends, although Clarkson was disowned in 1891.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Luck, Anna The identity of Anna Luck is unknown at this time.

Mathews, Mary Denn The fabric from Mary Denn Mathews is not attached to the pages of the scrapbook, but floats between two pages. It is unclear if Mathews is her married name or maiden name, and at this time her identity is unknown.

McCallister, Harriet Harriet McCallister was the daughter of John and Mary Ann Bradway McCallister. Sallie Harris and Harriet shared great-great-grandfathers. On March 9, 1859, Harriet married William Baker, the son of Poweli and Ann Baker. Unfortunately, Harriet died on November 1,1864, after only five years of marriage.

Merritt, Rebecca Rebecca Merritt (1830-1906) was the daughter of Solomon and Elizabeth Merritt nee Haines. She had two sisters: Elizabeth L. Merritt and Sarah W. Merritt.

Miller, Elizabeth Elizabeth Wyatt Wistar Miller (1766-1855) was the wife of Richard Miller, a son of Josiah and Leatitia Miller. Richard and Elizabeth Miller had three children: Josiah Miller, Sarah Miller Acton, and Letitia Miller Sheppard.

Miller, Louisa It is unclear to whom Kate Harris is referring. Considering that Kate Harris most often used maiden names, she may be referring to Lousia F. Miller who married John J. Thompson in 1874.

Moore, Lottie Amos Harris records the death of Lottie Moore in Alloway on August 28,1906. She was 78.

Mulford, Mary S. Mary S. Mulford was the daughter of Richard and Lucetta Smith Mulford. On April 15, 1859, Mary S. Mulford married Andrew Smith Reeves, son of Charles B. and Mary Smith Reeves. Mary Smith Reeves was the sister of Catherine Smith, Amos Harris’s first wife. Andrew and Mary Reeves had seven children: Charles B. Reeves, Anna L. Reeves, Richard M. Reeves, Abner S. Reeves, Thomas B. Reeves, C. Loven Reeves, and Archie Blain Reeves.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Mulford, Phebe On July 29, 1854, Luke married Phebe Mulford (c.1832 - 1884), daughter of Richard and Lucetta Smith Mulford. See Luke Fogg for additional information.

Newell, James On December 16, 1884, James Newell married Mary Elizabeth Casper, daughter of William A. Casper. They were married in Philadelphia by the Reverend G.K. Morris. James Newell was Salem County's sheriff in the 1890s. Mary Elizabeth Casper Newell died on July 26,1906 at the age of forty-eight.

Ogden, Edith . Sarah Marion Harris Johnson’s granddaughter, Mildred Johnson, married Preston Ogbin, but the identity of Edith Ogden is unknown

Padgett, Arthalinda Daughter of Amos Padgett, Arthalinda Padgett married Daniel Hogate on December 25,1872. Daniel died four years later on June 24,1876. In 1881, Arthalinda married George Hires, who was elected to the senate in 1881 and congress in 1884 and 1886.

Patrick, Elizabeth Sallie Harris is most likely referring to Elizabeth Patrick Fogg. She married J. Hildreth Fogg on March 20, 1877.

Powell, Anna On February 2, 1859, Anna Powell, daughter of John and Rebecca Powell, married Waddington B. Ridgway.

Powell, Elizabeth Elizabeth T. Powell (1834-1858) was the daughter o f John and Rebecca Powell. On February 14, 1855, she married Quinton P. Harris. Elizabeth died on December 12, 1858 after having one daughter, also named Elizabeth.

Powell, Sarah W. Bom December 27, 1854, Sarah Ware Powell was the daughter of Jeremiah and Elizabeth Bradway Powell. On March 30, 1880, Sarah married Henry H. Fogg, son of Richard and Mary Woolman Fogg, in Philadelphia by the mayor.

Powell, Sarah H. or T. Bom circa 1797, Sarah Powell was the wife of William Powell. She died on April 14, 1883 at the age of eighty-six.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Prescott, Mrs. Catherine Greene Hickling Prescott was the mother of William H. Prescott (1796- 1859) from Salem, Massachusetts. William H. Prescott was a noted historian of Latin America; he wroteHistory o f the Conquest o f Mexico (1843) and History o f the Conquest o f Peru (1847). Catherine Greene Hickling Prescott’s son Edward G. Prescott moved to Salem County where he was a minister and married Margaret Johnson Smith Prescott. They did not have children. Margaret Prescott died tragically in 1855 in a railroad accident in Burlington, New Jersey.

Rich man, Hattie The daughter of Jonathan Richman, Hattie Richman married the Reverend J.Q.R. Corliss on June 12, 1882. The fabric is included as float in the Scrapbook.

Ridgway, Waddington B. Waddington B. Ridgway (1837-1909) was the son of Jacob and Mercy Ridgway. On February 8,1859, he married Anna Powell, daughter of John and Rebecca Powell. Waddington B. Ridgway and Sallie Harris were third cousins once removed.

Robinson, Dr. Mary Emma Mary Emma Robinson was the daughter of James P. and Franklin Robinson. She died on May 11, 1889, and Amos Harris attended her vendue on August 7,1889.

Rudolph, James James Rudolph, of Alloway, New Jersey, was a contributor to the Relics of ve Olden Days in Salem. County. New Jersey. U.S.A.

Santee, Grace Brown Grace Brown, daughter of Judge Richard Brown, married Harris Ellett Santee (1864-1936) in August of 1895. Harris was second cousin of Kate Harris. He frequently visited the Harrises in Salem while he attended University of Pennsylvania in the early 1890s. He later practiced medicine in Chicago. Grace Brown Santee was killed on May 6, 1903 at the brass works in Salem when an emery wheel burst.

Santee, Mary Mary E. Santee (1862-1929) was the daughter of William and Catherine Ellett Santee. On October 24, 1884, she married Wilmer Stanley.

Sheppard, Annie Bradway Anne Bradway Sheppard (1872-1962) was the daughter of Joseph and Rachel Bradway Sheppard. Annie never married.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Sheppard, Ruth Evans Ruth Evans Sheppard Sickler (1870-1929) was the daughter of Joseph and Rachel Bradway Sheppard. On April 15,1895, Ruth married William B. Sickler, son of Zachius B. and Anna M. Sickler. They had two sons, Joseph and William Sickler.

Shourds, Mary Bom April 6,1789, Mary Shourds was the daughter of Benjamin and Mary Shourds. On October 8, 1828, she married Samuel Hewes, son of John and Hannah Hewes. They were married at the Salem Meeting House.

Shourds, Rachel Rachel Shourds was a sister o f Rhoda Shourds Denn. She married Jervas Hall circa 1800.

Shourds, Rhoda On April 4,1804, Rhoda Shourds, daughter of Benjamin and Mary Shourds, married John Denn, Jr., son of John and Susannah Denn. Rhoda siblings included Thomas, Rachel, Samuel, William, Mary, and Benjamin. Her brother Samuel’s daughter, Mary, was the mother of Sallie Bradway Harris.

Smith, Anna Rebecca The daughter of Ephraim and Hannah Fogg Smith, Anna Rebecca Smith married Joseph S. Buzby on March 16, 1887. He was the son of Elias and Susan S. Buzby.

Smith, Charles Charles Smith of Ohio married Lizzie Card on July 10, 1879. Lizzie was the daughter of Silas and Margaret H. Ellet Card and granddaughter of Clarissa Harris Ellett.

Smith, Ellen Bom January 26, 1866, Dr. Ellen B. Smith was the daughter of Quinton Parker and Mary Bradway Harris. She attended The Woman’s College of Philadelphia. On May 19. 1891, she married Dr. W. Scott Smith

Smith, Ephraim Ephraim C. Smith (1835-1898) was the son of Peter and Elizabeth Ellett Smith. On January 16, 1856, he married Hannah H. Fogg, daughter of Luke and Ann Harris Fogg. They had seven children: Luke F. Smith, Anna Rebecca Smith, Jefferson W. Smith, Frank P. Smith (died infancy), Phebe Fogg Smith (died infancy), John Fogg Smith, and Peter Elmer Smith.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Smith, Israel Amos and Sallie Harris attended the vendue of Israel B. Smith on February 24, 1882.

Smith, Mary This may be referring to any number of Mary Smiths, and not all of the fragments necessarily are associated with the same person. Mary Ellett, sister of David S. Ellett and sister-in-law o f Clarissa Harris Ellett, married Stephen Smith. She died on October 27,1889 at the age of 80 years. Mary E. Harris Smith, daughter of Josiah Harris and granddaughter of Dalymore Harris, died on August 3, 1895 at the age of 57 years. Amos Harris mentioned the deaths o f both women in his diary. The Harrises also had associations with several other Mary Smiths including the sister of Amos Harris’s first wife. Mary Smith, daughter of Andrew and Hannah Stretch Smith, was bom in 1815 and died 1857.

Smith, Peter In 1828, Peter Smith (1805-1879) married Elizabeth Ellett (1808-1880). They had six sons: James W. Smith, Jessie P. Smith, Samuel P. Smith, Ephraim Smith, Thomas Smith, and Peter Elmer Smith.

Springer, Samuel C. Samuel C. Springer (1830-1897) was the son of Richard F. and Mary H. Cooper Springer. On January 13, 1853, he married Mary Ann Batten (1830-1920), daughter of James and Ann Hendrickson Batten, at Trinity Episcopal Church in Swedesboro. They had one son, James Batten Springer who married Carrie Ware. The Springers lived near the Harrises in Elsinboro.

Stackhouse The Harrises had ties with several members of the Stackhouse family. Charlotte Harris, Amos Harris’s second cousin, married Archebald Stackhouse, son of Caleb and Mary Stackhouse. They had three children: William, James, and Mary. Anna M. Powell Stackhouse, wife of James Stackhouse, was a contributor to Relics of ve Olden Days in Salem. County. New Jesev. U.S.A.

Stackhouse, Rachel This most likely refers to Rachel Stackhouse (b. 1810), daughter of Caleb and Mary Sayre Stackhouse. She married John Griffing.

Stokes, Beulah This may be in reference to Beulah A. Stokes, daughter of Caleb and Ruth Shinn Stokes. In 1840, she married Elwood Thomas.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Stokes, Hannah Hannah Ann Haines first married Barclay Stokes about 1840 in Chester County, Pennsylvania. Her husband died sometime before 1855 leaving her with their son William H. Stokes. On November 28,1855, Hannah Ann married Andrew Griscom, son of Benjamin and Susannah Adams Gricsom.

Stratton, Rebecca J. Rebecca J. Stratton (1833-1896) was the daughter of John and Mary Sloan Branson Stratton. Her siblings include Rachel Ann Stratton, James Leander Stratton, William Stratton, Enoch Branson Stratton, Theodore Stratton, and Hannah A. Stratton. Rebecca Stratton died in Mannington on March 31, 1896.

Stretch, Elizabeth Bom November 20,1800, Elizabeth Harris was bom to John and Lydia Smith Harris. Her nephew by her brother Stretch was Amos Harris. On February 26, 1845 she married Nathaniel Stretch. They did not have any children. Betsy Stretch survived her husband by many years, but eventually died on July 5, 1884 at the age of 83. The following August, Sallie Harris visited Peter Harris, Betsy’s brother and with whom she had been living prior to her death, and helped to divide Betsy’s household goods. In November, Sallie and Amos Harris again went to Peter Harris’s home in Hancock’s Bridge, and took home a wardrobe, bureau, and chest.

Stull, Miss It is unclear to whom Sarah Marion Johnson is referring. An Elizabeth L. Stull lived at 312 East Broadway in Salem in 1893-94.

Taylor, Margaret On April 11, 1882, Sallie and Amos Harris attended Mrs. Tyler or Taylor’s vendue at the Rich Seely Mill, and she bought some china.

Trotter, John John Trotter married Lydia Letitia Ellett, daughter of David and Clarissa Harris Ellett and a descendent of Samuel Harris. They had three children: Clarissa H. Trotter, Lydia Trotter, and James Earle Trotter.

Waddington, Annie Annie B. Waddington (1841-1914) was the daughter of Richard and Mary Ann Bowen Waddington and a descendent o f Edward Bradway. On February 4, 1863, she married William P. Ware, son of Elijah and Beulah Powell Ware.

Ward, Emma L. Bom April 20,1860, Emma L. Ward was the daughter of Thomas and Louisa Wilson Ward and the granddaughter of Joseph and Beulah Wilson. On February

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 14, 1883, she married Chalkley Kirby, son of Jacob and Mary A. Kirby, at Sarah C. Wilson’s house in Salem.

Warden, Hannah The identity o f Hannah Warden is unknown.

Ware, Beulah Bom November 29,1818, Beulah Powell was the daughter of William and Sarah Powell. On April 5,1838, she married Elijah Ware (1812-1893), and they had five children: Sarah F. Ware, William P. Ware, Mary Ware, Anna C. Ware, and Charles Ware. Beulah Ware died on June 22,1885.

Ware, William Bom December 4, 1841, William P. Ware was the son of Beulah and Elijah Ware. On February 4, 1863, he married Annie B. Waddington, daughter of Richard and Mary Ann Bowen Waddington.

Watsou, Samuel On October 4, 1883, Samuel Watson married Anna Butler, daughter of James and Prudence Dare Butler. Kate Harris and her brother Howard attended the wedding in Greenwich. Samuel and Anna Watson had at least one daughter, Grace Butler Watson.

Wilmer, Mary Mary Wilmer was the wife of Perry Wilmer (died 1872). They had at least one daughter, also named Mary (died 1886). Mary Wilmer Sr. died on February 22, 1901. Amos and Sallie Harris executed her will.

Wilson, Emeline Emeline Wilson was the daughter of Joseph and Beulah Smith Wilson of Philadelphia. Her sister Sarah C. Wilson is also represented in the scrapbooks. Emeline moved to Salem, New Jersey in 1856, and attended the Salem Monthly Meeting Orthodox.

Wilson, Sarah Sarah Chambless Wilson (ca. 1810 -1913) was the daughter of Joseph and Beulah Smith Wilson of Philadelphia. Her sister Emeline Wilson is also represented in the scrapbooks. Sarah moved from Philadelphia to Salem, New Jersey in 1858, and attended Salem Monthly Meeting Hicksite. She died on December 29, 1913 at her residence in Salem.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Woolman, Helena Bom in 1846, Helena S. Woolman, was the daughter of James Mason and Mary Ann Pedrick Woolman. On April 26,1866, she married John G. Holme. See John G. Holme for more information.

Woolman, Howard. Bom on January 25, 1850, Howard T. Woolman was the son o f James Mason and Mary Ann Pedrick Woolman. On April 29, 1880, he married Ella Clark, a daughter of Jacob and Mary Clark. They were married by Friends’ ceremony in the presence of Mayor Stokely. They had one child, Roy C. Woolman.

Woolman, James James Mason Woolman (1804-1878) married Mary Ann Pedrick on February 15, 1835. They had at least three children: Helena, Mary, and Howard. James was a tanner.

Woolman, Mary Mary Ann Woolman, wife of James Woolman, was the mother of Howard Woolman, Mary Jane Woolman Lippincott, and Helena Woolman Holme. She died on December 24,1886 at the age of 75.

Woolman, Mary J. Mary Jane Woolman (1842-1907) was the daughter of James Mason and Mary Ann Pedrick Woolman. She was the second wife of Clarkson Lippincott (1832-), son of Caleb and Ann Lippincott. See Clarkson Lippincott for additional information.

Woolshin, Miss The identity of Miss Woolshin is unknown.

Woodside It is unclear if Sarah Marion Johnson is referring to a family or the town in central New Jersey. Amos Harris mentions several members of the Woodside family in his diary, including Ferman Woodside, Clara Woodside, and James Woodside. On June 21, 1889 Sallie Harris attended the sale of Furman or Ferman Woodside, at which she purchased six chairs. Clara Woodside was a contributor to Relics of ve Olden Days in Salem County. New Jersey. U.S.A.

Zern, Lydia Lydia Bassett (1827-1893) was the daughter of Joseph and Lydia Freedland Bassett. On April 3, 1849, she married John R. Zems (1825-1894), a son of William and Mary Zems. They had at least two children: William Morris Zems and Elizabeth W. Zems.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure I. The Scrapbooks. From left to right: Folio, Album, Marble Scrapbook, Scrapbook. Courtesy of Winterthur Library.

Figure 2. Signature of Kate S. Harris in Scrapbook. Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 3. Scrapbook Pages 47 and 48, Float. Gray silk, written on back of envelope postmarked 1904, “Wedding dress of Aunt Mary Hoops [sic], sister of my Grandfather Samuel Shourds, Samuel Hoops [sic] from Concord Delaware Cy, Penn, was married to Mary Shourds in 1828 in the Orthodox meeting house down Walnut St. near Public School house called silver gre [sic] silk. S.B. Harris 1-30-1905." Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 4. Scrapbook Pages 83 and 84. Left: top - light green silk, “Mantilla worn with the dress;” bottom - brown, mauve, white, and gray woven plaid, “Dress worn over 30 years ago. Compliments of Lucy Haines.” Right: green and gold silk with green satin band and green fringe, “Grandmother Harris* neck scarf died in 1857.” Courtesy of Winterthur Library.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 5. Folio Page 32. Clockwise from top right: white ribbon with white satin floral motif; black moire' silk, “A piece of the dress of Mrs. Prescott the historians Mother;” black satin with gray and white leaves and roses, "Amos Harris A piece of his vest at the age of 17;” black silk with vermicular design, “Goods bought in China by Nathan Dunn for his Sister;” natural, plain-weave linen, “A piece of Mummy cloth from Egypt;” sheer white silk, “Bolling cloth - from Lottie Moore;” green and white ribbon, “Ribbon belonging to Dr. Emma Robinson;” ecru ribbon with satin stripes; ecru ribbon with green edges and green and red berry motif; natural silk, “Crape from Mrs. Hearsh.” Center: missing, “From the Freas Family.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 6. Album Page 65. Clockwise from top left: black, loose weave silk with selvedge. “Annie Gibbon dress 15 years ago” (on note: “My dress 15 years ago”): ecru silk crepe with silk fringe, hemmed along left edge, “Scarf brought from China by Nathan Dunn:” black loose weave, “Miss Woolshin dress made from the fabrics of frineapple [sic] missionary to China from Princeton. NJ;” silk of maroon ground with small floral discharge print, “Bought for me by Rhoda O. Lamb over 30 years ago.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 7. Scrapbook Page 17. Top: green silk with small white flecked pattern, “Piece of Hannah Bradway wedding dress Married 1845 Ebenezer Harmer.” Bottom: russet silk, “Piece of Hannah Bradway Harmer wedding dress married in 1853 to James Dare.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 8. Scrapbook Page 3. Fragment of ribbon of ecru silk satin with checkerboard center and scalloped edge, “Piece of Sarah Bradway’s wedding bonnet string. Married March 19th 1856.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 9. Scrapbook Page 5. Top: white netting with 1/4” tucks, “Wedding veil.” Bottom: two pieces - white gauze with 1/4” tucks over white twill cotton, “Piece of Marion Harris' wedding dress. Married March 25th 1879 to Wm. Johnson.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 10. Scrapbook Pages 93 and 94. Left: top - black, green, and white plaid silk, “Ellen Bradway first silk dress;” bottom - midnight blue silk with picked seam and white selvedge, “Sallie W. Powells first silk dress bought in 1878.” Right: top - black and tan striped silk, “Marion Harris' first silk dress bought in 1877;” bottom - midnight blue with white selvedge, “Kate S. Harris first silk dress bought in 1878.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 11. Scrapbook Page 72. Pink silk with hemmed edges and attached black velvet ribbon. “A Doll's apron made by Jael Harris died in 1863 aged 15.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 12. Album Page 50. Clockwise from top left: maroon silk with selvedge, “Rhoda Ann Birdsall's wedding dress;” silk of silver gray with small white flecks, picked seam, “Elizabeth A. Brad way's wedding dress;” brown silk with two-tone brown dots and paisley, “Rachel Bradway's wedding dress;” taupe silk with picked seam and selvedge, "Helena Woolman's wedding dress.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 13. Scrapbook Page 12. Top: beige silk, “Hannah Fogg’s wedding dress married to Ephraim Smith Jan 1856.” Bottom: reddish brown silk, “Piece of Anna Harris' wedding dress. Married Dec 8Ih 1836 to Luke S. Fogg.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 14. Scrapbook Pages 41 and 42. Left: top - three pieces, lace with floral scalloped border over taupe wool over yellow cotton, “Piece of Annie B. Waddington’s wedding dress Married in 1883 to William Ware;” bottom - two pieces, lavender wool over white cotton twill, “Piece of Emily Kirby's dress worn as bridesmaid at Emma L. Ward’s wedding February 14 1883.” Right: two pieces, aqua wool over white cotton twill, “Piece of my dress worn as bridesmaid at Emma L. Ward' wedding. Kate S. Harris.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 15. Scrapbook Page 23. Top: white velvet. Middle: gray ribbon with ecru edges, “Trimmings on her wedding bonnet.” Bottom: black and white bucle silk, with white selvedge, “‘Piece of Celeste Clark's wedding dress. Married Nov 10th 1870 to Elmer Ellett." Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 16. Album Page 69. Black ribbed silk, “Material used for making Friends bonnets by Susan Denn's sister Mary.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with '''Am z /j ''

nrT'^if Tf—L

Figure 18. Scrapbook Page 64. “Aunt Betsy's cafe ribbons. Died 1884.” Row 1: left - ecru stripe: right - ecru with green stripes. Row 2: left - ecru with ink stripes and floral motif; right - ecru with stripes and scalloped edges. Row 3: left - ecru satin; right - ecru and yellow satin with rococo scalloped design. Row 4: pink satin with Chinese character motif. Row 5: ecru netting with dark and light blue floral design. Row 6; ecru with robin's egg blue check. Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 19. Album Page 2. Cotton print featuring yellow tendrils and yellow, blue, and red flowers on brown ground, “Mother Harris’s dress 30 years old.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 20. Folio Page 33. Top: Yellow and brown on natural ground cotton, “From Sarah Downs Bedquilt 1800.*’ Bottom: Brown and red on natural ground cotton, "From Charles Freas. Alloway. N.J." Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 21. Folio Page 13. Indienne print of red, brown, and blue on natural ground, “Ancient bed curtain belonged to Mary Ellet.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 22. Folio Page 16. Blue on natural ground, “Bought at Israel Smith's Sale Salem N.J.” Courtesy of Winterthur Library.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BIBLIOGRAPHY

Primary:

Butcher. “Fabric Album.” Salem, New Jersey: 1870-1890. MS 4526. Salem County Historical Society. Salem, New Jersey.

Gurley, E.W. Scrap Books and How to Make Them: Containing Full Instructions for Making a Complete and Systematic Set of Useful Books. New York: The Authors’ Publishing Company, 1880.

Griscom, Rachel Denn. “Scrapbook of Fabrics.” Philadelphia, Pennsylvania: 1872. MS 117. The Friends Historical Library of Swarthmore College. Swarthmore, Pennsylvania.

Harris, Amos. “Diary.” Salem County, New Jersey: 1854-1909. Private Collection.

Harris, Anonymous. “Marble Scrapbook.” Salem County, New Jersey: 1880-1890. Col. 50, acc. 75 x 9.2. Joseph Downs Collection of Manuscripts and Printed Ephemera, Winterthur Library. Winterthur, Delaware.

Harris, Kate. “Scrapbook.” Salem County, New Jersey: 1880-1890. Col. 50, acc. 75 x 9.3. Joseph Downs Collection of Manuscripts and Printed Ephemera, Winterthur Library. Winterthur, Delaware.

Harris, Sallie Bradway. “Album.” Salem County, New Jersey: 1880-1890. Col. 50, acc. 75 x 9.1. Joseph Downs Collection of Manuscripts and Printed Ephemera, Winterthur Library. Winterthur, Delaware.

Johnson, Sarah Marion Harris. “Folio.” Salem County, New Jersey: 1880-1890. Col. 50, acc. 75 x 9.4. Joseph Downs Collection of Manuscripts and Printed Ephemera, Winterthur Library. Winterthur Delaware.

Van Meter, Ann Hunter. Relics of ve Olden Days in Salem County. New Jersey. U.S.A. Salem: Robert Gwynne, 1892.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Local and Family History:

The Salem County Historical Society has a number of resources that they or other Salem County entities have compiled, including Salem County Brides Index and Salem County Marriage Index from the Salem County Clerk’s Office. They also have files relating to Salem County families, including the Archer, Baker, Bassett, Birch, Bradway, Butler, Buzby, Carll, Carpenter, Casper, Dare, Davis, Denn, Dunn, Ellet, Finlaw, Fogg, Freas, Friedland, Fries, Gibbon, Glaspey, Griscom, Haines, Harmer, Harris, Johnson, Lawson, Lindsey, Lippencott, Newell, Powell, and Waddington families.

Acton, James N. Bradwav - Stretch - Keasbv - Waddington Families. Salem, New Jersey: Salem County Historical Society, 1978.

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Biographical. Genealogical and Descriptive History of the FirstCongressional District of New Jersey. Volume 1 and 2. New York: Lewis Publishing Company, 1900.

Blackman, Leah. History of Little Egg Harbor Township. Burlington County. N.J.. from its First Settlement to the Present Time. Tuckerton, New Jersey: The Great John Mathis Foundation, Inc. 1963. (originally published in 1880)

Chandler, Catherine Soleman. The Bassett Family: Lvnn. Mass. to Salem County. N.J. 1624-1964. Salem, New Jersey: Salem County Historical Society, 1964.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Harris, Sarah Bradway. “Bradway Family.” Biographical. Genealogical and Descriptive History of the First Congressional District of New Jersey. Volume 1. New York: Lewis Publishing Company, 1900. 195-213.

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Shourds, Thomas. History and Genealogy of Fenwick’s Colony. Bridgeton, N.J.: George F. Nixon, 1876.

Sickler, Joseph S. The History of Salem County New Jersey: Being the Story of John Fenwick’s Colony, the Oldest English Speaking Settlement on the Delaware River. Salem, New Jersey: Sunbeam Publishing Company, 1937.

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Vanneman, William Bradway, ed. How Dear to Mv Heart: Photographs and Writings of William J.S. Bradwav. Salem, New Jersey: Sunbeam Publishing Company, 1976.

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Secondary:

Axelrod, Alan, ed. The Colonial Revival in America. Winterthur, Delaware: Winterthur Museum, Garden, and Library, 1985.

Bank, Mirra. Anonymous was a Woman. New York: St. Martin’s Press, 1979.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Barbour, Hugh and J. William Frost. The Quakers. New York: Greenwood Press, 1988.

Brackman, Barbara. Clues in the Calico: A Guide to Identifying and Dating Antique Quilts. McLean, Virginia: EPM Publications, 1989.

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1- 8 .

Cemy, Catherine A. “Quilt Ownership and Sentimental Attachments: The Structure of Memory.” Uncoverings 18 (1997): 95-119.

Cochran, Rachel, ed. New Jersey Quilts. 1777-1950: Contributions to an American Tradition. Paducah, Kentucky: American Quilter’s Society, 1992.

Cogan, Frances. B. All-American Girl: The Ideal of Real Womanhood in Mid- Nineteenth-Centurv America. Athens, Georgia: The University of Georgia Press, 1989.

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Csikszentmihalyi, Mihali and Eugene Rochberg-Halton, eds. The Meaning of Things: Domestic Symbols and the Self. London: Cambridge University Press, 1981.

Cunningham, Patricia A. and Susan Voso Lab, eds. Dress in American Culture. Bowling Green, Ohio: Bowling Green State University Popular Press, 1993.

Davis, Gayle R. Women’s Quilts and Diaries: Creative Expression as Personal Resource.” Uncoverings 19 (1998): 213-229.

Eisenbarth, Erin E. “Plain and Peculiar: A Case Study of Nineteenth-Century Quaker Clothing.” Masters Thesis, University of Delaware, 2002.

Eisner, John and Roger Cardinal, eds. The Cultures of Collecting. London: Reaktion Books, 1994.

Finley, Ruth E. Old Patchwork Quilts and the Women Who Made Them. Philadelphia: J.B. Lippincott Co., 1929.

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Gemes, Todd Steven. “Scrapiana Americana.” Winterthur Magazine (Spring 1996): 17- 18.

Guest, Rachel Elisabeth. “Victorian Scrapbooks and the American Middle Class.” Master’s Thesis, University of Delaware, 1996.

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.