53rd Annual Delaware Show

Lydia Blackmore, a 2013 graduate of the Winterthur Program in American Material Culture, is the decorative arts curator at The Historic New Orleans Collection. This article is generously sponsored by Mr. Paul T. Clark. Fig. 5. Needlework portrait of Henry Clay, made by Agnes D. Jackson, Rockaway, New Jersey, 1850. Gift of Ruth Gardiner Rathburn Pitman 2001.14 Fig. 6. Leather and papier-mâché cigar case decorated with the portrait of Henry Clay, made in the United States, 1844. Bequest of Henry Francis du Pont 1965.2092 campaigns. From the blue and red textiles with a pattern of log cabins and William Henry Harrison on wholecloth quilts in the 1840s to a large needlework portrait of Henry Clay made by twelve-year-old Agnes D. Jackson (fig. 5) , stitchery highlighted not only a young woman’s skill but her political opinions as well. Badges, buttons, ribbons, and personal accessories marked men as partisans and allowed them to carry their candidate with them throughout the day. In 1828 circular tobacco boxes bearing the portrait of General Jackson could be slipped into a pocket or displayed on a desk. In 1844 cigar cases were decorated with the portrait of Henry Clay (fig. 6) . If a supporter preferred pipes to cigars, he could purchase a Clay pipe molded with the face of the candidate. “Log Cabin” beaver hats and “Rough and Ready” straw hats also allowed supporters to make their views known. As material evidence of partisan enthusiasm, political material culture existed for all citizens, whether male or female. Campaign objects graced shop windows and dinner tables as well as the coats and heads of supporters. Not only markers of inclusion with a specific group, they were the ultimate demonstration of dedication and enthusiasm for a candidate and his party. — 29 —