The Market Square Bulletin

Exciting new research is underway at the Germantown Historical Society on a rare textile found within the collection: a Loyalist, anti-Stamp Act handkerchief.

This piece is incredibly rare—and one of the earliest examples of an outwardly political textile found in America. Thus far we have only been able to locate one other surviving copy, belonging to a private collection. Most early American handkerchiefs, or textiles in general, that feature explicitly political messaging tend to be from the American Revolution or afterwards—many depict and refer to George Washington. But this handkerchief was made before the Revolution, sometime between 1765 and 1770, although likely closer to 1765-66. It was designed and produced in direct response to the Stamp Act of 1765.

The handkerchief is made of linen, with a red, rose madder design printed on it. Markings along the bottom indicate that it was designed by Peele & Simpson. There is little information about this firm, though some research has shown evidence that they were likely linen drapers located in the Cheapside neighborhood of London, operating during the latter half of the eighteenth century. They sold “printed goods and Muslins.” Peele likely refers to John Peele, who records show was a linen draper in Cheapside around this same time who worked on printing and designing handkerchiefs. There are a few surviving works in the public record with the Peele & Simpson name on them, including handkerchiefs in the Victoria & Albert and the Museum of London.

Another name appears at the base of the handkerchief—Rupert Davids. He owned and operated a large printworks that specialized in calico printing and engraving in Crayford, a mill-town in Kent, England—it ran between 1757 and 1783. Interestingly, Crayford became a thriving center of calico printing and design in the early 1760s, but many operations shuttered over the course of the next fifteen years, due to what one scholar calls “the American crisis,” referring to the various trade-related laws and later the American Revolution that interrupted the flow of goods to the American colonies. Rupert Davids was one of only two printers to survive past the 1770s. Remaining textiles with his name on them include handkerchiefs and other calico-works at Winterthur and Colonial Williamsburg.

Both John Peele and Rupert Davids were members of the Society for the Encouragement of Arts, Manufactures and Commerce, a society focused on encouraging innovation and invention in the arts, sciences, and commerce. Notable figures including William Shipley and Benjmain Franklin were members at the same time as them. In fact, Benjamin Franklin was invited to join this society due to their being impressed with his plans for the American Philosophical Society right here in Philadelphia.
The design of the handkerchief is quite clear about its messaging. Pro-monarchy, pro-commerce, and anti-Stamp Act words surround the perimeter, reading:

May his Majesty’s Reign be ever Crowned with Laurels, his Throne supported by Justice and Guarded by / Honest Men of such true Patriotic Principles May commerce Flourish, and the band of Union ever Remain / Unbroken between England and America and may that man be forever Banished His Majesty’s Presence / Who would endeavor to Disunite the Subjects Love to their King, or attempt to Ruin the Trade of this Country.

This message proclaims loyalty to the British monarchy, while also criticizing efforts made by that same government to impose the Stamp Act of 1765 on the American colonies. It advocates for ‘unbroken’ commerce between England and America, and questions why proponents of the Stamp Act would “ruin the trade” of England, or ‘disunited the subjects love to their King.”

The center of the handkerchief features a side profile of King George III, with a crown and flourish of laurels situated above his head. There are four other portraits: William Pitt, Henry Seymour Conway, Sir Charles Pratt, and Edward Hawke.

William Pitt was the Prime Minister of England at the time, who was notably anti-Stamp Act. His parliamentary speech against it eventually led to its repeal. Pitt was viewed as an ally to the American cause in the Revolution. His likeness appears on other pieces of anti-Stamp Act objects, including tokens and buttons.

Henry Seymour Conway was a member of the House of Commons and served as the Royal Governor of New Jersey. He was outwardly opposed to the Stamp Act and sided with the American colonists on many issues.

Sir Charles Pratt, a member of the House of Lords, was also a major voice against the Stamp Act of 1765.

Edward Hawke held the title of 1st Baron Hawke, was a member of the House of Commons, and a major naval figure in Britain at the time. His relation to anti-Stamp Act sentiments is less obvious than the others featured.

Each corner of the handkerchief features a different symbol: an anchor, the scales of justice, a laurel branch, and a fanfare trumpet. Each relates to the theme of the handkerchief in one sense or another. Justice is literally represented; the anchor relates to the Atlantic trade and British naval power; the laurel is directly referenced in the works along the perimeter; the fanfare trumpet could refer to the British monarchy or British military might.

This handkerchief worked to show that British citizens could still be loyal members of their country and their empire, all the while critiquing some of its actions. It juxtaposes imagery of King George III, laurels, and the crown with words outwardly opposing an action of the British government. It aimed to position support of Stamp Act appear disloyal to the aims of the British empire—undermining expansion and trade. Although we typically associate anti-Stamp Act sentiments with the protests that occurred directly in the American colonies, many people who lived in Britain were opposed to it as well. Ultimately mass petitions and protests by British merchants, along with fiery speeches given by political figures like Pitt and Conway led to the repealing of the Stamp Act of 1765. This object is direct evidence of domestic British opposition to the Stamp Act.

We are still conducting further research on this exceptional object and are excited to discover more about its makers and composition.

Please feel welcome to explore the digitized collections as they gradually become more complete. Having only worked with the hat collections for just over a month, I have already found many examples of headwear that reflect and inform the history of Germantown, Philadelphia, and America from the eighteenth century to the 1970s. I am excited to see what else the hat collection boasts, as well as what the rest of the historic costume collection holds once it is given the same treatment.

Prior to my internship at Germantown, I graduated last year with an MA in Art History from the Courtauld Institute of Art, where my concentration was eighteenth and nineteenth-century circum-Atlantic visual culture. Before that I graduated with dual BA degrees from the University of Massachusetts Amherst in Political Science and Art History. Throughout my studies I have looked at the crossroads between the visual and the political, particularly when it comes to clothing and headwear. During my graduate studies I completed a research project on headwear around the Atlantic during the long Revolutionary period. I have held several internships in museum education, curation, and collections management, but none have offered this much of an opportunity to work directly with such an extensive collection of hats and clothing. I look forward to continuing my work at Historic Germantown and am eager to discover what else exists in the hat collection!