Quilts appliqued with cutout elements (such as birds, flowers, and trees) of printed chintz sewn onto a plain, usually white, background have long been considered among the most elegant of American bedcovers. In the late nineteenth century, this type of needlework was given the French name broderie perse, meaning "Persian embroidery." Today, however, many quilt historians believe that since broderie perse was not a term in use when the quilts were made, it is more appropriate to refer to them as "cutout chintz" or "appliqued chintz" quilts.

The designs on cutout chintz quilts often recalled–if not actually imitated–the motifs seen on Indian palampores, which were first brought to England in the sixteenth century and later carried to America. Like the example in the Museum's collection, most cutout chintz quilts were constructed with a center medallion design, the format favored for American quilts made prior to 1840. Representing a great expenditure of both time and money, these quilts are presumed to have been made by quiltmakers of some means. Although the chintz could have been salvaged from previous use or purchased specifically for the quilt, the large lengths of required background fabric implied a significant investment, and quiltmakers often reserved their most intricate, delicate stitches for this type of work. It is believed that most were reserved for "best" and were not subjected to the harsh treatment of daily use or the washtub.

Elizabeth V. Warren, "Cutout Chintz Quilt with Chintz Border," in Stacy C. Hollander, American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 311.