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Stars in a Time Warp Tops

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Stars in a Time Warp by Kyle
Center medallion


Kyle's 72 stars with a French General border print and center block from Di Ford's Antique Wedding Sampler.
http://kyleredente.blogspot.com/2016/02/bs-to-5th-power.html

Now that it's March, 2016
 [Let's hear it for spring in the Northern Hemisphere!] 
you will want to finish your 2015 projects.

Or not. You might prefer to sit on the porch and read.

Well, anyway, here are some Stars in a Time Warp tops for inspiration.

Randy at Barrister's Block
56 stars

Sharon V

Sylvia at Treadle Stitches (Her second)



Maureen at Pursuit of Quilts

48 stars in a strip set.

Fun with Barb---finished

And Cynthia's at WabiSabi quilts is quilted and bound!





Southern Relief Fair on a Quilt

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Crazy quilt recently offered in an online auction.

Among the embroidered patches are several ribbons,
notably this souvenir of the Ladies Southern Relief Association Fair
in Baltimore, April, 1866.

The quilt is dated 1885, nineteen years after the Baltimore Fair.





Another ribbon features successful Presidential candidate Grover Cleveland, a Democrat.

Ribbon dated 1881, perhaps from a reunion of the Old Dominion Guard.

The Fair ribbon also was printed on red silk.

The Southern Relief Fair took over the Maryland Institute building from April 2 to April 13, 1866. About $165,000 was raised to buy food and supplies for destitute people in the South. Baltimore in a Union state was conspicuously lending a hand to a defeated enemy.

The Maryland Institute Building opened in 1851.

The Baltimore Sun mentioned that the women had set up 52 tables, "laden with their profuse variety of wares, fabrics, &etc....are all neatly trimmed with evergreens and ornamented with flowers." 

Mary Custis Lee, wife of General Robert E. Lee, is reported to have donated an embroidered cushion and U.S. First Lady Eliza Johnson sent a floral bouquet.

Descriptions of the needlework displayed are limited. Virginia's Staunton Spectator effusively described what sounds like Berlin work pictures:
"The tables were gay with fabrics of every texture and quality, wrought by the cunning fingers of the fairest and brightest of the ladies in the land; portraits and landscapes, and historical compositions for artists of 'credit an renown'...."

Berlinwork or needlepoint pictures like these
from the period couldn't have been all the fancywork on display,
but this is what the reporters seem to be describing.


The Fair sounds more like a Northern Sanitary Fair than a pre-War ladies' handwork bazaar. The large amount of money was raised by donations of commercial items from food to farming equipment and livestock.

The building lasted into the 20th century.

Confederate Colonel John B. G. Kennedy described the Fair to a fellow Southerner:
 “The ladies of Baltimore have come out handsomely in behalf of the suffering people of the South. They got up the great “Southern Relief Fair” amid the sneers and jeers of the Black Republican crew ... Donations to this fair have poured in from all parts­­ even England, Yankeedom, and New York have helped to swell the fund…. Articles of all kinds ­­ mammoth steers, mules, horses, houses and lots, wood, coal, flour, groceries, lumber, dry goods, machines, farming utensils, drugs, patent medicines, toys, soaps, telegraphs and the Lord knows what. Those who could not send material gave money… If you dislike the North, my dear friend, please do not include Baltimore in your denunciations."
The Fair was organized by the society women of Baltimore and their Ladies' Southern Relief Association, which reported on the disbursement of moneys in September.


The chair was Jane Grant Gilmor Howard, a prominent Baltimore matron who'd been painted by Thomas Sully about the time of her wedding in 1818.

Jane Grant Gilmor Howard (1801-1890) by Thomas Sully,
Collection of the Maryland Historical Society.

Inspired by Mrs. Howard's Baltimore Fair, several other Northern cities organized Southern Relief Fairs. These post-War relief fairs for former Confederates were not as well documented as the wartime fairs, particularly the Union Sanitary Commission Fairs. Sectional prejudice continued to dictate what was published. 

Read more about Jane Gilmor Howard here:

Dixie Dairy Sampler from 2013

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Dixie Diary by ColvinKiwi, 2014

The Block of the Month a couple of years ago was Dixie Diary. Did I ever show you Dorry at ColvinKiwi's finished quilt?  She emphasized the simple pieced blocks in a geometric set and added corner blocks of her own design. The set fabric is from Basic Gray at Moda.

Su Gardner did the long arm quilting.

See many more pictures at Dorry's post here:

And here's Dustin's top.

I provide the block ideas. They provide the creativity.

Look at Dustin's "Tops to Be Quilted" Flickr page:


Dixie Diary from Cookie's Creek

It is gratifying once in a while to see that SOMEBODY actually followed my pattern. That would be Barbara at Cookie's Creek.





I'm still a big fan of pink and brown as you can see in the current Old Cambridge Pike line for Moda.


Shop owners and teachers looking for a historical Block of the Month might want to kit Dixie Diary for a beginner's piecing and applique series in Old Cambridge Pike.

The free patterns are still on the blog. See links to each below:













Label:


Jones Plantation Quilts Liberty County, Georgia

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Green and red hexagon quilt on display at the Midway Museum
in Liberty County, Georgia. On the left another quilt (?)
in front of a photo of Mary Jones Jones.

Mary Jones Mallard recalled life in the main house on Maybank plantation before the Civil War:
"We used to gather round the hearth---Father reading aloud, Mother knitting or sewing. ....Brother Joe with his paint box ....and I think I used to make mittens or sew my hexagon quilt."
Perhaps the quilt above.

Quilt at the Midway Museum

Midway is south of Savannah, Georgia, along the Atlantic coast.

Charles Colcock Jones Sr (1804 – 1863)

Midway in the 1950s. 
Charles Colcock Jones was minister
at the Old Midway Church before the Civil War.

Chintz quilt made by members of the Jones family at
 Montevideo plantation in Liberty County, Georgia, about 1855. 
92" x 91".
Collection: Kenan Research Center at the 
Atlanta History Center

The high-style chintz quilt above is also attributed to Mary Jones's family.

Picture of Mary Jones Jones in the 1860s from Special
Collections at Tulane University

Mary Jones Jones (1809-1869) often mentioned quilts in her letters. In 1862 she referred to a chintz spread on her bed. In 1850 Mary informed her sons that their aunt, although feeble "quilted her laid-work [applique] quilt at Mrs. Winn's." In 1852 Mary wrote niece Laura that she was in Philadelphia, shopping for chintz: "I will try to find the birds and butterflies for [Betsy's] quilt."

At the Midway Museum: A chintz quilt in a frame????

Birds from Philadelphia?

From a snapshot of a bedroom from the web.

After the war in November, 1865, Mary wrote her daughter to see if she'd left her knitting when she visited. "If when Robert comes down he would bring my quilt patches and scraps from my trunk."

In 1861 Mary Jones Jones sent a quilt to her young granddaughter Mary Jones Mallard: "Tell my dear little granddaughter Grandma sends a little quilt for her bed...perhaps you could make Lucy quilt it."

That Lucy was a slave is obvious. One might ask someone to quilt a bedcover---or make someone quilt it.

Photograph of Montevideo Plantation, end of the 19th century
 from Robert Quarterman Mallard's book 
Montevideo-Maybank, Some Memoirs of his Sunny Childhood.

Montevideo was in the low country where malaria was endemic. People of African heritage had a genetic resistance to the mosquito-borne disease. Plantation owners fled to homes in higher ground in the summer, one reason the Jones lived at both Montevideo and Maybank.

1850 Census of Georgia Slave Owners
showing the Charles C. Jones family of Liberty County
as one of the state's largest slave-holding families with 107 people
at their various plantations.

The Children of Pride by Robert Manson Myers,
letters and papers of the Jones family,
is the source for several of these quotes.

Charles Colcock Jones Jr., officer in the Confederate Army,
became a Georgia historian collecting family
papers and objects that have endured in various institutions.

In his memoir Mary Jones's son-in-law Robert Quarterman Mallard pictured former slaves posing by the elder Charles Jones's grave at Midway Cemetery. He did not identify them. 
I included a photo of the Jones quilt at the Atlanta History Center
in my book Facts & Fabrications: Unraveling the History of Quilts and Slavery. 
Can we classify it as a slave-made quilt?

The Jones plantation quilts are examples of the problems in considering whether a quilt was stitched by enslaved seamstresses.

As I wrote in that 2006 book:
"We cannot know which family members had a hand in any particular quilt. There is a real possibility, as with any American quilt passed down in a family that held slaves, that enslaved women made part or all of it. On one hand, documented slave-made quilts are rare; on the other quilts made by slaves are quite common. The problem is finding evidence of the seamstress's identity."

Many books about the Jones family of Liberty County have been published. Here are three with an overview of their Civil War era letters and diaries.

The Children of Pride by Robert Manson Myers,


There are two versions of The Children of Pride, the latest "a compact, illustrated volume for new readers and for all those who so greatly admired the original monumental edition." The older 1972 book (1800 pages) won the National Book Award (not the Pulitzer Prize as I mistakenly wrote in Facts & Fabrications.)


Erskine Clarke's Dwelling Place: A Plantation Epic was published in 2005.

Read about Charles Colcock Jones's 19th-century publications at this link:

Way West Set for Westering Women Block of the Month

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Way West
72 x 84"
Here's an idea for an innovative set for the twelve blocks in  
the Westering Women Block of the Month.
I've called it Way West.

The twelve pieced blocks are in the west.
Arrows from the east point the way west.

A feedsack with a covered wagon on it.

I drew the quilt up in EQ7 with some random pieced blocks
and two simple setting blocks plus 8 plain, unpieced squares.

It's a grid of 6 x 7 blocks, each finishing to 12".
There are 12 Pieced blocks
8 Plain Blocks (Cut 12-1/2" square)
5 Arrow Blocks
and 17 Strip Blocks

The arrows could be done as flag stripes
in reds and the left side could be a sort of a blue field.

Or whatever suits your fancy.


Cutting 12” Finished Arrow Blocks
You Need 5.

A– Cut 1 square 6-7/8”. Cut in half diagonally with a single cut. You need 2 triangles for each block.


B– Cut 3 rectangles 6-1/2” x 4-1/2”.

C—Cut 1 triangle 13-1/4” . Cut into 4 triangles with two diagonal cuts. You need one large triangle per block.




Cutting 12” Finished Strip Blocks 


You Need 17.
For each cut 3 strips 12-1/2” x 4-1/2”.

YARDAGE for the set.
For the light background for arrows & strips—3-1/2 Yards
For the dark plain blocks and arrow point backgrounds—1-1/2 Yards
For the arrow strips & points - 1/2 Yard

More of the feedsack with cowboys and cactus too.


Clamshell with a Peterson's Magazine border

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Quilt made by Ellen Lucinda  Bennett Welch (1842-1918), 
 Connecticut, 1861.

I found this quilt on the internet, shown years ago at a quilt show at the Senior Center in Ashford, Connecticut. The caption:
"Clam Shell, made by Ellen Bennett Welch, pieced in 1861. Ellen was married in 1862 to Merritt Welch. Her brother died in the Civil War 2 years later. Perhaps this was a patriotic dowry quilt, reflecting the concerns of the times."
http://www.micaweb.com/ashfordseniors/quilts1.html


Ellen's inspiration for the border was the Peterson's Magazine pattern for a "Stars and Stripes Bedquilt" published in July, 1861. Her red, white and blue clamshell idea is an unusual take on a traditional pattern.

Here's a review of the July issue of Peterson's.
"It contains Two Splendid Colored patterns, one of which is a Stars and Stripes Bed-Quilt. Every lady ought to have a number so as to work one of these Quilts."

Ellen is easy to find in genealogical sites. She married Merritt Manning Welch (1838-1907) in 1862. They had six children.


See more about clamshell designs in this post:

And more about the Peterson's pattern here:

Modern Day Soldiers' Aid Society

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Snowball or Flagstones by the Country School Quilters

The Country School Quilters in Montpelier, Virginia, have been making quilts for veterans from my Union Blues reproduction prints.

This is NOT them but they are following in the tradition.
This photo from the Chicago History Museum
is of the Springfield Ladies' Aid Society in 1863.

 The Country Quilters have staged a few Sew-a-thons to make small quilts in simple patterns.

The pattern is BlockBase #1001


It's two different blocks alternated - a nine patch and a square with the corners cut off.




Here's the January 2016 block
A double four patch they call Country Crosses

Country Lanes is BlockBase #1829
Same block





See more pictures at their blog:

http://countryschoolquilters.blogspot.com/2016/01/country-lanes.html



Nine Patch with a Four Patch set.

I think they planned borders for all of these but ran out of time.

See more about the Country School Quilters at this post:
http://countryschoolquilters.blogspot.com/2015/11/quilts-for-veterans.html

Betsy pieced the HourGlass to raise funds for batting and backings.

I'm pleased to see my left-over fabrics go to such a good use.

If you had a female ancestor living in Sangamon County, Illinois in 1863 she might have belonged to the Springfield Ladies Aid Society (auxiliary to the Sangamon County Illinois Ladies' Soldiers' Aid Society). See a history and a list of the members here in the 1914 issue of the Publications of the Illinois State Historical Library (Volume 17) at Google Books.

Quilts Civil War Pinterest Page

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Quilt by the Woodstock, Illinois, Woman's Relief Corps (WRC)
Collection of the McHenry County Museum

This was probably a fundraising quilt, made to make money for the WRC's charities in the early 20th century.  

The detail shows the fading of the blue fabric
used in the dots, a good clue to a date after 1880.

The pattern is unusual. If you look at it as a block
you can see that it's a Maltese Cross
The official image of the Woman's Relief Corps.


If I had all the money in the world I'd have a giant exhibit of actual Civil War quilts (in the armory in New York City) and I'd certainly include this one in the large area devoted to quilts made by the WRC about 1900.

Since I don't have the funds to do the show we will have to settle for a virtual exhibit, which is on a Pinterest page I've been working on for several years.
Check it out here:




I ignored it for a few years but I have recently figured out how to update it.
You can look at it as a virtual quilt exhibit with dozens of quilts made during the war to celebrate the cause or to warm a soldier or a patient. There are theme quilts made before the war, particularly advocating the abolition of slavery, and many mourning and commemorative quilts made after the war.

On the Pinterest page: Click on the pictures (twice I think) and it will link you to a post at this blog,
which will have links to the sources and more information about the quilt and its maker.



Someday some museum with all the money in the world might like to do a show on Civil War quilts and this page could provide many leads to examples for exhibit.

Crazy quilt with border of commemorative ribbons
including many from Oregon  GAR reunions.
Early 20th century.
Collection of the High Desert Museum.

See Anna Lena Land's post here:
http://annalenaland.com/tag/vintage-quilts/

Westering Women Block 3: Sweet Gum Leaf

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Block 3 Sweet Gum Leaf by Becky Brown
Becky's used prints from my Old Cambridge Pike line for Moda.


This map of the trails was drawn about 1907 after most native tribes were moved elsewhere and states and cities were established. You can see the red road loops south of Independence as it starts northwest up to the Platte River.

Why go south to travel north and ultimately west?

One reason was to find the easiest crossing. Real mountains lay far ahead but rivers and creeks offered serious obstacles early in the voyage. Following long-established trails avoided steep banks and unstable river beds. 

"She didn't Get Her Feet Wet"
following Wadsworth's Guide, 1858

How did travelers know where to turn?
They hired guides (some more reliable than others.)
And they bought guide books and maps.

Wadsworth's National Wagon Road Guide from 
St. Joseph and Council Bluffs, 1858

1849 guide to California and
"The Various Overland Routes"

Differing advice mapped different routes. In 1850 Anna Maria Morris's trip south to Santa Fe took a trail north of the Kansas River, where they had to cross Stranger Creek and then Grasshopper Creek. On May 22nd they waited from 8:30 a.m. until 1 to cross the Stranger. She wrote a letter to her father:
 "In crossing the creek the wagons stalled…altho' we were stationary three whole hours we did not get very much out of patience---The Dr. had two parlor chairs left in the mud broken all to pieces---I fear mine will go next---We crossed the Stranger in safety tho' the banks are very steep indeed." 
"They Take a Cut Off"
Wadsworth's guide included humorous drawings
of the consequences of ignoring their advice.

Small towns and trading posts evolved along these established trails. One was Gum Springs, a day out of Westport, Missouri. Gum Springs was an old settlement in the Shawnee's reserve, near several Christian missions to the tribe that had been removed from Ohio.


Sweet Gum Leaf by Denniele Bohannon
Denniele's pink and red are from my
Alice's Scrapbag line for Moda.

The town was named for a grove of gum trees, probably sweet gums. Decades later its name was changed to Shawnee. The Grasshopper River mentioned above became the Delaware (named for the tribe and not the state or the English Lord.) One problem in tracing the trail through diaries, letters and guidebooks is that many of the place names have changed from the rather earthy vernacular names. I live on Hogback Ridge along the California Trail, but the name was changed to Mount Oread in the 1850s.

See Jim Tompkins's list of Kansas Mileposts Along the Oregon Trail here:


The pattern is BlockBase #857.032

Remember Gum Springs and the old names along the trails with a Sweet Gum Leaf, a traditional design given this name by Clara Stone who sold quilt patterns from her New England home about 1910.

Cutting a 12 inch block
A - Cut 2 squares 4" x 4"
B - Cut 1 square 6-3/16" x 6-3/16". Cut into four triangles with 2 cuts. You need all 4 triangles.

C - Use the templates to cut 6 diamonds.
D - Cut 1 rectangle 4" x 12-1/2".
E - Use the template to cut 1 stem. Add seams.

Templates 

How to Print
  • Right click on the image above and save it to a JPG file.
  • Print that file out 8" by 8". 
  • There's a line in there that should measure 8" end to end.
  • Adjust the printed page size if necessary.
  • Add seams when you cut the fabric.
UPDATES
Here's how to rotary cut the parallelogram for C
and below is another template to print out at 8-1/2" x 11".
Add seams if you are using the template.
The sewing line on the side of that shape should measure 3-5/8".
The cutting line 4-1/4".

And see this tutorial on cutting and sewing a 12" star.

And BJ sent a template too. It's 8" square.


Sewing the Block


Sweet Gum Leaf by Marclyn Woolsey

Anna Maria Morris's journal "A Military Wife on the Santa Fe Trail" was published in Kenneth Holmes's Volume 2 of Covered Wagon Women. Read a preview in a Google Books preview here:


Guide books were translated into French and German
to encourage Europeans to take a chance on the Western U.S.

Three blocks done!


Linda Mooney's Block 3.
No pattern for her view of the Sweet Gum Leaf.

Maggie Frentz's Flag Quilt

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Lincoln Flag Commemorative Pieced Quilt
made by Margaret E. Frentz, 68" x 72",
date inscribed 1876.
Collection of the Indiana State Museum

This extravaganza is called the Lincoln Flag because the field of the flag is silk printed as campaign ribbons from the 1860 Lincoln/Hamlin campaign. 


Maggie Frentz, born in 1854, is thought to have begun the quilt when she was 13 years old during the Civil War.

Lincoln ribbons printed in black on various colors of silk are common
(relatively common---they aren't inexpensive.)
Maggie seems to have found some uncut silk leftover from the campaign.

She also included other ribbons in the stripes and the other patchwork

Bell and Everett ran against Lincoln in 1860.

In the center between the numbers 18 and 76 she featured a ribbon from the Pierce/King campaign of 1852.

Another example of that ribbon


Below it is a fuschia ribbon for O.H. Strattan for County Clerk
Oliver H. Strattan was from nearby Louisville, Kentucky.



The Museum knows a bit about Maggie. 
"The quilt was completed by Margaret E. (Maggie) Frentz in New Albany, Indiana, ca. 1876, when she was 22. She was born on March 7, 1854, and was the oldest daughter of Peter and Elizabeth Frentz. Elizabeth Frentz was from Louisville, Kentucky. This information was provided by the donor and also in a newspaper clipping in the donor file, though this information gave Maggie's age as 13 at the time she made the quilt.. This newspaper clipping says that Maggie pieced the quilt before and during the Civil War, which makes the age 13 fit."

Maggie died at 35 years old in 1889. She's
buried at St. Mary's Catholic Cemetery in New Albany
with her parents and baby sister Adelia.

Mary may have attended St. Mary's of the Annunciation church
built a few years after her birth.

Her father Peter Frentz was listed in various city directories as a sign painter, a stencil cutter, a brand cutter and the operator of  a variety store. Perhaps he had a stock of old campaign ribbons that Maggie put to excellent use.

The 1859 city directory lists Peter Frentz as a stencil
plate cutter and proprietor of a "fancy store" at 336 and 342 Main. The
family lived in the same building.


He probably inherited this store from his father John B. Frentz who advertised in 1849 that he sold food and candy, toys, fireworks, musical instruments. John died in the 1850 cholera epidemic.

Peter and Maggie seem to have had a lot in common, both artists. They both took out patents. At 15 Maggie invented an improvement for corset fasteners.




"Maggie" on her tombstone

The Frentz family in 1860
Maggie is 6.

I bet Maggie's given name was not Margaret but some variation of Magdalene. The 1860 census is hard to read but her name at 6 is not Margaret. Her father was born in Germany; her mother in Hanover (Germany). Their Indiana-born girls were Matilda, Magdalene and May. The boy perhaps Benj.


Block 2 as a Quilt

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Indian Territory
I Photoshopped all the Block 2 (Indian) posts from the
Flickr page that were done in repro prints
and sketched a quilt.
A scrappy quilt.

Every other block is rotated 90 degrees.

8320-15 
I used this print (Lidian) from Old Cambridge Pike for the border.

Here are some of the blocks.


I like these blocks with triangles along the edges

Because they make Flying Geese when 
you set them side by side.














Seven Stars 1

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Silk Star Quilt in the collection of the Museum of the Confederacy/American Civil War Museum, a gift for Jefferson Davis, attributed to the "stormiest part" of the Civil War, according to his wife Varina Davis.

You can look at the repeat pattern in several ways.
There are just two pieces, a diamond and a hexagon.


Read more about it at this post.

But you can also look at it like this as a hexagonal block.
and rotate it so it matches BlockBase #241.
We'd call it Seven Sisters



It's a hexagonal block of two pieces, a diamond and an irregular shaped, four-sided piece along the edges. The pattern was made by many quiltmakers North and South before and particularly after the Civil War.

The block was especially popular after about 1880.
Many surviving examples were pieced in
 fashionable colors from the
1880s and well into the 20th century.


Made by Mary Ellen and George James, Illinois, 1870-1900
Illinois State Museum. Union veteran George cut the pieces
for this after his return from the Civil War.

Detail of the James quilt

About the same time from the Michigan project
and the Quilt Index.

1880-1910
by the "Cheerful Workers of Concord" presented to their minister
W.R. McDowell,
Tennessee project and the Quilt Index


About 1890-1910 

About 1945 by Tomasita Ferro Bastardo,
Texas project and the Quilt Index

Detail of a silk quilt from about 1850 from
the collection of the Victorian and Albert Museum.
Related designs go back further in time

Quilt by Alice Bennett, date-inscribed 1873
Collection International Quilt Study Center and Museum
2003-003-0321

Alice Bennett's 1873 quilt is a variation. She pieced six stars instead of seven.

Unusual block from a 
Baltimore Album quilt in the collection of Colonial Williamsburg
with blocks dated 1844-1847
My first reaction to this pattern in the quilt donated by Varina Davis was that there is Confederate symbolism in the design. I've been working on this idea but I am not getting very far with it. More next week.

See a fabulous photo of the silk quilt at the Museum of the Confederacy's website. Upload their quilt file and then scroll through till you find this one. Enlarge it and you can focus on small details.
http://www.moc.org/exhibitions/museum-confederacys-quilts?mode=general

Grandmother's Choice Samplers

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Mike Ellingsen
Grandmother's Choice
Mike did a great job with the color. 

Several years ago we did a Grandmother's Choice BOW with
a history of the women's rights movement.

From the Rural New Yorker in 1916. 
"Votes for Women: Beginning Early at a Great Question"

Here are some finishes.
Amanda ---1 of 3

Flo B - used the green and yellow symbolic colors of the Suffragettes.

Dustin Cecil
uses any darn color he wants to.

He's right. The sashing really pulls it all together.


Pink Deenster's second top

Sylvaine's

And Pillen Maja

I gave Grandmother's Choice its own blog address. It's not to late to start your own quilt. Here's a link to the first block.
http://grandmotherschoice.blogspot.com/2012/09/1-grandmothers-choice.html
They are posted once a week for much of 2012.

And see more finishes here:
https://www.flickr.com/photos/86465285@N08/galleries/72157636539803055/

I've been figuring out ways to use Pinterest to index my files. I started a page called FREE Historical BOM & BOW with links to the series I've been posting over the past few years. See it here:
https://www.pinterest.com/materialculture/free-historical-bom-bow-from-barbara-brackman/

Seven Stars/Seven Sisters 2

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Most of us today would call the block "Seven Sisters."

We tend to believe in some Civil War symbolism, as in this caption from the International Quilt Study Center & Museum's website:
"Folklore has it that the seven stars in the block represented the first seven Southern States to secede from the United States before the inauguration of Abraham Lincoln as President on March 4, 1861."


See a Missouri quilt in their collection and a photograph here:
http://www.quiltstudy.org/collections/quilt_of_the_month/qom.html/title/february-2013-

A quilt signed Texas Fergerson from Cindy's Antique Quilts

Seven stars on a Confederate apron.

I have used the name Seven Sisters as a symbol of the early Confederacy.

 But I couldn't find a history of that name for this particular pattern before the 1930s.

Here's the pattern in BlockBase as #241.

The earliest published name I was able to find was Seven Stars,
which the Ladies Art Company of St. Louis included in their early catalogs
dating to about 1890


I would guess a similar quilt won a premium at the Nobles County, Minnesota, fair in 1892:
"Mrs. M. L. Belknap Quilt-seven stars."


Ruby McKim, whose patterns were so influential about 1930, called it Seven Stars...

and so did Eveline Foland when she sketched it for the Kansas City Star
in 1931.

The Star published it again with different shading as Seven Stars

In 1935 Carrie Hall called it Seven Stars
and wrote that the design offered "many possibilities
and makes a very attractive quilt." She didn't mention
any symbolism.

Here's her actual block at the Spencer Museum of Art (rather surprising to see that it's yellow.)

The Nancy Page syndicated newspaper column gave it two names in 1933.
"Seven Stars or Seven Great Lights"

Says Nancy:
"Mrs. John Evans of Pueblo, Colorado, is the donor of this old-time favorite. She says that her mother received it recently from the grandmother who made it when she lived in Arkansas. The grandmother called it "Seven Stars" but Mrs. Evans would like to rechristen it and call it "Seven Great Lights."
That name didn't catch on.
You may notice different designers
constructed the seven stars in
different fashion

When did the pattern get the name Seven Sisters?


The earliest reference: The Nancy Cabot column in the Chicago Tribune printed the pattern on March 13, 1933, and captioned it "Seven Sisters." Loretta Leitner Rising, the columnist, dedicated the quilt to the seven lovely daughters of old Virginia's Fowler family and gave the block two other names: Seven Stars and Virginia Pride. Nancy was a particularly imaginative writer so quilt historian tend to discount her accounts of names, dates and sources.

And who are the Fowler sisters? 

Perhaps I've made too much of the pattern and the symbolism. I certainly cannot find any kind of a paper trail that leads me to believe the pattern had the name Seven Sisters before 1933 or any Civil War meaning.

Quilt Guild Block of the Month Programs

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First three Westering Women blocks by Barbara S.

Sheila in Nova Scotia wrote the other day:
"Would it be okay if our quilt guild used the Westering Women Block of the Month as our Guild BOM starting in September? I am the program director for our small guild and I am planning on doing a BOM starting in the fall and I think this would be perfect, however I would like your permission to do so.
I would direct them to your blog to retrieve the patterns and there will most likely be around 30 members who would participate or hoping for even a few more .
Regards ,
Sheila for the Thistle Quilt Guild"
I was glad to give her permission and I'm taking this opportunity to give all of you guild members permission to use these series Block of the Month programs that I post.

Barb V is making them 9 inches.

I leave the posts up there so they are relatively easy to access. I've created a Pinterest page which gives you links to the various topics and posts.
https://www.pinterest.com/materialculture/free-historical-bom-bow-from-barbara-brackman/


Brenda just finished her Threads of Memory top.
A link to the blocks:

I'm happy to have guilds use them for their non-commercial purposes. I post these without charge for two main reasons. One is to give people ideas for using reproduction prints.

Madison by Jean Stanclift
from Threads of Memory

The other is to give quilters an accurate history of needlework. I'm interested in history framed in the broader context of women's history, western American history and particularly Civil War history. I spent several years working for museums in the public outreach and education department.

Rochester by Becky Brown
Each of the twelve stars in Threads of Memory
tells a true tale of the underground railroad and
escape from slavery.

 What better way to teach history than with quilt patterns?

Kathie's Threads of Memory

So do feel free to use the Block of the Month designs I've posted. I've also done several Block of the Weeks----a little much for a guild, but you could pick twelve favorite posts and give the members links to those.

Reitje's Austen Family Album - 36 blocks
for fans of Jane Austen and Regency history.

As Sheila suggests the guild just needs to provide a link to the post. The instructions are up there on the cloud (with corrections and suggestions from past block makers).
Here's a Pinterest page with links to lots of posts from Austen Family Album. Scroll down to the bottom. (Pinterest always starts at the bottom and works its way up to the top.)
https://www.pinterest.com/source/austenfamilyalbumquilt.blogspot.com

Becky Brown, Grandmother's Choice
49 blocks on the history of the women's rights movement.

For fabric and color inspiration you'll find models by Becky, Dustin, Bettina and others who have helped me out.

Grandmother's Choice by Mary & Martha Tours

Pick a dozen.

I realize there are guild members who have no computer access so if you must---print out the directions for them. We can hope a BOM may be incentive for learning how to access patterns on the internet.

And do send photographs of quilts in progress and finished.


We'll be starting a new Block of the Week for 26 weeks in 2016 soon on my Material Culture blog page:
http://barbarabrackman.blogspot.com/
Look for the first post about a William Morris tour of England on May 7th.


A Union Quilt at an Annapolis Hospital

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Portland, Maine from the Robert N Dennis
 collection of stereographs

In late 1862 sixty women of Portland, Maine, organized the Young Ladies' R F Society "to aid the Ladies San. Com.tee [Sanitary Commission] of Portland in their efforts to improve the condition of our sick and wounded soldiers." In 1865 they made a list of their accomplishments, which included many handmade shirts, drawers, slippers and sheets. And at the bottom of the list:


Two Union Quilts.

See the list here:
https://www.mainememory.net/artifact/79496


The Naval Hospital in Annapolis

Their list and some of their correspondence is in the collection of the Maine State Museum. One of their Union Quilts was sent to the U.S. General Hospital in Annapolis where nurse Adeline M. Walker of Portland, perhaps friend to some in the group, wrote a letter of thanks in April,1863.
"Wish you could hear all the fine things said about your beautiful Union Quilt. I called the ladies into my room and a Council of War was held over the ingeniously - constructed work, and it was unanimously voted that the young “R. F’s” had shown them selves to be possessed of wonderful genius – talent, taste – skill, patience – wit – industry – piety – patriotism, originality – and I know not what else – but to sum up – it was the best thing of the kind ever seen by any of them — To-day the quilt has been on exhibition in my ward ..."
The secretary of the R F's was Maria T. Hersey, daughter of a well-to-do Portland merchant and ship owner Theophilus C. Hersey. Nurse Walker wrote about hospital conditions,

"Many of the new patients have died – and, nearly all, of Typhoid Pneumonia."

Typhoid was a common disease with a mortality rate of abut 33% at the time.
Two years later the disease claimed Adeline Walker at 35.

This CDV photograph is dated
to 1864 and said to be a post mortem
portrait of a nurse at the Annapolis Hospital.

The nurses at the Naval Hospital have been fairly well remembered. Adeline Walker was one of nine Maine nurses, assisting head Adeline Tyler.

Adeline Blanchard Tyler (1805-1875)
was head nurse until she resigned due to ill health in 1864.

Read more about the nurses there at this link:
http://www.carlisle.army.mil/ahec/exhibits/CivilWarImagery/Naval_Academy_Hospital.cfm


The post war book Women's Work in the Civil War has information about
the Annapolis women and "Sister Tyler"

Brady portrait of "Sister Tyler."

But what did that "ingeniously constructed" Union Quilt look like?


Perhaps it resembled another patriotic  Maine quilt from the time:
http://www.belfastmuseum.org/civil-war-flag-quilt.html

Read more about the Maine nurses in Annapolis:
http://uncountedforces.blogspot.com/2011/03/falmouth-civil-war-nurse-honored.html
http://uncountedforces.blogspot.com/2010/05/louisa-titcomb-of-stroudwater.html

Westering Women: Block 4 Lone Elm

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Westering Women Block 4
Lone Elm by Becky Brown
using Old Cambridge Pike prints

Trees were such a rarity beyond the United States border that they became guideposts on the trails. In the first days out early travelers looked for the Lone Elm, an important marker at a fork in the road. 

The two main trails from a map "endorsed" by the DAR in the 20th century.
The trails split in what is now eastern Kansas.

One road was the Oregon/California trail going northwest. The other branch was the Santa Fe trail going southwest for traders to Mexico.
Arrival of the Caravan at Santa Fe, 1844.
The Mexican War brought Santa Fe into the U.S. in 1848.

Women were infrequent travelers on the Santa Fe trail as it was primarily a road for commercial trading traffic, so we have few records from the female perspective. One mentioned last month was Anna Maria Morris, an Army wife.

Susan Magoffin (1827-1855) about the time of her trip to Santa Fe,
dressed in the large scale stripes so popular in the 1840s.

Susan Shelby Magoffin, an 18-year-old newlywed from Kentucky, is another exception. She had married a Santa Fe trader and accompanied him in 1846.

June 11:
"Now the Prairie life begins! ....This is the first camping place....There is no other tree or bush or shrub save one Elm tree, which stands on a small elevation near the little creek or branch. The travellers allways stop where there is water sufficient for all their animals....We crossed the branch and stretched our tent. It is a grand affair indeed....conical shape, with an iron pole and wooden ball; we have a table in it that is fastened to the pole...Our bed is as good as many houses have: sheets, blankets, counterpanes, pillow &c."
The Lone Elm did not last long in its role of trail marker. Short-sighted travelers soon cut it down for fuel. 
"I first saw Lone Elm camp ground in 1854.... The old tree was lying on the ground, the greater part of it being burned up." 
W.H. Brady's memories read at the dedication of the Lone Elm monument by DAR in 1906.

Lone Elm by Nancy Swanwick


Typical D.A.R. marker for Santa Fe trail

In 1902 the Daughters of the American Revolution
embarked on a project to record the trails' locations.

Subtle traces of the trails at Lone Elm.

Lone Elm is a park in eastern Kansas where one can still see the ruts from the wagons at the creek crossing.

Fifty years later a photographer recorded
the rut cut in stone in the far west.

In some places those ruts are quite deep and long lasting. In the grassy plains the traces are called swales.

Lone Elm by Linda Mooney

BlockBase #809 is as rare as a tree on the Great Plains, a traditional tree block based on a grid of 6, rather than 5 or 8 or 14 (all hard to cut for a 12" block.) This variation was published in the Kansas City Star in 1934 as Christmas Tree or Pine Tree. Because no native pines grow on the plains (not enough rain) we can call it an elm for the Lone Elm.

Cutting a 12" Block


A - Cut 1 square 6-7/8" x 6-7/8". Cut in half diagonally to make 2 triangles. You need 2 triangles.


B - Cut 9 dark squares and 6 light squares 2-7/8" x 2-7/8". Cut each in half diagonally to make 2 triangles.You need 18 dark and 12 light triangles.


C - Cut 3 squares 2-1/2" x 2-1/2".

D - Cut 1 square 5-7/8" x 5-7/8". Cut in half diagonally to make 2 triangles. You need 2 triangles.


E - Cut 1 rectangle 9" x 2"



Notice on the map near the top of the page we are making little geographical progress. This is probably because I live near the arrow and I want to include all the sites near us. We've gone about two days travel.
Next month---progress.

Lone Elm by Denniele Bohannon

Another shading option

The traditional set.

Read Susan Magoffin's diary at this link from the Universidad Autonoma de Nuevo Leon:

A Union Quilt = An Eagle Quilt?

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Four Eagle Quilt by a member of the Swengel family,
Union County, Pennsylvania
Collection of the State Museum of Pennsylvania

Could the Union Quilt sent to the Washington hospital discussed in last week's post be an Eagle applique?
http://civilwarquilts.blogspot.com/2016/04/a-union-quilt-at-annapolis-hospital.html

"Union Quilt 
Appliqued of red, blue and yellow on white.
Courtesy of Karl R. Kaiser, Esq."

In 1929 quilt historian Ruth Finley called this patriotic pattern “Union” in her classic book, Old Patchwork Quilts and the Women Who Made Them:
"But of all patriotic quilts none is more characteristic than the Union Quilt with four great American eagles spreading their wings across each corner. Red, white and blue are, of course, the colors of the quilt photographed, a touch of gold being added by the shield-shaped patch which forms the body of the bird. This specimen was made during the Civil War when the earlier wide-spread use of the eagle design was revived by the North."
Union quilt pictured by Florence Peto in the Magazine Antiques, 1940

In 1938 Florence Peto published "Old Quilts Tell a Story" in the magazine The American Home.
"Union Quilt is typical Pennsylvania-German design of Civil War period. This bold, vivid example was made c. 1861 by Mrs. Charles Burk. Owned and shown by Mrs. C. Knepper."
In 1940 she published the same quilt in The Magazine Antiques:
"The owner of this patriotic item is Mrs. Charles Knepper of Three Springs, Pennsylvania. A similar example has been reported in the possession of Miss Marcia Manning of Williamsport, Pennsylvania."
Had Peto access to all the quilt images we have today she would have known there are dozens of similar examples.

It is amazing how many of these eagle quilts were made but not, as Peto wrote, during the Civil War.

Two similar examples.


They tend to date from about 1880 through the 1920s and are thought to be influenced by the 1876 Centennial celebration in Philadelphia.

A variety of circular centers and twigs and cherries (or are those olive branches?) are included.

Flags are rarer
The earliest date-inscribed example I have in my files is dated 1879.


An eagle quilt dated 1844 advertised in The Clarion by America Hurrah.


There might be earlier prototypes. The idea of a four-block eagle quilt seems older than the standard eagle we are talking about here.

Quilt from the Binney Collection.

These stereotypical eagles look to be post-1880. Solid color fabrics, strip borders and quilting style are all clues to a post-Civil-War date.


And when you find them in Oklahoma or Massachusetts there tends to be a Pennsylvania link.

Collection of the University of Texas

So they may have been called Union Quilts when Finley and Peto were collecting stories about quilts but they don't seem to be the Union Quilts referred to during the Civil War.

See more about eagle quilts at Susan Wildemuth's page:

Dixie Diary URLs

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Dixie Dairy by American Homestead
Twelve blocks with applique.

A couple of years ago we did the Dixie Diary sampler.
I thought I'd collect the sites for all the patterns in one place,
which is down at the bottom of this page.

Dixie Dairy by MooseBayMuses
20 Blocks. She made multiples.

Dixie Diary by American Homestead
She made rows of 9 of the blocks

Pink Deenster

Dixie Diary by Denniele Bohannon, who used the frames.

Dixie Diary by CookiesCreek.

Dixie Diary by Dustin Cecil
The blocks are in there.

Here are the addresses if you want to start late:













And the postscript about Sarah after the war.

1864 Amherst Four Patch

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Four Patch quilt top dated 1864 in ink
"Three cheers for the Red white & blue"

I had not noticed this four-patch in the collection of the National Museum of American History at the Smithsonian. The other day I came across it and was pleased to see how well it's been photographed. 

1864 Civil War Album Quilt Top
60" x 90"
National Museum of American History, 
Kenneth E. Behring Center

From the web page:
Several squares are dated “1864” and some state a place, “Amherst.” Most squares contain religious messages, but some secular inscriptions are evident: “Three cheers for the Red, white & blue 1864” and “God save Gen. Grant and his brave men.”

The blocks are four patches of plain white and print.

The sentiments are inked but there don't seem to be any signatures.
One can guess that this was meant to be a soldier's quilt for a hospital.

See the file here:

You can click on the photo making it larger until you can
see all the prints and plaids in detail.
Amherst College?

Which Amherst?
Amherst Maine
Amherst Massachusetts
Amherst New Hampshire
Amherst New York
Amherst Ohio
Amherst Wisconsin

Probably not
Amherst Texas
Amherst Virginia
Amherst Nebraska
Amherst South Dakota

UPDATE: A commenter (is there an official word for a commenter?) noticed the location Massachusetts in one of the Smithsonian's photos. Thanks.

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